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8999	dbpedia	3	92	https://thecannibalguy.com/2020/06/	en	June 2020 – The Cannibal Guy	https://thecannibalguy.c…500pix.jpg?w=200	https://thecannibalguy.c…500pix.jpg?w=200	[ "https://thecannibalguy.com/wp-content/uploads/2018/02/cropped-hannibal-mads-food1.jpg", "https://thecannibalguy.com/wp-content/uploads/2020/06/pic-00006-1.jpg?w=640", "https://thecannibalguy.com/wp-content/uploads/2020/06/pic-00007.jpg?w=640", "https://thecannibalguy.com/wp-content/uploads/2020/06/pic-00020.jpg?w=640", "https://thecannibalguy.com/wp-content/uploads/2020/06/pic-00021.jpg?w=640", "https://thecannibalguy.com/wp-content/uploads/2020/06/pic-00030.jpg?w=640", "https://thecannibalguy.com/wp-content/uploads/2020/06/pic-00029-1.jpg?w=640", "https://thecannibalguy.com/wp-content/uploads/2020/06/vlcsnap-00001-1.jpg?w=640", "https://m.media-amazon.com/images/M/MV5BYjMyNzNlYTUtYTliNy00MzQ2LWI3OTUtMzhmMTg3YWQ1NzVlXkEyXkFqcGdeQXVyMTQxNzMzNDI@._V1_.jpg", 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"https://thecannibalguy.com/wp-content/uploads/2018/02/cropped-hannibal-500pix.jpg?w=50", "https://thecannibalguy.com/wp-content/uploads/2018/02/cropped-hannibal-500pix.jpg?w=50", "https://pixel.wp.com/b.gif?v=noscript" ]	[ "https://www.youtube.com/embed/DyLUwOcR5pk?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" ]	[]	[ "" ]	null	[]	2020-06-28T07:00:04+10:00	6 posts published by Cannibal_Studies during June 2020	en	https://thecannibalguy.c…-500pix.jpg?w=32	The Cannibal Guy	null	We’ve looked at some great cannibal movies in this blog, and we’ve also checked out some duds. Inseminoid (called Horror Planet in the US) unfortunately falls pretty much into the latter category, proving that cannibalism alone is not sufficient to make a great film. But hey, it raises some interesting philosophical and psychological questions. Not including “who thought this was a good idea?” and “who wrote dialogue like this?” Holly: Get your ass up here on the double! Gary: I know what I’d like to do with her arse. There’s a group of English and American archaeologists and scientists excavating an ancient tomb on a seemingly uninhabited planet. Uninhabited, but not uninhibited. A couple of them find some glowing rocks, there’s an explosion, then the rocks come to life when Mark (Robin Clarke) and Sandy (Judy Geeson from To Sir With Love) make out in the room where the rocks are kept. How many horror stories start with illicit sex and end up with what looks a lot like religious retribution? Think of the Scream movies – sex happens, then slashers. After much fighting in dim lights and dark caves, Sandy is captured and raped by perhaps the least scary monsters since the Creature from the Black Lagoon. Immediately two months pregnant (we know because she vomits in a bin), she starts killing her colleagues and eating their flesh. Also blowing up what appear to be their pinball machines. Like vampires when transformed, Sandy has become immensely strong, but can be brought down by, yep, a punch in her pregnant stomach. One critic summed up: “…in what has to be a new low, even for extraterrestrial-horror films, all the men end up punching this pregnant woman in the stomach.” Besides some wooden acting and clunky lines, the film also suffered from being released not long after Ridley Scott’s brilliant movie Alien, which also showed an alien rape and birth, although that movie had the novelty value of having a man going through a very traumatic labour (yes, if men had to give birth…). Inseminoid was immediately criticised as a knock off of Alien, which the director denied, although there were plenty of other knock-offs being released around that time, including Contamination (1980) and Scared to Death (1981). But intentional knock-off or not, Inseminoid did not compare well with Scott’s film, one critic saying “imagine Alien without the fantastic sets, convincing special effects and literate dialogue, and you have a picture of Horror Planet.” Alien was, in the words of film studies Professor Barbara Creed, an articulation of the archaic mother – the mother as “primordial abyss”, the place we all came from, and to which we fear we will return. Unlike Freud’s insistence that boys are terrified of what they see as their potential castration when they perceive their mother’s genitals as “a lack”, the monster in Alien, and to some extent Sandy in Inseminoid, represent not a castrated but a castrating feminine. The many shots of teeth seem to refer back to the classic tales of the vagina dentata – the toothed vagina. Although Sandy is eventually brought down by the square-jawed all-American hero, he is no match for her twin human-alien hybrids, who are just so cute, until they get hungry. But Inseminoid had one advantage over Alien: it had a cannibal, and a female one at that. Praise be. Next week’s blog: the final episode of Hannibal ever (or until they make a new season). 51.507351 -0.127758 Serial killers and/or cannibals don’t usually give interviews, probably at the insistence of their legal counsel, but after his arrest, and sentenced to 937 years behind bars, Jeffrey Dahmer was willing, even keen, to tell his story to whoever would listen. Dahmer was arrested in 1991 after a killing spree that started in 1978 and took the lives of seventeen young men and boys. Serial killers are not so rare, particularly in the US, that they get worldwide attention, but Dahmer also readily admitted to eating parts of some of his victims, and the police found body parts in his fridge, apparently ready for the next meal. He quickly became known as “The Milwaukee Cannibal”. The media frenzy was awesome to behold. In 1993, Dahmer sat down with Nancy Glass for an interview that was aired on Bill O’Reilly’s show Inside Edition. The segment (link below) was called “INSIDE THE MIND OF JEFFREY DAHMER: SERIAL KILLER’S CHILLING JAILHOUSE INTERVIEW”. O’Reilly introduced the segment by saying “He is pure evil, but you’d never know it by looking at him.” The tools of true crime interviews are graphics, eerie music and a suitably horrified interviewer. This segment had all three, in spades. Dahmer, though, was calm and rational, answering each question fully and, apparently, as honestly as he could. He spoke of his “sexual fantasies of control, power, complete dominance” which became reality, and stated “It’s a process, it doesn’t happen overnight. When you depersonalise another person and view them as just an object, an object for pleasure instead of a living, breathing human being, it seems to make it easier to do things you shouldn’t do.” The cannibalism was “a way of making me feel that they were a part of me”. Nancy Glass concluded that “Jeffrey Dahmer is intelligent and articulate. That is what makes him so frightening.” In February 1994, nine months before Dahmer was bashed to death in prison, Stone Phillips recorded an interview with Jeffrey and Lionel Dahmer (his Dad) who had just published a book on his side of the story. Phillips included excerpts from other interviews with Jeffrey’s father and, separately, his mother. This was shown on DATELINE, and later put together with some of the unaired footage into a TV movie (link below) called “CONFESSIONS OF A SERIAL KILLER” Dahmer’s father spoke of Jeffrey’s trauma when he was two or three and suffered a double hernia, which can make the penis seem to disappear into the body. “You know, the old Freudian castration complex might come to bear here… he was concerned about losing his penis. He asked his mother if he had lost it, if it had been cut off” Which is what Jeffrey did to some of his victims later, so there just might be something to that. Lionel added that, when he first saw Jeffrey after the arrest, “He just looked very innocuous. He looked like an average person who couldn’t possibly do the things that he did” Dahmer made several interesting admissions to Phillips It was not about race (even though ten of his victims were African American): he said that race didn’t matter – his first two victims were white, the third was American Indian, the fourth and fifth were Hispanic. It was just their looks he was after. The cannibalism “made me feel like they were a permanent part of me”. Also, he was curious as to what it would be like to eat human flesh. He didn’t enjoy the killing. What he wanted was to create “living zombies” by drilling holes in their heads and pouring in muriatic acid or hot water, but it never worked. Why? “I just wanted to have the person under my complete control, not having to consider their wishes, being able to keep them there as long as I wanted”. He became a Christian in jail, because of material sent by his Dad, which (he said) proved that evolution was “a complete lie” which “cheapens life”. Dahmer refused to blame his parents or education or society for his actions, but was happy to blame his formerly secular viewpoint: “…if a person doesn’t think that there is a God to be accountable to, then what’s the point of trying to modify your behaviour, to keep it within acceptable ranges?” Dostoevsky felt the same way in Brothers Karamazov: “…if you were to destroy in mankind the belief in immortality, not only love but every living force maintaining the life of the world would at once be dried up. Moreover, nothing then would be immoral, everything would be lawful even cannibalism.” JEFFREY DAHMER: MIND OF A MONSTER A new documentary was released on May 25, 2020. This is not specifically an interview with Dahmer, although it uses the transcripts of the lengthy (66 hours) of police interrogations, as well as speaking to cops, journalists, neighbours, his father and even a couple of victims who escaped. And if my thought-dreams could be seen They’d probably put my head in a guillotine But it’s alright, Ma, it’s life, and life only. Most importantly, Dahmer was invisible to the society he lived in. Look at the descriptions of him above: intelligent and articulate polite and unnervingly normal innocuous Dahmer was not the terrifying ‘monster’ or ‘savage’ from beyond the borders of the polis. He looked and sounded just like one of us. His fantasies of control, power, complete dominance and his curiosity and appetite are driving forces of modern, capitalist societies. As, of course, is objectification of people and other animals for pleasure. 43.566408 -89.490600 Look, 2020 hasn’t been dull, you gotta admit. So far this year, we’ve had fire, flood, famine and pestilence (pandemic variety) and it’s not even the solstice yet. In reports of cannibalism, it’s all happening in the countries starting with the letter U; the United States and Ukraine are neck and neck. The US could have pulled ahead, but the guy who allegedly hung his Grindr date upside down, cut off his testicles and ate them, did it on Christmas eve, so technically that’s still 2019 (a pretty big year for cannibal stories – six cases documented). 2020: USA In Brooklyn NY on April 15, Khaled Ahmad ran up to some cops from the 68th Precinct who were on meal break in a bagel shop about 4:30 a.m., and told them he had killed his 57-year-old father. The victim had been gutted and “the victim’s innards were removed but not found, leading some investigators to believe Ahmad may have eaten them”. Ahmad “had a history of mental illness” while the unfortunate father was a retired grocer, who had just sold his store in Rockaway Beach, Queens. On the other side of the country, police were called to a home in Richmond, California, where they found Dwayne Wallick, a “suspected” cannibal, “digging into his grandmother’s dead body and trying to eat her remains”. The murder involved both a knife and an ice pick. “Police believe unspecified drugs may have played a role in the crime”. No shit, Sherlock. 2020: Ukraine A 41-year-old Ukrainian admitted that he killed his girlfriend, then fried and ate her legs after the two had a drinking session at home on April 13. He hid the rest of her body in the reeds of a nearby river, where it was found the next day by a father taking his two children for a stroll. Officers ambushed Oleksandr in his home and found him frying flesh from his girlfriend’s leg before eating it. Local reports said the police felt sick after witnessing the horrific scene. According to Ukrainian media, Oleksandr cooked his girlfriend’s legs and ate them after he reportedly ‘got hungry’. Also in Ukraine, Maxim and Yaroslav Kostyukov, 42 and 21, were convicted of killing Yevgeny ‘Zhenya’ Petrov, 45, in Ukraine. The three had been drinking together when a row developed over the conflict between Kiev’s army and pro-Moscow rebels in the eastern part of the country. A court heard how the son had held Petrov from behind while the father stabbed him twice in the chest. Yaroslav Kostyukov then beheaded the victim and cut flesh from the corpse as well as his heart, kidneys, liver and other internal organs. He confessed to cooking the “meat” which was served when the father and son hosted a homeless man called Yura. Prosecutor Oksana Karnaukh said: “There is no such crime as cannibalism listed in the Criminal Code of Ukraine.” The pair were, however, charged them with murder and aggravating circumstances committed by a group of persons, and illegal possession of arms. And, presumably, legs. Here’s the thing – would you pick any of these guys as cannibals? They don’t have a single eye in the middle of their forehead like the cyclops or dog-faces like the cyanocephali. They don’t have bones through their noses like the mythical cannibals of the colonial stories. In fact, since Jack the Ripper, cannibals have looked “normal” – indistinguishable from anyone else. Cannibalism has come home, and the cannibal could be living next door. This one is NOT cannibalism “The US has been processing dead bodies from Covid-19 diseases into hamburgers” That was a post on the now defunct WeChat conspiracy theory site Zhidao Xuegong (it translates as “the Scholar Forum for Ultimate Truth”) in May 2020. Another post claimed that Covid-19 may have killed a million people in the US, with the corpses: “very likely being processed into frozen meat, fake beef or pork, or processed into cooked meat as hamburgers and hot dogs. Cannibalism has existed in the US before … and only a few dozen years ago, Americans ate blacks, Indians and Chinese.” The site reportedly had millions of followers on WeChat, which is the Chinese equivalent to Facebook, before the Chinese government shut them down. Apparently China did not want to make relations with the US any worse than they already were. The site was closed for “fabricating facts, stoking xenophobia and misleading the public” which apparently is illegal in some parts of the world (and very popular in others). Now THAT would have supplied some interesting stats for my 2020 cannibalism tally. 49.993500 36.230383 Back in 2009, fifteen years after the end of apartheid, South Africa seemed to be the obvious place to make movies that offered clear metaphors about racism and xenophobia. Today, they’d probably be filmed in Minneapolis, but nonetheless, after more than ten years, this movie works just as well, perhaps even better in this time, when people have to fight for their lives against both racism and an invasive disease. DISTRICT 9 is directed by Neill Blomkamp and produced by Peter Jackson (yes, that Peter Jackson), and set in Johannesburg, South Africa. It is presented as “found footage” – fictional news stories, CCTV and interviews. District 9 is an internment camp for aliens – not from across the border or across the ocean, but across the universe. A giant UFO hovers above the city showing no signs of life, and when the authorities cut their way inside they find it is full of diseased and starving aliens, who look, as Roger Ebert said, like two metre tall lobsters. They are brought to land and housed in a secure area – District 9 – where they recover, and cause havoc with their love of wrecking stuff and eating lots of cat food. Yes, it’s not without humour. There are “interviews” with people of different races, all saying that these aliens – now known universally as “prawns” – should be sent home or else taken out of the city, away from human contact. Resettlement camp, detention centre, ghetto – those who are different can be separated with just some pernicious circumlocution. The movie follows Wikus van de Merwe (Sharlto Copley), a naïve and nerdy mid-level executive in a huge multi-national corporation called MNU (it stands for Multi National United), which supplies mercenaries for just such situations. Wikus heads off with his army and a clipboard, believing that he is going to knock on doors and ask the “prawns” to agree to be moved to a new camp, whereas of course the whole process is aimed at intimidation and terrorising of the populace. Searching one building, he finds a tube of alien fuel, which they have been synthesising for twenty years, planning an escape. He opens it, and it sprays all over him. Soon, he starts metamorphosing into a “prawn” – his hand turns into an alien claw, and his teeth and nails start to fall out. This is obviously a big problem – actually two. First, his company, MNU, wants to cut him up and study his organs, desperate to learn how to transmute others, because the aliens have immensely powerful weapons that will only operate in the hands of someone with alien DNA. He escapes back to District 9, pursued by the sadistic head of the corporation’s private army, who personifies white supremacist violence. Back in District 9, Wikus is captured by a Nigerian criminal gang, who make their fortune from the aliens, selling them cat food, and offering interspecies prostitution (delicately presented). The Nigerians’ leader, whose name is taken from that of a former President of Nigeria, also wants to control those weapons, and believes eating Wikus’ arm will make him part alien as well. Why not just eat a prawn? Oh, they’ve tried that. The trope of cannibals taking on the strengths of those they eat has been around pretty much forever. It is used to explain both mortuary cannibalism, where the strength of the ancestors is passed to the descendants through their flesh, and also aggressive cannibalism where the legs of the fastest enemy, or the testicles – you get the idea. It revolves around the idea that “you are what you eat”, but if you believe that, well, what does that say about the trolls who love to write “But BACON!” on vegan social media sites? The film was shot around Johannesburg, and the squalid hovels shown were in an area of Soweto that was being demolished and the people relocated. The story is based on the true case of District Six in Capetown, where 60,000 inhabitants were forcibly removed during the 1970s by the apartheid regime. But finding a parallel story of forced removals of oppressed populations would not be difficult in most of the world’s nations. A reviewer wrote in an article entitled “District 9 reveals human inhumanity”: “Substitute “black,” “Asian,” “Mexican,” “illegal,” “Jew,” or any number of different labels for the word “prawn” in this film and you will hear the hidden truth behind the dialogue, echoing what we historically as a species are all too capable of doing.” Several different facets of cannibalism are presented in District 9. The Nigerians eat “prawns” – is that cannibalism, or if not, what about their plan to eat Wikus as he transforms into a prawn? The big corporation is only interested in the billions of dollars that will come from working out how to operate the alien weapons, and are ready and willing to sacrifice Wikus and use his body parts in pursuit of this goal. The aliens are tall and powerful (pulling people limb from limb in a few scenes) and look a bit reminiscent of the creatures from the Alien movie franchise, even though they don’t eat each other or the humans; but they are keen on meat from other species like pigs and goats and whoever ends up in the slurry called cat food. The formal definition of cannibalism tries to restrict the definition to humans eating humans, but it is always leaking out the sides. What we see in this film is the way that anyone can be abused, objectified and even eaten if they can be reclassified as inhuman or subhuman. Wikus starts the story happy to burn down shacks full of alien eggs, enjoying the sound of the eggs bursting, which sounds like popcorn. Captured by the corporation and made to operate alien weapons, he is happy to destroy pigs but begs not to be made to shoot the aliens. Later, turning into a “prawn”, he is more than happy to use the alien weapons to blow apart various soldiers of his former employer, to protect the prawns. The irony of this film is that Wikus, who is a fully carnophallogocentric human in the terms used by Derrida (“adult white male, European, carnivorous and capable of sacrifice”), only finds his humanity when he begins morphing into something else and becomes one of the outsiders he previously disdained. It’s well worth seeing – if you don’t dig the message, then there’s plenty of action scenes, car chases and explosions. Some unintended explosions after the movie, too, when the Nigerian Information Minister asked cinemas to ban the film because it depicted Nigerians as criminals and cannibals. Not the first time white people have applied those epithets against Africans, and the film also scored a mention in Salon’s list of “white saviour” movies, since Wikus is white, and desperate to remain so. But the Malawian actor, Eugene Khumbanyiwa, who played the gang leader, said that the Nigerians in the cast weren’t bothered: “It’s a story, you know. It’s not like Nigerians do eat aliens. Aliens don’t even exist in the first place.” Sensible, but not a great look for a film that is slamming racist stereotypes through the metaphor of speciesism. The direction is adroit and the story buzzes along with never a dull moment. The acting is first rate, even the guys in the alien suits become sympathetic characters, and the special effects are first rate. The film has a 90% “fresh” rating on Rotten Tomatoes. It’s available on Netflix. -26.204103 28.047305 The penultimate episode of Hannibal! You see, I thought if I dragged out these reviews, they would surely have a fourth series ready by the time I finished the whole 39 episodes (in three weeks from now); after all, I’ve been reviewing Hannibal episodes since October 2018!There is certainly talk of a fourth season or a movie, a discourse reignited by the fact that Netflix has just started streaming the series in the USA and some other countries (not Australia – here it’s on Stan). #savehannibals4 What do you do when you can’t go home? It’s a very contemporary question, Hannibal has told us he cannot go home to Lithuania, although we don’t know why (but hopefully will find out in Season 4). But in this episode, made in 2015, the threat is not a pandemic but a serial killer, “The Great Red Dragon”, who slaughters families and puts broken pieces of mirror in their eyes so he can watch them watching him changing them. Will Graham’s family have fled after the killer came for them, their address supplied by the ever-helpful Hannibal. He told the Dragon “Save yourself. Kill them all”. You and I don’t want to catch COVID-19, but Will certainly wants to catch the Dragon. But he is broken – his family is gone, in hiding, unlikely to see him again, or certainly not until the threat has been eliminated. In dreams, Will sees himself killing the Dragon’s victims, but each woman is his wife. This was Hannibal`s design. Will asks Bedelia: Bedelia: “Could he daily feel a stab of hunger for you and find nourishment at the very sight of you? Yes. But do you ache for him?” Bedelia is quoting, or paraphrasing, Dante, the sonnet that Hannibal quoted in the movie Hannibal to Inspector Pazzi’s wife, Allegra: “He woke her then, and trembling and obedient, she ate that burning heart out of his hand. Weeping, I saw him then depart from me. Could he daily feel a stab of hunger for her? Find nourishment in the very sight of her? I think so. But would she see through the bars of his plight, and ache for him?” Is Bedelia paraphrasing Dante because she also loves Hannibal? Or do all psychiatrists do a unit in fourteenth century Italian literature? We know her Italian is good enough to order Bâtard-Montrachet (Chardonnay) and tartufi bianchi (white truffles) – there’s a clue! Anyway, Bedelia now loves Hannibal being in the asylum – because he wants her dead, but only if he can do the actual killing, Will is not contemplating love in any form, gustatory or otherwise, he is plotting destruction. As Hannibal puts it, “Will’s thoughts are no more bound by fear or kindness than Milton’s were by physics.” Well, now we’re getting somewhere, and it’s not medical but metaphysical. John Milton was a seventeenth century poet who wrote Paradise Lost, a fair description of Will’s current domestic situation – neither he, his wife or his step-son can go back to their idyllic estate until the Dragon is caught or, preferably, killed. Rather than getting lost in empathy, as he usually does, Will is now drowning in rage, and is “free and damned” – Hannibal is paraphrasing Sartre’s insistence that humans are “cursed with freedom” – other animals are bound by their instinct, but we always have to make choices, often between less than ideal options. Hannibal sees Will more clearly than anyone, and quotes the Book of Revelations to Jack: Yes, it’s Armageddon coming up – and it starts with confrontation. Will is going to make himself a target for the Dragon, to draw him out. He calls together Freddie Lounds, who will publish anything if it sells her magazine, and Frederick Chilton, who will spout his pop psychology to anyone in order to get publicity for his new book, which is called (honest) “Hannibal the Cannibal”. Chilton is furious with Hannibal for publically repudiating the book as nonsense, effectively disproving the insanity defence by which he was saved from execution. Why would Hannibal do that? Because Frederick doesn’t have “the proper stuff” to write about either Hannibal or the Dragon. Now he’s quoting Goethe. Imagine what else he could find to enrage people with if Alana hadn’t taken away all his books! There are a lot of allusions in this episode, both to the Classics and to the Hannibal books, particularly Red Dragon – lot of the dialogue comes verbatim from that book, although often from different characters. There is a good analysis of the intertextualities on the Hannibal Fandom page. During the interview, Will translates Frederick’s pretentious psychobabble into real insults, the ones that your regular alpha serial killer might reasonably object to: Then Freddie takes a photo, showing the Dragon where Will is, and with Will’s hand on Frederick’s shoulder. Frederick has two security guards to ensure his safety, but their brains are splattered on the back of his car while he is still gloating on the phone about his new book. He is captured, and learns that the Dragon is “becoming”, he is “Other” Hilariously, blind Reba comes to visit in the midst of Frederick’s torment. She can’t see Frederick (although she must be able to smell him; he’s been shitting himself since the Dragon took the stocking off his face), Frederick can’t say anything (or she’ll be killed) and the Dragon can’t hear her concern, her love, as she gives him some soup she made because he took the day off work. They are the three wise monkeys. Yeah, it’s not the flu. Like COVID-19, the Dragon’s psychopathy is worse than the flu. It’s more serious, and Frederick has caught it bad. He is shown slides of the Dragon’s work: before and after shots, The Dragon opens his mouth and puts in his falsies, a set of his grandma’s dentures, the grandma who screwed him up by threatening to castrate him with her scissors when he was an incontinent little boy. He wears them whenever he goes killing. Both Hannibal and Freud would love to meet this guy. He jumps over the couch, growling, a predatory animal, and bites off Frederick’s lips, which he posts to Hannibal, who in turn eats one of them. The Dragon sends the FBI a video of Chilton’s forced confession, including the screams during the lipectomy. Will is less than thrilled as he watches. But, as Bedelia tells him, quoting the words Hannibal used to her, “that’s participation”. Will knew what would happen: the Dragon always kills the pet first. With that photo op, Will might as well have lit the match that sent Frederick, burning, rolling down the hill. Burnt flesh, eaten lips. At last, a trace of cannibalism. This is a cannibalism blog (I quickly remind you, and myself). And Hannibal never disappoints. Next (and, sob, final) Hannibal blog in three weeks – June 28. 38.788106 -90.497436
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"https://secure.gravatar.com/blavatar/641b327382521265b88e1d12d272f3bb407ae3899d2927fab7f8f46d459ddc71?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2018-12-18T10:30:03+00:00	Posts about films written by iansales	en	https://secure.gravatar.com/blavatar/641b327382521265b88e1d12d272f3bb407ae3899d2927fab7f8f46d459ddc71?s=32	It Doesn't Have To Be Right...	https://iansales.com/category/films/	I’m a bit behind on these, chiefly because I’ve been busy with other things during the last couple of weeks. Such as getting a new job. In Sweden. So those few nights when I’ve been at home, and not celebrating, I’ve been mostly watching TV series, such as season two of The Marvelous Mrs Maisel, season three of Lost, and the first season of Dollhouse. I’ve got three or four of these posts to get out before the end of the year. Not to mention picking the best five movies – I’m dropping the documentary split I used in my best of the half-year post (see here) – out of the 600+ films I watched in 2018… Anyway, aside from the last two films here, and they’re hardly twenty-first century commercial Hollywood extruded movie product, this post goes on a bit of a global tour, with a film from Europe, two from Asia and one from Africa. Winter Sleep, Nuri Bilge Ceylan (2014, Turkey). It took me a couple of goes to get into this, but once I was twenty or so minutes into it, something clicked and I found myself engrossed – for all of its 196 minutes. True, I’ve seen films by Ceylan before, and I know he’s an excellent director. His cinematography distinguishes him, but I’ve found the tone of each of his films very different. Once Upon a Time in Anatolia, for example, is almost Tarantino-esque. And Winter Sleep very definitely isn’t. Aydın, once a famous actor, now owns a cave hotel in Cappadoccia and several properties in the town. The film opens with Aydın accompanying his agent to collect rent from a tenant… who has no job and no money, and reacts angrily to threats of more of his possessions being taken by bailiffs. But not as angrily as his young son, who throws a rock through the window Aydın’s Land Rover. That starts off an ongoing feud, in which Aydın cannot understand why the tenant is so angry and so uncooperative. Meanwhile, his relationship with his wife is deteriorating, to the extent that he muscles in and rubbishes her charity campaign to fund local schools. So he decides to head to Istanbul, to work on his pet project, a history of Turkish theatre. But he gets sidetracked because one of his friends has been badmouthing him… And this is one of those films where things follow on naturally from one to the other but there’s no real story as such, except perhaps some form of realisation by Aydın over how badly he’s treated his friends and family. And tenants. A slow-mover, but definitely worth watching. Prison, Ingmar Bergman (1949, Sweden). Bergman made a shitload of films – some for the cinema, some for television, some released on both media. Prison is Bergman’s first film both directed and solely written by him, and it’s notable because of its film-within-a-film narrative structure. Bergman apparently later disowned Prison, although there’s no good reason I could see while watching it why he should have done. It’s an early work, sure, and he used similar techniques, and covered similar topics, much better in later films. But Prison is still a good piece of drama, and if its story feels a bit belaboured at times that’s likely a consequence of Bergman’s lack of experience, although he had directed five films before this one. A film director is approached by an old teacher who tries to sell him a very obvious and very belaboured story of good and evil. The director has his co-workers discuss the story, but they pass on it… only to find real life sort of illustrating the old teacher’s story. But there’s another level of film-within-a-film, and that’s an explicit take on an early silent comedy, with people jumping in and out of windows and closets, all at faster-than-normal speed. Though its subject matter is as weighty as anything Bergman made, Prison didn’t feel especially grim or humourless. Perhaps that was why Bergman disowned it… Let’s Make Laugh, Alfred Cheung (1983, China). This was apparently the most successful film in Hong Kong in 1983, and one of the most successful comedies in China for that decade. Shame then that it’s not at all funny. And I don’t think it’s an 1980s thing, or a Hong Kong thing. I mean, I’ve seen enough Hong Kong films to get the gurning thing, and the physical comedy, but while there’s plenty of the former there’s very little of the latter and much of the movie seems more focused on its romantic subplot. Idiot security guard is asked to guard a house because its owner has substantial debts, not knowing that owner has abandoned his wife and she’s still living in the property. But then the woman’s parents turn up, and she asks the guard to pretend to be her husband… The problem is the guard is such an idiot, and so useless, that he ever seems to achieve anything. And the wife is completely self-centred. Which means the romantic sub-plot, er, isn’t. I’ve seen some successful and very funny Hong Kong comedies – anything by Jackie Chan, for example – so the success of this one as a comedy is baffling. Mandabi, Ousmane Sembène (1968, Senegal). I’ve now seen six films by Sembène, and have a seventh yet to watch, and I really do think his films are bloody brilliant. I’m astonished they’re so hard to find. He made eleven films, and only three are available in the UK, two on a single dual release. And if there’s one thing I’ve noticed from the films I’ve watched, a theme that unites them, it’s that, in Sembène’s world, when men run things it’s absolute chaos, and it’s only when the women take over that things run smoothly. I can go for that. In Mandabi, a postman approaches the two wives of Ibrahima Dieng, who has been unemployed for several years, and tells them there is a money order for 250 Francs waiting for him at the post office. So he heads off to collect it. But the post office won’t give it to him without ID. And when he goes to the police station to get himself an ID, he needs another piece of paper… Meanwhile, his friends and family all want a piece of the money, and have started spending it. None of them realising, because none of them have read the letter accompanying the money order, that 30 Francs of the Fr 250 is for the nephew’s mother, Fr 200 to kept for the nephew, and only Fr 20 for Ibrahima… So on the one hand you have everyone spending money that isn’t theirs, while on the other Ibrahima gets himself further into debt in his efforts to persuade the post office to hand over the money order. The sight of Ibrahima, in his shining boubou, strutting down the street, convinced his fortunes have finally turned is one of the great comedy visuals. The Other Side of the Wind, Orson Welles (2018, USA). This is one of those movies which has a more interesting production history than it does a plot. Welles, of course, was a true Hollywood maverick, and would finance his films himself, shooting them in parts over an extended period as he worked to raise the money to continue filming. And yet, in most cases, the films that resulted are pretty damn seamless. I came to Welles late, but I became a fan after seeing his later films rather than because of his more famous earlier ones. The Other Side of the Wind was not Welles’s last film, but it was locked in legal limbo for so long it’s only just finally been re-edited and released, thirty-three years after Welles died. And, in fact, pretty much the entire cast of The Other Side of the Wind are also now dead. It’s a mockumentary about a great director, played by John Huston, and the film he is working on, which appears to be the worst sort of New Hollywood soft porn director-as-auteur excess. It doesn’t help that the supporting cast – which comprises a number of familiar faces – all play pretty horrible Hollywood stereotypes. Movie industry stereotypes, that is, rather than the usual simplistic Hollywood characterisation. The end result is… an interesting historical document. But not a good film. Thee are good bits, of course – Welles was one of the best directors the US has produced – but this doesn’t feel like Welles at his best, and this version here – edited by Peter Bogdanovich, who plays Huston assistant – does its best but it’s not Welles’s vision and you can’t help but wonder how Welles would have put together the footage, especially when you remember other of his films, such as Mr Arkadin… After the Thin Man, WS Van Dyke (1936, USA). The thin man of The Thin Man was actually the villain of that original movie, but it proved so successful a film, and the characters played by Myrna Loy and William Powell so popular, that a sequel was made, with the perfectly understandable title of After the Thin Man (as in “following the previous film” or “following on from the villain of the previous film”), but which served only to confuse audiences into thinking Powell’s character, a semi-retired PI, was the Thin Man. And so the moniker sort of became his as the film series progressed. Otherwise, there’s no link between the story of After the Thin Man and The Thin Man. Loy and Powell are returning to their San Francisco home after a holiday away when they’re contacted by Loy’s tearful sister, whose playboy husband has vanished. He proves remarkably easy to find. Unfortunately, he’s involved in an extortion scam, and gets murdered for his pains. And the chief suspect is Loy’s tearful sister… Watching this film, you have to wonder how much of the boozing was acted, because while the dialogue between the two leads was certainly witty and snappy, and occasionally sounded ad-libbed although it may not have been, Powell did seem to have a shit-eating grin on his face for much of the film. The Thin Man was popular enough to spawn a series, but this follow-up felt weak, perhaps because it spent more time exploring Powell’s and Loy’s relationship than it did its mystery plot. Still, worth seeing if you like 1930s Hollywood movies… 1001 Movies You Must See Before You Die count: 933 At least two of the films in this half-dozen I thought were on the 1001 Movies You Must See Before You Die list, but aren’t. And I’m not sure why Bondarchuk’s War and Peace – at least one, if not all four, of the films – never made the grade. Conversation Piece, Luchino Visconti (1974, Italy). Visconti seems to have a thing about veils, as at least one woman in his films appears wearing one. In this film it’s a flashback to the mother of the character played by Burt Lancaster, as the movie itself is set in the 1970s. You can tell from the fashions. Boy, can you tell. Lancaster plays a wealthy professor who lives in a Roman palazzo with large collection of books and “conversation pieces” (a type of informal group portrait, typically British and typically eighteenth-century). He is pressured into renting the top floor of is palazzo to an overbearing jet-setting marchesa, ostensibly for her daughter and her daughter’s fiancé, but actually for her own lover. Things go wrong from the start. The lover, under the impression the apartment has been purchased for him, starts knocking down walls… But despite getting off to a bad start, he and the professor become unlikely friends. The professor tries to hide the shady things going on in the lover’s life – at one point even hiding him from the marchesa, at another providing him with an alibi for the police. As he does, so he becomes less of a recluse and, surprisingly, less attached to his books and conversation pieces. I’m not entirely sure what to make of the film, given it didn’t have much in the way of a plot, or indeed a cast, which was small but high-powered. Lancaster was especially good, better I think than in The Leopard, and Helmut Berger managed a remarkable transition from dislikable to sympathetic. But the film suffered somewhat from having too small a story – evident in the fact it was shot entirely indoors. Cold Skin, Xavier Gens (2017, France). Not sure what prompted me to add this to my rental list. Perhaps it was something in the description. Certainly neither the director nor any member of the cast was known to me. And while I’ve identified the film as French – although these days few films are the product of a single nation – Cold Skin is actually a French-Spanish production, adapted from a 2002 Spanish novel, but filmed as English language. An Irishman during WWI hitches a ride to a remote South Atlantic island to work as its meteorologist. There is only one other person on the island: a lighthouse keeper. And he doesn’t seem all there. The reason for that the Irishman discovers during his first night on the island when his hut is attacked by a horde of fish-people. He manages to survive and moves into the fortified lighthouse. Where he discovers the keeper has a fish-people woman as a sex slave. And, er, that’s about it. The Irishman learns the fish-people are not monsters (but the keeper is), even though the lighthouse is attacked nightly by swarms of them. It felt a bit like a less-commercial del Toro film, to be honest, and I’m not a del Toro fan. The fish-people were done well, and the two actors were of the type where you know their faces but you can’t think of their names and you can’t remember what you’ve seen them in before. Meh. The Scarlet Empress, Josef von Sternberg (1934, USA). The empress in question is Princess Sophie Friederike Auguste von Anhalt-Zerbst-Dornburg (a principality in Prussia), but she is better known as Catherine the Great. She’s played by Marlene Dietrich in what is pretty much a straight-up Hollywood biopic. She’s taken to Russia to marry the Imperial heir, Peter, but he turns out to be a half-wit, so she finds her pleasures elsewhere, all the while trying not to offend the actual Empress of Russia, and eventually seizes power six months after Peter is crowned. And goes on to rule Russia for thirty-four years. Despite not being Russian. Neither was Peter. He was born in Kiel, in Schleswig-Holstein, was at one point declared the King of Finland and at another the heir presumptive to the Swedish throne. His mother, however, was Russian, as was his aunt, the Empress of Russia was his aunt. However, despite the manglings and mischaracterisations, The Scarlet Empress proved surprisingly entertaining because of the production design. I don’t know who was responsible – von Sternberg obviously, in some part – but the sets were completely bonkers. Giant doors with Lovecraftian marquetry on them. All the walls designed to resemble the logs of a wooden fort. And the chairs! All designed to look like gargoyles from some deranged hell. It’s a shame it was in black and white. It must have looked like Hope Hodgson on acid in colour. Perhaps one day someone will colourise it. I hope so: it would certainly rival Mughal-E-Azam (see here) for eye-curdling visuals. Rififi, Jules Dassin (1955, France). There’s a famous scene in Rififi, where the thieves have taken over the flat above a jewellery shop and cut a hole in the floor and lower themselves into the shop. While this was playing, I was convinced I’d seen it before. But in colour. I’m thinking maybe it was pastiche of the scene in something by Buñuel but I’m not sure. Rififi is a well-known film, and highly-regarded in French cinema, so it’s likely it inspired a similar scene in another movie. Dassin, despite the name, was American, and after being outed as a Communist and blacklisted in the USA (Land of the Free kof kof), fled to France, where he continued to direct movies. Rififi was apparently a rush-job, based on a novel that no one thought any good – Truffaut said of it, “Out of the worst crime novel I ever read, Jules Dassin has made the best crime film I’ve ever seen”. The plot is pretty basic. A jewel thief finishes a five-year sentence, recruits a gang, and robs a jewellery store under cover of night. Then it all falls apart. Because one of the gang gives a stolen diamond ring to his girlfriend, a singer at a gangster’s club, and the gangster subsequently figures out who was responsible for the robbery. Cue shoot outs. Rififi is straight-up American noir, but set in France and with a French cast. But then the French were quick to adopt film noir – the Cahiers du Cinéma were big fans of the genre, and Godard, for one, pastiched it several times during his career. And that, I think, is one of the problems with Rififi. It’s film noir, and the French made better film noir when they were making knowing take-offs of it. The fact the only thing that stands out about Rififi is its inventive robbery probably tells you all you need to know. Worth seeing, but fans of film noir will appreciate it more than others. Kin, Jonathan & Josh Baker (2018, USA). A young adopted black boy with a white father is helping a gang he was fallen in with steal old wiring from a derelict factory when he gets caught in the middle of a firefight between two groups of armoured aliens who appear through some sort of portal. As you do. He manages to escape, but returns later and discovers one of the high-tech blasters carried by one of the aliens. Meanwhile, his stepbrother has returned home having finished his sentence. But his dad doesn’t want him around. And with good reason. It turns out he owes money to a gangster who protected him in prison, and the only way he can arrange to pay it off is to help the gangster rob his father’s construction office. But they’re caught in the act, the father is shot and killed, as is the gangster’s brother. So the step-brothers go on the run. Along with the alien blaster. Kin suffers because it doesn’t know if it’s a science fiction film or a gangster film. The latter are ten a penny, and need to be really special to stand out. Kin isn’t. The former, well… there isn’t enough there for the film to get a good grip on its science-fictional ideas, not even given the film’s final twist. For all that, it’s a reasonably accomplished piece of movie-making. The cast are generally good, although James Franco’s gangster joins a long line of clichéd psycho movie gangsters, Dennis Quaid’s blue-collar honest Joe dad is no less a stereotype, and and as for Zoë Kravitz’s kind-hearted lapdancer… Meh. War and Peace, Part 2: Natasha Rostova, Sergei Bondarchuk (1966, Russia). Two films in and I think these are actually quite brilliant. They were massive technical achievements for Soviet cinema at the time, and every rouble spent, every technical ambition realised, is up there plain to see on the screen. Not to mention the cast of thousands. I believe Ilya Muromets holds the records for the most number of extras – I’ve heard figures ranging from 100,000 to 250,000 – although a lot of sources claim Gandhi had 300,000 extras. But the Ilya Muromets extras were costumed, which makes it a more impressive achievement. Some of these War and Peace movies must have casts numbering tens of thousands, again all in period costume (well, uniform). Anyway, this second film focuses on the eponymous heroine, and her burgeoning relationship with Prince Bolkonski. There are lavish balls – and they are lavish. But we see much of its from Rostova’s point of view, although the POV does jump about a bit, with swathes of cloth sweeping across the screen, which is odd. Also odd is the inclusion of occasional scenes where the dialogue is in Russian, since the rest of the film has been dubbed into English (well, except for the French and German dialogue, which isn’t dubbed at all. This is apparently because the original 70mm masters have degraded beyond restoration, so an edited version was used for the DVD release, but with some scenes – the ones that aren’t dubbed – added from other surviving copies. It’s plain the full film, all 431 minutes, in 70mm – albeit on apparently awful Soviet film stock – must have been amazing. And there isn’t a single copy in good enough condition remaining to capture that – although some DVD editions are apparently better than others. That’s a shame. Perhaps we’ll be lucky and someone will find a well-preserved copy in some fleapit in a former SSR. Something similar happened to Metropolis. And to Limite. Although both are still incomplete. But they’re also much older films. Anyway, War and Peace, Part 2: Natasha Rostova finishes with the opening shots in the Battle of Borodino, and it lokos fantastic. I can’t wait to watch War and Peace, Part 3: 1812. 1001 Movies You Must See Before You Die count: 933 And another eclectic – or should that be catholic?- half-dozen films, albeit not so geographically varied as half of them are from China… Y Tu Mamá También, Alfonso Cuarón (2001, Mexico). I’ve known of this film for years, and that it was highly regarded, but until I came to watch it I hadn’t realised it was by Cuarón, or that he made it after some of his better-known films. Or indeed that Cuarón was Mexican. I had thought he was Spanish. Anyway, Y Tu Mamá También is one of those back-to-basics film projects successful directors make every now and again, and which occasionally end up as the best film in their oeuvre. Which doesn’t seem to be entirely true of Cuarón, although this is certainly one of his better pieces of work. Two teenagers agree to take a young woman to a beach they invented… a day or two drive south of Mexico City. Each have their reasons for making the road trip– and that’s what this is, a road trip movie. The young woman has just left her husband after learning he is having an affair. The two teenagers have the hots for her… and it turns out there is more at stake than initially seems. Surprisingly, it turns out the made-up beach actually exists, and the three spend an idyllic few days camping there. But the woman has cancer and not long to live, and when they decide to return to the city, she remains behind with a local family. I was under the impression this film was on the 1001 Movies You Must See Before You Die list – but it’s not, or at least not the 2013 version, which is the one I’m using. It probably deserves to be on the list. I think it was this film which made Gael García Bernal an international star. The Snows of Kilimanjaro, Henry King (1952, USA). The story from which this was adapted is generally considered to be one of Ernest Hemingway’s best. I am not, I must admit, much of a Hemingway fan – or much of a fan of the many film adaptations made of his fiction. Even so, he was ill-served by this one. Gregory Peck plays a writer who is dying of a gangrenous wound while on safari. There are a couple of flashbacks explaining how he injured himself, but much of the story is in the extended flashbacks which detail the writer’s career. How he started out feeling sorry for himself, lived off his wife – Ava Gardner – in a poor quarter of Paris, became successful but then Gardner becomes an alcoholic after a miscarriage and leaves him. He takes up with a countess, but she dumps him when she realises he still loves Gardner. So he heads off to Spain to find her, gets embroiled in the Spanish Civil War, finds Gardner driving an ambulance on the front mere moments before she’s killed by an enemy shell… Back in Paris, he meets the woman he’s on safari with. Apparently, in the story he dies, but Hollywood went for the happy ending and he’s rescued in time. I can understand why people consider this one of Hemingway’s best stories – it has all his favourite things in it, well, except for bull-fighting, I don’t remember any bull-fighting but Peck spends time in Spain so maybe there was. Missable. Under the Shadow, Babak Anvari (2016, UK). A horror film made by an Iranian director with an Iranian cast who speak Farsi and which is set in Tehran… but turns out to be a UK production filmed in Jordan? Such is the nature of twenty-first century film financing. None of which should be taken as a criticism of Under the Shadow as a film qua film. It is enormously effective. I’m a big fan of Iranian cinema and happy to slot this one in it, for all that it didn’t even get within shouting distance of the country. The story is relatively simple – a married couple with a young daughter find their flat haunted by a djinn, but the husband, who is sent away to serve on the front, is sceptical of his wife’s complaints. Once he’s away things gets worse, and it’s a battle between the woman and the evil spirit that seems to have occupied their building. For much of its length, Under the Shadow is like a domestic Iranian drama by Kiarostami or Farhadi, which is high praise indeed. But then it shifts into a horror register, and while the scares are relatively tame by current standards they’re effective – and I for one appreciate scares that are just that, scares, not gruesome dismemberings or something. Definitely worth seeing. To My Wife, Wang Xiaolie (2012, China). So, for a variety of reasons, mainly involving an upgrade that actually made an app almost entirely useless, but such is the way of techbros and their reading too much into bad science fiction of the 1940s and 1950s (seriously, as fans of the genre we have a lot to fucking answer for), but anyway the film I’d planned to watch was unavailable. And I found myself unwilling to watch another episode of one of the many box sets my mother has lent me, so I went hunting on Amazon Prime. And found this. A solid Chinese drama that doesn’t even have a complete IMDB entry. It opens with two men about to be executed on, er, the seashore. It’s all to do with a woman and the last days of the Qing Dynasty and the creation of the Republic of China in 1912. The scene cuts to a young woman in a sports car on an empty road, she turns a corner out of sight, and we hear her crash. Now she’s in the past, in the years leading up to 1912, with a patron who supports the Qing dynasty and a brother and a fiancé who both support the end of the empire but in different ways. There are scenes of her after the car crash, now in a coma… But the she wakes and is discharged, and her husband is identical to the man who plays the admiral representing imperial forces in the scenes set in the past. And it all seems relatively straightforward, if somewhat confusing, with the past being a coma dream of the woman in the present, based on a testament from the time she had been reading… Except the film ends with the opening scene of the executions, but the camera pulls back to reveal it’s for a film being made by the woman’s husband and starring herself. It’s an interesting historical story, but the ham-fisted attempt to make it a time-slip romance – a well-established sub-genre in written romance fiction – actually makes it a more interesting film. As far as I can determine, given it has no real IMDB entry, and there’s almost no information about it available on the English-language internet, this is not a tentpole Chinese release, and either a straight to DVD or streaming-only movie. But I thought it quite good. The cast were good, the historical scenes convincing, and if the time-slip element was a little confusing it can’t be faulted for trying. Better than expected. Detective Chinatown, Chen Sicheng (2015, China). And after watching the above, I stumbled on this – which at least has a Wikipedia entry – and since I was in the mood for Chinese cinema, and coincidentally eating Chinese food – although that later proved less than successful but we won’t go into that – and the thing about Chinese films is not so much that they’re Chinese but that they can have a Chinese approach to well-established film genres… And so their take on them can be just as entertaining as the film’s actual story. Here we have the “reluctant buddies” movie, with an incompetent cop teamed up with a brilliant assistant to solve a crime and, for added shits and giggles, the detective is trying to solve the crime of which he has himself been accused. It’s hardly a new story, it’s pretty much a universal one in fact. In this instance, failed police academy candidate and nerd Qin Feng has been sent to visit his successful uncle Tang Ren, a top detective in Bangkok’s Chinatown. Except Tang is nothing of the sort, but a low-life who works for a corrupt police sergeant. Except now he’s number one suspect for the murder of a member of a gold robbery gang. And the gold is still missing. So while Tang’s incompetent police sergeant is competing with a go-getter rival to solve the crime, Tang needs to clear his name and only geeky nephew Qin can do it. The film doesn’t know whether it’s a comedy or a thriller, which means the thriller elements are quite good but the comedy aspects feel forced. Which is a shame because Tang, played by Wang Biaoqang, is a good comedic character – so much so, the film often feels like a vehicle for him, which it isn’t. The final twist is unexpected but doesn’t substantially alter what’s gone before. If Detective Chinatown had been made in Hollywood, it would probably be typical Hollywood product, but the fact it’s Chinese and set in Bangkok, and its plot plays on elements of Chinese culture and society, makes it much more interesting than typical Hollywood product. There was a sequel titled, obviously, Detective Chinatown 2, this time set in New York. Blind Mountain, Li Yang (1999, China). And yet another Chinese film, but a much more serious movie than the one above. Li is often lumped in with the Sixth Generation directors, but he doesn’t include himself in the group. Certainly, the topic, and approach to filming, of Blind Mountain has elements in common with some Sixth Generation directors’ movies. It covers a serious problem in China: the kidnap of women and their sale to remote villages as wives for single men. Huang Lu is offered a job in the north of China, which she accepts as her family has debts. But when she reaches a small village in the Qin Mountains, she is held captive and told by a man she is now married to his son. When she tries to run away, they beat her and then chain her leg to the bed. Her “husband” rapes her. She tries to escape several times, but each time is caught and beaten. One time, she even makes it as far as the nearest town, but is dragged off the bus to the city by her “husband” and no one intervenes, not even the police – because it is domestic. Eventually, she gets a message out and the police arrive. But even they prove mostly powerless against the ranked villagers… With the exception of Huang, the cast are non-professionals, in fact many are villagers from the villages in the area where the film was made. There are also two version to the movie – the international release, and the Chinese government-approved version which has a much “happier” ending. (I saw the former.) There is a great deal of astonishing scenery in China – including urban scenery – and Fifth and Sixth Generation directors make excellent use of it. As does Li here. The copy I saw wasn’t a great transfer, but the landscape cinematography was stunningly beautiful in places. The performances, despite being a mostly amateur cast, are strong, and the story is certainly one that needs to be told. Blind Mountain is the second in a loose trilogy. I’ve not seen the first, Blind Shaft, but I now plan to. And the third film, Blind Way, was supposed to be released last year but doesn’t appear to have made it to sell-through or streaming yet. Li Yang is definitely a director whose career is worth following. 1001 Movies You Must See Before You Die count: 933 It’s been a while now, but I’m at the stage where I’m not so much wondering why films appear on the 1001 Movies You Must See Before You Die list as I am watching films and wondering why they do not appear on it. One of the films below is from the list, and I’m not entirely sure why it made the grade – early Chinese cinema, and for the 1930s a good piece of drama, but it’s basically just a retread of The Phantom of the Opera. Bambi, on the other hand, was a surprise – not the over-sentimental Disney blockbuster I expected, but an animated film with some lovely design work in it… The Debut, Gleb Panfilov (1970, Russia). I started watching this film thinking it was a more recent piece of work than it was. The Amazon Prime blurb suggested it was some sort of Russian art house black and white film, and while it was certainly black and white and Russian, it was actually nearly fifty years old and a mainstream USSR release. None of which makes it likely to be a bad film. Which it certainly wasn’t. Panfilov made a bunch of films, and usually cast his wife, Inna Churikova, in the lead. This is one of them. She plays an amateur actress who is cast as Joan of Arc in a professional production filming in her town. It’s her dream role. She is also in a relationship with a married man. I like Soviet films – they may present a somewhat rose-tinted view of life in the country, but I expect they’re a damn sight closer to the reality than anything Hollywood has produced set in the USSR, or indeed the USA. I especially like the fact that equality – both gender and race – seems pretty much baked into Soviet society. Yes, Churikova is seeing a married man, but in terms of her acting career she’s not expected to accept less pay even though she’s playing the title role. It’s hard not to consider Western society a step backwards in some respects. As a movie, The Debut (AKA Начало AKA Nachalo AKA The Beginning) has its moments and Churikova is generally good in the title role. It feels like a solid film of its type, with nothing that stands out. I’d watch more by Panfilov, and The Debut is definitely worth a punt if you’re interested in Soviet cinema. The Man with the Iron Heart, Cédric Jimenez (2017, France). The assassination of Reinhard Heydrich is certainly one of the more dramatic stories of WWII which might be considered worthy of film adaptation, especially since it comprises plucky underdogs killing an evil Nazi monster (and how long before that is considered offensive by the right-wing commentariat?). But of all the books to use as a source for the story, Lauren Binet’s HHhH is the last one I’d have chosen. Chiefly because it’s about Binet researching his subject – ie, Operation Anthropoid – and the impact of his project, and what he discovers, on his life. It’s an excellent book, neither fiction nor autobiography but something of both. Which is all very good, as Binet is an excellent writer. But the film adaptation turns it into, basically, a biopic of Heydrich. And we do not need biopics of evil Nazi monsters. When a film is about the assassination of a high-ranking Nazi officer, then the assassins are the heroes. The Man with the Iron Heart either does not understand that or has chosen to ignore it – and neither position is defensible. To be fair, the film covers the major elements of the assassination. But it also spends far too long establishing Heydrich as a sympathetic character. We’re told he’s a monster, and we witness some of his monstrosities, but the film is invested in him as the protagonist to the extent it feels like we’re supposed to be upset when he’s attacked and dies. Disappointing. Read the book, it’s way better. The Arch, Tang Shu Shuen (1968, China). I found this on Amazon Prime. There’s a shitload of really quite good stuff hidden away on Amazon Prime… but, of course, most viewers are only interested in the Hollywood crap. The Arch is an early Hong Kong historical drama and is generally recognised to be one of the first Hong Kong “art house” films. Fifty years later, it’s hard to determine what might back then have been considered art house, especially with Hong Kong cinema, which during the 1960s was dominated by rom coms and wuxia films made by the Shaw Brothers (at least to Western observers). And while the time it was made is important when considering a film, from half a century away The Arch doesn’t seem substantially different to other art house movies of its time. But Hong Kong had no such tradition then, nor any female directors (Tang also graduated in film studies from the University of California), and it may well be that Tang’s gender is a major reason why The Arch exists. This is a good thing, of course. The film is set in a small village during the 1900s. The chief pillar of the community is a widow, who is so revered an arch in her honour has been erected on the lane leading into the village. But then a troop of soldiers arrive and the widow finds herself drawn to the troop’s captain… The Arch is also in Mandarin, not Cantonese, which is another difference to commercial Hong King cinema of the 1960s. Tang made only four feature films – The Arch was her first – but she definitely seems like a director whose oeuvre is worth exploring. A Jester’s Tale, Karel Zeman (1964, Czechia). I know of Zeman from his excellent adaptation of the adventures of the Baron Munchausen, which has a singularly Czechian mix of live action and animation, in a way that is so obviously an inspiration for Anglophone animators like Terry Gilliam (who does cheerfully cite Zeman as an influence). Anyway, Zeman’s The Fabulous Baron Munchausen (see here) was great, but I forget why I added his A Jester’s Tale to my rental list. But I’m glad I did. In fact, I like both films so much I think there should be a collection of Zeman’s movies. He made only six features films, plus a whole bunch of shorts, so he’s an excellent candidate. I’d certainly buy it. A Jester’s Tale is based on the work of seventeenth-century Swiss engraver Matthäus Merian and is about two warring nations, and the principality located between them, during the Thirty Years’ War. A peasant masquerades as a duke, his girlfriend as a jester, and they’re accompanied by a man-at-arms. After stealing a coach full of silver and gold, they find themselves in the principality’s castle. But every time the wind changes direction – shown graphically by a face in the clouds blowing – the principality swaps allegiance… and the “duke” is either a prisoner or a welcome guest. There’s lots of clever animation, plenty of broad comedy, and a clever use of matte paintings to create the sets. I found A Jester’s Tale a more entertaining film than The Fabulous Baron Munchausen, although both have similar plots (A Jester’s Tale was made after The Fabulous Baron Munchausen). I now want to see the rest of Zeman’s films. Song at Midnight*, Ma-Xu Weibang (1937, China). This film is pretty much a Chinese version of The Phantom of the Opera. I had a ripped copy for a while (it’s public domain, don’t worry), and then a copy appeared on Amazon Prime… and it was close call as to which had the most… creative subtitles. I have seen nearly a hundred Chinese films and the quality of the subtitles varies immensely. I can’t actually vouch for the quality of the translations as I don’t speak either Mandarin, Cantonese, or any other Chinese language. But I can certainly vouch for the quality of the English used in the subtitles and “The fish can make a wave” and “You are the water in the pond, and I am that duckweed aquatically” don’t, er, make much sense. But then interpreting the subtitles is part of the experiencing of watching non-Anglophone movies (although it’s more fun when you do understand the language being spoken and can spot the differences). Anyway… the Chinese film industry is huge, and has been around since the medium’s early days. Certainly the 1001 Movies You Must See Before You Die list should include some early Chinese classics – and it does – but I’m not convinced this warmed-over take on The Phantom of the Opera is a good candidate, especially since the earlier adaptation by Rupert Julian is so good. There must have been other films that could have been chosen – although many early Chinese films may have been lost. Neither copy of Song at Midnight I had access to was especially good, and I have to wonder if a remastered copy might have led to me being more impressed. But if you want to see an early Chinese film, then The Goddess (see here) or Spring in a Small Town (see here) are much better examples. Bambi, David Hand (1942, USA). I have a very clear memory of seeing The Jungle Book for the first time on a screen in the main hall of the Doha English Speaking School, which would make it somewhere between 1972 and 1973. I can also remember bits and pieces of Pinocchio and 101 Dalmations from my childhood. But, while I’ve convinced myself I must have seen Bambi at some point while I was a child, I can’t call up any corroborating memories. And having now actually seen the film, none of it, I must admit, seemed especially familiar. I suspect I knew of it, and that was it. But I have now seen it… and it was not at all what I was expecting. Or rather, my expectations were quite low and the film exceeded them. I shouldn’t have to describe the story, but… Bambi is a deer, the “prince of the forest”, hunters turn up, his mother dies, he grows up, there’s a forest fire, then more hunters, but all the animals live happily ever after… Which sort of implies the message of the film is that it’s okay to kill animals. After all the hunting and forest fires, the film ends with a repeat of the opening scene – except Bambi is the father and not the newborn – as if the film is trying to point out that Nature carries on. Kill all the deer, but more will be born. Yet for much of its length, Bambi feels like a paean to the simplicity and noble savagery of the animal world and its right to be left undisturbed by humankind. Okay, so the animals are characterised as, first, American kids, and then as American teenagers – but that’s the nature of Disney films and they’ve even characterised alien creatures as American kids… And yet… I’d put Bambi in the top five Disney film for beautiful animation and design. I’d still rate Sleeping Beauty top, and Cinderella second, but it would be a toss-up between Bambi and 101 Dalmations for third place. Bambi doesn’t have 101 Dalmations‘ charm but it does have these abrupt shifts to almost abstract art – which was one of the things Disney used to do back in the day and which really did add to the movie. When the forest fire takes hold, the art on screen is really quite striking, not in an especially realistic way, but it looks lovely. It’s not much – the use of silhouettes, an abstract representation of the threat… But it’s hugely effective. It’s when animation turns into animated art. When Bambi is at its most, well, mainstream it’s less appealing, although the character design is excellent and the animation has that clarity of line I wish Disney had not later dropped… I was surprised, as mentioned earlier, to discover after watching Bambi that I’d rate it in the top five of the Disney animated films I’ve so far seen. 1001 Movies You Must See Before You Die count: 933 Another mixed bunch from all over the world, and only one from the US. And from a mix of decades too. Germany Year Zero, Roberto Rossellini (1948, Italy). I may have mentioned before how I’m not a big fan of Italian Neorealism, and Rossellini is a big name in that movement – this is the sixth film by him I’ve seen – but I have to admit Germany Year Zero took me by surprise. He has four films on the 1001 Movies You Must See Before You list, but this is not one of them. But to my mind it deserves a place more than any of the others. Obviously, it’s set in Germany, not in Italy, and its cast are German and speak that language. Even though it’s an Italian Neorealist film. A twelve-year-old boy in Berlin shortly after the Allied victory and occupation gets involved with some very dodgy people. The only way for his family to survive is selling stuff on the black market (it’s implied the daughter has taken up with GIs). The boy bumps into his old teacher, who asks him – in a scene that shows the teacher is a total paedophile – to sell a record of a speech by Hitler to some American soldiers. But it’s not enough. The boy’s ill father is admitted to hospital but is discharged a few days later. The teacher, who is clearly still a Nazi, says the weak must be sacrificed for the good of the strong, and so the boy poisons his father. No one realises the cause of the death, but the boy is dejected. The movie was filmed on location, on the streets of what was left of Berlin. Until you watch films like Germany Year Zero, it never quite sinks in how destructive WWII was. True, cities on both sides, and in many countries, were destroyed. Well, except for the US, that is. But popular culture has taught us to remember only the combatants, and we conveniently forget that more Germans died of starvation and illness after the fighting had finished than were killed by Allied bullets. Or indeed that WWI was not won by the armies on the Front but by an uprising by the socialist sailors of the Imperial German Navy. Germany Year Zero deserves a place on the 1001 Movies You Must See Before You Die list, much more so than the four films by Rossellini that are on the list. The Day of the Triffids, Steve Sekely (1962, UK). I have the book, although it was only recently given to me; and despite being British and a sf fan, I managed to reach half a century without actually reading a novel by John Wyndham. Which is a peculiar omission, given his position in British genre fiction. (I read a Wyndham collection back in the 1980s and was unimpressed.) But then, Brits don’t really need to read Wyndham, as they sort of absorb the plots of his books through a sort of cultural osmosis. Whether they’ve actually watched the film adaptations or not. The Day of the Triffids has been adapted three times, and this is the first of them. It’s since been followed by two TV series, in 1981 and 2009. This film stars Howard Keel, who manages to not look like Howard Keel but sound just like him, as a merchant seaman in hospital for eye treatment following an undisclosed accident. As a result, he misses the meteorite shower which blinds almost the entire population of the planet. Um, I’m starting to realise why I’ve never bothered reading Wyndham… Anyway, Keele releases himself from hospital and discovers London in chaos – including a scene which features the most feeble train wreck ever committed to celluloid. He rescues a young orphan girl, and the two head out of London. Where they find refuge at a girls’ school. Not knowing the book, I’ve no idea how well the film adapts it, although the Wikipedia article does point out some discrepancies, such as the origin of the Triffids. The film has its moments, although it never looks more than cheap and Keele sort of lumbers through his part. I have the book now, in the SF Masterworks edition, so I guess I’ll be reading it at some point. I doubt I’ll bother rewatching the film, however. Che Guevara As You’ve Never Seen Him Before, Manuel Pérez (2004, Cuba). This is the final film from the Viva Cuba collection, which I see is now going on Amazon for £149.90. I’m glad I bought it when I did. Despite the title this is a straight-up documentary about Che Guevara, using a lot of archive footage, archive photographs, interviews with those who knew him (some of which are from older programmes), and Che’s own words from his letters and journals. There’s also a voiceover which narrates Guevara’s life. Like most of my generation, I know of Che Guevara, and that he was involved in the Cuban Revolution, although he was not Cuban himself. I had always thought he was Bolivian, but he was actually Argentinean. He died in Bolivia, captured and executed by CIA-backed Bolivian troops. I also knew of Guevara’s motorbike ride, if only from seeing mention of the film adaptation of The Motorcycle Diaries. I had not realised how much Guevara accomplished, both before joining the Cuban revolutionary forces, and after when he was made a member of the Cuban republic’s government. He had always felt like a tragic figure, a revolutionary who died young (aged 39), and whose image had since become iconic. But he was a great deal more than that – a doctor of medicine, a military theorist, a diplomat, a government minister, and he wrote a number of books and journals. He not only left a mark on the world, he left a considerable legacy, and it’s a shame he’s likely known to most people these days as little more than a stylised face on a T-shirt or poster. Uzumasa Limelight, Ken Ochiai (2014, Japan). This was recommended by David Tallerman, so I put it on my rental list and… it was an excellent call. The title refers to an area in Kyoto where a large film studio was located. For decades the studio churned out television series, including a samurai drama that ran for so long the lead actor’s son took over his role. The studio employed dozens of actors in (mostly) non-speaking parts. Like Trek redshirts, they were there to fight the hero and be killed. And some of those bit-part actors have been doing that since the series started. When the studio decides to cancel the samurai series, one such actor, in his seventies but still spry, finds himself being cast less and less often. He ends up performing as a samurai in the studio’s attached theme park. Meanwhile, a young extra persuades the old actor to train her in stage-fighting. The studio decides to launch a new samurai drama, but they cast some sort of comic idol in the lead and he turns the whole thing into a joke. And when his co-star falls out with him and leaves, the young extra, who had been her stunt double, takes over the role, and becomes a big star. Although the old actor is very much the centre of the film, this is really an ensemble piece, and it doesn’t put a foot wrong. The comedian star of the new samurai series is a horrible piece of work, and while the film makes you want the old actor to become a star he’s really not star material. An excellent film. Twilight, Robert Benton (1998, USA). It had been a long day and I didn’t fancy watching anything too taxing, so when I found this on Amazon Prime, it seemed like a good candidate. And so it was: a gentle thriller, with a cast that seemed to be mostly in their sixties or seventies… but it turned out to be the usual Hollywood thriller about film-making type of bollocks. But mildly entertaining with it. Paul Newman (73 at the time the film was released) works for Hollywood couple Susan Sarandon (52) and Gene Hackman (68). He’s an ex-cop and an ex-PI. When Hackman asks him to deliver money to a blackmailer, it uncovers a decades-old crime – the disappearance of Sarandon’s original Hollywood star husband – and the clumsy “cleaning up” of it all by fixer James Garner (70). Also in there is ex-lover police lieutenant Stockard Channing (54), and a very young Reese Witherspoon as the daughter. There’s a dumb joke about Newman supposedly having been emasculated when shot “rescuing” Witherspoon from her boyfriend, which really shouldn’t have made the final cut. Hackman’s character is all over the place, changing tone and register from one scene to the next. Sarandon is the femme fatale but isn’t in the film enough to justify the role. Newman more or less shuffles through his part, and although he has the screen presence his eyes have always looked vacant to me. The ending comes as no real surprise, and the only real mystery is why the police never managed to solve the original crime. Okay, for a wet Sunday afternoon, I guess, but that’s about it. The Color Out of Space, Huan Vu (2010, Germany). As the title indicates, this was adapted from a HP Lovecraft story. I’ve read the story, it’s one of his better ones, and certainly one of his more memorable ones (many of them have a tendency blur into one other). The action is shifted to Germany, where the film was made. The protagonist is searching for his father, who disappeared while on active duty in the region after WWII. The rest of the plot more or less follows that of the story, although the discoverers of the farm affected by the “colour” are GIs on patrol. The acting is variable at best, and the US accents by the German cast are from convincing. The film is shot in black-and-white, but it only really works when the “colour” makes its appearance, although admittedly the effect used is done quite well. But it all feels very amateur and rough, and though the changes to the story might actually improve the plot a little, the film is probably only of interest to Lovecraft completists. 