Sammie and Rosie Get Laid

Sammy and Rosie Get Laid, 1988, British, Miramax, 98 minutes, color. Directed by Stephen Frears. Screenplay by Hanif Kureishi. Cast includes Shashi Kapoor as Rafi Rahman, Frances Barber as Rosie Hobbs, Claire Bloom as Alice, Ayub Khan-Din as Sammy, Roland Gift as Danny/Victoria, Wendy Gazelle as Anna, Meera Syal as Anna, Suzette Llewelly as Vivia, Badi Uzzaman as Cabbie/The Ghost. Rating: Eight stars out of 10.

By Doug Gibson

Sammy and Rosie Get Laid is a film that defines the end of a generation. It's the mid-1980s and the sexual and political revolutions of the 1960s still flourish, but definitely as a counter-culture. The ideas, as Rosie puts it, of "Freedom plus commitment" is being rejected by a British society that has embraced Margaret Thatcher and the ideals of strict conservative morality and capitalism. Still, in a pocket of color within London, Sammy, an immigrant accountant and his wife Rosie, a social worker, thrive. They are in love and have lovers. Sammy is currently having an affair with Wendy, an American artist with Ws tattoed on both buttocks. As Anna explains, everytime she bends over it spells WOW. Rosie will soon bed an attractive black squatter called Victoria (played by Fine Young Cannibals singer Gift) by those who like him. Sammy and Rosie like their life. They spend weekends at plays, essays, classes, and walking through their city, London. As they exclaim, they are Londoners, not Brits. An eclectic crowd surrounds them of gays, homeless, artists, council (public housing) dwellers, squatters, immigrant shopkeepers, scared, vicious police, and riots. However, life is changing. Sammy and Rosie's part of London is beginning to percolate as racial tensions and injustice bubble to the surface. The police kill a black woman who thought her home was being invaded. Before the film is over, the neighborhood will at times begin to resemble 1980s Beirut.

Critic Roger Ebert describes Sammy and Rosie as a film about London, and writes that those who love London will appreciate director Frears and screenwriter Kureishi's efforts to bring London to its multi-cultural life. Many different scenes of London are displayed: Sammy's office, an artist's studio, a wealthy woman's home, Sammy and Rosie's apartment, a council flat, a squatter's settlement, London parks, the airport, a riot in the streets, and a lot more. Kureishi's films have brought many Asian actors to mainstream audiences, and in Sammy and Rosie, the famous Indian actor Shashi Kapoor stars as Sammy's father Rafi, a former high political figure in his native country (It is never made clear what the country is) who has a reputation as a torturer and murderer of thousands. Rafi returns to England to see his son and visit an English woman, Alice -- played by Claire Bloom -- whom he loved and abandoned 30 years ago. Rafi also confides to Sammy that he is on the run from potential assassins, and that he wants to give his fortune to Sammy.

Rafi is suffering though. He continues to see a ghost of a man with one eye and a bandage over his head, who first appears as his cabby at the airport. This ghost will eventually lead Rafi to a terrifying experience. Rafi also finds the sexual lifestyle of Sammy and Rosie disturbing, but remains tolerant to a degree. However, his hopes to live a peaceful life with his son and daughter-in-law are threatened when details of his past as a torturer are slowly revealed. Rosie cannot accept it, and her lesbian friends are ready to kill Rafi. He also receives a deserved comeuppance from spurned lover Alice, who at times resembles a modern-day Miss Havershim.

Rafi's visit eventually brings Sammy and Rosie to a realization that perhaps they aren't as open minded as they thought. The tragedy of his time with them brings a disagreement --- Sammy can't abandon his dad, and Rosie can't forgive and forget what he's done. Eventually, his presence leads to a break-up. Sammy and Rosie Get Laid is a witty, at times touching film with an honest ending that portrays racism and oppression without blinders. There's no happy ending because it doesn't exist yet.

Plan9Crunch retread: A chat with RedVamp

We once did an interview with the beautiful RedVamp, a horror show host who we believe has retired from the business. It was one of our most popular posts, and we re-run it today.

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Interview by Doug Gibson

The gothic beauty pictured here is RedVamp, who also answers to Missy. Blessed with beautiful, real chestnut red hair and a model's physique, the Texas native has gained fame as a gothic model in ads for products that include jewelry and clothing. She's a fixture in genre magazines and cult trade shows, including "Gothic Beauty," "Bite Me," "Dark Realms" and "The Chronicles." She gained a niche in the cult movies genre by hosting a show for ScreamTV.net. RedVamp's Classic Tales of Horror earned a fan following with the beautiful host offering insight to cult films that included Nosferatiu, The Cabinet of Dr. Caligari, House on Haunted Hill, and The Terror. An excerpt is below.Classic Tales - Boris Karloff

In her personal life, RedVamp is a happily married mom with children. In fact, she just gave birth a new member of her family. She has a unique gothic look for the 21st century but adds a dash Carrol Borland's "Luna" mystery and Vampira's poise. Besides her modeling and film-hosting career, RedVamp has a degree in psychology and donates her time working with autistic children, as well as other challenged youngsters.

