Cinema Wishlist- Films I’d Love To See on the Big Screen

Cinema Wishlist- Films I’d Love To See on the Big Screen

I have an ever-changing mental list of films that I’d most like to see on the big screen. A few entries on this list I’ve been lucky enough to actually see in a cinema such as Halloween 3: Season of the Witch, Cruising, The Hills Have Eyes (the masterpiece original, not the remake shitfest), Mommie Dearest, Friday the 13th Part 3 and YES! it was in 3D, Last House on the Left… The film that was at the top of my list (Female Trouble) is about to be ticked off when I go to see the film at my local cinema tonight.

This has made me rethink and rejig my Cinema Wishlist. And here, for your enjoyment, it is…

1. Supergirl (1984)

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The film I probably rented the most on VHS back in the 80’s when I was a kid. The Superman franchise takes an unexpected turn with this tale of his female cousin, Kara who lives on Argo City (a huge piece of Krypton which survived after it’s explosion) who has accidentally lost the omegahedron (an artefact that gives the owner huge power and could be lethal in the wrong hands). And so we see Kara come to Earth in search of it and become Supergirl in the process.

The special effects haven’t dated very well but who cares? Everything that makes Supergirl such a treat is in place- great dialogue, an all-star cast (including Simon Ward, Peter O’Toole, Brenda Vaccaro, Mia Farrow, Peter Cook…) and great cinematography and locations which really establish the feeling of small town America so lovingly.

But the jewel of this crown is that Faye Dunaway plays Selina the self-styled white witch who has come into possession of the omegahedron. FAYE FUCKING DUNAWAY!!! I think of La Dunaway’s filmography as being split into two very distinct categories- the critically acclaimed movies that are examples of brilliant cinema that she has acted in and greatly contributed to (examples of this include Chinatown, Network, Bonnie and Clyde) and then the other category in which Ms Dunaway stars in films that are some of the greatest examples of cult cinema in which she hasn’t just contributed greatly but stolen the show by being larger than life, going batshit crazy in her role when she needs to and not just going the extra mile but the extra five miles. Examples include such brilliance as Mommie Dearest, The Eyes of Laura Mars and The Wicked Lady. Guess which category Supergirl is in?

Supergirl is the rarest of things- intentional camp which works really well. Mostly in cult cinema terms when a big budget film becomes defined as camp it’s in fact strayed off-course and found itself being an uneditable mess and utterly terrible to boot. Cinema goers may appraise it as ‘so bad it’s good’ as camp wasn’t intentionally sought as a tone but camp is what the filmmaker got, whether they like it or not!

But in Supergirl the entire cast knew right from the get go that this film was supposed to be camp and boy, do they go for it! And most importantly- they succeed.

Also, Selina’s character has her own fantastic environ set piece which is an abandoned fairground which looks very sinister but also a pretty cool place to reside.

The dialogue is a knockout. It wouldn’t surprise me if John Waters penned the screenplay under a pseudonym. There is some real comedy gold in this film. One example- when Selina reminds her sidekick played by Brenda Varraco that she’d be nothing in the dark arts without her, she remarks ‘If it wasn’t for me you’d still be reading tealeaves in Tahoe!’

2. Walkabout (1971)

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A film that is contained in one of my favourite film books of all time ‘Movies of the Seventies’ by Lloyd and Robinson. A great book that provides a wide ranging overview of many different genres, it also pays particular attention to some individual films and analyses them whilst providing stills of scenes from that movie. One such film was Nicolas Roeg’s Aussie classic Walkabout. The film was shown out of the blue in the late 80’s on late night regional TV and because I had already read about in in this brilliant book I recorded it. And I’m so glad I did.

A well to do man tales his son and daughter out of school with the promise that they are going on a picnic. They drive out of Sydney and into the outback. As his kids start to prepare the picnic their father unexpectedly starts firing shots at them with a gun before setting the car on fire and turning the gun on himself.

We then see the children the next day after they have been aimlessly wondering through the barren terrain. They encounter an Aboriginal boy who decides to accompany them on their journey.

This is an amazing film with stunning photography which Nichols Roeg has spliced, manipulated and completely buggered around with to illustrate themes such as the disorientation the children are feeling and the forward and backward passing of time. We see the father’s suicide in reverse and later see a flock of birds flying backwards.

Time and the brutality of civilisation seems to be another theme that is explored within the film with the civilised youths being paired with the uncivilised Aborigine. In one scene we see hunters killing numerous animals and wildlife which really hammers home this brutal intrusion of those who are supposed to be more advanced yet aren’t.