1001 Movies You Must See Before You Die count: 932 The usual mixed bunch. I don’t write about every film I watch as not all of them are worth writing about. Bus 174, José Padilha (2002, Brazil). I wasn’t sure whether this was a dramatisation of real events, like United 193, or some sort of high-octane South American thriller, but I remembered seeing it on one list or another, so I bunged it on my rental list. It turned out to be a documentary. With actual footage shot live during the event it depicts. Which is: a young man who grew up as a member of a street gang hijacks a city bus in Rio de Janeiro and holds its passengers hostage. The police, and a hell of a lot of press, turn up. The police are ill-trained and ill-prepared. Even BOPE, Batalhão de Operações Policiais Especiais, the Brazilian equivalent to SWAT, doesn’t even have much of a clue what to do. The hijacker lets some of the passengers, but keeps about half a dozen. Eventually, after four hours, he makes a break for freedom, with a gun to the head of one of the hostages. The police move in and bungle it. The hostage dies. The police take the hijacker, and he does on the way to the police station. The film consists of press footage from the hijack, interspersed with talking heads of the people involved. It also covers the background of the hijacker, and social problems which resulted in someone like him. It also explains how badly trained the police are, and repeated points out how and why they failed – in fact, one of the talking heads is the police officer who was in charge, and is generally considered to be the only one who did anything right. Good stuff. The Incredibles 2, Brad Bird (2018, USA). The Incredibles remains a high-water mark in animated film-making, and more for its story-telling than its technical animation. If you know what I mean. Technically, it was brilliant, but it was state of the art in 2004 and fourteen year later that bar has moved. But story-telling is not so tied to advances in technology, more narrative expectations by audiences… and they are much more easily managed. Sadly, that’s where The Incredibles 2 fails. It looks great. And its story feels like an advance on that of the original… but as others have pointed out some of the genders politics in this new film are a step backward. Superheroes have been outlawed, but the Parrs/Incredibles from trying to prevent the Underminer rob a bank. Unfortunately, the extensive collateral damage from their intervention results in the government shutting down the programme keeping superheroes fed and housed… Which is where a telecoms billionaire appears and professes to want to change the public perception of superheroes and make them legal again. And to do that he plans to relaunch Helen Parr as Elastigirl. Which leaves Bob Parr as a house husband. And he completely fails at it. Meanwhile, Elastigirl is running around trying to catch the Screenslaver, a mysterious villain who uses hypnotic images on screens to control people. As I think others have said, The Incredibles showed a family with superpowers struggling to cope with real life, but this sequel tries to make humour out of gender role reversal when that schtick stopped being funny last century. The mystery part of the plot – ie, the Screenslaver’s identity – is no brain teaser, and some of the action set-pieces are a bit OTT. About the best bit of humour is the baby developing its many and varied superpowers. And yet The Incredibles 2 is still better than a lot of other films Hollywood has released this year. If it fails to live up to the high reputation of its series, and it doesn’t place every foot as firmly as it could have done, but it’s still a very entertaining movie. The Romance of Astrea and Celadon, Éric Rohmer (2007, France). I’ve been working my way through Rohmer’s oeuvre as I do sort of enjoy his style of subtle personal drama. Unfortunately, The Romance of Astrea and Celadon is an historical drama, and the French are really bad at those. I mean, Jacques Rivette got away with it, but only because he did it so much his own way it became something entirely different. But when you look at Robert Bresson and his Lancelot du Lac (see here) which looks like a bunch of LARPers let loose in a forest… And The Romance of Astrea and Celadon is no more convincing. It’s a bunch of attractive French twentysomethings floating about a castle in loose smocks. The story is based on the seventeenth-century novel by Honoré d’Urfé, which at 5399 pages I doubt I’ll ever read. Or indeed ever meet anyone who has ever read it (not even Adam Roberts has read it, I’d bet). And after seeing this film, I’m less likely to read it. Astrea and Celadon were shepherds in fifth-century France, who famously fell in love. Distilling a novel of “forty stories”, as Wikipedia describes the book, into a 109-minute film is going miss out a lot of material, although the novel is famously digressive. Rohmer’s film most likely covers only the basic romantic plot of Astrea and Celadon: she spurns him after believing some lies told by a rival, he throws himself into a river but is rescued by nymphs, he disguises himself as a woman in order to be close to Astrea in order to win her back… It’s supposed to be set in the “time of the Druids”, although more like the period as imagined by an unsupervised student drama society than an actual evocation of any real historical period. And I get that it needs to look floaty and clichéd because it’s trying to represent pure courtly love, pure “romance” of the kind that gave most European languages – but not English – their word for book-length fiction. I should also point out that French cinema does perfectly good nineteenth-century historical dramas, has made many excellent ones in fact, but I’ve yet to see anything set earlier from France that impressed. (I’ll no doubt think of half a dozen examples the moment this post goes live… Oh well.) Hum Aapke Hain Koun..!, Sooraj Barjatya (1994, India). Many years ago I was in a taxi in Abu Dhabi and the driver had the radio turned to a local Urdu station, and I heard a track from a Bollywood film and it was brilliant. It went through about a dozen different genres in ten minutes, including reggae and metal. A friend later identified the song for me, but I never managed to get hold of a copy of the film or the OST. But I stumbled across Hum Aapke Hain Koun..! on eBay and something about the title reminded me of that track from years before… even if, having now watched it, the song I remember doesn’t appear in it. I’m not entirely sure about the plot as, like most Bollywood films, it was complicated by broken romances, love triangles and mistaken identities. Sort of. Two well-off families arrange a marriage between eldest son and daughter, but the other son and daughter, accompanying their respective siblings, spend so much time in each other’s company, they too fall in love. The wedding goes ahead, and then there’s a baby. The married sister discovers her sister loves her brother-in-law and vows to arrange their marriage. Before she can do anything she falls down the stairs and dies of a head injury. The parents decide to have the surviving sister marry the widower in order to bring up the baby. Happily, the pet dog reveals who really loves who, and the two lovers are reunited. Plus songs and dancing, of course. Hum Aapke Hain Koun..! was predicted to be a flop because it was so unabashedly a rom com, but proved to be a box office hit, and the highest-grossing Bollywood film of the 1990s. It also won five awards. At 199 minutes, it’s long even for Bollywood, and Salman Khan’s relentless gurning does get a bit wearying after a while. But the whole thing is just so, well, happy – er, tragedy on the stairs aside – that’s it hard not to like it. If you wanted a good intro to Bollywood movies, Hum Aapke Hain Koun..! would do the trick. Three Evenings, Arshak Amirbekyan (2010, Armenia). There is good stuff to be found on Amazon Prime, as I think I have said before, but you need to hunt for it. Three Evenings is a short film – only 64 minutes – but it is purely Armenian, which is not something that can be said of, say, The Colour of Pomegranates… It is also set in the 1960s, although this is not immediately apparent. A man returns home and there is a woman waiting outside his apartment building. She explains that she had followed her husband to the building because she believes he is having an affair with one of its residents. The man can neither confirm nor deny her husband’s activities. She invites herself in for coffee and the two begin chatting. They have a pleasant time. After several visits, the woman explains that she had followed her husband to the building, seen the man and decided she wanted to now him better. So her visits have been in the nature of a seduction. Much of the action takes place in the man’s flat, and what little that doesn’t occurs at the entrance to the apartment building. This is very much a two-hander, but the two leads are believable in their roles, and even the woman’s revelation manes to both surprise and yet follow naturally on from what has happened before. And it’s all very nicely shot. A good film. Umbracle, Pere Portabella (1974, Spain). The more films from this box set of twenty-two films by Portabella I watch, the more I realise that purchasing it was a good move – and the box set will no doubt become more scarce and more expensive – but I’m not entirely convinced that every film Portabella made was watchable, I’m a big fan of avant garde cinema – or rather, a big supporter of such cinema… because I believe that cinematic narratives need to be experimented with and upon if the medium is going to progress. And the history of cinema has, happily, shown that that is indeed what happens. This does not mean James Benning is ever going to make a Hollywood film, but what avant garde cinema makes eventually feeds into commercial cinema. Which puts Portabella in a strange place, as his cinema – or at least this film – is itself derived from commercial cinema. Like Vampir Cuadecuc, Umbracle uses footage shot by Portabella during an actual commercial film shoot. It stars Christopher Lee, from Vampir Cuadecuc, but in scenes staged especially for Umbracle. Including Lee reciting, from memory, Poe’s ‘The Raven’. The Wikipedia article on the film makes little sense, which is hardly surprising as the film itself makes little sense. It is a movie made during Franco’s regime and is a commentary on that regime without falling foul of its censorship laws. Yet it is also put together partly from footage from a foreign film which has nothing to do with Spain or Franco. Other films I’ve watched by Portabella in this box set are explicitly declamatory – either people talking about film-making during Franco’s regime, or stagings of play that directly comment on his regime. I suppose it’s a cliché to suggest the more… elliptical forms of various artforms tend to prosper under repressive regimes, as well as the underground ones – and I’m a fan of avant garde cinema and science fiction, both artforms that have in the past commented on repressive regimes from the inside. Unfortunately, science fiction is now a resolutely commercial genre and no one gives a shit about any commentary it might make any more. Oh well. At least there’s still weird avant garde films that no one will ever watch… 1001 Movies you Muse See Before You Die count: 932 I had thought two of the films in this post – the first two – were on the 1001 Movies You Must See Before You Die list, but apparently not. At least, not the version of the list I’m using. I suppose there’s an argument that both deserve places, although Aśoka principally because it was widely released in the west (it did not perform especially well in India, although it was critically acclaimed). Aśoka, Santosh Sivan (2001, India). Bollywood likes historical epics as much as it likes rom coms, and while the latter generally earn the biggest box office receipts, the former usually do quite well critically. Aśoka did indeed earn critical plaudits, but it only performed “moderately” at the Indian box office. Although that’s becoming increasingly untenable as a barometer of success. Bollywood films might judge their success on theatre receipts because there’s not much of a tradition of sell-through in the country. But in the US, where you have both sell-through, international receipts, and streaming, to judge a movie’s success purely on how well it plays in Peoria, so to speak, is remarkably parochial. But then the US has always been good at parochial. Anyway, Aśoka covers the career of the title character, played by Shah Rukh Khan, an emperor of the Maurya Dynasty (321 BCE to 187 BCE). I don’t know how closely these films follow the lives of the historical figures they depict – not too far from reality, I’d imagine, as audiences and critics tend to mock films that try to present complete bollocks as actual history, you know, like Trump. Having said that, these historical Bollywood epics do usually follow a similar plot: hero is cheated of throne (or unsuitable sibling is heir), is sent away to live the life of a common man, has adventures, falls in love, helps the female lead regain her rightful place, returns in triumph to his homeland and seizes the throne after a massive battle. Aśoka didn’t boast the OTT CGI of Baahubali, and the final battle was clearly made using physical effects (and a close-in camera to hide the lack of a cast of thousands), but it’s clear where Baahubali took its story beats from. I enjoyed Aśoka, even if Shah Rukh Khan was not at his best. According to the Wikipedia entry on the film, a BBC film reviewer described Aśoka as having “elements of both Gandhi and Braveheart“, which is a pretty racist thing to say. Bah. A Man for All Seasons, Fred Zinnemann (1966, UK). The man in question is Sir Thomas More, Lord Chancellor of England from 1529 to 1532, who took over from Cardinal Wolsey but resigned when he refused to back Henry VIII’s formation of the Church of England. While More felt the primacy of the pope should not be challenged – they had funny ideas in those days about Jesus actually founding the Roman Catholic Church or something – he was also scrupulous not to say anything which might be deemed treasonous. But he did refuse to sign Henry VIII’s new Oath of Supremacy as it calls Henry VIII supreme head of the Church of England. It proves a waste of time as an up-and-coming courtier perjures himself and claims More said the king could not be head of the church. It’s enough to have More sentenced to execution. The courtier, incidentally, goes on to become Lord Chancellor from 1547 to 1552. Paul Scofield had played More both on the West End and Broadway, and won an Oscar for his movie portrayal. Although adapted from a play, the film manages to not be, well, stagey, with a good use of outdoor filming. The period setting disguises the occasional portentousness of the dialogue, although the real locations such as Hampton Court Palace are nice to see and add authenticity. When all’s said and done, A Man for All Seasons is a quality British period drama, and that’s something the British usually do well – it just isn’t usually financed by Hollywood. The Big Short, Adam McKay (2015, USA). This is based on a non-fiction book of the same title, but where the book features real people the film, weirdly, puts invented people in their place. The events the film depicts, however, are all completely true. The Big Short recounts how a small group of people foresaw the 2008 financial crisis, and used their foresight to profit big time. Along the way, the film explains just how criminal the US banking sector was, and no doubt still is, and how it brought about the crisis. Christian Bale, who has managed to become more annoying with each new film I see him in, plays the only person who is not renamed in the film, Michael Burry, an ex-doctor hedge fund manager, who is introduced listening to Mastodon’s ‘Blood and Thunder’ at full blast in his office, while dressed in shorts, T-shirt and bare feet. It’s clear he lies somewhere on the autism spectrum, which may be why he spots that the mortgages underpinning mortgage-backed securities are far from cast-iron, and certainly don’t deserve the triple-A credit rating they’ve been given. And the situation will only worsen when the interest rates rise… So he decides to bet on the securities failing, using credit default swaps… The Big Short uses a variety of unlikely celebs, appearing as themselves, to explain some of the financial concepts, including Anthony Bourdain, Selena Gomez and Margot Robbie. Burry is not the only person to spot the problem with mortgage-backed securities, but all he does is invest in their failure (which brings him into conflict with his hedge fund customers, although his funds eventually end up $2.69 billion in profit), but it is Mark Baum (actually Steve Eisman), another hedge fun manager, who investigates… and discovers that: mortgage brokers are underwriting mortgages for home-owners they know will default because the brokers can sell the mortgages onto Wall Street banks, credit rating agencies giving everything triple-A rating because otherwise banks will go to their competitors, and the nature of credit default swaps means that $1 billion worth of swaps can be spun out of a $50 million mortgage-backed security. The whole thing was a house of cards built on corrupt practices. And yet no one went to prison. Worse, the US government bailed out the banks. It’s likely true the consequences of allowing them to fail were too catastrophic, but crimes were committed and the perpetrators went scot-free – worse, they pocketed billions of dollars. It will happen again, as long as the banks are not properly regulated. Of course, post-Brexit the UK won’t have much of an economy to crash, but that’s hardly cause for celebration. I suspect The Big Short focuses more on the personalities and simplifies the actual financial aspects – but it is Hollywood, after all. And when you look at the cast attached… But a film worth seeing, for what it shows more than how it says it. Happy End, Michael Haneke (2017, France). A new film from Haneke is a cause for celebration. He’s one of the most interesting directors currently working in feature films, and yet… Okay, I wasn’t that taken with Amour. And my first thought on watching Happy End was, well, Godard. But I rewatched it – and Haneke’s films certainly bear, if not demand, rewatching, chiefly because they are considerably more subtle than much of the output of the artform… Happy End is about a family based in Calais who run a construction company. An accident at one of their sites throws the family’s internal flaws into stark relief. The head of the family, played by Jean-Louis Trintignant, is suffering from dementia. Company head, and de facto family head, played by Isabelle Huppert, is about to be married to a UK lawyer, played by Toby Jones. And brother Matthieu Kassovitz has returned to the family fold, with his teenage daughter in tow. Meanwhile, Huppert’s oldest son is playing up, and trying to embarrass the family and the company, for reasons that seem more political than personal. Haneke presents the story through a variety of media, spoofing everything from phone-shot videos to chat sessions on the screen. As is typical for Haneke film, everything stumbles along… and then abruptly changes after some shocking event. It comes late in this film, and it’s more a release of what has clearly been held back for much of the movie’s length. I’m not entirely sure what point Haneke is making here. For much of the film, it seems to be about how dysfunctional families with money are – but that’s so banal, it’s not worth documenting. But toward the end, Haneke drags in a group of refugees, and nails their stories to that of the central family… and it feels like Happy End wants to be a story about how Europe is treating refugees – much like Aki Kaurismäki’s The Other Side of Hope (see here) or Jenny Erpenbeck’s Go, Went, Gone (see here) – but it fails to present any argument as definitive as those. I like that Happy End has that innovative approach to narrative that Godard does so well, that Haneke himself has done so well in past films… but I’m not convinced the point Happy End makes is actually worth the time spent making it. There is a good point to made in its story, but Haneke has chosen not to make it. Happy End is, I think, a better film than Amour. But it still feels a bit weak sauce for Haneke. Long Way North, Rémi Chayé (2015, France). This was one of those happy finds you have every now and again on streaming platforms. I’d just got back from Fantasycon in Chester, after a typical nightmare train journey, and I didn’t want anything too taxing to watch. An animated film seemed like it might fit the bill. And it did. The stylised art worked well for the period it depicted, mid- to late eighteenth-century, and the locations, which was chiefly the Arctic. Sasha is a member of the Russian aristocracy. Her grandfather disappeared years before on a trip to discover the Northwest Passage. A new favourite of the tsar plans to undo the grandfather’s legacy, and curtail the political ambitions of Sasha’s family, so Sasha runs away to find him. At a northern port – Murmansk? – she trades her expensive earrings for a berth on a ship heading into the Arctic Circle – but the man she paid is not the captain, but the first mate (and the captain’s younger brother). She’s ripped off. The owner of a local tavern takes pity on her and offers her a job, and over a month or so Sasha learns that her privilege gets her nowhere and how to work hard. And so she gets that berth on the ship, on the promise of salvage of her grandfather’s ship, and they head north… It ends happily, of course it ends happily. Although given the length of time the grandfather has been missing, not that happily. But this is a nice piece of animation, classily done, and if it feels a bit clichéd in parts it looks good while it’s doing it. Le plaisir, Max Ophüls (1952, France). After complaining in a prior Moving pictures post I wasn’t much of a fan of mid-twentieth century French cinema, I go and watch a movie by Ophüls from 1952, who I have indeed previously seen films by, and whose films I have seen I actually quite like. Having said that, I wasn’t expecting much of Le plaisir, a collection of three unrelated stories by Guy de Maupassant – and explicitly so, as the opening of each is narrated and the prose is of the sort you would find in written fiction. The first story, ‘Le Masque’, originally published in 1889, takes place at a dance palace, where a fashionable young man dances enthusiastically but somewhat stiffly with some of the dancers, but then keels over. A doctor is called, and he discovers the young man is wearing a mask and he is in fact quite old. They take him home, and the man’s wife explains that her husband tries to recapture his lost looks and youth by visiting the dance palace in the guise of a younger man. The second story is one of those characteristically French stories in which a group of sex workers are treated as if they were no more than somewhat excitable young women, when they accompany their madam to the confirmation of the daughter of the madam’s brother. The brother, a cobbler in a provincial village, is refreshingly accepting of his sister’s career, and of those she brings with her. The rest of the village treat the women as if they were simply ordinary visitors – “ladies from the city”. It is only because of those who have knowledge of the ladies true nature that evens began to unravel. They are sex-workers and accepted because no one realises they are sex-workers. But that’s an argument for changing the perception, and it’s surprising to see such an argument in a 1952 film; and done so well. The final story sees an artist fall in love with his model, but they quarrel so much they split. But when she tries to rekindle their relationship, and he refuses, she jumps from a window… And their relationship is strengthened because she is now in a wheelchair. Which is a message in the 21st century Ophüls – or even de Maupassant – probably did not intend back then. The final scene has the artist pushing his girlfriend in a wheelchair along the beach…. Which is not quite so amusing as it might have been in 1952. Of all the French directors of the first half of last century I have more time for Ophüls than the others… and I really did like Le plaisir. Despite the fact it was a piece of pure commercial cinema. Some of the cinematography is gorgeous, and the sets Ophüls built to tell his stories are part of the film’s charm. I liked this film a lot. and it makes me wonder if Ophüls’s films are not worth a second look. 1001 Movies You Must see Before You Die count: 932 Another eccentric half dozen movies – well, okay, maybe Ant-Man and the Wasp isn’t eccentric. And one of these days I’ll figure out why I still bother to watch MCU movies, although to be fair to it, Ant-Man and the Wasp was far less annoying than most of its ilk. The rest are… two directors whose films I like, an interesting documentary, some meh Oscar bait, and the third in a trilogy of Swedish films I have yet to really get a handle on… Star 80, Bob Fosse (1983, USA). I’m a big fan of Fosse’s All That Jazz, which is why I decided to work my way through his oeuvre. He’s also a difficult director to get handle on – not a crowd-pleaser, despite the big dance numbers; with a willingness to push the boundaries of cinematic narrative. Which he certainly does in this, his last film (he died in 1987). It’s a dramatisation of the life and death of Dorothy Stratten, a Playboy model, who was murdered by her husband at the height of her fame. Sf fans may known Stratten from her role as the title character in Galaxina (a dreadful low-budget sf film) or as the “most genetically perfect woman in the galaxy” in an episode of Buck Rogers in the 25th Century. Or perhaps even from Playboy – well, the magazine did publish science fiction stories by some very well-known names. The film jumps about chronologically, with the narrative mostly being driven by the husband’s self-aggrandising account of events. He’s played by Eric Roberts, who should have been nominated for an Oscar but the character was such a creep it likely turned the Academy off. Plot-wise, there’s little to tell. Cliff Robertson seems a little too charming as Hugh Hefner – I’ve seen footage of the real man and he comes across as a bit creepy, to be honest. Mariel Hemingway is a bit vacuous as Dorothy Stratten – but then it’s clear Fosse was in love with the character played by Roberts. The fractured chronology works well, and while there’s nothing stand-out about the cinematography – and no trademark choreography either – Star 80 does look more like a feature film than a made-for-TV movie, which is what the material suggests. Not his best, although Roberts’s turn is worth seeing. A Successful Man, Humberto Solás (1985, Cuba). I really need to find a way to explore more of Solás’s oeuvre as the few films I’ve seen by him have been very good – and, in fact, his Lucía I count among my top ten favourite films. But all I have by him is Lucía from the 50 Years of the Cuban Revolution DVD box set and the three films in this box set – which I am profoundly glad I managed to find for a reasonable price as it’s now going for silly money; the transfers are not great, but every serious cineaste should own a copy of it. Anyway, A Successful Man is about two brothers over thirty years of Cuban history, from 1932 to the revolution in 1959. To be honest, I found this a little confusing initially – it wasn’t entirely clear which of the two brothers, Darío or Javier, was the successful one, at least not until around an hour in when their father makes it clear which of the two he considers the black sheep of the family. And yet, Javier, the rebel, didn’t appear to have done all that much that was rebellious. Granted, the film seems to be more about the two brothers’ relationships than it is manning the barricades or anything; but even so while Darío reaps the rewards of his adaptability to the winds of political change, Javier’s situation doesn’t seem all that deprived. Having said that, A Successful Man does well what Solás has done well in his other films (that I’ve seen). The period setting is excellently presented and, while the cinematography would have benefited from a better transfer, it was clearly good. Solás likes his close-ups, especially of women’s faces, and he gets performances out of his cast that justify such close-ups. I wasn’t entirely convinced by the musical cues – there was an electric bass clearly audible in background music played during a scene set in the 1930s… Of course, it all comes down to politics – the film covers Cuba’s turbulent history from Machado in 1932 to Torrado in 1959… And I admit I know only the very broad strokes of Cuban history. But movies are a good way to learn more, and Cuban movies are, I have found, both excellent films in their own right and also very informative on the history of the island – either that or they send you down a rabbit-hole of Wikipedia research… Which is, it must be admitted, more than can be said of Hollywood movies. But that’s by the bye. I’ve now seen four films by Solás and I’ve liked what I’ve seen. He made 24 films between 1958 and 2005 (he died in 2008). And those films by him I’ve seen are quality stuff. One is even a favourite. He’s an excellent candidate for a box set of restored movies. The Pianist, Roman Polanski (2002, France). I know, I shouldn’t watch Polanski films, no matter how celebrated; and to be honest, I hadn’t known The Pianist was by him when I started watching it. I only knew it was yet another in that long line of Holocaust porn movies Hollywood churns out every so often in order to bolster its liberal credentials. And, as in this case, they’re usually adapted from books. The Pianist is based on the autobiography by the same name by Władysław Szpilman. He was a pianist for Polish Radio who, with the rest of his family, was consigned to the Warsaw Ghetto by the Nazis. When they came to round everyone up and send them to the death camps, he managed to escape. He eked out an existence in Warsaw, staying in bombed-out buildings, and relying on friends and, eventually, a sympathetic Wehrmacht officer who appreciated his piano-playing. When you watch films like this, and know that what they depict absolutely fucking really happened, then it makes you want to punch Nazis all the more. Because the Nazis murdered six million Jews. That’s a stone cold historical fact. It is not “up for debate”. Condemning the Holocaust is not a view that requires “balance”. And if we had a press that actually did its job in such matters, we’d not be in the situation we are now. Polanski may be a rapist shitbag, but Szpilman’s experiences are as important now as they have ever been. Perhaps turning them into “entertainment” – well, Oscar bait – does them a disservice and cheapens them, makes light of the atrocities committed by the Nazis. Except, well, you’d have to be spectacularly stupid, or shallow, to consider light of a systematic effort by one nation to wipe out an entire race. So go ahead, punch a Nazi; and if you can’t find a handy one, punch a Trump supporter or a Brexiteer instead, it’s the next best thing. Ice and the Sky, Luc Jacquet (2015, France). The Anglophone world, and some other parts of the Western world, and maybe a few other places like India, are all a bit of a dumpster fire at the moment. The right wingers are taking over, and where they’re not the press is bigging them up as if they were. How we treat refugees is the defining characteristic of our age, and we are all mostly failing. The call for stricter border controls is based on a complete fallacy – there is no need for border controls in the first place, they are a late Victorian invention. So with all that going on, is global warming such a bad thing? I mean, wouldn’t the world be a better place if nature culled the population a bit? Of course, any natural disasters brought on by global warming would disproportionately hit those parts of the world who have done the least to cause it, and/or the least deserve its effects… And I wouldn’t wish that on anyone. This is relevant because… Ice and the Sky is a documentary about polar scientist Claude Lorius, who was the first person to raise concerns about global warming. That was back in 1965. It’s said the oil companies knew of its likely effects by the 1970s, but chose to pursue profits instead. In fact, the bulk of global warming has been caused by around a dozen companies – and they’re the usual suspects: Chevron, BP, Aramco, Gazprom, Royal Dutch Shell… Future centuries – assuming we survive – will wonder why we didn’t prosecute corporations or people for crimes against the environment (not to mention crimes against the economy). Ice and the Sky is interesting inasmuch as it covers the career of Lorius, as well as because he spent a lot of time in the Antarctic. And this was back in the 1950s and 1960s, when it was considerably more dangerous than it is now. In one memorable sequence, two Lockheed C-130s crash, one after the other, on attempting take-off, and it is only because the third is successful that the scientists manage to escape. Fascinating stuff. Ant-Man and the Wasp, Peyton Reed (2018, USA). I’m not a fan of superhero movies and I’m certainly not a fan of the MCU. But it has produced the occasional entertaining movie and Ant-Man was borderline that. While Ant-Man and the Wasp ups the silliness, and cuts down the improv (thank fuck), it is also a marginally more entertaining and better film. Scott Lang, Ant-Man, is nearing the end of two years of house arrest, his punishment for the events of Captain America: Civil War, when he has a weird dream about Janet van Dyne, the original Wasp, the scientist wife of scientist Hank Pym, the original Ant-Man, who has been lost in the “quantum realm” for thirty years. When he lets Pym, and his daughter Hope, know about the message, they kidnap him… and the race is on to rescue Janet from the quantum realm, while prevent matter-phasing villain Ghost from stealing their quantum technology, not to mention a black market dealer from also stealing the tech… So you have Paul Rudd, Evangeline Lilly (which was a bit weird as I’ve only just started watching Lost for the first time) and Michael Douglas running around San Francisco, trying to outwit a bunch of several different groups of not very smart people who nonetheless manage to outsmart them, all the while trying to visit the realm of mad CGI in order to rescue Michelle Pfeiffer who has been lost there for thirty fucking years but still remembers who everyone is. It’s all complete nonsense and entirely risible, but it manages a lightness of tone that mitigates the nonsense which other MCU movies don’t. I enjoyed it, I freely admit it. But it’s not a good film, and it only counts as “well-made” when judged against other MCU movies. If one day someone were to put together a list of top ten MCU films… then they really should fucking watch some other movies. A Pigeon Sat on a Branch Reflecting on Existence, Roy Andersson (2014, Sweden). This is the third of a trilogy, which includes Songs from the Second Floor and You, the Living, and which are not especially easy to describe. They all share a unique approach to film-making, as they comprise a series of vignettes, some linked and some not, in which the production design and the cast are deliberately made to look more depressing than they actually are. If that makes sense. Usually, there is a linking mechanism. In this film, it is a pair of lugubrious salesmen who are trying to sell Halloween masks to reluctant buyers. Andersson films are hard to describe, if not just because they don’t have a plot per se. It’s more about the bits that stand out. And in this film it’s a sequence in which a mediaeval king of Sweden, and his army, stop off in a modern-day coffee shop on their way to a battle. The king expects to be treated like, well, a king, despite the fact the meaning of royalty has changed considerably in the centuries since. And yet, when he needs to go to the toilet, he goes off to the loo as if it were perfectly normal. It’s in that impedance mismatch between the present day and the world Andersson presents that much of Andersson’s black humour lies, but in this film you have an extra layer inasmuch as Andersson imposes historical events on the present day. It is surprisingly effective and, bizarrely, actually quite funny. I don’t know how well Andersson reflects Swedish humour, and given the few Swedes I personally know, I suspect he’s not entirely typical, and yet still seen by most Swedes as funny; which one might well say of a lot of Brits and British humour. Andersson’s trilogy is definitely worth seeing, even if its humour is more likely to raise eyebrows than it is guffaws. 1001 Movies You Must See Before You Die count: 932 No Anglophone movies in this bunch, which is unusual – there’s typically at least one. An odd bunch as well, mostly rental DVDs or Amazon Prime. There’s some good stuff on the latter, but it’s not easy to find. I think I may have said this before… Casque d’or, Jacques Becker (1952, France). To be honest, I had thought I’d seen more films by Becker. He’s one of those French cinema figures from the 1940s and 1950s whose films I thought I’d watched. Apparently not. It seems Casque d’or is my first Becker. And for all that, it felt like half a dozen directors of the period could have made it. I admit I’m not so knowledgeable on film techniques that I can comment technically on the films I watch. My interest lies in narrative, and my experience is mostly in science fiction; so that’s what interests me. But I also appreciate good visuals, or innovative visuals, and I usually comment on such. But effective, or excellent, use of existing techniques I’m unlikely to notice. And it seems that’s what this film is chiefly known for. I couldn’t even tell you what the story was as it seemed that generic. The title refers to a woman, played by Simone Signoret, who is a celebrated beauty. But she falls for the wrong man, a carpenter, instead of her gangster pimp. And so it goes. The carpenter accidentally kills the pimp and has to flee. The woman goes with him. But the carpenter returns to face justice when he learns a friend has been framed for the murder of the pimp. The final scene of the film, in which Signoret watches her lover’s execution, has been much remarked upon, but I thought there was little there deserving such commentary. It’s done well, and it may well have been seminal in its time, but nowadays the film is very much an historical document. And I freely admit that French cinema from the mid-twentieth century is not a genre that especially appeals to me. Even Godard’s work – it’s the films he made from around 1970s onward I find mostly appealing. Meh. The Class, Laurent Cantet (2008, France). The title pretty much tells you what the film is about. It’s a faux-documentary set in a Parisian school, based on the director’s own experience teaching at such a school. It’s a school that has a lot of second-generation immigrant children – ie, they were born in France, but their parents weren’t, and they’re a product of two cultures, although perhaps closer to that of their parents. Much, for example, is made of the male pupils’ support of African football and the national teams of the countries from which their parents originate. The same thing is used in this country by racists to browbeat Anglo-Indian or Anglo-Pakistani people because they’d sooner support India or Pakistan at cricket than England. But, seriously, when people show you that you’re not welcome in the country of your birth, why the fuck would you support their cricket team? Racists should shut the fuck up. They’re an embarrassment to the rest of us. But, The Class. It’s not just that the film shows how multiculturalism can fail in small ways as often as it succeeds, it’s not even how it shows the teacher losing his temper because some pupils refuse to behave… It’s that The Class shows that a French school runs on consensus decision-making, with pupils involved, and that the system works so much better than the UK one of top-down management. British education has always been about producing sons of empire or the bare minimum required for working in factories. But “sons of empire” are a breed long past their sell-by date, and a “stiff upper lip” in front of uppity natives was never good for anything other than a justification for punitive action. The British Empire was built on the relationships created by experts, but run by those who knew nothing about the cultures they ruled. And it is the latter the UK always celebrates: Winston Churchill gets a state funeral but no one knows who Gertrude Bell was. Typical. Fuck the British. But The Class is worth seeing. Presence of Mind, Antoni Aloy (1999, Spain). I’m not sure where the title came from but this Spanish-American film is an adaptation of Henry James ‘The Turn of the Screw’. Shameful admission time: I have never read any Henry James. Some people consider him the greatest writer the US has produced, and certainly he occupies a high place in their canon of literary greats (the one composed of Dead White Males, that is; though I suspect he would also feature in a more diverse canon). Anyway, I didn’t know the story of ‘The Turn of the Screw’ when I sat down to watch this film. And after watching it, I can’t say I’m all that wiser. Sadie Frost is hired, by Harvey Keitel, as governess for two children whose parents have died. The kids are a bit weird, and Frost starts seeing ghosts. And it’s hard to give a shit because none of it really ties together. I can’t imagine James’s story is this bad, and reading up on it, it sounds like an exercise in gaslighting as much as it is a ghost story. Presence of Mind is not that. It’s a director out of his depth with material he can’t handle and a cast he doesn’t know how to direct. Neither Frost nor Keitel are good actors but they’re especially bad in this. It all feels like a private project by someone who fancied himself as a director. This is Aloy’s only feature film. Figures. Devil’s Three, Bobby A Suarez (1979, Philippines). There’s some right crap hiding away on Amazon Prime, but one of the good things about the platform is that it’s not all Hollywood crap. There are other countries with prolific and well-established film industries and some of their output is available – if you look for it – on Amazon Prime. Like Nollywood. But the two from there I saw really were fucking awful. But also Russia (or rather, the USSR) – see later – and India – see later… And the Philippines. Bobby Suarez is perhaps best known outside the Philippines for his three Cleopatra Wong films, a character designed to appeal to fans of Cleopatra Jones and Hong Kong martial arts films. Devil’s Three (AKA Pay or Die, Devil’s Angels, Mean Business) is the second of three Cleopatra Wong films. If there’s a plot to Devil’s Three, I couldn’t tell you what it is. There was something about a gangster whose daughter is kidnapped, so he hires Cleopatra Wong to recover her. And Wong’s team comprises an overweight woman and a transvestite, and they go up against a gang run by a white man – American? Australian? I don’t remember – and there are lots of clumsily-staged fight scenes. Marrie Lee is fine in the lead role, but this is low-budget film-making and having a lead to act is not enough. I don’t know if the other two Cleopatra Qong films are available on Amazon Prime – I’ve not been able to find them, but finding films on Amazon Prime is next to fucking impossible – but perhaps the earlier two, or at least the one that kicked off the series, is worth seeing. War and Peace, Part 1: Andrei Bolkonsky, Sergei Bondarchuk (1966, Russia). Back in 1985, I retook my A Levels at a Nottingham CFE. I was living in Mansfield at the time, so this required a 45-minute bus ride to and from college. On arriving in Nottingham, I’d meet up with a friend and fellow pupil at a cafe on Maid Marion Way, a couple of hundred metres from People’s College, for a milky coffee. I remember one day sitting there one morning when a man pulled out a guitar and began to play and sing. It was a bit strange. Anyway, during that 45-minute bus journey, I got lots of reading done. Including Tolstoy’s War and Peace. Which, I seem to remember, took a couple of months. Thirty-three years later and I don’t recall much of the book, other than a few character’s names and a general feeling of having enjoyed it. There have been plenty of adaptations, the most recent of which was by the BBC in 2016. But, well, I never watched any of them. Bondarchuk’s four-film series is considered the best adaptation of the novel, and happily it is currently available for free on Amazon Prime. War and Peace, Part 1: Andrei Bolkonsky covers the (sub-)title character’s career from the moment he joins the Imperial Russian Army, in the war against Napoleon, to the death of his wife and his introduction to Natasha Rostova. This was a high-profile, high-prestige Soviet film project, so it has a cast of thousands. The battle scenes have to be seen to be believed. It also introduced a raft of techniques not used before in Soviet cinema, from handheld cameras to helicopter shots to a six-channel audio track. The end result is… epic. Unfortunately, the copy on Amazon Prime has a somewhat eccentric approach to dubbing – some of the Russian is dubbed into English, some of it isn’t. There are subtitles for the Russian and English… but not for the French. I have fond memories of the book – its enormous cast, its detail, its scope – and although I know this century it’s all about the feels and bringing it down to the personal, I do much prefer stories that tackle the big picture (no pun intended). I’m looking forward to watching parts 2 to 4. Goynar Baksho, Aparna Sen (2013, India). This is not a Bollywood film but a Bengali one, although it’s so polished it might well be mistaken for one by someone who didn’t realise it was not in Hindi. An eleven year old girl is married and widowed at twelve. Her only wealth is the contents of a jewellery box, 5000 gm of gold. She grows up to become the embittered matriarch of a family sharing a large mansion with another family who claim ownership of it. Then she dies. Her ghost persuades the niece – from a poor family and not a good match – to hide the jewellery box so the rest of the family can’t sell it to enrich themselves. The ghost continues to appear to the niece, telling her not to use the jewellery, but eventually the niece does so in order to set her husband up in business selling saris. And then, when the business hits a cash-flow crisis, the grandmother relents and allows them to pawn more of the gold. This is a film in which the men are uniformly useless – when a cousin manages a shop while the nice’s husband is away in on business, he hikes all the prices and so drives away customers and gives the shop a reputation as a rip-off. The niece has to step in and take over. The ghost is initially depicted as selfish and evil, but as the film progresses she mellows, to the extent she begins helping the niece succeed. I really liked Goynar Baksho. It was funny and the ghost was well-handled (and
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See various 'UPDATES' below. "My love and thanks to Mark Miller and all those who made this happy reunion possible." —…	en	https://forthehellofitre…7589719.png?w=32	MEMORY MOVIES	https://forthehellofitreviews.wordpress.com/2023/07/30/clive-barker-inspired-nightbreed-1990-4k-ultrahd-blu-ray-combo-collectors-edition/	UPDATE 7/2023: This review was originally written back in 2014 when this Director’s Cut first came out, I have now polished & updated it, including more photos and talk of Scream Factory’s new UHD. See various ‘UPDATES’ below. “My love and thanks to Mark Miller and all those who made this happy reunion possible.” — Clive Barker (in regards to this new edition) Nightbreed: The Director’s Cut . . . I simply and utterly cannot believe I just wrote those two words in the same context with one another. Do you people know how significant that is? If you’re a fan of author/director Clive Barker you already know, if you’re a Barker newbie let me educate you a little on why you should be in awe. I remember reading about the movie back in Fangoria magazine and the one thing that stayed with me was Barker explaining it as “the Star Wars of monster movies.” I have always loved monster movies and for someone to state he was making the “Star Wars” of them resonated with me. To make a long story short, Barker did just that, but when Morgan Creek saw what he made, they didn’t like it. I don’t know what happened, but Barker has talked in length about it on the pages of various issues of Fangoria and on his official website. They wanted a certain kind of movie so they chopped an assload of footage out of it and reshaped it into something they thought the public wanted. The theatrical cut clocks in at an hour and forty-one minutes, and it’s a testament to Barker’s directing and storytelling that even the truncated theatrical version makes an impression, so much so it’s not a film one easily forgets after seeing it. I fell in love with the novel when I first read it and did the same when I first saw the movie in a theater back in February of ’90. I think it was around 1987 when I became a Clive Barker fan. It was his first three Books Of Blood he had in circulation here in America that turned me on to him. I remember they sat at the local bookstore for what seemed like forever before I felt the need to read them. It was because of the gruesome covers, especially Volume 2, that turned me off at the time. It was a macabre death mask of a face with white eyes and blood around the rims. Eye trauma in movies freak me out and that particular photo reminded far too much of Horror Express (1972), a film that traumatized me as a kid and at that time I still wanted nothing to do with anything that reminded me of it, but at some point I obviously relented. Not sure if it was with Volume 1 or 2, or even the third one, but I remember picking one of the books off the shelf and reading the back. I can’t tell you what prompted me to buy it, but I did and after I read it I went back down for the others. There were six volumes in all of Barker’s Books Of Blood, only three were released under that title here in America, the other two were renamed, The Inhuman Condition and In The Flesh, the sixth was never released here, but those tales ended up being added to Barker’s Cabal novel, with no mention whatsoever on the back of the cover they were included. I remember looking at the contents and seeing four short stories listed at the end—that was a nice surprise. I’ve also read all the novels he wrote when he was in his prime: Cabal, The Damnation Game, Weaveworld, The Great and Secret Show, Everville and The Thief of Always. The things I’ve never read were his Hellbound Heart novella, that phone book sized opus, Imajica, and his mid-90s/early 2000s books, Sacrament, Galilee, and Coldheart Canyon. I tried to get into Imajica but it just didn’t pull me in; Hellbound Heart I simply couldn’t find in print anywhere at the time it came out (I still want to read it too); and the other novels didn’t interest me after reading reviews of them in Fang. Yeah, I’m mostly a fan of his early fiction when he was just hitting the scene. I’d still like to check out his 2015 novel, The Scarlet Gospels too. I’ve also seen a lot of the movie adaptations done on his short stories; it’s hit or miss with them, but there are some damn good ones, even the ones that miss the mark, like Rawhead Rex (1987) I absolutely love. Ideally, what I wanted to do with this review is get the Limited Edition and view the theatrical version and then the Director’s Cut, that way I can see first hand what was restored, but review copies weren’t given out of the Limited Edition so any comparisons I now make will have to be based solely on what little memory I have of it. In the meantime I managed to re-read a good portion of Barker’s novel, with only three chapters left to go, so what I can do is at least compare it to that with some certainty, and I have to say even though I love this movie, more so with this new cut, I think the novel is better. In both versions Boone (Craig Sheffer) and Lori (Anne Bobby) are a couple and Boone is an emotionally unstable person. Mentally ill, basically, but in the novel you get a better sense of history of his illness and the dynamics of their relationship as it pertains to it. I can better understand Lori’s position of wanting to remain in love with him than I could in the movie, and that’s basically because you can convey certain things better in written form than you can in celluloid. Inner worlds of individual’s thought patterns, fantasies, idiosyncrasies, etc as well as the moments and situations they’re in can be better fleshed out in this form. There were many times in the movie that I saw the characters simply going from point A to point B to point C whereas in the novella their venturing is laced with more detail. I understand as a movie you have to move things along, I get that, so I’m not begrudging the medium in any way in this regards, at least not consciously, it’s just having recently re-read the source material puts that nature of the beast in better perspective. In fact, off hand, I can’t think of any short story, or novel, or novella, that I’ve ever read where the movie version was better. Just putting that all in perspective as I continue to compare both. I do like David Cronenberg’s portrayal of Boone’s psychiatrist, Decker, the one he’s been seeing for years and out of the blue calls him back to the office to give him some bad news about how the cops recently delivered some crime scene photographs to him asking if he had anyone in his care who could do such awful things. He didn’t give Boone up right away, but showed him the photos and began connecting them to the sessions they had and the things he mentioned, but Decker has a secret. It’s all bullshit. Decker is a serial killer and he’s working Boone, grooming Boone’s unstable psyche into believing he did these things, so Decker will have a scapegoat that’ll go to prison for him. During the course of Boone’s life where he’s been in and out of psychiatric hospitals he’s heard strange tales of a place called, Midian, where sins are forgiven, told by those who have fallen to their lowest. In the novella, Midian, isn’t yet a major issue, in the movie, Boone dreams a lot of this Midian and it’s a source of much talk among him and Decker. The murders and Decker wanting him to recall details of them take over briefly before Midian takes over in the book. After a “suicide attempt,” where Boone walks in front of a truck, he wakes in an emergency room and this is when he formally starts moving towards Midian’s shores. The scene is pretty much exactly like in the book. His meeting with Narcisse (Hugh Ross) (in the movie no one ever mentions Narcisse’s name) spurs Boone to actually go in search of it, having been told where it’s location is by him. In the book, Boone’s trek to this mythical place is a bit more arduous, for it’s perceived to be in the middle of nowhere. In the movie a long car ride gives you the impression it’s really not that far from civilization. There’s an abandoned town situated next to the Breed’s necropolis home, it’s in one of these buildings where Decker and the cops find Boone and shoot him dead. In the movie that whole scene is moved to the front gates of the cemetery. There is no abandoned town in the movie version. Lori and Sheryl Ann’s (Debora Weston) first encounter with Decker, who wears a mask when he slashes his victims up, also takes place around the outside of the cemetery in the movie, while it takes place in a burned out restaurant he lures the women too one evening in the novella, killing Sheryl Ann inside and then confronting and stabbing Lori through the hand. At this point I’m wondering if it was a good idea to have gone back and re-read the source material. I probably shouldn’t have, but despite all these points I’ve brought up about the novella being better, I really do love this new Director’s Cut. When Boone finally reaches Midian he encounters Peloquin (Oliver Parker) and another Breed member as they capture and intend to eat him, but he insists he’s monstrous like them, and its during this exchange he figures out Decker lied to him. It’s Peloquin’s bite that turns Boone into the very thing he assumed he was all along, and from here on out we learn Boone’s coming has been prophesied. He was destined to unmake Midian, be re-christened Cabal and charged with finding them a new home by their God, Baphomet. The novel, at its core, is a love story and the Director’s Cut brings that out more. My memory of the movie when I first saw it has mostly been ground down now to only remembering in any great detail the last act when Midian is getting “unmade,” and in this new cut the added scenes I recognized give that apocalyptic unmaking more time to unfold. The ending is now drastically different, too. Actually it has three. After all is said and done Boone and Lori have theirs (exactly the same as the book), Sheriff Eigerman (Charles Haid) and Ashberry (Malcolm Smith) have theirs (drastically different from the book), and the surviving Breed members have theirs, still in that barn, but without Narcisee and Boone. Narcisse doesn’t survive in this new cut (just like he didn’t in the novel); Eigerman also meets his maker in this new version, and Decker is never resurrected. In fact, instead of resurrecting Decker in the studio cut, transformed Ashberry kills Eigerman, while vowing vengeance on the Breed for altering him. The cliffhanger vibe was deliberate since Barker had plans for a trilogy had this first flick been a hit. UPDATE 7/2023: When I first heard Scream was converting Nightbreed to UHD, I was excited, then it was revealed they were only converting the studio cut, then I was disappointed and lost interest in ever wanting to add this set to my collection. It goes without saying I had no plans to review it either, but then I learned a review copy was being sent my way, and a couple of things went through my mind. I thought back to a conversation I had with a fellow reviewer who said he wasn’t a fan of Barker’s cut, he preferred the studio cut. What was this madness I was hearing?! Was he on drugs?! Mentally deficient in ways I didn’t know?! Then I asked myself how long’s it been since I saw the studio cut? Most likely back when I owned it on VHS, back in the late 90s, I think. So, why then was I so sure Barker’s version was superior? Yeah, I think, it was about time I revisit the studio cut and determine once and for all which I thought was more to my liking. And so I spent the next three nights taking in the two cuts, and while the studio cut is as I remembered it, I actually do prefer Barker’s. I just think the added footage adds a lot more to it; the relationship between Boone and Lori has more meat on its bones, making it more understandable why she’d follow him all the way to the ends of the earth, and why she sticks by him after he’s been turned. The monsters, while some of them are loathsome and scary, are really the good guys, making the humans the villains, and it has a level of mythology I love that had such great potential to be expanded and delved deeper into with a franchise. Plus, Doug Bradley (Pinhead from the Hellraiser flicks) played Lylesburg and for some reason the studio redubbed his voice with another actor, but in Barker’s cut you get to hear his real voice.There’s more monsters in this new cut too, and that includes a couple executed through stop motion. I love matte paintings in movies, Hammer Films have got some great ones, and the ones in Nightbreed reminded me of their best! I’m also loath to refer to this movie as horror now. I mean, yeah, there are clearly scenes and carnage that are “horrific,” making it, generally speaking, a “horror” film, but with this revisit it feels more like horror fantasy. I almost felt like referring to it as dark fantasy, but that doesn’t do it justice either. Horror fantasy feels more accurate now. Barker is no newb to horror fantasy or even dark fantasy since he’s penned his share of them right along side the straight horrors. Weird, but I feel more appreciative of this movie now with this latest revisit than I did when I first saw his cut back in 2014. Danny Elfman’s score is also incredible, dare I say it might even be his best. Back on October 28th Shout! Factory’s horror sub-label, Scream Factory, released Nightbreed: The Director’s Cut (1990) in two versions: the Blu-Ray/DVD combo and the Limited Edition set (currently out-of-print), which consists of three discs, the Director’s Cut, the Theatrical Cut and a third disc full of extra features. The Theatrical Cut and this third disc of extras are not included in the standard Blu-ray/DVD combo. You can buy the Blu-Ray/DVD combo here on Amazon and on Shout’s site! UPDATE 7/2023: On August 1st Scream Factory upgrades the theatrical cut only of Nightbreed (1990) to UHD, in a UHD/Blu-ray combo that also includes the Director’s Cut! You can buy it on Amazon and on Shout’s site here! 2014 DIRECTOR’S CUT COMBO VIDEO/AUDIO/SUBTITLES (2014 DIRECTOR’S CUT): 1080p 1.78:1 High Definition Widescreen—English 5.1 DTS-HD Master Audio/English 2.0 DTS-HD Master Audio—English Subtitles Only VIDEO/AUDIO/SUBTITLES (2023 UHD COLLECTOR’S EDITION): 2160p 1.78:1 Ultra High Definition Widescreen—2.0 English DTS-HD Master Audio, 5.1 English DTS-HD Master Audio—English, English SDH Subs Only Shout! Factory stated once that if all they had to work with was The Cabal Cut, that VHS footage that was included probably couldn’t have been fixed any more than what was there. And I saw some of that footage on YouTube, some of the scenes were unwatchable, but lucky for all of us that original footage that had been cut Barker thought may have been lost forever was actually found. Miller and Barker talk of this as well in that introduction on the disc. Now we have a quite gorgeous looking remaster, and I should point out this is not The Cabal Cut that was being used and shown in festival screenings. Once the lost footage had been found Barker went back and created a whole new version, the cut he wanted to hit theaters back in 1990. This is as close to that version as he could come. UPDATE 7/2023: While the UHD looks goods, better without the HDR turned on, I’ve spent the last three nights checking out the blues of the studio cut and Barker’s and I’ve noticed a subtle color palette difference in Barker’s version; skin tones look more natural, while other colors pop. I’ll be honest, I prefer the look of Barker’s cut to the UHD on this one. EXTRAS INCLUDED (2014 DIRECTOR’S CUT) . . . Introduction By Clive Barker & Mark Alan Miller Audio Commentary With Writer/Director Clive Barker And Restoration Producer Mark Alan Miller Tribes Of The Moon: The Making Of Nightbreed—A 72-Minute Documentary On The Production (1:12:17) Making Monsters: Interviews With Makeup Effects Artists (42:11) Theatrical Trailer (1:06) Fire! Fights! Stunts!: 2nd Unit Shooting (20:20) EXTRAS INCLUDED (2023 UHD COLLECTOR’S EDITION) . . . First up, the commentary, as with all commentaries Barker does, is excellent. Required listening, in fact, if you’re any kind of fan. Both he and Miller go into detail on the production and most importantly what went wrong, why it went wrong and how it eventually got fixed once Miller placed a call to Barker years ago saying he was going to go looking for the missing footage. And both point out some of the new footage. The ones I felt looked new I was right about, but there was one scene I thought was in the Theatrical Cut but wasn’t. Plus Miller says 90% of the new footage is in that final hour. Craig Sheffer (Boone), Anne Bobby (Lori), Doug Bradley (Lylesburg), Hugh Ross (Narcisse), Christine McCorkindale (Shuna Sassi) and Simon Bamford (Ohnaka) all headline the Tribes Of The Moon doc as they relate their experiences working on the movie. You also get a ton of behind-the-scenes footage woven into it. Bob Keen of Image Animation and a couple of his co-workers/friends (Martin Mercer and Paul Jones) talk about the Breed FX they created in the Making Monsters featurette. Interesting to note the Berserkers were anatomically correct, as in they had dongs attached to them, which can be seen in some of the behind-the-scenes footage, but can just barely be seen in the movie itself. The Fire! Fights! Stunts! featurette interviews Andy Armstrong who was in charge of the 2nd Unit and he talks about stunts and so forth. I’m still a little disarmed by the fact that I found the novel to be of greater detail than the movie, which I completely wasn’t expecting to feel, but any doubts I generally have about any movie I see can sometimes be alleviated by a really good commentary, and listening to Miller and Barker has made me see this movie, even the Director’s Cut, could never be what the novel was. And their adoration of this new form, the form that should have been, is helping me make piece with this.
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"https://secure.gravatar.com/blavatar/226b371b633634b68f3dfb9e3f87d8198e07adee74aac37d7c4e28493392f831?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://secure.gravatar.com/blavatar/226b371b633634b68f3dfb9e3f87d8198e07adee74aac37d7c4e28493392f831?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2010-06-06T00:00:00	Director: Norman J. Warren Starring: Robin Clarke, Judy Geeson, Stephanie Beacham For the third and final Waste Of Space I’m turning to Brit exploitation helmer Norman J. Warren (always good to have an initial in there, makes one appear somehow more distinguished – yeh, not you, Paul W S). Brace yourself, it’s the nasty alien…	en	https://secure.gravatar.com/blavatar/226b371b633634b68f3dfb9e3f87d8198e07adee74aac37d7c4e28493392f831?s=32	Werewolves On The Moon	https://moonwolves.wordpress.com/2010/06/06/wolfs-waste-of-space-3-inseminoid-1980/	Director: Norman J. Warren Starring: Robin Clarke, Judy Geeson, Stephanie Beacham For the third and final Waste Of Space I’m turning to Brit exploitation helmer Norman J. Warren (always good to have an initial in there, makes one appear somehow more distinguished – yeh, not you, Paul W S). Brace yourself, it’s the nasty alien rape-fest Inseminoid, aka Horror Planet… The plot concerns a scientific gig on an inhospitable (what else?) planet which has unearthed a realm of shadowy caverns during an archaeological dig. When they discover a pile of weird glowing crystals, two guys get waylaid by an unseen force and set in motion a chain of events which will unleash a very angry pregnant woman. As someone succinctly remarks – “That’ll look great in the report; team were terrorised by an expectant mother.” This isn’t yer usual run of the mill angry pregnant woman, for she has been possessed by an alien power, apparently communicating with her via those pesky crystals. From here on, the ever-expanding Sandy becomes increasingly demented, stalking her terrified team mates around the underground base’s network of rock tunnels while her accelerated pregnancy draws toward a messy conclusion. Alien had yet to be released in the UK when Warren shot Inseminoid and he claimed to know nothing of Scott’s seminal classic at all. Bollocks, surely. Warren insists he took Inseminoid to 20th Century Fox and received their blessing when they saw his film bore little resemblance to Alien. In all likelihood, Fox, galvanised by the advance hype surrounding Inseminoid’s alien birth sequence, ‘requested’ a screening to establish if major sue-age was necessary. I mean, why would you bother to set up a screening if no one from Fox had contacted you, plus you had no foreknowledge of Alien in the first place? Pull the other one, Norman. Ironically, having said all that and out of the three movies I’ve mangled in this series, Inseminoid is probably the least likely to qualify as a rip-off. But I do think Warren has at the very least tried to parody Alien, or even subvert Scott’s film. For a start, the creature can’t even be arsed stalking them. It is seen only twice (just as well; it’s a big toad with a turd on its head), the blink and you’ll miss it attack on Mitch (Trevor Thomas) and during a fantasy sequence. Then you’ve got what I shall term ‘The Reverse-Ripley Effect; female empowerment does a runner – they’re either hopelessly weak or they simply give up (don’t worry girls, when the going gets tough the blokes are a bunch of nancy-sized puffs as well). There are two ‘Ripley’ characters; one of them, Holly (Jennifer Ashley) is a red herring cos she’s in charge and turns out to be about as much use as a seagull in a Volvo. The smart money is on Kate (Stephanie Beacham). She makes sensible suggestions, plus she strips down to her vest and knickers. However, all hope is lost when we get to see her fight; she’s rubbish. She’s well posh though; when they ask her if she’s got any ideas, Kate blurts – “Exclusives!” Uh-huh, a hard hitting print campaign just might demoralise Sandy. It was years before this Northern monkey worked out she was saying “explosives”. Most of all, and this is quite witty if deliberate, is dismantling the legendary tag line ‘In space no one can hear you scream’. When Sandy (Judy Geeson) screams you will hear her, even in a vacuum. Smart one, Norman. Much has been made of Inseminoid’s rape sequence, words such as “vile” and “abhorrent”, director Warren was labelled a “misogynist”. Odd then that Sandy’s rape by alien is not in the movie. Yeh, you heard me right. You don’t see it. What you do see is Sandy’s fractured mind trying to process the trauma. She’s muddling medical treatment (doctor, table, syringe) with alien interference (creature, ‘semen’). Not shown but certainly a possibility is that the alien tried to get jiggy with the two guys, Ricky (David Baxt) and Dean (Dominic Jephcott). The result: one goes insane, the other cataleptic. Incompatible bits, see. With the marks found on Sandy and Ricky (I’ll assume Dean also) I figured the alien ‘stung’ them in some way as the preferred method of (hence the clunky title) insemination. But Sandy has blocked out the reality in favour of fantasy; she was never naked, neither was there ever a tube of ‘egg yoke in pea soup’ shoved up her doodah (you’ll know what I mean if you see it). Her subconscious has responded to the telltale hormonal changes within her body to create this hypnagogic episode. Well, what’s the alternative? Turdy The Toad has got himself a snazzy lab tucked away in them thar caverns somewhere? Sod off, not having that. Judy Geeson. She was your go-to-girl if you needed a bland wife or girlfriend part. She’s got no right being anywhere near this kind of stuff. There are times when she looks all at sea with the material (as do most of them) but she digs in and blows her squeaky-clean image out of orbit. She really puts in a shift. The birth scene is gruelling – and this is what the critics are really referring to, I reckon. It’s one of those where your finger hovers over the volume control button, worried the neighbours might think you’re tuned into violent snuff porn or something. Where she goes in her head to find these harrowing, agonised shrieks I don’t know. To achieve the correct timbre, I should think Judy was chain-smoking cigs or chugging back the Ardbeg. Or both. She gives Sandy an arc, displaying remorse when she first kills, trying to keep folk away for their own safety. She pleads for help though she can no longer control the alien instinct growing strong inside her and these pleas eventually turn insidious – as a lure to draw out her prey. Inseminoid gets hopelessly derailed by the slapstick decision making asked of the characters. For example, sending Sandy and Mitch back into the caverns despite the tragedy that has befallen the mission. I mean, you’ve got a sample of the crystals; call it quits and get the fuck out of Dodge. This one’s a belter though; Gail (Rosalind Lloyd) takes a tumble outside the airlock and gets her foot stuck. No matter how many close-ups are employed of her hand ineffectually tugging at the offending boot, none convince that she’s trapped – just stand up and lift your foot out, girlfriend. She then discovers her suit thermostat has conked. This is a cause for concern as it’s something like, what, -90C outside. Gary (Stephen Grives), in the Ops room, tells her to “connect the blue and yellow leads” in her wrist control gizmo, this will bypass the thermostat and save her life. She musters a feeble attempt then announces “I can’t do it!” Her solution? Well, most of us would just connect the fucking wires but Gail – up here for thinking, down there for dancing – she opens the faceplate, disconnects the air tube, sticks it in her mouth and tries to saw her own foot off with a pair of hedge trimmers. Yeh, that’ll work. There’s another riotous moment with the doctor, Karl (Barry Houghton – he’s like a lankier Ian Holm) trying to sedate a rampant Sandy. There’s only one of her; why don’t they all go? She’s not gonna overpower everybody. Instead he’s lumbered with Sharon (Heather Wright), who just goes around comforting everyone saying “It’s all right…” when it quite patently isn’t, and also the most unconvincing ‘Commander’ I’ve ever seen put on film, Holly. Whoever put bungalow head in charge needs slapping with a wet halibut. Worse, she finds herself a weapon, a ‘touch-burner’ (actually a cool bit of kit) and it does exactly what it says on the tin. Sandy predictably kicks off, pushes Sharon away (who was trying to stroke Sandy’s head while saying “It’s all right…”) and this leaves Karl stuck between an angry pregnant woman exhibiting alien super-strength and an employee of Billy Smart’s Circus, waving a potentially lethal implement around his head. All this numpty has to do is step past Karl and give Sandy a zap. So, idiot with a burner behind him, alien super-strength forcing him back. Can you guess what happens next? Anyway, it falls on Sandy’s lover-boy, Mark (Robin Clarke) to try and save the day. Can he, though? The plonker gets into a scrap with Sandy, she only bites his leg and he passes out! Wimp. He’s got one of the funniest comedy runs ever witnessed, it’s like something out of Monty Python’s Flying Circus. And there’s a golden moment in Ops when he throws a tantrum, only there’s something amiss on the soundtrack – you can see he’s proper furious, shouting and shit but all that comes out is a ‘sneeze’. Actually, there’s another one of those near the start with Karl trying to stop Ricky going through the airlock (while Sharon is stroking his head and saying “It’s all right…”). You can see Karl’s lips form a word but all you hear is “Hmmm?” Well, I think it’s funny anyway. But overall is it any good? Bluntly, no. It tries, there are moments when it buzzes around the level of average before opting to land on shite. I’m thinking particularly of the hilariously naff toy train chase, rudely gatecrashed by that cretbox Holly. Chiselhurst Caves is an effective location (when I watch Day Of The Dead I’m always reminded of Inseminoid) and cinematographer John Metcalfe finds a few atmospheric shots, with the aid of light piercing swirling dust and coloured glows. Unfortunately, John Scott’s synth noodling rarely backs him up. The fight choreography is laughable – there’s one bit with Sandy supposedly smashing Barbra’s (Victoria Tennant) face against a sink but she’s only rocking her back and forth! Same again, Sandy on Kate – terrible. The cast have been shown the moves, then left to flounder. There’s one very nasty moment, when Gary stamps on Sandy’s belly to stop her attack – then he does it a second time, with a really sadistic look on his face. I know she’s alien infested but that’s raw, I find it uncomfortable to watch. Other than that you’ll like Gary, he’s a dry sort and actor Grives seems at ease in the role. Zero budget, and when that ran out before filming ended, Warren was down to shooting overhead angles to disguise the fact that there was no set or simply hang black sheets around what he did have. But no amount of money is going to turn a pencil-tidy holder into an object of the future and a motorcycle helmet is still a motorcycle helmet no matter how many empty yoghurt pots you glue on it (in the movie’s coda they give up even trying to pretend it’s a space helmet). Unlucky, Norman. Next time I show up it’ll be with Xtro – yeh, more violent alien birth… See the Inseminoid trailer here: http://tinyurl.com/as9h3v or, watch it in full here: http://tinyurl.com/2538gnf Cheers, folk. ThereWolf, June 2010
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8999	dbpedia	2	26	https://en.wikipedia.org/wiki/Alien_(film)	en	Alien (film)	https://upload.wikimedia…movie_poster.jpg	https://upload.wikimedia…movie_poster.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/9/94/Symbol_support_vote.svg/19px-Symbol_support_vote.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/c/c3/Alien_movie_poster.jpg/220px-Alien_movie_poster.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/4/42/Alien_%281979%29_-_main_cast.jpg/280px-Alien_%281979%29_-_main_cast.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/6/64/Dan_O%27Bannon.jpg/170px-Dan_O%27Bannon.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/1/12/NASA_Journey_to_Mars_and_%E2%80%9CThe_Martian%E2%80%9D_%28201508180030HQ%29.jpg/174px-NASA_Journey_to_Mars_and_%E2%80%9CThe_Martian%E2%80%9D_%28201508180030HQ%29.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/b/b9/Alien_model_filming.jpg/220px-Alien_model_filming.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/47/Jerry_Goldsmith_2.jpg/170px-Jerry_Goldsmith_2.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/b/bb/Alien-The_Facehugger.png/200px-Alien-The_Facehugger.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/80/Alien-The_Chestburster.png/200px-Alien-The_Chestburster.png", "https://upload.wikimedia.org/wikipedia/en/thumb/0/07/Planet_of_the_vampires_skeleton.jpg/200px-Planet_of_the_vampires_skeleton.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/3/38/Alien_%281979%29_Space_Jockey.jpg/200px-Alien_%281979%29_Space_Jockey.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a4/Paisley_Abbey_%22Xenomorph%22_Gargoyle_%2810317339143%29_%28cropped%29.jpg/220px-Paisley_Abbey_%22Xenomorph%22_Gargoyle_%2810317339143%29_%28cropped%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/8/8d/Sigourney_Weaver_by_Gage_Skidmore_4.jpg/190px-Sigourney_Weaver_by_Gage_Skidmore_4.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/7/77/Open_Access_logo_PLoS_transparent.svg/9px-Open_Access_logo_PLoS_transparent.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/34px-Wikiquote-logo.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/16px-Symbol_category_class.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/16px-Symbol_category_class.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/e/e7/Video-x-generic.svg/19px-Video-x-generic.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/a/a4/Flag_of_the_United_States.svg/21px-Flag_of_the_United_States.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/a/ae/Flag_of_the_United_Kingdom.svg/21px-Flag_of_the_United_Kingdom.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/7/7c/Vampire_Smiley.png/21px-Vampire_Smiley.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4a/Dragon-149393.svg/18px-Dragon-149393.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/51/Mr._Smiley_Face.svg/19px-Mr._Smiley_Face.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2002-05-19T01:52:10+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Alien_(film)	1979 film by Ridley Scott Not to be confused with Aliens (film). "Alien 1" redirects here. For other uses, see Alien 1 (disambiguation). AlienDirected byRidley ScottScreenplay byDan O'BannonStory by Dan O'Bannon Ronald Shusett Produced byStarringCinematographyDerek VanlintEdited byMusic byJerry Goldsmith Production companies Distributed by20th Century-Fox Release dates Running time 116 minutes[3]Countries United Kingdom United States[1][2] LanguageEnglishBudget$11 million[a][5]Box office$184.7 million[5][6] Alien is a 1979 science fiction horror film directed by Ridley Scott and written by Dan O'Bannon. Based on a story by O'Bannon and Ronald Shusett, it follows the crew of the commercial space tug Nostromo, who, after coming across a mysterious derelict spaceship on an uncharted planetoid, find themselves up against a deadly and aggressive extraterrestrial loose within their vessel. The film stars Tom Skerritt, Sigourney Weaver, Veronica Cartwright, Harry Dean Stanton, John Hurt, Ian Holm, and Yaphet Kotto. It was produced by Gordon Carroll, David Giler, and Walter Hill through their company Brandywine Productions and was distributed by 20th Century-Fox. Giler and Hill revised and made additions to the script; Shusett was the executive producer. The Alien and its accompanying artifacts were designed by the Swiss artist H. R. Giger, while concept artists Ron Cobb and Chris Foss designed the more human settings. Alien premiered on May 25, 1979, as the opening night of the fourth Seattle International Film Festival, presented in 70 mm at midnight.[7][8][9] It received a wide release on June 22 and was released on September 6 in the United Kingdom. It was met with mixed reviews on release but was a box-office success, winning the Academy Award for Best Visual Effects, three Saturn Awards (Best Science Fiction Film, Best Direction for Scott, and Best Supporting Actress for Cartwright), and a Hugo Award for Best Dramatic Presentation. Critical reassessment since then has resulted in Alien being widely considered one of the greatest and most influential science fiction and horror films of all time. In 2002, Alien was deemed "culturally, historically, or aesthetically significant" by the Library of Congress and was selected for preservation in the United States National Film Registry. In 2008, it was ranked by the American Film Institute as the seventh-best film in the science fiction genre, and as the 33rd-greatest film of all time by Empire. The success of Alien spawned a media franchise of films, books, video games, and toys, and propelled Weaver's acting career. The story of her character's encounters with the alien creatures became the thematic and narrative core of the sequels Aliens (1986), Alien 3 (1992), and Alien Resurrection (1997). A crossover with the Predator franchise produced the Alien vs. Predator films, while a two-film prequel series was directed by Scott before Alien: Romulus (2024). Plot [edit] The commercial space tug Nostromo is returning to Earth with a seven-member crew in stasis: Captain Dallas, Executive Officer Kane, Warrant Officer Ripley, Navigator Lambert, Science Officer Ash, and engineers Parker and Brett. The ship's computer, Mother, detects a transmission from a nearby moon and awakens the crew. Following company policy to investigate "any systematised transmission indicating intelligent origin," they land on the moon. Dallas, Kane, and Lambert then head out to investigate the signal's origin. The group discovers that the transmission comes from a derelict alien spaceship, where they find the remains of a large alien with a hole in its torso. Later, Mother deciphers part of the transmission, which Ripley determines to be a warning message. Kane discovers a chamber containing hundreds of large eggs. When he touches one, a spider-like creature springs out, penetrates his helmet, and attaches itself to his face. Dallas and Lambert carry the unconscious Kane back to the Nostromo. As the acting senior officer, Ripley refuses to let them aboard, citing quarantine regulations, but Ash overrides her decision and lets them inside. While Parker and Brett work on repairing the Nostromo, Ash attempts to remove the creature from Kane's face. However, he stops when he discovers that its highly corrosive acidic blood could harm Kane and potentially damage the ship's hull. The creature eventually detaches itself and is found dead. After the crew returns to space, Kane awakens with some memory loss but otherwise seems fine. During a final crew meal before returning to stasis, he suddenly chokes and convulses. A small alien creature bursts from his chest, killing him, and escapes into the ship. After ejecting Kane's body out of an airlock, the crew attempts to locate the creature using tracking devices and kill it. Brett follows the crew's pet cat, Jones, into a landing leg compartment,[10] where the now fully-grown alien attacks Brett and disappears with his body. The crew determines that the alien must be in the air ducts. Dallas enters the ducts with a flamethrower, intending to force the creature into an airlock, but it ambushes and seemingly kills him. Lambert suggests abandoning the ship and fleeing in the escape shuttle, but Ripley, now in command, explains that it will not support four people and insists on continuing Dallas' plan of flushing out the alien. While accessing Mother, Ripley discovers that the company has secretly ordered Ash to return with the alien for study and to consider the crew expendable. She confronts Ash, who tries to kill her, but Parker intervenes, knocking Ash's head loose and revealing him to be an android. The survivors reactivate Ash's head, and he confirms the company's orders. Ash states that the alien is unkillable and expresses his admiration for it, taunting them about their chances of survival. Ripley shuts him down, and Parker incinerates him. The remaining crew decides to self-destruct the Nostromo and escape in the shuttle. However, while gathering supplies, Parker and Lambert are ambushed and killed by the alien. Now alone, Ripley initiates the self-destruct sequence but finds the alien blocking her path to the shuttle. She retreats, unsuccessfully attempts to abort the self-destruct, then flees back to the shuttle with Jones, narrowly escaping as the Nostromo explodes. As Ripley prepares for stasis, she discovers that the alien is aboard, having stowed itself in a narrow compartment. She dons a spacesuit and flushes the creature out. It approaches Ripley, but before it can kill her, she opens an airlock door. The alien manages to hang on, but Ripley fires a grappling hook gun to push it out and then activates the engines, blasting it into deep space. After recording her final log entry, she places Jones and herself into stasis for the trip back to Earth. Cast [edit] Tom Skerritt as Dallas, captain of the Nostromo. Skerritt had been approached early in the film's development, but declined as it did not yet have a director and had a very low budget. Later, when Scott was attached as director and the budget had been doubled, Skerritt accepted the role.[11][12] John Hurt as Kane, the executive officer who becomes the host for the alien. Hurt was Scott's first choice for the role, but he was contracted on a film in South Africa during Alien's filming dates, so Jon Finch was cast as Kane, instead.[13] However, Finch became ill during the first day of shooting and was diagnosed with type 1 diabetes, which had also exacerbated a case of bronchitis.[14] Hurt was in London by this time, his South African project having fallen through, and he quickly replaced Finch.[12][14] His performance earned him a nomination for a BAFTA Award for Best Actor in a Supporting Role.[15] Sigourney Weaver as Ripley, the warrant officer aboard the Nostromo. Meryl Streep was considered for the role, but she was not contacted as her partner John Cazale had recently died.[16] Helen Mirren also auditioned.[17] Weaver, who had Broadway experience but was relatively unknown in film, impressed Scott, Giler, and Hill with her audition. She was the last actor to be cast for the film and performed most of her screen tests in-studio as the sets were being built.[12][13] The role of Ripley was Weaver's first leading role in a motion picture and earned her nominations for a Saturn Award for Best Actress and a BAFTA award for Most Promising Newcomer to Leading Film Role.[18] Veronica Cartwright as Lambert, the Nostromo's navigator. Cartwright had experience in horror and science-fiction films, having acted as a child in The Birds (1963), and more recently in Invasion of the Body Snatchers (1978).[19] She originally read for the role of Ripley and was not informed that she had instead been cast as Lambert until she arrived in London for wardrobe.[12][20] She disliked the character's emotional weakness,[13] but nevertheless accepted the role: "They convinced me that I was the audience's fears; I was a reflection of what the audience is feeling."[12] Cartwright won a Saturn Award for Best Supporting Actress for her performance.[21] Yaphet Kotto as Parker, the chief engineer.[12] Kotto was sent a script off the back of his recent success as villain Dr. Kananga in the James Bond film Live and Let Die (1973), and said he rejected a lucrative film offer in the hope of being cast in Alien.[22] Harry Dean Stanton as Brett, the engineering technician. Stanton's first words to Scott during his audition were, "I don't like sci fi or monster movies".[11] Scott was amused, and convinced Stanton to take the role after reassuring him that Alien would actually be a thriller more akin to Ten Little Indians.[11] Ian Holm as Ash, the ship's science officer who is revealed to be an android. Holm was a character actor, who, by 1979, had already been in 20 films. Bolaji Badejo as the alien. Badejo, as a 26-year-old design student, was discovered in a bar by a member of the casting team, who put him in touch with Scott.[13][24] Scott believed that Badejo, at 6 feet 10 inches (208 cm) (7 feet (210 cm) inside the costume) and with a slender frame,[25] could portray the alien and look as if his arms and legs were too long to be real, creating the illusion that a human being could not possibly be inside the costume.[13][24][26] Stuntmen Eddie Powell and Roy Scammell also portrayed the alien in some scenes.[26][27] Helen Horton as the voice of Mother, the Nostromo's computer.[28] Production [edit] Writing [edit] While studying cinema at the University of Southern California, Dan O'Bannon had made a science-fiction comedy film, Dark Star, with director John Carpenter and concept artist Ron Cobb, with production beginning in late 1970.[29] The film featured an alien (created by spray-painting a beach ball and adding rubber "claws"), which was played for the comedic effect. The experience left O'Bannon "really wanting to do an alien that looked real."[29][30] A "couple of years" later he began work on a similar story that would focus more on horror. "I knew I wanted to do a scary movie on a spaceship with a small number of astronauts", he later recalled, "Dark Star as a horror movie instead of a comedy."[29] Ronald Shusett, meanwhile, was working on an early version of what would eventually become Total Recall.[29][30] Impressed by Dark Star, he contacted O'Bannon and the two agreed to collaborate on their projects, choosing to work on O'Bannon's film first, as they believed it would be less costly to produce.