2019, CLASSIC, Edgar Allan Poe, Elizabeth Shepherd, Historical Drama, Horror, https://www.facebook.com/scarletthefilmmagazine/, LIGEIA, Mystery, Redfield Arts, review, SCARLETTHEFILMMAGAZINE.WORDPRESS.COM, Spoken Word, tv film radio books theatremusic storytelling horror mystery fantasy science fiction thrillers drama, Uncategorized, Vincent Price

“Ligeia” Elizabeth Shepherd’s CD ,Redfield Arts

“Ligeia” Reborn: A Review of Elizabeth Shepherd’s CD recording of Edgar Allan Poe’s “Ligeia”

by Robert Klimowski

LIGEIA $13.99 . 55 minutes Audible https://www.audible.com/pd/Edgar-Allan-Poes-Ligeia-Audiobook/1645551318?fbclid=IwAR1ZGKAzN85VzgDNrNmIc7yETcLf8WDc2n6BisOaSBUNPFKSQUeowaDNIxY

 

How does one properly evaluate an oral interpretation of a written work? The first qualification, of course, is an intimate knowledge of the work itself, but preferably from an actor’s point of view. A scholarly knowledge of the text alone does not enable one to perceive or appreciate the vocal nuances required “to bring the work to life.” As the actor reads the text, she faces an unrelenting flow of choices that must be made in the service of efficient, but deeper comprehension. The critic or reviewer, few of whom are actors, must also be familiar with such choices when evaluating a performance. Critics and audiences agree that the actor who consistently perceives the most suitable interpretive choice, and then successfully executes their intention, is the actor most worthy of praise.

 

Actor Elizabeth Shepherd has just released a new recording of Edgar Allan Poe’s story, “Ligeia,” through Redfield Arts Audio(RedfieldArtsAudio.com). In 1964, she starred with Vincent Price in the Roger Corman film version of the tale, TOMB OF LIGEIA  (A.I.P.1964), and played a double role as both the deceased Lady Ligeia, and as her pert successor, the Lady Rowena Trevanion, of Tremaine. She has been deservedly remembered and recognized for this superb performance, and so brings a wealth of experience to her reading.

 

But Robert Towne’s screenplay to TOMB OF LIGEIA, faithful as it is to the spirit of Poe, is not, of course, Poe’s original text. In this recording, Ms. Shepherd has had to radically shift gears to inhabit an entirely different character: the nameless male narrator of Poe’s “Ligeia.”

Some may hesitate, at first, to accept the viability of a female actor portraying a male writing his remembrances of his deceased wife. But such apprehension immediately proves itself groundless. We accept the gender switch unconsciously and instantaneously due primarily to Ms. Shepherd’s intense and utter immersion in the obsessed persona of the narrator, aided by her marvelous facility in the lower vocal range.

Before commenting further on Ms. Shepherd’s performance, however, it’s important to first consider the nature of this story that Poe himself considered his “best tale.”

 

Unlike the first-person narrators of “The Tell-Tale Heart,” “The Cask of Amontillado,” and “The Pit and the Pendulum,” the narrator of “Ligeia” is explicitly writing, rather than speaking his story (“And now, while I write, a recollection flashes upon me…” [paragraph 1]). By its very nature as a written document, then, Ligeia is inherently more reflective than Poe’s more orally inclined tales. And as such, “Ligeia” requires a different type of delivery – an “internal narration,” if you will, in which the actor speaks the thoughts of the narrator in the process of writing them on paper. In short, it’s the difference between reading a diary aloud and reading dialogue aloud. The first is inward-oriented, while the latter is outward-oriented. And while these distinctions may appear subtle in print, they are much easier to detect in performance. Ms. Shepherd’s performance succeeds, in large part, due of her recognition of the narrator’s literary, rather than conversational, mode of communication, and the resultant intense, yet intimate, “internal narration” she so convincingly delivers.