This film was tied up in rights hell for years which prevented it’s release on home video. But the requisite number of years have passed and it was finally issued to an gobsmacked public who could finally see this classic. It’s now rightly on Criterion Blu-ray- it’s place as a bone-fide classic firmly established and recognised. Walkabout is another Roeg masterpiece.

3. King of Comedy (1982)

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Rupert Pupkin is obsessed with becoming a famous comedian and is also obsessed with the late-night talk show host Jerry Langford. And he’ll do anything to get his shot. Anything.

This 1982 Scorsese film was a first glimpse into the crazy world of fandom, celebrity obsession and follows it through to it’s darkest conclusions. This was unexplored territory at the time and so some thought of this film as overdramatised, exaggerated and how the events depicted could never happen in real life. This seems incredible now as Scorsese’s film has been shown to be, if anything, a conservative depiction os how dark this world can be.

Another criticism of The King of Comedy by critics was that it feels quite flat compared to other Scorsese films. Thats because Scorsese employs a lot of techniques and styles found in television as this is the axis of the film’s narrative rather than him utilising overelaborate cinematic techniques.

Watch out for Sandra Bernhard’s role as Masha. She almost steals the film from right under De Niro and Lewis’ noses.

Loner Pupkin has many similarities with Taxi Driver’s protagonist Travis Bickle. Both films have been referenced in the recent brilliant film, Joker. I’d love to see King of Comedy on the big screen. If a cinema programmer really wanted to go the whole hog then why not put on a King of Comedy/Taxi Driver double-bill or even a triple bill with Joker. With the latter film’s popularity at the moment, the time is right.

4. Spawn of the Slithis (1978)

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A film I caught on late-night Yorkshire TV in the 80’s. And this is why I loved growing up with the truly fucked up stuff my local television station was showing!

A monster born of nuclear waste stalks the environs of Venice, California.

Not only do we get a great low-key and little known horror movie that features a guy in a suit, we also get the local weirdos, kooks and freaks of Venice that are intertwined into the story. We also get gorgeous cinematography which gives us a flavour of how far-out 70’s bohemian Cali really was.

Roger Ebert hated this film when it was first released. If I saw this poster outside a cinema I would be first in line to watch it. The film had it’s own fan club for the eponymous monster that is the film’s star. The film was shown at various college campuses across America during it’s initial release with the actual monster suit being used so that one of the film crew could dress up as Slithis for delighted (and possibly stoned) students. You got to watch Slithis with Slithis. Now that’s genius.

5. The Tingler (1959)

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In fact I’d love to see ANY of William Castle’s masterpieces on the big screen. And yes, if possible, utilising some of the many brilliant gimmicks that Castle employed in the name of entertainment and showmanship.

The ‘tingler’ from the movie’s title is a parasite that lodges in the spine of it’s host and feeds on fear. When the host is scared, the creature makes him/her ‘tingle’.

For this opus, Castle planted electrical devices under random cinema seats in the cinemas it was showing that would vibrate at a key point in the film’s plotline. Theres a great story of John Waters as a child going to The Tingler everyday for it’s theatrical run in a Baltimore cinema, making sure he was always the first in and checking underneath each seat until he found one with the vibrating devices under it.

But the biggest shock regarding Castle’s oeuvre is that his films, even without the gimmicks, work beautifully. Watch this movie and base your judgements just on the film itself. It’s beautifully shot and is extremely aesthetically pleasing. Vincent Price is perfect casting and check out the sequence in which the seemingly black and white movie lapses into colour for one scene. It’s a joy to behold.

Castle has now been reappraised as a great American auteur rather than just a schlockmeister. This film more than amply shows why.

6. Incredible Melting Man/The Savage Bees (1977)

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My history with this film goes wayyy back! My family were driving by the Odeon cinema in York in the late 70’s and I saw the poster for this double-bill of cinematic goodness. This was enough to give me nightmares for weeks! I was only 3 years old.

I got to see both films when I was still a kid when they were shown on TV. Again, nightmares followed. I love the fact that the made for TV movie The Savage Bees was actually shown on cinema scenes in the UK (the same thing happened with Spielberg’s genius Duel which was granted a UK cinema release resplendent with added scenes).

Rick Baker’s make-up FX would have made seeing The Incredible Melting Man on the big screen an almost hallucinatory experience. The film also has a keen eye for humour (check out the severed head/waterfall scene. It’s one of the sickest and funniest in horror history) but also for pathos. Steve West is now utterly tormented by his melting condition and the film makes the audience genuinely feel for him.

