Tuesday, December 30, 2008
Sunday, December 21, 2008
On their way back home, Billy expresses a lack of interest in Santa visiting their home on Christmas because he is afraid of being punished. Soon they encounter a man dressed in a Santa suit pulled off the side of the road with car trouble. The Santa has just robbed a local convenient store. The father pulls over to offer help, but the man points a gun at him. He quickly puts the car in reverse, crashing into a nearby ditch. The father is knocked out unconscious. Santa pulls the mother out of the car, raping and murdering her. Billy witnesses her murder after fleeing from the car and hiding in the brush near the ditch.
Four years later in December 1974, Billy is now living at Saint Mary’s Home For Orphaned Children. Mother Superior disciplines Billy for showing a violent crayon drawing of Santa to his classmates. While walking in the hallway to his room, Billy witnesses a young couple having sex in their room. This triggers a flashback in his mind of the rape and murder of his mother. Even sitting on Santa’s lap at the orphanage seems to trigger the violent flashbacks of his mother.
It is now Christmas time 1984, and Billy is a grown up teenager working at a toy store. One of his co-workers constantly teases and bullies him at work. He develops a crush on a pretty brunette girl who also works at the toy store. He even has sexual fantasies about her in his dreams. His boss insists that he dress up as Santa to greet costumers. He is very hesitant to take on this assignment because of what he witnessed of his mother many years ago, but soon agrees to dress up as Jolly O’ Saint Nick.
One night while leaving the store, he witnesses his bully co-worker raping the pretty brunette girl in the back storage room. Once again, this triggers another flashback of his mother being raped. This time he becomes violent and kills the man by hanging him with Christmas lights. For the rest of the film, Billy goes on a murdering rampage with an axe and dressed in his Santa suit.
One particularly sleazy and gratuitous scene in the film shows Linnea Quigley, the most famous star of the film, having sex on a pool table with her boyfriend. She hears a cat outside the house and decides to open the front door topless to let it inside. How many women would really open the front door topless to let a cat in the house? This is not very believable. Soon Billy enters the home and picks Quigley up, impaling her on the antlers of an antelope head hanging above the fireplace. The real Santa will have quite a surprise when he comes down this particular chimney tonight!
Although I’m a fan of this film, I do have my criticisms of it. This film is an obvious attempt to cash in on the success of John Carpenter’s Halloween some six years earlier. The 1980s ushered in the "slasher genre" as a result of Halloween, and this is one of many 1980s films that fits this category.
What makes Michael Meyers such a believable killer is that we really do not know why he kills, and we never see his face. Plus, we feel Meyers is evil and has no remorse for his actions because he is not aware they are wrong. The Billy character in this film is not quite believable because we are given a long history into his life, and he appears to be the typical all American boy up until he witnesses the girl at the toy store being raped by his co-worker. He does not come across as being evil and seems to be killing for only the sake of witnessing a rape. Perhaps this is one of many reasons why parents all across America were protesting and banning movie theatres for screening this film.
SILENT NIGHT, DEADLY NIGHT is a film I would only recommend to fans of the "slasher genre" of the 1980s. If you’re looking for a well-made, classic holiday horror film, I would highly recommend BLACK CHRISTMASfrom 1974. BLACK CHRISTMAS pre-dates the "slasher genre" by nearly a decade, and is said to be John Carpenter’s inspiration for Halloween.
Sunday, December 14, 2008
By Steve D. Stones
Just what is it about a sexy girl with jet-black hair dressed in a bikini and nylon stockings that gets our heart rate pumping so rapidly? When it comes to pin-up queen Bettie Page, it’s the sultry smile and look of innocence mixed with naughtiness that really sweeps us off our feet.
Bettie Mae Page was born April 22nd, 1923 in Nashville, Tennessee to Walter Roy Page and Edna Mae Pirtle. She was the second of six children. After the stock market crash of 1929, the Page family struggled to survive like so many other American families. This caused a break down in the Page home. Edna was forced to place Bettie and her two sisters in an orphanage while she worked as a laundress and hairdresser to save enough money to bring the family back together. Bettie soon learned to cook and sew, which proved to be very useful when she made many of herown dance costumes for her 1950s performances.