We wanted to get to know her better, so we sent her a list of questions that she was kind enough to answer. So, enjoy getting to know RedVamp. (Her Web site, http://www.redvamp.com/ is currently under construction, but there's a link to her MySpace page: http://www.myspace.com/redvamp )

The RedVamp Interview

1) You live your Red Vamp persona and that makes you distinct from Elvira, who is a character. I'm wondering, what similar person is an inspiration for you? I regard Vampira as an entertainer who lived her life like her persona. Was she an inspiration for you? What about Carrol Borland?

I do admire women such as Vampira and Elvira and I suppose that I have a similar look to Carrol Borland’s character in Mark of the Vampire, but honestly, my style and persona are simply just me being me! The RedVamp persona and look just naturally came about from my own likes, tastes, and interests. That really is who I am in everyday life. As far as horror hosting, I can take some inspiration from those such as Elvira and Vampira, but I have never tried to mimic or be like any one particular person.

2) What influenced you to pursue gothic modeling and fashion? Also, tell us about some of the items, jewelry, that you sell.

I’ve modeled on and off since childhood, but the gothic modeling came about as an adult, when I no longer fit the mainstream look. The style, fashion, and look was, again, just naturally what I liked and who I was, so various designers, websites, magazines, etc. in the gothic world thought that I was a good fit for them. I don’t personally sell any items, but I have modeled for various designers that sell gothic clothing, jewelry, and accessories such as Gothica by Amira, After Dark Jewelry, Azrael’s Accomplice, Crimson Empress, Deadamore Handbags, Madame LeGoth, etc.

3) When you had the ScreamTV host show, you went to some cult films/horror trade shows. What was that like? Is it interesting to meet people that are a part of the genre, either by association (Bela Lugosi Jr., Sara Karloff) or industry persons, such as the late Vampira or Forrest J. Ackerman and others?

Meeting people in the industry has been one of the greatest benefits of making appearances at conventions. I’m such a huge Lugosi, Karloff, and Chaney fan that I was thrilled to meet the offspring of these greats and get to know them a little bit. The celebrities, themselves, are great, too. I was honored to meet Ben Chapmen, before he passed away, and Julia Adams from the Creature from the Black Lagoon. Those associated with the classics have been my favorites to meet, but I’ve also enjoyed meeting many actors from the modern films, as well.

4) You mention you enjoy early horror and 60s horror genres. What it is about Nosferatu that makes it a classic for you? The same for Dracula, Frankenstein, Bride of Frankenstein ... What are some other films that you consider significant in the genre. I'm interested in films that you like from 40s, 50s and 60s.

Nosferatu was basically the original vampire film and Count Orlok, one of the first monsters of film. Nosferatu, along with Dracula, Frankenstein, Bride of Frankenstein, etc. paved the way for the genre and had a huge influence on the public’s perception of the vampire, the monster, etc. Who does not think of Lugosi when they conjure an image of Dracula or who does not visualize and image of Karloff when thinking about Frankenstein? These movies are classics because they created these images in our minds. Even though there have been modern remakes, the images of the modern versions have not dethroned the originals. For example, the average person is not going to think of De Niro’s portrayal of the monster in Frankenstein, but rather Karloff’s. Other films that are most definitely significant and are classics are Phantom of the Opera, The Wolfman, Dr. Jekyll and Mr. Hyde, The Creature from the Black Lagoon, and a multitude of Vincent Price films and Hammer films with actors such as Christopher Lee and Peter Cushing, just to name a few.

5) How does having a degree in psychology and working with autistic and mentally challenged children enhance your life. Is it a help to your gothic and film genre work? You have a family, including a new baby. Does your genre work have an influence in your home and personal life.

I haven’t really put the degree to work much, out of choice, but I am quite proud to have completed it and I may someday pursue a doctorate in neuroscience or other medical science, as that is where my interests in the field truly lie. Working with autistic children was very rewarding for me and I am blessed to know many special needs people and also have a special needs brother-in-law. My oldest daughter is now involved with working with special needs kids and adults and wants to be a special education teacher, so I am very proud of her. I don’t know that I would say having a degree or working with special needs people has been a help in gothic or film genre work, but personally, it has helped shape who I am, what I perceive as important, and what I am sensitive to. In regards to my family, my children, my new baby girl, etc., they are the number one priority in my life and everything else will always take a backseat. I wouldn’t say that my genre work really has an influence on my home and personal life, because I do always make sure that my family and marriage come first, so other than the occasional magazine, poster, photo, etc. the kids don’t see much of it and they are used to my own personal style, our home décor, etc. being influenced by the gothic genre and classic horror, because that is just who I am and how they’ve always known me.