I need to see this double-bill on the big screen NOW!

7. Bloodsucking Freaks (1976)

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Where do I even start with this opus. I honestly think Bloodsucking Freaks is one of the best movies ever made and there will one day be an essay written by yours truly which will give the movie it’s proper due.

Sardu’s Theatre of the Macabre hosts Grand Guignol shows in which the goriest and most violent acts are depicted. We get to sample first-hand the kind of acts that are put on. Creasy Silo (!) a theatre critic is in the audience and denounces the show as crass, tasteless rubbish much to the chigrin of Mr Sardu. But is Mr Sardu’s show fake or real? We see that he also has much bigger plans for a much more ambitious show involving Miss Natalyia, an internationally renowned ballerina.

We get to see Sardu and his faithful sidekick Ralphus as they live day to day backstage of the theatre and how they plan for their spectacular spectacle which they are sure will shock the world.

This film was never released in Britain until 2014 even though it was made in 1976. Thankfully, when the internet and Amazon became popular, horrorhounds could order the VHS/DVD from America and cross their fingers that it got through customs.

Bloodsucking Freaks captures a time in film history when exploitation was king, 42nd Street was Mecca for horror/porn/kung fu fans and when sick cinema really was sick. It’s tasteless, shocking, VERY funny and camp as tits. Whats more, you’re always routing for Sardu and Ralphus with both roles being portrayed to perfection. The dialogue crackles with the film hitting a bullseye for every target that it aims at.

One day Bloodsucking Freaks will be held aloft and given the same respect and reverance that John Waters’ early films are now being awarded. Bloodsucking Freaks on Criterion alongside Female Trouble? I don’t see why not.

8. Halloween 2 (1981)

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I’ve been lucky enough to see Halloween on the big screen ranging from an original 1978 print copy that looked appalling right through to new prints which visually and audibly are a treat to behold. I’ve been lucky enough to see Halloween 3: Season of the Witch at a small screening a few years ago and so I’d love to see 1981’s Halloween 2 in a cinema.

This sequel takes place straight after the events of the original film with Laurie Strode being taken to the local hospital only to be followed by Michael Myers who wants to try and finish her off again.

Cue some truly unsettling scenes of Myers captured on hospital CCTV, further casualties in the form of hospital staff of all stratas (Michael doesn’t discriminate) and a cracker of a chase scene when Michael finally finds Laurie. The hospital forms a really eerie backdrop for the action, theres more great cinematography from Dean Cundey who also shot the original and a brilliantly updated electronic soundtrack by John Carpenter and Alan Howarth.

In fact, instead of just seeing this on the big screen, can someone please programme a triple bill of the first three films? There would be massive demand for it. That might just make up for the awful Rob Zombie remakes/reimaginings.

9. The Cure In Orange (1987)

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I got into The Cure in 1986 when Standing on a Beach was released. It was love at first listen. The Cure in Orange was released shortly after this but alas, there were no screenings at my local cinema.

However, I bought the home video when it was released. This is quite possibly my favourite incarnation of the band playing a career encompassing setlist with the amazing architecture at the Theatre Antique d’Orange in France as a backdrop. The Cure were HUGE in France at the time and so the concert is rammed full of fans and the brilliant reaction from these fans brings out the best in the band.

Add to this the fact that the concert film was shot by the brilliant director of The Cure’s videos at this time, Tim Pope and you have a winning combination.

A few years ago Robert Smith mentioned that The Cure in Orange would be released as part of a Cure live DVD box set. This hasn’t materialised. This works to our advantage. We now live in an era of Blu ray. Any media shot on film looks especially great when released in High Definition on this format. It would be great for director Tim Pope to go back to the original film negatives and remaster them for a Blu ray release along with a Pope/Smith audio commentary and maybe a CD release also.

There have been cinema screenings of The Cure in Orange in the States. There needs to be some in Britain too.

10. Willy Wonka and the Chocolate Factory (1971)

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Roald Dahl is a legend. One of my favourite books of his when I was a kid in the 80’s was Charlie and the Chocolate Factory, wherein eccentric chocolate factory owner Willy Wonka has placed six Golden Tickets in random Wonka Bars. The lucky recipient and a guest of their choice will gain access to his fantastical chocolate factory for an all-immersive guided tour. One of the lucky children to find one of these tickets is poor but kind-hearted Charlie Bucket who decides to take his grandfather.