[29][30] O'Bannon had written 29 pages of a script titled Memory, containing what would become the opening scenes of Alien: a crew of astronauts awakens to find that their voyage has been interrupted because they are receiving a signal from a mysterious planetoid. They investigate and their ship breaks down on the surface.[26][30] He did not yet have a clear idea as to what the alien antagonist of the story would be.[29] O'Bannon soon accepted an offer to work on Alejandro Jodorowsky's adaptation of Dune, a project that took him to Paris for six months.[29][31] Though the project ultimately fell through, it introduced him to several artists whose work gave him ideas for his science-fiction story including Chris Foss, H. R. Giger, and Jean "Moebius" Giraud.[26] O'Bannon was impressed by Foss's covers for science-fiction books, while he found Giger's work "disturbing":[29] "His paintings had a profound effect on me. I had never seen anything that was quite as horrible and at the same time as beautiful as his work. And so I ended up writing a script about a Giger monster."[26] After the Dune project collapsed, O'Bannon found himself homeless and broke, and returned to Los Angeles where he would borrow Shusett's couch. In need of money he decided to write a spec script the studios would buy,[32] and the two revived his Memory script. Shusett suggested that O'Bannon use one of his other film ideas, about gremlins infiltrating a B-17 bomber during World War II, and set it on the spaceship as the second half of the story.[26][31] The working title of the project was now Star Beast, but O'Bannon disliked this and changed it to Alien after noting the number of times that the word appeared in the script. Shusett and he liked the new title's simplicity and its double meaning as both a noun and an adjective.[26][29][33] Shusett came up with the idea that one of the crew members could be implanted with an alien embryo that would burst out of him; he thought this would be an interesting plot device by which the alien could get aboard the ship.[29][31] In writing the script, O'Bannon drew inspiration from many previous works of science fiction and horror. He later stated, "I didn't steal Alien from anybody. I stole it from everybody!"[36] The Thing from Another World (1951) inspired the idea of professional men being pursued by a deadly alien creature through a claustrophobic environment.[36] Forbidden Planet (1956) gave O'Bannon the idea of a ship being warned not to land, and then the crew being killed one by one by a mysterious creature when they defy the warning.[36] Planet of the Vampires (1965) contains a scene in which the heroes discover a giant alien skeleton; this influenced the Nostromo crew's discovery of the alien creature in the derelict spacecraft.[36] O'Bannon has also noted the influence of "Junkyard" (1953), a short story by Clifford D. Simak in which a crew lands on an asteroid and discovers a chamber full of eggs.[30] He has also cited as influences Strange Relations by Philip José Farmer (1960), which covers alien reproduction and various EC Comics horror titles carrying stories in which monsters eat their way out of people.[30] With most of the plot in place, Shusett and O'Bannon presented their script to several studios,[29] pitching it as "Jaws in space."[37] They were on the verge of signing a deal with Roger Corman's studio when a friend offered to find them a better deal and passed the script on to Gordon Carroll, David Giler, and Walter Hill, who had formed a production company called Brandywine with ties to 20th Century-Fox.[29][38] O'Bannon and Shusett signed a deal with Brandywine, but Hill and Giler were not satisfied with the script and made numerous rewrites and revisions.[29][39] This caused tension with O'Bannon and Shusett, since Hill and Giler had very little experience with science fiction; according to Shusett, "They weren't good at making it better, or, in fact, at not making it even worse."[29] O'Bannon believed that Hill and Giler were attempting to justify taking his name off the script and claiming Shusett's and his work as their own.[29] Hill and Giler did add some substantial elements to the story, including the android character Ash, which O'Bannon felt was an unnecessary subplot but which Shusett later described as "one of the best things in the movie...That whole idea and scenario was theirs."[29] Hill and Giler went through eight drafts of the script in total, concentrating largely on the Ash subplot, but also making the dialogue more natural and trimming some sequences set on the alien planetoid.[40] Despite the fact that the final shooting script was written by Hill and Giler, the Writers Guild of America awarded O'Bannon sole credit for the screenplay.[41] Development [edit] Despite these rewrites, 20th Century-Fox did not express confidence in financing a science-fiction film. However, after the success of Star Wars in 1977, the studio's interest in the genre rose substantially. According to Carroll: "When Star Wars came out and was the extraordinary hit that it was, suddenly science fiction became the hot genre." O'Bannon recalled that "They wanted to follow through on Star Wars, and they wanted to follow through fast, and the only spaceship script they had sitting on their desk was Alien".[29] Alien was greenlit by 20th Century-Fox, with an initial budget of $4.2 million.[29][40] Alien was funded by North Americans, but made by 20th Century-Fox's British production subsidiary.[42] O'Bannon had originally assumed that he would direct Alien, but 20th Century-Fox instead asked Hill to direct.[40][43] Hill declined due to other film commitments, as well as not being comfortable with the level of visual effects that would be required.[44] Peter Yates, John Boorman,[45] Jack Clayton, Robert Aldrich, and Robert Altman were considered for the task, but O'Bannon, Shusett, and the Brandywine team felt that these directors would not take the film seriously and would instead treat it as a B monster movie.[43][46][47] Giler, Hill, and Carroll had been impressed by Ridley Scott's debut feature film The Duellists (1977) and made an offer to him to direct Alien, which Scott quickly accepted.[26][46] Scott created detailed storyboards for the film in London, which impressed Fox enough to double the film's budget.[11][43] His storyboards included designs for the spaceship and space suits, drawing on such films as 2001: A Space Odyssey and Star Wars.[11][48] However, he was keen on emphasizing horror in Alien rather than fantasy, describing the film as "The Texas Chain Saw Massacre of science fiction".[43][46] Casting [edit] Further information on individual characters: List of Alien characters Casting calls and auditions for Alien were held in both New York City and London.[11] With only seven human characters in the story, Scott sought to hire strong actors so he could focus most of his energy on the film's visual style.[11] He employed casting director Mary Selway, who had worked with him on The Duellists, to head the casting in the United Kingdom, while Mary Goldberg handled casting in the United States.[12][49] In developing the story, O'Bannon had focused on writing the alien first, putting off developing the other characters.[43] Shusett and he had intentionally written all the roles generically; they made a note in the script that explicitly states, "The crew is unisex and all parts are interchangeable for men or women."[12][50] This freed Scott, Selway, and Goldberg to interpret the characters as they pleased, and to cast accordingly. They wanted the Nostromo's crew to resemble working astronauts in a realistic environment, a concept summarized as "truckers in space".[11][12] According to Scott, this concept was inspired partly by Star Wars, which deviated from the pristine future often depicted in science-fiction films of the time.[51] To assist the actors in preparing for their roles, Scott wrote several pages of backstory for each character explaining their histories.[40][52] He filmed many of their rehearsals to capture spontaneity and improvisation, and tensions between some of the cast members, particularly towards the less-experienced Weaver; this translated convincingly to film as tension between the characters.[52] Roger Ebert notes that the actors in Alien were older than was typical in thriller films at the time, which helped make the characters more convincing: None of them were particularly young. Tom Skerritt, the captain, was 46, Hurt was 39 but looked older, Holm was 48, Harry Dean Stanton was 53, Yaphet Kotto was 42, and only Veronica Cartwright at 30 and Weaver at 28 were in the age range of the usual thriller cast. Many recent action pictures have improbably young actors cast as key roles or sidekicks, but by skewing older, Alien achieves a certain texture without even making a point of it: These are not adventurers but workers, hired by a company to return 20 million tons of ore to Earth.[53] David McIntee, author of Beautiful Monsters: The Unofficial and Unauthorized Guide to the Alien and Predator Films, asserts that part of the film's effectiveness in frightening viewers "comes from the fact that the audience can all identify with the characters...Everyone aboard the Nostromo is a normal, everyday, working Joe just like the rest of us. They just happen to live and work in the future."[54] Filming [edit] Alien was filmed over 14 weeks from July 5 to October 21, 1978. Principal photography took place at Pinewood Studios and Shepperton Studios near London, while model and miniature filming was done at Bray Studios in Water Oakley, Berkshire.[49] The production schedule was short due to the film's low budget and pressure from 20th Century-Fox to finish on time.[52] A crew of over 200 craftspeople and technicians constructed the three principal sets: the surface of the alien planetoid, and the interiors of the Nostromo and the derelict spacecraft.[26] Art director Les Dilley created 1⁄24-scale miniatures of the planetoid's surface and derelict spacecraft based on Giger's designs, then made moulds and casts and scaled them up as diagrams for the wood and fiberglass forms of the sets.[11] Tons of sand, plaster, fiberglass, rock, and gravel were shipped into the studio to sculpt a desert landscape for the planetoid's surface, which the actors would walk across wearing space-suit costumes.[26] The suits were thick, bulky, and lined with nylon, had no cooling systems, and initially, no venting for their exhaled carbon dioxide to escape.[55] Combined with a heat wave, these conditions nearly caused the actors to pass out; nurses had to be kept on-hand with oxygen tanks.[52][55] All of the visuals shown on the computer screens on the Nostromo's bridge are computer-generated imagery (CGI). The staff used CGI because it was easier than any alternative.[56] For scenes showing the exterior of the Nostromo, a 58-foot (18 m) landing leg was constructed to give a sense of the ship's size. Scott was not convinced that it looked large enough, so he had his two young sons and the son of Derek Vanlint (the film's cinematographer) stand in for the regular actors, wearing smaller space suits to make the set pieces seem larger.[55][57] The same technique was used for the scene in which the crew members encounter the dead alien creature in the derelict spacecraft. The children nearly collapsed due to the heat of the suits; oxygen systems were eventually added to help the actors breathe.[52][55] Four identical cats were used to portray Jones, the crew's pet.[49] During filming, Sigourney Weaver discovered that she was allergic to the combination of cat hair and the glycerin placed on the actors' skin to make them appear sweaty. By removing the glycerin she was able to continue working with the cats.[14][52] Alien originally was to conclude with the destruction of the Nostromo while Ripley escapes in the shuttle Narcissus. However, Scott conceived of a "fourth act" to the film in which the alien appears on the shuttle and Ripley is forced to confront it. He pitched the idea to 20th Century-Fox and negotiated an increase in the budget to film the scene over several extra days.[58] Scott had wanted the alien to bite off Ripley's head and then make the final log entry in her voice, but the producers vetoed this idea, because they believed the alien should die at the end of the film.[58] Post-production [edit] Editing and post-production work on Alien took roughly 20 weeks to complete, concluding in late January 1979.[59] Terry Rawlings served as editor, having previously worked with Scott on editing sound for The Duellists.[59] Scott and Rawlings edited much of the film to have a slow pace to build suspense for the more tense and frightening moments. According to Rawlings: "I think the way we did get it right was by keeping it slow, funny enough, which is completely different from what they do today. And I think the slowness of it made the moments that you wanted people to be sort of scared...then we could go as fast as we liked because you've sucked people into a corner and then attacked them, so to speak. And I think that's how it worked."[59] The first cut of the film was over three hours long; further editing trimmed the final version to just under two hours.[59][60] One scene that was cut from the film occurred during Ripley's final escape from the Nostromo; she encounters Dallas and Brett, who have been partially cocooned by the alien. O'Bannon had intended the scene to indicate that Brett was becoming an alien egg, while Dallas was held nearby to be implanted by the resulting facehugger.[38] Production designer Michael Seymour later suggested that Dallas had "become sort of food for the alien creature",[57] while Ivor Powell suggested that "Dallas is found in the ship as an egg, still alive."[59] Scott remarked, "they're morphing, metamorphosing, they are changing into...being consumed, I guess, by whatever the alien's organism is...into an egg." The scene was cut partly because it did not look realistic enough, but also because it slowed the pace of the escape sequence.[38][58] Tom Skerritt remarked that "The picture had to have that pace. Her trying to get the hell out of there, we're all rooting for her to get out of there, and for her to slow up and have a conversation with Dallas was not appropriate."[59] The footage was included with other deleted scenes as a special feature on the Laserdisc release of Alien, and a shortened version of it was reinserted into the 2003 Director's Cut, which was re-released in theaters and on DVD.[38][61] Music [edit] Main article: Alien (soundtrack) The musical score for Alien was composed by Jerry Goldsmith, conducted by Lionel Newman, and performed by the National Philharmonic Orchestra. Scott had originally wanted the film to be scored by Isao Tomita, but Fox wanted a more familiar composer and Goldsmith was recommended by then-president of Fox Alan Ladd Jr.[62] Goldsmith wanted to create a sense of romanticism and lyrical mystery in the film's opening scenes, which would build throughout the film to suspense and fear.[59] Scott did not like Goldsmith's original main title piece, however, so Goldsmith rewrote it as "the obvious thing: weird and strange, and which everybody loved."[59][62] Another source of tension was editor Terry Rawlings' choice to use pieces of Goldsmith's music from previous films, including a piece from Freud: The Secret Passion, and to use an excerpt from Howard Hanson's Symphony No. 2 ("Romantic") for the end credits.[59][62][63][64] Scott and Rawlings had also become attached to several of the musical cues they had used for the temporary score while editing the film, and re-edited some of Goldsmith's cues and rescored several sequences to match these cues and even left the temporary score in place in some parts of the finished film.[59] Goldsmith later remarked, "you can see that I was sort of like going at opposite ends of the pole with the filmmakers."[59] Nevertheless, Scott praised Goldsmith's score as "full of dark beauty"[62] and "seriously threatening, but beautiful".[59] It was nominated for a Golden Globe Award for Best Original Score, a Grammy Award for Best Soundtrack Album, and it won a BAFTA Award for Best Film Music.[65][66][67] The score has been released as a soundtrack album in several versions with different tracks and sequences.[68] Design [edit] Creature effects [edit] O'Bannon introduced Scott to the artwork of H. R. Giger; both of them felt that his painting Necronom IV was the type of representation they wanted for the film's antagonist and began asking the studio to hire him as a designer.[43][46] Fox initially believed Giger's work was too ghastly for audiences, but the Brandywine team were persistent and eventually won out.[46] According to Gordon Carroll: "The first second that Ridley saw Giger's work, he knew that the biggest single design problem, maybe the biggest problem in the film, had been solved."[43] Scott flew to Zürich to meet Giger and recruited him to work on all aspects of the alien and its environment including the surface of the planetoid, the derelict spacecraft, and all four forms of the alien from the egg to the adult.[43][46] The scene of Kane inspecting the egg was shot in postproduction. A fiberglass egg was used so that actor John Hurt could shine his light on it and see movement inside, which was provided by Scott fluttering his hands inside the egg while wearing rubber gloves.[70] The top of the egg was hydraulic, and the innards were a cow's stomach and tripe.[24][70] Test shots of the eggs were filmed using hen's eggs, and this footage was used in early teaser trailers. For this reason, the image of a hen's egg was used on the poster and has become emblematic of the franchise as a whole—as opposed to the alien egg that appears in the finished film.[70] The "facehugger" and its proboscis, which was made of a sheep's intestine, were shot out of the egg using high-pressure air hoses. The shot was reversed and slowed down in editing to prolong the effect and reveal more detail.[24][70] The facehugger itself was the first creature that H.R. Giger designed for the film, going through several versions in different sizes before deciding on a small creature with human-like fingers and a long tail.[24][69] Dan O'Bannon, with help from Ron Cobb, drew his own version based on Giger's design, which became the final version.[69] Cobb came up with the idea that the creature could have a powerful acid for blood, a characteristic that would carry over to the adult Alien and would make it impossible for the crew to kill it by conventional means, such as guns or explosives, since the acid would burn through the ship's hull.[31] For the scene in which the dead facehugger is examined, Scott used pieces of fish and shellfish to create its viscera.[24][70] The design of the "chestburster" was inspired by Francis Bacon's 1944 painting Three Studies for Figures at the Base of a Crucifixion.[24] Giger's original design, which was refined, resembled a plucked chicken.[24] Screenwriter Dan O'Bannon credits his experiences with Crohn's disease for inspiring the chest-bursting scene.[71] For the filming of the chestburster scene, the cast members knew that the creature would be bursting out of Hurt, and had seen the chestburster puppet, but they had not been told that fake blood would also be bursting out in every direction from high-pressure pumps and squibs.[14][72] The scene was shot in one take using an artificial torso filled with blood and viscera, with Hurt's head and arms coming up from underneath the table. The chestburster was shoved up through the torso by a puppeteer who held it on a stick. When the creature burst through the chest, a stream of blood shot directly at Cartwright, shocking her enough that she fell over and went into hysterics.[14][24][26] According to Tom Skerritt, "What you saw on camera was the real response. She had no idea what the hell happened. All of a sudden this thing just came up."[24] The creature then runs off-camera, an effect accomplished by cutting a slit in the table for the puppeteer's stick to go through and passing an air hose through the puppet's tail to make it whip about.[24] The real-life surprise of the actors gave the scene an intense sense of realism and made it one of the film's most memorable moments. During preview screenings, the crew noticed that some viewers would move towards the back of the theater so as not to be too close to the screen during the sequence.[60] The scene has frequently been called one of the most memorable moments in cinema history.[73] In 2007, Empire named it as the greatest 18-rated moment in film, ranking it above the decapitation scene in The Omen (1976) and the transformation sequence in An American Werewolf in London (1981).[74] IGN ranked the scene 10th out of the 100 best movie moments of all time.[75] For the scene in which Ash is revealed to be an android, a puppet was created of the character's torso and upper body, which was operated from underneath.[52] During a preview screening of the film, this scene caused an usher to faint.[60][76] In the following scene, Ash's head is placed on a table and reactivated; for portions of this scene, an animatronic head was made using a face cast of the actor, Ian Holm.[58] However, the latex of the head shrank while curing and the result was not entirely convincing.[52] For the bulk of the scene, Holm knelt under the table with his head coming up through a hole. Milk, caviar, pasta, fiber optics, and Foley urinary catheters were combined to form the android's innards.[52][58] The alien [edit] Further information on the creature: Xenomorph Giger made several conceptual paintings of the adult alien before settling on the final version. He sculpted the creature's body using plasticine, incorporating pieces such as vertebrae from snakes and cooling tubes from a Rolls-Royce.[13][24] The creature's head was manufactured separately by Carlo Rambaldi, who had worked on the aliens in Close Encounters of the Third Kind.[77] Rambaldi followed Giger's designs closely, making some modifications to incorporate the moving parts that would animate the jaw and inner mouth.[24] A system of hinges and cables was used to operate the creature's rigid tongue, which protruded from its mouth and featured a second mouth at its tip with its own set of movable teeth.[24] The final head had about 900 moving parts and points of articulation.[24] Part of a human skull was used as the "face", and was hidden under the smooth, translucent cover of the head.[13] Rambaldi's original alien jaw is now on display in the Smithsonian Institution,[58] while in April 2007, the original alien suit was sold at auction.[78] Copious amounts of K-Y Jelly were used to simulate saliva and to give the alien an overall slimy appearance.[24][69] The creature's vocalizations were provided by Percy Edwards, a voice artist famous for providing bird sounds for British television throughout the 1960s and 1970s, as well as the whale sounds for Orca: Killer Whale (1977).[62][79] For most of the film's scenes, the alien was portrayed by Bolaji Badejo. A latex costume was made to fit Badejo's slender 6-foot-10-inch (208 cm) frame by taking a full-body plaster cast.[24][26] Scott later commented that the alien "takes on elements of the host – in this case, a man."[46] Badejo attended tai chi and mime classes to create convincing movements for the alien.[13][24] For some scenes, such as when the alien lowers itself from the ceiling to kill Brett, the creature was portrayed by stuntmen Eddie Powell and Roy Scammell.[26][27] Powell, in costume, was suspended on wires and then lowered in an unfurling motion.[24][70] Scott chose not to show the full Alien for most of the film, keeping most of its body in shadow to create a sense of terror and heighten suspense. The audience could thus project their own fears into imagining what the rest of the creature might look like:[24] "Every movement is going to be very slow, very graceful, and the alien will alter shape so you never really know exactly what he looks like."[26] Scott said: "I've never liked horror films before, because in the end it's always been a man in a rubber suit. Well, there's one way to deal with that. The most important thing in a film of this type is not what you see, but the effect of what you think you saw." — Ridley Scott[26] The Alien has been referred to as "one of the most iconic movie monsters in film history", and its biomechanical appearance and sexual overtones have been frequently noted.[80] Roger Ebert remarked that "Alien uses a tricky device to keep the alien fresh throughout the movie: It evolves the nature and appearance of the creature, so we never know quite what it looks like or what it can do... The first time we get a good look at the alien, as it bursts from the chest of poor Kane (John Hurt). It is unmistakably phallic in shape, and the critic Tim Dirks mentions its 'open, dripping vaginal mouth.'"[53] Sets [edit] The sets of the Nostromo's three decks were each created almost entirely in one piece, with each deck occupying a separate stage. The actors had to navigate through the hallways that connected the stages, adding to the film's sense of claustrophobia and realism.[26][52][69] The sets used large transistors and low-resolution computer screens to give the ship a "used", industrial look and make it appear as though it was constructed of "retrofitted old technology".[57] Ron Cobb created industrial-style symbols and color-coded signs for various areas and aspects of the ship.[57] The company that owns the Nostromo is not named in the film, and is referred to by the characters as "the company". However, the name and logo of the company appears on several set pieces and props such as computer monitors and beer cans as "Weylan-Yutani".[81] Cobb created the name to imply a business alliance between Britain and Japan, deriving "Weylan" from the British Leyland Motor Corporation and "Yutani" from the name of his Japanese neighbor.[82][83] The 1986 sequel, Aliens, named the company as "Weyland-Yutani",[82][84] and it has remained a central aspect of the film franchise. Art director Roger Christian used scrap metal and parts to create set pieces and props to save money, a technique he employed while working on Star Wars.[57][85] For example, some of the Nostromo's corridors were created from portions of scrapped bomber aircraft, and a mirror was used to create the illusion of longer corridors in the below-deck area.[57] Special-effects supervisors Brian Johnson and Nick Allder made many of the set pieces and props function, including moving chairs, computer monitors, motion trackers, and flamethrowers.[14][26] H. R. Giger designed and worked on all of the alien aspects of the film, which he designed to appear organic and biomechanical in contrast to the industrial look of the Nostromo and its human elements.[26][57] For the interior of the derelict spacecraft and egg chamber, he used dried bones with plaster to sculpt much of the scenery and elements.[26][57] Veronica Cartwright described Giger's sets as "so erotic...it's big vaginas and penises...the whole thing is like you're going inside of some sort of womb or whatever...it's sort of visceral".[57] The set with the deceased alien creature, which the production team nicknamed the "space jockey", proved problematic, as 20th Century-Fox did not want to spend the money for such an expensive set that would only be used for one scene. Scott described the set as the cockpit or driving deck of the mysterious ship, and the production team was able to convince the studio that the scene was important to impress the audience and make them aware that this was not a B movie.[57][70] To save money, only one wall of the set was created, and the "space jockey" sat atop a disc that could be rotated to facilitate shots from different angles in relation to the actors.[26][70] Giger airbrushed the entire set and the "space jockey" by hand.[57][70] The origin of the jockey creature was not explored in the film, but Scott later theorized that it might have been the ship's pilot, and that the ship might have been a weapons-carrier capable of dropping alien eggs onto a planet so that the aliens could use the local lifeforms as hosts. In early versions of the script, the eggs were to be located in a separate pyramid structure, which would be found later by the Nostromo crew and would contain statues and hieroglyphs depicting the alien reproductive cycle, contrasting the human, alien, and space-jockey cultures.[31] Cobb, Foss, and Giger each created concept artwork for these sequences, but they were eventually discarded due to budgetary concerns and the need to shorten the film.[26] Instead, the egg chamber was set inside the derelict ship and was filmed on the same set as the space-jockey scene; the entire disc piece supporting the jockey and its chair was removed and the set was redressed to create the egg chamber.[26] Light effects in the egg chamber were created by lasers borrowed from English rock band The Who. The band was testing the lasers for use in their stage show on the sound stage next door.[86] Spaceships and planets [edit] O'Bannon brought in artists Ron Cobb and Chris Foss, with whom he had worked on Dark Star and Dune, respectively, to work on designs for the human aspects of the film such as the spaceship and space suits.[43][82] Cobb created hundreds of preliminary sketches of the interiors and exteriors of the ship, which went through many design concepts and possible names such as Leviathan and Snark as the script was developed. The final name of the ship was derived from the title of Joseph Conrad's 1904 novel Nostromo, while the escape shuttle, called Narcissus in the script, was named after Conrad's 1897 novella The Nigger of the 'Narcissus'.[81] The production team particularly praised Cobb's ability to depict the interior settings of the ship in a realistic and believable manner. Under Scott's direction, the design of the Nostromo shifted towards an 800-foot-long (240 m) tug towing a refining platform 2 miles (3.2 km) long and 1.5 miles (2.4 km) wide.[26] Cobb also created some conceptual drawings of the alien, but these were not used.[43][82] Moebius was attached to the project for a few days, as well, and his costume renderings served as the basis for the final space suits created by costume designer John Mollo.[26][82] The spaceships and planets for the film were shot using models and miniatures. These included models of the Nostromo, its attached mineral refinery, the escape shuttle Narcissus, the alien planetoid, and the exterior and interior of the derelict spacecraft. Visual-effects supervisor Brian Johnson and supervising modelmaker Martin Bower and their team worked at Bray Studios, roughly 25 miles (40 km) from Shepperton Studios.[87][88] The designs of the Nostromo and its attachments were based on combinations of Scott's storyboards and Ron Cobb's conceptual drawings.[87] The basic outlines of the models were made of wood and plastic, and most of the fine details were added from model kits of warships, tanks, and World War II bombers. Three models of the Nostromo were made: a 12-inch (30 cm) version for medium and long shots, a 4-foot (1.2 m) version for rear shots, and a 12-foot (3.7 m), 7-short-ton (6.4 t) rig for the undocking and planetoid surface sequences.[26][88] Scott insisted on numerous changes to the models even as filming was taking place, leading to conflicts with the modeling and filming teams. The Nostromo was originally yellow, and the team filmed shots of the models for six weeks before Johnson left to work on The Empire Strikes Back. Scott then ordered it changed to gray, and the team had to begin shooting again from scratch.[87][88] He asked that more and more pieces be added to the model such that the final version (with the refinery) required a metal framework so that it could be hoisted by a forklift. He also took a hammer and chisel to sections of the refinery, knocking off many of the spires that Bower had spent weeks creating. Scott also had disagreements with miniature-effects cinematographer Dennis Ayling over how to light the models.[87] A separate model, about 40 feet (12 m) long, was created for the Nostromo's underside from which the Narcissus would detach and from which Kane's body would be launched during the funeral scene. Bower carved Kane's burial shroud out of wood; it was launched through the hatch using a small catapult and filmed at high speed. The footage was slowed down in editing.[87][77] Only one shot was filmed using blue-screen compositing – that of the shuttle racing past the Nostromo. The other shots were simply filmed against black backdrops, with stars added by double exposure.[88] Though motion control photography technology was available at the time, the film's budget would not allow for it. The team, therefore, used a camera with wide-angle lenses mounted on a drive mechanism to make slow passes over and around the models filming at 2+1⁄2 frames per second,[26] giving them the appearance of motion. Scott added smoke and wind effects to enhance the illusion.[87] For the scene in which the Nostromo detaches from the refinery, a 30-foot (9.1 m) docking arm was created using pieces from model railway kits. The Nostromo was pushed away from the refinery by a forklift covered in black velvet, causing the arm to extend out from the refinery. This created the illusion that the arm was pushing the ship forward.[87][88] Shots of the ship's exterior in which characters are seen moving around inside were filmed using larger models which contained projection screens displaying pre-recorded footage.[87] A separate model was created for the exterior of the derelict alien spacecraft. Matte paintings were used to fill in areas of the ship's interior, as well as exterior shots of the planetoid's surface.[87] The surface as seen from space during the landing sequence was created by painting a globe white, then mixing chemicals and dyes onto transparencies and projecting them onto it.[26][88] The planetoid was not named in the film, but some drafts of the script gave it the name Acheron[13] after the river which in Greek mythology is described as the "stream of woe"; it is a branch of the river Styx, and forms the border of Hell in Dante's Inferno. The 1986 sequel Aliens named the planetoid as "LV-426",[84] and both names have been used for it in subsequent expanded-universe media such as comic books and video games. Title sequence [edit] The title sequence was developed by R/Greenberg Associates "to instill a sense of foreboding, the letters broken into pieces, the space between them unsettling."[89] It is referenced as one of the most iconic opening sequences of all time.[90] Release [edit] An initial screening of Alien for 20th Century-Fox representatives in St. Louis was marred by poor sound. A subsequent screening in a newer theater in Dallas went significantly better, eliciting genuine fright from the audience.[76] Two theatrical trailers were shown to the public. The first consisted of rapidly changing still images set to some of Jerry Goldsmith's electronic music from Logan's Run, with the tagline in both the trailer and on the teaser poster "A word of warning...". The second used test footage of a hen's egg set to part of Goldsmith's Alien score.[60] The film was previewed in various American cities in the spring of 1979[60] and was promoted with the tagline "In space, no one can hear you scream."[76][91] Alien was rated "R" in the United States, "X" in the United Kingdom, and "M" in Australia.[49] In the UK, the British Board of Film Censors almost passed the film as an "AA" (for ages 14 and over), although concerns existed over the prevalent sexual imagery. 20th Century-Fox eventually relented in pushing for an AA certificate after deciding that an X rating would make it easier to sell as a horror film.[92] Alien opened in a limited release in American theaters on May 25, 1979.[91][93] The film had no formal premiere, yet moviegoers lined up for blocks to see it at Grauman's Egyptian Theatre in Hollywood, where a number of models, sets, and props were displayed outside to promote it during its first run.[60][76] It received a wide release in the United States on June 22.[94] Vandals set fire to the model of the space jockey, believing it to be the work of the devil.[60] The film started its international release in Japan on July 20 and then Brazil on August 20.[95] In the United Kingdom, Alien premiered at a gala performance at the Edinburgh Film Festival on September 1, 1979,[96][97] before starting an exclusive run at the Odeon Leicester Square in London on Thursday, September 6, 1979,[98] for one week before expanding slowly until opening wide in Britain in 180 theaters on October 1, 1979.[95] The film opened in France and Spain in September before expanding to other markets in October 1979.[95] Box office [edit] The film was a commercial success, opening in 90 theaters across the United States (plus 1 in Canada), setting 51 house records and grossing $3,527,881 over the four-day Memorial Day weekend with a per-screen average of $38,767,[5] which Daily Variety suggested may have been the biggest per-screen opening in history.[99] In its first 4 weeks it grossed $16.5 million from only 148 prints before expanding to 635 screens.[5] In the UK, the film grossed $126,150 in its first 4 days at the Odeon Leicester Square, setting a house record.[100] By the beginning of October 1979, the film had grossed $27 million internationally including $16.9 million in Japan, $4.8 million in France and $3.7 million in the UK.[95] It went on to gross $78.9 million in the United States and £7,886,000 in the United Kingdom during its first run.[60] Including reissues, it has grossed $81.8 million in the United States and Canada, while international box-office figures have varied from $24 million to $122.7 million. Its total worldwide gross has been listed within the range of $104.9 million[5] to $203.6 million.[6] In 1992, Fox noted the worldwide gross was $143 million.[101] Despite this apparent box-office success, 20th Century Fox claimed that in the 11 months since its release, Alien had lost the studio $2 million. Seen as an example of Hollywood creative accounting used by Fox to disguise the film revenue and limit any payments to Brandywine, the claim was decried by industry accountants, and by August 1980, Fox readjusted the figure to $4 million profit, although this was similarly refuted. Eager to begin work on a sequel, Brandywine sued Fox over their profit distribution tactics, but Fox claimed that Alien was not a financial success and did not warrant a sequel. The lawsuit was settled in 1983 when Fox agreed to fund an Alien II.[102] Critical reception [edit] Critical reaction to the film was initially mixed. Some critics who were not usually favorable towards science fiction, such as Barry Norman of the BBC's Film series, were positive about the film's merits.[60] Others, however, were not; reviews by Variety, Sight and Sound, Vincent Canby, and Leonard Maltin[b] were mixed or negative.[104] A review by Time Out said the film was an "empty bag of tricks whose production values and expensive trickery cannot disguise imaginative poverty".[105] In their original review on Sneak Previews, critics Gene Siskel and Roger Ebert gave the film "two 'yes' votes." Ebert called it "one of the scariest old-fashioned space operas I can remember." Siskel agreed that it was scary but said it was basically a "haunted house film" set "in a spaceship" and was "not the greatest science fiction film ever made."[106] Siskel gave the film three stars out of four in his original print review, calling it "an accomplished piece of scary entertainment" and praising Sigourney Weaver as "an actress who should become a major star," but listed among the film's disappointments that "[f]or me, the final shape of the alien was the least scary of its forms."[107] Accolades [edit] Alien won the 1980 Academy Award for Best Visual Effects and was also nominated for Best Art Direction (for Michael Seymour, Leslie Dilley, Roger Christian, and Ian Whittaker).[108][109] It won Saturn Awards for Best Science Fiction Film, Best Direction for Ridley Scott, and Best Supporting Actress for Veronica Cartwright,[21] and was also nominated in the categories of Best Actress for Sigourney Weaver, Best Make-up for Pat Hay, Best Special Effects for Brian Johnson and Nick Allder, and Best Writing for Dan O'Bannon.[110] It was also nominated for British Academy of Film and Television Arts (BAFTA) awards for Best Costume Design for John Mollo, Best Editing for Terry Rawlings, Best Supporting Actor for John Hurt, and Most Promising Newcomer to Leading Film Role for Sigourney Weaver.[67] It also won a Hugo Award for Best Dramatic Presentation and was nominated for a British Society of Cinematographers award for Best Cinematography for Derek Vanlint, as well as a Silver Seashell award for Best Cinematography and Special Effects at the San Sebastián International Film Festival.[111][112] Jerry Goldsmith's score received nominations for the Golden Globe Award for Best Original Score, the Grammy Award for Best Soundtrack Album, and won a BAFTA Award for Best Film Music.[65][66][67] Post-release [edit] Home video [edit] Alien has been released in many home video formats and packages over the years. The first of these was a 17-minute Super-8 version for home projectionists.[113] It was also released on both VHS and Betamax for rental, which grossed it an additional $40,300,000 in the United States alone.[60] Several VHS releases were subsequently issued both separately and as boxed sets. LaserDisc and Videodisc versions followed, including deleted scenes and director commentary as bonus features.[113][114] A VHS box set containing Alien and its sequels Aliens and Alien 3 was released in facehugger-shaped boxes, and included some of the deleted scenes from the Laserdisc editions.[114] In addition, all three films were released on THX certified widescreen VHS releases in 1997.[115] When Alien Resurrection premiered in theaters that year, another set of the first three films was released including a Making of Alien Resurrection tape. A few months later, the set was re-released with the full version of Alien Resurrection taking the place of the making-of video.[114] Alien was released on DVD in 1999, both separately and, as The Alien Legacy, packaged with Aliens, Alien 3 and Alien Resurrection.[116] This set, which was also released in a VHS version, included a commentary track by Ridley Scott.[113][114] The first three films of the series have also been packaged as the Alien Triple Pack. Director's Cut [edit] In 2003, 20th Century Fox was preparing the Alien Quadrilogy DVD box set, which would include Alien and its three sequels. In addition, the set would also include alternative versions of all four films in the form of "special editions" and "director's cuts". Fox approached Scott to digitally restore and remaster Alien, and to restore several scenes which had been cut during the editing process for inclusion in an expanded version of the film.[117] Upon viewing the expanded version, Scott felt that it was too long and chose to recut it into a more streamlined alternative version: Upon viewing the proposed expanded version of the film, I felt that the cut was simply too long and the pacing completely thrown off. After all, I cut those scenes out for a reason back in 1979. However, in the interest of giving the fans a new experience with Alien, I figured there had to be an appropriate middle ground. I chose to go in and recut that proposed long version into a more streamlined and polished alternate version of the film. For marketing purposes, this version is being called "The Director's Cut."[117] The "Director's Cut" restored roughly four minutes of deleted footage, while cutting about five minutes of other material, leaving it about a minute shorter than the theatrical cut.[60] Many of the changes were minor, such as altered sound effects, trimming of some shots to speed up the film's pace and the removal of the "What Are My Chances?" scene. The restored footage included the scene in which Ripley discovers the cocooned Dallas and Brett during her escape of the Nostromo. Fox released the Director's Cut in theaters on October 31, 2003.[60] The Alien Quadrilogy boxed set was released December 2, 2003, with both versions of the film included along with a new commentary track featuring many of the film's actors, writers, and production staff, as well as other special features and a documentary entitled The Beast Within: The Making of Alien. Each film was also released separately as a DVD with both versions of the film included. Scott noted that he was very pleased with the original theatrical cut of Alien, saying that "For all intents and purposes, I felt that the original cut of Alien was perfect. I still feel that way", and that the original 1979 theatrical version "remains my version of choice".[117] He has since stated that he considers both versions "director's cuts", as he feels that the 1979 version was the best he could possibly have made it at the time.[117] The Alien Quadrilogy set earned Alien a number of new awards and nominations. It won DVDX Exclusive Awards for Best Audio Commentary and Best Overall DVD, Classic Movie, and was also nominated for Best Behind-the-Scenes Program and Best Menu Design.[118] It also won a Saturn Award for Best DVD, and was nominated for Best DVD Collection and Golden Satellite Awards for Best DVD Extras and Best Overall DVD.[119] In 2010 both the theatrical version and Director's Cut of Alien were released on Blu-ray Disc, as a stand-alone release and as part of the Alien Anthology set.[120] In 2014, to mark the film's 35th anniversary, a special re-release boxed set named Alien: 35th Anniversary Edition, containing the film on Blu-ray, a digital copy, a reprint of Alien: The Illustrated Story, and a series of collectible art cards containing artwork by H.R. Giger related to the film, was released.[121] A soundtrack album was released, featuring selections of Goldsmith's score. Additionally, a single of the Main Theme was released in 1980,[68] and a disco single using audio excerpts from the film was released in 1979 on the UK label Bronze Records by a recording artist under the name Nostromo.[122] Alien was re-released on Ultra HD Blu-ray and 4K digital download on April 23, 2019, in honor of the film's 40th anniversary.[123] The 4k Blu-ray Disc presents the film in 2160p resolution with HDR10 high-dynamic-range video. Several previously released bonus features on the 4k Blu-ray include audio commentary from Director Ridley Scott, cast and crew, the final isolated theatrical score and composer's original isolated score by Jerry Goldsmith, and deleted and extended scenes.[124] Cinematic analysis [edit] Critics have analyzed Alien's sexual overtones. The film is often cited as a major work of abjection, as outlined by Julia Kristeva in her 1980 work Powers of Horror. According to Kristeva, the abject refers to that which signifies the breakdown of conventional borders and rules. It confronts the subject with the fallibility of the human body and societal norms, and thus exposes how the supposedly sacred distinctions between what is Self and what is Other are arbitrary.[125] She suggests that this confrontation—often manifesting in excrement, bodily invasion, and corpses—is an inherently traumatic interruption of subjectivity, and thus all evidence of abjection is hidden in conventional society. Much of Alien's effectiveness as a work of horror has been attributed to its indulgence in abject themes and imagery and has thus functioned as a major framework for critics, such as Barbara Creed, in their analysis of the film. Following Creed's assertion that the alien creature is a representation of the "monstrous-feminine as archaic mother",[126] Ximena Gallardo C. and C. Jason Smith compared the facehugger's attack on Kane to a male rape and the chestburster scene to a form of violent birth, noting that the alien's phallic head and method of killing the crew members add to the sexual imagery.[127][128] Dan O'Bannon, who wrote the film's screenplay, has argued that the scene is a metaphor for the male fear of penetration, and that the "oral invasion" of Kane by the facehugger functions as "payback" for the many horror films in which sexually vulnerable women are attacked by male monsters.[129] David McIntee claims that "Alien is a rape movie as much as Straw Dogs (1971) or I Spit on Your Grave (1978), or The Accused (1988). On one level, it's about an intriguing alien threat. On one level it's about parasitism and disease. And on the level that was most important to the writers and director, it's about sex, and reproduction by non-consensual means. And it's about this happening to a man."[130] He notes how the film plays on men's fear and misunderstanding of pregnancy and childbirth, while also giving women a glimpse into these fears.[131] Film analyst Lina Badley has written that the alien's design, with strong Freudian sexual undertones, multiple phallic symbols, and overall feminine figure, provides an androgynous image conforming to archetypal mappings and imageries in horror films that often redraw gender lines.[132] O'Bannon described the sexual imagery as overt and intentional: "I am going to put in every image I can think of to make the men in the audience cross their legs. Homosexual oral rape, birth. The thing lays its eggs down your throat, the whole number."[133] Alien's roots in earlier works of fiction have been analyzed and acknowledged extensively by critics. The film has been said to have much in common with B movies such as The Thing from Another World (1951),[53][135] Creature from the Black Lagoon (1954),[136] It! The Terror from Beyond Space (1958),[36][80] Night of the Blood Beast (1958),[137] and Queen of Blood (1966),[138] as well as its fellow 1970s horror films Jaws (1975) and Halloween (1978).[53] Literary connections have also been suggested: Philip French of the Guardian has perceived thematic parallels with Agatha Christie's And Then There Were None (1939).[135] Many critics have also suggested that the film derives in part from A. E. van Vogt's The Voyage of the Space Beagle (1950), particularly its stories "The Black Destroyer", in which a cat-like alien infiltrates the ship and hunts the crew, and "Discord in Scarlet", in which an alien implants parasitic eggs inside crew members which then hatch and eat their way out.[139][140] O'Bannon denies that this was a source of his inspiration for Alien's story.[30] Van Vogt in fact initiated a lawsuit against 20th Century Fox over the similarities, but Fox settled out of court.[141] Several critics have suggested that the film was inspired by Italian filmmaker Mario Bava's cult classic Planet of the Vampires (1965), in both narrative details and visual design.[142] Rick Sanchez of IGN has noted the "striking resemblance"[143] between the two movies, especially in a celebrated sequence in which the crew discovers a ruin containing the skeletal remains of long-dead giant beings, and in the design and shots of the ship itself.[144] Cinefantastique also noted the remarkable similarities between these scenes and other minor parallels.[144] Robert Monell, on the DVD Maniacs website, observed that much of the conceptual design and some specific imagery in Alien "undoubtedly owes a great debt" to Bava's film.[145] Despite these similarities, O'Bannon and Scott both claimed in a 1979 interview that they had not seen Planet of the Vampires;[146] decades later, O'Bannon would admit: "I stole the giant skeleton from the Planet of the Vampires."[147] Writer David McIntee, as well as reviewers for PopMatters and Den of Geek, have noted similarities to the Doctor Who serial The Ark in Space (1975), in which an insectoid queen alien lays larvae inside humans which later eat their way out, a life cycle inspired by that of the ichneumon wasp.[30][148][149] McIntee also noted similarities between the first half of the film, particularly in early versions of the script, to H. P. Lovecraft's At the Mountains of Madness, "not in storyline, but in dread-building mystery",[150] and calls the finished film "the best Lovecraftian movie ever made, without being a Lovecraft adaptation", due to its similarities in tone and atmosphere to Lovecraft's works.[54] In 2009, O'Bannon said the film was "strongly influenced, tone-wise, by Lovecraft, and one of the things it proved is that you can't adapt Lovecraft effectively without an extremely strong visual style ... What you need is a cinematic equivalent of Lovecraft's prose."[151] H. R. Giger has said he liked O'Bannon's initial Alien storyline "because I found it was in the vein of Lovecraft, one of my greatest sources of inspiration."[152] Audience research [edit] Findings from an international audience research project conducted by staff from Aberystwyth University, Northumbria University and University of East Anglia were published in 2016 by Palgrave Macmillan as Alien Audiences: Remembering and Evaluating a Classic Movie. 1,125 people were surveyed about their memories and opinions of the film in order to test some of the theories offered by academics and critics about why the film became so popular and why it has endured for so long as a masterpiece. The study discusses memories of Alien in the cinema and on home video from the point of view of everyday audiences, describing how many fans share the film with their children and the shocking impact of the "chestburster" scene, among other things.[153] Re-release [edit] For its 45th anniversary, Alien was re-released in theaters by 20th Century Studios in April 2024.[154][155] Legacy [edit] Critical reassessment [edit] In a 1980 episode of Sneak Previews discussing science fiction films of the 1950s and 1970s, the reviewers were critical of Alien. Roger Ebert reiterated Gene Siskel's earlier opinion, stating that the film was "basically just an intergalactic haunted house thriller set inside a spaceship". He described it as one of several science fiction pictures that were "real disappointments" compared to Star Wars, Close Encounters of the Third Kind, and 2001: A Space Odyssey. However, in both episodes Ebert singled out the early scene of the Nostromo's crew exploring the alien planet for praise, calling the scene "inspired", said that it showed "real imagination" and claimed that it transcended the rest of the film.[156] Over two decades later, Ebert had revised his opinion of the film, including it on his Great Movies list, where he gave it four stars and said "Ridley Scott's 1979 movie is a great original."[157] In 1980, the film was included in Cinefantastique's list of the top films of the 1970s while failing to make the magazine's top ten. Frederick S. Clarke, the magazine's editor, wrote that Alien was "an exercise in style, refreshingly adult in approach, wickedly grim and perverse, that manages to compensate for a lack of depth in both story and characters."[158][verification needed] In 1982, John Simon of the National Review praised the cast of Alien, particularly Sigourney Weaver, and the film's visual values. Simon also wrote, "For fanciers of horror, among whose numbers I do not count myself, Alien is recommendable, provided they are free from hypocrisy and finicky stomachs".[159] Despite initial mixed reviews, Alien has received critical acclaim over the years, particularly for its realism and unique environment,[80] and is cited one of the best films of 1979.[160][161] It is seen as one of the most influential science-fiction films.[162][163] It holds a 93% rating on Rotten Tomatoes, based on 195 reviews and an average rating of 9.1/10. The website's critical consensus reads, "A modern classic, Alien blends science fiction, horror and bleak poetry into a seamless whole."[164] Metacritic reports a weighted average score of 89 out of 100 based on 34 critics, indicating "universal acclaim".[165] Halliwell's Film Guide awarded it a full four stars, describing it as "a classic of suspense and art direction".[105] Alan Jones of Radio Times awarded it five stars out of five, describing it as a "revolutionary 'haunted house in space' thrill-ride [...] stunning you with shock after shock", praising the "top-notch acting [...] and imaginative bio-mechanical production design", as well as "Ridley Scott's eye for detail and brilliant way of alternating false scares with genuine jolts, which help to create a seamless blend of gothic horror and harrowing science fiction".[166] Critical interest in the film was re-ignited with the theatrical release of the "Director's Cut" in 2003. Roger Ebert ranked it among "the most influential of modern action pictures" and praised its pacing, atmosphere, and settings: One of the great strengths of Alien is its pacing. It takes its time. It waits. It allows silences (the majestic opening shots are underscored by Jerry Goldsmith with scarcely audible, far-off metallic chatterings). It suggests the enormity of the crew's discovery by building up to it with small steps: The interception of a signal (is it a warning or an SOS?). The descent to the extraterrestrial surface. The bitching by Brett and Parker, who are concerned only about collecting their shares. The masterstroke of the surface murk through which the crew members move, their helmet lights hardly penetrating the soup. The shadowy outline of the alien ship. The sight of the alien pilot, frozen in his command chair. The enormity of the discovery inside the ship ("It's full of ... leathery eggs ...").[53] David A. McIntee praises Alien as "possibly the definitive combination of horror thriller with science fiction trappings."[54] He notes that it is a horror film first and a science fiction film second, since science fiction normally explores issues of how humanity will develop under other circumstances. Alien, on the other hand, focuses on the plight of people being attacked by a monster: "It's set on a spaceship in the future, but it's about people trying not to get eaten by a drooling monstrous animal. Worse, it's about them trying not to get raped by said drooling monstrous animal."[54] Along with Halloween and Friday the 13th (1980), he describes it as a prototype for the slasher film genre: "The reason it's such a good movie, and wowed both the critics, who normally frown on the genre, and the casual cinema-goer, is that it is a distillation of everything that scares us in the movies."[54] He also describes how the film appeals to a variety of audiences: "Fans of Hitchcockian thrillers like it because it's moody and dark. Gorehounds like it for the chest-burster. Science fiction fans love the hard science fiction trappings and hardware. Men love the battle-for-survival element, and women love not being cast as the helpless victim."[167] David Edelstein wrote, "Alien remains the key text in the 'body horror' subgenre that flowered (or, depending on your viewpoint, festered) in the seventies, and Giger's designs covered all possible avenues of anxiety. Men traveled through vulva-like openings, got forcibly impregnated, and died giving birth to rampaging gooey vaginas dentate — how's that for future shock? This was truly what David Cronenberg would call 'the new flesh,' a dissolution of the boundaries between man and machine, machine and alien, and man and alien, with a psychosexual invasiveness that has never, thank God, been equaled."[168] In 2008, the American Film Institute ranked Alien as the seventh-best film in the science fiction genre as part of AFI's 10 Top 10, a CBS television special ranking the ten greatest movies in ten classic American film genres. The ranks were based on a poll of over 1,500 film artists, critics, and historians, with Alien ranking just above Terminator 2: Judgment Day (1991) and just below Scott's other science fiction film Blade Runner (1982).[169] The same year, Empire magazine ranked it 33rd on its list of the 500 greatest movies of all time, based on a poll of 10,200 readers, critics, and members of the film industry.[170] In 2021, Phil Pirrello of Syfy ranked it at number two in the "25 scariest sci-fi movies ever made". He described it as a "groundbreaking science fiction classic" and "a movie so influential that it's hard to think of a time before Alien".[171] Cultural influences [edit] Alien had both an immediate and long-term impact on the science fiction and horror genres. Shortly after its debut, Dan O'Bannon was sued by another writer named Jack Hammer for allegedly plagiarising a script entitled Black Space. However, O'Bannon was able to prove that he had written his Alien script first.[172] In the wake of Alien's success, a number of other filmmakers imitated or adapted some of its elements, sometimes by using "Alien" in titles. One of the first was The Alien Dead (1979), which had its title changed at the last minute to cash in on Alien's popularity.[173] Contamination (1980) was initially going to be titled Alien 2 until 20th Century Fox's lawyers contacted writer/director Luigi Cozzi and made him change it. The film built on Alien by having many similar creatures, which originated from large, slimy eggs, bursting from characters' chests.[173] An unauthorized sequel to Alien, titled Alien 2: On Earth, was released in 1980 and included alien creatures which incubate in humans. Other science fiction films of the time that borrowed elements from Alien include Galaxy of Terror (1981), Inseminoid (1981), Forbidden World (1982), Xtro (1982), and Dead Space (1991).[173] The "chestburster" effect was parodied in Mel Brooks's comedy Spaceballs. Near the end, in a diner, John Hurt does a cameo appearance as a customer who seems to be suffering indigestion. He turns out to have an "alien" in his gut, and moans, "Oh, no...not again!" The "alien" then does a song-and-dance, singing a line of "Hello, Ma Baby", from the classic Warner Bros. cartoon One Froggy Evening.[174] Nintendo's long-running Metroid video game series, created in 1986, was significantly influenced by Alien, both in stylistic and thematic elements. As an homage to Alien, villains in the first Metroid installment were named Ridley and Mother Brain, after the movie's director and the ship computer, respectively.[175] Notably, at Paisley Abbey, during a restoration project that took place in the 1990s, a stonemason from Edinburgh hired to replace twelve crumbling stone gargoyles erected one bearing a strong resemblance to the space creature from the film.[176][177] A picture of the gargoyle went viral in 2013, though a photograph of the statue first surfaced on the internet in 1997.[178] In 2002, it was confirmed the abbey would be subject to a 10-year-long restoration project. In SFR Yugoslavia the film and it sequels were distributed under the title Osmi putnik (transl. Eight Traveller).[179] The highly popular Yugoslav and later Croatian hard rock band Osmi Putnik chose their name after the film.[180] In 2002, Alien was deemed "culturally, historically or aesthetically significant" by the National Film Preservation Board of the United States,[181] and was inducted into the National Film Registry of the Library of Congress for historical preservation alongside other films of 1979 including All That Jazz, Apocalypse Now, The Black Stallion, and Manhattan.[182][183] In 2019, author J. W. Rinzler published The Making of Alien, a behind-the-scenes book about the making of the film with cast and crew interviews and previously unseen photographs. The Verge praised the book as "the definitive story of the classic horror film".[184] Eli Roth cites Alien as his primary influence, saying "I saw Alien when I was 8 years old. To me, it was like a combination of Jaws and Star Wars and that's the movie that made me want to be a director. It traumatized me. I actually threw up I was so nervous after I saw it but that's like the highest compliment you can give a horror film."[185] Ty Franck, one of the authors behind the sci-fi series The Expanse, credits Alien as one of his major inspirations.[186] Merchandise [edit] Alan Dean Foster wrote a novelization of the film in both adult and "junior" versions, which was adapted from the film's shooting script.[62] Heavy Metal magazine published Alien: The Illustrated Story, a graphic novel adaptation of the film scripted by Archie Goodwin and drawn by Walt Simonson, as well as a 1980 Alien calendar.[62] Two behind-the-scenes books were released in 1979 to accompany the film. The Book of Alien contained many production photographs and details on the making of the film, while Giger's Alien contained much of H. R. Giger's concept artwork for the movie.[62] A model kit of the alien, 12 inches high, was released by the Model Products Corporation in the United States, and by Airfix in the United Kingdom.[113] Kenner also produced a larger-scale Alien action figure, as well as a board game in which players raced to be first to reach the shuttle pod while Aliens roamed the Nostromo's corridors and air shafts.[113] Official Halloween costumes of the alien were released in October 1979.[113] School play adaptation [edit] In 2019, students at North Bergen High School in New Jersey adapted the film into a play. The production had no budget, with props and sets developed from recycled toys and other items. Social media recognition brought Scott's attention to the play. He wrote a letter of congratulations to the students ("My hat comes off to all of you for your creativity, imagination, and determination") and recommended they consider an adaptation of his film Gladiator for their next stage production.[187] He donated to the school to put on an encore performance at which Weaver was in attendance. She got on stage before the performance to congratulate the cast and crew for their creativity and commitment.[188] Sequels and franchise [edit] Further information: Alien (franchise) The success of Alien led 20th Century Fox to finance three direct sequels over the next eighteen years, each by different writers and directors. Sigourney Weaver remained the only recurring actor through all four films: the story of her character Ripley's encounters with the aliens became the thematic and narrative core of the series.[53] James Cameron's Aliens (1986) focused more on action and involved Ripley returning to the planetoid accompanied by marines to confront hordes of aliens.[84] David Fincher's Alien 3 (1992) had nihilistic tones[54] and found her on a prison planet battling another Alien, ultimately sacrificing herself to prevent her employers from acquiring the creatures.[189] Jean-Pierre Jeunet's Alien Resurrection (1997) saw Ripley resurrected through cloning to battle more aliens even further in the future.[190] The success of the film series resulted in the creation of a media franchise with numerous novels, comic books, video games, toys, and other media and merchandise appearing over the years. A number of these began appearing under the Alien vs. Predator crossover imprint, which brought the alien creatures together with the eponymous characters of the Predator franchise. A film series followed, with Alien vs. Predator in 2004, and Aliens vs. Predator: Requiem in 2007.[191][192][193] Sigourney Weaver has expressed interest in reuniting with Ridley Scott to revive her character for another Alien film. In the 2003 commentary track for the Alien DVD included in the Alien Quadrilogy set, she and Scott both speculated on the possibility, with Weaver stating: "There is an appetite for a fifth one, which is something I never expected...it's really hard to come up with a fifth story that's new and fresh...but I have wanted to go back into space...I think outer space adventure is a good thing for us right now, 'cause Earth is so grim...so we've been talking about it, but very generally." Scott remarked that, if the series were to continue, the most logical course would be to explore the origins of the space jockey and the aliens.[194] Weaver supported this idea, saying "I think it would be great to go back, because I'm asked that question so many times: 'Where did the alien come from?' People really want to know in a very visceral way." David Giler said that he, Walter Hill, and Gordon Carroll, the producers of the first four films in the series, would not be willing to produce another unless it was about the aliens' homeworld and Weaver was on board (despite the fact that they were among the producers of Alien vs. Predator films). Weaver indicated that she would only return to the franchise if either Scott or James Cameron were to direct.[195] Cameron had been working on a story for a fifth Alien film which would explore the origins of the creatures, but ceased work on it when he learned that Fox was pursuing Alien vs. Predator, which he felt would "kill the validity of the franchise".[196][197] In July 2009, 20th Century Fox announced that Jon Spaihts had been hired to write a prequel to Alien, with Scott attached to direct.[198] The script was subsequently re-worked by Scott and Damon Lindelof. Titled Prometheus, it went into production in May 2011, and was released the following year. Scott said in a statement: "While Alien was indeed the jumping-off point for this project, out of the creative process evolved a new, grand mythology and universe in which this original story takes place. The keen fan will recognize strands of Alien's DNA, so to speak, but the ideas tackled in this film are unique, large and provocative."[199] Variety reported on February 18, 2015, that a new Alien film would be developed by Neill Blomkamp.[200] On February 25, it was confirmed that Sigourney Weaver would have a role in the film,[201] the intent being to produce a direct sequel to Aliens, ignoring the events of later films, featuring the characters of Hicks and Newt.[202] Blomkamp's sequel was ultimately shelved by Fox in favor of Alien: Covenant, a continuation of Scott's prequel, Prometheus.[203] Several computer games based on the film were released, but not until several years after its theatrical run.[113] See also [edit] List of films featuring extraterrestrials List of monster movies Notes [edit] References [edit] Bibliography [edit] Further reading [edit] Anderson, Craig W. "Alien". Science Fiction Films of the Seventies. Jefferson, NC: McFarland, 1985. Print. 217–224. Bell-Meterau, Rebecca. "Woman: The Other Alien in Alien". Women Worldwalkers: New Dimensions of Science Fiction and Fantasy. Ed. Weedman, Jane B. Lubbock, Tex: Texas Tech Press, 1985. Print. 9-24. Elkins, Charles, ed. "Symposium on Alien". (Jackie Byars, Jeff Gould, Peter Fitting, Judith Lowder Newton, Tony Safford, Clayton Lee). Science-Fiction Studies 22.3 (Nov. 1980): 278–304. Matheson, T.J. "Triumphant Technology and Minimal Man: The Technological Society, Science Fiction Films, and Ridley Scott's Alien". Extrapolation 33. 3: 215–229. Torry, Robert. "Awakening to the Other: Feminism and the Ego-Ideal in Alien". Women's Studies 23 (1994): 343–363.
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"https://www.schott-music.com/static/version1720085136/frontend/Creativestyle/theme-schottmusic/en_GB/images/icons/page-bottom/Amazon_Pay_logo.svg" ]	[]	[]	[ "Pothole - Dirty Picnic" ]	null	[]	null	Pothole, Pothole: Pothole - Dirty Picnic \| Buying sheet music and downloads from Schott Music	en	https://www.schott-music.com/static/version1720085136/frontend/Creativestyle/theme-schottmusic/en_GB/Magento_Theme/favicon.ico		https://www.schott-music.com/en/pothole-dirty-picnic-no64603.html	JavaScript seems to be disabled in your browser. 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8999	dbpedia	3	9	https://www.tiktok.com/discover/A-Very-English-Exploitation-Inseminoid-and-the-Shock-Cinema-of-Norman-J-Warren	en	Make Your Day			[]	[]	[]	[ "" ]	null	[]	null		en			null
8999	dbpedia	3	93	https://www.bookfrom.net/larry-miller/page,7,302658-inseminoid.html	en	Global Archive Voiced Books Online Free	https://static.bookfrom.…icon-192x192.png	https://static.bookfrom.…icon-192x192.png	[ "https://static.bookfrom.net/cleardot.gif", "https://static.bookfrom.net/templates/archiveBFN/images/book42arc.png", "https://static.bookfrom.net/templates/gray_search/images/sser22.png ", "https://static.bookfrom.net/templates/gray_search/images/book22.png ", "https://static.bookfrom.net/templates/gray_search/images/book22.png ", "https://static.bookfrom.net/templates/archiveBFN/images/ssm40.png", "https://static.bookfrom.net/templates/gray_search/images/sser22.png ", "https://static.bookfrom.net/templates/gray_search/images/book22.png ", "https://static.bookfrom.net/templates/gray_search/images/book22.png ", "https://static.bookfrom.net/templates/archiveBFN/images/book42.png ", "https://static.bookfrom.net/templates/archiveBFN/images/book49.png ", "https://static.bookfrom.net/templates/archiveBFN/images/book42arc.png ", "https://picture.bookfrom.net/img/larry-miller/inseminoid_preview.jpg", "https://static.bookfrom.net/cleardot.gif", "https://static.bookfrom.net/p3.png", "https://static.bookfrom.net/font84.png", "https://static.bookfrom.net/m5.png", "https://static.graycity.net/set2.png", "https://static.graycity.net/go.png", "https://static.graycity.net/s2172.png", "https://static.graycity.net/nm4.png", "https://static.graycity.net/on4D64.png", "https://static.graycity.net/up1.png", "https://static.graycity.net/on4D662.png", "https://static.graycity.net/dwn1.png", "https://static.graycity.net/on4D63.png", "https://picture.bookfrom.net/img/larry-miller/inseminoid_preview.jpg", "https://picture.bookfrom.net/img/larry-miller/inseminoid_preview.jpg", "https://static.bookfrom.net/templates/archiveBFN/images/Fr4.png", "https://static.bookfrom.net/templates/archiveBFN/images/Fr5.png", "https://static.bookfrom.net/templates/archiveBFN/images/Fr6.png", "https://static.bookfrom.net/templates/archiveBFN/images/book42.png ", "https://static.bookfrom.net/templates/archiveBFN/images/book49.png ", "https://static.bookfrom.net/templates/archiveBFN/images/book42arc.png ", "https://static.bookfrom.net/templates/gray_search/images/book22.png ", "https://static.bookfrom.net/templates/gray_search/images/book22.png ", "https://static.bookfrom.net/templates/gray_search/images/book22.png ", "https://static.bookfrom.net/templates/gray_search/images/book22.png ", "https://static.bookfrom.net/templates/gray_search/images/book22.png ", "https://static.bookfrom.net/templates/archiveBFN/images/book42arc.png ", "https://static.bookfrom.net/templates/archiveBFN/images/book42arc.png ", "https://static.bookfrom.net/android-bg5.png" ]	[]	[]	[ "Sandy", "creature", "Holly", "Mitch", "mouth", "around", "through", "there", "something", "moved", "began", "being", "corridor", "Being", "corner", "asked", "creature’s", "looked", "picked", "wasn’t" ]	null	[ "Larry Miller" ]	null	“But you can’t look at it that way. We have no way of knowing how it’s survived all these years in that glass case.” “I know, I know. I’m just overwhelmed. Fascinated. There! It moved again!”		https://static.bookfrom.net/templates/archiveBFN/images/favicon.ico	Read Online Free Books	https://www.bookfrom.net/larry-miller/302658-inseminoid.html	Inseminoid, p.7 Inseminoid, page 7 Select Voice: Brian (uk) Emma (uk) Amy (uk) Eric (us) Ivy (us) Joey (us) Salli (us) Justin (us) Jennifer (us) Kimberly (us) Kendra (us) Russell (au) Nicole (au) “But you can’t look at it that way. We have no way of knowing how it’s survived all these years in that glass case.” “I know, I know. I’m just overwhelmed. Fascinated. There! It moved again!” Suddenly the creature produced a low rumbling noise. Instinctively the doctor and his assistant moved back. “Is it trying to say something?” Sandy asked, trembling slightly. “Could be.” A chill ran down Sandy’s back. “I think he is trying to tell us something.” Karl switched on the overhead light and moved closer. A moment went by. Then he said quietly, “Watch its eyes. They’re spinning like a ball-bearing on a rollerskate. It’s almost as if the eyes aren’t attached to anything on the other side of the socket.” The creature turned its head and seemed to focus on the doorway. Karl glanced in that direction and then back to the Being tied to the slab. “There’s something over there that’s caught it’s attention.” Slowly he began rolling the slab in what appeared to be the creature’s line of vision. As they approached his desk the thing let go with its loudest sound yet, its eyes starting to move erratically. Karl stopped short. “It’s agitated. Something’s got it worked up. What is it, damn it?” He cursed and looked around the room. “Maybe it wants some breakfast,” Sandy remarked innocently. “Breakfast—the food! Sausages, eggs and toast! Sandy, you’re a doll. That could be it.” “But I was only kidding,” she insisted. “Yes, but that doesn’t mean you’re very far off-base. Let’s put it to the test. Hand me the plate.” Sandy did as she was told. Karl’s hands shook, not out of fear of the creature but because he suspected he might be on the threshold of something great. He steadied his hand and took the sausage from the plate. He was so excited he could barely feel the rubbery meat between his fingers. He moved the sausage slowly to the slab and the creature began to tremble. For the very first time, it opened its mouth to reveal three sets of short pointed razor-sharp teeth. A thin reptilian tongue darted from side to side. “Oh Karl, don’t get too close,” Sandy warned, eyes wide. But he heard none of his assistant’s words. Transfixed by the creature before him, he held the sausage only a few inches from the Being. Suddenly a yellow liquid squirted from its mouth on to his hand. Sandy gagged and looked away. “Easy,” Karl whispered, “easy. You really want to eat, don’t you. Really hungry, eh? There you go.” He dropped the meat into the creature’s mouth. It sucked it in greedily and easily ground it to nothing. Instantly, it began to pull at its bonds. “Sandy, the rest of it! Give me the rest of it!” She handed him the plate and watched as the creature devoured it all. “More!” Karl demanded. “Get Holly down here. And the professor. Mitch will want to see this. Hurry, Sandy! Oh my God, will you look at him chomp away!” “I’m on my way.” The doctor circled the slab holding the creature. He studied it closely for any change that might be occurring. But the Being had calmed considerably since it ingested the food, its first meal for what must have been a long, long time. Its eyes had ceased rolling and it no longer pulled against its bonds. The yellow liquid was now little more than a trickle. About every thirty seconds it groaned but that sound had none of the intensity that accompanied its feeding. Karl was exhilarated. His heart pounded rapidly and he could almost feel his blood flowing through his veins. “And that,” he said aloud to the creature, “is more than can be said about you.” Any fatigue he might have experienced earlier had passed. Holly ran into the lab with Mitch not far behind. Both were out of breath from the sprint across the complex. “Karl,” Holly rushed towards him, “Sandy told me what happened. Can it be true?” He nodded. “The Thing became agitated when it became aware of food and when I put the meat near its mouth it salivated like a rabid dog.” “Then it confirms what’s written on the tablets,” Mitch interjected. “That this species, whatever it is, had a voracious appetite.” “Mitch, have you figured out the script?” Karl asked quickly. The professor shook his head. “Yes and no. I was up with the tablets until the middle of the night. For a while there, I thought I had it, but suddenly the characters changed and it became an entirely different language. Another level of communication took over. After that initial breakthrough it looks like I’m back where I started.” Karl sipped his now-cold cup of coffee. “Keep with it, Mitch, because that’s probably our best link with this thing, this creature we have here.” Just then, Sandy reappeared rolling a serving trolley towards her colleagues. She’d brought raw steaks, eggs, loaves of bread and a small frozen chicken. “Is this enough for now?” she asked. Karl gave her collection a quick once-over. “Fine, Sandy. That’ll do nicely.” He picked up one of the raw steaks. It was blood-red. “Now—Holly and Mitch—I want you both to watch this. Move in closer so you can get a good idea of what’s going on.” He lifted the steak above the creature’s head in much the same way as before with the sausage, teasing it, dangling the steak inches from its mouth. “Look at the way he gets worked up and starts spewing out liquid.” They watched the restraining straps. “I’m glad they’re tight,” Holly remarked. Mitch agreed with her. “So am I.” Finally Karl let the meat slip out of his hand into the creature’s mouth. It had no more difficulty finishing the tougher steak than the sausage. “That’s wonderful,” exclaimed Mitch. “But look how it tries to get free. It seems to be getting stronger.” “It does, doesn’t it,” Holly added thoughtfully. “Karl, he’s your baby but maybe you should hold off giving it any more food. Right now it’s manageable. I wouldn’t want to start something we aren’t able to finish. After all, we don’t know anything about this monster’s origins. Let’s keep it weak at least for the time being.” Karl promised he would. “I’ve got to get back to command. Let me know immediately if there’s any change.” “Of course.” With that, Holly left and Mitch followed her out. Alone once again with his assistant, Karl put his arm affectionately around Sandy and drew her close. “I never expected to find life here. This was supposed to be just another archaeological expedition. Just like the last half-dozen I’ve been on. A chance like this doesn’t come often.” Sandy didn’t mind being held tightly by Karl. “I know how you feel. Just being here when it came alive! I was watching a hidden part of the universe unfold before my eyes.” Karl quickly forgot his promise to Holly. He couldn’t resist one last experiment with food. “So far we’ve fed it soft meat. Even the steak wasn’t a challenge. How about the frozen chicken? Do you think those choppers of his could do anything with that?” “Don’t get carried away, Karl.” “Don’t be silly.” He picked up the fowl from the tray. This time he fed the creature without teasing it. The teeth began grinding immediately, biting right through the solid flesh and bone as if it had been overcooked instead of frozen. The sound reminded Karl of an old-fashioned buzz-saw he’d seen on display in an Earth museum. Less than a minute later the creature had finished it off. “That’s enough for now,” he decided. “It’s time to stop playing around with our friend and to begin some serious testing.” Sandy took his hand. “Uh, uh,” she said, “you’re getting some proper sleep. You were up for most of the night. How about taking a few hours off and relaxing?” Karl looked at his watch. “Maybe you’re right. It’s nine-thirty. I’ll rest until lunch then get down to work. You want to join me in bed?” “Hmm, an invitation worth considering, but you won’t sleep if I’m there.” “Yes, that’s what I mean.” “Nope,” she said firmly. “We have a long time together. After all we just started the rotation. There’ll be lots more time for playing.” Karl drew Sandy to him. “Promise?” “I promise,” she said and kissed him lightly on the lips. “Now get out of here. You left a mess from last night and I’ve got a good couple of hours cleaning up after you.” He started to reach for some papers on his desk, but Sandy grabbed his arm. “No! I said sleep! Don’t take your work to bed with you.” “You win. Let me just move our friend back to his corner.” He rolled the slab to the other side of the room, switched off the overhead light and went through the portal. “Call me if you need me.” “Go!” Sandy shouted out the order. She immediately began to clean up the lab. Half-filled beakers with spent chemical solutions and used test tubes were scattered around the room. Anything she wasn’t sure of, she lined up on one of the examination tables. She was careful not to dispose of anything that Karl might still need. Then she picked up the many computer programs that littered the doctor’s desk, trying her best to put them in some sort of order. Karl may have been a damn good doctor and biologist, but as far as Sandy was concerned, he kept a pretty sloppy laboratory. After a good three quarters of an hour of cleaning, organising and scrubbing, she stood back with sponge in hand to survey the results of her effort. “Bet it won’t stay long like this,” she muttered. Making one final check she noticed a chemical spill she hadn’t seen before on the table next to the beakers. She rubbed at it hard but in her exuberance her hand slipped and knocked over a beaker, spilling its pink liquid across the table and on to her white lab coat. “Shit!” Sandy quickly removed her coat and her gloves. “Oh hell, it’s gone through to my clothes.” She stripped down to her bra and panties. Suddenly and for pretty much the first time since Karl left she remembered the creature in the dark corner of the room lying strapped to the examination table. In her present state of undress she felt exposed. “Don’t be stupid,” she told herself. “It’s just like being naked in the same room as a pet dog or cat.” She turned her back to the creature and went to the sink to wash all traces of the chemical from her skin. Sandy was towelling her hands dry when the feeling that someone or something was watching her every move came over her. She turned around slowly. From the dark corner the creature’s head was turned towards her and its pupilless eyes seemed to glow, very much like a cat’s in the night. With the towel still in her hands, Sandy walked over to the slab. The strange Being was remarkably calm and she began looking at it in detail. Then for no apparent reason it opened its mouth. She drew back a step. Its claws started once again to push against the leather bonds. Sandy switched on the overhead light to get a better look. She knew Karl wouldn’t have approved of her being so near the creature but she couldn’t control her curiosity. It lay a foot from where she stood. Sandy was intrigued by it. She’d even forgotten she was still holding the towel. She let her gaze roam over its body and fall on what Karl had said was probably its sexual organ. A pair of foot-long rods joined at the crotch were covered with a slick foreskin that continually rolled forward and back. The rolling action on each rod appeared independent of the other. A thought fleeted briefly through her mind and she shuddered. “When I start imagining things like that it’s time I lined up a good shrink. Wow, wait till I tell Karl that one!” Her curiosity now satisfied, Sandy reached to kill the light but she suddenly caught a movement in the corner of her eye. She stopped and looked down at the creature. Its head was only inches from her large breasts. It had once again become agitated, straining at the straps, its claws dug into the foam rubber mattress. “I’d better get out of here,” she said finally. She switched off the light and returned to her work. But the Being’s eyes followed her and a low rumbling noise came from its depths. It was dark in the corner where the creature lay, so Sandy didn’t see its mouth open and the yellow liquid begin to spurt. Its strength was returning. It rocked back and forth on the table. Slowly at first, then with an ever-increasing intensity. Picking up speed like a boulder careering down a mountain, the creature moved the entire table from side to side. And then it crashed into the wall. The noise sent a shock wave through Sandy. She spun around. “Oh, my God!” she cried, yet she was glued to the spot watching the frenzied Being. “Oh my God, I’ve got to get to Karl.” Before she could move a step the creature tore off the leather bonds as if they’d been made of tissue paper and rolled on to the floor letting out a deafening roar. It had its freedom! In trying to make it to the door Sandy stumbled backwards. And that delay—however slight—was all the thing needed. In one long massive leap across the room it was on top of her, its lobster-like claws holding her hands and feet apart. She tried desperately to fight back but she was no match for the creature and mercifully lost consciousness. Her senses were being spared what was yet to come. When the creature saw she was no longer struggling, it released its grip on her and with a curiosity of its own began examining the young woman spread beneath it on the floor. Suddenly and without warning it flung itself on to Sandy and dug its sharp teeth into her bare shoulder. Blood trickled down her arm from the wound. A moan came from within her but the creature was oblivious to all but one thing. Its tongue lashed out and whipped back into its mouth taking with it a sample of the woman’s blood. It stared at her belly then its eyes fell lower. A claw grabbed the elastic of her panties and ripped through the flimsy material. With unrestrained fervor the creature inserted one of its sexual organs into her womanhood, pushing the long thin member deeper and deeper, and ejaculated into her. Then the second organ penetrated and ejaculated in the same way. The creature rose from her body, a body now covered in greasy yellow saliva. The fluid was on Sandy’s face, her breasts and it ran down her thighs. The Being broke for the door, leaving Sandy on the floor in a pool of muck. But the doorway was sealed. The creature propelled itself against the portal until with a final burst of strength it smashed through. Stopping only to get its bearings now and again, it moved slowly and cautiously down the long lonely corridor. In the command centre Kate was watching the monitors when she caught a blur an one of the screens. “Holly, can you come over here?” she called. There was urgency in her voice. “What is it?” “I don’t know. I think I saw something flash on to the number two corridor scanner.” “Something? Well, what did it look like?” Holly asked, coming over to the battery of screens set into the control panel. “I’m sorry, I couldn’t make it out.” “Are you sure it wasn’t Karl dashing around like he usually does?” Kate shook her head. “It wasn’t Karl. Wait a second, let me punch up corridor two’s second scanner. Maybe we can pick something up at the other end of the runway.” Kate pushed the button. The picture went black, then returned. But there was nothing visible except the empty corridor. “What’s that?” Holly asked suddenly. “In the corner of the screen.” “It wasn’t there a second ago. Maybe it’s a speck of dirt on the lens.” “It doesn’t look like dirt to me. Enlarge the picture. Blow it up by three—no, make it four—times.” Kate turned a dial and the picture expanded. The object moved ever so slightly. “I didn’t think that was a speck of dirt. That’s the end of a claw! Swing the camera around.” Kate put the camera on a 180-degree rotation. There was nothing out of the ordinary until suddenly the screen went dark. Holly pressed herself against the control panel. “Punch up the lab scanner and quick!” A woman’s body flashed on to the screen. “It’s Sandy!” Kate shouted. “And the creature’s gone! That’s what we saw in the corridor. Somehow it’s escaped.” Kate looked up at Holly but the commander’s attention was riveted to the screen. Something was coming into view. It was out of focus but Holly had no doubt what it was. She pounded her fist on to the emergency alarm switch setting off a shrill intermittent siren. The creature leapt into view. It appeared confused, not knowing which way to go. Its head rolled back and seemed to be staring at the ceiling. Holly picked up the microphone and threw a switch on the audio console that opened every speaker in the system. “We’ve got a Code-Red Emergency. The creature has escaped from the lab and it’s trapped in corridor two. I’m remoting the hatch locks to keep it confined. Gary and Kate, I want you to head down there immediately. Don’t take any unnecessary chances. Destroy it if you have to.” Just then the professor stormed into Command. “What happened? How did it get loose?” Mitch wanted to know. “It’s free and it’s attacked Sandy.” “Is she hurt badly?” Mitch asked. “Can’t tell. I only picked it up on the lab scanner.” “I’m going down there.” he said, heading towards the door. “No! I forbid it! Your responsibility on the mission is academic. Kate and Gary are trained for this eventuality. They know how to handle it.” “Holly, I’ve got to be there.” Mitch didn’t wait for an answer. He knew he was disobeying orders but it was too important for him to stay behind. Holly had other, more pressing things on her mind and figured she’d deal with Mitch later. After all, the mission was taking place mostly because of his association with it and his eminence in the field of intergalactic archaeology. by Larry Miller have rating 4 out of 5 / Based on32 votes