6) What are your preferred tastes in gothic, horror and fantasy literature?

I don’t do much reading these days being busy with a new baby, but I do love Edgar Allen Poe and I am also a fan of Anne Rice. I also like to read “haunted history” type books about different haunted locations all over the world.

7) You mention that one advantage of the old films is there's less gore and more atmosphere. Is that why you don't tend to focus on newer genre films, although you mention you like the 92 Dracula?

Exactly! However, films such as the ’92 Dracula are in the same vein as the classics and don’t really have the gore either (not on the level of most modern horror), which is exactly why I like it. It remains true to the storyline. Unnecessary gore takes away from a good storyline, in my opinion.

Follow-up questions

1) You mention you enjoy Vincent Price films. His talent, someone said, was that he could both be scary and keep his tongue in his cheek. What are some Price films you enjoy the most. Some I love include Tower of London, Masque of the Red Death and Witchfinder General?

There are so many Price films and I’ve seen so many over the years that it is hard to pick particular favorites, but House on Haunted Hill, The Pit and the Pendulum, The Bat, The Haunted Palace, Witchfinder General, and the Abominable Dr. Phibes are a few that I’ve seen in recent years and enjoyed. I also absolutely loved his role in Edward Scissorhands, although it was much smaller than planned due to his health, and his narration in the Tim Burton short “Vincent”. In addition, I appreciate Vincent Price for his TV appearances, voice work, and radio work as much as I do for his movie roles.

2) What is your favorite Poe story and why?

Once again, it is difficult to choose, but the first one that comes to mind is the Tell-Tale Heart. I also enjoy his poetry. The Raven and Annabel Lee are a couple of my favorites. I’m currently reading the complete collection of Poe and have quite a ways to go, so my favorites may change as I work my way through.

3) Finally, I was intrigued you like Haunted History. I confess to being addicted to Ghost Hunters although I'm not sure I believe what I'm seeing. What are some historical "hauntings" that fascinate you and why?

I love to read about haunted castles and haunted locations in Britain, Ireland, Scotland, as well as Europe, in general. When I was about five years old, my parents took a trip to England and came back to tell me about all the haunted castles that they visited and the history behind them. I’ve been intrigued ever since. I am also very interested in many US locations, and have taken a particular interest in hauntings in the French Quarter of New Orleans, where my husband and I have visited regularly. We have made it a point to stay at many of the haunted hotels there, take the haunted history tours, etc. We have also sought out visiting other haunted locations around the US, such as St. Augustine, FL, San Francisco, etc. I would eventually like to visit other historical haunted sites in the US such as Gettysburg and Salem.

We thank RedVamp for taking the time to speak with Plan9Crunch. Here's one more clip from her cult horror hosting show: Classic Tales of Horror - The Terror

Cat People -- Perfect film for a Friday the 13th!

Cat People, 1942, 73 minutes, B/W, RKO Radio Pictures, Directed by Jacques Tourneur, produced by Val Lewton, Starring Simone Simon as Irena Dubrovna, Kent Smith as Oliver Reed, Tom Conway as Dr. Louis Judd and Jane Randolph as Alice Moore. Schlock-Meter rating: 8 and 1/2 stars out of 10.

Val Lewton's Cat People is a horror film that only works if a viewer uses his or her imagination. Those who are too lazy to think while watching a film will go away unimpressed with Cat People. Others, who use their intellect, will be pleased. The scare scenes are deliberately underplayed, and mood, tension and film noir is used to create a creepy sensation of dread and terror in this tale of a young beauty who turns deadly beast when her passion, or anger, is aroused.

Here's the plot: A bachelor architect named Oliver (Smith) becomes infatuated with a shy Serbian-born beauty named Irena (Simon). They first meet at a zoo, where she's sketching a panther. They fall in love and are married. There's just one hitch. His young bride refuses to make love with him, or even kiss him. Also, animals seems to hate her. At first, Oliver bears this with the patience of a saint. However, the lack of intimacy leads him to a romance with Alice (Randolph) a co-worker and longtime friend. In an effort to help Irena overcome her fear of intimacy, a semi-creepy psychiatrist (Conway) is hired to help treat her.

