This week’s Poster of the Week is for the double bill of Enter The Dragon and Death Race 2000.
Double bills were very popular at cinemas in the UK in the 70’s and 80’s and seemingly the more lurid films the better with horror, kung-fu and cult films being selected for these billings which were traditionally shown at midnight on a Saturday night. It was like the cult film ethos that permeated 42nd Street in New York was proving so popular that it even influenced the cinema programmers of Britain.
It was rightly assumed that the kind of audiences who would go to see a Bruce Lee film would also want to see a Roger Corman movie, especially as one of it’s stars (Sylvester Stallone) had since become famous for his role as the eponymous hero of the movie Rocky (check out the cheeky reference to this in the billing for Death Race 2000 on this poster).
Both of these films were also resurrected from years gone by for this double bill and so this gave cult film fans the opportunity to see both on the big screen again. These were also the days before home video and so cinemas were the primary source for seeing such fare.
Double bills fell out of favour in the 90’s and onwards but thankfully there are now special cinema screenings of films that have just been restored for Blu ray. I’ve noticed a lot of older films receiving cinema showings to commemorate an anniversary of a film’s release also. Inception and Back to the Future are two such films showing on the big screen again recently because of this. And this is a great thing. To see a film on the big screen with a great sound system are the optimal conditions for experiencing a film.
It was in 1986 when I discovered Fangoria Magazine. A comic book store in a beat up shopping arcade in York in the UK had started stocking it on import from the US. I instantly began buying it and fell in love with the publication.
There was a brief time after that that Fangoria couldn’t be bought in the UK anymore as SS Thatcher had purposely banned it’s import and other similar ones (Gorezone and the French Vendredi 13 were two such) as they were viewed as being obscene and as the spectre of the Video Nasty moral panic from a few years earlier was still looming large. But this didn’t last long and the magazines were restocked and horror fans were kept happy.
A couple of years after this I started to escape the small town of York and escape to the big city of Leeds which was close by. There was a great film memorabilia store there called Movie Boulevard that stocked actual back issues of Fangoria that covered the late 70’s/early 80’s golden era of the slasher films and the time period when new horror movies were seemingly being released every week. I picked up many older issues from there including issue number 1 and also the issues that featured Halloween 2 & 3 on it’s front covers, amongst others.
When I moved to London to study Film in the early 90’s I found even more back issues in the amazing film stores there including the Music and Video Exchange in Notting Hill that were selling issues for as cheap as 50p a pop!
So what was it/is it that makes Fangoria so indispensable? In a word- everything. The articles on new releases, the pieces written about classics from the past and forgotten gems that are still unjustly under the radar of most horror hounds and the essays on films ripe for reappraisal that were criticised and ridiculed on first release by critics who sneer at most horror.
There were also pieces on the still vile MPAA and how they were trying to butcher the horror fare being released back then. In fact, I remember Fango’s editor Tony Timpone being one of the few people defending horror as a genre against the censors and so called ‘moral guardians’ in the US at that time.
But it was also the ads for horror masks, for soundtracks and t-shirts. And it also featured the classified column which contained horror-based snippets from readers and their profound offerings (‘Jason SUX!!!’).
To me, Fangoria felt like a vital piece of Americana, a gorgeous monument of American popular culture that only confirmed even more my love of this very special country over the pond.
Fangoria was also loved by those in the horror film industry. There were even pictures of actors on the sets of various productions reading the magazine.
There were even cameos of the publication in various prominent films.
It’s funny that a magazine can fully encapsulate that golden phase of my horror obsessed childhood. Fortunately one does and that’s Fangoria. It’s THAT special to me and thousands of others all over the world.
Fangoria continues to this day and is still as great as ever even though the golden age of horror is well and truly over. I’m glad it’s still being published. Now, we just need gorgeous coffee table books/compendiums of it’s back issues.
Until this is the case we can still look at back issues which have been scanned by others and ready to be perused due to the beauty of the internet. The Halloween 2 issue is here whilst the Halloween 3 issue is here. In fact, there are LOADS more issues on this site which can be found here.
Giorgio Moroder’s soundtrack for Paul Schrader’s 1980 movie about a highly sought after male escort played amazingly by Richard Gere is perfection.
Just as the movie portrays high living, sophistication but with a gritty menacing underbelly, so does the music. Tracks Night Drive, Palm Springs Drive and Night Drive (Reprise) all effortlessly convey a decadence which is a perfect way to usher in such a decadent and affluent decade such as the Eighties. But they also convey just how incredibly tough this new era was. There are sometimes movies and pop songs that capture the zeitgeist of the time at which they’re made and this movie and it’s soundtrack encapsulate this to a tee.
But there is also room for more avant-garde fare with The Apartment being experimental but not feeling out of place on the album.
But the best song on the album is also one of the best singles ever released. Blondie recorded Call Me especially for this movie with the version on the soundtrack being longer, more epic in scope and even with an extra verse. Debbie Harry was the perfect choice of singer for a soundtrack that ushers in this exciting new decade. Debbie would also lend her vocals to the soundtrack of another masterpiece the following year, John Waters’ Polyester. Now THAT soundtrack needs to be released!
Moroder’s score for American Gigolo was nominated for an Academy Award and a Golden Globe.
This week’s soundtrack chosen to be recommended for all you lovers of film excellence is Carter Burwell’s genius soundtrack for the Coen Brother’s 1984 masterpiece Blood Simple. Their modern take on a Texan film noir has the perfect musical accompaniment with the music on this collection.
The simmering, brooding action of the movie is matched by the simplistic and poignant soundscapes on offer here. This soundtrack features the best use of simple but effective piano music since John Carpenter’s Halloween.
The gorgeous title track, the multi-layered Chain Gang, the marimba heavy build of Monkey Chant…all of these tracks are stellar and I’m so glad that they were finally released on record 3 years after the film’s release. Paired with the similarly excellent music for the equally excellent Raising Arizona on the same album, this makes this album an essential addition to any self respecting film music fan’s collection.
And whilst you’re at it, don’t forget to download It’s The Same Old Song by The Four Tops which unfortunately isn’t on this collection but features prominently in the movie.