8999	dbpedia	1	65	https://www.pinterest.com/pin/classic-horror-anthology-with-peter-cushing-and-ray-milland--244531454760058286/	en		https://s.pinimg.com/web…x48-7470a30d.png	https://s.pinimg.com/web…x48-7470a30d.png	[]	[]	[]	[ "" ]	null	[]	2023-02-06T16:02:13+00:00	The Uncanny: Directed by Denis Héroux. With Peter Cushing, Ray Milland, Joan Greenwood, Roland Culver. Wilbur Gray, a horror writer, has stumbled upon a terrible secret, that cats are supernatural creatures who really call the shots. In a desperate attempt to get others to believe him, Wilbur spews three tales of feline horror.	en	https://s.pinimg.com/web…144-3da7a67b.png	Pinterest	https://www.pinterest.com/pin/artigli--244531454760058286/
8999	dbpedia	1	49	https://johnnyalucard.com/non-fiction/articles/bad-dreams-afterword/	en	Bad Dreams/Bloody Students Afterword	https://i0.wp.com/johnny…=320%2C500&ssl=1	https://i0.wp.com/johnny…=320%2C500&ssl=1	[ "https://i0.wp.com/johnnyalucard.com/wp-content/uploads/2020/04/three-city-limits-covers.jpg?resize=750%2C359&ssl=1", "https://i0.wp.com/johnnyalucard.com/wp-content/uploads/2011/05/ghastlybeyondbelieflarge.jpg?resize=179%2C300&ssl=1", "https://i0.wp.com/johnnyalucard.com/wp-content/uploads/2020/03/Bad-Dreams.jpg?resize=183%2C300&ssl=1", "https://i0.wp.com/johnnyalucard.com/wp-content/uploads/2011/05/orgyofbloodparasites.jpg?resize=189%2C300&ssl=1", "https://i0.wp.com/johnnyalucard.com/wp-content/uploads/2014/11/baddreams2014.jpg?resize=160%2C250&ssl=1", "https://i0.wp.com/johnnyalucard.com/wp-content/uploads/2011/05/addtogoodreads.png?w=750" ]	[]	[]	[ "" ]	null	[]	2020-04-06T12:36:13+00:00	Bad Dreams/Bloody Students Afterword I spent much of the 1980s affiliated to arts collectives, including Sheep Worrying Enterprises – a Somerset-based theatre-music-fanzine-whatever bunch for whom I wrote or co-wrote a bunch of plays – and the London listings magazine City Limits. With Neil Gaiman and Eugene Byrne, I was also responsible for the Peace and…	en	https://i0.wp.com/johnny…it=32%2C32&ssl=1	The Kim Newman Web Site	https://johnnyalucard.com/non-fiction/articles/bad-dreams-afterword/	I spent much of the 1980s affiliated to arts collectives, including Sheep Worrying Enterprises – a Somerset-based theatre-music-fanzine-whatever bunch for whom I wrote or co-wrote a bunch of plays – and the London listings magazine City Limits. With Neil Gaiman and Eugene Byrne, I was also responsible for the Peace and Love Corporation, which provided humorous filler articles for girlie magazines like Knave and Fiesta and was a mainstay of the short-lived funny magazine The Truth. We would have liked to do one of those wildly successful trivial humour paperbacks, but no one was interested in publishing our projected laff-a-paragraph guaranteed hit How to Lose Friends and Irritate People – perhaps because none of us could draw (Neil can a bit, actually) and those things all had scratchy cartoons of dead cats or live penises in them. Aside from giving us a much-needed source of freelance income, the P&LCo (like Sheep Worrying) was a testing ground for ideas we’d develop later. Several of Neil’s comics arcs and novels echo a structure we’d used for a series of articles on various big topics (education, religion, etc) in which a naïve narrator (his name was Paul Lobkowitz) is accompanied on a journey by an ambiguous trickster know-it-all (Dr Sigmund von Doppelganger) who would teach him life lessons, essentially, by ripping him off. It’s possible (ahem) we were thinking of the relationship between Swamp Thing and John Constantine in the Alan Moore-Steve Bissette-John Totelben run on Swamp Thing. I first experimented with the Choose-Your-Own-Adventure format of my novel Life’s Lottery in a Penthouse piece co-written with Neil called ‘Sexual Pursuit’, about a hapless bloke trying to hook up in the singles hot-spots of Leamington Spa (mostly, it didn’t end well). Though the bulk of the P&LCo stuff was written by Neil, Eugene and me, other folk who happened to be in the room when we were trying to be funny sometimes joined in. Stefan Jaworzyn, and prime mover of the band Skullflower, was a frequent contributor, as was the late Phil Nutman, British correspondent of Fangoria magazine. In a roundabout way, the novels collected here are Phil’s fault. I met Stefan at Sussex University at an all-night screening of horror films in 1978 and ran into him again in 1984 at the Scala Cinema, where he later co-curated the Shock Around the Clock festivals. I first agreed to work with Neil on what became our little-known book of science fiction quotations Ghastly Beyond Belief when Jo Fletcher introduced us at a British Fantasy Society pub meeting in 1983 (I think she was trying to get rid of him). Neil, Stefan and I were at the Scala for a launch party for a book about film posters in October 1984 and met Phil there. Some of us watched The Projected Man that afternoon, and went on to the press screening of The Last Starfighter in the evening. This was the era of VHS, and we’d often get together in the tiny room I had in a hippie flat in Muswell Hill for marathon-length overnight viewing sessions. I had started reviewing films for City Limits and the Monthly Film Bulletin, and occasionally Venue in Bristol, where Eugene was an editor. Anne Billson was often sent by Time Out to cover the same films, and we all met her about the same time. Stephen Jones and Dave Reeder founded the important ‘80s film fanzine Shock Xpress, which Stefan took over … and we all wrote for that, along with Shock Around the Clock co-chairman Alan Jones. Clive Barker’s first Books of Blood made a splash in the genre and he got started on doing all the things he’s done, in theatre, film, literature and painting. Clive lived in Crouch End, in the street next to the one I moved to in 1988. Peter Straub had once lived there too. A weird fact: Anno Dracula, the Books of Blood and Ghost Story were all written within a circle a hundred yards or so across. Phil was filling the pages of Fangoria by interviewing British filmmakers who specialised in horror. There wasn’t much actual British horror cinema produced in the 1980s, though Clive sold the screenplays that became Underworld and Rawhead Rex (which Neil and I nearly got to work on when Clive momentarily blanched at one more set of producers’ notes) and was persuaded by the experience to direct Hellraiser himself. One of Phil’s interviewees was the genial Norman J. Warren, director of Satan’s Slave, Prey and Terror. He had recently made Inseminoid for American-based producer Richard Gordon – a lively Alien knock-off shot in Chiselhurt Caves which prompted Alan Jones to wonder whether ‘chainsaws would feature so heavily in future space programmes’. Phil reported back to the P&LCo folk that Norman was looking for original script ideas he could take to Richard … and so we set out to come up with a whole slate of them, in the hope that one would rise to the top. The four of us sat in that tiny room and hashed out four different stories in different sub-genres, trying (and probably failing) to think within the sort of budget available. Our brief was fairly loose, though I believe Norman said it would be helpful if one or two of the lead actors were American – Inseminoid had gone that route, probably because Alien had. Each of us took away a set of notes to write up. Neil’s was Remember Remember, a holiday-themed slasher movie about Guy Fawkes Night. We must have heard of V for Vendetta, which had begun in the British comic Warrior but was curtailed mid-story with the title’s cancellation – but couldn’t have foreseen that the Guy Fawkes mask would ever catch on. Phil worked on Hell Fire, a scrambling of the plots of The Maltese Falcon and Night of the Demon which I eventually reworked as a short story ‘Mother Hen’ (reprinted in the appendix of the Titan edition of The Quorum) – though I didn’t have a copy of the outline to hand when I wrote it up, and only remembered the original concept. Stefan got Bloody Students, our shot at a ‘virus outbreak’ story along the lines of George Romero’s The Crazies or David Cronenberg’s Rabid. Stefan and I had been at university together, and enjoyed the idea of staging mutant attacks and battles on our old campus. Stefan came up with the tag-line ‘Bloody Students …first, they cut their grants, then they cut their throats!’ This was before student loans, when we literally didn’t know how well off we were. Then there was Bad Dreams, which I was in charge of. Our first thought for this was to revive a type of horror/crime film that hadn’t been done lately, in which the menace is a semi-supernatural crime boss like Dr Mabuse or Fu Manchu. After talking that through, we came to think it might be a hard sell – though we had hit on the title, which we were rather pleased with since it was a commonplace expression that hadn’t been used as a horror film title before. Given the recent success of A Nightmare on Elm St, we switched our master crook for an immortal vampire type who could manipulate reality (Neil and I were – and still are – great admirers of Philip K. Dick, which probably shows) to persecute our (American) journalist heroine. I suppose the Cenobites of Hellraiser have a similar m.o., but it should be obvious we were more influenced by Clive – The Damnation Game had come out – than he could have been by us, though Neil has suggested that the Cenobites were loosely based on the Peace & Love Corporation. The character of Clive Broome in Bad Dreams was called Clive Harker in the original outline; we played with the names of other friends too. The heroine is named Anne Nielsen in tribute to Anne Billson, who – in retrospect – we should have asked to join in as writer (I later worked with her on a play, The Hallowe’en Sessions). She later wrote the novelisation of Dream Demon, the British Nightmare on Elm Street ripoff which did get made. Norman and Richard quite liked our ideas, especially Bad Dreams and Bloody Students, but no development money was forthcoming and so the P&L Co film projects fizzled out. In 1987, Norman made Bloody New Year instead. I later learned that Slimer, a wonderfully lurid paperback co-written by our friends John Brosnan and Leroy Kettle under the pseudonym Harry Adam Knight, had also started out as a pitch for a Warren-Gordon film; Slimer had the distinction of eventually being turned into a movie, the direct-to-video quickie Proteus. It was the beginning of great things for Harry – who delivered a masterpiece in The Fungus (now reissued and an essential read) and founded a genetic dinosaur franchise in Carnosaur (adapted as a series of films by Roger Corman). All the while, I was working on my own projects. I’d written a novella-length draft of my first novel The Night Mayor, the opening chapters of Jago (a stab at a big thick horror book along the lines of Ghost Story or ‘Salem’s Lot) and pages of notes for a projected trilogy that (after a lot of changes) became the Anno Dracula series. Neil and I talked about co-writing a disgusting horror paperback (there were lots of those about) called The Creeps, about mutants in the tunnels under London (where Neil would later set the mostly mutant-free Neverwhere). We also pondered a killer badger book called The Set. With Eugene, we worked on a computer game scenario and an unrelated novel both called Neutrino Junction – both sadly uncompleted. A year or so after we had outlined our film ideas and nothing was happening with them, I was at a loose end and decided to write Bad Dreams as a novel. I hammered out a first draft on an IBM electric typewriter. This didn’t sell until after I’d placed The Night Mayor with Simon & Schuster in 1989; the final version benefited greatly from the input of my agent Antony Harwood and editor Maureen Waller. The ‘Entr’Acte’ section was written well after the bulk of the book, very close to its 1990 publication – in the middle of the night because I was jet-lagged after my first trip to America. It’s one of my favourite sequences in the novel. There are elements in the book that feel to me like they came from Neil, Stefan or Phil – a lot of Neil’s stories feature protagonists with remote or monstrous parents, for instance. Neil also did all the research (rather more than we needed, really – but he made a convincing case for it) into seamy Soho clubs, with full credit to Roz Kaveney for getting him past fearsome door security. Stefan went along one night, but couldn’t stop laughing which probably ruined the mood. Other elements came from Norman’s briefing: making Anne an American in London wasn’t something I’d naturally have done – authentic American Lisa Tuttle kindly read the manuscript and gave feedback about this side of things. Dream Demon and Hellraiser have American heroines, so Norman might well have been on to something. While we were outlining, we talked a bit about who we’d like to see cast. I remember us thinking of Rosanna Arquette or Linda Hamilton, both doing interesting things in small-scale films like Baby, It’s You or The Terminator about then … though we also liked the idea of casting Sandra Bernhard and Amanda Plummer as the Nielsen sisters. One actor we wanted for the main villain roles in all our pitches was Richard Lynch, who had a very distinctive look – on an acid trip in 1967, he set fire to himself and his combination of scarred skin and handsome bone structure that got him a lot of sinister parts. He’s remarkable as the alien hermaphrodite messiah in Larry Cohen’s God Told Me To, but was most visible at the time we were working on these ideas as a Russian baddie in the Chuck Norris classic Invasion USA. Skinner, of Bad Dreams, and Lynch, of Bloody Students, are both tailor-made Richard Lynch parts. I think we wrote him into the other two stories as well. Ironically, in 1988, after I’d written the first draft of the novel, a film called Bad Dreams was produced in America … not only was it a Nightmare on Elm Street ripoff, but it cast Richard Lynch as the ghostly menace. It went straight to video in the UK, and didn’t have a high enough profile to persuade me to change the title. As a teenager, I had read How to Write a Novel, a very useful book of practical advice by John Braine which I mostly ignored … one thing that stuck in my mind was that Braine said he would reject out of hand any book that used a title which was a quote from Hamlet or Macbeth, prompting me to nod sagely and vow never to do that. Though it sounds like a commonplace, the phrase ‘bad dreams’ is actually a quote from Hamlet … ‘O God, I could be bounded in a nutshell and count myself a king of infinite space, were it not that I have bad dreams.’ So, in a nutshell, two permanent additions to the English language in one throwaway line. With some trepidation, I showed my first draft to Neil, Phil and Stefan – who were supportive and gave helpful advice. The whole ‘Broadway play’ sequence, which would have been difficult to do on film, was not in the outline and so was new to them; Neil made a key suggestion about the use of Martin Landau as a face for the monster, riffing on the way he would peel off masks each week in Mission: Imposssible. Phil and Lisa both made me go back over Anne’s character and work a bit harder on making her distinctive … which eventually led to her reappearing in my novel The Quorum, which grew out of this period in my life and the milieu the P&LCo were hanging about in. Having done it once, I was sort of impelled to give it another go – turning the nugget of Hell Fire into ‘Mother Hen’, which Steve Jones published in Fantasy Tales. Then, at a point when I was blocked on other things, it occurred to me that it wouldn’t hurt to have another novel-length manuscript to show around. I set out to write Bloody Students inside a week, the way Roger Corman made The Little Shop of Horrors when he had a spare three days’ shooting. The downside was that I didn’t have a copy of the full outline, so I had to reconstruct it from memory and a few notes. I diverged greatly from the more controlled movie we had envisioned. My feeling was that doing a book this fast would mean tapping into the energy and verve of B Corman’s pictures. I was also hoping to write something in the wild spirit of Harry Adam Knight. If it didn’t sell, I’d only lost a week. As it happens, it sold twice – Malcolm Edwards at HarperCollins bought it, on a recommendation from Mike Dickinson, but the bottom dropped out of the pulp paperback horror market and they returned the book to me, though a nice, lurid cover had already been created. Eventually, after my early novels had found a place at Simon & Schuster, Martin Fletcher – my editor on Anno Dracula, The Quorum and Life’s Lottery – bought Bloody Students, though he asked for a new title. I chose Orgy of the Blood Parasites, working title for David Cronenberg’s 1974 breakthrough film Shivers. Having moved from IBM typewriter to AMSTRAD word processor, I put the book through a second draft, adding several more days to the schedule (and increasing the body count) but not really tidying it up much. By then, I had started a parallel career writing as Jack Yeovil for Games Workshop, in the Warhammer Fantasy and Dark Future series, and it made sense to issue Orgy as a Jack Yeovil joint. I’m happy these two books are available again, especially in this double bill edition. Technically, they were first published in the 1990s … but they were (mostly) written in the ’80s, before we got even slightly respectable. Reading them, I’m reminded of marathon video-watching, funny articles for porn mags, lively meals in cheap restaurants, the heights and lows of 1980s cinema, barbeques at Steve and Jo’s in Wembley, Sussex University in the 1970s and North London in the 1980s, long-gone magazines that didn’t die well, random introductions in pubs that changed the courses of lives, regular cinemas showing double bills like My Bloody Valentine and The Funhouse, gone-too-soon talents like Phil and Rob Holdstock and John Brosnan, the March for Jobs and Miners’ Strike fund-raisers, Neil and Clive with their original accents, sleeping on floors between sessions at the typewriter, watching reruns of Bilko and The Avengers when inspiration flagged, struggling with these computer things that would never catch on, writing a musical (the last great Sheep Worrying production) in two afternoons (break-out hit: ‘I’m Too Fat to Rock’), meetings with ripoff merchants, video nasties (frankly, that’s what these books would have been if filmed in 1986 – and proud of it), FantasyCons in Birmingham and Shock Around the Clock in King’s Cross, Margaret Thatcher going on and on and on, Captain Sensible singing ‘Happy Talk’, Betty Blue and Blue Velvet, and the thing that was said in the place where we went that time. Kim Newman, thirty years later …
8999	dbpedia	3	50	https://www.spectacletheater.com/author/spectacletheater/page/47/	en	spectacletheater – Page 47 – Spectacle Theater	https://www.spectaclethe…chead1-32x32.jpg	https://www.spectaclethe…chead1-32x32.jpg	[ "https://www.spectacletheater.com/wp-content/uploads/2017/04/spechead-hires.jpg", "http://www.spectacletheater.com/wp-content/uploads/2015/08/AW_Series_Banner-2.png", "http://www.spectacletheater.com/wp-content/uploads/2015/08/AW_Betaville_Banner_2.jpg", "http://www.spectacletheater.com/wp-content/uploads/2015/08/AW_Gravity_Banner-2.jpg", "http://www.spectacletheater.com/wp-content/uploads/2015/08/AW_Deflowering_Banner_2.jpg", "http://www.spectacletheater.com/wp-content/uploads/2015/08/banner_2.jpg", "http://www.spectacletheater.com/wp-content/uploads/2015/08/CH_banner.png", "http://www.spectacletheater.com/wp-content/uploads/2015/08/headspacebanner.jpg", "http://www.spectacletheater.com/wp-content/uploads/2015/08/ngozi-banner.jpg", "http://www.spectacletheater.com/wp-content/uploads/2015/08/mondo-bizarro-header.jpg", "http://www.spectacletheater.com/wp-content/uploads/2015/08/mondo-freudo-header.jpg", "http://www.spectacletheater.com/wp-content/uploads/2015/08/the-forbidden-header.jpg", "http://www.spectacletheater.com/wp-content/uploads/2015/07/soutter_seriesbanner.jpg", "http://www.spectacletheater.com/wp-content/uploads/2015/07/moon-banner1.jpg", "http://www.spectacletheater.com/wp-content/uploads/2015/07/hascisch-banner1.jpg", "http://www.spectacletheater.com/wp-content/uploads/2015/07/apple-banner1.jpg", "http://www.spectacletheater.com/wp-content/uploads/2015/07/james-banner1.jpg", "http://www.spectacletheater.com/wp-content/uploads/2015/07/surveyors_banner-1.jpg", "http://www.spectacletheater.com/wp-content/uploads/2015/07/CON-MYTH_Banner.jpg", "http://www.spectacletheater.com/wp-content/uploads/2015/07/CON-MED-1_Banner.jpg", "http://www.spectacletheater.com/wp-content/uploads/2015/07/CON-MED-2_Banner.jpg", "http://www.spectacletheater.com/wp-content/uploads/2015/07/CON-MED-3_Banner.jpg", "http://www.spectacletheater.com/wp-content/uploads/2015/07/CON-MYTH_poster.jpg", "http://www.spectacletheater.com/wp-content/uploads/2015/07/mysticsin_balibanner.png", "http://www.spectacletheater.com/wp-content/uploads/2015/07/ladyterminatorbanner.png", "http://www.spectacletheater.com/wp-content/uploads/2015/07/the_warriorbanner.png", "http://www.spectacletheater.com/wp-content/uploads/2015/07/godsaidtocain-banner.jpg", "http://www.spectacletheater.com/wp-content/uploads/2015/07/toxic_zombies-banner.jpg", "http://www.spectacletheater.com/wp-content/uploads/2015/07/embalmer-banner.jpg", "http://www.spectacletheater.com/wp-content/uploads/2014/01/LASER_MISSION_BANNER.jpg", "http://www.spectacletheater.com/wp-content/uploads/2015/07/ninjamission-banner.jpg", "http://www.spectacletheater.com/wp-content/uploads/2015/07/my_chauffeur_header.jpg", "http://www.spectacletheater.com/wp-content/uploads/2015/07/horrorpartybeach-banner.jpg", "http://www.spectacletheater.com/wp-content/uploads/2015/07/horrorofpartybeach650.jpg", "http://www.spectacletheater.com/wp-content/uploads/2015/07/tumblr_m56c34h6T11qg7h76o1_500.jpg", "https://www.spectacletheater.com/wp-content/uploads/2017/01/Spectaclenewfront.jpg", "https://www.spectacletheater.com/wp-content/uploads/2018/11/WithFriends_button_pink.png" ]	[]	[]	[ "" ]	null	[]	2015-08-28T16:22:47-04:00		en	https://www.spectaclethe…chead1-32x32.jpg		null	WEDNESDAY, SEPTEMBER 2 – 7:30 PM SATURDAY, SEPTEMBER 12 – 10:00 PM FRIDAY, SEPTEMBER 18 – 8:00 PM w/ Alyce Wittenstein, Steve Ostringer, & Garrett Oliver in attendance for intro/Q&A! MONDAY, SEPTEMBER 28 – 10:00 PM Alyce Wittenstein has been called the “Queen of the New York Underground” and this September, Spectacle is pleased to play host to her and the films making up her MULTIPLE FUTURES trilogy. These films are jam packed with familiar faces, exquisite set pieces, snappy dialogue, and dazzling costumes. While the films have indeed been shown the world over, these screenings will be the first in New York in almost two decades. Join us all month for these remarkable films in a celebration of science fiction, hilarity, character actors, and ghastly view of a not-too-distant world. PLUS Special guests, vintage press and screening ephemera from around the world, original props, maybe some custom made buttons, outtakes, and more! BETAVILLE Dir. Alyce Wittenstein, 1986 20 min. The first in what would come to be known as the MULTIPLE FUTURES trilogy, BETAVILLE – a post-modern nightmare – finds a down and out detective Coman Gettme (played by Wittenstein mainstay Steve Ostringer) returning to his hometown after a chance meeting with The Girl (Holly Adams). Once the two arrive in Gettme’s Cadillac things immediately go from bad to worse for this gumshoe when he learns, over a slice at Stromboli’s, that High Fashion is the new law in town. Gettme becomes obsessed with The Girl and is determined to meet back up with her and “save” her from the these fashionable fascists. BETAVILLE kicks off the trilogy in a pitch perfect send up of the French New Wave and science fiction, and turns noir on it’s ear while (literally) running through some familiar parts of NYC. Holly Adams is nothing short of dynamite and Ostringer’s distinctive production design would lay the groundwork for the look of the films to come. Years before becoming Brewmaster at the Brooklyn Brewery, Garrett Oliver was co-producer on the film. The short would go on to be nominated for a number of awards at festivals and play all over the world – often (unsurprisingly) alongside Godard’s ALPHAVILLE. “Most of the detective narrator dialogue is clever, the cinematography is excellent, and I liked the (sort of) industrial music and the song by the Singing Squirrels.” – Michael J. Weldon, Psychotronic Magazine #2, 1989. NO SUCH THING AS GRAVITY Dir. Alyce Wittenstein, 1989 40 min. In the not too distant future the LaFont corporation has all but taken over Earth. The company has revolutionized all elements of style, beauty, education, and housing but in the process (progress?!) has shipped many of Earth’s more “useless” inhabitants to the mysterious man made planet – and the largest scale experiment in human history – known as Nova Terra. Two scientists – Kay Zorn (Holly Adams) and Albert Leenhardt (Steve Robinson) are about to receive a prestigious award for their work on the LaFont Facelifter when they learn that Nova Terra is disrupting the Earth’s gravitational pull and will soon collide if it’s not destroyed. A headstrong lawyer and Kay’s boyfriend – Adam Malkonian (a scenery chewing Nick Zedd) – mouths off to a judge (the incomparable Taylor Mead – RIP) while defending a human teacher and is ordered to be relocated to the doomed planet. After meeting with the ambassador of Nova Terra (Emmanuelle Chaulet of Eric Rohmer’s BOYFRIENDS AND GIRLFRIENDS), Malkonian learns that perhaps the LaFont Corporation hasn’t been entirely truthful about what really happens on Nova Terra and vows to stop the destruction. Wittenstein’s first sync sound film is overflowing with amazing set pieces and incredible performances. Some scenes were shot at the New York Hall of Science – including an Ames room and a number of other dazzling optical illusions. Look out for cameos from Michael J. Anderson (TWIN PEAKS), Wittenstein’s father as the insidious Andreas LaFont, and the director herself on Nova Terra. THE DEFLOWERING Dir. Alyce Wittenstein, 1994 40 min. “The crisis consists precisely in the fact that the old are dying and the new cannot be born; in this interregnum a great variety of morbid symptoms appear.” – Antonio Gramsci, Prison Notebooks. The quote above opens Wittenstein’s third and final film – THE DEFLOWERING. Again featuring some of Wittenstein’s tried and true players – Holly Adams, Emmanuelle Chaulet, Taylor Mead, and more – the film concerns yet another evil corporation this time HUXLEY BIO-TECH and their means to sanitize/beautify this world of ours. This time Wittenstein (with Ostringer back on production design) takes the costuming helm as well. The TIB (Total Immune Breakdown) virus has left the planet reeling and lethal allergic reaction are at an all time high. Huxley’s efforts to produce perfect, designer children that are immune to viruses have had the side effect of hyper-allergic reactions. Why isn’t anything being done about allergies? No one wants to fund it! With the mortality rate skyrocketing, can mankind bounce back and feel the soft caress of skin against skin ever again or will the line at the Holo-Memorial Funeral Home grow ever longer? THE KALAMPAG TRACKING AGENCY: AN EVENING OF FILM FROM THE PHILIPPINES SPANNING THE PAST 30 YEARS Dir. Various, 1985–2015 Various, 67 min. FRIDAY, SEPTEMBER 4 – 8:00 PM ONE NIGHT ONLY! Spectacle is pleased to host The Kalampag Tracking Agency for an evening of film from the Philippines spanning the past 30 years. Filmmaker Gym Lumbera, artist Miko Revereza, and guest curator Lian Ladia will join us for a Q&A after the program. The Kalampag Tracking Agency is a curatorial and organizational collaboration between Shireen Seno and Merv Espina. Overcoming institutional and personal lapses to give attention to little-seen works—some quite recent, some surviving loss and decomposition—this program collects loose parts in motion, a series of bangs, or kalampag in Tagalog, assembled by their individual strengths and how they might resonate off each other and a contemporary audience. Featuring some of the most striking films and videos from the Philippines and its diaspora, this initiative continues to navigate the uncharted topographies of Filipino alternative and experimental moving image practice from the past 30 years. All works in this program are screened with the kind permission of the individual artists, the Mowelfund Film Institute and the Ateneo Art Gallery. DROGA! Dir. Miko Revereza, 2014 Philippines/USA, 7 min. 21 sec. A Super 8 tourist film about the Los Angeles landscape through the lens of Filipino immigrants, examining cultural identity bydocumenting the intersections of American pop culture and Filipino traditions. Miko Revereza was born in Manila and grew up in the San Francisco bay area. Since relocating to Los Angeles in 2010, he’s worked primarily on music videos and live video art installations for L.A.’s experimental music scene. His personal films explore identity and the Americanization of the Filipino immigrant. MINSAN ISANG PANAHON Aka ONCE UPON A TIME Dir. Melchor Bacani III, 1989 Philippines, 4 min. An experiment in optical printing using Super 8 home movies and hand-colored found film material. The film was created during the influential Christoph Janetzko workshops, conducted in 1989 and 1990, in collaboration with Mowelfund Film Institute, Goethe Institut and the Philippine Information Agency. Melchor Bacani III was an active staple of the Mowelfund Film Institute (MFI) film workshops in the late 80s and early 90s, creating several films in the process. ABCD Dir. Roxlee, 1985 Philippines, 5 min. 22 sec. An experimental animation, decidedly crude in approach, part sociopolitical commentary and surrealist whimsy, advocating for a new and personal take on the alphabet. Roxlee is an icon of underground Philippine cinema. Apart from making animated and collage films, he is also a comic-strip artist known for ‘Cesar Asar’ and ‘Santingwar’. In the late 80s, he was featured in retrospectives in Hamburg and Berlin. In 2010, he received the Lifetime Achievement Award from the Animation Council of the Philippines. BUGTONG: ANG SIGAW NI LALAKE Aka RIDDLE: THE SHOUT OF MAN Dir. RJ Leyran, 1990 Philippines, 3 min. 20 sec. Rumoured to have used footage salvaged from a commercial studio dumpster, the film is a commentary on Filipino on-screen macho culture and one of the rare surviving works in the brief filmmaking career of Ramon ‘RJ’ Leyran. It was a product of the last Christoph Janetzko film workshop, with a focus on experiments with optical printers, held in 1990. RJ Leyran was active on and off screen in the late 80s and early 90s independent film communities. He was also an actor in several television soap operas, commercials, and movies, including Radio (2001), Ikaw Lamang Hanggang Ngayon (2002) and The Great Raid (2005). VERY SPECIFIC THINGS AT NIGHT Dir. John Torres, 2011 Philippines, 4 min. 29 sec A mobile phone film that captures the peculiar tension between the beauty, violence, and raw exuberance of New Year’s Eve in Manila. Shot on Mahiyain Street (Shy Street), Sikatuna, a stone’s throw away from the house of Chavit Singson, who also led the masses to bring then President Estrada out of the presidential palace. A poet among Filipino filmmakers who work outside the commercial film industry, John Torres has developed an idiosyncratic cinematic syntax, often using on or off-screen spoken texts, including the poetry of local authors. The imagery and structure of his films are not prosaic, but associative and fragmented. JUAN GAPANG Aka JOHNNY CRAWL Dir. Roxlee, 1986 Philippines, 7 min. 18 sec. A man searches for his destiny while crawling the streets of the metropolis at the height of the Marcos dictatorship, traversing the main EDSA thoroughfare, and tracing the shadows of the pillars of the Manila Film Center, all just before the People Power Revolution and the storming of EDSA that toppled the Marcos regime. Roxlee is an animator, visual artist, musician, and filmmaker, working with the barest of materials to conjure powerful images with biting humor. His book ‘Cesar Asar in the Planet of the Noses,’ a collection of his cartoons and short stories, was published in 2008. CHOP-CHOPPED FIRST LADY + CHOP-CHOPPED FIRST DAUGHTER Dir. Yason Banal, 2005 Philippines, 1 min. 54 sec. A tongue-in-cheek poke at our own culture and recent history. The First Lady is none other than Imelda Marcos, the First Daughter none other than Kris Aquino. Both women’s lives and antics juxtaposed with gory evocations of the highly-publicized chop-chop lady murders that were exploited by those 90s slasher films Aquino herself starred in. This was piece was last shown as a 2channel video installation at the Ateneo Art Gallery (AAG), and is reformatted as split screen for the purposes of this screening program, with kind permission from the artist and AAG. Yason Banal studied Film at the University of the Philippines and Fine Art at Goldsmiths College-University of London. He has exhibited widely in Manila and abroad at the Tate, Frieze Art Fair, Guangzhou Triennale, Yerba Buena Center for the Arts, AIT Tokyo, Singapore Biennale, Oslo Kunsthall, Christie’s, IFA Berlin, Shanghai Biennale and Queens Museum of Art. THE RETROCHRONOLOGICAL TRANSFER OF INFORMATION Dir. Tad Ermitaño, 1994 Philippines, 9 min. 33 sec. Less a documentary than a marvelous if irreverent parody of science fiction films. A humorous meditation on time, politics, and point of view in cinema. Hoping to send a message back in time by equipping the camera to shoot through Rizal’s portrait on Philippine money, Ermitano plays with the boundaries of different points of view: Rizal’s, that of Philippine politics, the camera’s, the filmmaker’s, and ours—as well as with the temporal relations between them. Tad Ermitano studied biology at the University of Hiroshima, philosophy at the University of the Philippines, trained in film and video at MFI, and was co-founder of pioneering multimedia collective Children of Cathode Ray. ARS COLONIA Dir. Raya Martin, 2011 Philippines, 1 min. 13 sec. A conquistador counts his blessings in this hand-colored effigy evoking old, silent war iconography. Commissioned by the International Film Festival Rotterdam in 2011, it screened before all films supported by IFFR’s Hubert Bals Fund. Raya Martin has more than a dozen films to his credit: an ambitious, constantly evolving body of work consisting of fiction features, documentaries, shorts, and installations. Martin draws on a wide array of sources—combining pop culture references, archival material, and avant-garde structuralism—in his radically lyrical works. This daring, restless filmmaker with a sensibility all his own suggests entirely new ways of approaching film, personal, and national history. CLASS PICTURE Dir. Tito & Tita, 2012 Philippines, 4 min. 41 sec. Shot on a single roll of expired 16mm film, this ‘photography film’ injects evokes faded memories and injects lyricism and humor into the archetypal class picture, alongside the fleeting sound of waves crashing on a beach. Tito & Tita (Manila, Philippines) is a collective of young artists working mainly with film and photography via a variation of experimental techniques. As individual filmmakers, their works have been featured in various film festivals and art fairs. As a collective, they have exhibited in Manila, Singapore, and Tokyo. ANITO Dir. Martha Atienza, 2012 Philippines/Netherlands, 8 min. 8 sec. An animistic festival Christianized and incorporated into Folk Catholicism slowly turns into modern day madness. A tragicomic portrait of a small island town whose livelihood is deeply rooted in and bound to the sea. Martha Atienza lives and works in the Netherlands and the Philippines. Her works are sociological in nature, reflecting a keen observation of her direct environment. Atienza understands her surroundings as a landscape of people first and foremost. HINDI SA ATIN ANG BUWAN Aka THE MOON IS NOT OURS Dir. Jon Lazam, 2011 Philippines, 3 min. 31 sec. Travel footage from a family holiday on the island of Bohol, Philippines, is captured in black and white, without sound, on a basic video camera, in this contemplative piece on lost love, distance, resignation and sadness. Jon Lazam is an experimental filmmaker based in Manila. His works have screened abroad in Chicago, Rio de Janeiro, Montreal, Paris and San Francisco. His most recent work, Pantomime For Figures Shrouded By Waves, premiered at the Sharjah Biennial, and won Best Short Film at the Cinemanila International Film Festival. KALAWANG Aka RUST Dir. Cesar Hernando, Eli Guieb III & Jimbo Albano, 1989 Philippines, 6 min. 33 sec. One of the most prominent and well-crafted films that emerged from the Christoph Janetzko experimental film workshops, Kalawang is a satirical piece that uses found footage of war, sex, and pop culture to unpick the cultural and libidinal complex of colonization. Cesar Hernando is a filmmaker and one of Philippine cinema’s best production designers, having contributed to films of Mike De Leon, Ishmael Bernal, and Lav Diaz. Eli Guieb III is a filmmaker and award-winning fiction writer. Jimbo Albano is an artist and editorial illustrator for BusinessMirror and Philippines Graphic Magazine. This program would be impossible to put together without the kind support of the individual artists, the Mowelfund Film Institute, UP College of Mass Communications, UP Film Institute, Ateneo Art Gallery, Green Papaya Art Projects, Terminal Garden, and the National Film Archive of the Philippines. The screening prints of the 8mm and 16mm films created in the 80s and 90s that are featured in the Kalampag Tracking Agency are mostly unavailable, missing or completely decomposed. Some of the lucky ones have negatives and/or preservation copies left. The screening versions of the older works in this screening program come from crude U-Matic, VHS and Betamax transfers. The curatorial team is still in the process of tracking down the surviving prints. An expanded version of this program was previously shown at the University of the Philippines Film Institute, Green Papaya Art Projects, and EXiS Experimental Film and Video Festival in Seoul, August–September 2014. Of the filmmakers associated with the so-called New Swiss Cinema, itself not particularly well-known abroad, Michel Soutter has perhaps the least claim to being any kind of household name. Alain Tanner and Claude Goretta are known outside their homeland, but Soutter has largely remained what he consciously started out as: a provincial filmmaker. Throughout his three-decade long career he stuck to the region between Geneva and Fribourg, setting all his films in the cities and their immediate environs. This geographical intimacy translates to a personal intimacy. His main focus is always the little particularities and material details of the lives of his characters, the clothes they wear and the furnishings in their houses. But what makes Soutter interesting is not the mere documentary value of his films—the immortalization of various minutiae of life in the provinces—but the purposes he uses it for: denouncing the spiritual vacuity of the Swiss bourgeoisie, finding value in idle playfulness, and lending his voice to a frustrated generation of directionless rebels who rattle their golden fetters if not actually breaking through them. In his later films Soutter would go on to collaborate with such well-known figures of French cinema as Jean-Louis Trintignant, Delphine Seyrig, and Pierre Clémenti, but in his early works he employed such home-bred talent as Jean-Luc Bideau, who also worked frequently with Tanner and Goretta. This series of Soutter’s first five features aims to highlight the charming modesty of his themes, his economy of means, and the subterranean force running through the apparent calmness of his work: the schizophrenic boredom of the Swiss, which makes the restless among them leap from one though to another arbitrarily, poetically, trying to learn to feel again by feigning joy and rage and dispassionately emulating real passions. THE MOON WITH TEETH a.k.a. La Lune avec les dents Dir. Michel Soutter, 1966 Switzerland, 75 min. In French with English subtitles SATURDAY, AUGUST 1 – 7:30 PM THURSDAY, AUGUST 6 – 7:30 PM WEDNESDAY, AUGUST 26 – 10:00 PM “I was twenty. I won’t let anyone say it’s the most beautiful time of life.” The first line of Sartre’s schoolmate and Resistance fighter Paul Nizan’s 1931 novella, Aden-Arabie, is echoed by William, the young and restless subject of Soutter’s first feature. William lives an uprooted life, structured by a worthless bowling alley job and punctuated by self-destructive binges. He’s the first of Soutter’s lonely rebel protagonists, young men with deep reserves of undirected energy and shapeless yearnings for liberation. He’s virile, brooding, and violent. He regards children, virginity, and love as weaknesses. With his materialistic nihilism, it’s as if he was picked straight out of a Dostoevsky novel: “You know how science defines life? Gradual degeneration culminating in death.” William’s terminal dissatisfaction derives from that other major theme of Soutter’s: Swiss society. In his films, the Swiss are either content professionals and housewives or quarrelsome misfits without any positive vision of the ultimate upheaval that would deliver them from the airless luxury prison that Switzerland represents for them. Shoplifting out of boredom, William resorts to a typically Swiss argument when caught: “I was trying to economize.” HASCHISCH Dir. Michel Soutter, 1968 Switzerland, 77 min. In French with English subtitles SATURDAY, AUGUST 1 – 10:00 PM WEDNESDAY, AUGUST 12 – 7:30 PM SUNDAY, AUGUST 23 – 5:00 PM Soutter’s second feature fared better with the critics. At the very least, it showed the director’s mettle to continue building on his main preoccupations—feckless, aimless youth, absence of political solidarity and the anemic qualities of Swiss society—that had been the subject of so much initial derision. Like William in LA LUNE AVEC LES DENTS, Mathieu is another disciple of dissatisfaction trudging through everyday life. “Living together gets boring. We just save money,” says his friend, Bruno. An actor of the theater, Mathieu has few prospects in this trade, save for empty promises from his producer. At this point, he’s more a kind of flaneur—only, his sojourns don’t occur along the boulevards and arcades of Baudelaire’s Paris, but on the sterile streets of a nondescript town. All is bleak morass. Frustrated with his work in the theater, Mathieu decides he wants out of Switzerland. Matthew asks Bruno, a car mechanic, if he wants to split for Anatolia. Bruno agrees, breakups with his girlfriend and spiffs up his car. Meanwhile, Mathieu must pick up a theater friend, Pauline, an actress of note, from the airport. Naturally, Mathieu falls in love with her, and suddenly, leaving for Anatolia becomes all the more difficult. In HASCHISCH, there aren’t any scenes of drugged-out dope fiends, but the title’s narcotic connotations run true throughout the film: Soutter captures his actors deep in the haze of their own private worlds as they walk through an unconvincing reality, one which always depresses the shoulders and dulls the mind (Pauline: “Good thing we don’t think!”). Soutter’s characters are always sharply aware of the moribund nature of their lives, but are unable act on their own desire for change. In one scene, Mathieu is in the recording studio and recites, ironically, a few lines by the Turkish poet, Nâzım Hikmet: “I contemplate Switzerland from the train. Her towns are boring but her sanatoriums are gay! Could I live among such respectable folks? Maybe when I’m 90…Why have I written about Switzerland?” THE APPLE a.k.a. La Pomme Dir. Michel Soutter, 1969 Switzerland, 85 min. In French with English subtitles SUNDAY, AUGUST 9 – 5:00 PM SATURDAY, AUGUST 15 – 7:30 PM MONDAY, AUGUST 31 – 7:30 PM Soutter’s third feature follows a handful of young idlers and professionals in Geneva, living out the kind of sluggish, arbitrary existence that a country as suffocatingly prosperous as Switzerland makes possible. Something of a solitary revolutionary, Simon is mapping out the places in Geneva where Lenin lived in exile before the 1905 uprising. Simon’s boss, Marcel, is a jet-setting reporter and a perfect symbol of Swiss complacency, living in a suburban villa that he calls his “refuge from revolutions, civil wars, crises, and coups d’état.” When Simon’s girlfriend Laura comes to visit, a bitter triangle drama develops among them, as Simon’s hatred for Marcel and the world he represents keeps growing. THE APPLE has been compared to Jean Eustache’s 1967 short film SANTA CLAUSE HAS BLUE EYES (starring Jean-Pierre Léaud) for its ability to capture all the nuances of both the happiness and the malaise of indecisive adolescents. Beyond that, it offers snapshots of late 1960s Geneva, an acerbic commentary on the self-satisfied, smug inertia of the Swiss bourgeoisie, and an indictment of the journalistic profession. As Simon says, “Switzerland has its ass placed squarely on the Third World,” and Soutter goes to infuriating lengths to convey the stiflingly peaceful postwar atmosphere that its isolated rebels feel a growing urge to break through. JAMES OU PAS Dir. Michel Soutter, 1970 Switzerland, 80 min. In French with English subtitles MONDAY, AUGUST 10 – 7:30 PM MONDAY, AUGUST 24 – 7:30 PM WEDNESDAY, AUGUST 26 – 7:30 PM If Soutter steered clear of any attempt to build a plot in his previous features, in JAMES OU PAS, Soutter offers enough dramatic inflections to show a marked change in his practice. As in Antonioni’s BLOW-UP, a witness to a potential act of crime jumpstarts the film. Hearing a gunshot, Hector (played by the irrepressible Jean-Luc Bideau), a low-wage cabdriver, stops his car midway somewhere in the Swiss fields and follows the man he suspects was responsible for the shooting. Instead, Hector runs into James, an enigmatic bachelor who lives all alone in his ivory-tower pad. James convinces him to pick up his friend Eva from the airport, and suddenly Hector—accustomed to a rote schedule—finds himself entangled with a group of strangers in a time and place he does not recognize. Hector’s quandary prompted Jean-Louis Bory to call JAMES OU PAS Soutter’s re-formulation of Hamlet’s “to be or not to be.” More to the point, as Soutter’s most perceptive critic, Freddy Buache, noted, a Soutter film usually boils down to “men and women at the intersection of everywhere and nowhere … brought together in unexpected situations by chance, and they have to unmask or mask themselves, become believable or make-believe, speak to each other, and, intentionally or not, confess to being what they are.” Soutter’s dry humor finds its perfect mouthpiece in Bideau, who can rattle off monologues with jovial ease. The rotating cast of characters and chance encounters recall some of the fluid cat-and-mouse games of Jacques Rivette. Gone are the Bressonian, stone-faced types from his earlier films. The droll, everyday languorousness of Swiss life still remains in the backdrop, but with Soutter’s newly formed comic lightness, the absurd registers most strongly in JAMES OU PAS. Dazed from the turn of events, Hector, growing increasingly unable to distinguish reality from his own thoughts, says to himself, as if entranced, “I want life to be as it always has been: monotonous and comfortable.” Can anyone escape Soutter’s Swiss Inferno? THE SURVEYORS a.k.a. Les Arpenteurs Dir. Michel Soutter, 1972 Switzerland, 81 min. In French with English subtitles MONDAY, AUGUST 3 – 7:30 PM SATURDAY, AUGUST 8 – 10:00 PM WEDNESDAY, AUGUST 19 – 7:30 PM In his fifth feature, Soutter breaks his rule of portraying only the idle classes of Swiss society and the equally idle would-be fugitives from it. Leon—a lion of a man with a thick caterpillar mustache and heavy mutton chops—is a land surveyor whose job brings him to the country estate of Alice, a dreamy blonde who picks strawberries in the garden and never misses teatime with her mother. After a fleeting liaison in Alice’s house with a mysterious English woman who disappears as quickly as she appeared, Leon becomes terrified for his own sake (Was she of legal age? Will there be criminal charges? Was I trespassing?) and hires a lawyer to save his skin. An inveterate egoist, Leon’s statement of principle could easily double as a slogan of Swiss isolationism: “We’re never as strong as when we’re alone.” THE SURVEYORS is firmly implanted in Soutter’s usual milieu of professionals living in the prosperous Swiss countryside, a world of lawyers, cellists, and noncommittally philosophizing young ladies. But here he adds an element of foreboding: the surveyors are invading the provinces, planning to build God knows what awful roads or shopping centers. The gentry are feeling a nebulous panic growing inside them. What will happen to our Switzerland of quaint chalets and verdant hills? Spectacle is pleased to present a series of screenings celebrating the life and work of electronic music and avant-garde legend Conrad Schnitzler. Schnitzler (1937-2011) came to popularity as a founding member of Tangerine Dream and Kluster, and went on to an influential and prolific career of unmistakably personal intermedia artistry. The programs are organized in collaboration with artist “Gen Ken” Ken Montgomery, friend and collaborator of Schnitzler, and founder of Generator, NYC’s “first sound art gallery.” These screenings are part of a larger CON-MYTHOLOGY 2015 series of CONcerts and events throughout August, taking place at Academy Records, ALLGOLD at the MoMA PS1 Print Shop, and Control. Please check the website www.con-mythology.com for more information. CON-MYTHOLOGY Dir. Various, 1937-2011 Various, 90 min. FRIDAY, AUGUST 21 – 8 PM w/ intermission ONE NIGHT ONLY! HOSTED BY GEN KEN MONTGOMERY! A special one-night-only screening event CON-MYTHOLOGY, hosted by Gen Ken Montgomery, featuring a survey of numerous shorts and works in and around Conrad Schnitzler and his fascinating life and work. Premier CON/TACT by Julien Perrin (2009) 12:00 min. TAKE OFF 4:18 min. Die Spur Karawane 7:01 min. Ballet 4:20 min. Electric Garden 8:36 min. Zug 5:35 min. Wer im Laden die Schulschachteln Zaehlt 3:39 min. Schöne Aussicht 1 4:27 min. Hexer 2:51 min. WTC 6:26 min. Videoconcert 1 (1973) 29:53 min. Winterscene 1:33 min. CON-MEDITATIONS There will be three programs of CON-MEDITATIONS, what we’re calling the series of long-form video works by Schnitzler himself from the 60s through the 80s, many of which have not been screened publicly. Often shot at home on film and video utilizing multiple experimental techniques, these works offer abstract visual accompaniment for Schnitzler’s epic electronic soundtracks. The screening programs are handpicked by Gen Ken from Schnitzler’s vast video archives for maximum CON-immersion. Perfect for zoning out on a hot summer evening. (Titles for each program TBD). CON-MEDITATIONS 1 Dir. Conrad Schnitzler, 197?-198? Germany, 85 min. TUESDAY, AUGUST 4 – 7:30 PM MONDAY, AUGUST 17 – 7:30 PM SUNDAY, AUGUST 30 – 5:00 PM Program includes: UPTOPIA MESSE 30 min. SCHMINK I 30 min. CON FILM #2 4 min. KRATZ RHYTHMIC 16 min. TAKE OFF (1980) 4 min. CON-MEDITATIONS 2 Dir. Conrad Schnitzler, 197?-198? Germany, 86 min. TUESDAY, AUGUST 4 – 10:00 PM MONDAY, AUGUST 17 – 10:00 PM SUNDAY, AUGUST 30 – 7:30 PM Program includes: DISCO DANCE 1 29 min. CON FILM #1 4 min. ABSTRAKTION 30 min. RAINER ZUFALL 19 min. TAKE OFF (1980) 4 min. CON-MEDITATIONS 3 Dir. Conrad Schnitzler, 197?-198? Germany, 88 min. WEDNESDAY, AUGUST 5 – 7:30 PM TUESDAY, AUGUST 18 – 7:30 PM TUESDAY, AUGUST 25 – 10:00 PM Program includes: ON THEIR WAY 60 min. CON FILM #2 4 min. ZUG BERLN-KÖLN (1978) 19 min. TAKE OFF (1980) 4 min. Conrad Schnitzler (1937-2011) is legendary in the German electronic and avant-garde music scene as a founding member of Tangerine Dream and of Kluster. His work as an intermedia artist is less-known yet equally legendary. Schnitzler studied sculpture with Joseph Beuys at the Düsseldorf Academy of Art, exhibited his black and white metal sculptures in Berlin, and participated in performances and “happenings” in the same circles as many well-known Fluxus artists, although never identified himself as part of any group or movement. He preferred to create his own individual mythology. In the early 70s Schnitzler became a composer when he abandoned all of his sculptures in an open field in decision to devote himself to sculpting with sound. His self produced stark electronic music, often presented as multi-channel concerts using as many as 12 cassette players and self published his music on vinyl and cassettes. Schnitzler gradually found an international cult following from his prolific output of musical ideas, However Schnitzler’s immense creative energy could not be limited to one medium. He continuously experimented with moving images to accompany his music and even painted, collaged or scratched patterns directly on 8mm film. He experimented with stop-motion animations and designed and costumes for his films. By the 80s Schnitzler had become increasingly reclusive, shooting long meditative videos accompanied by his distinctive electronic musical scores. Preferring to stay at home and work in his studio he created multi-channel Cassette Concerts that could be sent through the post for others to perform and “CONduct” concerts of his music. Schnitzler conceived of sonic programs he called Musik in the Dark intended to be heard in darken movie theaters, churches, stadiums and other venues without him having to travel. Although he rarely left his Berlin home after 1980, Schnitzler came to New York City in 1989 and 1990 to visit the Generator Sound Art Gallery in the East Village. “Electronic music appears to be a field developed by few who did not deplete it of originality within a few years. While many are consumed by their own technology or starved for fame, only a small number have approached it as a personal communicative craft rather than as an intentional development of traditional Western classical or commercialized music. Conrad Schnitzler remains at the forefront of a handful of artists willing to take chances with possible yet underdeveloped forms.” – David Prescott 1989 Gen Ken Montgomery (1957) is a New York-based artist whose involvement in the cassette-culture and mail-art movements of the late seventies led to the creation of Generator, New York’s first sound art gallery (1989). At Generator Montgomery amassed what is now a time capsule of internationally produced art in the form of cassettes, records, zines and ephemera from the days before the internet when artists collaborated and corresponded internationally by post. In 2013 at Audio Visual Arts in New York City, Montgomery exhibited his collection from that era and re-created Generator by curating events with artists whose work was shown at the Generator in the late 80s and early 90s (see www.audiovisualarts.org/5973/ generator). In 2014 Montgomery re-launched the Generations Unlimited label that he co-founded with Conrad Schnitzler and David Prescott in 1987. (http://www. generationsunlimited.net) www.genkenmontgomery.com JAKARTA SCREAMS: HORROR & EXPLOITATION CINEMA OF INDONESIA During the 1980’s the field of Indonesian cinema was undergoing significant changes that would pave the way for what is now known as the golden age of Indonesian exploitation cinema. After the brutal anti-communist purges of the 1960’s under the iron-fist of the archipelago’s strongman and dictator Suharto, the Indonesian working class and blue-collar laborers sought an escape from an oppressive reality. In JAKARTA SCREAMS we will review the new Indonesian escapist cinema that ultimately delivered them from their authoritarian reality. This new style of regional filmmaking provided the high adrenaline violence and sexuality of Western cinema hybridized with the region’s traditional folkloric and mythological stories, archetypes and themes resulting in a form of cinema unlike any other in Southeast Asia or the globe. While some theorists claimed this form of filmmaking was only a bread and circus to maintain the control held by Suharto’s political regime, others claimed that the filmmakers exercised subversive symbolism, depicting government figures as the criminals and villains ultimately punished and destroyed in these epics for the small cinemas of villages and small towns. This prolific period is the largest footprint Indonesian filmmakers have made to this day in the course of film history. Its surrealist fantastical horror films populated with shape-shifting martial arts warriors, demon-sorceresses and serpent-women invite the viewer the explore the depths of its sensual, absurd, tropical cinema. MYSTICS IN BALI 1981, Dir. H. Tut Djalil Indonesia. 86 min. SUNDAY, AUGUST 2 – 5PM THURSDAY, AUGUST 6 – 10PM TUESDAY, AUGUST 18 – 10PM SATURDAY, AUGUST 29 – 7:30PM In H. Tut Djalil’s Indonesian horror-exploitation classic MYSTICS OF BALI, American anthropologist Catherine Keene seeks out training in the ways of the leyak, a cult of demonic Balinese sorceresses imbued with powerful and ancient magic. Having been seduced by the promise of mastery in the ancient tradition of leyak sorcery however, Cathy becomes trapped in the form of a penangalan, a floating disembodied vampiric head, spine and entrails with a fondness for devouring pregnant women and fetuses. With Cathy in the thrall of the leyak queen and unable to return to human form her lover Mahendra consults a local shaman to undo the leyak’s subversion and restore Cathy to her human form. Djalil’s MYSTICS OF BALI,results in a compelling hybrid of Western cinematic style and the impromptu style of Indonesian cinema. Using non-actors and unconventional narrative structure, maestro of the Indonesian horror canon H. Tjut Djalil brings a campy fusion of American-style b-movie horror and action and Indonesian folktale to the screen resulting in a cannibalistic jaunt through the mountains of rural Bali. LADY TERMINATOR 1989, Dir. H. Tjut Djalil Indonesia. 82 min. MONDAY, AUGUST 3 – 10PM SUNDAY, AUGUST 9 – 7:30PM SUNDAY, AUGUST 23 – 7:30PM FRIDAY, AUGUST 28 – 7:30PM H. Tjut Djalil’s LADY TERMINATOR is based on the Javanese legend of Nyai Roro Kidul or the South Sea Queen, an enchanting siren-like figure that was said to be not only a powerful courtesan to the sultans of the islands but also a naga spirit, a Southeast Asian snake nymph, imbued with powerful and deadly magic. Upon a research gathering assignment on a remote Indonesian island an American anthropological student becomes possessed by the spirit of the South Sea Queen, a long deceased witch with a powerful sexual endowment fatal to the men she seduces. Determined to rise again and seek revenge against the great grand-daughter of the man who stole her serpentine magic and return to her former power, the South Sea Queen seizes the body of this unsuspecting tourist in a strange land as her new host and begins wreaking chaos throughout the urban landscape of Jakarta. Leaving a trail of male bodies in her wake she is unstoppable until she meets local police detective Max McNeil. In Djalil’s LADY TERMINATOR the classic myth of the South Sea Queen is brought into the context of the exploitation cinema genre’s that animated cinema and filmmaking in 1980’s Indonesia. Djalil’s twisted mash-up of American action and adventure films, LADY TERMINATOR, Indonesian folktale and martial arts b-movie genres results in something familiar and yet altogether unique, wonderful and strange. THE WARRIOR 1981, Dir. Sisworo Gautama Putra Indonesia. 92 min. SUNDAY, AUGUST 2 – 7:30PM SATURDAY, AUGUST 15 – 10PM MONDAY, AUGUST 24 – 10PM TUESDAY, AUGUST 25 – 7:30PM In Sisworo Gautama Putra’s THE WARRIOR, Jaka Sembung is the champion of the province of Kandanghaur against the colonial oppression of the Dutch imperial machine in the Indonesian archipelago. Played with swagger and conviction by Barry Prima, after the title character Jaka Sembung leads a small uprising against a forced labor edict by the Dutch imperial forces, a local Dutch commander seeks to quell the rebellion through challenging Jaka Sembung to a contest of strength. Jaka Sembung overcomes this and a great many other challenges through the aid of traditional folk magic and his will to resist, including treacherous villagers, spies and the soldiers of the Dutch imperial army. After facing brutal torture and near defeat Jaka Sembung is transformed by his master into a boar to escape his captors and so he may hide before he leads his final assault against their imperial overlords. Sisworo Gautama Putra’s THE WARRIOR is a notable masterpiece of Indonesian exploitation cinema particularly in that it is one of only a few films to address the brutality and trauma of Dutch occupation, albeit with a light heart and a great deal of homage in equal measure both to Indonesian folk tradition and to the martial arts films of Bruce Lee. SATURDAY, AUGUST 1: AND GOD SAID TO CAIN FRIDAY, AUGUST 7: TOXIC ZOMBIES SATURDAY, AUGUST 8: TOXIC ZOMBIES FRIDAY, AUGUST 14: THE EMBALMER SATURDAY, AUGUST 15: THE EMBALMER FRIDAY, AUGUST 21: LASER MISSION SATURDAY, AUGUST 22: NINJA MISSION FRIDAY, AUGUST 28: MY CHAUFFEUR SATURDAY, AUGUST 29: THE HORROR OF PARTY BEACH AND GOD SAID TO CAIN Antonio Margheriti, 1970. 96 min. Italy/West Germany. In German with English subtitles. SATURDAY, AUGUST 1 – MIDNIGHT In this macabre spaghetti western, the Duke of Delirium, Goth Kinski, gives a rare, heroic and unquestionably leading role as a man released after ten years of wrongful incarceration in a prison labor camp. Once sprung, he meanders his way back to town to get revenge on the men who framed him — one of whom has since become a wealthy and politically powerful land baron with dozens of hired guns on the payroll. The plot may be traditional, but the movie is anything but: AND GOD SAID TO CAIN is notorious as of the darkest spaghettis ever made, and closer in tone to Italian horror films of the period than traditional westerns. It’s the most accomplished picture of underrated director Antonio Margheriti, best known for gothic horror films like CASTLE OF BLOOD and THE LONG HAIR OF DEATH. CAIN is an effortless synthesis of the two genres: in a largely wordless performance, Kinski assumes an almost phantasmagorical aura, and eerie shootouts take place under moonlight and in churches and candlelit quarters. The film’s baroque, blazing climax — think the of funhouse shootout of THE LADY FROM SHANGHAI restaged in Hell — validates the film’s German title, SATAN DER RACHE — “Satan of Revenge.” Though AND GOD SAID TO CAIN frequently languishes in washed out transfers in YouTube and public domain purgatory, tonight we’ll show a pristine digital transfer with the German-language soundtrack that preserves Kinski’s original spoken dialog. TOXIC ZOMBIES aka Bloodeaters Dir. Charles McCrann, 1980 USA, 89 min. FRIDAY, AUGUST 7 – MIDNIGHT SATURDAY, AUGUST 8 – MIDNIGHT We return with the second examination of some of the lesser-know films to pop on on Mary Whitehouse’s list of “sadist videos”, criticized for their combination of sex. violence and cruelty. What the Nurse With Wound list was to experimental music weirdoes, the Video Nasty List became a must-see list for those lurking in dingy basement video stores. For contemporary viewers, it’s easy to think of such a list as silly and tame, but it’s worth keeping in mind this list wasn’t really about gutmunching gore effects — for most of these films, it’s the cavalier combination of giddy bloodshed and unrepentant deviancy sneaking into suburban homes any time little Janey and Johnny skipped down to the video rental store. Many of these films are now considered classics (POSSESSION, TENEBRAE, I SPIT ON YOUR GRAVE, THE LAST HOUSE ON YOUR LEFT) while others will still turn even lifetime Fangoria readers green (ANTHROPOPHAHOUS, LOVE CAMP 7, CANNIBAL HOLOCAUST), but with the Video Nasty Project we’re taking a look at some of the lesser-known films to appear on the list. Do you dare to watch them all? Deep in the forest, a group of pot farmers get into a Ruby Ridge situation with some corrupt US agents, who then spray the crops with some kinda psychedelic that turns the farmers into zombies. That’s the setup, but director/writer/actor Charles McCrann (in his only film) isn’t here to give you a ton of backstory: he’s here for zombies in the woods, Romero-style anti-establishment rhetoric and a general vibe that’d sit nicely with BURIAL GROUND or THE LIVING DEAD AT MANCHESTER MORGUE. With all the washed-out grungy deep woods darkness and flanging score you’d expect, we’re delighted to bring you TOXIC ZOMBIES! THE EMBALMER aka Il mostro di Venezia Dir. Dino Tavella, 1965 Italy, 77 min. FRIDAY, AUGUST 14 – MIDNIGHT SATURDAY, AUGUST 15 – MIDNIGHT “How lovely you are! Like alabaster goddesses. No living woman possesses your mysterious fascination or your sweet repose.” Welcome to Venice! It is one of the most picturesque cities in the entire world with its beautiful architecture dotting the murky waters of the grand canal. Our story begins here with a series of disappearances. All of the disappearances have something in common, the missing are all young ladies who just happened to have disappeared close to a canal. The police suspect that the missing young ladies may have fallen into the water and drowned, but none of the bodies have been recovered. Meanwhile, a reporter from a local paper begins to suspect that the disappearances are the work of some fiend who is kidnapping young women and hiding their bodies deep in the Venetian canals. The city is in a state of panic! How many more girls can possibly disappear?! Well, about nine more because just around the corner is a group of lovely young ladies visiting from Rome and they are just dying to explore Venice. Which one of the girls will be the first victim of this fiend? Who is the mysterious fiend and what is this fiend doing to the bodies of these young ladies? THE EMBALMER is an early Giallo film that reads like a travelogue film with a touch of gothic imagery. The city of Venice and its labyrinthian canals take the place of the ancient stately manor found in gothic tales. Macabre tinged scenes are scattered throughout the film like that of a pop musician emerging from a coffin to sing songs to an unsuspecting crowd and a crypt full of petrified monks a la Capuchin crypt. THE EMBALMER is a must see for all Giallo fans. LASER MISSION Dir. BJ Davis, 1989 USA, 84 min. English. FRIDAY, AUGUST 21 – MIDNIGHT Before he was THE CROW (but definitely after his LEGACY OF RAGE), Brandon Lee was Michael Gold – a cocky, self-righteous asshole who upends his fully free agent status and chooses to accept a LASER MISSION on offer from the CIA (but, like, eschewing CASH MONEY USA in favor of action man SWAGGER ethics). There’s something about the WORLD’S LARGEST DIAMOND gone missing, along with some LASER expert (expertly lazied by ERNEST BORGNINE) being held in Angola (or somewhere) by the KGB (or Cuban military or some Austrian madman or something). All this adds up to is TROUBLE and the potential END of the WESTERN WORLD as we KNOW IT. When not donning gross disguises to fool bumbling cartoon humans, Gold is totes in NEGGING WAR III with terminal television episoder DEBI MONAHAN (who may or may not be portraying a daughter or a double agent or whatever). Even if you HAVE seen LASER MISSION, you won’t want to MISS our special WIDESCREEN presentation, with all the EXPLOSIVE action (and sometimes admittedly great wide tracking shots) as NEVER BEFORE SEEN in domestic US BARGAIN BINS and FIFTY-FILM DVD collections. If you HAVEN’T seen LASER MISSION, then grab your favorite brand of adult diapers and head the hell over here. Sounds appealing? Then make like an ORANGE and GET JUICED. NINJA MISSION Dir. Mats Helge Olsson, 1984 Sweden, 93 min. In English. SATURDAY, AUGUST 22 – MIDNIGHT * Part of our “Lasers vs. Ninjas” Weekend Spectacular! ** MY CHAUFFEUR Dir. David Beaird, 1986 USA, 97 min. In English FRIDAY, AUGUST 28 – MIDNIGHT “You ever give an Alka-Seltzer to a dog?” Endless Bummer heads from the 70s to the 80s with our final film, MY CHAUFFEUR. Starring Deborah Foreman, who was everywhere in the eighties (Valley Girl, Real Genius, Waxwork, April Fool’s Day), as Casey Meadows, a dishwasher who receives an invitation to work for the prestigious Brentwood chauffeur company directly from the company’s owner (none other than the great E.G. Marshall!). Disliked by the all-male staff and barely tolerated by her boss (Howard Hesseman of WKRP/Rubin and Ed fame), Casey takes on a series of insane jobs, from lugging drunken rock band Cat Fight around LA to dealing with a spoiled stalker’s heartbreak (if you suspect this may lead to love, you’re right) and none other than Penn and Teller playing an sheik and a con-man attempting to lure him out of his money. Despite all odds, Casey’s non-conformist streak leads her to triumph where the other stuffed-shirt drivers fail miserably. A staple of cable tv during the late eighties and one of the final Marimark Productions films, MY CHAUFFEUR hits all the rom-com notes while offering plenty of off-color comedy and topless hijinx for the midnight crowd. Drive off into the sun setting over the Pacific as Endless Bummer finishes up…FOR NOW! THE HORROR OF PARTY BEACH Dir. Del Tenney, 1964 United States, 78 min. SATURDAY, AUGUST 29 – MIDNIGHT “Weird Atomic Beasts Who Live Off Human BLOOD!” Let’s go to the beach! What a wonderful place to get away with its sparkling blue water and radioactive monsters! Well, more like the radioactive living dead for you see radioactive waste is being dumped into the ocean and as a result the remains of the poor souls littering the ocean floor have been mutated into humanoid fish-like monsters! Monsters that have chosen to make their first appearance on the sunny shores of Connecticut! The monsters have decided to crash a happenin’ beach party that is being presided over by none other than surf rock legends The Del-Aires! All the girls and boys were too busy doing the zombie stomp to notice the monsters crawling up on land and feasting on the blood of bikini clad beauties! Can the blood thirsty rampage of these monsters be stopped? THE HORROR OF PARTY BEACH is one of the first, if not the first horror beach party film. Think of it as BEACH BLANKET BINGO, but filled with blood thirsty monsters whose mouths look like they have been stuffed with a pack of hotdogs. It is a refreshing freudian slap in the face to those “wholesome” beach party films. The film is beautifully shot and features some fantastic sequences like the creation of the monsters. It’s funny, creepy, and the music of The Del-Aires will have you groovin’ all night long. What are you waiting for? Let’s go to the beach!
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8999	dbpedia	3	46	https://wetcassettes.bandcamp.com/album/take-me-to-your-bleeder	en	Take Me to Your Bleeder	https://f4.bcbits.com/im…2836908350_5.jpg	https://f4.bcbits.com/im…2836908350_5.jpg	[ "https://wetcassettes.bandcamp.com/img/search/tumbleweed-emptystate-lightbg.gif", "https://wetcassettes.bandcamp.com/img/search/tumbleweed-emptystate-lightbg.gif", "https://f4.bcbits.com/img/blank.gif", "https://f4.bcbits.com/img/0023297692_100.png", "https://f4.bcbits.com/img/a2836908350_16.jpg", "https://wetcassettes.bandcamp.com/img/0.gif", "https://f4.bcbits.com/img/0031157042_42.jpg", "https://wetcassettes.bandcamp.com/img/0.gif", "https://f4.bcbits.com/img/0026338133_42.jpg", "https://wetcassettes.bandcamp.com/img/0.gif", "https://f4.bcbits.com/img/0018515464_42.jpg", "https://wetcassettes.bandcamp.com/img/0.gif", "https://f4.bcbits.com/img/0035965455_42.jpg", "https://wetcassettes.bandcamp.com/img/0.gif", "https://f4.bcbits.com/img/0009549763_42.jpg", "https://wetcassettes.bandcamp.com/img/0.gif", "https://f4.bcbits.com/img/0035441510_42.jpg", "https://wetcassettes.bandcamp.com/img/0.gif", "https://f4.bcbits.com/img/0018502081_42.jpg", "https://wetcassettes.bandcamp.com/img/0.gif", "https://f4.bcbits.com/img/0005048732_42.jpg", "https://wetcassettes.bandcamp.com/img/0.gif", "https://f4.bcbits.com/img/0010515456_42.jpg", "https://wetcassettes.bandcamp.com/img/0.gif", "https://f4.bcbits.com/img/0013072879_42.jpg", "https://wetcassettes.bandcamp.com/img/0.gif", "https://f4.bcbits.com/img/0027621523_42.jpg", "https://wetcassettes.bandcamp.com/img/0.gif", "https://f4.bcbits.com/img/0017457479_42.jpg", "https://wetcassettes.bandcamp.com/img/0.gif", "https://f4.bcbits.com/img/0031850771_42.jpg", "https://wetcassettes.bandcamp.com/img/0.gif", "https://f4.bcbits.com/img/0031994200_42.jpg", "https://wetcassettes.bandcamp.com/img/0.gif", "https://f4.bcbits.com/img/0015143476_42.jpg", "https://wetcassettes.bandcamp.com/img/0.gif", "https://f4.bcbits.com/img/0019636888_42.jpg", "https://wetcassettes.bandcamp.com/img/0.gif", "https://f4.bcbits.com/img/0028107264_42.jpg", "https://wetcassettes.bandcamp.com/img/0.gif", "https://f4.bcbits.com/img/0002123623_42.jpg", "https://wetcassettes.bandcamp.com/img/0.gif", "https://f4.bcbits.com/img/0025616575_42.jpg", "https://wetcassettes.bandcamp.com/img/0.gif", "https://f4.bcbits.com/img/0029453804_42.jpg", "https://wetcassettes.bandcamp.com/img/0.gif", "https://f4.bcbits.com/img/0021895302_42.jpg", "https://wetcassettes.bandcamp.com/img/0.gif", "https://f4.bcbits.com/img/0022176897_42.jpg", "https://wetcassettes.bandcamp.com/img/0.gif", "https://f4.bcbits.com/img/0006758318_42.jpg", "https://f4.bcbits.com/img/0028891105_38.jpg", "https://f4.bcbits.com/img/0028891004_38.jpg", "https://f4.bcbits.com/img/0028891006_38.jpg", "https://f4.bcbits.com/img/0028891009_38.jpg", "https://f4.bcbits.com/img/0028891012_38.jpg", "https://f4.bcbits.com/img/0016167237_21.jpg", "https://f4.bcbits.com/img/a0846242228_7.jpg", "https://f4.bcbits.com/img/a1227574923_7.jpg", "https://f4.bcbits.com/img/a3367796592_7.jpg", "https://f4.bcbits.com/img/a0605451222_7.jpg", "https://f4.bcbits.com/img/a0263360483_9.jpg", "https://f4.bcbits.com/img/a1007432423_9.jpg", "https://f4.bcbits.com/img/a3650531874_9.jpg", "https://f4.bcbits.com/img/a0323849479_9.jpg", "https://f4.bcbits.com/img/a0031105566_9.jpg", "https://f4.bcbits.com/img/a1306557246_9.jpg", "https://f4.bcbits.com/img/a0159761974_9.jpg", "https://wetcassettes.bandcamp.com/img/0.gif", "https://f4.bcbits.com/img/0020793483_33.jpg", "https://f4.bcbits.com/img/0018395902_33.jpg", "https://f4.bcbits.com/img/0017911903_33.jpg", "https://f4.bcbits.com/img/0036886199_33.jpg", "https://wetcassettes.bandcamp.com/img/0.gif" ]	[]	[]	[ "" ]	null	[]	2022-06-24T00:00:00+00:00	Take Me to Your Bleeder by GroDie, released 24 June 2022 1. A Grimm Tale 2. Blue Fairy Dies Lonely 3. Plant out of Place 4. Maladie Gelson 5. Meet Me at the Lost and Found at 2PM 6. Mermaid Eater 7. Oncoming Birds 8. Of Shady Fern 9. Hey There, Dogboy 10. The Triumph of Peter Brutal, the Elder "I only eat cheeseburgers and pussy...my soul feels like shit." Wise words from a wise man, Bo Dugan aka Graham Bowlin aka half of GroDie, who I discovered after an exchange of follows on Instagram. He admired our work and I admired his art and presence on the platform. Photos of pianos full of dildos, talks of cocaine, trucking and cucking...and not to mention his music, which struck me as wholly unique, funny, and dark. Not a big "country" or "Americana" person- I was taken by Graham's (Bo's) spin on those typically rigidly-held institutions, fusing weird, lofi sounds and risque topics with classic instrumentation associated with those archetypes: acoustic guitar, banjo, slide guitar, piano, etc. When Graham and I started discussing releasing an album together, I never knew what was going to come of it - but I sure knew it would be an album unlike any other on Wet Cassettes, something I am always striving to find and put out. While the sounds here will do the talking, GroDie (Graham and his songwriting partner Jesse Threatt) produce a grungey alt-Americana that makes me recall (with my limited knowledge of the scope of these bands): Neutral Milk Hotel, Akron/Family, and Eugene Chadbourne. On "Take Me To Your Bleeder," you'll get fat loads of dark humor, whiskey barrels full of pain, soaring instrumental runs, creepy samples, barn burners, foot stompers, and a bunch of indescribable, next-level musicianship in-between. Hop in and go for a ride into a whole new territory for Wet Cassettes with Jesse and Graham as GroDie. WC-034	en	https://f4.bcbits.com/im…2836908350_3.jpg	Wet Cassettes	https://wetcassettes.bandcamp.com/album/take-me-to-your-bleeder	supported by 7 fans who also own “Take Me to Your Bleeder” go to album supported by 7 fans who also own “Take Me to Your Bleeder” go to album
8999	dbpedia	3	66	https://play.xumo.com/networks/shout-tv/99991265/XM08IVG9UZ6BZ5	en	Xumo Play	https://play.xumo.com/fa…rome-192x192.png	https://play.xumo.com/fa…rome-192x192.png	[]	[]	[]	[ "" ]	null	[]	null	Xumo Play is your destination for free LIVE and on-demand streaming channels ranging from sports highlights to fun recipes to music and festival coverage to stand up comedy.	en	/favicons/favicon.ico	Xumo Play	null	We’re Sorry... Xumo Play is currently only available in the United States.
8999	dbpedia	3	89	https://brunei.desertcart.com/products/173317749-inseminoid-blu-ray	en	ray] Online at desertcart Brunei	https://m.media-amazon.c…-K4aDL.SS700.jpg		[ "https://cdn.desertcart.com/static/media/logo.2016811faab5043fce22.png", "https://cdn.desertcart.com/static/media/chevron-right.5b03ebbfd215b7f90995.png", "https://cdn.desertcart.com/static/media/chevron-right.5b03ebbfd215b7f90995.png", "https://cdn.desertcart.com/static/media/chevron-right.5b03ebbfd215b7f90995.png", "https://m.media-amazon.com/images/I/916p6-K4aDL.SS700.jpg", "https://m.media-amazon.com/images/I/916p6-K4aDL.SS700.jpg", "https://m.media-amazon.com/images/I/91Ci0W8gKCL.SS700.jpg", "https://cdn.desertcart.com/static/media/payment-methods.853a020836c795d6ed7f.png", "https://cdn.desertcart.com/static/media/desertcart-ios-app.f44d318729db59e3ad38.png", "https://cdn.desertcart.com/static/media/desertcart-android-app.85436c0e29e53188df4d.png" ]	[]	[]	[ "" ]	null	[]	null	Shop Inseminoid [Blu-ray] online at best prices at desertcart - the best international shopping platform in Brunei. âFREE Delivery Across Brunei. âEASY Returns & Exchange.	en	https://cdn.desertcart.com/favicon.ico		https://brunei.desertcart.com/products/173317749-inseminoid-blu-ray	Disclaimer: The price shown above includes all applicable taxes and fees. The information provided above is for reference purposes only. Products may go out of stock and delivery estimates may change at any time. desertcart does not validate any claims made in the product descriptions above. For additional information, please contact the manufacturer or desertcart customer service. While desertcart makes reasonable efforts to only show products available in your country, some items may be cancelled if they are prohibited for import in United Arab Emirates. For more details, please visit our Support Page.