 

Those who journal regularly well know that the very process of penning one’s thoughts tends to prompt unexpected connections, and in “Ligeia”such unforeseen realizations and speculations by the narrator are frequent. In an oral performance, then, we would expect these moments to seem as surprising and fresh to the actor as they are to the narrator, and Ms. Shepherd does not disappoint on this count. Her delivery is very much “present” and “in the moment” rather than “retrospective” in character. Let’s examine now some of the more specific aspects of Ms. Shepherd’s performance, restricting ourselves to the story’s first paragraph, both for ease of reference and as representative of her artistry throughout the story’s telling.

 

 

From the outset, Ms. Shepherd begins her narration forcefully and abruptly, in a state of exasperation (“I cannot, for my soul, remember…”), as if the lapse of time and “much suffering” have robbed the narrator of memories once so dear. By foregrounding this frustration, Ms. Shepherd immediately suggests that the narrator is mentally impaired. It is, after all, unusual for someone to forget how, when, and where they met the very person they so idolize. So, by initially assuming a forceful vocal attitude of vexation, Ms. Shepherd emphasizes the fact that we are listening to the thoughts of an unreliable narrator and signals the listener not to accept everything that he relates at face value.

As the story progresses, we learn the probable cause of the narrator’s disability: he “had become a bounden slave in the trammels of opium” and “was habitually fettered in the shackles of the drug.” And as he writes this account of poignant mania, Ms. Shepherd’s reading leads us to suspect that he still is.

 

Identified and footnoted below, are six “creative pauses” Ms. Shepherd makes in her narration of the first paragraph. These pauses are motivated purely by character concerns rather than what punctuation or natural phrasing would suggest. And it is just such touches as these (which the actor often unconsciously employs) that lift a performance from the adequate to the engrossing. The footnotes attempt to explain the reasons behind Ms. Shepherd’s creative choices.

 

 

“I cannot, for my soul, remember how, when, or *[1] even precisely where, I first became acquainted with the lady Ligeia. Long years have since elapsed, and my memory is feeble through much suffering. Or, perhaps, I cannot now bring these points to mind, because, in truth, the character of my beloved, her rare learning, her *[2] singular yet placid cast of beauty, and the thrilling and enthralling eloquence of her low musical language, made their way into my heart by paces so *[3] steadily and stealthily progressive that they have been unnoticed and unknown. Yet I believe that I met her first and most frequently in some large, old, decaying city near the Rhine. Of her family — I have surely heard her speak. That it is of a remotely ancient date cannot be doubted. Ligeia! Ligeia! Buried in studies of a nature more than all else adapted to deaden impressions of the outward world, it is by that sweet word alone — by *[4] Ligeia —that I bring before mine eyes in fancy the image of her who is no more. And now, while I write, a recollection flashes upon me that I have never known *[5] the paternal name of her who *[6] was my friend and my betrothed, and who became the partner of my studies, and finally the wife of my bosom.”

One could catalog many more instances of Ms. Shepherd’s expressiveness in this recording. Suffice it to say that 55 years after her tour de force performance in TOMB OF LIGEIA, she has significantly widened the scope of her accomplishments in the Poe-interpretation sphere.

Note: The reviewer strongly recommends comparing Ms. Shepherd’s reading with that of Vincent Price’s 1977 recording of “Ligeia” on Caedmon records – a rare and fortunate opportunity to hear the stars of a film adaptation independently interpreting its literary source text.

Robert Klimowski is a retired school teacher from Des Moines, Iowa, currently researching the life and works of Edgar Allan Poe.”

 

This is Robert’s first piece for SCARLET ,but we hope not his last-Kevin

 

 

[1] This pause in a series (“how, when…”) suggests the writer’s own surprise at his failure to remember details which, especially regarding significant relationships, are usually indelibly imprinted on one’s consciousness.

[2] Another pause in a series (this time of descriptive phrases) which may be intended to highlight the narrator’s initial difficulty in describing Ligeia’s “singular yet placid cast of beauty,” or simply to emphasize it.

[3] A pause intended to emphasize the subtle nature of Ligeia’s growing influence.

[4] A pause to emphasize “that sweet word alone.”

