The Sunday Funnies

Doonesbury strips by G.B. Trudeau

Donaggio Does DePalma

For the first musical selection available here at the blog

I'd like to offer a long out of print soundtrack compilation.

It features musical selections composed and arranged by famed

genre soundscape maestro Pino Donaggio for several of Brian DePalma's efforts.

It's a rare one, so grab it while you can and enjoy!

> Brian DePalma - Music By Pino Donaggio <

01. Carrie (1976): Contest Winners
02. Carrie (1976): Bucket of Blood
03. Carrie (1976): For The Last Time We'll Pay
04. Home Movies: Main Title Theme (1980)  
05. Dressed To Kill (1980): The Shower (Theme from Dressed To Kill)  
06. Dressed To Kill (1980): The Museum  
07. Dressed To Kill (1980): Liz and Peter  
08. Dressed To Kill (1980): The Transformation - The Storm - The Revelation  
09. Blow Out (1981): Prelude (End Title)  
10. Blow Out (1981): Blow Out  
11. Blow Out (1981): Fire Works  
12. Blow Out (1981): Sally's Death  
13. Body Double (1984): Claustrophoby  
14. Body Double (1984): Love And Menace
15. Body Double (1984): Drill Of Death  
16. Body Double (1984): Mental Chase
17. Body Double (1984): Brain Hunt
18. Body Double (1984): Body Double

Review: Simon, King Of The Witches (1971)

 

There's a war goin’ on in the streets, man, it's a heavy scene!  Can a mangy mystic named Simon protect his dope-pushing devotees from the Gestapo in blue and manipulate the forces of nature to become one with the Gods?  Well if the path to divinity involves the perfect alignment of pretentious jargon, special mirrors and sacramental sex magic - then the answer here is a resounding yes.

This strange, quirky little picture was released in 1971 and bears trace of it in every scene.  Originally advertised as a film about occultism and black magic, in truth the film is more awash in the groovy Technicolor scene of the Love Generation and its quest for personal freedom.

"My name is Simon, I live in a storm drain" proclaims our groovy subject as he's hauled swiftly to the clink in the opening scene.  Simon believes himself to be a reincarnated white witch who will perform “no wonder for free”.  Upon release our warlock of Woodstock befriends an urban cowboy type by the name of Turk, who introduces him to some chicks who are “in a weird trip”, as he puts it.  Indeed.  Things go well with the group until a posh drug dealer stiffs Simon on a tarot reading and the wannabe wizard puts a curse on him.  A red ball of light goes after the scoffing dope dispenser and puts him into a trance, then pushes a flowerpot onto him, crushing his head.  Everyone now realizes that Simon is not so simple and obviously not one to be crossed.

He's then introduced to Sarah, Queen of the Witches (Andy Warhol alumni Ultra-Violet, exposing ample cleavage) whose initiates are quick to remind flirtatious Simon and Turk of their virtuous magical intent.  “Don’t touch me, I’m a religious object”, explains one member. 

The magus of mischief eventually tries to perform some magic of his own with an au naturel alumnus, but when things don't go as planned, it quickly dissolves into some by-the-numbers nookie.  Later, our solicitant sorcerer attends a ceremony that includes naked women of assorted ages (and figures) and things begin to really take a whirl toward the weird.  Insert your mandatory psychedelic orgy augmented by bespectacled grandmothers and a live goat!  Simon viciously derides the group and mocks their proceedings before quickly making a getaway.

Turk and his blithesome band of burnouts soon convince Simon to help them overthrow the corrupt police by magical means. However, when things falter and the magician begins to fall for the DA’s daughter, our free-lovin’ freeloaders start to doubt his powers  resulting in the film’s ambiguous climax.

Tucked into Simon's irresistible bag of tricks is a pound of philosophy and a half-ounce of esoterism.  Earnestly delivered dialogue such as “I see what I WILL to see” and “I'm a magician, not a psychic!" pepper the proceedings as frequently as friskings do at a Grateful Dead concert.  The loose script leaves much room for poking fun at genre cliché, while strangely still trying to maintain an air of authenticity during its more wondrous whims.  Admittedly, by the end the whole thing becomes too muddled to make any deep impressions, but Simon, King Of The Witches still manages to conjure up some endearment.

This probably won’t be making any favorite lists, but as a satirical reflection of the times it's very enjoyable.  Laced with glowing mysterious orbs, topless 'magnetic charging', enlightened speeches, brooding deadpan delivery by our star David Prine and enough hippie paraphernalia to stock an entire headshop, this little nug of campy celluloid blurs the line between horror and mysticism.  If you appreciate quirky little trips into the twilight zone, then you might want to kick off your go-go boots and give Simon a spin.  “A once in a lifetime cosmic event has occurred!”  Directed cheaply and on the fly by David Kessler.

Embrace The Moment

Bride Of Frankenstein (1935)

Russ Meyer's Finders Keepers, Lovers Weepers (1968)

The Owl And The Pussycat (1970)

Curdled (1996)

Last Tango In Paris (1972)

Natural Born Killers (1994)

The Vampire Lovers (1970)

The Fearless Vampire Killers (1967)

Tenderness Of The Wolves (1973)

The Hunger (1983)

(click pictures for larger images)

When Stars Collide! #1

 

Peter Cushing and Ingrid Pitt hammer out a smooch

 Sean Connery getting some head from Brigitte Bardot

 Vincent Price influencing Alfred Hitchcock to finally put him in a film

 George A. Romero and Stephen King planning the next apocalypse

 

Debbie Harry and H.R. Giger getting all artsy for the camera

 

David Lynch checking Isabella Rossellini for blemishes

 