8999	dbpedia	3	5	https://forthehellofitreviews.wordpress.com/2019/11/21/alien-rapists-part-3-inseminoid-1981-aka-horror-planet-u-s-dvd-vs-u-k-blu-ray/	en	ALIEN RAPISTS, PART 3: INSEMINOID (1981, AKA HORROR PLANET) U.S. DVD VS. U.K. BLU-RAY (REGION FREE)	https://photoalbumx2.fil…id_poster_03.jpg	https://photoalbumx2.fil…id_poster_03.jpg	[ "https://forthehellofitreviews.wordpress.com/wp-content/uploads/2022/03/cropped-img_20220326_0005_new-1.jpg", "https://photoalbumx2.files.wordpress.com/2019/06/inseminoid_poster_03.jpg?w=168&h=251", "https://photoalbumx2.files.wordpress.com/2019/06/inseminoid_poster_01.jpg?w=167&h=250", "https://photoalbumx2.files.wordpress.com/2019/07/screenshot-s3.amazonaws.com-2019.07.30-12_02_01.jpg?w=169&h=252", "https://photoalbumx2.files.wordpress.com/2019/08/inseminoid2-1.jpg?w=1020&h=434", "https://photoalbumx2.files.wordpress.com/2019/06/inseminoid_poster_01-1.jpg?w=166&h=228", "https://photoalbumx2.files.wordpress.com/2019/06/inseminoid_poster_03-1.jpg?w=167&h=229", "https://photoalbumx2.files.wordpress.com/2019/06/d8jvef3xuaakxo2.jpg?w=165&h=227", "https://photoalbumx2.files.wordpress.com/2019/08/344035_full.jpg?w=1000&h=669", "https://photoalbumx2.files.wordpress.com/2019/08/inseminoid7.jpg?w=800&h=346", "https://photoalbumx2.files.wordpress.com/2019/08/inseminoiddaddylobster.jpg?w=636&h=272", "https://photoalbumx2.files.wordpress.com/2019/08/429379_full.jpg?w=534&h=361", "https://photoalbumx2.files.wordpress.com/2019/08/344036_full.jpg?w=534&h=357", "https://photoalbumx2.files.wordpress.com/2019/11/mv5bnzqyotdmzwqtm2jlnc00yzg2ltgxzwytmwvlmtflndq3n2q0xkeyxkfqcgdeqxvymjuyndk2odc40._v1_.jpg?w=1000&h=721", "https://photoalbumx2.files.wordpress.com/2019/08/inseminoid13.jpg?w=800&h=342", "https://photoalbumx2.files.wordpress.com/2019/08/mv5bnzqyotdmzwqtm2jlnc00yzg2ltgxzwytmwvlmtflndq3n2q0xkeyxkfqcgdeqxvymjuyndk2odc40._v1_.jpg?w=1000&h=724", "https://photoalbumx2.files.wordpress.com/2019/06/img_20190609_0001_new-e1560117809257.jpg?w=253&h=355", "https://photoalbumx2.files.wordpress.com/2019/06/img_20190609_0002_new-e1560117824595.jpg?w=252&h=355", "https://photoalbumx2.files.wordpress.com/2021/08/img_20210806_0001_new-e1628266318146.jpg?w=254&h=317", "https://photoalbumx2.files.wordpress.com/2021/08/img_20210806_0002_new-e1628266310146.jpg?w=254&h=318", "https://photoalbumx2.files.wordpress.com/2021/08/img_20210806_0003-e1628266301155.jpg?w=515&h=288", "https://photoalbumx2.files.wordpress.com/2019/08/img_20190821_0004.jpg?w=506&h=109", "https://photoalbumx2.files.wordpress.com/2019/11/10511115_964339116956108_4999421639604475759_n.jpg?w=200&h=152", "https://1.gravatar.com/avatar/a4198c28e9b13ebe06793d2889fca9f138628773323cb01027d100fa4afcdca3?s=32&d=identicon&r=G", "https://forthehellofitreviews.wordpress.com/wp-content/uploads/2022/03/coollogo_com-1465502-e1648497589719.png?w=50", "https://forthehellofitreviews.wordpress.com/wp-content/uploads/2022/03/coollogo_com-1465502-e1648497589719.png?w=50", "https://pixel.wp.com/b.gif?v=noscript" ]	[ "https://www.youtube.com/embed/7SMwavgzjxM?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" ]	[]	[ "" ]	null	[ "DVD News Flash" ]	2019-11-21T00:00:00	I present to you the final part of this special three part review of a trio of rapists from beyond the stars films. Xtro (1982) and Breeders (1986) were the first two I covered. I first heard of Inseminoid through where else Fangoria magazine. I had a friend in elementary school named Rob who got…	en	https://forthehellofitre…7589719.png?w=32	MEMORY MOVIES	https://forthehellofitreviews.wordpress.com/2019/11/21/alien-rapists-part-3-inseminoid-1981-aka-horror-planet-u-s-dvd-vs-u-k-blu-ray/	I present to you the final part of this special three part review of a trio of rapists from beyond the stars films. Xtro (1982) and Breeders (1986) were the first two I covered. I first heard of Inseminoid through where else Fangoria magazine. I had a friend in elementary school named Rob who got me into the magazine. He had discovered it and started bringing it to school in the early 80s, and even though I was grossed out by most of the gore shots I was still fascinated. This was during the slasher craze and they covered a lot of slasher films, including the Friday The 13th films. And this was long before I began to discover some of those films were indeed gems. It, at least, gave me a place where I could go to see some cool photos of any monster movies being made, and coming to mind is Q, The Winged Serpent (1982) and The Boogens (1981), which the magazine published some really great shots of. It was this one particular Saturday when I was up Rob’s house, he pulled out all the issues he had and plopped them on the floor; I randomly started thumbing through them, because there were some I didn’t know he had. This is where I saw the article on Inseminoid and was genuinely surprised someone made a movie with that title. Of course with a title like that I just had to know what it was about; the photos pretty much told me all I needed to know. I think at this point it was safe to say I wanted to see this flick now. I don’t remember when I learned the title was changed to Horror Planet in America, but I seem to think it was also in Fangoria. I ended up eventually catching it on cable, and under the Horror Planet title, again I can’t put a precise date on it, I wish I could, I remember liking it, and being shocked by the birth sequence, and that was due to the utterly believable performance of actress Judy Geeson. The birth involves a convincing portrayal of the kind of insane levels of pain that apparently must be endured by a pregnant chick with no access to pain numbing drugs, plus it’s an alien pregnancy, an added curve ball that probably added to her misery tenfold. Geeson’s screaming was and still is harrowing to watch. Then they cut to two characters in the operation room listening to it over the intercoms and holding each other because they too found it harrowing to listen to. I totally sympathized with their reaction. My next memory is when I met Gerry, my best friend for most of high school. Back in the mid-80s we had a Saturday afternoon show called Commander USA’s Groovie Movies that aired on the once-awesome-but-not-anymore USA channel. Commander USA, as I’ve heard, was the inspiration for The Comedian character in Alan Moore’s Watchman comic. Commander USA was played by the late Jim Hendricks, the character was a burned out and jaded superhero that was always smoking a cigar. He hosted the show and the show was known for airing all kinds of weird genre movies. I was spending a Saturday at Gerry’s house when Horror Planet was aired. In fact I think I had slept over and we were in the middle of playing Dungeons & Dragons. I had already told him about the movie and he wanted to see it, but was only interested in seeing the insemination scene. The movie was shot in a 2.35:1 aspect ratio and back then when those kinds of flicks made it to TV and cable they were always shown 1.33, and showing a 2.35 flick full frame gives one the impression it was all filmed in close-up. So every once in a while we had to stop playing D&D while Gerry ran down and watched a little bit of the movie waiting for that scene. He came back up and finally told me he saw it. For the longest time I had wrongly assumed the creature was using its own “alien dick” to inseminate Geeson, and when Gerry came back he described what he saw “…it looked like a wet, plastic bag…” I can understand that, showing that scene in 1.33, yeah, it probably did look like wet, plastic bag. My next and final memory involves finally seeing it in its proper aspect ratio when Elite Entertainment unexpectedly put it out on DVD here in America in 1999. I think I liked the movie even more seeing all the things I couldn’t see in the full frame cable airing. Inseminoid is set in the future when mankind now has the ability to move out into the universe and explore, and this planet the movie is set on comes with two suns and runs 89-degrees below zero. When I saw this as a kid I took the movie at face value, seeing it again at 50 I wanted to know some things, but they aren’t conveyed in any kind of opening crawl or conversation between characters, like the base this 12-member team of scientists and technicians (6 women, 6 men) are housed in. It’s inside a mountain, or a mountain range, was it deliberately terraformed or did these tunnels already exist and the humans caome in and just added their tech to it? There was an exploratory expedition on the planet beforehand and it was abruptly abandoned, this at least is conveyed in a voice over by Documentation Officer Kate Carson (Stephanie Beacham) after the opening credits, but she doesn’t expound on any details beyond that or why the company sent another team back to the planet. What the previous expedition failed to discover that this one does is a tomb containing hieroglyphics of the previous now extinct civilization, strange crystals and a possible secret chamber. The only two members of this team we never get to know too well are Ricky Williams (David Baxt) and Dean White (Dominic Jephcott). After the opening credits these two are already inside the tomb exploring when an explosion buries the both of them. They manage to dig Ricky out, but don’t find Dean until a little while later, but it doesn’t matter, he’s dead. Sort of. The doc, Karl (Barrie Houghton), can hear a heartbeat, and his staring eyes move. For reasons never explained we’ll see him later in a body bag in a freezer. Okay, so, he died at some point? Ricky feels and looks normal, but he had a handful of these funky crystals in his hand, and these crystals play a part in the movie, but not a very clear part. They glow, interfere with the electricity in the base, and drive Ricky insane. He needs to get back outside and into that tomb because he thinks Dean is still stuck out there, and if you try and stop him he’ll clobber your ass. Kate will end up killing him in self defense as she and Gail (Rosalind Lloyd) have been ordered by base commander, Holly McKay (Jennifer Ashley), to go out and get photos of the tomb. I’m going to point out this movie has two characters that end up doing something stupid that’ll get either themselves and/or another killed. So, right in the first act, close to the credits we’ve already got two characters who have exited the movie. The next one is Gail herself, after being attacked by crazed Ricky she gets a foot jammed between two pieces of metal on the walkway. She’s also damaged her thermostat, and is in danger of freezing to death. Gary (Steven Grives) tells her from the operations room she needs to re-connect these two wires to get heat, but she panics, refuses to even try, and somehow believes taking the electric saw nearby and cutting her leg off will make things all right. You got to be kidding me?! So, as everyone looks on she pops open her visor, stuffs the oxygen hose in her mouth and begins to saw her ankle off. As predicted she freezes to death. Article from Fangoria #12. Click photos to enlarge & read. Here we are three characters dead now and our main character hasn’t even been inseminated yet. I like the fact the film is never boring. There’s always something right around the corner to keep the story humming along. Speaking of insemination, our two leads are Sandy (Judy Geeson) and her boyfriend, Mark (Robin Clarke). It’s when Sandy and Mitch (Trevor Thomas) are sent into the tomb that shit gets all too real. Everything’s fine actually until they’re done and at the entrance again ready to go back when this alien creature attacks! It kills Mitch, fucks him up bad. His death is filmed in tight shots so you’re not sure how he’s being torn apart. Sandy’s insemination was filmed as if it were some kind dreamy, lucid, acid-like sequence, with her naked on this platform and this alien standing between her spread legs. She’s not raped by an alien dick, but with something that looks like a long test tube of funky liquid pumping through with lumpy things floating in it. This alien creature is fleeting; we never get to see the whole thing, mostly from the shoulders up. I was impressed with the design though, done by FX artist Nick Maley (He and his wife also wrote the initial script). When it’s all over Sandy is suddenly in sickbay being treated for whatever happened to her. These “alien crystals” play a part in her sudden homicidal and cannibalistic nature; she’s a woman possessed when the ones they have in a jar in sickbay call to her. She also gets this mysterious wound on her head that slowly spreads along her scalp, you can see it as the movie progresses, her scalp looks more and more bloody, and initially I was perplexed whether the crystals were making her this way or the pregnancy, my guess was it’s a combination of both, but there’s a synopsis in the Image Gallery on the disc that reveals its her pregnancy that’s mutating her form. At any rate she suddenly wants to kill anyone she encounters and her first victim is poor Barbra (Victoria Tennent) who she knifes to death in the bathroom with a pair of scissors. She used whatever she has at hand to kill her comrades—Gary is offed by a portable harpoon handgun; Karl is killed instantly by a barbell to the head; Holly meets her end at the business end of a “touch-burner,” and Kate is immobilized by a small explosive that fucks up her leg as she’s trying to flee, but the worst part of this is after she kills/immobilizes her prey she eats part of them, mostly tearing into their stomachs. And she isn’t beyond eating Dean and Ricky’s corpses in the freezer either. Geeson puts in the best performance of the cast, vacillating between cold-blooded murderer and lucid victim, sometimes in the same scene, before we finally get to her infamous birthing scene I mentioned earlier! Now, once she gives birth I thought somehow she’d become normal again, and the rest of the movie would center on the creepy ass looking twins she popped out of her, but when Mark finds her resting and goes to wake her, she spins around and it’s clear she’s still in murder mode. You can also see in that scene her teeth have subtly began to change too; they look sharper than normal. That other character I hinted at that gets retarded and accidentally kills another is Holly. She may be the leader of this group but she does not exude an aura of leadership. It’s during the scene where she, Karl and Sharon find Sandy in the workout room looking very pregnant and writhing in pain when she gets careless. She’s got the “touch-burner” as a weapon, and once Sandy clicks into murder mode again Karl is in the way. You can see Holly all twitchy and unsure and accidentally nails him in the back, this allows a moment for Sandy to kill Karl dead with a barbell. Sandy gets the touch-burner and turns it on Holly, now she’s dead and they’ll find her half-eaten body hanging on a ladder later. At this point in the flick Mark, Kate and Sharon (Heather Wright) are the only three left alive, and after Gary’s death earlier Mark had a come-to-Jesus moment where he knows there’s no reasoning with his girlfriend anymore there’s only killing her. Part of this plan involves kidnapping her kids, he hands them off to Sharon and has her secreted away in a room they figure Sandy won’t think to look. Two other traits Sandy acquires in her pregnancy, one is the ability to breathe the planet’s intolerable atmosphere, this is how she got to Gary outside, and a boost in strength. I liked how the movie displays here “super strength” realistically too, this helps to show how Mark is finally able to kill her at the end. She’s not invulnerable, if you can just get the drop on her, it’s fairly easy to take her out. After one of their struggles where she manages to take a nice chunk out of his leg, their battle gets him into a room with a weak floor, and he goes through it. Now he gets clever, when she goes around and enters it, he’s hiding behind the door with a bunch of cords in his hand and during their struggle manages to get them around her neck and throttles her to death. There’s this shot where they’re both kneeling next to each other and he’s putting the finishing touches on his murder cord maneuvers, when I first saw this I had this odd moment of reflection, it hits me, Jesus, at the start of this film these two are a loving couple, and now look at them, Mark’s killing her because an alien rape turned her into a killer cannibal! Man, life and it’s curve balls. I really believed this movie was going to have some survivors, like Mark and Sharon, but then Mark limps back to her and finds one of the alien babies has overpowered Sharon and eaten a fatal hole in her neck! Oh fuckin’ shit! Where’s the other? Mark turns and there it is! The camera zooms in on the second baby’s bloody mouth and we can assume Mark is now pushing up daisies. Fear not true believers Inseminoid comes with an epilogue. In some markets where this was shown the movie ended after the zoom in of that alien babv’s bloody mouth. The epilogue is about a three-man combat mission sent to the planet to find out why there hasn’t been any radio contact for twenty-eight days. The find some of the bodies, but have no clue what unfolded. The last shot is back on the ship where we see the babies have gotten onto and hidden themselves in a trunk. A set-up for a never intended sequel, I guess. Loved the 2.35 cinematography, and the gore was good without going over the top, back then though it was shocking, nowadays it feels very retrained. I mean you never see Sandy eating any innards. They always show her leaning in, and then leaning back out with a bloody mouth. Had this gotten a remake it would be immensely gruesome I imagine. Actually I wouldn’t mind seeing what a remake would look like. One last thing I realized about this movie is none of the characters ever learn Sandy was impregnated by an alien, we the audience are shown what happened, but she never tells anyone what occurred and no one even thinks to wonder why her pregnancy and birth happen nearly in the blink of an eye, and after she gives birth to obvious alien beings neither Mark or Sharon take a moment to stop and ask themselves what the fuck are these things? Inseminoid is not available on blu-ray in any kind of solo release or in the U.S. This blu-ray I reviewed here is part of a U.K. release from Powerhouse Films that collects the horror flicks of director Norman J. Warren’s films: Bloody Terror: The Shocking Cinema Of Norman J. Warren. I ordered this set this past summer specifically for this movie, making it the single most expensive blu-ray I have ever bought. Inseminoid does not have a distributor in the U.S. so it’s unknown if it’ll ever see a blu-ray release over here. Frankly, I think it eventually will, but if you want this film now you’ll have to buy Powerhouse’s set here on Amazon UK, or on their site. Keep in mind this is a limited edition set, so if you really want it pick it up quick! As of this review it’s still in print. The disc is region free, so you won’t need a region free player to watch it. UPDATE 8/6/21: The Bloody Terror set is now out of print, and when an Indicator set goes OOP, they eventually put all the films out as standard solo editions later, so Inseminoid is now available in an affordable blu-ray from Indicator and on Amazon UK. If you don’t want to go overseas, you can get Scream Factory’s blu-ray here. They have some of the same extras and new ones, plus reverse cover art. Indicator’s solo blues only come with an advertisement for their other discs on the reverse side of the cover art. 1999 U.S. DVD FROM ELITE ENTERTAINMENT (Out Of Print) VIDEO/AUDIO/SUBTITLES: 2.35:1 (non-anamorphic) widescreen—2.0 English Dolby Digital (stereo)—No subs EXTRAS INCLUDED . . . Theatrical Trailer (Note: This movie never came in a red case, I just transferred mine to one because I thought it would look cooler, and by God it did!) 2021 U.K. BLU-RAY FROM POWERHOUSE FILMS VIDEO/AUDIO/SUBTITLES: 1080p 2.35:1 high definition widescreen—2.0 English LPCM (mono)—English SDH subs only. I have never seen this movie look so great! The restoration they did makes every frame look like a piece of art. Colors, clarity, black levels and so forth are extremely well restored. Below is a page scan from the booklet in the set, each movie has a page of “restoration notes.” EXTRAS INCLUDED . . . The BEHP Interview With Norman J. Warren—Part 2 (1:09:20) Norman J Warren At The Manchester Festival of Fantastic Films (1:01:50) Subterranean Universe (44:46) Alien Encounter (6:02) Electronic Approach (13:10) Trailers & TV Spots — Theatrical Trailer #1 (2:13); Theatrical Trailer #2 (1:47); Theatrical Trailer #3 (1:02); French Theatrical Trailer (2:28); Horror Planet Teaser Trailer (:31); TV Spot (:31) Image Gallery (1:49/110 photos) As an added bonus, if you get this set, it comes with a 117-page booklet chronicling all of Warren’s horror movies, and one of the chapters is about the 1981 novelization of Inseminoid that is very different than the movie. Mostly in high sexual content and how the creature is depicted. In the book it’s almost a mindless beast that goes around raping the female crew with its two-pronged dick. Never explained in the movie the alien is supposed be the last of its species, an alien scientist looking to pass its genes on. The book is available on Amazon through third party sellers, if you’re interested in reading it. Another reason to get this set is it comes with a very large two-sided poster, one side is of Terror (1978), and the other is Inseminoid. But it’s not any of the posters I added to this review. It was one I had never seen before, most likely one used in the U.K. since if you remember it was shown in the U.S. under Horror Planet. Two of the extras in this disc, Subterranean Universe & Electronic Approach, are from the 2004 U.K. DVD set, The Norman J. Warren Collection. The commentary is also from 2004. The interview with actor Trevor Thomas in Alien Encounter is the only brand new 2019 addition. The rest are either from 2004, 2011 and 2018. The BEHP Interview with Norman J Warren – Part Two extra covers not only Inseminoid but a few of his other films as well, and the Norman J Warren at the Manchester Festival of Fantastic Films extra is kind of a bust when it comes to Inseminoid talk. He finally addresses that movie near the end of the interview and only briefly before he’s sidetracked and goes off talking about something else and never goes back to the film. If you’re a fan of Bloody New Year, however, the first 36-minutes you’ll absolutely love. If you’re looking for real in-depth talk about Inseminoid I direct you the 2004 Making Of and the commentary.
8999	dbpedia	1	69	https://therokuchannel.roku.com/browse/w.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-all	en	Roku	https://www.roku.com/ass…-logo-purple.png	https://www.roku.com/ass…-logo-purple.png	[]	[]	[]	[ "" ]	null	[]	null	Roku provides the simplest way to stream entertainment to your TV. On your terms. With thousands of available channels to choose from.	de		Roku	https://therokuchannel.roku.com/enguard/
8999	dbpedia	0	25	https://headrecords.co.uk/horror/inseminoidrobin-clarke/p-phibd162	en	Inseminoid - Blu-ray - Restored	https://headrecords.co.uk/favicon.ico	https://headrecords.co.uk/favicon.ico	[ "https://headrecords.co.uk/images/logo.svg", "https://headrecords.co.uk/images/logo.svg", "https://headrecords.co.uk/images/productphotos/large/MM00280832.webp", "https://headrecords.co.uk/images/productphotos/medium//MM00279717.webp", "https://headrecords.co.uk/images/productphotos/medium//MM00177116.webp", "https://headrecords.co.uk/images/productphotos/medium//MM00280830.webp", "https://headrecords.co.uk/images/productphotos/medium//MM00219462.webp", "https://headrecords.co.uk/images/productphotos/medium//images/productphotos/medium/10.webp", "https://headrecords.co.uk/images/productphotos/medium//images/productphotos/medium/5.webp", "https://headrecords.co.uk/images/highres/288x288xdefault.jpg.pagespeed.ic.SRBl-mfp76.jpg", "https://headrecords.co.uk/images/highres/288x288xdefault.jpg.pagespeed.ic.SRBl-mfp76.jpg", "https://headrecords.co.uk/images/social_media/footer/facebook.svg", "https://headrecords.co.uk/images/social_media/footer/twitter.svg", "https://headrecords.co.uk/images/social_media/footer/instagram.svg", "https://headrecords.co.uk/images/payment_logos/footer/sagepay.svg", "https://headrecords.co.uk/images/payment_logos/footer/visa.svg", "https://headrecords.co.uk/images/payment_logos/footer/mastercard.svg", "https://headrecords.co.uk/images/payment_logos/footer/maestro.svg", "https://headrecords.co.uk/images/payment_logos/footer/amex.svg" ]	[]	[]	[ "" ]	null	[]	null	Inseminoid\|Robin Clarke	en	/favicon.ico		https://headrecords.co.uk/horror/inseminoidrobin-clarke/p-phibd162	Head Records in Leamington Spa is an Independent Record Shop (and so much more) based in the Royal Priors Shopping Centre. With 30 years’ experience in the industry we pride ourselves on our service, range & price. New Releases : Pre Orders : Record Store Day : CD : DVD : Vinyl : Cassettes : Blu Ray : Books : Headphones & Turntables.
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B082BWZRHR	en	https://d3ulwu8fab47va.cloudfront.net/media/favicon/default/favicon.ico	Ubuy Maldives	https://www.ubuy.mv/en/product/1B53SA8MI-inseminoid-blu-ray
8999	dbpedia	1	7	https://hammerhouseofhorror.fandom.com/wiki/Inseminoid_(1981)	en	Inseminoid (1981)	https://static.wikia.nocookie.net/hammerhouseofhorror/images/a/ae/Inseminoid_%281981%29.jpg/revision/latest/scale-to-width-down/1200?cb=20221202014822	https://static.wikia.nocookie.net/hammerhouseofhorror/images/a/ae/Inseminoid_%281981%29.jpg/revision/latest/scale-to-width-down/1200?cb=20221202014822	[ "https://static.wikia.nocookie.net/hammerhouseofhorror/images/a/ae/Inseminoid_%281981%29.jpg/revision/latest/scale-to-width-down/256?cb=20221202014822", "https://static.wikia.nocookie.net/6a181c72-e8bf-419b-b4db-18fd56a0eb60", "https://static.wikia.nocookie.net/6c42ce6a-b205-41f5-82c6-5011721932e7", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to Hammer horror Wiki" ]	2024-07-29T22:27:06+00:00	Inseminoid (titled Horror Planet in the United States) is a 1981 British science fiction horror film directed by Norman J. Warren. It stars Judy Geeson, Robin Clarke and Stephanie Beacham, along with Victoria Tennant in one of her early film roles. The plot concerns a team of archaeologists and...	en	https://static.wikia.nocookie.net/hammerhouseofhorror/images/4/4a/Site-favicon.ico/revision/latest?cb=20221011235301	Hammer horror Wiki	https://hammerhouseofhorror.fandom.com/wiki/Inseminoid_(1981)	Inseminoid (titled Horror Planet in the United States) is a 1981 British science fiction horror film directed by Norman J. Warren. It stars Judy Geeson, Robin Clarke and Stephanie Beacham, along with Victoria Tennant in one of her early film roles. The plot concerns a team of archaeologists and scientists who are excavating the ruins of an ancient civilization on a distant planet. One of the women in the team (Geeson) is impregnated by an alien creature and taken over by a mysterious intelligence, driving her to murder her colleagues one by one and feed on them. Inseminoid was written by Nick and Gloria Maley, a married couple who had been part of the special effects team on Warren's earlier film Satan's Slave. Filmed between May and June 1980 on a budget of £1 million, half of which was supplied by the Shaw Brothers, it was shot mostly on location at Chislehurst Caves in Kent as well as on the island of Gozo in Malta, combined with a week's filming at Lee International Studios in London. Composer John Scott completed the film's electronic musical score over recording sessions that lasted many hours. Despite a good box office response in the UK and abroad, Inseminoid failed to impress most commentators, who criticized the effects and production design. The overall quality of the acting was also poorly received, although Geeson's performance was praised. Criticism was also directed at the premise involving an alien insemination, which some commentators viewed as a weak imitation of Alien (1979). Both Warren and 20th Century Fox, distributor of Alien, rejected claims that Inseminoid was influenced by this film. Academic criticism of Inseminoid has concentrated on the film's depiction of the female sex, and female sexualities, in the context of corruption by an alien source. Commentators have noted that as well as portraying Sandy as an abject Other, the film presents a battle of the sexes as Sandy kills her former friends. The film was novelized by Larry Miller and released on VHS to strong sales. Plot[] On a freezing planet, a team of 12 Xeno Project archaeologists and scientists are excavating the ruins of an ancient civilization. They discover a cave system containing wall markings and crystals of unknown origin. During a survey, a mysterious explosion cripples photographer Dean White and injures Ricky Williams. Deciphering the wall markings, exolinguist Mitch theorises that the civilization was built on a concept of dualism: the planet orbits a binary star and seems to have been ruled by twins. Medical assistant Sharon discovers that the crystals are surrounded by an energy field and suggests that the civilization was controlled by a form of chemical intelligence. A crystal sample begins to pulsate, causing the intelligence to take control of Ricky through a wound on his arm. In his delusional state, he is compelled to leave the team's base and go back into the caves. He throws Gail into a pile of twisted metal, damaging her environmental suit and trapping her foot. Desperate to free herself, Gail removes her helmet and tries to amputate her foot with a chainsaw, but instead freezes to death in the planet's toxic atmosphere. Documentation officer Kate Carson shoots Ricky with a harpoon gun before he opens the airlock and evacuates all of the base's air. Ricky and Gail are buried outside the base. Later, Mitch and Sandy return to the caves to collect more crystals. A monstrous alien creature appears and dismembers Mitch, then rapes Sandy with a transparent tubular phallus pumping green liquid. Sandy is taken back to base and treated by the team's doctor, Karl, who discovers that the attack has triggered an accelerated pregnancy. When further underground explosions block off the caves, the survivors are left with nothing to do but wait for Xeno to pick them up. The intelligence takes over Sandy, giving her superhuman strength. She stabs Barbra to death with a pair of scissors and mutilates Dean and the remains of Mitch, drinking their blood. The rest of the team take refuge in the control room as Sandy uses explosives to blow up the base transmitter. After Sandy appears to return to her normal self, Karl, Sharon and Commander Holly McKay try to sedate her. However, Sandy reverts to her violent state, killing Karl and Holly and disembowelling their corpses. Mark radios Sandy from the control room to distract her while Kate and Gary arm themselves with chainsaws from a storage room. Sandy uncovers the ruse and harpoons Gary outside the airlock, breathing the atmosphere to no ill effect as she feeds on his flesh. She then re-enters the base and gives birth to hybrid twins. Mark stumbles across the newborns and leaves them with Sharon as Sandy blows up the door to the control room and smashes the equipment inside. Sandy uses another explosive charge to wound Kate, then kills her. Finally, Mark overpowers Sandy and strangles her to death with a length of cable. He returns to Sharon to find one of the twins drinking from her torn-out throat, then comes face to face with its sibling. Twenty-eight days later, a Xeno shuttle lands on the planet to investigate the loss of contact with the team. With the base in ruins and its occupants either dead or missing, commandos Corin and Roy abandon the search for survivors and shuttle pilot Jeff radios Xeno for clearance to return. The final shots reveal that the twins have stowed away inside a storage compartment on board the shuttle. Cast[] Judy Geeson as Sandy Robin Clarke as Mark Jennifer Ashley as Holly McKay Stephanie Beacham as Kate Carson Steven Grives as Gary Barrie Houghton as Karl Rosalind Lloyd as Gail Victoria Tennant as Barbra Trevor Thomas as Mitch Heather Wright as Sharon David Baxt as Ricky Williams Dominic Jephcott as Dean White John Segal as Jeff Kevin O'Shea as Corin Robert Pugh as Roy Crew/Stats[] Directed by Norman J. Warren Written by Nick and Gloria Maley Produced by Richard Gordon, David Speechley Cinematography: John Metcalfe Edited by Peter Boyle Music by John Scott Production company: Jupiter Film Productions, Shaw Brothers, Embassy Home Entertainment Distributed by Butcher's Film Service Release date: March 23, 1981 Running time: 93 minutes Country: United Kingdom Language: English Budget: £1 million Production[] After making Satan's Slave (1976), Prey (1977) and Terror (1978), Norman J. Warren was to have directed a film called Gargoyles. After this production collapsed without a finished script, Warren and producer Richard Gordon accepted a story idea from the husband-and-wife duo of Nick and Gloria Maley, who had been members of the special effects unit on Satan's Slave. The Maleys wrote the film both as an amalgam of their favorite science-fiction ideas and to showcase their effects work. Their script, which indicated that the film is set two decades in the future in a militaristic universe, was provisionally titled Doomseeds; this was changed to Inseminoid to avoid confusion with the 1977 film Demon Seed. Gordon cast American actors Robin Clarke and Jennifer Ashley as Mark and Holly while on business in Hollywood. Clarke had recently played a supporting role in The Formula; Ashley had appeared in a number of independent films. Beacham, who had two young children at the time, accepted the role of Kate Carson to support her family, recalling in a 2003 interview: "I had to choose between a play that I really, really wanted to do, which would have paid me £65 a week, and this script for a film called Inseminoid. Hey! No choice. Two pink babies asleep upstairs! No choice!" Filming[] The Shaw Brothers agreed to supply half of the proposed £1 million budget and became partners in the production, with elder brother Run Run Shaw credited as presenter in the opening titles. Nick Maley reprised his effects role to build the puppets of the alien twins. Principal photography began on May 12, 1980 with a crew of 75. The production spent three weeks filming in Chislehurst Caves in Kent, which served as the tunnels of the underground complex. This was followed by one week's studio filming at Lee International Studios in Wembley Park, London. A fifth week was devoted to effects and linking shots, completed by the second unit at Film House on London's Wardour Street. The crew then travelled to the island of Gozo in Malta for a supplemental location shoot lasting two days, during which they filmed the long shots set on the planet's surface. The strong Mediterranean sun ensured good lighting. Warren said that given Inseminoid's low budget, filming the underground scenes in actual caves produced a more realistic result than any potential studio option. However, the cold, damp and airless conditions inside the caves, compounded by the uneven terrain, caused numerous minor injuries among the cast and crew as well as damage to filming equipment. Shooting often ran for 12 hours at a time and some of those present developed intense feelings of claustrophobia in the confined space. Gordon felt that these uncomfortable working conditions made the actors' performances more credible: "I think all this paid off in terms of what we got on the screen for the budget, but the circumstances were very difficult." Due to the lack of space, the crew were forced to set up their production office, as well as the dressing and make-up rooms, in a car park some distance from the caves. As filming started to fall behind schedule, Warren was forced to cut some of the scenes of Ricky's rampage inside the caves: "Three pages of script, which I had to condense into one shot. Having to make such an enormous compromise was not a happy choice for me, but it was the only way of getting us back on schedule." The shoot ultimately overran by two days. As filming progressed, the working relationship between Warren and Clarke broke down. According to Warren, Clarke often refused to follow instructions, opting instead to give his own interpretation of the script to a point where every scene featuring him became "an uphill struggle" to film. Warren remembered that during preparations for a fight scene, he lost his temper with Clarke: "Robin kept on ranting and raving about his ideas to the point where I couldn't take it any more. So I screamed at him to shut up and keep quiet. I told him I was the director and we would do the scene the way I said. He was shocked, he just stopped dead, and from that point on he hardly said a word." Warren's rapports with the rest of the cast were positive. He described Geeson as "an absolute dream to work with" and praised her performance, arguing that it avoided being unintentionally comic. Gordon was similarly impressed, saying that Geeson fully embraced the role of Sandy and did not complain that it demeaned her as an actress. Warren also had memories of Beacham's "very professional" performance, recalling that "with tongue firmly in cheek, she would often wind me up by asking what her motivation was for a particular action, just as I about to call 'Action!', knowing full well that my answer would be, 'Because it's in the script'." Inseminoid was shot on 35 mm Eastman Kodak film with anamorphic lenses. Warren remembered that this format produced an "incredibly sharp image and what I would term as the 'American' look." The film was brightened during post-production following concerns that it would be harder to sell to television broadcasters if it appeared too dimly lit. Cuts were made to some of the more graphic shots of Sandy giving birth to ensure that the film would not be rejected by the British Board of Film Censors (BBFC). According to Warren, editor Peter Boyle "had a natural feel for the material and managed to create just the right pace and rhythm throughout the film." The title sequence was produced by Oxford Scientific Films. Distribution[] In Germany, cinemas began showing the film in January 1981 under the title Samen des Bösen (English: Seeds of Evil). In the UK, the film premiered on March 22nd, in the Midlands, subsequently opening at 65 cinemas in the region. It reached London in October. The film was commercially successful, reaching number five at the UK box office and number seven in France. Inseminoid was also one of the first films to have a VHS release not long after its initial cinema run, and in November 1981 peaked at number seven in the UK video charts. It was re-released on VHS in 1992 and 1998. In the UK, the film's promotion included a regional mailshot consisting of a circular that showed a screaming Geeson in character as Sandy with the tagline "Warning! An Horrific Alien Birth! A Violent Nightmare in Blood! Inseminoid at a Cinema Near You Soon!" Warren regretted this move, commenting: "The problem with mail drops is that you have no way of knowing who lives in the house, or who will see it first. It could be a pregnant woman, and old lady, or even worse, a young child. So it was not such a good idea." The BBFC originally certified the film X, and later 18; in 2005, it reduced the rating to 15. To Warren's displeasure, foreign distributor Almi renamed the film Horror Planet for its North American release. This was later changed back to Inseminoid. The Motion Picture Association of America gave the film an R rating for "profanity, nudity, violence, rape and gore". Critical Response[] Inseminoid was nominated for the Fantasporto award for best film and won the Fantafestival award for best special effects. Roger Corman congratulated Warren on the film and considered hiring him as a director.[3] However, Inseminoid failed to impress members of the British Academy of Film and Television Arts, who according to Warren, dismissed it as "'commercial rubbish! ... Not the sort of thing the Academy should be showing ... And certainly not the kind of film the British film industry should be making.'" He also remembered that it was not well liked by female audiences: "It seems it is quite common for pregnant women to have nightmares about giving birth to some kind of monster. Of course, all their complaints and their letters which were printed in the local papers only helped to increase the queue at the box office." Alan Jones of Starburst magazine expressed a preference for the British members of the cast, calling Geeson "absolutely first-rate" but criticising the "weak performances from the token Americans", Robin Clarke and Jennifer Ashley. Praising the film's cost-effective production values, he stated that its depictions of violence carried Warren's "particular trademark". He added that Inseminoid is "not faultless by any means", citing a predictable and often "ridiculous" plot as one of the film's failings. However, he concluded that it met audience expectations for a science fiction B movie, describing it as "far less routine and far more enjoyable than I had expected." In the US, Inseminoid made the Los Angeles Times top ten list. Reviews elsewhere were more negative. Edward Jones of Virginia's The Free Lance–Star praised the "novel touch" of casting an expectant mother as the villain but added that "in what has to be a new low, even for extraterrestrial-horror films, all the men end up punching this pregnant woman in the stomach." He summed up the film as "no more than a mix of everything-you've-ever-seen-in-a-horror-movie-and-didn't-particularly-want-to-see-again." In a review for the Boca Raton News, Skip Sheffield branded the film "horrible" and "cheapo", advising readers to "imagine Alien without the fantastic sets, convincing special effects and literate dialogue, and you have a picture of Horror Planet." He also argued that the graphic violence is not suspenseful, punning on the name Run Run Shaw in his conclusion that "Horror Planet is a film to run, run away from – fast." AllMovie rates the film one star out of five. Reviewer Cavett Binion calls Geeson's performance "more than a bit uncomfortable to watch", describes the rape scene as "surreal and truly disgusting" and considers the choice of title "sleazy". Douglas Pratt writes that the film features poor acting and production design with "some gooey gore shots but few other thrills". He concedes that the film "goes through the motions properly, however, so fans will probably find it worth passing the time." Warren rejected the notion that Inseminoid is comparable to a "video nasty". On the film's supposed cult status, he said: "If Inseminoid has become some form of cult movie, then I am very pleased and, indeed, very flattered." He added that if he were to re-make the film, he would demand a longer shooting schedule and reduce the lighting to heighten the suspense. At just 12 minutes in, there's action in those outer space mine shafts, with the first victim in this sci-fi horror tale kick-starting every cliché and already-stolen Alien plot point in the book ... What follows is simply a stage for gloriously awful dialogue spouted out of amateur actors, whose deaths are more a result of pure idiocy in their dumb-as-nails characters than any kind of suspenseful horror plotting. – Jeremy Wheeler, AllMovie Interpretation[] Inseminoid has been criticized as a perceived imitation, "knock-off" or "rip-off" of the 1979 science-fiction horror film Alien. Peter Wright, a film historian and lecturer at the University of Liverpool, believes that the "atmospheric" cave sequences and the mess hall scene preceding Ricky's madness may have been inspired by Ridley Scott's film, comparing the former to the sequences set on the desolate planetoid and the latter to the violent reveal of the alien "chestburster". Wright considers the Alien connection potentially "exploitative"; to Barry Langford of the University of London, it underlines UK cinema's dependence on its US counterpart. Alan Jones argues that "any similarity between Inseminoid and Alien is totally intentional. Except here is the basic idea contained in Alien taken to its sleaziest extreme." He finds one such parallel in the character of Kate (Stephanie Beacham), whom he likens to Ellen Ripley (Sigourney Weaver). However, he also regards Contamination (1980) and Scared to Death (1981) as less effective imitations of Scott. Edward Jones argues that the plot of Inseminoid also borrows from the novel Dracula (1897), the TV series The Bionic Woman (1976–78) and the films The Thing from Another World (1951) and Night of the Living Dead (1968). Though he acknowledged its similarities to Alien, Warren denied claims that Inseminoid was made as an imitation, pointing out that the script for his film was completed months before Alien was released in the UK. He also said that representatives of 20th Century Fox, which distributed Alien, were shown the completed Inseminoid and that even they discounted the possibility: "... in fact, the head of Fox sent us a very nice letter saying how much he enjoyed the film and wished us luck with the release ... I find it flattering that anyone can compare Alien, which cost in the region of $30 million, with Inseminoid, which cost less than £1 million. We must have done something right." Various commentators have discussed Inseminoid's depiction of sexual reproduction, female sexuality, conflict between male and female gender roles, pregnancy, new motherhood and Otherness. Wright interprets Sandy's transformation as a "direct manifestation of masculine anxiety regarding female reproductive capacity". He argues that the film's horror is internalised within the seed of the alien being, which renders Sandy "woman-as-other" or "abject "Other". This is in contrast with Alien, which revolves around the transfer of "fear of woman" to "alien other". Wright argues that Inseminoid is reminiscent of Demon Seed (1977), in which a woman is raped and impregnated by an artificially-intelligent computer: "in both films, women are framed as 'Other' by their sexual congress with more conventional iconic others: the machine and the alien." In all of these films, pregnancy is depicted as a source of horror; in Inseminoid specifically, this is conveyed by the "uterine and cervical" title sequence, which to Wright suggests "entering the realm of the monstrous womb ... the titling reveals a microscopic insect resident in the body of a larger organism." Wright argues that the distorted representation of the womb reveals similarities to David Cronenberg's The Brood (1979), in which a woman gives birth to deformed offspring through parthenogenesis. Analysing the rape sequence itself, in which Karl uses a syringe to inject Sandy with an unknown substance, Wright makes a connection to dialogue in other scenes implying that the women on the archaeological team are regularly given contraceptive injections. Sandy's impregnation, conflicting with the suppression of fertilisation represented by Karl's hypodermic (and phallic) needle, reveals "coherent sexism": it "attacks the very notion of female sexual freedom, while suggesting, paradoxically, that contraception is the responsibility of women." Sandy's accelerated pregnancy and regression to the level of a savage add to her depiction as an abject Other or object of "male paranoia". During the fight between Sandy and Gary, Sandy waits until Gary has half-suffocated before killing him. Wright suggests that this sequence is reassuring from a male perspective as it suggests that no woman – not even one with unnatural strength – is strong enough to kill a man in cold blood. That Sandy is ultimately killed by a man (Mark) makes her an aid in the re-empowerment of the male sex, although her offspring are quick to avenge their mother. Comparing the plot of Inseminoid to religious scripture, Christopher Partridge of Lancaster University refers to the twins as "essentially space Nephilim, technological demons with appetites and habits reminiscent of the mythic forebears." The film's sexual references continue into the epilogue, which shows the arrival of rescuers Jeff, Corin and Roy. In an allusion to the menstrual cycle, the characters state that 28 days have passed since Xeno lost contact with the team. The deaths of the archaeologists are attributed to an "internal disturbance of some kind", which Wright describes as "an ironic phrase which encapsulates the film's vision of pregnancy as an irruption of Otherness from within." On the subject of Larry Miller's novelization, which he calls "imaginative and misogynistic", Wright notes a number of scenes that are absent from the film and distort the female form, causing revulsion in the reader. Miller has Sandy grow sores ooze pus from her nipples, which Wright likens to a new mother producing colostrum. Sandy accepts these unnatural changes with fascination. In both [Alien and Inseminoid], conventional sexuality is restored. In Alien, Ripley undresses at the end and displays herself as pleasurable to the audience; similarly, Inseminoid asserts the durability of established gender roles, despite the survival of the twins. However, unlike Alien, Inseminoid retains its power to disturb, as Sandy's words to Mark resound long after the final frame ... The generative mother has spoken, reinforced her eternal presence, and departed to haunt the dreams of men. – Peter Wright Sandy (Judy Geeson) is impregnated. Peter Wright believes that this scene displays conflicting attitudes to reproduction: while the alien phallus promotes fertilization, Karl injecting Sandy's arm with a phallic hypodermic needle suppresses it. In a 1997 interview, Warren said that the phallus was intended to be "some kind of artificial insemination equipment" rather than a penis, adding that for censorship reasons, the impregnation scene was shot "very impressionistically, to be like a dream": "I know that if we had shot it straight, it would have played like a rape scene and been cut out. So it has this sort of abstract quality to it that the censors didn't mind." Availability[]
8999	dbpedia	3	32	http://www.dvdexotica.com/2015/08/the-movie-scream-factory-let-slip.html	en	DVD Exotica: Let the Rediscovery of Alien Predators Begin! 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(they're all digital video discs, after all) from around the world.		http://www.dvdexotica.com/favicon.ico		http://www.dvdexotica.com/2015/08/the-movie-scream-factory-let-slip.html
8999	dbpedia	3	6	https://www.amazon.com/Inseminoid-Judy-Geeson/dp/B095JHV91H	en	Amazon.com			[ "https://images-na.ssl-images-amazon.com/captcha/perumqgc/Captcha_psqjjgefof.jpg", "https://fls-na.amazon.com/1/oc-csi/1/OP/requestId=MR6954TASX9V030AGX02&js=0" ]	[]	[]	[ "" ]	null	[]	null		en			null	Enter the characters you see below Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
8999	dbpedia	3	73	https://www.royalroad.com/fiction/39266/the-future-that-never-was-the-rings-will-rise/chapter/948126/kk3-19-isola64-13	en	KK3 - #19 ISOLA64 (1/3) - The Future That Never Was — The Rings Will Rise Again!	https://www.royalroadcdn…?time=1655042539	https://www.royalroadcdn…?time=1655042539	[ "https://www.royalroad.com/dist/img/logo/rr-logo-gold-white-small-min.png", "https://www.royalroadcdn.com/public/volume-covers-large/39266-aaaajjqdqhe-kitty-kitty-season-3.jpg?time=1655073932", "https://media3.giphy.com/media/VJeQrlJLcDsxnknlTP/giphy.gif", "https://www.royalroadcdn.com/public/avatars/avatar-201248-AAAA__jDChM.png?time=1678746686", "https://www.royalroadcdn.com/public/achievements/250000-views-small-AABA6oQMIw0.png", "https://www.royalroadcdn.com/public/achievements/3rd-anniversary-small-AABAWS9bIQ0.png", "https://www.royalroadcdn.com/public/achievements/200-review-upvotes-small-AAAAYajWIg0.png", "https://www.royalroadcdn.com/public/achievements/village-head-iv-small-AABATPixIg0.png", "https://www.royalroadcdn.com/public/achievements-small/royal-writathon-october-2022-winner.png?time=1670408648", "https://www.royalroadcdn.com/public/achievements/130-reviews-small-AADArHukIg0.png", "https://www.royalroadcdn.com/public/achievements/1500-comments-small-AADA4je0Ig0.png", "https://www.royalroadcdn.com/public/achievements/word-count-15-small-AABAaRomIg0.png", "https://www.royalroadcdn.com/public/achievements/top-list-50-small-AABAlTWfJQ0.png" ]	[]	[]	[ "The Future That Never Was — The Rings Will Rise Again!; Space Pickle; KK3 - #19 ISOLA64 (1/3); free books online; webnovel; web novel; web fiction; free; book; novel; royal road; royalroadl; rrl; legends; fiction" ]	null	[]	2022-07-14T01:04:00+00:00	#19 ISOLA64 Interplanetary travel had lulled into sweet dreams half a dozen generations before ours. A chimera many times romanticized with utter—yet (...)	en	/icons/android-chrome-192x192.png?v=20200125	Royal Road	https://www.royalroad.com/fiction/39266/the-future-that-never-was-the-rings-will-rise/chapter/948126/kk3-19-isola64-13	#19 ISOLA64 Interplanetary travel had lulled into sweet dreams half a dozen generations before ours. A chimera many times romanticized with utter—yet neat—nonsenses like hyperspace, star gates or teleportation. Sadly, those utopian ideas never saw the light of day. And humanity kept running on that old nuclear fission devouring uranium and plutonium. Proxima shone at 268,000 AU. This doesn’t tell you anything, does it? In comparison, the distance between the main belt and Mars was only 0.5 astronomical unit. Daunting, right? In front of the unattainable infinite, the solar system was only a grain of sand. Yet, trips between orbital stations were nightmarishly long despite Baltimore Industries’ constant engineering efforts. No one in their right mind would venture alone into the cosmos. Aside from the technical aspects of engines and piloting, I guess the real limit of space exploration in adition to radiation was loneliness. It wasn’t a matter of boredom or cabin fever. But rather the overwhelming presence of nothing and everything—something the human mind couldn’t really fathom. I think the emptiness of the universe terrified the Earthers at least as much as it fascinated them. And they weren’t the only ones: felines shared this feeling. Fortunately, my sapiens was my sugar. My sapiens always made me forget the suffocating void and the remoteness. But lately, my sapiens have been leaving me alone all too often. “Ali? This is an outrage! My stomach has been screaming for food ever since Las Pallas!” My copilot didn’t hear me. She must have been at the other end of the ship, watching gullible TV shows on NBC. That was her main occupation during her long recovery from the battle of the Blazing Firmament; her mouth always full of Tuna Mayo Doritos and sometimes a shot of insulin in her arm. Perfect! It was time to sneak a smoke. Since the death of Ada and Rodrigue, I have resumed this bad habit. A lesser evil. Alas, the unstoppable flair of my partner flushed me out faster than a Venusian mutant would take out a corvette. “You’ve been smoking again!” she yelled, poking her head into the cockpit. I gave her the round eyes—another old habit—but it had no effect with a cigarette between my lips. “It’s your fault! You’re not taking care of me,” I huffed, drifting over the control panel. “In case you haven’t noticed, I’m still recovering! Denver almost ate me on the Polo!” “Big deal! Meanwhile—I’m starving.” My partner returned to the hold, and sent me a marmalade toast shortly afterwards. A carton of milk with its special feline straw followed it. Finally, this little train of treats ended with a nicotine patch. Minutes later, I was closing the boring computer log to enjoy my slice of bread when the dashboard beeped. On the right monitor blinked the ancient symbol of the telephone handset, which caught my eye. “Ali! We’re getting a signal!” My sapiens returned to the cockpit, dragging her feet despite the weightlessness. She verbally commanded the radio channel to open. The Kitty’s speakers sputtered before transmitting an ominous panicked call: “This is Connie… bounty hunter… request emergency assistance at attached coordinates… contract on the… dangerous target… request emergency assistance at attached coordinates…” The message, punctuated by interference, was running on a loop. Alas, without Connie’s ID number it was impossible to know who we were dealing with—or if she was even related to the Alliance. “It wasn’t a good idea to take a circuitous route,” Ali complained. “Gods’ goons or not, we should have joined the highway through Ceres. So much for not paying the toll, you cheap mop!” “What does the map say about the coordinates?” I asked, taking my seat and ignoring her impudent remark. The author's content has been appropriated; report any instances of this story on Amazon. “An insignificant asteroid,” my partner answered while playing with her shoulder’s stitches from the tip of her fingers. “We’re running on the edge of the main belt, so that’s not surprising. It’s not even listed by the mining administration.” If the venal vultures of the Belt Mining Guild hadn’t archived this chunk of rock, it meant it was nothing more than a pile of grit. “Do you feel ready to go back to business?” Behind me, Ali fought the weightlessness to apply new gauze on her still-bleeding wounds. “Sure. There ain’t much to do here but watching Quantum Leap all day long anyway.” Slightly bigger than a mediocre orbital station, the unnamed planetoid was a Marengo boulder with a surface scoured by solar radiation. “Asteroids are seldom cheerful, but this one is gloomier than average,” my sapiens had commented as she relentlessly scanned the various available frequencies in search of a more stable S.O.S. “It looks like an old Oreo after it went through a washing machine.” She appeared to be right despite ignoring what a washing machine was. This celestial body possessed an ominous aura while looking like an aged cookie. “No contact on the surface? No new messages?” “Always the same one. Over and over. And no one seems to have noticed us. We’re not getting any feedback…” “That’s peculiar. The Swallow is a stealth ship but we’re in visual contact and all our input frequencies are open.” We went around the planetoid where no sign of a crash nor evidence of a forced or intentional landing could be found anywhere on the surface. If the bounty hunter and her prey were hiding on this asteroid, they must have sought refuge within it. Ali quickly spotted a cave wide enough for a medium-sized vessel to enter at the periphery of a dismantling crater confirmed as the origin of the distress signal. Inside, a weak magnetic activity disturbed our instruments and we had to navigate blind, but not without the support of our searchlights. Thanks to them, we could promptly detect evidence of human operations: powerful drills had widened the walls, forming a perfectly cylindrical tunnel. “Cut the turbine,” my partner advised. “Let’s move forward with the stabilizers.” Good call. There were many cracks in the ceiling, and we didn’t want to be another distress signal. The Kitty slid silently through the rock dust and the few shards that clashed against our armor before we arrived above a shallow chasm, also artificial. Whoever lived here was better camouflaged than Mancéphalius or Carole Selena. “Look down,” I said as I slowly began to descend. “It’s quite a yard sale.” The precipice’s bottom appeared to be segmented with hexagonal concrete alcoves. It was like flying over a giant abandoned beehive. Each of the ten cells housed a vessel of different size and shape. The older ones, with their tapered wings and peeling red paint, dated from the early space age in the sector. “Not a single dock looks free, I’ll try to find another one by persevering through the passageway there!” Hovering above the alcoves, I had identified a narrowed groove that continued deeper in the orbiting rock. A second option would be to switch position with a ship already moored in a cavity. A dangerous move as it could fall into pieces and obstruct my reduced vision. “I’ll get my suit ready and jump from here. I see an airlock for outdoor strolls.” I agreed and synchronized the computer on my partner’s wrist with the wireless communication system. “Be careful. We don’t know who Connie was dealing with and what we’re going to find. Plus, you seem to be recovering slower than usual from your injuries…” Ali was already putting on her pink space suit over her bandages. With her repaired helmet screwed on her head, she checked the oxygen filter and the various instruments. “Don’t you worry about me. It’s gonna be fine. It’s just a ghost asteroid.” “Sure,” I grumbled. “Don’t you remember Horror Planet? Because I do.” Ali had already jumped into the frozen void. I saw her float to the opening of this curious abandoned station before resuming my exploration. “Lee?” The signal crackled a bit, but my sapiens’s voice remained clear enough. “Do you copy?” “Yes. Are you inside? Did you step upon weird eggs or half-melted multi-headed dogs?” “Not yet,” she sighed. “I opened the airlock to slip in and initiate pressure equalization. If I don’t get mashed in a few seconds, I should get into this kind of military base, and explore it without wasting my oxygen.” Perfect. The place still had its atmosphere. That also meant the cantonment’s main functions were still operational and thus a computer was running. “Can’t you hook up the new camera?” I asked, trying to activate it remotely. “Bad idea. The audio is already draining my battery… and the signal will be awful inside with all that concrete. It’s… if I can hear you…” “Be careful, dear.” All I heard in response was the cocking of the .50 caliber weapon. Despite her injuries, Ali had things under control.
8999	dbpedia	1	4	https://headhuntershorrorhouse.fandom.com/wiki/Inseminoid	en	Inseminoid	https://static.wikia.nocookie.net/headhuntershorrorhouse/images/3/33/Inseminoid.jpg/revision/latest?cb=20210815141214	https://static.wikia.nocookie.net/headhuntershorrorhouse/images/3/33/Inseminoid.jpg/revision/latest?cb=20210815141214	[ "https://static.wikia.nocookie.net/headhuntershorrorhouse/images/3/33/Inseminoid.jpg/revision/latest/scale-to-width-down/250?cb=20210815141214", "https://static.wikia.nocookie.net/6a181c72-e8bf-419b-b4db-18fd56a0eb60", "https://static.wikia.nocookie.net/6c42ce6a-b205-41f5-82c6-5011721932e7", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to Headhunter's Horror House Wiki" ]	null	Inseminoid is a British independent feature film of the science fiction genre. It was directed by Norman J. Warren with a script written by Nick Maley and Gloria Maley. It was produced by Jupiter Film Productions and first premiered in West Germany in on January 23rd, 1981. It premiered in the...	en	/skins-ucp/mw139/common/favicon.ico	Headhunter's Horror House Wiki	https://headhuntershorrorhouse.fandom.com/wiki/Inseminoid	Inseminoid Credits Title: Inseminoid Directed by: Norman J. Warren Written by: Nick Maley; Gloria Maley Produced by: Peter M. Schlesinger; Richard Gordon; David Speechley Music by: John Scott Cinematography: John Metcalfe Edited by: Peter Boyle Production Distributors: Jupiter Film Productions Released: January 23rd, 1981 Rating: R Running time: 93 min. Country: United Kingdom Language: English Navigation Previous: — Next: — Inseminoid is a British independent feature film of the science fiction genre. It was directed by Norman J. Warren with a script written by Nick Maley and Gloria Maley. It was produced by Jupiter Film Productions and first premiered in West Germany in on January 23rd, 1981. It premiered in the United States in November, 1982. Cast[] Actor Role Robin Clarke Mark Jennifer Ashley Holly Stephanie Beacham Kate Steven Grives Gary Barry Houghton Karl Rosalind Lloyd Gail Victoria Tennant Barbra Trevor Thomas Mitch Heather Wright Sharon David Baxt Ricky Dominic Jephcott Dean John Segal Jeff Kevin O'Shea Corin Robert Pugh Roy Judy Geeson Sandy Notes & Trivia[] Recommendations[] See also[] []
8999	dbpedia	3	49	https://forums.stevehoffman.tv/threads/movies-released-pre-2000-with-more-than-1-version-available.1157123/	en	Movies released pre-2000 with more than 1 version available	https://forums.stevehoff…3.jpg?1701396819	https://forums.stevehoff…3.jpg?1701396819	[ "https://forums.stevehoffman.tv/threads/movies-released-pre-2000-with-more-than-1-version-available.1157123/data/avatars/m/145/145463.jpg?1701396819", "https://forums.stevehoffman.tv/threads/movies-released-pre-2000-with-more-than-1-version-available.1157123/images/smilies/thumpsup.gif", "https://forums.stevehoffman.tv/threads/movies-released-pre-2000-with-more-than-1-version-available.1157123/images/smilies/orangesmile.gif", "https://forums.stevehoffman.tv/threads/movies-released-pre-2000-with-more-than-1-version-available.1157123/styles/default/xenforo/clear.png", "https://forums.stevehoffman.tv/threads/movies-released-pre-2000-with-more-than-1-version-available.1157123/images/smilies/popcornsmiley.gif", 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"https://forums.stevehoffman.tv/threads/movies-released-pre-2000-with-more-than-1-version-available.1157123/data/avatars/m/10/10995.jpg?1352867939", "https://forums.stevehoffman.tv/threads/movies-released-pre-2000-with-more-than-1-version-available.1157123/data/avatars/m/18/18934.jpg?1379616321", "https://forums.stevehoffman.tv/threads/movies-released-pre-2000-with-more-than-1-version-available.1157123/data/avatars/m/13/13795.jpg?1352778295", "https://forums.stevehoffman.tv/threads/movies-released-pre-2000-with-more-than-1-version-available.1157123/data/avatars/m/0/186.jpg?1681015291", "https://forums.stevehoffman.tv/threads/movies-released-pre-2000-with-more-than-1-version-available.1157123/data/avatars/m/145/145463.jpg?1701396819", "https://forums.stevehoffman.tv/images/2017logo-780w-2.png" ]	[]	[]	[ "" ]	null	[]	null	I concede maybe I think too much about movies, but I was endeavouring to think about how many movies I've run across •or• know of that have at least 2...	en	/images/apple-touch-icon.png?v=2017a	Steve Hoffman Music Forums	https://forums.stevehoffman.tv/threads/movies-released-pre-2000-with-more-than-1-version-available.1157123/	I concede maybe I think too much about movies, but I was endeavouring to think about how many movies I've run across •or• know of that have at least 2 versions available. Movies released to theaters or video prior to 2000 where another version or two (or more) have since surfaced. There's quite a lot of them; I'll list the movies I know of but I'm sure I'll miss a bunch of titles, too, so anyone with knowledge of films with more than 2 versions extant please add them. Always good to learn something. (P.S. I did want to mention it's only movies where the extra footage has been incorporated back in to the film as opposed to being "bonus footage" on a disc. For instance, I've got a disc of "The Howling" with several minutes worth of extra footage not used in the theatrical release, but it's not incorporated back in to the film so I don't count "The Howling" as having any more than 1 version. Same with JAWS. I've got a 2-Tape set of JAWS I bought years ago with loads of bonus features on 'Tape 2', however, the film itself is the same without any additions. I'm not aware of any version extant of JAWS where any previously excised footage was added back in to the film -- but if there is please make a post and let me know. I'd like to buy a version of JAWS with footage put back if there is such a thing. [Same with THE HOWLING]). POSSESSION OF VIRGINIA, The (1972-French/Canadian). Filmed in Montreal. (Aka: "Le diable parmi nous"). SHIVERS (1975-Canadian) Ever seen the Canadian Tv print of "Shivers"? BROOD, The (1979-Canadian) LITTLE GIRL WHO LIVES DOWN THE LANE, The (1976-Canadian) SQUIRM (1976-Slimy Horror) The DVD version adds back the small amount of footage cut to earn "Squirm" a [PG]-rating so the disc is 'Unrated', I believe. The Vestron Video tape was [PG], tho. DEATH WEEKEND (1976-Canadian) (Aka: "House by the Lake"). RITUALS (1976-Canadian) HUMONGOUS (1981-Canadian) The opening rape scene is shortened in the U.S. version; the Canadian ASTRAL VIDEO version is complete. STREETCAR NAMED DESIRE, A (1951-Drama) CARRIE (1952) STRANGE ONE, The (1957) GOD'S LITTLE ACRE (1958) PUBLIC ENEMY, The (1932) ALAMO, The (1960-Historical Western of sorts . . . ). IT'S A MAD MAD MAD MAD WORLD (1963-Comedy) CHAIRMAN, The (1969) EYE OF THE CAT (1969-Suspense) The Blu-Ray has the theatrical & 'TV Version's of the film. STRAWBERRY STATEMENT, The (1970) SCREAMS OF A WINTER NIGHT (1979-Horror) Filmed in Louisiana FAST TIMES AT RIDGEMONT HIGH (1982) I believe one digital release includes the TV version. EYES OF FIRE (1983) When America was young and the secret of the early Spirits were living in the trees! STAR TREK: The Motion Picture (1979) There's 3 versions I know of. STAR TREK 2: The Wrath of Khan (1982) There's 2 versions I'm aware of. RAINTREE COUNTY (1957) Roadshow Version versus wide-release 'regular' theatrical version. REQUIEM FOR A HEAVYWEIGHT (1962) The Columbia VHS is different from the DVD. SAND PEBBLES, The (1966) Roadshow Version versus 'regular' theatrical version. SECONDS (1966) The overseas version was released on VHS by Paramount; has nudity. MAN WHO HAD POWER OVER WOMEN, The (1970-UK) Magnetic Video version was the Tv print; the later Embassy VHS release was the proper theatrical version (with nudity a few cuss words). DEVILS, The (1971-UK) There's at least 2 versions of "The Devils" -- maybe three. SATANIC RITES OF DRACULA, The (1973-UK) SEIZURE (1974-Canadian) (aka: "Queen of Evil", which runs 4 minutes longer). SEX SYMBOL, The (1974) U.S. Tvm/Overseas Theatrical Release has a bunch of dirty stuff! NIGHTMARE IN BADHAM COUNTY (1976) U.S. Tvm/Overseas Theatrical version loaded with sleaze. TEACHER, The (1974) The 'EP' video release from 'Sterling Entertainment' omits a phone call. WELCOME TO ARROW BEACH (1974) 99 minutes. Laurence Harvey's last film; he died Nov. 25, 1973. Beware of the shortened version running 85m! Re-titled "Tender Flesh". OLD CURIOSITY SHOP, The (1975-UK/Musical) Orig. British version: 114m. U.S. version: 91m. POOR PRETTY EDDIE (1975) (Aka: "Heartbreak Hotel"/"Redneck County Rape"). Pick a version! EAST END HUSTLE (1976-Canadian) SHOOTIST, The (1976-Western) The later W/S Paramount VHS release is missing about 5 seconds. MAYDAY AT 40,000 FEET (1976-Tvm) Overseas version has a wee bit of toplessness. GRIFFIN AND PHOENIX: A Love Story (1976-Tvm) Overseas version has a topless scene. SOMEONE'S WATCHING ME! (1978-Tvm) CINDERELLA (1977-Softcore Adult Comedy) DEEP, The (1977) HARD KNOCKS/ MID-NIGHT RIDER (1979) Two different versions. SCREAMS OF A WINTER NIGHT (1979) NOTE the Blu-Ray disc includes a long-lost segment involving a tree witch that changes the run time from 90 minutes to 125 minutes. (I need to buy that disc). MARK OF THE WITCH (1970) The original 'GP' version was issued on VHS; the movie was later released on DVD with a bit of excised [R]-rated footage restored. I bought both versions. SWARM, The (1978) Theatrical version released in 1978 runs 116 minutes; the 1992 'Expanded Version' runs 155 minutes and seems shorter because the theatrical release had such cho/ppy continuity. Not a good movie, anyway, but the theatrical version is worse than the longer 'cut' Irwin Allen had intended to release back in '78. WHEN TIME RAN OUT . . . (1980) The U.S. WARNER Home Video VHS release runs 141 minutes; the DVD release only runs 109 minutes. The DVD from Warner was the shortened overseas theatrical cut while the VHS release from Warner in the U.S. was an expanded version with television-only scenes included . . . so you get a large difference in the run time! SHINING, The (1980) → The overseas theatrical version was cut down by 25 minutes compared to the U.S. theatrical version. 144 minutes versus 119 minutes. ALLIGATOR (1980) FRIDAY THE 13th (1980) MY BLOODY VALENTINE (1981-Canadian) ESCAPE TO ATHENA (1979) APOCALYPSE NOW (1979) NEW YORK, NEW YORK (1977-Musical) 3 versions? Or 4? TEXASVILLE (1990) The LaserDisc version contains a longer cut of the movie. SHE'S GOTTA HAVE IT (1986) Spike Lee's 1st movie; LD version is longer. DOGS OF WAR, The (1980) FUNHOUSE, The (1981) The "Tv version" of "The Funhouse", I think, was issued on DVD as a bonus feature. ESCAPE FROM NEW YORK (1981-Action) ONE FROM THE HEART (1982-Stylized Romantic Fantasy) OUTSIDERS, The (1983•Coming-of-age Drama) BLOOD SIMPLE (1984) 2 versions of "Blood Simple" are extant. THIEF OF HEARTS (1984-Sexual Thriller) DUNE (1984) RE-ANIMATOR (1985-Horror/Dark Comedy) BIG (1988-Comedy) CELLAR, The (1989-Horror) SEA OF LOVE (1989) SONNY BOY (1990) The UK version of this film is positively deranged; the U.S. version was watered-down for content. DANCES WITH WOLVES (1990) BASIC INSTINCT (1992) The old 'Carolco' Red Box VHS release was uncut. WYATT EARP (1994) CRIMSON TIDE (1995) 115m. The 2008 DVD release was expanded to 123 minutes. JADE (1995) Paramount released 2 versions of "Jade" on VHS. In Green boxes, of course. that thing you do! (1996) The 'Director's Cut' is much longer. FORTRESS (1992) Overseas theatrical version had a bit more violence than the U.S. 'cut'. STAR WARS (1977) I lost track of how many versions of "Star Wars" exist. 6 or 7? Maybe 8? BLADE RUNNER (1982) I lost track of how many versions exist of 'Blade Runner', too. 7 versions? ---------------------------- There are also a number of films with different "TV versions", but I'm not sure if these particular TV versions were ever released on any homevideo medium? (What happened with ALLIGATOR (1980) is very unusual. The 1983 Catalina Home Video VHS release was the Television version instead of the theatrical print and runs about 8 minutes longer. 92 minutes versus 100 minutes. The 1986 Lightning Video release was the theatrical version of "Alligator". → I believe the Blu-Ray disc of "Alligator", which was recently released, contains both versions of the film). Anyway, here are some TV versions of some movies I've seen that aren't simply 'edited for content' -- there's alternate footage added: MURDER BY DEATH, BLAZING SADDLES, QUICK CHANGE, AIRPLANE II, FAR & AWAY, BORN IN EAST L.A., CAR WASH (the TV version of "Car Wash" is a lot different!), DIARY OF A MAD HOUSEWIFE, SO FINE and who knows how many more Tv versions there are of various films that I don't know of. Maybe SUMMER RENTAL (1985) had a TV version with more footage; it's not a long movie so it's possible there was footage added for a 2-hour television time slot). → I'm sure I've missed a bunch of movies that have more than 1 version, but I figured listing these titles was a start. I only have one version of STAR WARS: The 1982-issue '20th Century Fox Video' VHS tape. I believe that is the most "un-messed-with" version of STAR WARS there is. I think . . . All posts and fresh titles welcome. SHIVERS, the 1975 David Cronenberg movie, ran 87 minutes upon its theatrical release. The U.S. Vestron Video release under the title "They Came From Within" was the theatrical version with the American title. I think Anchor Bay released "Shivers" in the 1990s under its proper Canadian title, too. However . . . For some inexplicable reason a Canadian Tv print of SHIVERS was given to the Canadian ASTRAL VIDEO label to release instead of the 'regular' theatrical version. ASTRAL issued "Shivers" on tape in a large, narrow elongated clamshell case with insert artwork and there is no indication anywhere on the sleeve art or the videocassette label that this is the television version. But it is. I have the Astral tape and I timed it -- 75 minutes versus 87 minutes -- despite the sleeve art stating the proper theatrical run time on the back. When I first watched the Astral tape the cuts for content came fast and furious at the beginning when the crazy doctor/professor tries to get the 'worm' out of Annabelle Brown. If there are any Canadian video connoisseurs on here and you have the Astral tape of "Shivers" check it out and you'll notice right away the missing 'stuff'. The TV version on the Astral tape contains no alternate footage -- there's just a LOT of "objectionable", non-Tv-friendly content removed. Lynn Lowry's "everything is sexual" speech near the end is edited down, for one, and there is of course no explicit violence and no nudity and that's why I listed SHIVERS on the opening post. And THE BROOD, too. ASTRAL was given an edited version of "The Brood" as well. I don't think it was a TV print, but apparently, some Canadian Provinces in the '70s had more strict content laws than others and it is possible the print of the "The Brood" given to Astral came from a Province where the content standards were stricter. Otherwise, I cannot explain it. Some of the prints given to Astral were rather head scratching. HUMONGOUS (1981-Canadian) was released by Astral un-cut with the rape scene intact at the beginning compared to the U.S. version on Embassy where the rape scene was shortened. That was the one difference I noted between the Canadian and U.S. 'cuts' of the film. Sam Peckinpah's PAT GARRETT AND BILLY THE KID From Wikipedia: By the time that Pat Garrett and Billy the Kid was in the editing room, Peckinpah's relationship with the studio and his own producers had reached the breaking point. Peckinpah's first cut was 165 minutes.[9] Aubrey, enraged by the cost and production overruns, demanded an unrealistic release date for the film.[9] Peckinpah and his editors, given only three weeks,[9] were forced into a desperate situation in order to finish editing on time. Furthermore, Aubrey still objected to several sequences in the film which he wanted removed, forcing Peckinpah to engage in protracted negotiations over the film's content. Adding to the problems, Bob Dylan had never done a feature film score and Peckinpah's usual composer, Jerry Fielding, was unhappy with being relegated to a minor role in the scoring process. Peckinpah did complete a preview version of the film at 124 minutes, which was shown to critics on at least one occasion. Martin Scorsese had just made Mean Streets (1973) and was at the screening, and he praised the film as Peckinpah's greatest since The Wild Bunch. This version, however, would not see the light of day for over ten years. Peckinpah was eventually forced out of the production, and Aubrey had the film severely cut from 124 to 106 minutes, resulting in the film being released as a truncated version largely disowned by cast and crew members. This version was a box-office failure, grossing $8 million domestically,[1] of which the studio earned only $2.7 million in theatrical rentals,[10] against a budget of more than $4.6 million. However, the film grossed a total of $11 million worldwide.[1] In 1988, Turner Home Entertainment, with distribution by MGM, released Peckinpah's preview version of Pat Garrett and Billy the Kid on video and Laserdisc. This version led to a rediscovery and reevaluation of the film, with many critics praising it as a lost masterpiece and proof of Peckinpah's vision as a filmmaker at this time. The film's reputation has grown substantially since this version was released, and the film has come to be regarded as something of a modern classic, equal in many ways to Peckinpah's earlier films.[19] Kristofferson noted in an interview, though, that Peckinpah had felt that Dylan had been pushed on him by the studio and thus left "Knocking on Heaven's Door" out of the preview version. In Kristofferson's opinion, "Heaven's Door" "was the strongest use of music that I had ever seen in a film. Unfortunately Sam…had a blind spot there."[20] In 2005, a DVD of the film distributed by Warner Bros. was released containing the preview version as well as a new special edition which combined elements of the theatrical version, the preview version, and several new scenes never released in the previous versions. This third version of the film, known as the "special edition", runs slightly shorter than the preview version.[21] ---------------------------- Re: "Knocking On Heaven's Door" The sequence Kristofferson talks about with Slim Pickens and Katy Jurado by the river is one of Sam's most moving and beautiful scenes. I expect you're right, Grand Ennui. There's so many movies with different Tv versions it's a task to keep track of them all. The TV version of SMOKEY AND THE BANDIT (1977) has 1 extra scene right after Jerry Reed is chasing after Fred the dog after Fred goes for a swim in the pond after eating the cheeseburger. And then there's the very different Tv version of SMOKEY AND THE BANDIT, Part 3 (1983). I taped the Tv version of Part 3 at one time in the 1990s, but taped over it several years later. I shouldn't have done that, but I did. Ack! The Tv version of Part 3 had a LOT of overdubbing of Jackie Gleason's voice. And lots of footage was added for the television print to pad out the run time after all the content cuts were made. SMOKEY AND THE BANDIT, Part 3 was about the dirtiest [PG]-movie you'll ever see. I think if it would've been released in mid-1984 it would've netted a brand new [PG-13]-rating. The scenes in the sex hotel with Gleason and Henry prowling around looking for the 'Enos Fish' was quite bawdy for a [PG]-rated film. And at the nudist camp as well. The two TV versions I really regret not taping were AIRPLANE II and QUICK CHANGE. I saw them both on television many moons ago and foolishly did not tape them. I'd gladly buy the television versions of both films were they available. I specifically remember 'Hugh Gillin, Jr.'s part as the 'Texan' in AIRPLANE II was mostly gone in the theatrical version -- he says "Howdy, girl" to a stewardess when boarding the plane and that's his only line, but the Tv print featured his character in some gags. One at the airport and the other on the plane. After watching the Tv version I thought the theatrical version was rather poorly edited because it cut out some funny stuff seen in the TV print -- the run time of AIRPLANE II was only 84 minutes or so and should've been longer.
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8999	dbpedia	3	90	http://mmmmmovies.blogspot.com/2008/02/inseminoid-1981-or-planet-of-rapes.html	en	Mad Mad Mad Mad Movies: Inseminoid (1981): or, Planet of the Rapes	http://1.bp.blogspot.com/_aOQLE4Fqk3w/R6d_0kDtUtI/AAAAAAAAAVs/LZgGsxC5gZo/w1200-h630-p-k-no-nu/insem_poster.jpg	http://1.bp.blogspot.com/_aOQLE4Fqk3w/R6d_0kDtUtI/AAAAAAAAAVs/LZgGsxC5gZo/w1200-h630-p-k-no-nu/insem_poster.jpg	[ "http://4.bp.blogspot.com/_aOQLE4Fqk3w/SBfhy9DLIoI/AAAAAAAAAm8/tF3BuhvrSf0/S1600-R/mmmm+movies+banner.jpg", "http://1.bp.blogspot.com/_aOQLE4Fqk3w/R6d_0kDtUtI/AAAAAAAAAVs/LZgGsxC5gZo/s320/insem_poster.jpg", "http://4.bp.blogspot.com/_aOQLE4Fqk3w/R6eBkUDtUxI/AAAAAAAAAWM/OaFODbVMOko/s320/vlcsnap-00005.jpg", "http://1.bp.blogspot.com/_aOQLE4Fqk3w/R6d_9kDtUuI/AAAAAAAAAV0/HD2q3PkCEA8/s320/vlcsnap-00007.jpg", "http://3.bp.blogspot.com/_aOQLE4Fqk3w/R6eAnEDtUwI/AAAAAAAAAWE/EGb_OdVreCI/s320/vlcsnap-00010.jpg", "http://3.bp.blogspot.com/_aOQLE4Fqk3w/R6eAREDtUvI/AAAAAAAAAV8/A2wD7WQTFAs/s320/vlcsnap-00012.jpg", "https://resources.blogblog.com/img/icon18_edit_allbkg.gif", "http://resources.blogblog.com/img/blank.gif", "https://resources.blogblog.com/img/icon_delete13.gif", "https://resources.blogblog.com/img/blank.gif", "http://3.bp.blogspot.com/_aOQLE4Fqk3w/TSMvJD25OvI/AAAAAAAAGDc/-LKNVc518dU/S45-s35/vg_small.jpg", "https://resources.blogblog.com/img/icon_delete13.gif", "https://resources.blogblog.com/img/blank.gif", "http://2.bp.blogspot.com/-S-BJnaSlwqg/Zf9_bv32fBI/AAAAAAABXlM/nAa-FZPozYgLAJyBXwoVKa8Mrd3IGwHSgCK4BGAYYCw/s35/Kaeet.jpg", "https://resources.blogblog.com/img/icon_delete13.gif", "https://resources.blogblog.com/img/blank.gif", "http://3.bp.blogspot.com/_aOQLE4Fqk3w/TSMvJD25OvI/AAAAAAAAGDc/-LKNVc518dU/S45-s35/vg_small.jpg", "https://resources.blogblog.com/img/icon_delete13.gif", "https://resources.blogblog.com/img/blank.gif", "http://2.bp.blogspot.com/_PTPSg99ZcCw/Sar9CG0VxrI/AAAAAAAAAxw/L9AZZlKZd9s/S45-s35/pj_PRIDEGUELPHVoodoo1.jpg", "https://resources.blogblog.com/img/icon_delete13.gif", "https://resources.blogblog.com/img/blank.gif", "http://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH-iaFM2FCpELeEYGO2_zlHCy5Bg7pJ_OnMSekkA4mtfpmLIncIGBZH8e6_pGu7w5tW46xP8otlSwGhUMF_23q_zoMEUqQJ1t5gzr3-tSvUm3NY1fhQ661kkHyhpk0OHY/s45-c/jenni.jpg", "https://resources.blogblog.com/img/icon_delete13.gif", "http://resources.blogblog.com/img/blank.gif", "https://resources.blogblog.com/img/icon_delete13.gif", "http://www.linkwithin.com/pixel.png", "http://1.bp.blogspot.com/_aOQLE4Fqk3w/TNLBZwL9L-I/AAAAAAAAF5o/bTIHKLYhH2A/s1600/NASCHYb2.jpg", "http://lh3.ggpht.com/_aOQLE4Fqk3w/SB8H8NDLI1I/AAAAAAAAAos/I3qYCo4ykzg/LOTT%2BD.jpg", "https://resources.blogblog.com/img/widgets/arrow_dropdown.gif", "https://resources.blogblog.com/img/icon_feed12.png", "https://resources.blogblog.com/img/widgets/subscribe-netvibes.png", "https://resources.blogblog.com/img/widgets/subscribe-yahoo.png", "https://resources.blogblog.com/img/icon_feed12.png", "https://resources.blogblog.com/img/widgets/arrow_dropdown.gif", "https://resources.blogblog.com/img/icon_feed12.png", "https://resources.blogblog.com/img/widgets/arrow_dropdown.gif", "https://resources.blogblog.com/img/icon_feed12.png", "https://resources.blogblog.com/img/widgets/subscribe-netvibes.png", "https://resources.blogblog.com/img/widgets/subscribe-yahoo.png", "https://resources.blogblog.com/img/icon_feed12.png", "https://resources.blogblog.com/img/widgets/arrow_dropdown.gif", "https://resources.blogblog.com/img/icon_feed12.png", "http://1.bp.blogspot.com/_aOQLE4Fqk3w/Sag_u8l35hI/AAAAAAAACQI/zv_mUjBj5TM/S220/chainsaw.jpg" ]	[]	[]	[ "" ]	null	[]	null	Sometimes it seems like the 1981 British/American production Inseminoid aspires to be nothing more than a low-budget Alien knock-off. Earl...		http://mmmmmovies.blogspot.com/favicon.ico		http://mmmmmovies.blogspot.com/2008/02/inseminoid-1981-or-planet-of-rapes.html	Sometimes it seems like the 1981 British/American production Inseminoid aspires to be nothing more than a low-budget Alien knock-off. Early scenes with the space explorers creeping through alien catacombs are almost carbon copies of those memorable scenes just before John Hurt finds the world's worst Easter Egg stash, right down to the dust motes in the flashlight beams emanating from the crewmen's helmets. A female crew member settling in to a relaxation chamber in nothing but a sport tee and panties might as well have "I ♥ SIGOURNEY!" stencilled across her bare thighs. And a scene in the complex's mess hall goes as far as it can to emulate the chestburster sequence, but has to stop because well, Inseminoid don't burst chests. Inseminoid's anotomical area of interest is a bit further down... But to say that Inseminoid is nothing but an Alien-wannabe is perhaps to sell the movie short. While not a masterpiece along the lines of...well, Alien...Inseminoid hits many of the right notes: it provides interesting alien mythology that I'd like to have seen more of; it contains painfully entertaining performances from the actors; it boasts some nasty puppetry and a nicely escalating gore quotient; and along the way it manages some surprisingly effective set pieces within its shoe-string budget. Throw in a little welcome extraterrestrial perversity, and what more could you want? A group of intergalactic archaeologists lands on an uninhabited alien planet after the previous expedition inexplicably abandons the site. (And don't look for an explanation--that expedition is mentioned once and never spoken of again.) They discover a vast tomblike structure underneath the planet's surface, riddled with hieroglyphics that may contain the history of the civilization that once flourished here. That's not all it contains, however--the crew aren't long in the catacombs before a mysterious explosion frees an alien survivor from a crystallized prison and sends two of the expedition's best men to the sick bay. The expedition's resident smart dude deciphers some of the ancient glyphs and hypothesizes that the alien civilization was somehow based on dualities and was ruled by twins. He also notes that the aliens' religion seemed to have a strong undercurrent of self-destructiveness, which presumably led to its successful destruction of itself. This was actually some pretty interesting mythology, I thought, and I was looking forward to seeing how it played out. When some crystal samples from the cave start glowing menacingly--seemingly activated by two archaeologists' horny liaison in the storage room--blast survivor Ricky starts to go a little crazy. He leads his teammates on a frantic chase along the catacombs' silver mine-style rail system (which reminded me hilariously of Mr. Toad's Wild Ride) and threatens the atmospheric integrity of the whole station when he attempts to open the one and only airlock--an airlock that, apparently, has no automatic lock or remote override, despite the existence of a huge control room with all kinds of blinking gadgetry. Guess that was a design oversight. Funky Cold Medea Anyway, a couple of crew members are killed by the rampaging, self-and-everyone-else-destructive Ricky (one of whom gorily and inscrutably tries to saw off her own foot before unnecessarily freezing to death in the alien atmosphere) before the team's resident journalist (wha?) pops a cap in him with a futuristic spear gun. This is the beginning of the penetration motif that will recur throughout the film, if you don't count the initial "penetration" of the space ship "entering" the alien planet's atmosphere, effectively "raping" this other world with phallocentric technology, "inserting" the archaeologists like "sperm" into the caves which are obviously the alien world's "vajayjay." Which I don't. Work in the catacombs continues, but the expedition seems cursed. Sandy, one of the horny crew members whose hijinx may have caused Ricky's crystal freakout, is ambushed by the shadowy alien in the catacombs and watches her digging buddy torn to pieces right before her eyes. She passes out, then wakes up in a strange laboratory-like space, tied naked to a one-layer tanning bed. The station's medical officer gives her an injection before the star of our show appears. INSEMINOID is here, and INSEMINOID NEEDS WOMAN! Please, just try to relax. The alien-rape is obviously the centerpiece of the entire flick, and I have to say I think it was pretty well done. Judy Geeson screams and winces believably, and the monster design is suitably gross and intriguing. Particularly of interest to film scholars is the the Inseminoid's GIANT TRANSPARENT COCK, through which we can see the little potential Inseminoids flow into Sandy's terror-stricken uterus. The mystery of the doctor's involvement is also unsettling, calling to mind The Company's nefarious purposes in the Alien movies. Sandy passes out again and wakes up Wizard-of-Oz-style in the sick bay, where she understandably resists the doctor's wish to "inject" her. She's had quite enough of that for today, thanks. Unsurprisingly Sandy is pregnant, and soon the influence of the Inseminoid's psychoactive seed starts to make itself apparent. Most of the rest of the film has Sandy going all psycho-preggo-zombie-bitch on the rest of the crew, picking them off and eating their guts while getting more and more great with child. The highly-trained space jockeys are powerless to stop one crazy pregnant woman, and lock themselves in the control room to avoid her wrath. Finally she gives birth to two baby 'Seminoids, then decides to blow up the whole dang joint (the glyphs said the aliens were self-destructive). The surviving crew kidnaps the baby Inseminoids, leading Mama to go even crazier and finally make the fatal mistake that brings her reign of terror to an end. But the babies are there to take up the slack... "I do COCAINE!" Okay, the bad stuff--the acting is all pretty terrible. None of the characters are really fleshed out enough to distinguish them from one another or explain why they do the things they do, and most of them seem to have two acting styles: "HAM AND CHEESE SUPREME" and "ASLEEP." The overacting is particularly egregious whenever a crew member is called upon to act "pain" or "death"--though these scenes are actually very entertaining in the ROFLMAO way. And Judy Geeson, bless her, often seems less an English actress than a large-mouthed bass. The low-budget often shows through too, such as the obvious gaps in the space-helmets' visors, the extensive use of milk crates as space station furniture, and the fact that apparently Converse All-Stars has the contract to provide space boots for NASA. The script is a bit of a mess as well. Several intriguing plot elements are introduced, only to be completely forgotten later. For instance, what happened to the original Inseminoid? Sorry, that's beyond our scope here. Why did the doctor assist in the Inseminoid rape? Unfortunately he's killed before we can ever find out. What was the deal with the glowing, mind-controlling crystals? What was the significance of the twins thing? What happened to the previous expedition and why are they never referenced? Quit asking so many questions, you. Still, even among all these problems there's a lot to enjoy if you find the ridiculous entertaining. Blinking corpses? Check. Fun pseudoscience? Oh yeah. Jaws soundtrack shamelessly pilfered? Yup. Flashback to five minutes ago? Surely. Inexplicably shoddy security for a space base? Well, it wouldn't be much of a film without it. And others, of course, call him the Gangster of Love. And every now and then, the movie actually seems to almost get things right. Despite the cheap set dressing inside, scenes representing the alien planet's surface are actually quite well done, using red filters and sand dunes to neat low-budget effect. (And tipping the hat to Alien inspirer Mario Bava's Planet of the Vampires.) Despite the script and acting problems, the pacing is very tight and the story is actually fairly engaging. And the creature design of the Inseminoid, both in rubber-suit and baby-puppet forms, is excellent, as is the previously mentioned escalating gore factor throughout. (An abdomen-rip near the end is particularly juicy.) Taken together the things it gets right bought it enough good will for me to overlook the things it did wrong--like the retarded kid on the tee-ball team who somehow keeps getting base hits. Other fun stuff to look for: Effectively-filmed space funeral Worst. Commander. Ever. The fairly hard-to-watch birth scene Donkey Kong! Death by Cat-5 They still have steamer trunks in the future BRUTAL belly-stomp! The wonderful epilogue So while it doesn't live up to its role-model, I still found myself completely entertained by Inseminoid and willing to go along with its inept craziness. 2.5 thumbs, and a lot of good will. Check it out at your next opportunity.