[5] This pause signals the narrator’s sudden surprise on realizing that he has “never known“ Ligeia’s last name. This pause, however, comes after the italicized phrase is spoken, not before.

[6] This pause may reflect the narrator’s temporary difficulty in trying to sum up his rich and various relationships with Ligeia.

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THE INTRUDER (Sony,2019)

THE INTRUDER (Sony) Thriller. PG-13. Color .84 Minutes.

Blu Ray /DVD/ download and streaming available from Apple TV, AMAZON, Google Play and More

Reviewed DVD. Available July 30, 2019

THE INTRUDER* was one of those films that snuck out into the market in May before its release upon home video on July 30th. The $8 million film took in a domestic box office of $35 million, a tidy profit for the flick.

The movie harkens back to earlier “crazies in your home films” like PACIFIC HEIGHTS (Fox,1990) as well as aiming at audiences who jumped out of their seats at GET OUT (Universal,2017).

 

While not as strong as either of those two films (few are), THE INTRUDER is a good evening’s entertainment.

The Russells , Scott (Michael Ealy, starring in the soon to be released remake of JACOB’S LADDER, Vertical, 2019) buys his wife Annie (Meagan Good ,star of the upcoming Paul W.S. Anderson sci fi film , MONSTER HUNTER ,Screen Gems,2020 ) a house in Napa Valley . When they meet the current owner, Charlie Peck (Randy Quaid, BENEATH THE DARKNESS, Image 2011), they should have turned around and said nope this is going back on sale.

 

Charlie jumps out of some bushes, shoots a deer, then stands over it and proceeds to shoot the helpless animal some more. Seeing this, I was reminded of Eddie Murphy’s routine about black people starring in horror films.

“You can’t make a horror with black people in it cause the movie would stop.

Wow, baby this is beautiful, we got a chandelier hanging up there, kids outside playing, it’s a beautiful neighborhood. I really love this.”

“Getttt Ouuuuutttt”

“Too bad we can’t stay …”

Unluckily, it seems the Russell’s never heard that classic routine, and move in.

The problem becomes that Charlie just can’t leave his beloved home, which has been in his family for generations, and where we learn that his wife died from a shotgun blast, suspected at being self-inflicted. Charlie pops up riding his lawn mower around and starts yelling at workers drilling to install security systems, as if he still owns the place.

Annie, ever the gracious hostess, invites Charlie to a dinner. At the dinner, Mike (Joseph Sikora, also appearing in the upcoming JACOB’S LADDER), a friend of the Russells, insults Charlie and puts out a cigarette on the lawn that Charlie had earlier mowed.

The following day, there is a cigarette burn on the driver’s seat of Mike’s car, and he starts warning the couple that Charlie is looney tunes.

 

Joseph Sikora

Charlie keeps showing up at the house, more unhinged but Annie keeps letting him in, defying logic as well as warnings from Scott.

It results in a final showdown between Charlie and the couple.

The film requires audiences to suspend belief (and logic) several times for the film to work, but we keep watching, due to the fine cast.

Director Deon Taylor had directed a similar type film with TRAFFIK (Lionsgate, 2018).

Writer David Loughery wrote DREAMSCAPE (Fox, 1984), which incidentally had starred a younger Dennis Quaid as a hero. He also is infamous for STAR TREK V (Paramount, 1989) so make of that what you will.

The picture quality is fine, with no outstanding flourishes.

 


Sound is fine (5.1 Dolby), though some of the gunshots seemed to be a bit louder than expected. The audio is available in English and subtitled in Spanish, English SDH, and French.

Extras include

An Alternate Ending

Deleted Scenes

A Gag Reel

A Cast and Filmmaker commentary

And a short making of: Behind the Scenes of Foxglove (Foxglove being the name of the House).

A decent B movie and fun to watch Quaid go full Jack Nicholson towards the end.

-Kevin G Shinnick

*No connection to the Sony 2015 horror film THE INTRUDERS, the 1999 Canadian film THE INTRUDER, THE INTRUDER (1975), a lost Mickey Rooney(!) thriller, or the Roger Corman THE INTRUDER (Filmgroup,1962), starring William Shatner.