Simon as Irena is a talented actress who manages to convey helplessness with her fate with a sinister malice when aroused by anger. In what is definitely the most chilling scene, Irena -- angry at seeing Alice and Oliver together, follows Alice to an indoor pool. In the dark natatorium, Alice hears the growls of a panther. She dives into the pool, and eventually shrieks in terror as snarls and ripping sounds are heard. When others come to help and the lights are turned on, there is only the petite Irena, with a look of satisfied menace on her face. Also, when the psychiatrist Dr. Judd tries to seduce Irena, it leads to fatal results.

Cat People is not a perfect film. The extramarital romance between Oliver and Alice seems rushed and forced. If these two have worked together for years, why didn't the sparks fly earlier? Also, Oliver doesn't seem to try very hard to enjoy conjugal pleasures with his pretty bride, despite her protests. Not enough background is provided to Irena's previous life in a Serbian village which supposedly led to her present state of woman/animal.

Still, this is a must see for cult film fans. It's strength is what it leaves to the imagination, rather than what it provides on the screen. It's far superior to a 1980s re-make-in-name-only that bathed viewers in sex and gore. A sequel, Curse of the Cat People, was released in 1948.

-- Doug Gibson

Alfred Hitchcock's 'Rope'

By Steve D. Stones

In his book Crackpot, director John Waters mentions Rope as his favorite Alfred Hitchcock film. Rope may not be Hitchcock’s most well-known effort, but it has all the suspense elements that make his films distinctive. The film is inspired by the real-life Leopold-Loeb murder case.

Two college buddies murder a classmate in their high rise New York apartment by strangling him with a rope. They place his body in a trunk and hold a party for his family and friends as a challenge to see if they will get caught. The trunk is used as a buffet table for the party.

A former professor of the two men named Rupert Cadell, played by James Stewart, attends the party. A conversation during the party leads to the topic of committing the perfect murder. Rupert and his two former students get into a philosophical debate as to whether or not moral concepts of right and wrong, good and evil apply to intellectually superior individuals. They conclude that those who are intellectually inferior in life should be murdered, ridding society of poverty and other ills.

The entire film takes place on one set of the high rise apartment, adding to the suspense. A maid almost discovers the body in the trunk as she cleans up after the party to place books in the trunk. Rupert returns to the apartment after the party, claiming to have left his cigarette case behind. The tension builds as the viewer waits in anticipation for Rupert to open the trunk to discover the body. Rope is a brilliant film made with a small number of actors and one location.

The philosophical debate the three main characters have about committing the perfect crime leads the viewer to believe that Rupert will at some point side with the two murders. In the end, he discovers their crime and argues that no human being has the right to take someone’s life, regardless of how “intellectually superior” they may think they are. A brilliant premise. Happy Viewing!!!

Bela Lugosi in The Phantom Ship

By Doug Gibson

This British 1936 film is a treat for Lugosi fans. He is Anton Lorenzen, a broken-down one-armed sailor who inspires a pity as part of the doomed crew of the Mary Celeste, a ship that in real life in the 1870s was discovered in the Atlantic sans crew.

This film, released in a much longer -- unfortunately lost -- version as The Mystery of the Mary Celeste in Britain, is an entertaining murder mystery. It sort of plays like a rough version of Agatha Christie.

The plot: A captain and his bride (Shirley Grey) set sail with a ragged, rough, sinister ship's crew, including Lugosi, who inspires pity. One by one people start to die. The captain and his wife disappear. Finally only Lugosi's Lorenzen and the sadistic first mate are left. At that point, Lugosi, acting like a 30s version of The Usual's Suspect's Keyser Soze, announces he is the killer, there to avenge a previous wrong. He kills off the first mate but then is hit by a beam of wood and falls into the sea to his death.

Before he dies, Lugosi brags of killing the capain and his wife. That scene appears clunky though. It almost sounds as if Lugosi's voice is dubbed. This is important because the ONLY remaining print is the 62-minute U.S. version, The Phantom Ship. The longer, lost 80-minute version, The Mystery of the Mary Celeste, apparently had an epilogue where the captain and his wife are discovered alive on an island, having escaped death on the Mary Celeste via a raft. It sure would be fun to locate a copy of the lost version. Lugosi biographer Frank Dello Stritto has located director Denison Clift's original shooting synopsis for the film and it includes the island epilogue.

Lugosi is great in The Phantom Ship, which used to be rare but in today's digital world can be found easily and in fact watched for free on the Net. He inspires pathos and pity and then effectively turns cold-blooded killer. He did this very well also in the 1930s The Black Cat, the Monogram Black Dragons and even Ed Wood's Bride of the Monster. Rest of cast is capable and the ship scenes are quite effective for the low budget. Definitely worth a buy. One of Lugosi's best late 1930s films.