David Cronenberg fisting James Woods

 Alice Cooper with sultry hip accessory Elvira

 Jayne Mansfield shadowed by Satanist Anton LaVey

 

Madonna turns an ear to Vanilla Ice's advances

Fearless Vampire Killers Pictorial

Or: Pardon Me, But Your Tate Is On My Blog

from Playboy, March 1967

All photographs by Roman Polanski promoting his film The Fearless Vampire Killers

Sharon Tate starred in one other Horror feature;

the criminally underrated Eye Of The Devil aka 13 (1966)

(click the pictures for larger images)

Review: A Serbian Film (2010)

If you're like me and consider yourself a Horror fan whose tendencies gravitate toward the more extreme and controversial margins of the genre, then folks, this review speaks directly to you.  Every so often a film comes along that pushes certain boundaries and in doing so many will deem it as inflammatory, tasteless, objectionable or even unlawful.  As a staunch believer in freedom of expression and artistic license I believe the last accusation to be as loathsome as any of the films that sometimes come into question, however.  A work of fiction is just that.  And what Horror fan hasn't been reminded by Craven and crew that it's only a movie.  Or in this case, a film.  A Serbian Film.  If you're a genre enthusiast you've probably heard of it by now; the hype machine for it has been turning wheels on the web for awhile.  The question is - have you seen it?  For those wondering if it is worth the watch I'll be giving a brief overview and my personal thoughts on it and you can take of it what you will.  And if you've already seen the film, I'd love to get feedback on what effect, if any, it had on you. So let's get to it, shall we?

As A Serbian Film opens we are introduced to Milos, a semi-retired Serbian porn actor who is struggling to provide for a devoted wife and young son.  Milos was once the swingingest dick in Porndom, but now has been relegated to the bared bottom of the barrel.  A friend in the industry informs him of a new director named Vukmir with deep pockets and connections who hopes to rejuvenate the stagnant industry with his revolutionary ideas; sighting Milos as the perfect choice for his star.  As to be expected, the hungry actor readily agrees to a meeting.  Vukmir is extremely vague on what type of film he wants to make exactly, telling Milos he would be instinctively acting off of the reality of the situations presented and any knowledge prior would compromise the integrity of the performance.  The eccentric pornographer also promises the stud for hire enough money to retire in splendor should he take the job.  Milos discusses the opportunity with his wife, casts skepticism aside and signs on the dotted line of what will become his very own personal descent into Hell…and beyond.

When Milos first arrives on set he is only aided by an ear piece through which to receive instruction and very quickly becomes puzzled and alarmed when he realizes that children are involved in the bizarre tableaus.  After a couple of days of shooting, Milos becomes too uncomfortable with the direction things are taking and decides he wants out.  And that's when things turn really nasty.

To give any more away would spoil the impact, or in A Serbian Film's case, the sheer blunt trauma the viewer must withstand should they be able to make it to the end.  And I'll tell you right now that many likely won't.  Numerous things freshman director Srdjan Spasojevic brings to the screen are things no one in their right mind really wants to see and I believe that to be very purposeful and part of the film's power.  The blending of sexual violence and perversity here is far too extreme for the average thrill seeker looking for mere entertainment and several scenes will surely linger in infamy.  However, the film transcends its exploitative properties (no easy feat considering what transpires) to become one of the most transgressive works the Horror genre (or any other) has ever seen.  And yes, I'm including such disobedient offerings as Salo, Forced Entry, Men Behind The Sun, August Underground, Irreversible and Martyrs, to name just a few.

Now if it were only a superficial shock-fest I could easily leave matters be and wrap this review up, but I feel compelled to further elaborate; especially for the sake of anyone who might be shying away from wanting to view it after reading my brief synopsis.

At it stands, A Serbian Film is not only one of the most shocking films to ever come along, but one of the most assured and suspenseful as well. And as angry, evil-natured and depraved as it all may seem on the surface, I believe there are completely valid, thoughtful and challenging questions cleverly being raised underneath all the chaos. Now I grant you that director Spasojevic's film dangerously peters on the fence of morality and even discerning viewers are threatened to atrophy in disgust before it culminates; however, if you can weather the storm, I think you'll find yourself having gone through an experience.  Albeit, a very unpleasant one. Art and film should not always be safe in my opinion. Nothing is safe in A Serbian Film and as a struggling artist myself, I respect the hell out of that.

The film is not a gore fest by any means and there is more left to the imagination than you might first initially notice.  Such is the power of the unsettling images presented. The entire production is technically accomplished and it does manage a steadied slow burn until about halfway in; then things just careen wildly straight into the rabbit hole.  Be that as it may, when all things are said and done I think that the more contemplative viewers would agree there is enough substance and purpose behind it to withstand all the expected high levels of negative scrutiny and criticism.

In fact, whether it's even a Horror film becomes almost irrelevant by its vile denouement. One can take it as a political allegory of the Serbian climate and its continued cycles of violence and repression, much in the vein of Salo. Another may take it as a deconstruction of family; or a condemnation of the dangerous effects our over-exposure to violence, pornography and sexualized media might encourage. Even a stark contemplation on the idea of victim and its place in mainstream "entertainment"; not to mention how it takes the idea of torture-porn to the darkest recesses of the imagination. Additionally, it could also be seen as just a tragic and simple morality play of bombastic proportions.  Or most conspicuously, just swept under the carpet as another tasteless shock piece meant only to offend. Only the makers really know for sure.  What is commendable is that it works on ALL these levels.

Ultimately you may be repulsed by the film or just not agree on the delivery, but it's hard to ignore the many messages and questions it seems to want to bring to mind. And I believe this to be quite deliberate and all too effective. It is for this fact that I strongly encourage anyone brave enough to watch A Serbian Film to do so and then form their own conclusions.