I’m so glad that Dahl’s masterpiece of kids fiction was translated into a film that lives up to the filmic potential that the book hinted at. Before the film was made the book must have seemed virtually unfilmable as the book was so outthere but the film more than copes with the lofty imaginative standards set by the book.

The film was named Willy Wonka and the Chocolate Factory rather than sticking to the book’s name and it is TRIPPYYYY! The LSD soaked sensibilities of the late 60’s permeate the look, feel and visuals of the film. The film is also a musical and the songs are just as brilliant as the visuals on offer.

But these drug induced aspects of the movie don’t get in the way of the story being told. The morality of Dahl’s story regarding being a good human being rather than a spoilt brat whether these qualities manifest themselves in children or adults is still present but isn’t overly sugary or overegged.

The casting is pinpoint perfect with Wilder stealing the show as Wonka (lets not go into the disasterous turn by Johnny Depp in the terrible remake by Tim Burton).

A visual feast that entertains, tugs at the heartstrings and makes having acid flashbacks a very real possibility.

Day 31- 31 Days of Halloween- Tentacles (1977)

Day 31- 31 Days of Halloween- Tentacles (1977)

I loved it when big name stars decided to degrade themselves by starring in Italian exploitation pics in the 70’s solely for a big paycheck. This Italian Jaws rip-off stars Henry Fonda, John Huston and Shelley Winters.

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The original quad UK cinema poster

A seaside resort (a long way from Amity though) has become the feeding supply of a giant octopus. John Huston’s news reporter and a marine biologist cast the blame on Fonda’s construction company Trojan who have been building an underwater tunnel and using extremely high radio signals in the process. This has royally p*ssed off Mr Octopus which has taken to attacking divers and anyone else unlucky enough to cross his underwater path and thus becoming Octo-fodder.

Like most other high(er) budget Euro horrors from this period this is camp, slicker than your average Jaws clone and an efficient popcorn rollercoaster ride of a movie. It does what it says on the tin, the cast ham it up for all it’s worth and it’s good fun while it lasts. OK, so theres nothing to have Mr Spielberg looking over his shoulder here but it never leaves you thinking ‘Thats 90 minutes I’ll never get back!’

3 out of 5 stars

 

Day 25- 31 Days of Halloween- Snowbeast (1977)

Day 25- 31 Days of Halloween- Snowbeast (1977)

An abominable snowman turns up at a snow resort and starts killing skiiers. And just before their Winter Carnival! So inconsiderate!

Substitute the snow resort for a Cape Cod coastal tourist town. Substitute the Winter Carnival for the 4th of July. Substitute the Snowbeast for a killer Great White Shark. Boom!

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If this was the 70’s and this TV movie was on the tube and there was nothing else on then it might be mildly diverting. Otherwise, watch something better.

1/5 out of 5 stars

Day 24- 31 Days of Halloween- Psychic Killer (1974)

Day 24- 31 Days of Halloween- Psychic Killer (1974)

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.

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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.

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The original UK quad poster. What a double-bill!

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.

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Matron!

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.

4/5 out of 5 stars

Day 23- 31 Days of Halloween- Duel (1971)

Day 23- 31 Days of Halloween- Duel (1971)

This Steven Spielberg directed movie made for TV and adapted from Richard Matheson’s short story still packs a punch.

David Mann is a travelling businessman venturing to an appointment across California but is slowed down considerably by an ominous truck that at first inconveniences him until things suddenly take a much darker tone.

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This film could be seen to represent masculinity. David could be seen to represent the modern man- hen-pecked, pussy-whipped and a million miles from his caveman Id origins. Notice David meekly calling his wife to try and patch things up as he had earlier had an argument with her. They had been at a party when another man started coming onto her and acting inappropriately. He voices the opinion that she was sore because he didn’t choose to square up to the suitor and knock his lights out. He voices the opinion that she thinks he hadn’t fulfilled his traditionally masculine role.

Also, when David goes to the garage he asks the attendant to ‘Fill her up’ with the attendant replying ‘You’re the boss.’ To which David responds ‘Not in my house I’m not!’

David’s continued oneupmanship with the truck represents a display of masculine superiority. Whos the bigger man, who has the bigger penis?

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The clues to the driver of the truck point towards a more rugged, masculine opponent who is blue collar, possibly from Down South (he wears jeans and cowboy boots for his line of work as opposed to David’s white collar suit and polished shoes). 