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2019, Fairuza Balk, film, genre, gore, Home Invasion, Horror, https://www.facebook.com/scarletthefilmmagazine/, IFC MIDNIGHT FILMS, independent, independent film, Mystery, now playing, Now Playing Theatrical, review, SCARLETTHEFILMMAGAZINE.WORDPRESS.COM, thriller, tv film radio books theatremusic storytelling horror mystery fantasy science fiction thrillers drama, Uncategorized, Unrated

TRESSPASSERS -now playing theatrically , IFC MIDNIGHT FILMS

 

TRESSPASSERSIFC Midnight-Now Playing Theatrically. Color -87 Minutes Unrated.

Watch the trailer :  https://www.youtube.com/watch?v=RawgS69nvR8&list=PLzbzLEBDQ5MqDFjyhpI4gGPsOlQRNP7ti

When a film opens with a bunch of guys donning cloth masks that give them the suggestion of skulls and walk towards a house wielding machete, you know there is going to be trouble.

That is the opening of TRESSPASSERS, a new nail biter from Director Orson Oblowitz (director of the crime drama THE QUEEN OF HOLLYWOOD BLVD, Dark Star ,2017; as well as having a small role in the darkly comic yet violent Bobcat Goldthwait film GOD BLESS AMERICA, Magnet, 2011).

 

After the murder of an unnamed man and woman , the film changes mood and switches to a couple, Sarah (Angela Trimbur, THE FINAL GIRLS, Sony ,2015) and Joseph (Zack Avery, CURVATURE, Screen Media 2017. CURVATURE was produced by The Hallivis Brothers, producers of TRESSPASSERS)., who are dealing with some relationship issues and they have gone to this isolated house out in the California desert to have some alone time. At least, that is, until two friends that Sarah has invited show up, Estelle (Janel Parrish, from the television series PRETTY LITTLE LIARS, ABC ,2010-17) and her boyfriend (Jonathan Howard), much to Joseph’s annoyance.

 

Shortly thereafter, another unexpected visitor arrives. A quirky bespectacled woman who doesn’t identify herself (Fairuza Balk, AMERICAN HISTORY X, New Line ,1998) says that her car broke down and there is no cell phone signal in the area.

She wonders if she might use their phone to check in on her babysitter with her son, as well as possibly get a tow truck. The thing is, as the night goes on, the visitor doesn’t seem to want to leave, as strange things happen, like a sudden power outage. The visitor says that  such outages are common in the area, which is why they have backup generators, but Jonathan, who is, shall we say, a major dick, feels that there is something wrong with the woman and wants her gone.

 

Things quickly escalate until a horrible accident occurs (which made this reviewer jump). The events do not start going any better, when first the police stop by, and then the masked trio from earlier returns.

 

I am trying to keep from giving away too many too many of the delicious surprises and thrills that this film has ,hoping you go and enjoy this thrill ride .

 

The film has a few flaws (none of the four leads are particularly likeable, but that is more to how they are written ,and not the fault of the performers) , but it makes for an enjoyable thriller along the lines of THE STRANGERS (Universal, 2008) and THE STRANGERS PREY AT NIGHT (Aviron ,2018).

 

Composer Jonathan Snipes (SNAKES ON A PLANE, New Line,2006) at times evokes the Giallo thrillers of old, such as using a harpsicord accompanying a female vocalist for the opening and the end credits, at other times a kind of techno sound score. The cinematography by Noah Rosenthal (the horror comedy DETENTION OF THE DEAD,Anchor Bay ,2013) is sharp and crisp , at times giving the house a cold sterile look, against which the horrors play, while at other times, colored filters are used, which also recalls early Dario Argento.

 

A good creepy thriller that if you are at all paranoid, this will do nothing to reassure you.

-Kevin G Shinnick

Personal Thanks to IFC Midnight.

 

 

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TRESSPASSERS original title

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