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Warren. With Robin Clarke, Jennifer Ashley, Stephanie Beacham, Steven Grives. A crew of interplanetary archaeologists is threatened when an alien creature impregnates one of their members, causing her to turn homicidal and murder them one by one.	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/title/tt0084090/	Male and female scientists set up a research lab on a distant planet and encounter a giant, bug-eyed alien monster. It kills several people, rapes Judy Geeson and disappears, but the horrors are just beginning. Geeson becomes a hard-to-kill, hysterical madwoman with super strength who kills for blood to feed the alien's mutant offspring, which she's now carrying. This Brit ALIEN clone is often inept and entirely contrived, but not completely without entertainment value. FX are mediocre, but it's bloody, fast-paced and there's a great electric score from John Scott. Judy Geeson is excellent in a role that requires a hell of a lot of merciless ranting and screaming. HORROR PLANET refers to the original U.S. release of the film, which was cut. The title INSEMINOID refers to the uncut, letterboxed DVD and cable version. Score: 3 out of 10
8999	dbpedia	0	92	https://www.opensubtitles.org/en/search/sublanguageid-fre/idmovie-30482	en	Horrorplanet subtitles French			[ "https://static.opensubtitles.org/gfx/img_trans.gif", "https://static.opensubtitles.org/gfx/logo_64x64.gif", "https://static.opensubtitles.org/gfx/logo.gif", "https://static.opensubtitles.org/gfx/icons/film-band-16px.gif", "https://static.opensubtitles.org/gfx/icons/v/v2.gif", "https://static.opensubtitles.org/gfx/icons/from_trusted.gif", "https://static.opensubtitles.org/gfx/icons/hearing_impaired.gif", "https://static.opensubtitles.org/gfx/icons/hd.gif", "https://static.opensubtitles.org/gfx/icons/autotranslation.gif", "https://static.opensubtitles.org/gfx/icons/foreignpartsonly.png", "https://static4.opensubtitles.org/gfx/thumbs/0/9/0/4/0084090.jpg", "https://static.opensubtitles.org/gfx/icons/imdb_small.gif", "https://www.opensubtitles.org/gfx/icons/up_sm.gif", "https://static.opensubtitles.org/gfx/icons/saveicon.gif", "https://static.opensubtitles.org/gfx/icons/rating_sub.gif", "https://static.opensubtitles.org/gfx/icons/comment_sm.gif", "https://static.opensubtitles.org/gfx/icons/imdb_small.gif", "https://static.opensubtitles.org/gfx/icons/hd.gif", "https://static.opensubtitles.org/gfx/icons/ranks/gold_member.png", "https://static.opensubtitles.org/gfx/icons/from_trusted.gif", "https://static.opensubtitles.org/gfx/icons/ranks/trusted.png", "https://static.opensubtitles.org/gfx/icons/mail-results.png", "https://static.opensubtitles.org/gfx/icons/rss-0.91.png", "https://static.opensubtitles.org/gfx/icons/rss-1.00.png", "https://static.opensubtitles.org/gfx/icons/rss-2.00.png", "https://static.opensubtitles.org/gfx/icons/atom-1.00.png", "https://static.opensubtitles.org/gfx/icons/xml-1.00.png", "https://static.opensubtitles.org/gfx/css/close.gif", "https://toplist.cz/dot.asp?id=216254" ]	[]	[]	[ "horrorplanet", "French", "subtitles", "movie subtitles", "download subtitles", "english subtitles", "fansub", "subs", "tv subtitles", "series subtitles" ]	null	[]	2024-02-18T18:29:22+01:00	Horrorplanet subtitles French. AKA: Insecticide, Insemenoid, Doom Seeds, Inseminoid, Horror Planet. Conceived in violence, carried in terror, born to devastate and brutalize a universe!. A crew of interplanetary archaeologists is threatened when an alien creature impregnates one of their members, causing her to turn homicidal and murder them one by one.	en	//static.opensubtitles.org/favicon.ico		null	Movie details "Conceived in violence, carried in terror, born to devastate and brutalize a universe!". A crew of interplanetary archaeologists is threatened when an alien creature impregnates one of their members, causing her to turn homicidal and murder them one by one. Movie rating: 3.9 / 10 (2445) Directed by: Norman J. Warren Writer credits: Nick Maley - Gloria Maley Cast: Robin Clarke - Jennifer Ashley - Stephanie Beacham - Steven Grives - Barrie Houghton AKA: Insecticide, Insemenoid, Doom Seeds, Inseminoid, Horror Planet Upload subtitles
8999	dbpedia	1	8	https://www.imdb.com/title/tt0084090/trivia/	en	Samen des Bösen (1981)	https://m.media-amazon.c…Mjpg_UX1000_.jpg	https://m.media-amazon.c…Mjpg_UX1000_.jpg	[ "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:133-7873461-6109030:9FE23H0QQY9R3519EA4G$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3D9FE23H0QQY9R3519EA4G:0", "https://m.media-amazon.com/images/M/MV5BYjMyNzNlYTUtYTliNy00MzQ2LWI3OTUtMzhmMTg3YWQ1NzVlXkEyXkFqcGdeQXVyMTQxNzMzNDI@._V1_QL75_UX90_CR0,4,90,133_.jpg", "https://m.media-amazon.com/images/M/MV5BYjMyNzNlYTUtYTliNy00MzQ2LWI3OTUtMzhmMTg3YWQ1NzVlXkEyXkFqcGdeQXVyMTQxNzMzNDI@._V1_QL75_UX90_CR0,4,90,133_.jpg", "https://m.media-amazon.com/images/G/01/IMDb/Mobile/DesktopQRCode-png.png", "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:133-7873461-6109030:9FE23H0QQY9R3519EA4G$uedata=s:%2Fuedata%2Fuedata%3Fnoscript%26id%3D9FE23H0QQY9R3519EA4G:0" ]	[]	[]	[ "Trivia", "Facts", "Cameos", "Quiz", "Quizzes", "Factoids", "Spoilers", "References" ]	null	[]	null	Samen des Bösen (1981) - Trivia on IMDb: Cameos, Mistakes, Spoilers and more...	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/title/tt0084090/trivia/	The bulk of the movie was filmed in The Chiselhurst Caves to enhance the production value, but resetting lights and moving cameras around the natural rock formations proved to be problematic and time consuming. The script was written in four days because director Norman J. Warren had financial backers and no screenplay. The film was shot in four weeks. The story was originally supposed to take place aboard a spaceship, but they changed the location to avoid having to employ elaborate special effects.
8999	dbpedia	0	47	https://forthehellofitreviews.wordpress.com/2019/11/21/alien-rapists-part-3-inseminoid-1981-aka-horror-planet-u-s-dvd-vs-u-k-blu-ray/	en	ALIEN RAPISTS, PART 3: INSEMINOID (1981, AKA HORROR PLANET) U.S. DVD VS. U.K. BLU-RAY (REGION FREE)	https://photoalbumx2.fil…id_poster_03.jpg	https://photoalbumx2.fil…id_poster_03.jpg	[ "https://forthehellofitreviews.wordpress.com/wp-content/uploads/2022/03/cropped-img_20220326_0005_new-1.jpg", "https://photoalbumx2.files.wordpress.com/2019/06/inseminoid_poster_03.jpg?w=168&h=251", "https://photoalbumx2.files.wordpress.com/2019/06/inseminoid_poster_01.jpg?w=167&h=250", "https://photoalbumx2.files.wordpress.com/2019/07/screenshot-s3.amazonaws.com-2019.07.30-12_02_01.jpg?w=169&h=252", "https://photoalbumx2.files.wordpress.com/2019/08/inseminoid2-1.jpg?w=1020&h=434", "https://photoalbumx2.files.wordpress.com/2019/06/inseminoid_poster_01-1.jpg?w=166&h=228", "https://photoalbumx2.files.wordpress.com/2019/06/inseminoid_poster_03-1.jpg?w=167&h=229", "https://photoalbumx2.files.wordpress.com/2019/06/d8jvef3xuaakxo2.jpg?w=165&h=227", "https://photoalbumx2.files.wordpress.com/2019/08/344035_full.jpg?w=1000&h=669", "https://photoalbumx2.files.wordpress.com/2019/08/inseminoid7.jpg?w=800&h=346", "https://photoalbumx2.files.wordpress.com/2019/08/inseminoiddaddylobster.jpg?w=636&h=272", "https://photoalbumx2.files.wordpress.com/2019/08/429379_full.jpg?w=534&h=361", "https://photoalbumx2.files.wordpress.com/2019/08/344036_full.jpg?w=534&h=357", "https://photoalbumx2.files.wordpress.com/2019/11/mv5bnzqyotdmzwqtm2jlnc00yzg2ltgxzwytmwvlmtflndq3n2q0xkeyxkfqcgdeqxvymjuyndk2odc40._v1_.jpg?w=1000&h=721", "https://photoalbumx2.files.wordpress.com/2019/08/inseminoid13.jpg?w=800&h=342", "https://photoalbumx2.files.wordpress.com/2019/08/mv5bnzqyotdmzwqtm2jlnc00yzg2ltgxzwytmwvlmtflndq3n2q0xkeyxkfqcgdeqxvymjuyndk2odc40._v1_.jpg?w=1000&h=724", "https://photoalbumx2.files.wordpress.com/2019/06/img_20190609_0001_new-e1560117809257.jpg?w=253&h=355", "https://photoalbumx2.files.wordpress.com/2019/06/img_20190609_0002_new-e1560117824595.jpg?w=252&h=355", "https://photoalbumx2.files.wordpress.com/2021/08/img_20210806_0001_new-e1628266318146.jpg?w=254&h=317", "https://photoalbumx2.files.wordpress.com/2021/08/img_20210806_0002_new-e1628266310146.jpg?w=254&h=318", "https://photoalbumx2.files.wordpress.com/2021/08/img_20210806_0003-e1628266301155.jpg?w=515&h=288", "https://photoalbumx2.files.wordpress.com/2019/08/img_20190821_0004.jpg?w=506&h=109", "https://photoalbumx2.files.wordpress.com/2019/11/10511115_964339116956108_4999421639604475759_n.jpg?w=200&h=152", "https://1.gravatar.com/avatar/a4198c28e9b13ebe06793d2889fca9f138628773323cb01027d100fa4afcdca3?s=32&d=identicon&r=G", "https://forthehellofitreviews.wordpress.com/wp-content/uploads/2022/03/coollogo_com-1465502-e1648497589719.png?w=50", "https://forthehellofitreviews.wordpress.com/wp-content/uploads/2022/03/coollogo_com-1465502-e1648497589719.png?w=50", "https://pixel.wp.com/b.gif?v=noscript" ]	[ "https://www.youtube.com/embed/7SMwavgzjxM?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" ]	[]	[ "" ]	null	[ "DVD News Flash" ]	2019-11-21T00:00:00	I present to you the final part of this special three part review of a trio of rapists from beyond the stars films. Xtro (1982) and Breeders (1986) were the first two I covered. I first heard of Inseminoid through where else Fangoria magazine. I had a friend in elementary school named Rob who got…	en	https://forthehellofitre…7589719.png?w=32	MEMORY MOVIES	https://forthehellofitreviews.wordpress.com/2019/11/21/alien-rapists-part-3-inseminoid-1981-aka-horror-planet-u-s-dvd-vs-u-k-blu-ray/	I present to you the final part of this special three part review of a trio of rapists from beyond the stars films. Xtro (1982) and Breeders (1986) were the first two I covered. I first heard of Inseminoid through where else Fangoria magazine. I had a friend in elementary school named Rob who got me into the magazine. He had discovered it and started bringing it to school in the early 80s, and even though I was grossed out by most of the gore shots I was still fascinated. This was during the slasher craze and they covered a lot of slasher films, including the Friday The 13th films. And this was long before I began to discover some of those films were indeed gems. It, at least, gave me a place where I could go to see some cool photos of any monster movies being made, and coming to mind is Q, The Winged Serpent (1982) and The Boogens (1981), which the magazine published some really great shots of. It was this one particular Saturday when I was up Rob’s house, he pulled out all the issues he had and plopped them on the floor; I randomly started thumbing through them, because there were some I didn’t know he had. This is where I saw the article on Inseminoid and was genuinely surprised someone made a movie with that title. Of course with a title like that I just had to know what it was about; the photos pretty much told me all I needed to know. I think at this point it was safe to say I wanted to see this flick now. I don’t remember when I learned the title was changed to Horror Planet in America, but I seem to think it was also in Fangoria. I ended up eventually catching it on cable, and under the Horror Planet title, again I can’t put a precise date on it, I wish I could, I remember liking it, and being shocked by the birth sequence, and that was due to the utterly believable performance of actress Judy Geeson. The birth involves a convincing portrayal of the kind of insane levels of pain that apparently must be endured by a pregnant chick with no access to pain numbing drugs, plus it’s an alien pregnancy, an added curve ball that probably added to her misery tenfold. Geeson’s screaming was and still is harrowing to watch. Then they cut to two characters in the operation room listening to it over the intercoms and holding each other because they too found it harrowing to listen to. I totally sympathized with their reaction. My next memory is when I met Gerry, my best friend for most of high school. Back in the mid-80s we had a Saturday afternoon show called Commander USA’s Groovie Movies that aired on the once-awesome-but-not-anymore USA channel. Commander USA, as I’ve heard, was the inspiration for The Comedian character in Alan Moore’s Watchman comic. Commander USA was played by the late Jim Hendricks, the character was a burned out and jaded superhero that was always smoking a cigar. He hosted the show and the show was known for airing all kinds of weird genre movies. I was spending a Saturday at Gerry’s house when Horror Planet was aired. In fact I think I had slept over and we were in the middle of playing Dungeons & Dragons. I had already told him about the movie and he wanted to see it, but was only interested in seeing the insemination scene. The movie was shot in a 2.35:1 aspect ratio and back then when those kinds of flicks made it to TV and cable they were always shown 1.33, and showing a 2.35 flick full frame gives one the impression it was all filmed in close-up. So every once in a while we had to stop playing D&D while Gerry ran down and watched a little bit of the movie waiting for that scene. He came back up and finally told me he saw it. For the longest time I had wrongly assumed the creature was using its own “alien dick” to inseminate Geeson, and when Gerry came back he described what he saw “…it looked like a wet, plastic bag…” I can understand that, showing that scene in 1.33, yeah, it probably did look like wet, plastic bag. My next and final memory involves finally seeing it in its proper aspect ratio when Elite Entertainment unexpectedly put it out on DVD here in America in 1999. I think I liked the movie even more seeing all the things I couldn’t see in the full frame cable airing. Inseminoid is set in the future when mankind now has the ability to move out into the universe and explore, and this planet the movie is set on comes with two suns and runs 89-degrees below zero. When I saw this as a kid I took the movie at face value, seeing it again at 50 I wanted to know some things, but they aren’t conveyed in any kind of opening crawl or conversation between characters, like the base this 12-member team of scientists and technicians (6 women, 6 men) are housed in. It’s inside a mountain, or a mountain range, was it deliberately terraformed or did these tunnels already exist and the humans caome in and just added their tech to it? There was an exploratory expedition on the planet beforehand and it was abruptly abandoned, this at least is conveyed in a voice over by Documentation Officer Kate Carson (Stephanie Beacham) after the opening credits, but she doesn’t expound on any details beyond that or why the company sent another team back to the planet. What the previous expedition failed to discover that this one does is a tomb containing hieroglyphics of the previous now extinct civilization, strange crystals and a possible secret chamber. The only two members of this team we never get to know too well are Ricky Williams (David Baxt) and Dean White (Dominic Jephcott). After the opening credits these two are already inside the tomb exploring when an explosion buries the both of them. They manage to dig Ricky out, but don’t find Dean until a little while later, but it doesn’t matter, he’s dead. Sort of. The doc, Karl (Barrie Houghton), can hear a heartbeat, and his staring eyes move. For reasons never explained we’ll see him later in a body bag in a freezer. Okay, so, he died at some point? Ricky feels and looks normal, but he had a handful of these funky crystals in his hand, and these crystals play a part in the movie, but not a very clear part. They glow, interfere with the electricity in the base, and drive Ricky insane. He needs to get back outside and into that tomb because he thinks Dean is still stuck out there, and if you try and stop him he’ll clobber your ass. Kate will end up killing him in self defense as she and Gail (Rosalind Lloyd) have been ordered by base commander, Holly McKay (Jennifer Ashley), to go out and get photos of the tomb. I’m going to point out this movie has two characters that end up doing something stupid that’ll get either themselves and/or another killed. So, right in the first act, close to the credits we’ve already got two characters who have exited the movie. The next one is Gail herself, after being attacked by crazed Ricky she gets a foot jammed between two pieces of metal on the walkway. She’s also damaged her thermostat, and is in danger of freezing to death. Gary (Steven Grives) tells her from the operations room she needs to re-connect these two wires to get heat, but she panics, refuses to even try, and somehow believes taking the electric saw nearby and cutting her leg off will make things all right. You got to be kidding me?! So, as everyone looks on she pops open her visor, stuffs the oxygen hose in her mouth and begins to saw her ankle off. As predicted she freezes to death. Article from Fangoria #12. Click photos to enlarge & read. Here we are three characters dead now and our main character hasn’t even been inseminated yet. I like the fact the film is never boring. There’s always something right around the corner to keep the story humming along. Speaking of insemination, our two leads are Sandy (Judy Geeson) and her boyfriend, Mark (Robin Clarke). It’s when Sandy and Mitch (Trevor Thomas) are sent into the tomb that shit gets all too real. Everything’s fine actually until they’re done and at the entrance again ready to go back when this alien creature attacks! It kills Mitch, fucks him up bad. His death is filmed in tight shots so you’re not sure how he’s being torn apart. Sandy’s insemination was filmed as if it were some kind dreamy, lucid, acid-like sequence, with her naked on this platform and this alien standing between her spread legs. She’s not raped by an alien dick, but with something that looks like a long test tube of funky liquid pumping through with lumpy things floating in it. This alien creature is fleeting; we never get to see the whole thing, mostly from the shoulders up. I was impressed with the design though, done by FX artist Nick Maley (He and his wife also wrote the initial script). When it’s all over Sandy is suddenly in sickbay being treated for whatever happened to her. These “alien crystals” play a part in her sudden homicidal and cannibalistic nature; she’s a woman possessed when the ones they have in a jar in sickbay call to her. She also gets this mysterious wound on her head that slowly spreads along her scalp, you can see it as the movie progresses, her scalp looks more and more bloody, and initially I was perplexed whether the crystals were making her this way or the pregnancy, my guess was it’s a combination of both, but there’s a synopsis in the Image Gallery on the disc that reveals its her pregnancy that’s mutating her form. At any rate she suddenly wants to kill anyone she encounters and her first victim is poor Barbra (Victoria Tennent) who she knifes to death in the bathroom with a pair of scissors. She used whatever she has at hand to kill her comrades—Gary is offed by a portable harpoon handgun; Karl is killed instantly by a barbell to the head; Holly meets her end at the business end of a “touch-burner,” and Kate is immobilized by a small explosive that fucks up her leg as she’s trying to flee, but the worst part of this is after she kills/immobilizes her prey she eats part of them, mostly tearing into their stomachs. And she isn’t beyond eating Dean and Ricky’s corpses in the freezer either. Geeson puts in the best performance of the cast, vacillating between cold-blooded murderer and lucid victim, sometimes in the same scene, before we finally get to her infamous birthing scene I mentioned earlier! Now, once she gives birth I thought somehow she’d become normal again, and the rest of the movie would center on the creepy ass looking twins she popped out of her, but when Mark finds her resting and goes to wake her, she spins around and it’s clear she’s still in murder mode. You can also see in that scene her teeth have subtly began to change too; they look sharper than normal. That other character I hinted at that gets retarded and accidentally kills another is Holly. She may be the leader of this group but she does not exude an aura of leadership. It’s during the scene where she, Karl and Sharon find Sandy in the workout room looking very pregnant and writhing in pain when she gets careless. She’s got the “touch-burner” as a weapon, and once Sandy clicks into murder mode again Karl is in the way. You can see Holly all twitchy and unsure and accidentally nails him in the back, this allows a moment for Sandy to kill Karl dead with a barbell. Sandy gets the touch-burner and turns it on Holly, now she’s dead and they’ll find her half-eaten body hanging on a ladder later. At this point in the flick Mark, Kate and Sharon (Heather Wright) are the only three left alive, and after Gary’s death earlier Mark had a come-to-Jesus moment where he knows there’s no reasoning with his girlfriend anymore there’s only killing her. Part of this plan involves kidnapping her kids, he hands them off to Sharon and has her secreted away in a room they figure Sandy won’t think to look. Two other traits Sandy acquires in her pregnancy, one is the ability to breathe the planet’s intolerable atmosphere, this is how she got to Gary outside, and a boost in strength. I liked how the movie displays here “super strength” realistically too, this helps to show how Mark is finally able to kill her at the end. She’s not invulnerable, if you can just get the drop on her, it’s fairly easy to take her out. After one of their struggles where she manages to take a nice chunk out of his leg, their battle gets him into a room with a weak floor, and he goes through it. Now he gets clever, when she goes around and enters it, he’s hiding behind the door with a bunch of cords in his hand and during their struggle manages to get them around her neck and throttles her to death. There’s this shot where they’re both kneeling next to each other and he’s putting the finishing touches on his murder cord maneuvers, when I first saw this I had this odd moment of reflection, it hits me, Jesus, at the start of this film these two are a loving couple, and now look at them, Mark’s killing her because an alien rape turned her into a killer cannibal! Man, life and it’s curve balls. I really believed this movie was going to have some survivors, like Mark and Sharon, but then Mark limps back to her and finds one of the alien babies has overpowered Sharon and eaten a fatal hole in her neck! Oh fuckin’ shit! Where’s the other? Mark turns and there it is! The camera zooms in on the second baby’s bloody mouth and we can assume Mark is now pushing up daisies. Fear not true believers Inseminoid comes with an epilogue. In some markets where this was shown the movie ended after the zoom in of that alien babv’s bloody mouth. The epilogue is about a three-man combat mission sent to the planet to find out why there hasn’t been any radio contact for twenty-eight days. The find some of the bodies, but have no clue what unfolded. The last shot is back on the ship where we see the babies have gotten onto and hidden themselves in a trunk. A set-up for a never intended sequel, I guess. Loved the 2.35 cinematography, and the gore was good without going over the top, back then though it was shocking, nowadays it feels very retrained. I mean you never see Sandy eating any innards. They always show her leaning in, and then leaning back out with a bloody mouth. Had this gotten a remake it would be immensely gruesome I imagine. Actually I wouldn’t mind seeing what a remake would look like. One last thing I realized about this movie is none of the characters ever learn Sandy was impregnated by an alien, we the audience are shown what happened, but she never tells anyone what occurred and no one even thinks to wonder why her pregnancy and birth happen nearly in the blink of an eye, and after she gives birth to obvious alien beings neither Mark or Sharon take a moment to stop and ask themselves what the fuck are these things? Inseminoid is not available on blu-ray in any kind of solo release or in the U.S. This blu-ray I reviewed here is part of a U.K. release from Powerhouse Films that collects the horror flicks of director Norman J. Warren’s films: Bloody Terror: The Shocking Cinema Of Norman J. Warren. I ordered this set this past summer specifically for this movie, making it the single most expensive blu-ray I have ever bought. Inseminoid does not have a distributor in the U.S. so it’s unknown if it’ll ever see a blu-ray release over here. Frankly, I think it eventually will, but if you want this film now you’ll have to buy Powerhouse’s set here on Amazon UK, or on their site. Keep in mind this is a limited edition set, so if you really want it pick it up quick! As of this review it’s still in print. The disc is region free, so you won’t need a region free player to watch it. UPDATE 8/6/21: The Bloody Terror set is now out of print, and when an Indicator set goes OOP, they eventually put all the films out as standard solo editions later, so Inseminoid is now available in an affordable blu-ray from Indicator and on Amazon UK. If you don’t want to go overseas, you can get Scream Factory’s blu-ray here. They have some of the same extras and new ones, plus reverse cover art. Indicator’s solo blues only come with an advertisement for their other discs on the reverse side of the cover art. 1999 U.S. DVD FROM ELITE ENTERTAINMENT (Out Of Print) VIDEO/AUDIO/SUBTITLES: 2.35:1 (non-anamorphic) widescreen—2.0 English Dolby Digital (stereo)—No subs EXTRAS INCLUDED . . . Theatrical Trailer (Note: This movie never came in a red case, I just transferred mine to one because I thought it would look cooler, and by God it did!) 2021 U.K. BLU-RAY FROM POWERHOUSE FILMS VIDEO/AUDIO/SUBTITLES: 1080p 2.35:1 high definition widescreen—2.0 English LPCM (mono)—English SDH subs only. I have never seen this movie look so great! The restoration they did makes every frame look like a piece of art. Colors, clarity, black levels and so forth are extremely well restored. Below is a page scan from the booklet in the set, each movie has a page of “restoration notes.” EXTRAS INCLUDED . . . The BEHP Interview With Norman J. Warren—Part 2 (1:09:20) Norman J Warren At The Manchester Festival of Fantastic Films (1:01:50) Subterranean Universe (44:46) Alien Encounter (6:02) Electronic Approach (13:10) Trailers & TV Spots — Theatrical Trailer #1 (2:13); Theatrical Trailer #2 (1:47); Theatrical Trailer #3 (1:02); French Theatrical Trailer (2:28); Horror Planet Teaser Trailer (:31); TV Spot (:31) Image Gallery (1:49/110 photos) As an added bonus, if you get this set, it comes with a 117-page booklet chronicling all of Warren’s horror movies, and one of the chapters is about the 1981 novelization of Inseminoid that is very different than the movie. Mostly in high sexual content and how the creature is depicted. In the book it’s almost a mindless beast that goes around raping the female crew with its two-pronged dick. Never explained in the movie the alien is supposed be the last of its species, an alien scientist looking to pass its genes on. The book is available on Amazon through third party sellers, if you’re interested in reading it. Another reason to get this set is it comes with a very large two-sided poster, one side is of Terror (1978), and the other is Inseminoid. But it’s not any of the posters I added to this review. It was one I had never seen before, most likely one used in the U.K. since if you remember it was shown in the U.S. under Horror Planet. Two of the extras in this disc, Subterranean Universe & Electronic Approach, are from the 2004 U.K. DVD set, The Norman J. Warren Collection. The commentary is also from 2004. The interview with actor Trevor Thomas in Alien Encounter is the only brand new 2019 addition. The rest are either from 2004, 2011 and 2018. The BEHP Interview with Norman J Warren – Part Two extra covers not only Inseminoid but a few of his other films as well, and the Norman J Warren at the Manchester Festival of Fantastic Films extra is kind of a bust when it comes to Inseminoid talk. He finally addresses that movie near the end of the interview and only briefly before he’s sidetracked and goes off talking about something else and never goes back to the film. If you’re a fan of Bloody New Year, however, the first 36-minutes you’ll absolutely love. If you’re looking for real in-depth talk about Inseminoid I direct you the 2004 Making Of and the commentary.
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This is not something I ever thought I’d do,	en	https://outlawvern.com/wp-content/themes/vern2012u/favicon.ico?v=2022	VERN\'S REVIEWS on the FILMS of CINEMA	https://outlawvern.com/2022/11/10/witchy-triple-feature-the-witch-season-of-the-witch-the-lords-of-salem/	This year I celebrated Halloween by taking the day off of work and watching a witch-themed triple feature. This is not something I ever thought I’d do, because I’ve always had that issue with historical witch movies where it kinda bothers me to pretend there’s a such thing as witches, since that’s the superstitious bullshit that real life tyrants used as an excuse to torture and murder many innocent people in this country and elsewhere. But there were a couple witch-related movies I’d been thinking I’d like to rewatch, and at the same time I’d been thinking about my late mother, who loved to dress as a witch every Halloween. She painted her face green and glued on a warty latex nose with spirit gum. Some of the younger kids in the neighborhood were terrified of her, but she got a kick out of it. So I dedicate this witch-a-thon to her. I chose to view them in order of when they take place: first Rob Eggers’ THE WITCH (1630s), then George A. Romero’s SEASON OF THE WITCH (1970s), and finally Robert Zombie’s THE LORDS OF SALEM (twenty-teens). I’m as surprised as anybody that I rewatched THE WITCH (2015) already. I know it’s been seven years since it came out, but these days I don’t usually have time to visit anything more than once unless it’s an old favorite or the rare FURY ROAD level knockout. If you go back to my review from when THE WITCH hit video, I had some still-relevant things to say about the divide between factions of horror fans, but I only kind of liked the movie, was pretty nitpicky about it, didn’t entirely feel it. What changed is that I loved Eggers’ third movie THE NORTHMAN. It’s still my #2 movie of 2022, and made me much more excited about him as a director. Sure enough I was able to appreciate THE WITCH much more when I came to it with admiration instead of skepticism. It’s such a strong piece of work because all of the performances are really good, and each of the characters is interesting in a layered way. I think on this viewing I was most captivated by the dad, William (Ralph Ineson, who was in FIRST KNIGHT, and also played the actual Green Knight in GREEN KNIGHT). I figure he’s kind of the bad guy – his extreme religious beliefs and stubbornness drag his family away from their community to this remote place where they absolutely can’t fuckin cut it, and then when shit inevitably gets bad his religion causes him to mistrust his own children and treat them as evil beings, with disastrous results. But to me this time he didn’t come across as a bastard, he seems fairly nice, mostly well meaning, often gentler and more understanding than I expect him to be. He’s trying to provide food and keep his family happy. He should be more open with his wife Katherine (Kate Dickie, PROMETHEUS, and the Queen in THE GREEN KNIGHT) about what’s going on, but he’s very sincere about sneaking out to hunt for food or sell off some silver to get tools they need. Most of his fuck ups come from wanting to provide for his family. Of course, there’s also shittiness that’s left unspoken. In the opening scene, when her father tells the community that the family is leaving, they just have to stand there, but Thomasin’s “wait- we’re doing what?” expression speaks volumes. The oldest son Caleb (Harvey Scrimshaw, THE SCHOOL FOR GOOD AND EVIL) takes after his father. He gets all puffed up about his duty as a (future) man to sneak out into the woods (where he’s not supposed to go) to hunt. The parents talk ominously about Caleb’s older sister Thomasin (Anya Taylor-Joy, SPLIT, GLASS, PLAYMOBIL: THE MOVIE) becoming a woman, but they don’t notice that Caleb also notices, and has a funny feeling about it. Two shots represent him looking at his sister’s chest, so later when the witch appears to him as a woman with prominent cleavage (Sarah Stephens, SOLITARY MAN) you know that yep, she’s got his number. Then he disappears until Thomasin finds him shivering and naked outside of the cottage. He seems sick and the family gathers around his bed praying for him, which is when all kinds of suspicion, paranoia and finger-pointing happens (and when it really starts to seem like the younger siblings Mercy [Ellie Grainger] and Jonas [Lucas Dawson] really are in the thrall of the witch or the goat or somebody), because they “don’t remember” their prayers and can’t say the words. The scene is good enough to overcome my boredom with possession-related horror. Caleb goes through terror and a couple different personalities and then breaks down talking about being safe in Jesus’ arms or something, but now he sounds so over the moon about Christianity it might be sarcastic? It’s too bad this kid hasn’t done much since then. I guess it’s a pretty specific talent that’s not gonna come up in AGENT CODY BANKS REBORN or whatever. I don’t think I need to say much about Taylor-Joy, since it’s pretty well documented how good she is after The Queen’s Gambit and all that. But this was her first major role and the combination of the role and her performance made the rest of it possible. Thomasin too is just trying to fulfill her prescribed role in the family, including watching after the younger kids (whoops – Baby Samuel gets snatched by the witch of the woods during a game of peek-a-boo). The scene where Mom tries to strangle Thomasin and Thomasin kills her in self defense is really fuckin intense. She obviously doesn’t mean to do it, but as she’s laying there under the corpse of what was her last living relative maybe there’s a little relief mixed in with the horror, knowing her shitty life is a blank slate now. It’s hard to say. I would be remiss not to mention the movie’s biggest contributions to pop culture, the goat Black Phillip and the phrase “Wouldst thou like to live deliciously?” If you don’t remember, the family has a goat who Mercy and Jonas like to rile up and sometimes casually claim that he told them things. There’s lots of tension looking at the motherfucker and wondering if it’s just kid stuff or if he really does pull a Chucky and talk to little kids when no one else is around. In a climactic moment Thomasin indeed gets him to talk to her in a ragged whisper. It’s fuckin chilling! Goats are just creepy animals in general, and Eggers does a great job of making him look ominous. More challenging: doing the same with the bunny they encounter in the woods a couple times. Fingers crossed for THE WITCH ORIGINS: BUNNY. Anyway the point is yes Black Phillip, she would like to live deliciously. Everyone deserves to be happy. On a first viewing I think I fretted that THE WITCH might be partly sincere in its warnings of spooky devil danger, but that seems silly when paired with THE NORTHMAN. I feel pretty confident that Eggers doesn’t believe in Valhalla, but he understands why it’s interesting to present the characters’ philosophy and mythology matter-of-factly as if it’s reality, trusting us to have our own opinions about it. THE WITCH takes the same approach to these Puritan characters, with all their greatest fears becoming reality. But I actually forgot that one of the big horror moments is when the witch snatches the baby Samuel, mashes him up and rubs the gooey results all over her naked body! I’m against that. But I appreciate the bluntness of it. In a fairy tale you could say a witch snatched a baby, I wouldn’t really picture it like this. That’s fucked up. (By the way, in case we’re gonna rehash the argument about whether or not Eggers is some “elevated” snoot who doesn’t want to be associated with horror, I found a good quote in, of all places, a talk between Eggers and Ari Aster on The A24 Podcast: “I completely understand why people don’t see THE WITCH as a horror movie, but it was certainly my attempt to make a horror movie… you see a witch flying on a broom stick… maybe that’s not scary, but it’s certainly a horror trope… It should be, even if it isn’t successfully so. But for my money that was horror.”) Another reason THE WITCH works better for me in conjunction with THE NORTHMAN is that the themes seem complementary of each other. Amleth in THE NORTHMAN is living up to the masculine ideals his father taught him, believing it’s glorious to needlessly die in battle and abandon his wife and child for the sake of avenging an event he completely misunderstood. Thomasin, on the other hand, is rebelling against the limitations her parents and society put on her life as a young woman, though her version of a happy ending is likely just as misguided as Amleth’s if you take it as more than a metaphor. I don’t know if she specifically realizes she’s throwing in with a bunch of baby smashers. She just knows they get to dance naked and fly and it’s delicious and all that. And they’re friends with animals. I think it’s safe to say this is not a 100% sound life decision without a chance of buyer’s remorse. Then again, if it was 350 years later and she was running away from home to live in a punk rock house she might be dealing with some scumbags here or there but it could still be preferable to what she left behind. That’s kinda what I get out of this. What’s she gonna do, go back to town and be an indentured servant, like they had planned for her? Or live in the woods by herself, hoping there really is an apple tree somewhere? Those options seem decidedly un-delicious. (Which is maybe what Amleth thought of his opportunity to stop warring and just be a husband and father. Dumbass.) Organically, but maybe not coincidentally, THE NORTHMAN has an early scene of all men in animal furs dancing around a fire roaring like animals to prepare for battle, and THE WITCH has a late scene of all women dancing naked around a fire enjoying life. Men Are From Norse Paganism, Women Are From Wicca. I always regretted skipping THE WITCH in the theater, because it’s clearly a movie that requires your focus and willingness to be submerged into that world and mood. This time I watched with headphones and really gave myself over to it, and I’m happy to say I loved it this time. They were right. A24 4 life. SEASON OF THE WITCH (1973) was also released as HUNGRY WIVES (the title that comes up when you watch it on Shudder or Tubi and presumably the blu-ray) or JACK’S WIFE (the last line spoken in the movie). HUNGRY WIVES is funny because it’s not inaccurate except for the impression it gives as a sexploitation movie. But they should’ve saved that for one where the wives are cannibals. I like JACK’S WIFE because defining the main character as just the wife of a guy we don’t even see that much because he’s out of town for most of the movie very much fits its theme. I’m pretty sure I watched this once back in the Anchor Bay VHS days, but if so I definitely didn’t get into it, and it didn’t leave much of an impression. This time I was much more open to it. It’s not a traditional horror movie, but it uses witchcraft as a metaphor about the life of an unhappily married middle aged woman sort of the way Romero’s MARTIN uses vampirism to talk about a disaffected young man (who we’d probly call an incel now). And it leaves it ambiguous whether a witch’s spells actually do anything, much like Martin may or may not really be a vampire. Joan (Jan White, TOUCH ME NOT) is bored with her life in suburban Pittsburgh, her husband (Bill Thunhurst, THE CRAZIES) really doesn’t get her, and he’s a dick, and he’s away on business trips all the time, and occasionally he hits her (and then thinks telling her he’s sorry the next day absolves him). Presumably because of all these things she’s been having weird dreams. Her therapist (Neil Fisher, writer of Romero’s 1974 documentary about O.J. Simpson) tells her that the person least qualified to interpret a dream is the dreamer, but I don’t know, man. I think Joan can figure out what it means when she dreams that her husband has her on a leash and puts her in a kennel before leaving on a trip. The dreams at the beginning had me worried – lots of strangeness dubbed with chimes, ticking clocks and giggling, a dated type of surrealism much like Romero’s recently uncovered industrial film THE AMUSEMENT PARK (which was a chore for me to get through even though it’s only 50 minutes). Luckily he uses that stuff more sparingly here. Joan enjoys going to – or at least does go to – her friends’ cocktail parties, where one of the gossip topics is that their new neighbor Marion (Ginger Greenwald) is into witchcraft. They laugh about it but Joan is curious enough to convince her friend Shirley (Ann Muffly, “Woman at Hanna Long’s,” FLASHDANCE) to come with her to meet Marion, get a tarot reading and hear about her coven. When they go back to Joan’s place her college student daughter Nikki (Joedda McClain) is hanging out with a student teacher she casually dates, Gregg (Raymond Laine, “Foss’ Man #1,” SUDDEN DEATH). This guy sees himself as a philosopher beatnik hippie guru or some shit, trying to blow their minds and offering to “turn them on” with pot. He embarrasses Shirley, who’s already quite drunk, by convincing her she’s stoned off of a regular cigarette. And he keeps telling Joan he’s “not trying to make it” with her. She kicks him out of the house but she’s clearly intrigued – in fact she already had a sexy dream about him before she even met him. Later she comes home, hears them having sex and, uh, enjoys herself. Nikki catches her and gets so pissed she runs away. So this is a story about a buttoned-down lady getting curious about the more open lifestyle of the younger people, and since she’s alone in the house she has a window to try it out, both metaphorically (through witchcraft) and literally (by starting a no-strings-attached sexual relationship with Gregg). Actually she kind of conflates the two, because she does a spell to make Gregg come to her and believes that’s what did it, even though she also called him on the phone. The relationship is interesting. Gregg seems like kind of a prick, but there’s also a certain charm to him, and you can see that it’s empowering to Joan to be able to have a casual relationship with this young hipster and decide when to break it off. But also he’s pretty relatable when she starts talking about her witchcraft stuff and tells him not to make fun of her, but he doesn’t know how to act like he respects it. It’s ironic because being the cool open-minded guy is most of his identity. Everybody curates what type of bullshit they’re open to, I guess. One of the more genre elements is her reoccurring dream about a man in a rubber devil mask breaking into her house and attacking her. Could this be the first horror villain in a mass-produced Halloween mask? I have no idea. But he’s played by Bill Hinzman, who already has enough notoriety as the first zombie in NIGHT OF THE LIVING DEAD. And just like NIGHT OF THE LIVING DEAD, this one resolves things with a (possibly) mistaken shooting. After Joan has been dreaming about using Jack’s hunting shotgun to ward off the masked intruder, Jack comes home early from his trip, tries to get into the chained door, and she shoots him. I think it makes about the same amount of sense for it to be an honest mistake or an intentional act of freeing herself. Kinda like Thomasin when she kills her mom. And just like Thomasin, Joan immediately goes and joins a coven. It was cool to watch this back-to-back with THE WITCH. In both movies witchcraft seems to represent a sense of freedom from men and Christianity and societal expectations. Joan too deserves to live deliciously. Thomasin looks joyful to the point of weeping as she floats into the sky at the end of her movie, and Joan seems like a total badass at the end of hers when she proudly declares “I’m a witch” to her friends at the cocktail party. Just like THE WITCH I think you can just look at this as a metaphor and enjoy it as female empowerment, but from another angle you can see some irony there. At the beginning of the movie Joan dreams about her husband keeping her on a leash. At the end, when she joins the coven, part of the initiation ritual involves a red rope being tied around her neck before she crawls naked to an altar. The difference is that this is her choice, she still seems to be in control. And my guess is that that’s how Romero meant it. But how much control is she in, really, when this stuff is all about doing the opposite of Christianity, to the point of writing down the Lord’s Prayer in reverse? If everything is about rebelling against Christianity then you’re still having your life dictated to you by Christianity. You’re responding to Christianity the same way Armond White responds to what he thinks is the critical consensus. Maybe there are better ways to be free. But I’m glad you’re searching for happiness in unorthodox places. THE LORDS OF SALEM (2012) makes an interesting contrast to the other two because it’s about a woman who doesn’t seem to suffer any of the same social or religious pressures that the other movies are about. The protagonist, Heidi Hawthorne (Sheri Moon Zombie, THE TOOLBOX MURDERS) isn’t married, is on some kind of break from a very understanding boyfriend, and has a cool job that she likes. She never acknowledges any religious background (though a nightmare she has in a church could be signaling something). When she’s made uncomfortable by an old neighbor lady talking about her desires I don’t think it’s because she’s too uptight to know how to yearn for sexual freedom and what not. So it’s not about the same things. At the beginning of the movie Heidi is living a good life in that place where witches were once executed – as we see in stylish flashbacks featuring the great Meg Foster (THEY LIVE) totally going for it as the head of the Satan-worshipping coven. Heidi lives in an incredibly refurbished apartment in an old building. She’s locally famous as Heidi LaRoc of the Big H Team on WIQZ Salem Rocks (voted #1), along with her sometime boyfriend Whitey. Whitey’s real name is Herman, but they call him Whitey to differentiate from fellow Big H member Herman “Munster” Jackson (Ken Foree, DAWN OF THE DEAD). Note that Whitey is played by Jeff Daniel Phillips, who later played Herman Munster in Zombie’s THE MUNSTERS. While they’re on the air playing rock ’n roll, doing wacky zoo team bullshit and interviewing satanic rock star Count Gorgann (Torsten Voges, 8MM) and local author Francis Mathias (Bruce Davison, a.k.a. Willard from the original WILLARD), who wrote a book about the witch trials, an unknown party drops off a record in a strange wooden box. It’s by someone called “The Lords” and when they play it on the air women all around Salem seem to go into a trance. I guess that means it’s a hit? I remember coming out of the theater and telling my friend that yeah, I think I liked it. (Original review here.) It’s Rob Zombie’s most puzzling and least straight forward movie, but maybe also his most controlled and consistent. It’s a character driven movie with a good central performance and a good contrast between the ordinary things she does and the supernatural shit that happens to her. Example one: when she takes her dog Toby for a walk and stops in the park for a smoke she sees this motherfucker walking his goat: Example two: a pretty great not-noticing-the-scary-thing-in-the-room when she turns on the kitchen light to feed Toby. I like that the movie’s history-of-witchcraft expert Mathias is not some spooky guy, but an upbeat, likable academic who makes jokes, has a hot painter wife (Maria Conchita Alonso!) and works part time at the Salem wax museum. And when he goes to talk to another expert that guy is nice too and excited to get nerdy talking about this shit that nobody else cares about. (There’s one laughable thing with Mathias though – he’s been researching this witch hunter named Hawthorne but when he finds out that’s Heidi’s real name he doesn’t think “oh shit, it can’t be, can it?” but instead pleasantly continues his internet research until he sees it on a family tree and yells “FUCK ME!” in shock.) The other Hawthorne wrote about some witches playing evil music that controlled the women of Salem in the 17th century. He even included notes. Mathias has his wife play them on the piano to verify that it’s the same is on the Lords record. Concurrent to all this Heidi has been experiencing some odd happenings with the supposedly empty apartment 5 down the hall, and having encounters with landlady Lacy (Judy Geeson, INSEMINOID) and her sisters Sonny (Dee Wallace, RED CHRISTMAS) and Megan (Patricia Quinn – Magenta from THE ROCKY HORROR PICTURE SHOW [a character Laurie dressed up as in Zombie’s HALLOWEEN II]). It’s actually kinda like SEASON OF THE WITCH when Heidi comes over for wine and Megan reads her palm and makes her uncomfortable talking about “the juices between your legs.” “Megan can be a little adamant, you know, about these things,” Lacy explains. For his part Zombie can be a little adamant about turning any scene into a kick ass heavy metal album cover. He loves his haggard witches with mud on their naked bodies, symbols painted on their heads, torches, staffs made of animal skulls, Mario Bava torture devices. In the pre-tradition of THE WITCH there’s lots of goat imagery and some naked fire dancing. But Zombie being Zombie, I’m happy to say, he also gets much weirder. The second best scene happens about 36 minutes in when Toby leads her into apartment 5 late at night. The door is open and there’s a hall lit red by a large neon cross. She raises her hands up to it, possibly in a trance, as, in silhouette, a fuckin sasquatch walks up behind her! Then we/she see the sasquatch standing in the midst of some flames and trees and witches. I absolutely love that this is a movie Zombie called “grittier and darker” than his other films and “the most downbeat film of them all,” yet he threw in a totally unexplained sasquatch part. That’s what I want to see. The #1 best scene is, of course, when she’s been smoking crack and the ladies take her down the hall and draw a symbol on the wall and suddenly apartment 5 is a huge ornate chamber with columns and a chandelier and she has skeleton facepaint on and she walks up a stairway to the strange creature who looks like a roasted turkey with a deformed human head and a bell tolls and he squeals like an alien pig as she vibrates, holding the ends of two long tentacles coming out of his open belly. One thing that grounds all that is that it’s a really sympathetic portrait of an addict, partly because it waits 20 minutes to tell us she is one. That’s when she goes to group and suddenly the state of her relationship with Whitey makes so much more sense. He wants to be with her but he’s trying to give her the space she needs, and also feels bad about having given up on her at a low point. Unfortunately this witchy shit triggers her sickness again. The scene of her shakily passing cash through a metal door for some rock (politely whispering “thanks man”) is almost more sad than seeing her smoke it. It’s a really good performance. Although this is a prime example of the “pretending there were actual dangerous Satan worshipping witches in Salem” problem, I never quite took it seriously because it’s created by an actual rock star and involves the ridiculous notion of rock music being an evil satanic spell. So it just seems like a put-on, prankishly playing along with the worst thing that some dumb asshole says about you just to rile them up for a laugh. I’d like to think there’s more meaning to it than that, but I’m not sure anything specific is intended. Remember what Joan’s therapist said about dreams in SEASON OF THE WITCH – the dreamer is the least qualified person to interpret them. Sometimes the same can be said of directors and their movies. In an interview with Complex, Zombie even described LORDS as a difficult-to-decipher dream: “I want them to say, ‘I think I just went through an actual nightmare, and I’m still trying to sort it out,’ as opposed to a movie where they can easily explain what happens to Heidi and it’s all wrapped up nicely for them and they can walk out of the theater thinking, OK, everything got wrapped up perfectly for me.” The climax seems to depict a battle for Heidi’s soul through weird demon imagery and perversions of organized Christianity, mixed with totems of rock ’n roll and cinema history. As Heidi hears what sounds like a vintage record of a fire and brimstone Christian sermon she sits between demonic masturbating bishops, and she’s wearing what looks like a King Diamond t-shirt (but it’s the movie’s fictional satanic death metal band Leviathan the Fleeing Serpent). Did Zombie mean anything specific by pulling in Heidi’s bedroom mural of Georges Melies’ TRIP TO THE MOON? Maybe not, but I like to take it as dragging his other artistic medium into the satanic panic. Why not? This shit is dangerous too. BOO! By the time the sermon says “But if we lose our battle to temptation and choose to ride upon the goat, we know what our agony will be,” Heidi is having a fun time literally riding a taxidermied goat in front of some neon flames, between what appears to be rows of urinals? Zombie invokes his past directing music videos with a quick cut montage of shock imagery (crucified mutant doll in front of flames, cheesy melting effect on religious artworks), but for the part where Heidi gives birth to a wiggly tentacle creature, like most of the biggest moments in the movie, he slows way down and the score by Griffin Boice and John 5 goes choral and orchestral. The aforementioned Best Scene in the Movie is set to Mozart, while the finale (the witches smiling as Heidi stands atop a pile of dead women descended from Salem villagers) uses The Velvet Underground. It all fits together. Returning briefly to that THE WITCH issue of crowd-pleasing commercial horror vs. allegedly-pretentious arthouse shit, it’s interesting that LORDS is one of the first things Blumhouse did after becoming hitmakers. Coming off the success of PARANORMAL ACTIVITY, INSIDIOUS and SINISTER, Jason Blum approached Zombie with the offer to make any movie he wanted with 100% creative freedom as long as it was supernatural and stuck to a certain budget. Since he was coming off of a frustrating experience with the Weinsteins on HALLOWEEN I and II he found himself skewing toward the weirder shit he knew other producers would say no to. If there’s no more meaning to it than the abstract shit I read into it, then it might not be the best finisher to this triple feature, but that’s no knock against it. I’d have to say my favorite witch movies are SUSPIRIA and INFERNO, which don’t really have literal meaning to me, but hit me hard every time with their style and atmosphere and yes, come to think of it, their rock ’n roll. THE LORDS OF SALEM is hardly an imitator, but it’s a worthier successor than most. This triple feature was a great use of my Halloween time. I really enjoyed all three movies and the accidental interplay between them. Maybe LORDS suffered a little from being out of tune with the other two, but on the other hand it managed to deliver way more in the cool-shots-and-crazy-shit department. Maybe I needed that on order to go out with a bang. I don’t think I’ll ever lose my hesitation about the witch thing, but maybe in this time of increasingly ludicrous superstition and conspiracy theories I’m starting to see the appeal of that Thomasin/Rob Zombie attitude. When they’re calling you a witch anyway you might as well lean into it. p.s. I’m not planning to switch over to doing these epic multi-movie reviews all the time. That’s just the way it’s been working out lately!
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8999	dbpedia	0	0	https://en.wikipedia.org/wiki/Inseminoid	en	Inseminoid	https://upload.wikimedia…minoidPoster.jpg	https://upload.wikimedia…minoidPoster.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/9/94/Symbol_support_vote.svg/19px-Symbol_support_vote.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/89/InseminoidPoster.jpg/220px-InseminoidPoster.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/8/8d/Gozo_-_Zebbug_-_Wied_il-Ghasri.JPG/220px-Gozo_-_Zebbug_-_Wied_il-Ghasri.JPG", "https://upload.wikimedia.org/wikipedia/en/thumb/8/88/InseminoidTwin.jpg/220px-InseminoidTwin.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/f/f8/InseminoidInsemination.jpg/220px-InseminoidInsemination.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/e/e7/Video-x-generic.svg/28px-Video-x-generic.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/0/05/Sf-userbox.png/28px-Sf-userbox.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/7/7c/Vampire_Smiley.png/30px-Vampire_Smiley.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2005-06-12T08:47:08+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Inseminoid	1981 film by Norman J. Warren InseminoidDirected byNorman J. WarrenWritten byNick Maley Gloria MaleyProduced byRichard Gordon David SpeechleyStarringRobin Clarke Jennifer Ashley Stephanie Beacham Steven Grives Barrie Houghton Rosalind Lloyd Victoria Tennant Trevor Thomas Heather Wright David Baxt Judy GeesonCinematographyJohn MetcalfeEdited byPeter BoyleMusic byJohn Scott Production company Jupiter Film Productions[1] Distributed byButcher's Film Service (UK) Release dates Running time 93 minutesCountryUnited Kingdom[1]LanguageEnglishBudget£1 millionBox officeUS$1.5 million[2] Inseminoid (titled Horror Planet in the United States) is a 1981 British science fiction horror film directed by Norman J. Warren and starring Judy Geeson, Robin Clarke and Stephanie Beacham, along with Victoria Tennant in one of her early film roles. The plot concerns a team of archaeologists and scientists who are excavating the ruins of an ancient civilisation on a distant planet. One of the women in the team (Geeson) is impregnated by an alien creature and taken over by a mysterious intelligence, driving her to murder her colleagues one by one and feed on them. Inseminoid was written by Nick and Gloria Maley, a married couple who had been part of the special effects team on Warren's earlier film Satan's Slave. Filmed between May and June 1980 on a budget of £1 million, half of which was supplied by the Shaw Brothers, it was shot mostly on location at Chislehurst Caves in Kent as well as on the island of Gozo in Malta, combined with a week's filming at Lee International Studios in London. Composer John Scott completed the film's electronic musical score over recording sessions that lasted many hours. Despite a good box office response in the UK and abroad, Inseminoid failed to impress most commentators, who criticised the effects and production design. The overall quality of the acting was also poorly received, although Geeson's performance was praised. Criticism was also directed at the premise involving an alien insemination, which some commentators viewed as a weak imitation of Alien (1979). Both Warren and 20th Century Fox, distributor of Alien, rejected claims that Inseminoid was influenced by this film. Plot [edit] On a freezing planet, a team of 12 Xeno Project archaeologists and scientists are excavating the ruins of an ancient civilisation. They discover a cave system containing wall markings and crystals of unknown origin. During a survey, a mysterious explosion cripples photographer Dean White and injures Ricky Williams. Deciphering the wall markings, exolinguist Mitch theorises that the civilisation was built on a concept of dualism: the planet orbits a binary star and seems to have been ruled by twins. Medical assistant Sharon discovers that the crystals are surrounded by an energy field and suggests that the civilisation was controlled by a form of chemical intelligence. A crystal sample begins to pulsate, causing the intelligence to take control of Ricky through a wound on his arm. In his delusional state, he is compelled to leave the team's base and go back into the caves. He throws Gail into a pile of twisted metal, damaging her environmental suit and trapping her foot. Desperate to free herself, Gail removes her helmet and tries to amputate her foot with a chainsaw, but instead freezes to death in the planet's toxic atmosphere. Documentation officer Kate Carson shoots Ricky with a harpoon gun before he opens the airlock and evacuates all of the base's air. Ricky and Gail are buried outside the base. Later, Mitch and Sandy return to the caves to collect more crystals. A monstrous alien creature appears and dismembers Mitch, then rapes Sandy with a transparent tubular phallus pumping green liquid. Sandy is taken back to base and treated by the team's doctor, Karl, who discovers that the attack has triggered an accelerated pregnancy. When further underground explosions block off the caves, the survivors are left with nothing to do but wait for Xeno to pick them up. The intelligence takes over Sandy, giving her superhuman strength. She stabs Barbra to death with a pair of scissors and mutilates Dean and the remains of Mitch, drinking their blood. The rest of the team take refuge in the control room as Sandy uses explosives to blow up the base transmitter. After Sandy appears to return to her normal self, Karl, Sharon and Commander Holly McKay try to sedate her. However, Sandy reverts to her violent state, killing Karl and Holly and disembowelling their corpses. Mark radios Sandy from the control room to distract her while Kate and Gary arm themselves with chainsaws from a storage room. Sandy uncovers the ruse and harpoons Gary outside the airlock, breathing the atmosphere to no ill effect as she feeds on his flesh. She then re-enters the base and gives birth to hybrid twins. Mark stumbles across the newborns and leaves them with Sharon as Sandy blows up the door to the control room and smashes the equipment inside. Sandy uses another explosive charge to wound Kate, then kills her. Finally, Mark overpowers Sandy and strangles her to death with a length of cable. He returns to Sharon to find one of the twins drinking from her torn-out throat, then comes face to face with its sibling. Twenty-eight days later, a Xeno shuttle lands on the planet to investigate the loss of contact with the team. With the base in ruins and its occupants either dead or missing, commandos Corin and Roy abandon the search for survivors and shuttle pilot Jeff radios Xeno for clearance to return. The final shots reveal that the twins have stowed away inside a storage compartment on board the shuttle. Cast [edit] Judy Geeson as Sandy Robin Clarke as Mark Jennifer Ashley as Holly McKay Stephanie Beacham as Kate Carson Steven Grives as Gary Barrie Houghton as Karl Rosalind Lloyd as Gail Victoria Tennant as Barbra Trevor Thomas as Mitch Heather Wright as Sharon David Baxt as Ricky Williams Dominic Jephcott as Dean White John Segal as Jeff Kevin O'Shea as Corin Robert Pugh as Roy Production [edit] After making Satan's Slave (1976), Prey (1977) and Terror (1978), Norman J. Warren was to have directed a film called Gargoyles.[3] After this production collapsed without a finished script, Warren and producer Richard Gordon accepted a story idea from the husband-and-wife duo of Nick and Gloria Maley, who had been members of the special effects unit on Satan's Slave.[4] The Maleys wrote the film both as an amalgam of their favourite science-fiction ideas and to showcase their effects work.[4][5] Their script, which indicated that the film is set two decades in the future in a militaristic universe, was provisionally titled Doomseeds; this was changed to Inseminoid to avoid confusion with the 1977 film Demon Seed.[3][6] Gordon cast American actors Robin Clarke and Jennifer Ashley as Mark and Holly while on business in Hollywood.[5] Clarke had recently played a supporting role in The Formula; Ashley had appeared in a number of independent films.[3] Beacham, who had two young children at the time, accepted the role of Kate Carson to support her family, recalling in a 2003 interview: "I had to choose between a play that I really, really wanted to do, which would have paid me £65 a week, and this script for a film called Inseminoid. Hey! No choice. Two pink babies asleep upstairs! No choice!"[7] The Shaw Brothers agreed to supply half of the proposed £1 million budget and became partners in the production, with elder brother Run Run Shaw credited as presenter in the opening titles.[5] Nick Maley reprised his effects role to build the puppets of the alien twins.[4] Filming [edit] Inseminoid was shot on 35 mm Eastman Kodak film with anamorphic lenses. Warren remembered that this format produced an "incredibly sharp image and what I would term as the 'American' look."[3] Principal photography began on 12 May 1980 with a crew of 75. The production spent three weeks filming in Chislehurst Caves in Kent, which served as the tunnels of the underground complex. This was followed by one week's studio filming at Lee International Studios (the future Fountain Studios) in Wembley Park, London. A fifth week was devoted to effects and linking shots, completed by the second unit at Film House on London's Wardour Street. The crew then travelled to the island of Gozo in Malta for a supplemental location shoot lasting two days, during which they filmed the long shots set on the planet's surface. The strong Mediterranean sun ensured good lighting.[3] Warren said that given Inseminoid's low budget, filming the underground scenes in actual caves produced a more realistic result than any potential studio option.[3] However, the cold, damp and airless conditions inside the caves, compounded by the uneven terrain, caused numerous minor injuries among the cast and crew as well as damage to filming equipment. Shooting often ran for 12 hours at a time and some of those present developed intense feelings of claustrophobia in the confined space. Gordon felt that these uncomfortable working conditions made the actors' performances more credible: "I think all this paid off in terms of what we got on the screen for the budget, but the circumstances were very difficult."[5] Due to the lack of space, the crew were forced to set up their production office, as well as the dressing and make-up rooms, in a car park some distance from the caves. As filming started to fall behind schedule, Warren was forced to cut some of the scenes of Ricky's rampage inside the caves: "Three pages of script, which I had to condense into one shot. Having to make such an enormous compromise was not a happy choice for me, but it was the only way of getting us back on schedule." The shoot ultimately overran by two days.[3] As filming progressed, the working relationship between Warren and Clarke broke down. According to Warren, Clarke often refused to follow instructions, opting instead to give his own interpretation of the script to a point where every scene featuring him became "an uphill struggle" to film. Warren remembered that during preparations for a fight scene, he lost his temper with Clarke: "Robin kept on ranting and raving about his ideas to the point where I couldn't take it any more. So I screamed at him to shut up and keep quiet. I told him I was the director and we would do the scene the way I said. He was shocked, he just stopped dead, and from that point on he hardly said a word."[3] Warren's rapports with the rest of the cast were positive. He described Geeson as "an absolute dream to work with" and praised her performance, arguing that it avoided being unintentionally comic.[3] Gordon was similarly impressed, saying that Geeson fully embraced the role of Sandy and did not complain that it demeaned her as an actress.[5] Warren also had memories of Beacham's "very professional" performance, recalling that "with tongue firmly in cheek, she would often wind me up by asking what her motivation was for a particular action, just as I about to call 'Action!', knowing full well that my answer would be, 'Because it's in the script'."[8] Post-production [edit] The film was brightened during post-production following concerns that it would be harder to sell to television broadcasters if it appeared too dimly lit.[3] Cuts were made to some of the more graphic shots of Sandy giving birth to ensure that the film would not be rejected by the British Board of Film Censors (BBFC).[9] According to Warren, editor Peter Boyle "had a natural feel for the material and managed to create just the right pace and rhythm throughout the film."[3] The title sequence was produced by Oxford Scientific Films.[10] Music [edit] As Inseminoid's low budget precluded hiring an orchestra, Warren and composer John Scott agreed that the film should have an electronic score. The recording involved many hours of multi-tracking and overdubbing. Warren described the completed soundtrack as an "amazing achievement", noting that electronic scores were still "quite experimental" at the time.[3] The soundtrack was released as an LP record in 1982.[11] InseminoidSoundtrack album by Released1982GenreElectronicLength34:50LabelCitadel Records[11] Release [edit] The BBFC first certified the film X, and then 18; in 2005, it reduced this to 15.[4][12] The Motion Picture Association of America gave the film an R rating for "profanity, nudity, violence, rape and gore".[13] In Germany, cinemas began showing the film in January 1981 under the title Samen des Bösen (English: Seeds of Evil). In the UK, the film premiered on 22 March in the Midlands, subsequently opening at 65 cinemas in the region. It reached London in October.[3] The film was commercially successful, reaching number five at the UK box office and number seven in France.[3][9] Inseminoid was also one of the first films to have a VHS release not long after its initial cinema run, and in November 1981 peaked at number seven in the UK video charts. It was re-released on VHS in 1992 and 1998.[3] In the UK, the film's promotion included a regional mailshot consisting of a circular that showed a screaming Geeson in character as Sandy with the tagline "Warning! An Horrific Alien Birth! A Violent Nightmare in Blood! Inseminoid at a Cinema Near You Soon!" Warren regretted this move, commenting: "The problem with mail drops is that you have no way of knowing who lives in the house, or who will see it first. It could be a pregnant woman, and old lady, or even worse, a young child. So it was not such a good idea."[3] To Warren's displeasure, foreign distributor Almi renamed the film Horror Planet for its North American release. This was later changed back to Inseminoid.[5][9] Reception [edit] Inseminoid was nominated for the Fantasporto award for best film and won the Fantafestival award for best special effects.[15] Roger Corman congratulated Warren on the film and considered hiring him as a director.[4] However, Inseminoid failed to impress members of the British Academy of Film and Television Arts, who according to Warren, dismissed it as "'commercial rubbish! ... Not the sort of thing the Academy should be showing ... And certainly not the kind of film the British film industry should be making.'"[3] He also remembered that it was not well liked by female audiences: "It seems it is quite common for pregnant women to have nightmares about giving birth to some kind of monster. Of course, all their complaints and their letters which were printed in the local papers only helped to increase the queue at the box office."[3] Alan Jones of Starburst magazine expressed a preference for the British members of the cast, calling Geeson "absolutely first-rate" but criticising the "weak performances from the token Americans", Robin Clarke and Jennifer Ashley. Praising the film's cost-effective production values, he stated that its depictions of violence carried Warren's "particular trademark". He added that Inseminoid is "not faultless by any means", citing a predictable and often "ridiculous" plot as one of the film's failings. However, he concluded that it met audience expectations for a science fiction B movie, describing it as "far less routine and far more enjoyable than I had expected."[4] In the US, Inseminoid made the Los Angeles Times top ten list.[3] Reviews elsewhere were more negative. Edward Jones of Virginia's The Free Lance–Star praised the "novel touch" of casting an expectant mother as the villain but added that "in what has to be a new low, even for extraterrestrial-horror films, all the men end up punching this pregnant woman in the stomach." He summed up the film as "no more than a mix of everything-you've-ever-seen-in-a-horror-movie-and-didn't-particularly-want-to-see-again."[16] In a review for the Boca Raton News, Skip Sheffield branded the film "horrible" and "cheapo", advising readers to "imagine Alien without the fantastic sets, convincing special effects and literate dialogue, and you have a picture of Horror Planet." He also argued that the graphic violence is not suspenseful, punning on the name Run Run Shaw in his conclusion that "Horror Planet is a film to run, run away from – fast."[13] AllMovie rates the film one star out of five. Reviewer Cavett Binion calls Geeson's performance "more than a bit uncomfortable to watch", describes the rape scene as "surreal and truly disgusting" and considers the choice of title "sleazy".[17] Douglas Pratt writes that the film features poor acting and production design with "some gooey gore shots but few other thrills". He concedes that the film "goes through the motions properly, however, so fans will probably find it worth passing the time."[18] Warren rejected the notion that Inseminoid is comparable to a "video nasty".[9] On the film's supposed cult status, he said: "If Inseminoid has become some form of cult movie, then I am very pleased and, indeed, very flattered."[3] He added that if he were to re-make the film, he would demand a longer shooting schedule and reduce the lighting to heighten the suspense.[3] Interpretation [edit] Inseminoid has been criticised as a perceived imitation,[14][19] "knock-off"[20] or "rip-off"[13][17][18] of the 1979 science-fiction horror film Alien. Peter Wright, a film historian and lecturer at the University of Liverpool, believes that the "atmospheric" cave sequences and the mess hall scene preceding Ricky's madness may have been inspired by Ridley Scott's film, comparing the former to the sequences set on the desolate planetoid and the latter to the violent reveal of the alien "chestburster".[10] Wright considers the Alien connection potentially "exploitative";[21] to Barry Langford of the University of London, it underlines UK cinema's dependence on its US counterpart.[22] Alan Jones argues that "any similarity between Inseminoid and Alien is totally intentional. Except here is the basic idea contained in Alien taken to its sleaziest extreme." He finds one such parallel in the character of Kate (Stephanie Beacham), whom he likens to Ellen Ripley (Sigourney Weaver). However, he also regards Contamination (1980) and Scared to Death (1981) as less effective imitations of Scott.[4] Edward Jones argues that the plot of Inseminoid also borrows from the novel Dracula (1897), the TV series The Bionic Woman (1976–78) and the films The Thing from Another World (1951) and Night of the Living Dead (1968).[16] Though he acknowledged its similarities to Alien, Warren denied claims that Inseminoid was made as an imitation, pointing out that the script for his film was completed months before Alien was released in the UK. He also said that representatives of 20th Century Fox, which distributed Alien, were shown the completed Inseminoid and that even they discounted the possibility: "... in fact, the head of Fox sent us a very nice letter saying how much he enjoyed the film and wished us luck with the release ... I find it flattering that anyone can compare Alien, which cost in the region of $30 million, with Inseminoid, which cost less than £1 million. We must have done something right."[3] Various commentators have discussed Inseminoid's depiction of sexual reproduction, female sexuality, conflict between male and female gender roles, pregnancy, new motherhood and Otherness. Wright interprets Sandy's transformation as a "direct manifestation of masculine anxiety regarding female reproductive capacity". He argues that the film's horror is internalised within the seed of the alien being, which renders Sandy "woman-as-other" or "abject "Other". This is in contrast with Alien, which revolves around the transfer of "fear of woman" to "alien other". Wright argues that Inseminoid is reminiscent of Demon Seed (1977), in which a woman is raped and impregnated by an artificially-intelligent computer: "in both films, women are framed as 'Other' by their sexual congress with more conventional iconic others: the machine and the alien." In all of these films, pregnancy is depicted as a source of horror; in Inseminoid specifically, this is conveyed by the "uterine and cervical" title sequence, which to Wright suggests "entering the realm of the monstrous womb ... the titling reveals a microscopic insect resident in the body of a larger organism."[10] Wright argues that the distorted representation of the womb reveals similarities to David Cronenberg's The Brood (1979), in which a woman gives birth to deformed offspring through parthenogenesis. Analysing the rape sequence itself, in which Karl uses a syringe to inject Sandy with an unknown substance, Wright makes a connection to dialogue in other scenes implying that the women on the archaeological team are regularly given contraceptive injections. Sandy's impregnation, conflicting with the suppression of fertilisation represented by Karl's hypodermic (and phallic) needle, reveals "coherent sexism": it "attacks the very notion of female sexual freedom, while suggesting, paradoxically, that contraception is the responsibility of women." Sandy's accelerated pregnancy and regression to the level of a savage add to her depiction as an abject Other or object of "male paranoia".[10] During the fight between Sandy and Gary, Sandy waits until Gary has half-suffocated before killing him. Wright suggests that this sequence is reassuring from a male perspective as it suggests that no woman – not even one with unnatural strength – is strong enough to kill a man in cold blood. That Sandy is ultimately killed by a man (Mark) makes her an aid in the re-empowerment of the male sex, although her offspring are quick to avenge their mother.[10] Comparing the plot of Inseminoid to religious scripture, Christopher Partridge of Lancaster University refers to the twins as "essentially space Nephilim, technological demons with appetites and habits reminiscent of the mythic forebears."[24] The film's sexual references continue into the epilogue, which shows the arrival of rescuers Jeff, Corin and Roy. In an allusion to the menstrual cycle, the characters state that 28 days have passed since Xeno lost contact with the team. The deaths of the archaeologists are attributed to an "internal disturbance of some kind", which Wright describes as "an ironic phrase which encapsulates the film's vision of pregnancy as an irruption of Otherness from within."[10] On the subject of Larry Miller's novelisation, which he calls "imaginative and misogynistic", Wright notes a number of scenes that are absent from the film and distort the female form, causing revulsion in the reader. Miller has Sandy grow sores ooze pus from her nipples, which Wright likens to a new mother producing colostrum. Sandy accepts these unnatural changes with fascination.[10] See also [edit] Film portal Science fiction portal Horror portal List of British films of 1981 List of horror films of 1981 List of films featuring extraterrestrials List of films set in the future List of monster movies Reproduction and pregnancy in speculative fiction References [edit]
8999	dbpedia	3	91	https://botswana.desertcart.com/products/173317749-inseminoid-blu-ray	en	ray] Online at desertcart Botswana	https://m.media-amazon.c…-K4aDL.SS700.jpg		[ "https://cdn.desertcart.com/static/media/logo.2016811faab5043fce22.png", "https://cdn.desertcart.com/static/media/chevron-right.5b03ebbfd215b7f90995.png", "https://cdn.desertcart.com/static/media/chevron-right.5b03ebbfd215b7f90995.png", "https://cdn.desertcart.com/static/media/chevron-right.5b03ebbfd215b7f90995.png", "https://m.media-amazon.com/images/I/916p6-K4aDL.SS700.jpg", "https://m.media-amazon.com/images/I/916p6-K4aDL.SS700.jpg", "https://m.media-amazon.com/images/I/91Ci0W8gKCL.SS700.jpg", "https://cdn.desertcart.com/static/media/payment-methods.853a020836c795d6ed7f.png", "https://cdn.desertcart.com/static/media/desertcart-ios-app.f44d318729db59e3ad38.png", "https://cdn.desertcart.com/static/media/desertcart-android-app.85436c0e29e53188df4d.png" ]	[]	[]	[ "" ]	null	[]	null	Shop Inseminoid [Blu-ray] online at best prices at desertcart - the best international shopping platform in Botswana. âFREE Delivery Across Botswana. âEASY Returns & Exchange.	en	https://cdn.desertcart.com/favicon.ico		https://botswana.desertcart.com/products/173317749-inseminoid-blu-ray	Disclaimer: The price shown above includes all applicable taxes and fees. The information provided above is for reference purposes only. Products may go out of stock and delivery estimates may change at any time. desertcart does not validate any claims made in the product descriptions above. For additional information, please contact the manufacturer or desertcart customer service. While desertcart makes reasonable efforts to only show products available in your country, some items may be cancelled if they are prohibited for import in United Arab Emirates. For more details, please visit our Support Page.
8999	dbpedia	1	67	https://www.amazon.com.be/-/en/Michael-Gough/dp/B000E4FID6	en	Satan's slave : Gough, Michael, Martin, Potter, Glendenning, Candace, J., Warren Norman: Amazon.com.be: Movies & TV	https://m.media-amazon.c…CB600081501_.png		[ "https://fls-eu.amazon.com.be/1/batch/1/OP/AMEN7PMS3EDWL:259-3852153-6753111:9A0EFWEJ4XQ8C4A2TPJB$uedata=s:%2Frd%2Fuedata%3Fstaticb%26id%3D9A0EFWEJ4XQ8C4A2TPJB:0", "https://m.media-amazon.com/images/G/51/gno/sprites/nav-sprite-global-1x-reorg-privacy._CB600081501_.png", "https://m.media-amazon.com/images/G/51/marketing/prime/2022PrimeBrand/SWM_EN._CB630144860_.jpg", "https://m.media-amazon.com/images/I/41aupA0Uw8S._AC_SR38,50_.jpg", "https://m.media-amazon.com/images/I/41aupA0Uw8S._SX300_SY300_QL70_ML2_.jpg", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/transparent-pixel._V192234675_.gif", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/grey-pixel.gif", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/grey-pixel.gif", "https://images-eu.ssl-images-amazon.com/images/S/amazon-avatars-global/default._CR0,0,1024,1024_SX48_.png", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/grey-pixel.gif", "https://images-eu.ssl-images-amazon.com/images/S/amazon-avatars-global/default._CR0,0,1024,1024_SX48_.png", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/grey-pixel.gif", "https://images-eu.ssl-images-amazon.com/images/S/amazon-avatars-global/b6e696fe-74d2-4659-82d3-fc4502dd40fb._CR0,0,498,498_SX48_.jpg", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/transparent-pixel._V192234675_.gif", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/grey-pixel.gif", "https://images-eu.ssl-images-amazon.com/images/S/amazon-avatars-global/b6e696fe-74d2-4659-82d3-fc4502dd40fb._CR0,0,498,498_SX48_.jpg", "https://m.media-amazon.com/images/I/71rhOHkzZLL._SY88.jpg", "https://m.media-amazon.com/images/I/71NhVZ+86lL._SY88.jpg", "https://m.media-amazon.com/images/I/71RVEFBJRRL._SY88.jpg", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/grey-pixel.gif", "https://m.media-amazon.com/images/I/71rhOHkzZLL._SY88.jpg", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/grey-pixel.gif", "https://m.media-amazon.com/images/I/71NhVZ+86lL._SY88.jpg", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/grey-pixel.gif", "https://m.media-amazon.com/images/I/71RVEFBJRRL._SY88.jpg", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/grey-pixel.gif", "https://images-eu.ssl-images-amazon.com/images/S/amazon-avatars-global/c9e153b9-6a51-46e7-90bd-82c12e633a1d._CR0,0,499,499_SX48_.jpg", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/grey-pixel.gif", "https://images-eu.ssl-images-amazon.com/images/S/amazon-avatars-global/default._CR0,0,1024,1024_SX48_.png", "https://fls-eu.amazon.com.be/1/batch/1/OP/AMEN7PMS3EDWL:259-3852153-6753111:9A0EFWEJ4XQ8C4A2TPJB$uedata=s:%2Frd%2Fuedata%3Fnoscript%26id%3D9A0EFWEJ4XQ8C4A2TPJB:0" ]	[]	[]	[ "" ]	null	[]	null	Satan's slave : Gough, Michael, Martin, Potter, Glendenning, Candace, J., Warren Norman: Amazon.com.be: Movies & TV	en			https://www.amazon.com.be/-/en/Michael-Gough/dp/B000E4FID6	Cookies and advertising choices If you agree, we may use your personal information from any of these Amazon services to personalize the ads we show you on other services. For example, we may use your Prime Video Watch history to personalize the ads we show you on our Stores or on Fire TV. We may also use personal information we receive from third parties (like demographic information). In addition, if you agree, we’ll also use cookies to complement your shopping experience across the Amazon stores as described in our Cookie notice. Your choice applies to using first-party and third-party advertising cookies on this service. Cookies store or access standard device information such as a unique identifier. The 96 third parties who use cookies on this service do so for their purposes of displaying and measuring personalised ads, generating audience insights, and developing and improving products.