The truck is the Return of the Repressed in the guise of David’s more base level, undomesticated masculinity. It’s always present, it’s unescapable and is waiting to confront him when he thinks he’s shaken it off.

Witness the scene in which David stops to use the payphone at the garage owned by the woman who keeps exhibits of rattlesnakes, tarantulas and lizards. Whilst the truck smashes the cages of these creatures and inadvertently sets them free whilst trying to run David over, it frees these creatures from their cages and places them where they would have been before- in the wild. This is also symbolic. The truck’s very deeds are also freeing David’s more primal masculine survival instincts which it thinks should be just as free but have become more deeply embedded and seemingly eradicated due to 70’s society with it’s emphasis on Women’s Liberation and, thus, the emasculation of men. The fact that the owner of the caged animals exhibit is female is also telling.

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But, whilst the truck might possess and exhibit brute force and traditional ‘Alpha Male’ qualities, it’s David’s qualities of cunning and intellect that save him. He utilises attributes that are above the level of the truck’s Id and he uses them advantageously.

Notice also the dinosaur roar the truck makes as it faces it’s demise. This could be seen as symbolic of this outdated, destructive and potentially dangerous version of untamed and unrefined masculinity. This dinosaur roar was also referenced in Spielberg’s later masterpiece, Jaws. He even made the roar louder when it was released in a new print on Blu ray a few years ago.

This really is a stunning piece of work. Acted to perfection, beautifully framed and paced amazingly. This may have been made for American TV but it proved so successful that it was expanded and released theatrically in the UK the year after.

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The UK cinema poster

A special mention to the gorgeous cinematography. The American landscape has never looked so beautiful along with the quintessentially American institutions such as it’s diners and random sideshow attractions such as the garage owner’s snakes and spiders sideshow. A gorgeous love -letter to Americana and a few examples of what makes this country so amazing.

Spielberg went on to make another horror themed TV movie, Something Evil the following year. This is also a resounding success but unfortunately never released on home media.

4/5 out of 5 stars

Day 22- 31 Days of Halloween- Look What’s Happened To Rosemary’s Baby (1976)

Day 22- 31 Days of Halloween- Look What’s Happened To Rosemary’s Baby (1976)

It’s extremely brave to decide to make a sequel to a beloved horror classic. It can almost feel like some kind of suicide mission as critics and the general public alike will trot out the hackneyed old cliche of ‘It’s not as good as the first film!’ as if this is an extremely original and perceptive line of criticism to extol.

If you do decide to make said sequel there are several routes you can take when doing this. You can either try to recreate the tone and feel of the original (Halloween 2 is an example of this and a very good sequel). You can try to make a film that has a tone and atmosphere all of it’s own whilst setting the action years ahead of the events of the original film (for example, Psycho 2 is an excellent film). Then you can make a film that is completely out there and batshit crazy. The ‘made for TV sequel’ to Rosemary’s Baby, the masterpiece made by Roman Polanski in 1968, goes down this route. It’s not often that whilst I watch a film I have a smile permanently etched onto my face at the sheer insanity I’m watching on the screen and that after the film has ended I have to take a few moments to reacclimatise myself to everyday life again whilst thinking ‘What the fuck was that?!’ And I mean that in the best possible sense.

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I will try to summarise the madness contained within this gem’s plot. I don’t normally like to give detailed and ‘scene by scene’ plot outlines in my reviews but what you will read speaks for itself and sells the film perfectly.

The film starts with a voice-over précis of the final events of the original but with the voices of the new actors in this production (only one actor returns from the original film and thankfully it’s Ruth Gordon who is as brilliant in this movie). In this scene Rosemary (now played by Patty Duke) discovers  the baby she has given birth to but has been swiftly taken away from her. Rosemary looks at him and expresses horror at his eyes. Obviously, the dialogue here is different and not as impactful as the original.

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The first part of the film is called The Book of Rosemary and concerns her taking her son (called Adrian by the Satanic coven we know and love from the original but called Andrew by her to try and distance him from the role the coven think he’s destined to live) away from the clutches of the coven and running away. She seeks refuge in a synagogue knowing that if she is in a house of God then the coven can’t harm her in any way. It’s here that we see her press a crucifix on a chain into her son’s chest only for her to later see with horror that it has seared an imprint into his skin. We then see Rosemary the next day at a bus stop making a call to her famous actor ex-husband Guy (now played by George Maharis). As she speaks to him a group of children start to taunt Adrian/Andrew and take his toy car from him. In return he turns all full-on Satan on them and they fall to the ground unconscious. A random stranger Marjean has seen the whole incident and hides Rosemary and her son in her trailer. Marjean then offers to help Rosemary and her son to get onto a bus to escape. But whilst Rosemary boards the bus, the bus doors close and it rides off with her trapped on it whilst Marjean is at the roadside with Adrian/Andrew in her arms. It becomes apparent that Marjean is in fact a follower of the coven and this was planned all along. Rosemary goes to speak to the driver of the bus but it’s then revealed that there is no driver on the bus. And this is the first act of the film! Crazy doesn’t describe it!