From a very young age, Bettie exhibited great talent and excellence in everything she did. She was voted "most likely to succeed" at her High School and became the co-editor of the school’s newspaper and yearbook. She also served as program director of the drama club and secretary-treasurer of the student council. At the time of her graduation, she was at the top of her class academically and received a $100.00 scholarship to Peabody College, where she majored in Education. She married Billy Neil in 1943.
After a brief period of teaching, Bettie decided to move to San Francisco to pursue her first passion; acting. While in San Francisco, she landed her first modeling job and was able to travel all over the world for her work. She developed a strong interest in Haitian culture, which would later have a large impact on her "bondage and discipline" work in the 1950s.
In 1947, Bettie divorced Billy Neil and headed to New York City. At this time, New York had become a Mecca for young people trying to make it in the entertainment industry. The post-war era of the late 1940s and early 1950s saw an economic boom in the United States. Television was the new medium, and opportunities to be a part of the entertainment business were endless.
Also at this time, an off duty police officer with an interest in photography named Jerry Tibbs spotted Bettie on the boardwalk at Coney Island and asked her to pose for some pictures. Tibbs suggested she cut her bangs, which has become the trademark look of Bettie’s now iconic appearance.
Bettie soon met Irving Klaw and his sister Paula, who were running a small mail order business to market photographs of pin-up girls. During her brief time with Klaw, Bettie created some of her most memorable photos and films that were thought to be lost or destroyed forever as a result of the McCarthy era witch hunts that took place in the 1950s. Both Bettie and Klaw were subpoenaed to testify before the U.S. Senate because of these "lewd materials." This was a time of strict moral restrictions in American culture, and Klaw’s photographs and films strayed outside those strict codes of the time. Feeling the pressures of the McCarthy inquisitions, Klaw eventually gave up his mail order business for good.
After Bettie’s appearance in the January 1955 issue of Playboy, and some photos taken by Bunny Yeager on a beach in Florida, Bettie seemed to disappear forever. In 1958, she had a religious conversion, and decided to devote her life to her newfound faith. That may have been the end of Bettie’s former life and her photos, as far as she was concerned.
Then, the 1960s ushered in a new generation of sex entertainment that immediately became mainstream culture. Audiences were treated to "nudie cutie," nudist camp and other soft-core features, which were rapidly becoming popular forms of enterainment. The strict moral codes of the McCarthy era were breaking down very quickly. The films of Barry Mahon, Harry Novak, Doris Wishman, Russ Meyer and David F. Freidman were popular drive-in fare at this time. Collectors were also seeking out the Irving Klaw films made with Bettie a decade earlier.
The 1970s saw entertainment becoming even more liberal by introducing hard-core sex films. Stars such as Linda Lovelace, John Holmes and Marilyn Chambers all were new names familiar to a sex-starved public.
Soon a cult following developed around Bettie Page and her photos. Her image could be seen everywhere, including posters, t-shirts, trading cards, comic books, fine art paintings, and even lunch boxes. Bettie became familiar to a whole new generation of fans. Collectibles of Bettie Page are a sought after commodity.
Sadly, Bettie passed away on Thursday December 11th, 2008 of heart failure at the age of 85. She was not able to achieve her life long goal of living until the age of 100, but her images and films will live on forever in the hearts and minds of her devoted fans all over the world. Her sultry smile and sexy girl with the jet-black hair image will live on forever.
Tuesday, December 9, 2008
Thursday, December 4, 2008
Hello blog-readers, it's been a little quiet the past few weeks. Steve is busy with end-of-semester stuff on a large scale at the classes he teaches at Weber State University. I am busy at work and finishing up the class I teach at the University of Utah. We plan a lot of posts and reviews as the year ends and begins.
I've decided to throw up a book review I had published too many years ago in the long-gone Salt Lake City Event magazine. It is of the novel, Fat City, by Leonard Gardner. It's the nest boxing novel published since The Harder They Fall. It's also a great John Huston-directed film, which is slated to be shown on Turner Classic Movies in February. So here goes!