8999	dbpedia	1	71	https://tv.apple.com/gb/person/bob-pugh/umc.cpc.4eayp9602u9w1r9zr89u5yyug	en	Bob Pugh Films and Shows â Apple TV (UK)	https://is1-ssl.mzstatic…Q/1200x675mf.jpg	https://is1-ssl.mzstatic…Q/1200x675mf.jpg	[ "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif" ]	[]	[]	[ "" ]	null	[]	null	Learn about Bob Pugh on AppleÂ TV. Browse shows and movies that include Bob Pugh, such as Master and Commander: The Far Side of the World, Enigma and mâ¦	en	/assets/favicon/apple-touch-icon-9a18d92f405f4cba68b503b186df5f5b.png	AppleÂ TV	https://tv.apple.com/gb/person/bob-pugh/umc.cpc.4eayp9602u9w1r9zr89u5yyug	The North Remembers Tyrant Joffrey makes life hell for Sansa, while in Dragonstone, a new pretender enters the fray. The Night Lands Tyrion demands that Joffrey suppress his tyrannical urges, while Theon attempts to forge an alliance. What Is Dead May Never Die Catelyn and Tyrion take action to strengthen their families, while Bran's visions become clearer. Walk Of Punishment Tyrion gains new responsibilities, Jon is taken to the Fist of the First Men, Daenerys meets with the slavers, and Jaime strikes a deal with his captors.
8999	dbpedia	3	87	https://thecannibalguy.com/2020/06/28/inseminoid-1981/	en	Pregnant and hungry: INSEMINOID (HORROR PLANET), Norman J. Warren, 1981	https://thecannibalguy.c…/pic-00006-1.jpg	https://thecannibalguy.c…/pic-00006-1.jpg	[ "https://thecannibalguy.com/wp-content/uploads/2018/02/cropped-hannibal-mads-food1.jpg", "https://thecannibalguy.com/wp-content/uploads/2020/06/pic-00006-1.jpg?w=640", "https://thecannibalguy.com/wp-content/uploads/2020/06/pic-00007.jpg?w=640", "https://thecannibalguy.com/wp-content/uploads/2020/06/pic-00020.jpg?w=640", "https://thecannibalguy.com/wp-content/uploads/2020/06/pic-00021.jpg?w=640", "https://thecannibalguy.com/wp-content/uploads/2020/06/pic-00030.jpg?w=640", "https://thecannibalguy.com/wp-content/uploads/2020/06/pic-00029-1.jpg?w=640", "https://thecannibalguy.com/wp-content/uploads/2020/06/vlcsnap-00001-1.jpg?w=640", "https://m.media-amazon.com/images/M/MV5BYjMyNzNlYTUtYTliNy00MzQ2LWI3OTUtMzhmMTg3YWQ1NzVlXkEyXkFqcGdeQXVyMTQxNzMzNDI@._V1_.jpg", "https://thecannibalguy.com/wp-content/uploads/2020/06/pic-00046.jpg?w=640", "https://thecannibalguy.com/wp-content/uploads/2020/06/pic-00051.jpg?w=640", "https://thecannibalguy.com/wp-content/uploads/2020/06/pic-00036.jpg?w=640", "https://thecannibalguy.com/wp-content/uploads/2018/02/cropped-hannibal-500pix.jpg?w=50", "https://thecannibalguy.com/wp-content/uploads/2018/02/cropped-hannibal-500pix.jpg?w=50", "https://pixel.wp.com/b.gif?v=noscript" ]	[ "https://www.youtube.com/embed/7SMwavgzjxM?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" ]	[]	[ "" ]	null	[]	2020-06-28T00:00:00	“…in what has to be a new low, even for extraterrestrial-horror films, all the men end up punching this pregnant woman in the stomach.”	en	https://thecannibalguy.c…-500pix.jpg?w=32	The Cannibal Guy	https://thecannibalguy.com/2020/06/28/inseminoid-1981/	We’ve looked at some great cannibal movies in this blog, and we’ve also checked out some duds. Inseminoid (called Horror Planet in the US) unfortunately falls pretty much into the latter category, proving that cannibalism alone is not sufficient to make a great film. But hey, it raises some interesting philosophical and psychological questions. Not including “who thought this was a good idea?” and “who wrote dialogue like this?” Holly: Get your ass up here on the double! Gary: I know what I’d like to do with her arse. There’s a group of English and American archaeologists and scientists excavating an ancient tomb on a seemingly uninhabited planet. Uninhabited, but not uninhibited. A couple of them find some glowing rocks, there’s an explosion, then the rocks come to life when Mark (Robin Clarke) and Sandy (Judy Geeson from To Sir With Love) make out in the room where the rocks are kept. How many horror stories start with illicit sex and end up with what looks a lot like religious retribution? Think of the Scream movies – sex happens, then slashers. After much fighting in dim lights and dark caves, Sandy is captured and raped by perhaps the least scary monsters since the Creature from the Black Lagoon. Immediately two months pregnant (we know because she vomits in a bin), she starts killing her colleagues and eating their flesh. Also blowing up what appear to be their pinball machines. Like vampires when transformed, Sandy has become immensely strong, but can be brought down by, yep, a punch in her pregnant stomach. One critic summed up: “…in what has to be a new low, even for extraterrestrial-horror films, all the men end up punching this pregnant woman in the stomach.” Besides some wooden acting and clunky lines, the film also suffered from being released not long after Ridley Scott’s brilliant movie Alien, which also showed an alien rape and birth, although that movie had the novelty value of having a man going through a very traumatic labour (yes, if men had to give birth…). Inseminoid was immediately criticised as a knock off of Alien, which the director denied, although there were plenty of other knock-offs being released around that time, including Contamination (1980) and Scared to Death (1981). But intentional knock-off or not, Inseminoid did not compare well with Scott’s film, one critic saying “imagine Alien without the fantastic sets, convincing special effects and literate dialogue, and you have a picture of Horror Planet.” Alien was, in the words of film studies Professor Barbara Creed, an articulation of the archaic mother – the mother as “primordial abyss”, the place we all came from, and to which we fear we will return. Unlike Freud’s insistence that boys are terrified of what they see as their potential castration when they perceive their mother’s genitals as “a lack”, the monster in Alien, and to some extent Sandy in Inseminoid, represent not a castrated but a castrating feminine. The many shots of teeth seem to refer back to the classic tales of the vagina dentata – the toothed vagina. Although Sandy is eventually brought down by the square-jawed all-American hero, he is no match for her twin human-alien hybrids, who are just so cute, until they get hungry. But Inseminoid had one advantage over Alien: it had a cannibal, and a female one at that. Praise be. Next week’s blog: the final episode of Hannibal ever (or until they make a new season).
8999	dbpedia	2	24	http://1000misspenthours.com/reviews/reviewsh-m/inseminoid.htm	en	Inseminoid			[ "http://1000misspenthours.com/posters/postersh-m/inseminoid.jpg", "http://1000misspenthours.com/general/copyright.jpg" ]	[ "//ws-na.amazon-adsystem.com/widgets/q?ServiceVersion=20070822&OneJS=1&Operation=GetAdHtml&MarketPlace=US&source=ss&ref=as_ss_li_til&ad_type=product_link&tracking_id=1000misshoura-20&language=en_US&marketplace=amazon&region=US&placement=B082BWZRHR&asins=B082BWZRHR&linkId=8c43f1f440ec9d32dd2557a30414feb0&show_border=false&link_opens_in_new_window=true" ]	[]	[ "" ]	null	[]	null					null	Inseminoid/Horror Planet (1980/1982) *** I didnt intend to do this, but I seem to have something of a theme going this week. The last three movies Ive reviewed The Incubus, I Married a Monster from Outer Space, and now Inseminoid/Horror Planet all hinge on the same central idea: unearthly beings screwing human women. (Come to think of it, there was a little bit of that in The Legend of Hell House, too.) This first-generation English Alien rip-off is more than a little hard to follow, but it is as compelling as it is confusing, with first and final acts that move at the breathless pace of a 70s kung fu movie (not altogether surprising when you consider that Inseminoid was presented by Sir Run Run Shaw, who was just then wrapping up his storied career as the Jim Nicholson of Hong Kong). Heres the setup: An archaeological expedition under the aegis of an agency called Xenia is conducting a dig on a distant planet with the aim of learning what caused the extinction of the comparatively advanced civilization that once inhabited it. In particular, the team is investigating what appears to be an ancient tomb dug into the base of a forbidding cliff-face. The expedition has been going well thus far, but things turn very bad when team members Dean (Dominic Jephcott) and Ricky (David Baxt, whose brief appearance in The Shining youll miss if you arent paying close attention) force their way past a wall inscribed with mysterious hieroglyphics into a hidden chamber filled with strange crystals. Without warning, something in the chamber explodes, badly burning Dean, and shocking him into a deep coma. Ricky is hurt, too, but he at least remains semi-conscious, and Karl, the digs medic (Barry Houghton), is able to patch him up. Though nobody was killed in the blast, mission chief Holly (Jennifer Ashley, from Chained Heat and Tintorera) suspends all operations in the newly opened section of the tomb until she has some idea what caused the explosion in the first place. Unexplained explosions are the least of the archaeologists worries. Mitch the chemist (Trevor Thomas, from Transmutations and Sheena) cant figure out what the crystals Ricky brought in from the tomb are, but hes sure of one thing theyre suffused with some kind of bioenergy field. And even more troubling, strange things begin to happen to anyone who ventures into the tomb. They seem to lose their wits; one, a woman named Gwen (Rosalind Lloyd), gets her foot caught between pieces of debris just outside the lab compounds airlock, and becomes so flustered that she accidentally breaks some of the life-support equipment on her space suit. Eventually, her spiraling panic completely overcomes her judgment, and she tries to free herself by amputating her own foot with a chainsaw-like device she had been carrying. Needless to say, she bleeds to death before anyone can come to her aid. And at about the same time, Ricky regains full consciousness, and completely flips out. He straps on a space suit and heads straight for the off-limits part of the tomb, almost as though he were answering some kind of call from inside it. He then begins attacking his teammates, until Kate, the team reporter (Stephanie Beacham, of And Now the Screaming Starts and Schizo) is forced to shoot him in self-defense. Finally, something else something not human attacks and kills Mitch, and abducts a woman named Sandy (Judy Geeson, from Dominique is Dead and Its Not the Size That Counts). In one of the most baffling scenes in the movie, this creature rapes Sandy, and then leaves her where her coworkers are sure to find her. A subsequent medical examination reveals that Sandy is pregnant about two months worth, in fact though such a thing ought not to be possible, because all the women on the mission were given injections of birth-control drugs before embarking for the planet. Soon, whatever is gestating inside Sandy begins changing her to suit its own ends. She becomes superhumanly strong and tough, and begins killing off her comrades and eating their viscera. As the body count rises, she also begins destroying the compounds equipment, until only four members of the team Mark (Robin Clarke), Gary (Steven Grives, of A Nightmare on Elm Street 5: The Dream Child), Kate, and Sharon (Heather Wright, who had earlier been a featured extra in Psychomania) remain, trapped in whats left of the operations room. The eventual birth of Sandys hybrid twins only makes matters worse. This is another of those rare films in which anyone can die at any time. What fascinates me the most about Inseminoid is the fact that it does not so much copy Alien, per se, but rather Dan OBannons original script for that movie (from which the finished film diverged in a number of important respects). Most striking is the moment early on in which Dean and Ricky discover the ancient hieroglyphic text inscribed on the wall of the tomb shortly before they inadvertently unleash the Inseminoid and seal their own doom. The original script for Alien had the Nostromo crew discovering a ruined pyramid on the planets surface, on which a warning had been carved in indecipherable pictographic writing. It was in this pyramid, and not beneath the wreck of the alien spacecraft, that the crew was to have stumbled upon the egg hatchery. Also of note are a few scenes that seem to prefigure an equally sleazy American Alien clone, Forbidden World/Mutant; Im thinking in particular of Mitch and Karls efforts to figure out whats generating the bioenergy in the crystals Dean and Ricky brought back from the tomb, which strongly remind me of certain laboratory sequences from the latter movie. Finally, theres even a subtle allusion to The Angry Red Planet. Note how the planets atmosphere is shown glowing red by day, and blue by night. Whatever else it may be, Inseminoid is certainly in touch with its cinematic heritage.
8999	dbpedia	1	5	http://www.cineoutsider.com/reviews/bluray/b/bloody_terror_shocking_cinema_of_norman_warren_4.html	en	Bloody Terror: The Shocking Cinema of Norman J. Warren 1976-1987: Inseminoid Blu-ray review			[ "http://www.cineoutsider.com/graphics/frontpage/outsider_header_bar_hd.png", "http://www.cineoutsider.com/menus/menu_general/1_leftbar.png", "http://www.cineoutsider.com/menus/menu_general/2a_home_up.png", "http://www.cineoutsider.com/menus/menu_general/3a_discreviews_up.png", "http://www.cineoutsider.com/menus/menu_general/4a_filmreviews_up.png", "http://www.cineoutsider.com/menus/menu_general/5a_articles_up.png", "http://www.cineoutsider.com/menus/menu_general/6a_blogs_up.png", "http://www.cineoutsider.com/menus/menu_general/7a_interviews_up.png", "http://www.cineoutsider.com/menus/menu_general/8_rightbar.png", "http://www.cineoutsider.com/graphics/clearpixel.gif", "http://www.cineoutsider.com/reviews/pix/i/in/inseminoid_01.jpg", "http://www.cineoutsider.com/reviews/pix/i/in/inseminoid_05.jpg", "http://www.cineoutsider.com/reviews/pix/i/in/inseminoid_03.jpg", "http://www.cineoutsider.com/reviews/pix/i/in/inseminoid_02.jpg", "http://www.cineoutsider.com/reviews/pix/i/in/inseminoid_04.jpg", "http://www.cineoutsider.com/reviews/pix/i/in/inseminoid_06.jpg", "http://www.cineoutsider.com/graphics/clearpixel.gif", "http://www.cineoutsider.com/reviews/covers/b/bloodyterror_br.jpg", "http://www.cineoutsider.com/news/newscovers/i/inseminoid_br.jpg", "http://www.cineoutsider.com/graphics/clearpixel.gif", "http://www.cineoutsider.com/graphics/clearpixel.gif" ]	[]	[]	[ "" ]	null	[]	null					null	Right, here we go... When I began researching Inseminoid, one thing became abundantly clear; it definitely wasn't influenced by Alien. No sir, not a bit. On one of the special features on this disc, producer Richard Gordon is emphatic that none of those involved in the making of Inseminoid had seen Ridley Scott's sf-horror masterpiece when they made their film. They couldn't have, he assures us, as Alien hadn't even been released when they started shooting. Hmm. It may well be the case that the husband-and-wife team of Nick and Gloria Maley wrote their screenplay before clapping eyes on Ridley Scott's masterpiece, but research suggests that Alien hit UK cinemas a good eight months before principal photography on Inseminoid commenced and US cinemas four months before that. In case you need reminding, Norman J. Warren was and remains a fan of horror movies and Alien was a blockbuster hit that every genre fan worth his or her salt rushed to the cinema to see as soon as they were able. I'm just saying... What I will say is that Inseminoid is not the cheapjack Alien rip-off that some accused it of being on its release, but the idea that it wasn't in any way influenced by Scott's film cuts little ice with me. It wasn't, I should point out, an isolated case, and that's hardly surprising. Alien redefined the look of cinematic space travel, and the gender-mix of its crew and the unglamorous practicality of its ship interior quickly became new the new genre norm. It's success also saw Hollywood studios try to cash in on its success with titles like Saturn 3 (1980) and Outland (1981), while flying the flag for the independents, as ever, was New World with the 1981 Galaxy of Terror, and the cheapie 1980 Italian rip-off Alien 2: On Earth. As with Alien, Inseminoid features a mixed-gender crew stationed in the isolation of deep space. Here they're not on a spaceship but on an unspecified Â planet where they've been tasked with the excavation of ruins of an ancient alien civilisation. According to Warren the original plan was indeed to set the film on a spaceship but it would have cost too much to design and build the sets. Instead they secured full access to the Chislehurst Caves in Kent, which double rather nicely as underground mining tunnels. Anyway, whilst prodding around the caves in a sequence that visually takes its cue from the exploration of the alien ship in, erm, Alien, crew member Dean (Dominic Jephcott) discovers a cocoon that then explodes in his face and knocks him cold. When his crewmates get him back to their base, Doctor Karl (Barry Houghton) notices that he is clutching a handful of crystals and sensibly puts them in a jar rather for later study. These same crystals then infect fellow crew member Ricky (David Baxt) through a wound in his arm, prompting him to go batty and charge back into the caves. On his way he pushes Gail (Rosalind Lloyd) out of his way, causing her to fall on some debris and wedge her foot between two twisted metal shards on the floor. It's a predicament that from where I was sitting looks as though she could easily escape from if she just stood up and leant forward, but oh no, she's trapped, her thermostat is failing and she's a bit of a panic monkey. So instead of listening to radioed advice from her colleagues, she opens her helmet, stuffs the air feed from her backpack into her mouth and tries to cut her foot off with a futuristic chainsaw, one that looks suspiciously like a hedge trimmer and that couldn't make a serious dent on a piece of puff pastry. Kate (Stephanie Beacham), who I initially thought was a reporter and turned out to be the mission's Documentation Officer, whatever that is, puts a sharp end to Ricky's rampage by shooting him squarely in the chest with a spear gun. Once Gail and Ricky have been safely buried on the planet's surface, Sandy (Judy Geeson) and archaeological boffin Mitch (Trevor Thomas) return to the caves to collect some more of those crystals. The same crystals that infected Ricky and drove him mad. Their mission goes awry when a large alien creature appears out of nowhere and disposes of Mitch. It then takes Sandy prisoner and, in a scene that should have you shifting in your seat in discomfort, impregnates her with a gooey fluid pumped through a glass tube that is inserted into her...well...I'm sure you don't need me to spell this one out. A search party brings the disorientated Sandy back to the base, and as an alien creature starts growing speedily inside her it begins to take control of her actions and turn her against her surviving colleagues, whom she sets about killing one by one. To recap, a human astronaut is attacked by an alien creature, one that plants its seed inside its human victim who is then transported back to the base by two comrades, where the seed enters the human habitat inside of the body of its victim, where it grows until ready to be born and it tries to kill all of its victim's crewmates. Now where, exactly, have I heard that before? So is Inseminoid science fiction, horror or a slasher flick? Yes, yes and yes. Unlike those earlier Warren movies that I so recently fell for, this film is not remotely interested in low key naturalism or the notion of slow build (two things that continue to make Alien special, by the way) and opts instead to start the action early and then just keep it coming. And I've no problem with that. What trips it up a little are a handful of iffy performances, a lack of character depth, and the fact that much of the action is, well, not all that great. There's a lot of running about and chasing and bashing into things and pushing people over, but... OK, considering I responded so well to previous titles in this set and am by nature sympathetic to the specific pleasures of low-budget genre filmmaking, why is it that much of Inseminoid still fails to click for me? This is, after all, something of a favourite with those who cherish Warren as a director. What am I not getting? Certainly the fact that some of the sets and technology have a future-on-the-cheap feel is not a problem. It's a common trait of low and even medium (and occasionally high) budget sf films whose predictions are based on then current trends and fashions and are often more about looking sleek and minimalist than creating environments that people would realistically choose to live and work in. And when you're doing things on the cheap you have to fake it as best you can with whatever comes to hand. But we've learned to live with that, at least if there are appropriately mitigating factors. Dark Star, anyone? Where Warren aims high but almost inevitably stumbles is in the conflicting demands here of pace and characterisation. In an approach that's almost the polar opposite of the one taken in Satan's Skin, in this film things kick off even before we've seen any of the characters without their spacesuits. The problem for audience identification is that there are a hefty twelve people on this mining station, and if we're going to care about what happens to them we need to get to know a little about them before horrible things are inflicted on them. The short version is we don't. Maybe if they'd each had a distinctive introduction, just a spattering of witty or engaging dialogue, a memorable trait, or a short sequence telling us something about them beyond the news that X is having an affair with Y it would have helped. But the truth is that I had to watch the film a third time with a notebook in hand and then reference the film's Wikipedia page to even put names to some of the faces, faces that I still can't easily recall. Once again, Alien provided an object lesson in how to do this, as did John Carpenter's The Thing the following year. What's a tad frustrating about all of this is that Warren did a blinding job of it himself in Prey, where we spent a lot more time with considerably fewer people and thus got to know them rather well before the story got under way. Even the incident-packed Terror had more distinctive and well-rounded characters than present here. In Inseminoid, the only ones who really stood out for me were the doctor (interesting face) and the unfortunate Sandy, at least once she moves out of the ensemble to become the main antagonist. Being a Norman J. Warren film, we expect there to be violence and while the gore makeup is as good as ever, some of the physical conflict is oddly toothless here. When the rampaging Sandy bangs one of her victims' head against a cupboard hard enough to spray blood, you can see her doing the head-bash equivalent of pulling her punches to avoid causing actual injury to the actor. Elsewhere there's a similar lack of force to hits and throws that are supposed to be indicative of the strength of the aggressor in question. Neither the hedge trimmer chainsaw or the welding gun make for particularly fearsome weapons, especially as the welding gun is used to kill by advancing slooooowly towards the verbally protesting victim and snapping the sparky pincers open and closed for the camera. I'm also still trying to work out why an archaeological team would feel the need to include a spear gun on their list of essential equipment. Probably for the same reason the crew of the Nostromo thought it prudent of add a grappling hook gun to theirs. So am I as dismissive of the film as I was when I first saw it? Well, despite everything I've written above, I'd have to say no. I was younger and less tolerant then and less receptive to what makes horror and science fiction so ripe for more analytical study, and there's definitely some subtextual meat to get your teeth into here. Central to this is the character of Sandy and the unspoken notion that the alien DNA that has invaded her system is tapping into and firing up her maternal instinct to protect the life form growing rapidly inside her. It drives her to remove all potential threats to its survival, and if that means disposing of her former friends and colleagues, then so be it. And once she starts taking them out she's given good reason to get pissed at the survivors when one of the men foils her attack on a female colleague by heavily pressing his foot on her pregnant belly and then angrily stamping on it for good measure. Having genuinely winced at this action myself, I was not surprised when Warren revealed in the extras that this moment had women's groups up in arms on the film's release. What really sells this aspect of the film is the total commitment of Judy Geeson's performance as Sandy. Her physicality and focused fury makes her a convincingly dangerous threat and I absolutely bought into the notion that she could beat seven bells of crap out of even the toughest of her former comrades. The sheer wincing intensity of her pained screams as she gives birth to her alien progeny, meanwhile, should be enough to convince a few of those watching that the so-called miracle of childbirth is possibly not all it's cracked up to be. Warren's regular composer John Scott opted for an electronic score here, and while I have to admit that there are times when it made my fillings hurt, there are also moments when it proves unexpectedly effective and some elements even have the ring of late-career John Carpenter about them. Not bad for film that was released the same year as Escape From New York. I also really like the cave set that's lit primarily by lights in the floor panels, a familiar bit of sf movie design that was doubtless done on the cheap but looks as good as any of its big budget counterparts. Warren's ever-inventive regular art director Hayden Pearce really earned his (probably deferred) wage on this one. So did this turn me all around on Inseminoid? Well, yes and no. As I watched it again (and a third time) it felt almost as if the things I didn't like were doing battle with the ones that I have subsequently warmed to, and while the former ultimately won the battle it was a closer fight than I could have expected. Just recently I read an interview with Martin Scorsese in which he said, "The films that I constantly revisited or saw repeatedly held up longer for me over the years not because of plot but because of character,"* and I can't fault him on that. Despite the attention that is always paid to its makeup effects, I'd ague that a key reason The Thing is so riveting and so tense is that each of its characters is so distinctively drawn before any of them falls victim to the monster in their midst. For me, it's the lack of character depth, coupled with some unexciting performances, dialogue that never rise above the functional and the decision to kick things off before we've really got our bearings that makes it hard to care anything like as much about the death of any of the Inseminoid crew. Ultimately it's in Sandy and her protective maternal rampage that the film is at its strongest and most subtextually interesting, though a perhaps unintended side-effect of this is that I found myself siding with her as she stalked the surviving members of her team, much as I might with Jason Voorhees as he disposes of charisma-free teens in one of the Friday the 13th films. Yet I can't fault its drive or its energy, and despite the (probable) Alien influence it still manages to be unexpectedly forward-looking, with a final scene that contains elements and imagery that absolutely anticipates the content and look of a key sequence from Aliens, which at the time of filming was a good five years in the future. sound and vision Whatever your views on the film you should be more than happy with the 2.35:1 transfer here, which was scanned and restored in 2K from the original internegative by Screenbound Productions under Norman J. Warren's supervision and looks terrific. The detail is sharp, the contrast just right and the colour vibrant without feeling artificially saturated. It's clean and stable and has a very fine film grain, and is quite possibly the best restoration in the set. The Linear PCM 1.0 mono soundtrack is also in good condition. The bass notes may not boom and rumble but at least there is some bass. There's also none of the crispy trebles you'll find elsewhere in this set. The dialogue is always clear and the music especially so. Optional English subtitles for the hearing impaired have been included. extra features Audio Commentary with Norman J. Warren and Gary White Here Warren is teamed with the film's first assistant director Gary White, who was present for all of the film's principal photography and at the time of recording was still good friends with the director. As ever, Warren is a fountain of memories about the making of the film, and much of what he has to say you'll be hearing for the first time here, at least if you're watching the special features in the order they're listed on the discs and in these reviews. We learn that the abstract opening title backgrounds were done by Oxford Scientific Films, that the planet surface exteriors were shot on the island of Gozo, that a number of the cast suffered injuries on the shoot, that one oddly high-angle shot was the result of the production running out of money, that Warren struggled to get much of a performance out of Victoria Tennant, and that the futuristic chainsaw was indeed the hedge trimmer it looks to be. We're provided with the formula used to create the gooey alien sperm (now you can make your own!), and in a lovely bit of gotcha timing, Warren remarks on what a shame it wa that at the end of Alien we could see that the title creature was a man in an alien costume just seconds before his own, even more obviously man-in-an-alien-suit creature puts in an appearance. As ever, there's loads more, and Warren is as engagingly chatty as ever. BEHP Interview with Norman J. Warren Part Two (69:20) The second part of the British Entertainment History Project interview with Warren (the first is on the Prey disc) focuses on his film career from 1976 through to 2018, and thus covers the inception and production of all five films in this box set. A lot â though not all â of what he has to say about them you will also find covered elsewhere in this set, but if you're looking for a comprehensive overview of all of them then this is the interview I'd plump for first. In addition, we also get info and anecdotes about the making of the 1979 sf comedy Spaced Out, which gets hardly any coverage elsewhere, plus a documentary film he made for pop star Gary Numan and his recent collaboration with filmmaker Yixi Sun, Susu. That last one is covered in more detail on the Bloody New Year disc. Manchester Festival of Fantastic Films Interview (61:30) Recorded at the Manchester Conference Centre at the event named in the title, this has Warren interviewed on stage by an initially very animated and enthusiastic John Llewellyn Probert. He opens with the stated intent of conducting this as an informal chat instead of the career overview that other interviews with the director tend to consist of. It doesn't quite work out, but we still get to hear a great deal here that gets only a passing mention in other extras in this set. The centrepiece has to be the problems that Warren had with producer Maxine Julius on the 1986 Gunpowder and on Bloody New Year, which is a welcome expansion on the coverage he gives this in the BEHP interview detailed above. He's impressively and entertainingly forthright about the things that went wrong on these films and why. This includes the hiring of what he describes as the world's worst stunt driver and equally terrible explosives and gun specialists, whose combined ineptitude nearly resulted in the deaths of cast and crew members. The stories about Julius's late-night drinking and how they would find her in the morning sleeping on public benches and how this repeatedly put the filming of Gunpower behind schedule makes it all the more surprising that Warren risked working with her again on Bloody New Year. She apparently convinced him that she'd changed her ways. Want to guess how that worked out? In a particularly telling moment when talking about Gunpowder, Probert asks Warren, "Are there any bits or effects you are happy with?" to which Warren replies instantly, "Not really." The sound is recorded with an on-camera mic and is clear enough, but Warren does occasionally forget to hold his microphone â which is hooked up to the venue's PA system â up to his mouth and his voice can thus be a little quiet in places. This is such valuable inclusion that I'd live with it. Subterranean Universe (44:46) A making-of featurette produced for what I'm guessing is an earlier DVD release, one whose unattractive lighting camerawork thankfully does not detract from the content, some of which is unique to this extra. Those interviewed include Warren, producer Richard Gordon, executive producer Peter M. Schlesinger, art director Hayden Pearce, first assistant director Gary White (it's he who shares the commentary track with Warren), composer John Scott, and actors David Baxt, Barry Houghton and Stephanie Beacham, who still has a voice that could prompt even hardened career criminals to melt at her feet. Warren associate Ken Dowling also pops up near the end to talk briefly about a promotional flyer that he and Warren produced that caused offence and was subsequently judged by both men to have been a bad call. There's plenty of interest here and even familiar stories are refreshed by being told from an alternate perspective, and while he recalls that the film was generally well received, Warren does remember a BAFTA screening at which elderly industry figures were disgusted by it in a manner that only helped to sell the film to its target audience. In my favourite throwaway moment, Warren recalls that Stephanie Beacham was a joy to work with but kept calling the film 'Insecticide'. Alien Encounter (6:02) A brief chat with actor Trevor Thomas, who remembers working with "a lot of pretty ladies" but otherwise divides his time between cheerful chuckles and lightweight snippets of answers to unheard questions. Interestingly, he does at one point describe the film as "a cross between Alien and Rosemary's Baby." Electronic Approach (13:10) Composer John Scott talks about the partially budget-driven decision to go with an electronic score, though he compositionally approached it as a "synthetically produced" orchestral one. He also talks about the soundtrack album and one element of the closing music that didn't make it into the film. Trailers and TV Spot The Theatrical Trailer #1 (2:13) is not a bad sell, despite its overly serious dramatic narration and is better than Theatrical Trailer #2 (1:47), where some of the film's weaker elements are on show. This one's definitely not for kiddies, and the audio quality of the narration takes a serious dive midway and then recovers, suggesting a restoration from two sources. Theatrical Trailer #3 (1:02) is a short version of #2 and includes the line, "The most dreaded fear of every woman on earth is even more horrifying in space â the inconceivable is about to be conceived." A jelly baby for whoever came up with that one. The French Theatrical Trailer (2:28) is a French language take on #1, and the 'Horror Planet' Teaser Trailer (0:31) is for the film under its US retitle, one that assures us that, "No-one who lands here leaves here alive." Does that count as a spoiler? You'll have to watch the film and see. Finally, we have a TV Spot (0:31), which is a shorter take on the structure followed by its theatrical brethren. Image Gallery A hefty 108 screens of promotional and production stills, including that image from the VHS cover (three times), press book pages, video covers (including the one I referred to in my introduction to this set) and posters.
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8999	dbpedia	0	27	https://fr.yachew.com/nl/products/inseminoid-standard-edition	en	Inseminoid (Standard Edition) - [Blu-ray]	http://fr.yachew.com/cdn/shop/products/81DLHOL6KbS._AC_SL1299.jpg?v=1642988473	http://fr.yachew.com/cdn/shop/products/81DLHOL6KbS._AC_SL1299.jpg?v=1642988473	[ "https://fr.yachew.com/cdn/shop/files/Copy_of_Yachew_fixed_240x80_6ab1de88-6f8a-4054-b620-4aa7ecd247bb.png?v=1645878682&width=400", "https://fr.yachew.com/cdn/shop/files/Copy_of_Yachew_fixed_240x80_6ab1de88-6f8a-4054-b620-4aa7ecd247bb.png?v=1645878682&width=280", "https://fr.yachew.com/cdn/shop/files/Yachew_fixed_240x80_1d27dca4-b9e8-42b2-a206-07edaec0f985.png?v=1632538749&width=400", "https://fr.yachew.com/cdn/shop/files/Yachew_fixed_240x80_1d27dca4-b9e8-42b2-a206-07edaec0f985.png?v=1632538749&width=280", "https://fr.yachew.com/cdn/shop/products/51h5xEfS7dL._AC_SL1000.jpg?v=1670876525&width=1836", "https://fr.yachew.com/cdn/shop/products/81cO1MBRE8L._AC_SL1500.jpg?v=1667994146&width=3000", "https://fr.yachew.com/cdn/shop/products/81oLCFcjSaL._AC_SL1500__1.jpg?v=1624718127&width=3000", "https://fr.yachew.com/cdn/shop/products/41FmNPHatpL.jpg?v=1630080758&width=1000", "https://fr.yachew.com/cdn/shop/products/51h5xEfS7dL._AC_SL1000.jpg?v=1670876525&width=1836", "https://fr.yachew.com/cdn/shop/products/91Hhq9LQpfL._AC_SL1500.jpg?v=1641255165&width=2410", "https://fr.yachew.com/cdn/shop/products/authentic-western-wandering-gunman-belt-holster_2000x_1.jpg?v=1626613711&width=1800", "https://fr.yachew.com/cdn/shop/products/71vuka3013S._AC_SL1364.jpg?v=1642800861&width=1896", "https://fr.yachew.com/cdn/shop/products/81F8HSSkiFL._AC_SL1500-trans.png?v=1645878236&width=3000", "https://fr.yachew.com/cdn/shop/products/71_HyxleS1L._AC_SL1258.jpg?v=1650293214&width=2178", "https://fr.yachew.com/cdn/shop/products/81DLHOL6KbS._AC_SL1299.jpg?v=1642988473&width=1080", "https://fr.yachew.com/cdn/shop/products/81DLHOL6KbS._AC_SL1299.jpg?v=1642988473&width=900", "https://fr.yachew.com/cdn/shop/products/81DLHOL6KbS._AC_SL1299.jpg?v=1642988473&width=900", "https://cdn.shopify.com/s/files/1/0574/3919/1207/products/71KUcLRCX-L._AC_SL1200_250x250.jpg?v=1636488944", "https://cdn.shopify.com/s/files/1/0574/3919/1207/products/71Wl0yGruXL._AC_SL1500_250x250.jpg?v=1705874124", "https://cdn.shopify.com/s/files/1/0574/3919/1207/products/816u758PUEL._AC_SL1500_250x250.jpg?v=1671030786", "https://cdn.shopify.com/s/files/1/0574/3919/1207/products/220px-Kylie_s_Confide_in_Me_1_250x250.jpg?v=1642151142", "https://cdn.shopify.com/s/files/1/0574/3919/1207/products/81YoeDpi46S._AC_SL1500_250x250.jpg?v=1671029465", "https://cdn.shopify.com/s/files/1/0574/3919/1207/products/81x9aQ4-1HS._AC_SL1500_250x250.jpg?v=1643769459", "https://cdn.shopify.com/s/files/1/0574/3919/1207/products/516T09fp6HL_250x250.jpg?v=1636166459", "https://cdn.shopify.com/s/files/1/0574/3919/1207/products/51AFFV5XHxL._AC_SL1300_250x250.jpg?v=1646155197", "https://cdn.shopify.com/s/files/1/0574/3919/1207/products/41rT6PUdyzL._AC_SL1000_250x250.jpg?v=1661781207", "https://cdn.shopify.com/s/files/1/0574/3919/1207/products/61Fx1UqoNSL._AC_250x250.jpg?v=1641251872", "https://cdn.shopify.com/s/files/1/0574/3919/1207/products/811AIylrGjL._AC_SL1500_250x250.jpg?v=1693932246", "https://cdn.shopify.com/s/files/1/0574/3919/1207/products/81cO1MBRE8L._AC_SL1500_250x250.jpg?v=1667994146", "https://cdn.shopify.com/s/files/1/0574/3919/1207/products/71X2mdyhohL._AC_SL1300_250x250.jpg?v=1705875123", "https://cdn.shopify.com/s/files/1/0574/3919/1207/products/91cg727wMbS._AC_SL1500_250x250.jpg?v=1654285155", "https://cdn.shopify.com/s/files/1/0574/3919/1207/products/61SRRsOzY1L._AC_SL1000__1_250x250.jpg?v=1632399962" ]	[]	[]	[ "" ]	null	[]	null	Product Description Boasting a strong female cast - including Judy Geeson (10 Rillington Place), Stephanie Beacham (Tam-Lin) and Victoria Tennant (Flowers in the Attic) - and co-financed by Run Run Shaw of the Shaw Brothers, Inseminoid is among Norman J Warren's most widely seen films... and his most infamous. Once lis	nl	//fr.yachew.com/cdn/shop/files/ICO_1_5cc1ed3f-4648-48c7-a114-ebd3e6bced42_32x32.png?v=1723462616	Yachew	https://www.yachew.com/products/inseminoid-standard-edition	Alle bestellingen worden verzonden vanuit ons magazijn adres gevestigd op Yachew LTD, Unit 45, Parkhall Business Village, Park Hall Rd, Stoke-On-Trent, Verenigd Koninkrijk. De levertijden worden per product aangegeven en zijn een schatting van de verwerkingssnelheid en de vraag in het magazijn. Zie de pagina met het productoverzicht voor een schatting. Wij zullen ons best doen om ons aan de levertijden te houden, maar houdt u rekening met enige speling, vooral wanneer u op een van onze internationale webwinkels buiten het Verenigd Koninkrijk winkelt. Houd er rekening mee dat grotere bestellingen met meerdere artikelen langer kunnen duren om te verwerken en dat het beter kan zijn om uw bestelling op te splitsen in kleinere zendingen voor snellere verwerkingstijden. 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8999	dbpedia	3	72	https://anythinghorror.wordpress.com/2011/12/31/holiday-horrors-bloody-new-year-1987/	en	Horror Movies, Horror News, Horror Reviews	https://anythinghorror.w…nner6.png?w=1200	https://anythinghorror.w…nner6.png?w=1200	[ "https://s2.wp.com/wp-content/themes/pub/structure/images/twitter_icon_black.png", "https://s2.wp.com/wp-content/themes/pub/structure/images/facebook_icon_black.png", "https://s2.wp.com/wp-content/themes/pub/structure/images/rss_icon_black.png", "https://anythinghorror.wordpress.com/wp-content/uploads/2011/12/banner6.png?w=640&h=392&crop=1", "https://anythinghorror.wordpress.com/wp-content/uploads/2011/12/bloody-new-year-poster.jpg?w=164&h=300", "https://anythinghorror.wordpress.com/wp-content/uploads/2011/12/bloody-new-year2.jpg?w=640", "https://anythinghorror.wordpress.com/wp-content/uploads/2011/12/bloody-new-year-face.jpg?w=300&h=229", "https://anythinghorror.wordpress.com/wp-content/uploads/2011/12/bloody-new-year3.jpg?w=300&h=229", "https://2.gravatar.com/avatar/230269f0e2b142e7a4b16531d07c75cf35c9703dacadd8d832d5e6ec96d13e9b?s=60&d=identicon&r=G", "https://1.gravatar.com/avatar/770446fcd3ba1180acd811bd5f700a7f0b03ee8f36936125105fc310bfef0d34?s=60&d=identicon&r=G", "https://anythinghorror.wordpress.com/wp-content/uploads/2015/03/newkadia-banner1.jpg?w=180", "https://s-ssl.wordpress.com/wp-includes/images/rss.png?m=1354137473i", "https://anythinghorror.wordpress.com/i/rss/red-small.png?m=1391188133i", "https://anythinghorror.wordpress.com/i/rss/red-small.png?m=1391188133i", "https://secure.gravatar.com/blavatar/99c95af5b0c348c69d9630bfd0d87cf8c4fc9e4853d1b9c7f2537807023751e8?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://secure.gravatar.com/blavatar/99c95af5b0c348c69d9630bfd0d87cf8c4fc9e4853d1b9c7f2537807023751e8?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2011-12-31T00:00:00	New Year’s Eve is one of those holidays that doesn’t get a lot of love from the horror genre. Correct me if I’m wrong, but I can only think of two full-length horror movies that use this holiday as either a back drop or as the theme of the film. One is 1980‘s NEW YEAR’S…	en	https://secure.gravatar.com/blavatar/99c95af5b0c348c69d9630bfd0d87cf8c4fc9e4853d1b9c7f2537807023751e8?s=32	Horror Movies, Horror News, Horror Reviews \| AnythingHorror.com	https://anythinghorror.wordpress.com/2011/12/31/holiday-horrors-bloody-new-year-1987/	New Year’s Eve is one of those holidays that doesn’t get a lot of love from the horror genre. Correct me if I’m wrong, but I can only think of two full-length horror movies that use this holiday as either a back drop or as the theme of the film. One is 1980‘s NEW YEAR’S EVIL and the other is 1987’s BLOODY NEW YEAR. Today we’re gonna focus on the later film. Every thing from the DVD cover to the title make this one seem as though we’re gonna getting a good old 1980’s-style slasher flick. Nope, wrong. Very wrong. When I first realized this wasn’t gonna be a slasher flick I was praising the filmmakers for trying something different. When it was all over and done I was cursing those bastards and wishing there was a hockey mask or a knife-glove in this film!! The film begins by following around six English “teens”. Yeah right. The only way these actors are teens is if their ages were 25-teen. As the opening credits roll we’re privy to listening to some really crispy song. Based on the opening song I thought the film was gonna be a teen sex romp. Our old teens are spending the day at the beach and enjoying the rides on the pier; think ‘Coney Island’ with bad teeth (okay there; I got my requisite English-bad-teeth joke out of my system). Spud (Colin Heywood), Rick (Mark Powley), and Tom (Julian Ronnie) are minding their own business when they see a couple of ruffians harassing an American girl. We know they’re ruffians because they’re wearing leather jackets and have slicked back hair. Okay; so they’re ruffians from the 1950’s!! But our clean cut ‘teens’ are wearing pastel colors, high-collared Izod shirts and Member’s Only jackets (maybe they weren’t really Izod shirts and Member’s Only jackets, but you all know the look I’m talking about). Well the three swoop in to save the American girl, Janet (Nikki Brooks), and draw the wrath of the hooligans. Before you can say, “Did you floss today” (okay; that was my last one), Lenny and Squiggy are chasing the preppy douchetards around the carnival rides. I swear we were seconds away from The Benny Hill Show music busting out when the guys grab their girlfriends Carol (Catherine Roman) and Lesley (Suzy Aitchison) and jump into a boat (!?!!) and hit the ocean to escape. Do you see where this is going? The boat hits some rocks and sinks, forcing the group to a nearby island. There’s of course a nice hotel on the island … the same hotel we saw in the pre-credit sequence. Here we witnessed the hotel in celebration, ushering in the new year (1959). It was horrible; people were dancing and singing and drinking and making out and … wait; that’s not that bad. But now it’s 1987, in the middle of the summer and the hotel is still set up for a New Year’s Eve celebration. At first the group seems to be followed around by some creepy guy but this is soon dropped. But before you can say, “This isn’t FAWLTY TOWERS,” you realize this is gonna be a ghost story. Kind of. At first the ghosts are helpful, giving them towels and lighting fires, but soon they become a little aggressive and start attacking our post-teen preppies. The ghosts are able to inhabit inanimate things and use them to attack their hotel guests. Yeah, I know. In one particularly harrowing moment, the gang is attacked by a vacuum cleaner!! Oh the horro- … wait; what? The entire bulk of the second, third, and fourth acts is about the ghost inhabiting shit and attacking. And yes; it got really old really fast. The gang wasn’t the best group of actors I’ve seen and they all did really stupid things to make their situation worse. The plot lumbers along until we get an explanation of what the hell is going on. Do ya wanna know? Really? Well I wanna tell ya because there’s no way in hell you should waste your time on this flick. So here it goes: [SPOILER AHEAD … REALLY STUPID SPOILER AHEAD] It turns out that it’s not really ghosts attacking them at all. The entire island is actually caught up in some ridiculous kind of time warp caused by some vague experiment dealing with time gone terribly wrong. Now the people who were on the island celebrating New Year’s Eve back in 1959 are stuck on the island forever; never aging, never dying. The exact time-experiment is never explained; how this botched experiment relates to what is happening on the island is never explained; and why I was still watching this wet fart of a movie was never explained. Fuck me. The only thing fun here is the fact that BLOODY NEW YEAR is like totally an 80’s flick. Its like a little time capsule and we’re getting to see how people acted, dressed, and talked back in the 80’s. The overall film also has that “80’s feel” to it. If you’ve seen a lot of 1980’s horror films, you know what I’m talking about. There’s an intangible, unexplainable feel that 1980’s horror films have, and BLOODY NEW YEAR is totally soaking in it!! But overall I can’t recommend this film. It’s pacing is completely off, it’s bloodless, and it has a really stupid explanation that explains nothing. Worse of all, the connection with New Year’s Eve is tenuous at best. I wanted to see a horror film based around New Year’s Eve. But the people in the hotel could’ve been celebrating Martin Luther King Day and nothing else in the script would’ve had to have been changed. This one is more fun to hate than to watch. Skip it. But then again, it does explain more than the LOST finale!! My Summary: Director: Norman J. Warren Plot: 1.5 out of 5 stars Gore: 0 out of 10 skulls Zombie Mayhem: 0 out of 5 brains
8999	dbpedia	3	64	https://scifist.net/2020/11/11/bela-lugosi-meets-a-brooklyn-gorilla/	en	Bela Lugosi Meets a Brooklyn Gorilla	https://scifist.net/wp-c…teve-calvert.jpg	https://scifist.net/wp-c…teve-calvert.jpg	[ "https://scifist.net/wp-content/uploads/2023/11/scifist.png", "https://scifist.net/wp-content/uploads/2020/11/1952_bela_lugosi_meets_a_brooklyn_gorilla_001.jpg?w=200", "https://scifist.net/wp-content/uploads/2020/11/1952_bela_lugosi_meets_a_brooklyn_gorilla_028-sammy-petrillo-duke-mitchell.jpg", "https://scifist.net/wp-content/uploads/2020/11/1952_bela_lugosi_meets_a_brooklyn_gorilla_023-bela-lugosi.jpg", "https://scifist.net/wp-content/uploads/2020/11/1952_bela_lugosi_meets_a_brooklyn_gorilla_003-mickey-simpson-duke-mitchell-bela-lugosi.jpg?w=699", "https://scifist.net/wp-content/uploads/2020/11/1952_bela_lugosi_meets_a_brooklyn_gorilla_021-bela-lugosi.jpg", "https://scifist.net/wp-content/uploads/2020/11/1952_bela_lugosi_meets_a_brooklyn_gorilla_002-al-kikume-bela-lugosi.jpg?w=809", "https://scifist.net/wp-content/uploads/2020/11/1952_bela_lugosi_meets_a_brooklyn_gorilla_005-sammy-petrillo-charlita-duke-mitchell.jpg?w=954", "https://scifist.net/wp-content/uploads/2020/11/1952_bela_lugosi_meets_a_brooklyn_gorilla_007-bela-lugosi-charlita-sammy-petrillo.jpg?w=1024", "https://scifist.net/wp-content/uploads/2020/11/1952_bela_lugosi_meets_a_brooklyn_gorilla_030-charlita.jpg?w=700", "https://scifist.net/wp-content/uploads/2020/11/1952_bela_lugosi_meets_a_brooklyn_gorilla_006-sammy-petrillo-duke-mitchell.jpg?w=1024", "https://scifist.net/wp-content/uploads/2020/11/1952_bela_lugosi_meets_a_brooklyn_gorilla_018-muriel-landers-sammy-petrillo.jpg?w=680", "https://scifist.net/wp-content/uploads/2020/11/1952_bela_lugosi_meets_a_brooklyn_gorilla_019-steve-calvert-crash-corrigan.jpg", "https://scifist.net/wp-content/uploads/2020/11/1952_bela_lugosi_meets_a_brooklyn_gorilla_024-william-beaudine-mary-pickford.jpg?w=865", "https://scifist.net/wp-content/uploads/2020/11/1952_bela_lugosi_meets_a_brooklyn_gorilla_025-herman-cohen.jpg", "https://scifist.net/wp-content/uploads/2020/11/1952_bela_lugosi_meets_a_brooklyn_gorilla_026-richard-gordon-bela-lugosi-alex-gordon.jpg?w=680", "https://scifist.net/wp-content/uploads/2020/11/1952_bela_lugosi_meets_a_brooklyn_gorilla_020-duke-mitchell-sammy-petrillo.jpg", "https://scifist.net/wp-content/uploads/2020/11/1952_bela_lugosi_meets_a_brooklyn_gorilla_031-muriel-landers-twilight-zone.jpg", "https://scifist.net/wp-content/uploads/2020/11/1952_bela_lugosi_meets_a_brooklyn_gorilla_027-steve-calvert.jpg?w=680", "https://2.gravatar.com/avatar/24a42497a729b0458f2ffdb4391fe56dec45e74a8f07768e6a5632da5c15be83?s=40&d=identicon&r=PG", "https://scifist.net/wp-content/uploads/2020/03/cropped-profil.png?w=50", "https://scifist.net/wp-content/uploads/2020/03/cropped-profil.png?w=50", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2020-11-11T00:00:00	Often cited as one of the worst films ever made, this 1952 low-budget mad scientist/jungle comedy is better than its reputation – if you can get past Sammy Petrillo's Jerry Lewis imitation. 3/10	en	https://scifist.net/wp-c…-profil.png?w=32	Scifist.	https://scifist.net/2020/11/11/bela-lugosi-meets-a-brooklyn-gorilla/comment-page-1/#comments	Often cited as one of the worst films ever made, this 1952 low-budget mad scientist/jungle comedy is better than its reputation – if you can get past Sammy Petrillo’s Jerry Lewis imitation. 3/10 Bela Lugosi Meets a Brooklyn Gorilla. 1952, USA. Directed by William Beaudine. Written by Tim Ryan. Starring: Bela Lugosi, Sammy Petrillo, Duke Mitchell, Charlita, Muriel Landers. Produced by Herman Cohen & Maurice Duke. IMDb: 3.8/10. Rotten Tomatoes: N/A. Metacritic: N/A. Nightclub performers Dean Martin and Jerry Lewis … no, scratch that; Nightclub performers Duke Mitchell and Sammy Petrillo awake one morning to find they have been stranded in the midst of a tropical island. The hows and whys are unimportant. They are taken in by the local tribe, led by Chief Rakos (Al Kikume), and Duke in particular in taken in by the chief’s US-educated daughter Nona (Charlita). Sammy, on the other hand, is thrust upon Nona’s love-hungry, overweight friend Saloma (Muriel Landers), whom he spends much of the film calling “Salami” and trying his best to get away from. But Duke’s love life isn’t free from trouble either. Turns out Nona’s boss, mad scienist Dr. Zabor (Bela Lugosi) also has a good eye for the lovely Nona, and will tolerate no competition. Seeing his opportunity to kill two flies with one stone, he sends out his henchman Chula (Mickey Simpson) to fetch Duke for purpose of using him as a guinea pig in his experiments. That is how Duke Mitchell is turned into a gorilla. Hilarities naturally ensue. Bela Lugosi Meets a Brooklyn Gorilla is one of those films that is frequently named as a contender for the worst movie ever made. But the thing with a film that is “frequently” named anything is that it is also a film that is frequently viewed, which means that it must hold some interest. During my years reviewing the most obscure SF movies nobody has ever heard of on this blog, I have come across across a couple of films that I might consider a candidate for the worst film ever made, and I can assure you that they are much, much worse than Bela Lugosi Meets a Brooklyn Gorilla. Mainly because they are extremely dull, atrociously acted and terribly made. Whatever you may say about BLMABG, at least it’s not dull. It has a jungle adventure, Bela Lugosi as a mad scientist, not just one, but two gorilla suits, a Martin & Lewis impersonation act, musical numbers, slapstick comedy, a chimpanzee as one of the main characters and a whole lot of really bad jokes. Don’t get me wrong: it’s a bad film. Any film that’s a vehicle for a comedy team, but has another actor’s name in the title is destined to be bad. Bud Abbott and Lou Costello Meet Frankenstein wasn’t called “Glenn Strange Meets two comedians”. But as for the worst movie ever made, it’s not even close to being a contender. In fact, the original working script for the picture was “White Woman of the Jungle”, another suggestion was “The Boys from Brooklyn”. However, according to legend, it was co-producer Jack Broder’s 10-year-old son who suggested sticking a “Gorilla” in the title, and his assistant and co-producer Herman Cohen thought it foolish not to exploit Lugosi’s fame in the marketing. Bela Lugosi Meets a Brooklyn Gorilla has a rather interesting story. It all started with a 16-year-old boy, Sammy Petrillo, who went to have his hair cut in 1950 and was told by his barber that he looked like Jerry Lewis. Petrillo, a budding comedian, took the comment to heart and started imitating the mannerisms and jokes of the famous actor and funnyman. At one point Lewis even hired the young imitator for a skit on NBC’s The Colgate Comedy Hour, where he played a baby Jerry Lewis in a crib. Petrillo soon teamed up with crooner Duke Mitchell, who vaguely might resemble Dean Martin in the right light, and the two started performing at night clubs as Martin & Lewis imitators. Maurice Duke, who managed the duo, had been pitching the idea of a film to studios, and managed to convince Jack Broder and Herman Cohen at Realart Pictures to produce a series of movies starring Duke and Petrillo, starting with what was initially called “White Woman of the Jungle”. Bela Lugosi got involved because Realart Pictures had acquired the screening the rights to a number of old Universal horror films and was in the process of re-releasing them. When Paramount producer Hal B. Wallis and Jerry Lewis caught wind that Realart was making a picture with a Duke and Petrillo they saw red. Lewis knew John Broder, and producer Herman Cohen, who was Broder’s assistant, recalls in Tom Weaver’s book A Sci-Fi Swarm and Horror Hoard that Lewis burst into Broder’s office one day and the two engaged in a screaming contest. Cohen also says that when filming was over, Wallis tried to buy the negative and all copies so he could burn them. Broder, ever the businessman, figured that if Paramount paid better for not showing the film than he would earn for showing it, it was a win-win situation. However, Wallis wasn’t prepared to cough up the sum that Broder had in mind, so the deal never came to pass. Herman Cohen, at the time a young newcomer to Hollywood almost straight out of the army, was de facto producer of Bela Lugosi Meets a Brooklyn Gorilla. However, he thought the film was rubbish and gave Maurice Duke producer credits, even though Duke didn’t actually do anything else than deliver Mitchell and Petrillo (at least according to Cohen). Alex Gordon, at the time a young up-and-comer in the low-budget movies business, was on set for four days as Bela Lugosi’s valet/minder. Although written out of Tim Burton’s famous movie, Alex Gordon was in fact perhaps Lugosi’s closest friend during his final years, and along with Ed Wood tried to take care of and promote the fades and sickly star, young fanboys as they both were. Gordon is also interviewed by Tom Weaver, and his and Cohen’s recollections of the filming differ somewhat. According to Cohen, Lugosi was sick and tired, and sometimes difficult to get on set after hed had taken a break in the break room. Cohen also states that Lugosi had difficulties with some of his lines, “but, hey, we only made the film in seven days, so he couldn’t give us that much trouble!” Like everyone else who’s worked with Lugosi, Cohen describes him as incredibly nice and funny. He does remember that Lugosi dashed off to the break room between takes, and only later realised that he was probably shooting up morphine. Although a rather well-kept secret at the day, Lugosi was hooked on morphine due to a painful leg injury from his youth. Alex Gordon, on the other hand, recalls that Lugosi was looking “rather well” and was always on set on time and knew all his lines perfectly. According to Gordon, Lugosi did freeze up when Petrillo started ad-libbing. Gordon seems to have hated Petrillo (and Mitchell), perhaps more than anything for tripping up his hero Lugosi. But Gordon says that not only did Petrillo act like Jerry Lewis on screen, he tried to imitate him off-screen as well, by acting like the big boss of the movie. Gordon tells Weaver he’s never met a more obnoxious person in his life, save perhaps for the actual Jerry Lewis (who was famously assholish). Cohen does agre that Petrillo was “crazy”, but thought that he was “very funny” off-screen. Not so much on-screen, though, both Gordon and Cohen agree. Both also had the highest respect for director William “One-Shot” Beaudine, a one-time Hollywood darling during the silent era, who was rejected by the studios when sound pictures came along. Beaudine earned his nickname in the thirties and forties for shooting pictures extremely fast, even though the notion that he usually didn’t do more than one take of each shot is a myth. Both of Weaver’s interviewees marvel at Beaudine’s preparedness, efficiency and know-how. Petrillo did later give Beaudine some back-handed praise, calling him “the most laid-back director” he’d ever worked with: “when he was directing, it was like he wasn’t even there”. According to Cohen, Beaudine hated the movie as well. Alex Gordon also recalls one funny incident regarding Lugosi. In one scene, Lugosi has dinner with the native tribe, and he kept messing up his lines time and again. According to Gordon, the actors were eating papaya in the scene, and apparently Lugosi had never tried the fruit before: “He ab-so-lu-te-ly loved the papaya! In fact he became such an addict that he deliberately fluffed his lines several times so that they would do another plate and bring fresh plates of papaya! […] so he kept eating ’em and eating ’em and eating ’em, which was very funny.” Whatever Alex Gordon thought Mitchell and Petrillo had against Bela Lugosi, it’s not backed up by Petrillo himself, who in a later interview had nothing but great things to say about the legend. In a TV interview with Filmfax, Petrillo says he’s sad about how Lugosi has been depicted during the latter years of his career, as a washed-up junkie. Petrillo remembers him as a “very sweet man, quiet, but when he talked, he had personality. He laughed, he joked, he had a lot of personality.” And I don’t know if I’m imagining it, but Petrillo seems to almost tear up when he talks about Lugosi. You can judge yourself from this clip. He goes on to say: “Lugosi on the set was fun! You know, he was first very dignified, number two, a great actor who we all looked up to, and number three, he was fun. I used to call him Boris and he used to call me Jerry, I would say ‘How are you doing Boris?’ and he would say “Oh hey there, Jerry!”, and we would just converse and have a ball. He was very grandfatherly. I can’t stop saying that because he was very good to me. I was seventeen years old. You have to look back and put things in their context: 17-year old guy, older man, top actor, was he gonna be grandfatherly? That’s what he was”. Petrillo then remembers that he and Mitchell both froze in awe of Lugosi, when he delivered his long speech about evolution in extremely long-winded technical terms straight from memory in one single take. “We couldn’t believe it. We just froze. And the whole crew applauded at the end, it was like a standing ovation. I can’t say that I ever saw him flub a line!” Whatever the circumstances, the film got released, and has since become one of those movies that critics and B movie fans love to hate. Ultimately your opinion on this film will hinge on just how grating you find Sammy Petrillo’s high-pitched Jerry Lewis imitation. There are butt-hurt Lewis fans who maintain that Petrillo is NOTHING like Jerry. But unfortunately this is simply not the case. Film historian Bill Warren writes in his book Keep Watching the Skies that when he as a Lewis fanatic watched the film as a kid, he thought he was watching the real thing. At a talk show, the host once showed Lewis clips from his early films, and included scenes from Bela Lugosi Meets a Brooklyn Gorilla. Not only did Petrillo look like Lewis, he also sounded like Lewis and his mimicry and mannerisms are eerily spot-on. There’s a notable difference, though: Petrillo is not particularly funny. Part of this is naturally the inept script. The film doesn’t play like a movie as it does a variety show. There’s a dusty vaudeville feel to the proceedings and the jokes that resemble — to quite a large degree — that of the 20 years older SF musical comedy Just Imagine! (1930, review). But even that reactionary clunker feels fresher than Bela Lugosi Meets a Brooklyn Gorilla, in which the running gag is Petrillo trying to escape the amorous advances of overweight Muriel Landers. With its back-lot tropical setting, dance routines and Duke Mitchell’s crooning musical numbers (which are actually not that bad), the film more than anything feels like one of those musical revue films so popular in 1928 and 1929. The script was written by Tim Ryan, prolific bit-part player and writer of low-budget comedies in the forties and early fifties. Ryan’s background was, unsurprisingly, in vaudeville, and he formed a team with his wife Irene, who later found fame playing Granny on the sitcom The Beverly Hillbillies (1962-1971). Ryan wrote a number of Bowery Boys movies, which is easily recognisable in Bela Lugosi Meets a Brooklyn Gorilla. As stated, one of the film’s working titles was “The Boys from Brooklyn”. I have not yet written anything about the female lead in the movie, Charlita. In fact, one of the good things about the script is the way her character Nona is written. While she does, obviously, walk around in a bikini, she isn’t your typical superstitious damsel in distress speaking in pidgin English, but as she explains, has a college degree from the states, but returned to her home to get away from the stressful city life. Nona is an independent, modern woman, and a scientist, no less. And while the rest of the natives are portrayed in a very stereotypical manner, they aren’t the tribe that time forgot, but seem to be quite aware of what nightclub singers and airplanes are. Charlita is one of the best actors in the movie, and does her native princess role with dignity and a constant sly smile, as if acknowledging that this is is all rather silly. Very little can be found online on Charlita, but newspaper archives from the fifties reveals she was apparently something of a celebrity around Hollywood at the time. Between 1949 and 1952 Charlita was a fixture in magazines, often portrayed in cheesecake pictures wearing bikinis and bathing suits. Despite her Portuguese heritage, Latin stage name and olive skin, Clara DeFreitas was born and bred in Massachusetts, and complained that her broad “A”s were difficult to transfer to the Mexican roles she was frequently cast in in low-budget westerns. In the dozen films she made between 1949 and 1952, her roles had titles like Chiquita, Raquelita, Mexican bar girl, Mexican waitress, Princess Papoola, Rosina, fortune teller and Girl in hay. In 1951 she apparently got fed up with her typecasting, telling Virginia MacPherson at the United Press in May 1951 that her conservative Portuguese family back home was upset that she always played the bad girl on the screen: “I’ve been in Hollywood two years now, and I think it’s time I got off the streets”. In December the same year, James Bacon at the Associated Press could reveal that Charlita was now officially done with cheesecake photos and bathing suit roles, as she demonstratively burned her bikini as a media stunt. According to her, her lack of a screen family name also hurt her chances of getting decent roles — she reveals that she usually tells producers that it’s Ginsburg or Kelly, rather than DeFreitas in hopes of getting cast as a non-Latina. She says that Charlita was actually a stage name she took when starting a rumba band back in the day — she later married jazz trumpetist Billy Regis and became a singer in his band. “Bikini art helped me get noticed in Hollywood, but now those bikini pictures are hurting my career.” However, her boycott of bikini and cheesecake apparently didn’t last very long, as she accepted the role as Nona just the next year. And in september 1952 she she told an AP reporter she planned to go topless to the beach, and urged other women to ditch the bikini top as well. She also agreed to accompany the AP photographer down to the beach to take a number of topless pics for the story. “She claims she even wanted to go topless in her current jungle epic, “Bela Lugosi Meets the [sic] Broooklyn Gorilla“, but censors trembled at the thought.” After Bela Lugosi Meets a Brooklyn Gorilla, Charlita segued into TV, but had little more luck in shaking her typecasting. Through the fifties and sixties she was still playing Mexican bar girls and spicy Latinas. She still did the odd movie, like Billy the Ked Versus Dracula (1966), where she was cast as Nana – Indian maiden. News clippings from the latter half of the fifties sees her as the frontwoman of Billy Regis’ band, but after the late sixties she seems to fall off the map, as far as showbiz goes. Upon the film’s release newspaper headlines declared that Martin & Lewis threatened to sue the filmmakers. In fact, it seems to have been Lewis who did the threatening, while Martin took the whole thing in stride, urging Lewis to “just leave the kids alone”. No bad blood seemed to remain between Martin and “the kids”, as Duke Mitchell later wound up working as a singer at the club that Dean Martin managed. Nobody today seems to know what happened with the lawsuit, so either Broder and Lewis were able to come to some agreement out of the court, or perhaps Lewis came to his senses and dropped the case. Whatever the case, the plans to make a series of Mitchell & Petrillo films never came to pass, and the two split up not long after. Realart quickly sold the broadcast rights to TV, and the films seems to have been on the telly as early as 1954. Finding contemporary reviews of this Z-budgeted movie is difficult, the only one I’ve been able to dig up is by Seraphina Alaimo at the New York Daily News, who gives the film 1.5/5 stars. Alaimo writes: “Just in case some faithful fans of [Martin and Lewis] might be tempted to compare the teams, don’t waste your time. […] Come to think of it, Ramona the chimp was the only authentic actor among the crew.” Hazel Flynn at the San Pedro News-Pilot wrote, regarding the news that Jerry Lewis might sue the producers: “Besides Duke and Sammy should ponder this thought. Isn’t ONE team like Martin & Lewis enough … in fact, almost too much?” TV Guide gives Bela Lugosi Mees a Brooklyn Gorilla 1/5 stars: “Bela Lugosi is at his scary best, but the movie is awful, with Mitchell and Petrillo doing awful imitations of Martin & Lewis“. AllMovie rates it slightly higher, at 1.5/5 stars, with Robert Firsching writing: “Mitchell doesn’t look anything like Dean Martin, but Petrillo does a fairly good Lewis imitation, despite working with an absolutely awful script which has branded this film as one of the worst comedies of all time. After this mess, Lugosi’s subsequent work for Edward D. Wood Jr. seems almost like an improvement, although — to be fair — the actor is not particularly bad here, just surrounded by ineptitude.” In his book Keep Watching the Skies! film historian Bill Warren calls it a “dismayingly bad movie”, and Parish and Pitts in The Great Science Fiction Pictures II write: “Nothing works in Bela Lugosi Meets a Brooklyn Gorilla“. On the other side of the spectrum, John Stanley writes in his book Creature Features that the film is “so awful it’s enjoyable”, and gives it 3/5 stars. In the blogosphere the judgement is mostly predictable. Gary Loggins at Cracked Rear Viewer: “When it comes to the title of “Worst Film of All Time”, Bela Lugosi Meets a Brooklyn Gorilla has to be considered a top contender. […] Not only are [Mitchell and Petrillo] unfunny, they’re just barely passable as copies of the original duo. Mitchell does have a good crooning voice (more like Elvis than Dino), but Petrillo just flat out stinks! He’s not helped by a lame script written by comedy veteran Tim Ryan. […] Someone should have told Tim that vaudeville was dead. The jokes were old even in 1952, and have grown a lot of mold since.” Derek Winnert in his 1/5 star review: “Director William Beaudine’s ridiculous, weary 1952 horror spoof, with zero production values, demeans the great “(who looks sick and ancient)”. Dan Stumpf at Mystery*File: “Now here is a film that single-mindedly redefines the Bad Movie Genre. Admirers of Bad Films talk glowingly of the ineptitudes of Ed Wood or the excesses of DeMille, but BLMABG is that rarity, a pure, ugly, abomination of a film, a high-concept atrocity that has few equals and no betters (or Worsers) in the ranks of Awful Cinema.” But there also the other voice. Chris Hewson at the blog Not This Time, Nayland Smith writes: “The amazingly titled Bela Lugosi Meets a Brooklyn Gorilla is known as being an infamously terrible movie, and at first glance it’s easy to see why, but I went into this film with an open mind, and was pleasantly surprised! It’s a thoroughly entertaining b-movie.” And Paul Castiglia at Scared Silly awards the film a full 3/4 stars, heaping praise on Sammy Petrillo in particular: “Though it’s unlikely the filmmakers intended it, the film comes off as a bit of a send-up of the low-budget horrors that Lugosi made for Monogram Studios. After all, mad scientists and simians figured heavily in Lugosi’s “poverty row” potboilers. It also manages to lampoon the whole horror-comedy genre in general – let’s face it, the basic situation that sets up the plot could have easily kicked off an Abbott & Costello monster-fest, let alone a Martin & Lewis pic. If you approach it as a cracked mirror reflection of the great horror-comedies that preceded it, you may find much to interest you in this film. But if you just can’t get past Sammy Petrillo, my three stars are going to dwindle down to one fast for you. Maybe even disappear completely!” My reaction to Bela Lugosi Meets a Brooklyn Gorilla was very much the same as Chris Hewson’s. In reviewing other Lugosi films I’d kept seeing references to the movie, and how it was frequently panned as atrociously bad. So when I finally got around to watching it, I was somewhat surprised to find a fairly entertaining and professionally filmed horror spoof. From a script point of view this horror comedy is no worse than a dozen or so films that Lugosi made for Monogram and other studios in the thirties and forties. From the point of view of production and direction it’s a lot better than many of them. The only thing that’s really super-bad in this movie is the comedy. And, of course, when it’s supposed to be a comedy, that’s a serious problem. And don’t get me wrong: I probably won’t re-watch this film anytime soon. It is a bad film, but it’s also sort of fun. For anyone interested in the Poverty Row films of the forties fifties, there are a lot of interesting characters around the sets of this movie. As mentioned, director William Beaudine was once one of the top directors in Hollywood. Beaudine was among the first wave of filmmakers who left New York and headed out to California to get away from the de facto film monopoly of Edison, and arrived in Hollywood in 1914, having then already worked in the industry for five years, mainly as an actor and assistant director. Working with legends like Mack Sennett and D.W. Griffith, he also started directing shorts as early as 1915, and made his first feature film in 1922. His nickname was born out of the fact that he worked extremely cost- and time-efficiently, “editing in the camera”. As opposed to most directors, Beaudine would not ask actors to play out a scene in its entirety for wide shots, and then add in closeups. Instead he planned out beforehand exactly what he wanted wide and what he wanted cropped, and shot only that — hence the name “One Shot” Beaudine. As stated, his nickname was not derived from him being averse to doing several takes of a shot if needed, as illustrated by the story of Bela Lugosi and the papayas. Today much of his work in the silents is lost of forgotten, but he is still remembered for directing a number of films starring one of the biggest films stars in the world, Mary Pickford. With the coming of sound, many respected directors were shunned by the studios, not because they weren’t able to make the transition to sound, but partly because younger and brasher directors made an entrance onto the scene, and partly because the old-timers were seen as somehow outmoded. Beaudine was a comedy specialist, but also made many westerns (as did all directors back then), as well as a fair number of mystery and horror films. In the sound era, he is perhaps best known as a frequent Bela Lugosi collaborator, as well as the director of what must be over four dozen Bowery Boys films and East Side Kids movies. Sometimes these two worlds met, as in Ghosts on the Loose (1943). In 1943 Beaudine also worked with Lugosi on The Ape Man (review), a film which is in fact atrociously bad, and in 1944 teamed up with a horror legend team of Lugosi, John Carradine and George Zucco for the hilariously bad/zany Voodoo Man (review). In 1966 Beaudine directed the legendary grindhouse features Billy the Kid Versus Dracula and Jesse James Meets Frankenstein’s Daughter, which were to be his last feature films. He graduated into TV in the fifties, and directed, among many other things, a number of episodes of the TV series The Green Hornet, best remembered today for featuring Bruce Lee as the Hornet’s sidekick Kato, as well as most episodes of Lassie (1960-1969). Herman Cohen worked his way up the ladder in the film world, from working as a gofer at a movie theatre in Detroit, to becoming a theatre manager, sales manager for Columbia in Detroit, and working at Columbia’s publicity department in Hollywood. After returning from the military, he looked up fellow Detroiter Jack Broder at Realart, where he became a producer, and in the mid-fifties worked as a producer for Allied Artists/United Artists, another low-budget outfit, for whom he made the post-apocalyptic Target Earth (1954, review). In 1957 Cohen scored big as both writer and producer over at legendary B and Z movie production company American International (AIP), with I Was a Teenage Werewolf (review), which cost 100,00 dollars to make, but raked in 2 millions at the box office. Never one to change a winning formula, AIP ordered half a dozen more teenage monster films by Cohen, including I Was a Teenage Frankenstein (review), Blood of Dracula and How to Make a Monster, all in the late fifties. Cohen is often credited with ushering in the teen/beach/rock n’ roll horror film subgenre of the late fifties and early sixties. In 1959 he relocated to the UK, where he continued to make low-budget schlock, including Konga (1961) and Trog (1970). In the seventies he moved into distribution. Alex Gordon was at the time a young British screenwriter, still without any Hollywood credits to his name. Gordon tells Weaver he had qualms about working with Broder, because he had just pitched his script for “The Atomic Monster” to Broder, but Broder had turned it down. Instead Broder stole the title and slapped it on the reissue of the Lon Chaney Jr. SF movie Man Made Monster (1941, review). However, when he heard Cohen was to produce, he agreed to become Lugosi’s assistant. Another script he was shopping around Hollywood was called “The Hidden Face”. Both scripts were eventually filmed by Ed Wood as Jail Bait (1954) and Bride of the Monster (1955, review). Wood and Gordon knew each other from their shared friendship with Bela Lugosi, and their first collaboration was a western called The Lawless Rider (1954). When the production ran into problems, Gordon, who acted as producer, hired lawyer Samuel Z. Arkoff. Later the same year Arkoff and Realart’s sales manager James Nicholson founded American International Pictures, and took on Roger Corman and Alex Gordon as their primary producers. Among the dozen films he produced for AIP were the SF pictures Day the World Ended (1955) and Voodoo Woman (1957, review). He later produced The Atomic Submarine (1959) for AA and The Underwater City (1962) for Columbia. His brother was Richard Gordon, producer of such movies as Escapement (1958), Fiend Without a Face (1958), First Man Into Space (1959), The Projected Man (1966), Island of Terror (1966), Horror Hospital (1973) and the infamous Inseminoid (1981). He also wrote and produced another Lugosi film, Mother Riley Meets the Vampire (1952), and produced a couple of less know movies with Boris Karloff. As stated, Duke Mitchell continued his career as a night club crooner in Hollywood and Las Vegas, and also showed up in bit-parts in a few movies in the fifties. However, he is perhaps best known writing, directing, producing and playing the lead in the low-budget cult movie Like Father, Like Son (1974), better known today as Massacre Mafia Style. Allegedly Frank Sinatra was offered a role, but replied: “Duke, I love you, but I get paid real money to be in real movies”. The next year Mitchell made a sequel called Kiss the Ring, about a plot to kidnap the Pope and ask for one dollar in ransom from every Catholic in the world. Unfortunately it remained unfinished until Mitchell’s death in 1981. However, the negative was rediscovered in the 2000’s, and edited and restored by Grindhouse Releasing in 2010 as Gone with the Pope“. Muriel Landers was a Chicago-born singer and dancer who moved to Hollywood in 1950 to pursue and acting career. The short, heavyset Landers had difficulties getting cast because of her size, but found a niche in comedy, especially on TV, and had guest spots on shows with Red Skelton, Frank Sinatra, and others. In the sixties she turned up in two films with the real Jerry Lewis. Among her serious roles was a moving episode of The Twilight Zone. Al Kikume was a Hawaiian actor who turned up often in B-movies as island natives and different ethnic roles from the thirties to the late fifties. He can be seen in Universal’s The Mad Doctor of Market Street (1942, review) and in Allied Artist’s From Hell It Came (1957, review), that’s the one with the murderous tree stub. While we can laugh at the bad gorilla suits actors wore back in the day, one must remember that there was nothing like the foam-rubber material used in modern body suits, nor anything like modern prosthetics. And for B movies like this, there was neither time or money to make suits. Maintaining an ape suit also took special skill, as the rubber used in the head piece would dry out, fingers and hair would fall off, there would be rips and tears, etc. Still, giant apes were in high demand both in movies and in stage shows, and a handful of actors and stuntmen soon found that they could make a decent buck on the side by making and maintaining their own suits, and if studios wanted the ape, they had to hire the actor as well. Aficionados of ape movies can instantly tell which actor plays the ape in which movie based not only on the way the simian is played, but based on the suit itself. For most of Bela Lugosi Meets a Brooklyn Gorilla, the ape is played by Steve Calvert, in a suit he purchased from stuntman and serial star Ray “Crash” Corrigan. Calvert was an ape specialist, but also turned up as the alien robot in Target Earth. At one point in the film a second gorilla in a similar suit turns up, and Crash Corrigan has got an IMDb credit for a gorilla role in this movie, so I’d say it’s likely the Corrigan may have showed up for a one-day shoot with his own suit. As his nickname might indicate, Corrigan was primarily a stuntman, but also had a number of featured roles, including the lead in the SF serial Undersea Kingdom (1937, review). Janne Wass Bela Lugosi Meets a Brooklyn Gorilla. 1952, USA. Directed by William Beaudine. Written by Tim Ryan. Starring: Bela Lugosi, Sammy Petrillo, Duke Mitchell, Charlita, Muriel Landers, Al Kikume, Mickey Simpson, Milton Newberger, Martin Garralaga, Steve Calvert, Crash Corrigan. Music: Richard Hazard. Cinematography: Charles Van Enger. Art direction: James Sullivan. Makeup: Glen Alden. Sound: Dean Thomas. Wardrobe: Wesley Jeffries & Esther Krebs. Produced by Herman Cohen & Maurice Duke for Jack Broder Productions & Realart Pictures.