The second part of the film is called The Book of Adrian. It’s more than 20 years later. We see Andrew/Adrian get pulled over for speeding. He later goes to a casino/nightclub that Marjean runs (described by him as his Aunt) who is alarmed by his apparently wild behaviour. She then refers to his parents as being killed in a car crash. We then see Adrian/Andrew’s demonic side come to the fore as he tries to run over a biker gang. Minnie and Roman (the wonderful Gordon and Ray Millard) turn up to the casino to see Andrew/Adrian and ask him to drink one of Minnie’s concoctions (echoes here of the chocolate mousse and ‘health drink’ from the original film) and when he falls unconscious they paint him in demonic warpaint.

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The warpaint scene. Once seen, never unseen

It’s here that I will leave the plot synopsis alone as to reveal anymore would impact on the viewers experience on watching this TV movie for the first time (just to add that there is a third act to the film called The Book of Andrew). Theres a musical interlude within this second segment where we see a far-out rock band at the casino get stage invaded by Andrew/Adrian. It’s one of the freakiest scenes of the whole movie and thats really saying something!

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Lets here it for the band

There are never any troughs in this movie. It starts at weirdness level 11 and continues at that level until the climax.

I’m so glad that this sequel was made in the hedonistic, narcotically charged 70’s as the full unbridled eccentricity of the movie could be shot with no holds barred by filmmakers who were clearly heavily medicated. Add to the mental shenanigans a brilliant darkly psychedelic soundtrack by the ever great Charles Bernstein and you have a rollicking great time. There is also some impressive cinematography that is some of the best I’ve seen in a TV movie. In fact, I love the idea of some Average Joe at home in his 70’s American home watching this be accident. I actually think it enriched and expanded minds.

I’m so glad that this movie was made and that comes from a massive fan of the original film. If you love mental cinema, watch this. In fact, watch this back to back with the Exorcist 2: The Heretic.

I saw this on YouTube in a transfer from a very poor VHS tape. With Scream Factory releasing horror TV movies on Blu ray nowadays I hope to God (pun not intended) that they unleash this. A great transfer using a pristine print would be something to behold. This film deserves it.

4/5 out of 5 stars

 

Day 13- 31 Days of Halloween- The Reincarnation of Peter Proud (1975)

Day 13- 31 Days of Halloween- The Reincarnation of Peter Proud (1975)

Peter Proud is having such vivid dreams about swimming in a lake but then being killed by a woman in a boat that he seeks help regarding this. His girlfriend says that whilst he’s having this recurring nightmare he even starts talking in his sleep but in another man’s voice! He even screams the name of the woman who is killing him and identifies her as Marcia. Peter then sets off on investigating if in fact he is channeling someone else’s experiences.

Max Ehrlich’s novel is brought to life by director J. Lee Thompson with verve and flair with Ehrlich also writing the screenplay. The 70’s were a time of the exploration of alternative concepts such as reincarnation, Transcendental Meditation and other new age fads. This film perfectly taps into and captures this brilliantly. It’s great to see a 1970’s sleep lab and how it differs to the 1980’s equivalent in A Nightmare on Elm Street.

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I also loved the fact that it almost seems like Peter’s destiny to follow the trail of breadcrumbs being laid out for him such as the documentary he sees on television in which he recognises several landmarks that he sees in his dream. Hes being lured by fate to go deeper into this specific rabbit hole.

But thats enough spoilers and plot devices given away. The less you know about this film, the more you will enjoy it’s twists and turns. There are uniformly great performances but theres one that especially deserves praise- Margot Kidder. Shes even playing a character a lot older than she was in real life and pulls it off beautifully.

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Margot Kidder- younger and older in the film

Also, listen out for Jerry Goldsmith’s eerie and darkly psychedelic soundtrack. It matches the paranormal events amazingly.

This would make a very chilling double-bill with Don’t Look Now.

4/5 out of 5 stars