Fat City, by Leonard Gardner, reminds me a lot of a John Steinbeck novel. It takes place in northern California -- Stockton, to be exact -- and is a story about lost dreams, skid row, alcoholism, self destruction and day labor workers picking crops and being bossed around by callous overseers. The time is the late 1950s. Billy Tully is a washed-up 29-year-old ex-boxer who barely survives life in a downtown hotel. Tully carries a major torch for his ex-wife, who left him when his fighting career went south. He works picking fruit and spends his nights drinking. Sometimes he flirts with Oma, a young, alcoholic, bitter widow who lives with a black man.
One day Tully goes to a YMCA, and coaxes an 18-year-old named Ernie Munger to spar with him. To Tully's surprise, Ernie whips him handily that day. Prodded by Tully, Ernie goes to the gym and starts training under the eye of Ruben Luna, who used to train Tully. Ernie, who works nights at a gas station, marries his girlfriend Faye when she becomes pregnant. Tully keeps working the fields, but begins to imagine a comeback. He moves in with Oma, and then follows Ernie to the gym to start his own comeback under Luna s watch.
Fat City is a lot more than a boxing tale, however. Gardner's writing is superb. He has a talent for getting inside the heads of and fleshing out the personalities of even minor characters. For example, there's this young boxer named Wes Haynes. He trains hard and is filled with dreams of success. In his first fight, Wes is knocked out in the first round. "Wes ... was overcome with dejection. He had made no secret of his training. Acquaintances at school had spoke to him as if he were a professional, and he had not cared to correct them. He had believed he would be one soon enough ... Now he felt he should have known all along that he was nothing."
There is no glamor in the fight game in Gardner s novel. Tully and Ernie are brought to the gym for quixotic reasons; Tully to regain the glory he had in his youth (and maybe his ex-wife, although that's a pipe dream more fueled by booze than love). Ernie just wants enough extra cash to support a wife and baby. But there's no money in fighting. Ernie gets $10 for fighting four round bouts. Tully's comeback fight -- a main event 10-round tough win over a fading, ring-wise veteran from Mexico -- nets him only $100. He soon returns to booze -- even Oma has left him. Alcoholism destroys Tully. It makes him a self-pitying whiner. He blames his manager Luna for a long-ago boxing loss. Soon after Tully's comeback win, he is filthy and homeless, struggling to find a place to sleep on the street.
Perhaps Ernie is meant to be a younger Tully. However, he lacks the talent of his mentor and we're left with the impression that boxing won't consume his life. He's roped into marriage with Faye before he's ready. There is a scary scene where the usually mild-mannered Ernie is consumed with jealousy after seeing an ex-boyfriend of Faye's. In a mild yet chilling manner, he demands from Faye to know about her past sex life, all the while insisting it's no big deal. Faye, never having seen this insecure, possessive side of her new husband, eventually bursts into tears. "...that deep animal moaning, terrifying in its immodesty, rose from behind her hands. It was a sound he had never heard before. ... Faye, it doesn t bother me. It doesn't bother me. It really doesn't bother me."
Fat City gives voice to the shadow people of the streets. The ones who spend hours in the bars, wake up in ratty hotel rooms, hang out at bus stops waiting to be driven to a field to pick crops, and earn just enough cash to be able to go on a week-long bender in their hotel room. For Tully, there is no difference between winning and losing. His long-term fate has already been determined. His boxing ability can only provide a short respite from another slide. But Gardner does not see Tully as a quitter. No one s a quitter among Gardner s street people. They re survivors. They claw out lives any way they can, regardless of the baggage that keeps them down.
A footnote: Fat City was made into a movie in 1972. It was directed by John Huston and starred Stacy Keach as Tully and Jeff Bridges as Ernie. It garnered excellent reviews and is available on video and DVD.
-- Doug Gibson
Sunday, November 16, 2008
Sunday, November 2, 2008
Friday, October 24, 2008
Sunday, October 19, 2008
Saturday, October 11, 2008
Of course, the Corman, Castle and Hitchcock films were often shown indoors, but business was always big on the weekend, when harried parents would hustle sleepy kids into the station wagon, park it, stick the speaker into the car and wait for the kids to fall asleep.
