This weeks Poster of the Week goes to the classic sci-fi nightmare that is Westworld from 1973.
There are so many brilliant images here that sum up the movie- the iconic image of Brynner’s demented robot gunslinger, the technician sat in front of a bank of monitors and control panels, the technological font used for the film’s title, the tagline that has indeed gone worng…
And whilst we’re at it, take a look at the similarly brilliant posters for the film’s sequel Futureworld, (loving this tagline too) and Westworld’s Japanese and Belgian posters. All gorgeous.
This week’s Poster of the Week is one that is framed and adorns one of the walls in my flat! It’s artist Brian Bysouth’s extraordinary poster for the 1976 ‘body switch’ comedy Freaky Friday.
The attention to detail is amazing with several scenes and characters from the film being depicted and drawn so well!
I’m so glad that a film that is now seen as a family viewing classic that effortlessly captured the goofy 70’s zeitgeist of it’s time should have a poster drawn with such love and imagination by an artist such as Bysouth. I’ve said it before and I’ll say it again, if I saw this artwork outside a cinema back then and didn’t know anything about the film, I’d instantly venture inside to investigate further which is one of the effects of great film artwork.
A peach of a soundtrack to look at is the Trunk Record’s compilation of some of the De Wolfe library music that was used within George A Romero’s masterpiece Dawn of the Dead. The fact that Romero used muzak that would be played inside a shopping mall within a film set in a shopping mall was both genius and audacious.
To use music that was intended as background music at best and drag it centre stage and use it within a film that would be placed under the microscope and examined closely by both critics and audiences was quite a gamble. Would the plastic music cheapen the film and dilute it’s power? Would critics and audiences alike ridicule the film because of the music used within it?
The answer was a resounding NO! Romero’s vision was so precise, well defined and strong that the use of library music added yet another layer of meaning to the film. Hence we get the goofy genius of The Gonk by Herbert Chappell, the otherworldly and futuristic Figment by Park, the strangely introspective and minimalist Desert de Glace by Pierre Arvay and the melancholic Sun High by Simon Park all used to underscore and emphasise key scenes within the film.
Just as the tracks gave Dawn of the Dead more meaning, so the film also gave the tracks a new dimension of meaning. It was the cinematic equivalent of Andy Warhol’s silk screens of Campbell soup cans and their being analysed in art galleries after being taken out of the supermarket. Genius.
I’ve heard songs from Dawn also used in schools programmes, porno movies, episodes of The Sweeney and Prisoner Cell Block H. That’s a testament to the tracks brilliance and versatility.
This collection of these songs hangs together very well indeed and feels like revisiting old friends as Dawn replays in your head as you listen to them. Essential.
This Swedish thriller was long thought to be lost. I’m glad it’s now newly discovered and released on Blu ray.
It tells the tale of a mental institution resident who is thought to have escaped to take revenge on the people involved in his case who forced him to plead insanity. But if he escaped, how did he do it as it seems impossible? Also, doesn’t returning back to the asylum after he has committed the crime just as impossible?
Max Von Sydow plays Salem, the criminal in question and is (predictably) brilliant in the lead. In fact, all of the actors are fantastic with great support from acting heavyweights such as Liv Ullman and Trevor Howard. Theres even a small supporting role by Gretchen Franklin- Ethel Skinner (from 1980’s episodes of EastEnders) herself! No sign of her Willie though (but there is a parrot).
The locales are gorgeous and provide a very picturesque backdrop to the film’s events whether it be the large imposing monolith of the institution or the gorgeous snow-laden villages that Salem escapes to.
The ending is unexpected and completely from left-field. No wonder the film ends with Salem laughing at the absurdity of it.
Arnold Masters has several axes to grind. Hes in prison for a crime he didn’t commit (his mother who had a tumour who due to be operated on but wasn’t. The doctor who was due to undertake the procedure was then found dead in his office by Arnold who was then framed for his murder).
He tells his backstory to a fellow prisoner who confides his story to Arnold in return. His daughter was turned into a prostitute by a pimp. He says to him that he will seek revenge on this man by carving his name into his chest and slitting his throat. Lo and behold, sometime later he tells Arnold that hes done it and without leaving his prison cell. Before Arnold can ask him how, his confident scales the prison fence and jumps from the very high prison wall killing himself. It is later confirmed in the paper that the pimp indeed was murdered in the way the prisoner stipulated.
Arnold then inherits his friends belongings one of which was an amulet. This allows the owner to leave their body and travel psychically anywhere they want. Perfect for seeking revenge against your perceived enemies and enacting revenge.
Arnold is then found to be innocent and released. Those who failed his mother are then one by one found dead in very strange circumstances that defy logic and reason.
I remember seeing the trailer for this film on almost VIPCO video back in the 80’s. The trailer was extremely evocative and I’m glad to say that now that I’ve seen the film it is every bit as brilliant as it’s trailer.