"Cinema Under the Stars" is full of photographs and drawings of old drive-ins and the screen ads — trailers, local business, public service announcements and concessions — that were part of the drive-in experience. The ads were so much fun you can buy them on DVD now: dancing snacks, Bernz-O-Matic In-Car Heaters or Drizzle Guards to put on your windshield ... all on sale at the snack bar!
Drive-ins were where the blood 'n' gore craze began. Herschell Gordon Lewis' "Blood Feast" was a huge hit down South in 1963. In the late '60s and early '70s, as drive-ins started their slow decline, exploitation films became steady grossers. Ultra-low budget fare such as "Dracula vs. Frankenstein," "Brides of Blood," "Cain's Cutthroats," "Horrors of the Blood Planet," "A Taste of Blood," "Satan's Sadists," "Blood of Ghastly Horror" and "Don't Go in the Woods ... Alone" (filmed near Ogden) were standard drive-in offerings across America.
Monday, September 29, 2008
Although the humor sequences outweigh the serious ones, it is often hard to tell whether the film wants to be a full-blown black comedy, or a serious horror film, This may be one of the biggest reasons why I enjoyed the film the first time I viewed it, and continue to enjoy it with each viewing. If you pay careful attention to the film, you will notice that every time a new character is shown on screen in an awful costume, you can guarantee that this person will be the next to be killed. This is part of the black humor director Bryan is trying to get across in the film. Death comes to those with a horrible fashion sense.
Sunday, September 21, 2008
Two hundred years later, and Asa’s descendants still live on the land. They are a depressed, but still noble lot: Prince Vajda, his son Constantin and beautiful daughter Katia (Steele) who looks just like Asa. The Prince is worried, because it’s Black Sunday, the one day where evil spirits are allowed a chance to wreck havoc. He fears Asa and Javutich will try to avenge themselves on his family. As the plot unfolds, he has good reason to be worried.
Sunday, September 7, 2008
In the late 1990s and early part of this century, a consistent Andy Milligan cult almost developed. A book was published, a few of his films were released, there were some articles in film genre pubs and zines ... but then it faded. But a tiny cult remains, think Ed Wood in the mid-70s. Here at Plan 9 Crunch we offer a DVD-R of Milligan's hard-to-find "Torture Dungeon," and we've sold at least a dozen in a few months, as far away as Peru and a university film society in Turkey. Milligan's films are crude, even "bad," but he was unique. The swirl camera, the cheesy gore (fake heads, boiled eggs in eyes), the garish, slapped-on costumes by "Raffine," the uber-dysfunctional families, the males getting it in films such as "The Ghastly Ones," the very unsexy sex scenes, the gritty camera, so effective in Fleshpot on 42nd Street. ... And I'm sure our readers could add more.
Now, on to Surgikill: A few months ago, Plan 9 Crunch came in contact with screenwriter Sherman Hirsh. He penned the original screenplay to Surgikill. Andy Milligan changed enough of it to get screenwriting credit, Sherman was given original story credit. Plan 9 Crunch, after a long wait, finally got a chance to see Surgikill. It's a different experience. It's Andy trying comedy. Sherman will tell readers why Andy made a comedy in the following fascinating essay he offers Plan 9 Crunch. Sherman's piece is fascinating. It offers readers a detailed glimpse into Milligan's late career, as well as a look into the competitive world of low-budget filmmaking. There is information in this essay that has never been published before. We're happy to share it via Plan 9 Crunch. And we want to share the news that a DVD release of Surgikill is coming soon. We'll let you know when! After Sherman Hirsh's essay is a review of the VHS version of Surgikill from Plan 9 Crunch's Steve Stones.
-- Doug Gibson
I brought up the popular notion that he had made films in Europe. He told me he had never made a film in Europe and had no idea where the idea came from, and I believed him. I bring this up because it shows up in 90 percent of the stories about Andy and is totally false.
He invited me into the kitchen to help prepare our meal, and we discussed his film vs. his theater career. Then he hit on me. I’m straight. We spoke little after that. Brunch was good, though.
North Hollywood, CA
September 1, 2008