Early/mid 1970’s America is captured beautifully and the film has it’s own very eccentric character. Check out the murders and how unorthodox they are- whether they involve a shower, a new building’s cornerstone or a bacon slicer and mincing machine! The sequence involving the nurse before she steps into the shower from Hell could have been lifted from one of the great Russ Meyers’ movies.
This is a great concept for a horror movie- someone spiritually leaving their body to avenge their grievances through the power of their minds. Transcendental meditation and other New Age concepts were very fashionable in the 70’s and so it’s great that this should mind it’s way into an exploitation movie made for 42nd Street and the Drive-Ins.
And if you need any other recommendation for seeing this I’ll just say this. It stars Neville Brand!!!Now if that isn’t enough of an incentive then I don’t know what is.
Donny is a very damaged person. After an incident at work sees one of his colleagues set himself on fire, we see Danny freeze with terror at the incident. This is explained through flashbacks. We see that as a boy his mother used to punish him by burning his forearms.
When he returns home from work he finds that his domineering mother has actually passed away. We then see her throughout the film in different stages of decomposition.
Donny then constructs a flame-proof room in his house and lures women back there to strip them naked and set fire to them using a flamethrower whilst they are hung up.
As a study of mental decay this is closer to Maniac than Repulsion. Lurid, sleazy and generally unsettling, this shocker deserves it’s notorious reputation.
The original title of the film was actually The Burning (the print I saw actually had this title card) but when the filmmakers found out that another film was being made using this name they quickly changed it.
The BBFC cut three whole minutes from this film for it’s cinema release and then banned it outright for video. Most of the cut material was from the first murder involving the florist Donny tricks into coming back to his house. And this sequence is VERY full-on! Theres shades of Ed Gein to Donny’s MO. But without Gein’s flair for interior decoration.
The first three victims he torches to death he then dresses in his dead mother’s clothes and places in armchairs. He rants to them as if they’re still alive which gives us a very darkly entertaining glimpse into his twisted psyche. He sometimes hears their voices.
As you can tell from the plot elements I’ve described above this certainly isn’t a film to put on in the middle of a family get together (unless you want them to leave of course). But if you love deranged, unhinged and off kilter horror then you’ll love this Check out the new Blu Ray release. The print is gorgeous.
Jazz DJ Dave Garvin (Clint Eastwood) sleeps with a woman he seemingly randomly meets in a nightclub. But unfortunately for him she turns out to be a psychopath who is textbook Cluster B and as we would say in Yorkshire a ‘wrong un’.
This film is cracking. It’s a stunning and, with hindsight, very realistic depiction of obsessional ‘love’ and stalking.
This film was a risk for Clint Eastwood and co. Not only was he depicting himself and in turn his movie image as vulnerable and a victim but also he was handing the reins over to Jessica Walters and her show-stealing performance as the unhinged Evelyn. And boy, what a performance it is! She is just as psychotic and disturbed as Andrew Robinson in Clint’s other film Dirty Harry.
This was also Clint’s first film as director and it showcases his brilliance behind the camera as well as in front of it.
There are several scenes in this film that are genuinely terrifying. Check out Evelyn’s attack on Dave’s cleaning lady. It’s actually painful to watch. Also look for Evelyn’s cameo at the end of the scene of Dave and his girlfriend as they decide to rekindle their relationship.
I also love how Eastwood’s films were politically incorrect decades before political correctness was even a thing. This film depicts a woman as the predator and aggressor when maybe nowadays it would be seen as unacceptable and going against prevailing media politics to depict a woman as possessing such qualities. Evelyn is depicted as a woman scorned and shown to be so much deadlier and calculating than her male counterpart.
A far-out and thoroughly groovy tale of the swinging scene of 1970’s California. But also a disturbing tale of childhood abuse. Molly has fantasies of tying up men that also involves the use of razors. Two American Football stars are found butchered. Could Molly be responsible? Have her fantasises started to overlap with reality?
The great thing about the Video Nasties list was that it contained low-key gems that were truly left-field like this movie.
The film doesn’t really make much sense but it doesn’t have to. The Drive-In and 42nd Street crowd would have been watching this film with their friend Mary Jane in attendance. And its possibly much more of a mind-expanding experience that way. But either way this is a very enjoyable piece of off-kilter 70’s goodness.
The film also looks unexpectedly gorgeous. And so it should as the Director of Photography was a young Dean Cundey. He shot this just two years before Halloween.
I’m loving going through the Yorkshire Evening Post’s archives to reveal the ads used to publicise a film’s release. I fondly remember seeing these as a kid- little glimpses into a film’s grittiness and sleaziness when I was too young to actually see the film.
The other day I stumbled upon the original ads for one of my favourite films, Halloween.
I also came across the original film review which was very positive (which it should have been!)
In fact it appears that the film ran for quite a few weeks here in Leeds. The folks here have great taste!
But I’m especially loving the fact that a competition was run in the newspaper to publicise the film. I’m just astounded that the prices couldn’t have been more topical for the film’s content- a new set of knives, an endless supply of coat hangers, driving lessons (although Michael Myers seemed to get by without these when he escaped from Smiths Grove).