8999	dbpedia	2	23	https://iansales.com/2019/10/	en	It Doesn't Have To Be Right...	https://secure.gravatar.com/blavatar/641b327382521265b88e1d12d272f3bb407ae3899d2927fab7f8f46d459ddc71?s=200&ts=1724073574	https://secure.gravatar.com/blavatar/641b327382521265b88e1d12d272f3bb407ae3899d2927fab7f8f46d459ddc71?s=200&ts=1724073574	[ "https://iansales.com/wp-content/uploads/2013/05/cropped-apollo_15.png", "https://iansales.com/wp-content/uploads/2019/10/inseminoid.jpg?w=104&h=150", "https://iansales.com/wp-content/uploads/2019/10/ewok.jpg?w=106&h=150", "https://iansales.com/wp-content/uploads/2019/10/aadai.jpg?w=113&h=150", "https://iansales.com/wp-content/uploads/2019/10/murder.jpg?w=108&h=150", "https://iansales.com/wp-content/uploads/2019/10/dragon_blade.jpg?w=106&h=150", "https://iansales.com/wp-content/uploads/2019/10/sahib_biwi.jpg?w=104&h=150", "https://iansales.com/wp-content/uploads/2019/10/spiderman_home.jpg?w=106&h=150", 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"https://secure.gravatar.com/blavatar/641b327382521265b88e1d12d272f3bb407ae3899d2927fab7f8f46d459ddc71?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2019-10-25T10:30:23+01:00	4 posts published by iansales during October 2019	en	https://secure.gravatar.com/blavatar/641b327382521265b88e1d12d272f3bb407ae3899d2927fab7f8f46d459ddc71?s=32	It Doesn't Have To Be Right...	null	Catching up with my movie posts… Inseminoid, Norman J Warren (1981, UK). This film has an amazingly detailed write-up on Wikipedia, which is surprising given it’s a crappy UK rip-off from of Alien. Something the Wikipedia entry is at surprising pains to deny. It doth protest too much. On an alien planet, a team are investigating alien ruins found in an extensive cave system (actually filmed in Chislehurst Caves). One of the team is injured in an explosion and mysterious crystals embed themselves in his flesh. He’s taken over by an alien intelligence, which sets out to kill everyone else. It’s all wrapped up in some juvenile metaphysics and really cheap production values. I can understand why it might have a cult following, in as much as it’s so bad some people might mistakenly believe it’s good. It’s not, believe me. The acting is terrible, the special effects are cheap, the script is terrible, and the story is far too reminiscent of the far superior Alien (one of the best sf films ever made). Perhaps the only thing in Inseminoid‘s favour is that Chislehurst Caves make an effective setting. Quite why Inseminoid warrants such a detailed entry on Wikipedia is a mystery. The film is very much of its time, a straight-to-video rip-off of an innovative Hollywood sf movie, the sort of thing Roger Corman spent several decades doing (with the occasional surprisingly good result). I suspect the making of Inseminoid would make a more interesting movie than Inseminoid itself. But perhaps it’s worth seeing at least once. Caravan of Courage: An Ewok Adventure, John Korty (1984, USA). There are many puzzling things about this movie, the first of which is: why did I even watch it? However, the most puzzling thing is: why was it even made? It’s set on the Ewok world which featured in The Empire Strikes Back and whose name currently escapes me, and features a cast composed chiefly, unsurprisingly, of Ewoks. So, animated teddy bears. In creepy rags. And there are some rebels whose spaceship crashes and the adults are abducted by some giant monster. The two kids are rescued by the Ewoks, who they persuade to help them rescue their parents from the giant monster. So they do. The end. Perhaps it’s me misremembering the Star Wars film, but the Ewoks in Caravan of Courage, well, their masks weren’t animatronic and so were fixed – ie, they didn’t change expression or their eyes blink at all. It was weirdly disconcerting, like watching a cast of animated toys designed by some deranged toymaker. Even the most ardent Star Wars would be disturbed by Caravan of Courage. It wouldn’t surprise me if the two child actors needed years of therapy after performing in it. Aadai, Rathna Kumar (2019, India). Not all of the Indian films I watch are Bollywood ones. Some of them are Tamil-language, so Kollywood. Although just to confuse matters, many recent ones have been released in Hindi and Bengali as well as Tamil. Sometimes with different titles. The version of Aadai I watched was the Tollywood, Telugu-language, one and titled Aame. A young woman who presents a prank reality show tricks her way onto being an anchor for a serious news programme and impresses her bosses. That night, the television station vacates their offices for new premises. The woman and her friends break into the empty offices to celebrate her birthday. With mushrooms. When she wakes, she is locked in, her friends have vanished, and she has no clothes. The prankster has been pranked. But it’s played as tense drama, and the “prank” is actually well-deserved revenge. Although the film started off feeling a bit amateur, perhaps even deliberately so given it was aping a reality show, it improved pretty quickly. At 199 minutes, it’s probably stretched beyond its natural length, but this is Indian cinema and their definition of natural length is, well, longer. Not a bad thriller. Worth seeing. Murder, Anurag Basu (2004, India). I had to check the year of release when watching this film because it all felt very 1990s. Not just the plot, but the set dressing too, the entire look and feel of the film. True, it’s only just twenty-first century but it seemed like an older film. Young woman marries her late sister’s widower chiefly to be a mother to her nephew. But the husband is a workaholic and doesn’t seem interested in her. She bumps into her old college boyfriend – the film is set in Bangkok, incidentally – and the two embark on an affair. And, well, you can pretty much see where this is going and it’s only a matter of waiting for the twist, there’s always a twist, and hoping it was worth the wait, and… Meh. The film was a massive hit according to Wikipedia, a “super hit” even, and was followed by the imaginatively titled Murder 2 and the even more imaginatively titled Murder 3. Both sequels are free to view on Amazon Prime, so I will probably watch them. Dragon Blade, Daniel Lee (2015, China). Another random film from Amazon Prime, although not quite as Chinese as it appeared. The two main roles were played by John Cusack and Adrien Brody. Plus Jackie Chan. Chan is the leader of a troop dedicated to safeguarding the Silk Road, but he is framed for a crime and sent, with his men, to Wild Geese Gate to join the slave labour there. Then a bunch of Roman legionaries, led by Cusack, turn up, having got a bit lost, and help out using their Roman engineering ingenuity (like the Roman Empire could teach the Chinese anything…). Which is fortunate because bad Roman Brody wants to kill the young boy Cusack is guarding so he can seize the throne, and has tricked the Parthians into an alliance. The historical basis for the story is apparently flimsy at best, and despite Chan playing the most senior character it still comes across as a mostly white saviour narrative. But it’s also a Chinese historical epic, which means pretty much everything is dialled up to eleven and there’s more CGI than you can shake a very tall Roman standard at. Watching Chan and Cusack go mano a mano is… not something I’d have imagined ever doing. It’s entertaining enough, although about as plausible as the Lord of the Rings trilogy. Sahib Bibi aur Ghulam, Abrar Alvi (1962, India). I’m a big fan of Guru Dutt, the so-called “Orson Welles of India” and, like Orson Welles, he acted as well as directed. Sahib Bibi aur Ghulam is a film in which Dutt appears but did not direct. Which is a bit weird because admiring someone as a director is not the same as admiring them as an actor, and the two roles have very little obvious overlap when it comes to creating movies. However, it seems there is some controversy over who actually directed Sahib Bibi aur Ghulam, with some saying Dutt was responsible not Alvi, although both denied it. The film is certainly similar in style to the movies Dutt directed, but as star and producer, and director of the musical items, he probably had a great deal of influence. It was also Alvi’s directorial debut, but he’d worked as writer on four previous films directed by Dutt. Sahib Bibi aur Ghalum opens with Dutt wandering through the ruins of a Kolkata haveli, a nineteenth-century town mansion, which is being pulled down. The film then flashes back to when the house was occupied, and charts the adventures of a country yokel who joins the household and becomes the confidant of the young wife of one of the owning family (it’s all a bit Downton Abby, to be honest). He ends up a witness to her failing marriage, if not an inadvertent cause of it. The film is very Dutt, which I don’t consider a problem, obviously. The framing narrative is… odd, but gives the movie a poignant ending it would otherwise have lacked. Apparently Sahib Bibi aur Ghulam was a critical success but a box office flop. Fortunately, it has aged well. Worth seeing. 1001 Movies you Must See Before You Die count: 941 Another selection of recent movies. Spider-Man: Far From Home, Jon Watts (2019, USA). I watch these sorts of film because they don’t interfere with my drinking on a Saturday night – which I probably phrased wrong, but you know what I mean: they’re brainless, it doesn’t matter how much you’ve had to drink, you can still follow the simplistic story and marvel at the expensive sfx, and if you can’t remember the details the following morning then how is that different from if you’d watched the movie sober? This third – or maybe fourth, or fifth, or thousandth, I’ve lost count – reboot of Spider-Man has him cast as a callow youth who hero-worships Iron Man. But then The Avengers: Endgame had the whole universe hero-worshipping Iron Man, and it was a bit disappointing to see Marvel’s cinematic arm twist the company’s entire corpus into a prop for Robert Downey Jr’s ego, but there you go. Spider-Man: Far From Home is more of the same, despite Tony Stark having died before the film begins and appearing only briefly in it. But that appearance involves him gifting some soft of space-based weapon system to Peter Parker, because of course such weapons should be in private individual’s hands, especially a sixteen year old’s hands, and could the MCU get any more fucking ridiculous and fascist? Perhaps not, but it certainly can’t get any more American… than a bunch of US high school kids, including Parker, on holiday in Europe (Europe is not a country) displaying an unsurprising level of ignorance about any country other than their own. Which is purely incidental as the actual plot is about some hero from an alternate universe who turns out to be a special effects wizard who has faked an attack by supervillains, and faked his own superpowers, in order to steal control of the aforementioned space-based weapon system. It is, if that is possible, even less believable than actual superpowers. And while the movie tries hard to stick to its high school template, that doesn’t play well when they’re being Ignorant Abroad, and even less well when shoehorned into a MCU superhero movie. So rather than drink not spoiling the viewing experience, Spider-Man: Far From Home actually results in the film spoiling the drinking experience. Despite all the gloss and polish and money. One to avoid. Kaal, Soham Shah (2005, India). There have apparently been several films with this title released by Bollywood, but this particular one is about man-eating tigers in an wildlife park. The film opens with a musical number starring Shah Rukh Khan and Malaika Arora, neither of whom are actually in the movie. I have since learned these are called “item numbers”, and are becoming more prevalent in Bollywood films. Some actors only appear in item numbers, not feature films. Anyway, a researcher for National Geographic is sent to Jim Corbett National Park in northern India is sent to investigate. He bumps into a group of thrill-seekers who are planning to hunt the tigers. But it’s not tigers that have been killing people in the park, it’s a mild-mannered guide. Who is some sort of supernatural spirit or something. I wasn’t entirely sure. Watching Kaal was a chore – everything seemed so amateur. The acting was awful, the script was bad, and it all looked terrible, like it was filmed on a cheap video camera. One to avoid. Anna, Luc Besson (2019, France). It’s been a while since Besson last directed a thriller film, even though his entire thriller output seems to have been attempts to remake Nikita. And Anna is the latest of these. It’s set during the 1980s, at the height of the Cold War, although you’d be hard-pressed to spot it. In fact, if anything, it leads to a weird disconnect: it appears to be a contemporary thriller… and then the KGB make an appearance. Er, what? Oh, wait, it’s set in the 1980s. Anna is a young woman recruited by a department of the KGB and trained as an assassin. Her cover is a top model for an agency in Paris. I hadn’t thought films like this were still being made but, having learnt that they are, it comes as no surprise to discover that Besson was the director. This sort of glossy misogynistic violent thriller went out with shoulder-pads and power-dressing, and for good reason. Anna was promised five years of service and then her freedom. But, no shit, they lied: the only way out of the KGB is in a coffin. Not what you want to put on the recruitment posters, is it? And, seriously, the KGB was corrupt as shit but it wasn’t La Cosa Nostra. Anyway, Anna’s drive for freedom happily aligns with the ambitions of Helen Mirren, who wants the KGB top spot. So they make a secret alliance and… yawn. It’s glossy, it’s violent, it’s wildly improbable, it’s the sort of crap glamorous Euro thriller they were making thirty years ago, but with twenty-first century production values. Another movie, in other words, that probably won’t interfere with your drinking… Bidaay Byomkesh, Debaloy Bhattacharya (2018, India). Byomkesh Bakshi is a well-known fictional detective in Bengali literature, and was first adapted for film by Satyajit Ray in Chiriyakhana in 1967 (see here). He’s appeared in 32 stories and novels since 1932, and 19 movies and six TV series. If Wikipedia is to be believed. Most of the stories appear to be available on Kindle, so I think I might give reading them a go. Anyway, Bidaay Byomkesh, which means “Good bye Byomkesh”, is a later instalment in the series, although not its last. Unfortunately, I don’t have access to all of the films in the series, or indeed the actual books or short stories, at least not in English – and I’d certainly like to explore the series further. I read an anthology of Tamil pulp fiction last year, and it was an interesting read even if the quality of the prose was pretty poor. I have also read Bengali literary fiction – Adwaita Mallabarman’s A River Called Titash is a novel I like a lot, and the film adopted from it is a favourite movie… which is a long-winded way of saying I have had some exposure to the culture which produced the Byomkesh Bakshi stories – but, on the other hand, far from enough to fully appreciate it. But certainly enough to see how it plays off Western traditions. Bidaay Byomkesh is not your typical Bengali film, as far as my experience goes. It’s very… serious. Almost po-faced. And given that the title character is played by a much younger actor in age make-up, it goes to show this is a serious film. And, perhaps, had I been more familiar with the character, I might have appreciated it more. But to someone with or little no knowledge of Bakshi, it felt like a film that took itself a little too seriously. Admittedly, that’s watching it as an Indian film after a diet of Bollywood, Kollywood and Tollywood movies, which is not entirely fair as I admire India’s third cinema, which this is closer to. A good film, and it almost certainly demands a rewatch – although I’d prefer that to be part of a watch of the entire series. The Belle of New York, Charles Walters (1952, USA). I do love me some 1950s Hollywood rom com, and if it features stars like Fred Astaire and Vera-Ellen. I mean, this is feel-good cinema at its height. Now we’d sooner dismember someone in graphic, and all too realistic, detail, but half a century ago – more, in fact- Hollywood preferred to entertain people by dancing a lot and presenting shameless white boy gets off with white girl narratives. Which is totally exclusive, but at least didn’t involved people being chopped into bits. I can rue the whiteness of classic Hollywood films – it was not universal, cf Carmen Jones – but there are films from other countries. Like India. Which is not an excuse for Hollywood’s failings, merely a suggestion that Hollywood is not and never has been the only cinema on the planet. It’s good to look further afield and that’s on you. But, sometimes, Astaire tap-dancing his way through some Hollywood rom com is just what you need. And Astaire was a good leading-man, who made some really good films. This was another one on the genre of “rich person amends their ways in order to win the love of poor person”, which given the number of times Hollywood has used that plot you’d think it would have sunk in that rich people are basically shits and always have been, and they only care about poor people when they can exploit them. But Hollywood has spent just as long promoting the American Myth, that anyone could become rich through hard work, which we all know is complete bollocks and the majority of the super-rich these days inherited their wealth. But 1950s Hollywood is not the place for arguments about the equity gap or neoliberalism, and with Astaire you always get good entertainment – although I prefer Ginger Rogers as a partner; actually, I just prefer Ginger Rogers, she’s one of my favourite actresses – and The Belle of New York does feature a remarkable sequence in which both leads literally dance on air, which I quite enjoyed. The film apparently flopped on release but has since been re-evaluated. Astaire wasn’t happy with it, thinking the dancing on air was sequence was “silly”, but it plays surprisingly well in the twenty-first century. I can see why it failed in the 1950s: I can also see why it’s better regarded these days. Hope and Glory, John Boorman (1987, UK). Boorman is a name known to me for many years, if not decades, although perhaps chiefly for Excalibur and Zardoz, both of which are films it is easy to like in a sort of ironic way, although in the last couple of years I have found myself appreciating Zardoz without irony… but otherwise I’m not that familiar with Boorman’s oeuvre. Hope and Glory I had certainly heard of, and may well have seen before many years ago. But no memory of it remained. So I watched it again, and it wasn’t quite what I was expecting. If anything, it reminded me of a Ken Russell film. For a start, it’s a comedy. About a family broken up by World War 2. It’s allegedly semi-autobiographical, and certainly the scenes of the kid playing with friends on the bombed outhouses, and forming gangs who go on barely legal scrounging sprees, seems entirely likely and true. But the characters are somewhat caricatured and played for laughs – especially the sixteen year old daughter who gets dressed up every night and goes partying with servicemen… But Boorman has always been an excellent director and Hope and Glory is an extremely well-made film. It belongs to a small genre of movies (because its concerns are not American, of course), but it is a superior example of that genre. The humour is low-key, very British, and quite black in parts. A good film. Worth seeing. 1001 Movies You Must See Before You Die count: 941 I really should read more classic literature as I seem to be spending most of my time reading science fiction and a lot of it has been pretty shit. But, well, I’m a sf fan, and sf gives me something classic literature does not. Unfortunately, it doesn’t give me good writing. And all too often it doesn’t even give me good science fiction. Sf that’s well put together is getting harder to find – because that’s not a commercial quality and it is commercial qualities which determine whether a) books are published, and b) they are successful and so everyone talks about them and they’re easily available. Back in the day, when the NBA existed, editors could curate their lists, and publish books that might not sell many copies but were actually good. Now they have to chase the the bottom line. This is not a change for the better. It’s like privatisation: it never fucking works. Still, it makes the rentiers happy – and that’s basically what society apparently exists to do, so there you go. Splintered Suns, Michael Cobley (2018, UK). Mike is a mate of many years, decades even, and I’ve followed his career from the beginning. Unfortunately – if that’s the right word – he’s a better writer than his books would suggest. Partly this is because he’s determined to write commercial genre fiction – fantasy initially, now space opera – and in order to get work accepted by publishers, he’s had to work within those constraints. With his Humanity’s Fire trilogy, he wrote a smart British space opera, based a little too obviously on the works of Iain Banks – which is hardly a crime – but with enough invention to hold its own. And if the descriptive prose and characterisation were a cut above what were typical for the sub-genre, well, that was all to the good. But these pendants to that series – Ancestral Machines (2016) and Splintered Suns – on the one hand haven’t done the trilogy any favours, but on the other are likely to have introduced new readers to the series. They’re weaker books – or rather, they’re lighter books, lacking the heft of the trilogy, with more adventure-oriented plots, explicitly so in Splintered Suns. Both make extensive use of a Big Dumb Object, but Splintered Suns is the more inventive of the two. And its plot is better suited to its cast. Who are the misfit crew of a trading ship which is often involved in less than legit business. And who remain still mostly irritating – especially the captain of the Scarabus, Brannan Pyke – and had they been players in a RPG the GM would have lied about their dice rolls very quickly to ensure they were killed off… Totally unfair, of course, as space operas like Splintered Suns are just as much about their cast as they are their setting. The plot, however… Not only do you have the crew of the Scarabus trying to track down a legendary two million year old giant spaceship, and when they find it they have to navigate a shifting set of time streams and alternate realities to do the space opera maguffin thing, meanwhile there are a set of copies of the crew stuck in a VR fantasy RPG who have to work their way up the levels to kaibosh the space opera maguffin from within. Cobley manages his cross-cut plots with impressive aplomb, although the dialogue does occasionally drift towards parody. Splintered Suns is, as I said, a better book than its predecessor, and it certainly demonstrates there are many stories to be told in the Humanity’s Fire universe. Ecce & Old Earth, Jack Vance (1991, USA). I used to think Vance was great, one of the actual real great writers of science fiction, although these days that label seems to be handed out to books on a daily basis. Then I sort of went off Vance – the plots often seemed the same, the prose was variable, the invention a little too obviously copying from earlier works… There are great Vance works, but there are also a lot of mediocre ones. I still like the Alastor Cluster books, but the Demon Princes series is badly plotted. Happily, Ecce & Old Earth, the second book in the Cadwal Chronicles, a part of the Gaean Reach loose series, is good. It’s also late Vance, from a time when he was no longer at his prime… or so I had thought, except… I really enjoyed the first book of the trilogy, Araminta Station (see here), and thought it read like Vance on form. Happily, the same is true of Ecce & Old Earth. The plotting is not quite as solid, and the invention does not spark as much, but both seem more than suitable for the story. The world of Cadwal is protected by a charter held by the Naturalists’ Society, but the society is moribund and it seems the charter may have been sold decades before by an unscrupulous secretary. The plot of Ecce & Old Earth is compared by its characters to a ladder – one character starts from the bottom, the other from the top, both hope to discover who currently owns the charter and so safeguard Cadwal’s future. Most of the novel takes place on Earth, and Vance’s inventiveness fails him to some extent as he present Earth towns pretty much as they were at the time of writing (or at least some romanticised version of them from the time of writing). But then Vance was always one for recycling the real world, and even then he manages to give the quotidian a touch of the alien. But you read Vance for the prose style, not for the plotting, and Ecce & Old Earth is Vance in fine voice. And the wit seems a little funnier than I remember from other series. The Cadwal Chronicles have rekindled my respect for Vance’s works. I’ve already bought an ebook copy of Throy so I can complete the trilogy. Ninefox Gambit, Yoon Ha Lee (2016, USA). This was shortlisted for the Hugo Award in 2017, and its sequel in the year following, and the third book of the trilogy this year… so this is science fiction which is highly regarded by that small section of fandom which votes for the Hugo. I wasn’t planning to bother reading the trilogy – I’d bounced out of Lee’s short fiction enough times that trying it at novel-length didn’t appeal at all. But I was given a copy of the third book as part of this year’s Hugo Voters Pack (but not the first two books, even though the Machineries of Empire trilogy was nominated for Best Series), and the first book went on sale at 99p, so… Ah, why the fuck did I bother? This is pretty much fantasy with a spaceship on the cover. Also, it’s not very good, certainly not worthy of a Hugo nomination. In the space opera universe of the series – and assorted short stories, now collected – humanity has split into a variety of factions, six of them in fact, the “Hexarchate”, and they all make use of a specific calendar and “calendrical mathematics” to magically generate things like FTL or exotic weapons. Imposing this calendar is what allows the Hexarchate to maintain control. Except when one of its core fortresses decides to use a heretical calendar, and introduce democracy, so jeopardising the existence of the Hexarchate. Which responds by bonding the mind of the Hexarchate’s most successful general, a criminal psychopath whose mind is held in secure stasis, with that of a mathematically-gifted Kel (ie, military) officer. And the pair of them are charged with taking the fortress from the rebels. Most reviews I’ve read have praised this book’s worldbuilding, and the density of it, but it’s meretricious nonsense. The whole calendrical thing is no different to a RPG magic system. The plot of Ninefox Gambit consists chiefly of the two protagonists lecturing each other. And the whole thing exhibits the sort of mindless brutality and callousness at which even sociopaths would blanch. A calendar that requires ritual torture as reinforcement? Sounds a bit fascist. The Kel have “formation instinct”, which is where the individual Kel are neurologically programmed to obey orders. Sounds a bit fascist. There used to be seven factions, but one of them rebelled so the other six committed genocide. Sounds a bit fascist. It transpires the psychopath general objected to this and felt the Hexarchate – the Heptarchate as was – might not be such a good thing. So, Ninefox Gambit suggests towards its end, and the blurbs of the two sequels suggest it’s the story arc of all three books, he chose to do something about this. But the only way he could live long enough to bring down the Hexarchate was to be put in stasis as a criminal. So he commits a huge massacre. WTF? Not even the most cynical Jesuit could rationalise that means as justifying the ends. It would be like dropping a nuclear bomb on London to bring down Boris Johnson’s government and then writing it up as if the bomber were a hero. Welcome to US space opera. Abu Ghraib means nothing; Gitmo means nothing. With a total lack of irony or reflection, US space operas are willing to bake into their worlds the sort of shit George W Bush was happy to sign off on, even if as individuals they are committed to opposing neocon politics. What doesn’t seem to have occurred to them is that putting shit like that in sf novels only helps normalise it. They need to take responsibility for the worlds they build. I don’t care what the politics of the writer may be, but if they’re writing Nazis in space then their book is no different to anything written by an actual Nazi. It’s one thing to present bad ideas and then argue against them, but space opera doesn’t do that. It presents them as normal. And that is more damaging. To read the works of an author who is explicitly not fascist but whose works embody concepts that are fascist is… exactly the same as reading the works of a fascist. No art is created in a vacuum; no art is consumed in a vacuum. You cannot separate the art from the artist. You should not give a free pass to those creators whose personal politics you approve but whose works contain politics you do not approve… without commentary. The Machineries of Empire trilogy, which renders fantasy as space opera, normalises a level of brutality which differs from grimdark only in the gruesome destructiveness of its invented arsenal. And people nominate this for awards! Had Ninefox Gambit been brilliantly written, had it provided a morally-balanced commentary on its worldbuilding, then perhaps it might have been worthy of nomination. It is, and does, neither. The prose is about average for genre writing, the commentary is focused almost exclusively on the characters within their world. The whole idea of democracy being a bad thing is a wink at the reader – or rather, a knowing nod at what the author imagines is an enlightened reader. If there’s one thing the Sad Puppies debacle has taught us, it’s that not all sf readers are enlightened. Not on a literary level, not on a political level, not on an intellectual level. Indeed, some of them actively reject being enlightened, particularly on an intellectual level. The Sad Puppies were defeated and I am glad of that, but I do worry that science fiction learned nothing from the skirmish. It was presented as a battle for the heart and soul of science fiction, but it looks very much like it was a fight between authors who held different personal politics but were happy to write down exactly the same political line in their sf stories. A hollow victory indeed. Kon-Tiki 2: Parasites, Eric Brown & Keith Brooke (2018, UK) and Kon-Tiki 3: Insights, Eric Brown & Keith Brooke (2019, UK). Both authors are friends. I’ve known them for many years, and their fiction has always struck me as good, but it never seems to garner the acclaim needed to raise their profiles. They’re craftsmen – what they write is well-written; but sometimes it lacks that additional inventiveness required to bounce it to the next level – and when it does, it doesn’t matter because they’re boringly ordinary people with very low, if not zero, online presences. PS Publishing have regularly published Brown’s novels and collections, as well as the novellas he’s written in collaboration with Brooke (and they’ve been collaborating, every now and again, for at least thirty years). The Kon-Tiki Quartet is about the colonisation of an earth-like exoplanet by an Earth very close to catastrophic failure from climate crash. The gimmick here is that copies of the colonists are sent and “printed” on arrival. Leaving the originals behind in. In Kon-Tiki 2: Parasites, the colonisation ship arrives at “Newhaven”, only to discover it was beaten there by a more efficient vessel. And so the crew – or rather, the handful the story concerns – discover they have copies of themselves, with different histories. If that isn’t enough, one of them has been researching the local fauna and discovered it has a form of hormonal telepathy which is compatible with human chemistry. And so an unregulated experiment becomes the means to untangle a love triangle, and some of its nasty secrets, including the murder which formed the plot of the first book of the quartet, while also presenting a magic bullet that will present all future human interactions in a different light. Which, unfortunately, certain movers and shakers on Newhaven have a problem with in Kon-Tiki 3: Insights. Because they have plans for Newhaven, which they intend to take back to Earth, and if everyone could read everyone else’s thoughts, experience their actual being, then not only are their plans jeopardised but their entire lives are rendered useless. And they don’t want that. Which does, unfortunately, give the novella more of a thriller plot – albeit on an alien world – than a science fiction plot. And the central premise, that people might be “printed” into bodies other than copies of their originals, is not really explored, other than as an enabler for infiltration of government offices. In many respects, the Kon-Tiki Quartet is almost the dictionary definition of traditional sf: it’s ideas-based, and carefully worked out and well-presented… but it’s also Eurocentric, with a cast of almost entirely white people, and concerns that apply chiefly to them. This is hardly unexpected, given the authors’ backgrounds. But a series about a project to safeguard humanity by settling an exoplanet you would expect to mention more races and cultures. Of course, this is all a bit Scylla and Charybdis – which is more damaging to the reputations of the authors, the lack, or including it and not getting it right enough for some readers? Given the authors’ lack of online presence, it hardly matters. What happens on Twitter only really matters to people on Twitter. I feel like I’m damning the Kon-Tiki Quartet with faint praise, when if in fact it’s a well-constructed series of four novellas (well, three to date) that occupies the heartland of Atlantic, albeit more UK than US, science fiction. It does what it does with a degree of accomplishment you’d expect of its authors. It may well be a shame neither are not better-known, either side of the Atlantic, but, to be honest, this is not the work to do that. One for fans – but I do recommend becoming a fan of both authors. The Dragon Reborn, Robert Jordan (1991, USA). The reread continues, and most of the time I have to wonder why I’m bothering… The story arc is still bouncing around, trying to work out what length the series will finally be (and even then, Jordan had pretty much no clue right up until his death), most of the characters continue to be very irritating – or rather, Jordan’s repetitive way of presenting them is hugely annoying – but the worldbuilding, despite being somewhat identikit fantasy, is starting to come together. After the big battle which ended the previous book, and actually resolved very little, book three seems to be mostly explanations of what might happen. Rand al’Thor has declared himself as the Dragon Reborn, and is afraid he’ll go mad from channelling the One Power (as has every other bloke who could since the Age of Legends). But he’s determined not to be controlled by the Aes Sedai, or rather the small group of Aes Sedai who actually believe he is the Dragon Reborn. So he’s run away to Tear, partly driven by bad dreams and partly by the onset of madness caused by using the Source. The three young women, Egwene, Elayne and Nynaeve, are on their own adventure – approved this time – to find the escaped Black Ajah, who have gone to ground in Tear. Moiraine, Lan, Loial and Perrin are hot on Rand’s tail, but having adventures on their own. And Mat, cured by the Aes Sedai, has been sent to Caemlyn to deliver a letter to the queen, but then heads for Tear after overhearing a plot to murder Elayne… In other words, the plot is eighty percent travelogue, with plenty of history lessons, before everything comes to an explosive head in Tear in the final chapter. Nynaeve’s constant tugging of her braid is getting really fucking annoying. Rand is pretty much a blank, chiefly because his viewpoint appears very little – amusingly, the Wikipedia describes The Dragon Reborn as “unique at the time” in the series because of this. It’s the third book in the series, FFS. Anyway, The Dragon Reborn is a definite improvement on the preceding two books, but that’s a pretty low bar to clear. I can see why people became invested in the Wheel of Time as this is the first book of the series which actually feels like part of a series. And that’s not just because the end clearly slingshots into the next book. It’s like the setting is starting to develop a third dimension. That doesn’t stop it from being 75% identikit, but it’s like that tilt-shift thing where a flat backdrop sort of refocuses and… Hmm, isn’t that effect used in the opening credit sequence of Game of Thrones? Anyway, next up: The Shadow Rising. Although I think I will continue with my Dune reread before tackling it. 1001 Books You Must Read Before You Die count: 135 Just when I was getting close to being up to date with my film posts, I stop posting for a while and get a bit behind… Ek Hasina Thi, Sriram Raghavan (2004, India). I’ve been watching quite a few Indian films these last few weeks. There’s loads of them available on Amazon Prime, both classic and twenty-first century. Annoyingly, not all of them have English subtitles. I think I’ve moaned about this before. Anyway, Ek Hasina Thi is a neo-noir thriller set in Mumbai. A young woman meets a man, whirlwind romance, they get married. He asks her to fly a parcel to another city. The parcel contains drugs, she’s caught, sentenced and imprisoned. She discovers her husband had set her up… so when she is finally released, she goes all out for revenge. In Hollywood, the story would make a taut thriller of around 100 minutes, but this is Bollywood so it comes as a surprise that Ek Hasina Thi is only 120 minutes long. Nor do I remember any musical numbers. I do recall the acting was a bit OTT and the plot had more than its fair share of moments that were a little hard to swallow. But if you’re going to watch a thriller, you might as well watch one from India than from the US. I Am Mother, Grant Sputore (2019, Australia). A colleague at work recommended this film, and I admit I’d initially passed it by as probably not worth seeing. But after the recommendation I decided to give it a go. And… It looks good, but its ideas are not new and the plot twists are piss-easy to guess. Worse than that, however, it’s one of those films – and this is also true of novels – which uses genre as a delivery vehicle for some really dodgy philosophy. To the film’s credit, it doesn’t make a big deal of its message, using it more as a “twist” than a raison d’être. A young woman is born artificially and raised by a robot she calls “Mother” in a vast underground complex containing millions of embryos intended to repopulate an earth in which humanity were pretty much wiped out some forty years earlier. The young woman begins to wonder about the outside, especially when Hillary Swank starts banging on the bunker’s main entrance. On the one hand, the film doesn’t go for the obvious twist here, but goes for a later reveal on which is actually going on… and it’s not all that much more original an idea. But it all looks very pretty, and Mother – a man in a robot suit – is pretty convincing. Unfortunately, some of the stuff Mother teachers the young woman – and it’s some of this which does drive the plot – is the sort of sophomoric philosophy far too many science fiction writers seem to think worthy of commentary. While pushing this commentary into the background may have saved the intelligence of the film’s viewers, it does make the movie a bit of a slog as very little happens for much of its length. Fortunately, as mentioned earlier, the production design is impressive, so it might be slow but it’s also good-looking and slow. Game, Abhinay Deo (2011, India). Oh look, another Bollywood film. The plot of Game reminded me of another film, but for the life I can’t remember which. A billionaire invites four people to his exclusive Mediterranean island hideaway: a nightclub owner and druglord from Istanbul, a (ethnic Indian) prime ministerial candidate from Thailand, an Anglo-Indian journalist, and a Bollywood leading man. None of them know why they’ve been invited. He explains that three of them were instrumental in the degradation and death of his long-lost daughter. The Thai politician ran the child-sex ring that bought the daughter when she was very young. The nightclub owner introduced her to drugs, and the Bollywood actor hit and killed her while driving drunk and then hid the body. The journalist is the billionaire’s other long-lost daughter. The next morning, the billionaire is found dead, apparently from suicide. A detective is called in from an international police organisation based in London, and she determines – with the help of the nightclub owner, who it transpires is an undercover police agent – that it was actually murder. But by whom? The politician? The actor? Perhaps even the daughter, who now stands to inherit… Game certainly made a four-course meal of its premise, with flashbacks explaining the backstory of each of the major characters, and people flying back and forth in order to make sense of the murder. The whole thing was very slick and polished, although the nightclub owner’s transformation from sleazy druglord to leading man was asking a bit much. And the sleazy politician was even sleazier than a roomful of Tories MPs, which probably would have been a little hard to swallow prior to this year. But it’s a flashy thriller, so never mind. Worth seeing. Madame Bovary, Sophie Barthes (2014, Germany). There are some works which have such high standing in the canon of European literature that adapting them for film often feels like some sort of initiation rite for ambitious directors. I’ve not read Flaubert’s novel, but I do know it’s been adapted for the cinema at least a dozen times, first in 1932, and including a Bollywood version, and even one by my favourite director, Aleksandr Sokurov. And while it’s all very high drama, it’s very much about interiority – as Wikipedia puts it, the novel “exemplifies the tendency of realism, over the course of the nineteenth century, to become increasingly psychological, concerned with the accurate representation of thoughts and emotions rather than of external things” – which doesn’t exactly make for the most riveting of plots. Woman starved of affection by her husband, a country doctor, invests emotionally in buying nice things, which she can’t pay for, and having affairs with unsuitable men, and not being very subtle about it. And then it all comes crashing down. I’d have said it was a role to die for, but the biggest name I can find who has played the title role is Isabelle Huppert (in Chabrol’s 1991 adaptation). Several adaptations seem to describe Emma Bovary as “child-like” – explicitly so in David Lean’s very loose adaptation Ryan’s Daughter – but the books seems not to. And in Barthes’s Madame Bovary, Mia Wasikowska plays the title character as more ambitious and calculating than anything else, sort of like Vanity Fair‘s Becky Sharp. It does make of the film a more traditional period drama, but fortunately it does a good job of presenting the time and place. Which pretty much means that if you like period dramas, particularly nineteenth-century ones, then you’ll like this adaptation of Madame Bovary. Personally, I preferred Sokurov’s. The Amazing Adventure, Alfred Zeisler (1936, UK). This is one of those stories that probably started out as a fairy tale but has been told so many times since its iterations have lost all sense of individuality. Given The Amazing Adventure was released in 1936, that makes it one of the earliest cinematic outings for the story, although probably not the actual first. Basically, rich man who wants for nothing suffers from crippling ennui and accepts a bet to go undercover and earn his own living for a year. Where he meets a young woman and falls in love. And, er, that’s pretty much it. Along the way, Grant lands his employer a huge contract, gets his revenge on a nasty garage-owner, and meets a bunch of people he later helps out financially when he returns to his riches. This version is probably notable for Grant, working as a chauffeur, being hired by a con man who has been sublet Grant’s luxury apartment by his butler, because Grant-the-chauffeur resembles Grant-the-playboy (of course) and the con man wants him to pretend to be Grant-the-playboy and cash some forged cheques. Which ends up with an extended fist fight, during which Grant and the con man pretty much trash the apartment. A light-hearted comedy which documents life in 1930s UK quite well, although the message – rich people are nice people too – is a bit fucking much. Yesterday, Danny Boyle (2019, UK). Failed pop star is hit by a bus and when he wakes up in hospital it seems he is the only person who remembers the Beatles. In other words, he’s in some sort of alternate reality in which the Beatles disappeared without trace before becoming famous. So he writes their songs from memory and presents them as his own… and becomes a global pop star. If I said the script was by Richard Curtis, you’d have a pretty good idea how fucking horrible this film is. For a start, the Beatles were a huge pop sensation seventy years ago. Pop has changed a lot since then; the world has changed a lot since then. And to suggest their songs possessed some magical quality which means they would be global hits in 2019 is fatuous and insulting to every songwriter who has ever lived. Then, of course, there’s the fact the failed songwriter, while presented as a fan of the Beatles’ songs, apparently knows most of the band’s oeuvre by heart (bar a few lapses of memory played for laughs), certainly well enough to faithfully reproduce them. All this is wrapped around the most obvious boy-doesn’t-realise-girl-loves-him boy-gets-girl plot in existence, the one they probably teach in the first lesson of Rom Com 101, and then explain Bollywood has probably rung every conceivable change on it so only a fucking idiot would bother using it… Yesterday is just… bland. Its cast is bland, its story is bland, it renders the music of the Beatles bland (well, even more bland than decades of being played in supermarkets and elevators has already rendered it). The digs at the recording industry are obvious and trite, the depiction of the UK is the usual twenty-first century slightly-battered chocolate box England, and the climax is so cringe-inducing it causes actual pain. Avoid. 1001 Movies You Must See Before You Die count: 941
8999	dbpedia	2	35	https://www.newyorker.com/magazine/2012/06/04/a-psychotronic-childhood	en	Colson Whitehead’s Psychotronic Childhood	https://media.newyorker.…_r22259_p886.jpg	https://media.newyorker.…_r22259_p886.jpg	[ "https://www.newyorker.com/verso/static/the-new-yorker/assets/logo.svg", "https://www.newyorker.com/verso/static/the-new-yorker/assets/logo-header.svg", "https://media.newyorker.com/photos/59096725c14b3c606c106a58/master/w_2560%2Cc_limit/120604_r22259_p886.jpg", "https://media.newyorker.com/photos/5909716fc14b3c606c107ffe/4:3/w_480%2Cc_limit/021223_r11739.jpg", "https://media.newyorker.com/photos/590967c1ebe912338a375c9e/4:3/w_480%2Cc_limit/120213_r21846_g2048.jpg", "https://media.newyorker.com/photos/66abcc36d629927dc0f257fc/4:3/w_480%2Cc_limit/undefined", "https://media.newyorker.com/photos/66abcc36d629927dc0f257fc/4:3/w_480%2Cc_limit/undefined", "https://media.newyorker.com/photos/66a4024947b4b6e7d0afd490/4:3/w_480%2Cc_limit/undefined", "https://media.newyorker.com/photos/66a4024947b4b6e7d0afd490/4:3/w_480%2Cc_limit/undefined", "https://www.newyorker.com/verso/static/the-new-yorker/assets/logo-reverse.svg" ]	[]	[]	[ "b-movies", "horror movies", "science fiction" ]	null	[ "Colson Whitehead", "Burkhard Bilger", "Anthony Lane", "David Remnick", "David Owen", "Condé Nast" ]	2012-06-04T00:00:00	From 2012: The author on his childhood love of B-movies, monster flicks, and horror pictures, and how they have fed his imagination.	en	https://www.newyorker.com/verso/static/the-new-yorker/assets/favicon.ico	The New Yorker	https://www.newyorker.com/magazine/2012/06/04/a-psychotronic-childhood	Growing up on the Upper East Side in the nineteen-seventies, I was a bit of a shut-in. I would prefer to have been a sickly child. I always love it when I read a biography of some key Modernist or neurasthenic Victorian and it says, “So-and-so was a sickly child, forced to retreat into a world of his imagination.” But the truth is that I just didn’t like leaving the house. Other kids played in Central Park, participated in athletics, basked and what have you in the great outdoors. I preferred to lie on the living-room carpet, watching horror movies. I dwelled in a backward age, full of darkness, before the VCR boom, before streaming and on-demand, before DVRs roamed the cable channels at night, scavenging content. Either a movie was on or it wasn’t. If I was lucky, I’d come home from elementary school to find WABC’s “The 4:30 Movie” in the middle of Monster Week, wherein vengeful amphibians chased Ray Milland like death-come-a-hopping (“Frogs”), or George Hamilton emoted fiercely in what one assumes was the world’s first telekinesis whodunnit (“The Power”). Weekends, “Chiller Theatre,” on WPIX, played horror classics that provided an education on the subjects of sapphic vampires and ill-considered head transplants. I snacked on Oscar Mayer baloney, which I rolled into cigarette-size payloads of processed meat, and although I didn’t know it at the time, started taking notes about artists and monsters. Fate was cruel and withholding, and then suddenly surprised me with a TV announcer’s tantalizing words: “Stay tuned for ‘The Flesh Eaters’ ”; or “Don’t go away! We’ll be right back with ‘Children Shouldn’t Play with Dead Things.’ ” I couldn’t look the title up on the Web, couldn’t know anything beyond what its luridness conjured, and there was the frightening possibility that I might never have the chance to see the movie again. Who knew when this low-budget comet would return to this corner of the galaxy? Its appearance was a cosmic accident, one that might never be repeated. Weeks before, some bored drone at the TV station had decided to dump it into this time slot, and today I happened to be home from school with bronchitis. Did I have time to grab some baloney or a bowl of Lucky Charms before the opening credits ended? Thanks to “Star Wars” ’s Pavlovian ministrations, I got excited whenever I heard the horns that accompanied the Twentieth Century Fox logo. I started to recognize the names of the studios responsible for my afternoon diversions: Hammer, Amicus, American International Pictures. I associated certain people with quality product: Roger Corman (“Day the World Ended,” the original, 1960 “Little Shop of Horrors”); Samuel Z. Arkoff (“Queen of Blood,” “The Amityville Horror”). Men in rubber reptile suits crept through the gloom, and cars ran out of gas on spooky backwoods lanes. Final-reel showdowns between the hero and the mad scientist unfurled in dungeons whose walls were made of gray foam—and seemed remarkably familiar from the climax of last week’s movie. I was in fourth grade, and already getting acquainted with that great American virtue the Lack of Quality Control. I didn’t draw a distinction between good movies and bad movies. For every science-fiction classic—such as “The Day the Earth Stood Still” (emissary from the Galactic U.N. warns humans about good citizenship)—that I discovered on UHF channels on bright summer days, there was a “Food of the Gods” (giant chickens rain pecking doom on a small island) that sent me twiddling the V-hold. For every new addition to the canon that my family saw on opening night, like “Alien” (an outbreak of tummy trouble among space miners) at the old Loews Eighty-sixth Street, there was a “Demon Seed” (rom-com about a horny computer that wants to impregnate Julie Christie). I valued body count over mise en scène. This is what I understood about art: its very existence was credential enough. If it had posters and TV ads and contained within its frames actual human beings who had posed before cameras and mouthed words, it satisfied the definition of a movie, and that was enough for me. At the time, many of the New York cinemas that showed the movies I liked were disreputable shacks, where marijuana billowed from the back rows, insects nibbled on the candy glued to the floor, and the telephone booths in the lobby provided stages for all sorts of shady theatre. The city had not fallen so far into ruin, however, that my younger brother and I were allowed to stroll into these places unsupervised. Fortunately, our parents were fellow-enthusiasts, and had in fact given us a taste for this peculiar fare. Mom and Dad didn’t believe in censorship. We enjoyed beheadings, disembowellings, sexual assaults—all sorts of flickering R-rated depravity—the way others might take in a Grand Canyon vista: as a family. Some might characterize my parents’ casual attitude as neglect, but I prefer to interpret it as a refusal to shield their offspring from the realities of twentieth-century life. There were lessons to be learned in the movies we saw. Fail to regulate nuclear energy, for example, and it’s only a matter of time before you’ll be overrun by grasshoppers mutated to gigantic size (“Beginning of the End”). If, in your travels, you come across an establishment with bleeding walls, screaming mirrors, or pagan guest-room shrines garlanded with intestines, you’ll know that you’re in a haunted house. It was survival training. “A Clockwork Orange,” which I saw several times on HBO before I was ten, taught me more about not opening my door to strangers than a hundred school-assembly lectures. I never talked much in educational settings, so it is unlikely that I asked my mother, “What are they doing to that woman?” during my introduction to Stanley Kubrick, but, had I inquired, I’m sure she would have said, “It’s a comment on society, son.” The first film I remember seeing in a theatre was “The Devil’s Rain.” It was the summer of 1975. I was five, my brother a year younger. It’s safe to assume that our parents had taken us to see age-appropriate movies before that night—animated features full of talking bunnies and wise old falcons, instead of hordes of shambling Satan-worshippers—but I don’t remember them. “The Devil’s Rain” is a negligible and mind-numbing film, notable only for the utter ineptitude of its attempt to cash in on the brief occult-movie fad that followed “Rosemary’s Baby” and “The Exorcist.” I can scarcely decipher “The Devil’s Rain” now, so I can’t imagine what I made of it back then, how I interpreted the aggressively insipid dialogue or the soporific performances by William Shatner, Eddie Albert, and Keenan Wynn, who must have been fretting over mortgage payments or the grandkids’ tuition when they trekked down to Durango, Mexico, for the shoot. But the scene in which the cultists’ centuries-old curse is lifted and they transform into multicolored ooze stayed with me over the years; it is a protracted group-melting sequence that I’m sure is unique in cinematic history. And I remember being appalled for Tom Skerritt’s character—a psychic researcher—when he discovers that Satan has claimed his brother and his mother: his loved ones have been turned into monsters, and now they want to kill him. When I finally got around to writing my own horror novel, “Zone One,” years later, I tried to capture this elemental terror, of the familiar turned homicidal. A monster is a person who has stopped pretending. In a zombie apocalypse (“Night of the Living Dead”) or a secret alien takeover (“Invasion of the Body Snatchers”), you fall asleep one evening and when you wake up in the morning the world has changed. Your relatives and your friends, your neighbors and the friendly folks who run the dry cleaners reveal themselves as the monsters they’ve always been, beneath the lie of civilization, of affection. They look the same, but now they want to destroy you, to consume you. And you have to keep running. I eventually outgrew my fear of implacable force-of-nature killers, and I never lost sleep over humanoids from the deep, or murderous, severed hands, but I didn’t lose my fear of people. Some people have anxiety dreams about being late for a class they forgot they’d enrolled in, or about giving a speech stark naked. I had zombie anxiety dreams. They started after I saw “Dawn of the Dead,” in 1979, and kept coming back. For decades. Depending on what was going on in my life at the time, I was pursued by fast zombies or slow zombies. I was alone or with a group. I got away or didn’t. For me, killer robots and giant grasshoppers had nothing on people. I had those dreams until I wrote “Zone One” and finally found somewhere else to put them. In 1981, when I was in seventh grade, my family moved downtown, to a new building on Fifty-seventh and First. My brother and I could walk to school, there was a pizza joint down the street with a cigarette-scarred Asteroids machine, and the corner Optimo sold comic books. The most splendid convenience of our new abode, however, was its proximity to Crazy Eddie’s, the local consumer-electronics emporium. We acquired our first VCR, and laissez-faire parenting combined with the home-video boom to nudge me into my next incarnation: I had been a shut-in; now I was a latchkey cinéaste. In keeping with my family’s affection for doomed product lines and hexed formats, we purchased a Betamax. The year before, we’d bought a TRS-80 instead of an Apple II, and in due course we’d unbox Mattel’s Intellivision, instead of Atari’s legendary gizmo. This was good training for a writer, for the sooner you accept the fact that you are a deluded idiot who is always out of step with reality the better off you will be. Every Friday afternoon when school let out, my brother and I made a Crazy Eddie’s run. It was one of the chores we were assigned in order to earn our allowance, like doing the dishes, buying groceries, and getting Dad’s cigarettes from Optimo. We rented five movies, the maximum that Crazy Eddie’s allowed. One movie was mainstream Hollywood product, generally a misfire along the lines of “Continental Divide” or “Bustin’ Loose,” starring someone we were fond of (in these cases, John Belushi and Richard Pryor, respectively). The rest were horror flicks. We no longer had to rummage through the TV listings and stay up until 3 A.M., or rely on luck, or on our parents or our two older sisters, who were in high school and college by then and less inclined to tow their little brothers to the movies. In fact, my brother and I were in charge now, programming the family film festivals. More and more, the only time the six of us were in the same place was on a movie night, usually after a holiday meal. We’d chop up and devour the turkey, then reconvene in the living room to watch some people get chopped up or devoured. We’d chuckle over the familiar tropes: how the black guy always dies first, or the white lady survivor always trips—compulsively, repeatedly—in the final chase scene. We were not a carolling clan. The early eighties were the heyday of slasher and splatter movies. “Splatter” was a horror genre that prided itself on elaborate, “realistic” special effects: arterial spray that approximated our lay idea of what arterial spray would look like; pulverized eyeballs that exploded more convincingly than the pulverized eyeballs in last year’s midnight hit. “Slasher” was a subset of splatter, a reference to the killer who did all the splattering. The minuscule servings of gore in the fifties and sixties “Chiller Theatre” films had been designed for television, and when there was blood it looked fake, an unnatural crimson, especially compared with the blood in the psycho-killer movies released in the wake of John Carpenter’s “Halloween.” The killer in that film was a mute, vaguely supernatural maniac who escaped from the loony bin and returned to his home town to catch up with old friends. (This was before Facebook.) The movie was grim and lean, a low-budget affair that made millions. Studios had always chased fads, from fifties juvenile-delinquent movies (which took on the perils of the newly emergent teen culture), to sixties biker movies (shocking “exposés” of motorcycle gangs), to seventies blaxploitation (what if we made movies for black audiences, who exist, apparently?). The first entry in the “Friday the 13th” franchise, in which a mute, vaguely supernatural maniac punished camp counsellors, was released in 1980, two years after “Halloween,” and a (dismembered) arms race broke out. Special-effects gurus strove to surpass their previous achievements, and to outdo their rivals’ latest mutilations. Decapitation is so last year—anybody who’s anybody is eviscerating now. Sure, you made your name in chainsaws, but can you do nail guns in soft tissue? My brother and I dropped the stack of Betamax tapes on the coffee table and got to work, two or three movies on Friday night, the rest on Saturday. Once we’d adjusted the tracking on the VCR (the tracking, always the tracking), the slashers stabbed, ripped, mutilated, and otherwise perforated hapless victims on public transportation (“Terror Train”), on the grounds of educational institutions (“Prom Night”), and during eponymous sleepovers (“Slumber Party Massacre”). Not even holidays, Hallmark and otherwise, were safe (“Silent Night, Evil Night,” “Mother’s Day,” “My Bloody Valentine”). Once in a while, we subbed in a movie by a more polished director, such as Dario Argento, the Italian who’d collaborated with Sergio Leone and Bernardo Bertolucci before crafting his own eccentric thrillers. We sought out his “Bird with the Crystal Plumage” after Fangoria hipped us to it. Perhaps you never subscribed to Fangoria, or only infrequently grabbed a copy on the newsstand. Let me refresh your memory. Fangoria (subtitled “Monsters—Aliens—Bizarre Creatures”) catered to aficionados of the new wave of hypergory spectacle, luring them in with grisly covers, which featured decomposing heads, exploding heads, more decomposing heads, and the occasional half-man/half-cat head. Famous Monsters of Filmland, the “Chiller”-era fan magazine, was hopelessly corny in comparison, with its recycled features on Lon Chaney and Val Lewton, its black-and-white ads for Frankenstein model kits and “Planet of the Apes” action figures. Where was the blood? This new breed of horror magazine had buckets of blood, and viscera to boot, in full-color production stills of mortified bodies stuffed into refrigerators, surveys of charred flesh, foldout posters of suppurating corpses. The articles were fawning chronicles of on-set visits, retrospectives of pioneering visionaries, and barely edited interviews with scream queens and fright-film directors. Fangoria adored special-effects guys, young outlaws such as Rob Bottin (“The Howling,” “The Fog”) and such éminences grislies as Dick Smith (“The Living Master of prosthetic makeup on his most elaborate project to date!”). Ads for “The Blood Boutique” counselled aspiring makeup artists on where to send their parents’ checks in exchange for liquid latex and blood capsules (“Bite into ’em—they mix with saliva to produce plenty of you-know-what. They taste good, too!”). News that would be an evanescent blip on one of today’s entertainment blogs—Principal photography has finished on “Inseminoid”? Sam Raimi announces “Evil Dead”?—became, in the pages of Fangoria, the heralding of genius. Savini devised the effects for “Dawn of the Dead” that afflicted me with my zombie dreams. He used those creatures to practice his craft, and my subconscious used them to sort out how I felt about other people. We were both turning human beings into monsters, though only he was getting a paycheck for it. It was like getting paid for breathing. The Thalia, the local repertoire theatre, was only a few blocks from my house (we’d moved again, we were always moving), so there was a good chance that I could make it there without being seen. I couldn’t think of anyone who’d want to go to the documentary double feature with me. It was 1985, and my sisters didn’t live at home anymore. My parents usually lit out for Long Island on the weekends. My brother and I were in high school now, and we’d gone our separate ways, beset by our particular adolescent predicaments. The clever reader will have caught on that I was not dating much. I was on my own. I’d never gone to the movies by myself before and I would have had a hard time articulating why I wanted to see “Document of the Dead,” about the making of “Dawn of the Dead,” and “Demon Lover Diary,” which captured the behind-the-scenes turmoil of a movie called “Demon Lover.” Minus a few trips to drive-ins, the last double feature I’d seen had been a bill of “Grizzly” and “The Legend of Hell House,” way uptown. Less marijuana smoke drifted through air that day at the Thalia: I was hanging out in classier places, at least. I hadn’t seen “Demon Lover” itself, but there was an entry for it in my new companion, Michael Weldon’s “The Psychotronic Encyclopedia of Film.” This was before the Internet, right? How to know if something was worth checking out? How to hear about that oddball gem which had eluded syndication and the video store? Like many a great American innovator, Weldon had recognized a problem and applied himself. His project grew from a weekly Xerox, which he assembled in his East Village apartment, into an encyclopedia that was eight hundred pages long and covered more than three thousand films, from “Abbott and Costello Go to Mars” to “Zotz!” Psychotronic films were, most simply, exploitation flicks, B-movies in all their shameful exuberance. Their directors occupied the bottom rung on the ladder, below the Famous Directors, the Masters of Horror, and the Kings of Gore. Weldon defined the movies this way: Psychotronic films range from sincere social commentary to degrading trash. They concern teenagers, rock ’n’ roll, juvenile delinquents, monsters, aliens, killers, spies, detectives, bikers, communists, drugs, natural catastrophes, atomic bombs, the prehistoric past, and the projected future. They star ex-models, ex-sports stars, would-be Marilyns, future Presidents (and First Ladies), dead rock stars, and has-beens of all types. They exploited cultural trends and fads, and buried cultural trends and fads with the shoddy facts of themselves. They were the realization of their incompetent creators’ dreams, and, as such, the most powerful indictment of their creators’ empty vision. I needed the “Psychotronic.” The days of bonding over body counts with my family were over. I was solo in the pop-culture wasteland, forced to rely on what I scavenged from the arts pages of The Village Voice, from punk/post-punk/whatever zines such as Forced Exposure, and from Weldon’s encyclopedia. I read the “Psychotronic” over and over, the “I”s today, the “R”s tomorrow. I’d gorged myself on so many crap horror films that crap was now my preferred flavor profile, no matter the genre. I checked off entries one by one, rented biker movies (“Satan’s Sadists”), secret-agent parodies (“In Like Flint”), and Paul Bartel’s “Rock ’N’ Roll High School” yet again. I was too shy to rent a women-in-prison movie, but that’s what Cinemax was for. Speaking of women in prison, have you, by any chance, seen Jonathan Demme’s début, “Caged Heat!”? Considered by some to be the high-water mark of the genre . . . By now you know that we sometimes take an unexpected road to find our voices. Weldon’s book was proof that even the most unlikely idea had a chance. If these movies existed, then surely whatever measly story was bubbling in my brain was not so preposterous. The psychotronic movie’s disregard for mimesis, its sociopathic understanding of human interaction, its indifferent acting, and its laughable sets were a kind of ritualized mediocrity. The filmmakers were so inept in their portrayal of any kind of recognizable reality that their creations became a form of grubby science fiction, documentaries about an alternative planet. It was certainly not our Earth that they depicted. In what dim corner of the galaxy would the “The Atomic Man” make sense? “Due to an overdose of radiation, his mind works seven seconds ahead. He can’t speak coherently but always knows the immediate future.” Even Weldon, a champion of this stuff, was occasionally dumbstruck, as in his description of “The Witches’ Mirror”: “A man is haunted by the ghost of his first wife who makes him disfigure his new wife. He uses skin from corpses to restore her face. The ghost can change into an owl or a cat. With a dwarf and a witch. Pretty strange.” Yet, somehow, these Psychotronic Practitioners had scrounged up money for their misbegotten operations and conned actors and neighbors into appearing in them. They were unaware of their utter freakishness, unaware that the world found them absurd, as they toiled in the tunnels below the Famous Directors and the Masters of Horror, like clueless C.H.U.D.s. As a kid, I’d got stuck on the idea of monsters as people who had stopped pretending. My psychotronic explorations led me to a new formulation: an artist is a monster that thinks it is human. Billed as the “First Monster Musical,” Ray Dennis Steckler’s “The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies!!?” (1964) is a masterwork of incompetence. After hearing about it for years, I finally saw it in 1996, on a double bill with “Rat Pfink a Boo Boo,” Steckler’s Batman-and-Robin pastiche (don’t ask). I was in my twenties, long past my B-movie phase, and working on what would become my first published novel. In the eighties, when I was reading up on exploitation flicks, I’d seen “Incredibly Strange Creatures” routinely characterized as a celluloid atrocity, “the worst movie ever made,” mostly on account of its title, I think. (If, like me, you operate under the assumption that the world is only getting worse, at an ever-accelerating rate, then you’ll agree that “Incredibly Strange Creatures” has been out-awfulled plenty of times in the past thirty years. No need for superlatives.) Steckler was in his mid-twenties when he made this film, on the ultra-cheap, for thirty grand. Padded out with tepid dance numbers, miserable musical interludes, and a pathological amount of B-roll, “Incredibly Strange Creatures” follows a juvenile delinquent named Jerry as he is inducted into a murderous menagerie. It’s never quite clear why the fortune-teller Estrella brainwashes her victims with a Hypno-Wheel, disfigures them with acid, and then locks up her minions in the back of her shop, but with this type of film it is not enough to suspend your disbelief—you have to throw it in a gunnysack and drop it off a bridge in the dark of night. The acting is risible, sure, and the attitude toward basic filmmaking conventions blasé, almost insolent. This is a musical whose big number is a dance of abjection between the filmmaker and the viewer. You laugh at it. You laugh with it. Then you stop laughing, because you realize that the film is laughing at you for watching it: you have been somehow captured in its frames—mesmerized and monsterized, another victim of Estrella’s Hypno-Wheel. Then a character opens his mouth to utter some banality, and you’re laughing at it again. The natural order is restored.
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"https://static.wikia.nocookie.net/6c42ce6a-b205-41f5-82c6-5011721932e7", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to Xenopedia" ]	2024-07-12T14:06:28+00:00	Alien is a 1979 science fiction horror film directed by Ridley Scott and starring Tom Skerrit, Sigourney Weaver, Veronica Cartwright, Harry Dean Stanton, John Hurt, Ian Holm and Yaphet Kotto. The first media in the Alien franchise, the film focuses on a highly aggressive extraterrestrial...	en	https://static.wikia.nocookie.net/avp/images/4/4a/Site-favicon.ico/revision/latest?cb=20210531191850	Xenopedia	https://avp.fandom.com/wiki/Alien_(film)	Alien is a 1979 science fiction horror film directed by Ridley Scott and starring Tom Skerrit, Sigourney Weaver, Veronica Cartwright, Harry Dean Stanton, John Hurt, Ian Holm and Yaphet Kotto. The first media in the Alien franchise, the film focuses on a highly aggressive extraterrestrial creature that gets aboard a haulage spacecraft, where it begins stalking and killing its crew. Dan O'Bannon wrote the screenplay from a story by him and Ronald Shusett, drawing influence from previous works of science fiction and horror; producers David Giler and Walter Hill later made significant revisions and additions to the script, although they were not credited for their contributions. The movie was primarily filmed at Shepperton Studios near London, England, and was produced through Brandywine Productions and distributed by 20th Century Fox. The titular Alien and its accompanying elements were designed by Swiss surrealist artist H. R. Giger, while concept artists Ron Cobb and Chris Foss designed the human aspects of the film. Alien garnered both critical acclaim and box office success, receiving an Academy Award for Best Visual Effects, Saturn Awards for Best Science Fiction Film, Best Direction for Scott, and Best Supporting Actress for Cartwright, and a Hugo Award for Best Dramatic Presentation, along with numerous other award nominations. It has remained highly praised in subsequent decades, being inducted into the National Film Registry of the Library of Congress in 2002 for historical preservation as a film which is "culturally, historically, or aesthetically significant". In 2008 it was ranked as the seventh-best film in the science fiction genre by the American Film Institute, and as the thirty-third greatest movie of all time by Empire magazine. The success of Alien spawned a media franchise of novels, comic books, video games, and toys, as well as three sequel and two prequel films. It launched Weaver's acting career by providing her with her first lead role, and the story of her character Ripley's encounters with the Alien creatures became the thematic thread that ran through the film sequels Aliens (1986), Alien3 (1992) and Alien Resurrection (1997). The film also led to two crossover movies with the Predator franchise, Alien vs. Predator (2004) and Aliens vs. Predator: Requiem (2007), as well as a prequel series comprising Prometheus (2012) and Alien: Covenant (2017). Plot[] While returning to Earth, the commercial star freighter USCSS Nostromo, towing a refinery platform filled with 20,000,000 tons of mineral ore, detects a mysterious transmission from a nearby moon. In response, the ship's AI awakens the seven-man crew from stasis. Required by standing orders from their corporate employers to investigate the signal, the crew detach Nostromo from its cargo and set down on the moon. Captain Dallas, Executive Officer Kane and Navigator Lambert set out on foot to investigate the signal's source, while Warrant Officer Ripley, Science Officer Ash, and Engineers Brett and Parker stay behind to monitor their progress and repair damage caused during the unscheduled landing. Dallas, Kane and Lambert discover that the transmission is coming from a bizarre derelict alien spacecraft. Inside, they find the remains of a large alien creature, whose ribs appear to have been exploded outward from the inside. Meanwhile, Nostromo's computer software partially deciphers the signal coming from the ship and Ripley determines that it is not a distress call as previously assumed, but rather some kind of warning. However, it is too late to contact her crewmates on the surface to warn them. Within the derelict, Kane discovers a vast chamber containing numerous eggs, one of which releases a creature that attaches itself to his face. Dallas and Lambert carry the unconscious Kane back to Nostromo where Ash allows them inside, defying Ripley's orders to follow the ship's quarantine protocol. They unsuccessfully attempt to remove the creature from Kane's face, discovering that its blood is an extremely corrosive molecular acid. Eventually the creature detaches of its own accord and is found dead. With the ship repaired, the crew resume their trip back to Earth. Kane awakens seemingly unharmed, but during a meal before re-entering stasis he begins to choke and convulse, until an alien creature bursts from his chest, killing him in the process before escaping into the ship. Lacking conventional weapons, the crew attempt to locate and capture the creature by fashioning motion detectors, electric prods and nets. During the search, Brett follows the crew's cat, Jones, into a large storage room where he encounters the Alien, which has now grown into a formidable being larger than a man. It swiftly mauls him and flees with his body into the ship's air shafts. Intending to flush the Alien from the shafts and into an airlock, Dallas arms himself with a flamethrower and heads into the vents, but the creature ambushes him and disappears with his body. Lambert implores the remaining crew members to escape in Nostromo's shuttle, but Ripley, now in command, explains that the shuttle will not support four people. Accessing the ship's computer, Ripley discovers that Nostromo's corporate employers had known about the Alien all along, and that Ash was placed aboard with a secret order to return the creature to them, even at the expense of the crew's lives. Before she can warn the others, she is attacked by Ash, who attempts to kill her. She is saved when Parker intervenes, decapitating Ash with a blow from a fire extinguisher and revealing him to be an android. The crew interrogate Ash's remains, and he confirms the company's intentions for the creature before smugly predicting that the remaining crew will not survive. Parker incinerates Ash in a rage. Devastated by the revelations, the survivors plan to arm Nostromo's self-destruct system and take their chances in the shuttle, but Parker and Lambert are killed by the Alien while gathering the necessary supplies. Desperate, Ripley initiates the destruct sequence and heads for the shuttle with Jones the cat but finds the Alien blocking her way. Cut off from escape, she attempts to abort the self-destruct but misses the deadline. With no alternative, she makes for the shuttle once more. She finds the Alien is gone and narrowly escapes in the shuttle as Nostromo explodes. As she prepares to enter stasis, Ripley discovers the Alien has in fact stowed away aboard the shuttle with her. She puts on a pressure suit and opens the exterior hatch, trying to blow the Alien out with the resultant explosive decompression, but it grips onto the doorway. Ripley shoots it with a grappling gun and the impact propels the creature out; in the process, the gun is ripped from her hands and catches in the closing door, tethering the wounded Alien to the shuttle. It attempts to crawl back inside though one of the engines, at which point Ripley activates them and incinerates it, blasting the creature into space. With the Alien destroyed, Ripley broadcasts a distress call before putting herself and Jones into stasis for the return journey to Earth. Cast[] Dallas .... Tom Skerritt Ripley .... Sigourney Weaver Lambert .... Veronica Cartwright Brett .... Harry Dean Stanton Kane .... John Hurt Ash .... Ian Holm Parker .... Yaphet Kotto Alien .... Bolaji Badejo Eddie Powell Roy Scammell Percy Edwards (voice) Voice of "Mother" .... Helen Horton Writing[] Dan O'Bannon and Ronald Shusett[] The impetus for Dan O'Bannon to write Alien stemmed from Dark Star, an ultra-low-budget science fiction comedy he had made with Ron Cobb and director John Carpenter while studying cinema at the University of Southern California.[3] Dark Star included an alien which had been created using a spray-painted beach ball, and the experience left O'Bannon "really wanting to do an alien that looked real."[3] The relatively cold reception the comedy Dark Star had received also led O'Bannon in the direction of a horror film — his reasoning being that while it was hard to make people laugh due to the diverse nature of comedy, it was easy to scare an audience as fear is almost universal.[4] As he was working on this new concept, O'Bannon was contacted by fellow screenwriter Ronald Shusett, who had been impressed by Dark Star, and the two agreed to collaborate. At the time, Shusett was working on an early version of what would become Total Recall (starring Arnold Schwarzenegger), but the pair elected to pursue O'Bannon's concept first as they believed it would be the cheaper of the two to produce.[3] The project, at this point titled Memory,[5] would eventually form the first half of Alien: the crew of a spacecraft wake from stasis to find their journey home is not yet complete, and soon learn that they have been roused in response to a mysterious signal being received from an uninhabited planet. They set down to investigate and their ship malfunctions, stranding them there. However, O'Bannon did not yet have any ideas for the alien menace that would subsequently terrorize them.[3] Work on Memory stalled while O'Bannon accepted an offer to work on a film adaptation of Dune. While the project ultimately fell through, it introduced O'Bannon to several artists who would influence Alien, not least of all H. R. Giger.[3] Inspired by Giger's disturbing yet beautiful artwork, O'Bannon resumed work on Memory.[4] At Shusett's suggestion, he combined the script with another he had written about gremlins infiltrating a B-17 bomber over Tokyo during World War II;[4] the location was simply switched to a spaceship, and O'Bannon had the second half of his story, now titled Star Beast.[3] Shusett is credited with the key concept of getting the alien creature on board the ship by having it implanted inside one of the crew, only to later burst out of him, an idea that came to him in a dream.[6] O'Bannon, meanwhile, was adamant that the titular creature be mortal, wanting to avoid the indestructible monster trope common in horror at the time, and as a result needed to find some way to prevent the crew from simply killing their tormentor. Help eventually came from Ron Cobb, who suggested giving the Alien acid blood. "That was Ron's idea and I want everyone to know it," O'Bannon later recalled. "I wanted the thing to be, in every respect, a natural animal, which means yes, if you shoot it, it'll die."[7] While he was thrilled with the story, O'Bannon disliked the title, and eventually changed it to Alien after noticing the number of times the word appeared in the screenplay. He and Shusett liked the new title's simplicity, as well as its double meaning as both a noun and an adjective.[3] O'Bannon drew inspiration for his script from various sources, later stating, "I didn't steal Alien from anybody. I stole it from everybody!"[8] The Thing from Another World (1951) inspired the idea of professional men being pursued by a deadly alien creature through a claustrophobic environment[8] (Dark Star director John Carpenter would later direct a film version of this story in 1982, titled The Thing). Forbidden Planet (1956) gave O'Bannon the idea of a ship being warned not to land, and then the crew being killed one by one by a mysterious creature when they defy the warning.[8] Planet of the Vampires (1965) contains a scene in which the heroes discover a giant alien skeleton; this influenced the Nostromo crew's discovery of the alien creature in the derelict spacecraft. It! The Terror From Beyond Space and the works of H. P. Lovecraft have also been cited as likely influences.[4] Walter Hill and David Giler[] While O'Bannon and Shusett almost signed a deal to produce Alien as a low-budget feature with Roger Corman's studio, a friend offered to find them a better deal and passed their script on to Walter Hill, David Giler and Gordon Carroll at Brandywine Productions, which had ties to 20th Century Fox; supposedly, the script was literally found its way to Hill's desk through the window of his office, which backed onto an accessible alleyway.[9] While Hill was immediately drawn to the script, Giler was and has remained adamantly dismissive of O'Bannon and Shusett's work, labelling it the "bone skeleton of a story then. Really terrible. Just awful. You couldn't give it away."[4] Despite this, both men were thrilled by the now-infamous Chestburster scene, and based on the strength of this core idea Hill and Giler began making revisions to the script.[3] Aside from changing the names of the characters, Hill and Giler sought to remove many of the extraterrestrial aspects from the story. For example, the original alien stone pyramid where the Eggs were to be found was replaced by a man-made military facility containing biological weapons. "They wanted that to be an army bunker for some reason," said Shusett. "I guess they just went, 'Okay this will give it realism,' and that's boring."[4] These alterations were later vetoed by director Ridley Scott at O'Bannon and Shusett's behest, and the origins of the creature again became extraterrestrial.[4] Other more outlandish ideas were likewise blocked, including appearances by characters such as Genghis Khan, Attila the Hun and Jack the Ripper.[4] Despite the rejection of these alterations, some significant changes stuck. Most notably, Hill and Giler came up with the character of Ash and the subplot of his being an android acting on secret company orders. O'Bannon was dismissive of the idea, while Shusett was more amiable, describing Ash as "one of the best things in the movie... That whole idea and scenario was theirs."[3] Another key change came from Fox's then-President Alan Ladd, Jr., who is credited with suggesting the character of Ripley be turned into a woman in order to make the film stand out from its contemporaries.[9] The battle over the script led to huge tension between the four writers, O'Bannon and Shusett one one side and Hill and Giler on the other. Despite his subsequent praise for some of the ideas they added, Shusett was generally dismissive of their tampering, stating, "They weren't good at making it better, or in fact at not making it even worse."[3] O'Bannon went further, claiming Hill and Giler were simply seeking to justify the removal of his and Shusett's names from the screenplay, so that they could claim it as their own.[3] With rewrites continuing even as filming was taking place, O'Bannon and Shusett were eventually brought back into the fold to finalize the script.[4] Writing credits[] The battle over the script came to a head when it came time to apportion screenplay credits for the film. According to O'Bannon, the film was originally to be credited solely to Hill and Giler.[3] As a result, O'Bannon filed a complaint with the Writers Guild of America, who eventually ruled in his favor. Despite an appeal by Hill, the film ultimately credited its story to O'Bannon and Shusett, and the screenplay to O'Bannon; Hill and Giler were not mentioned at all. However, despite this official ruling, it is certain Hill and Giler contributed at least some aspects to the finished film. The outcome of the writing process led to on-going hostility between O'Bannon and the producers, with Giler continuing to accuse O'Bannon of stealing his writing credit on the film, and eventually O'Bannon took legal action to close the matter for good.[4] "In the end," summed up Giler, "the plot in O'Bannon's Alien and the one in ours are the same. Basically the same. And yet, they are as different as night and day. It's something subtler than the Writer's Guild is equipped to handle. Though the storylines are basically the same, what happens to the characters has been changed drastically. That is what has been altered."[4] Set Design[] Initial concept work for the film was carried out by Ron Cobb and Chris Foss. The production was keen to ensure the sets of Alien had a unique look. According to production designer Michael Seymour, "We were very concerned about avoiding any direct influence from previous space productions. We took the trouble to show ourselves Star Wars, Close Encounters [of the Third Kind], Silent Running and 2001: A Space Odyssey a couple of times. Our objective? To avoid any clear reference to any of them!"[10] Originally, Giger was only to design the titular Alien, but as time went on it was decided to have the Swiss artist work on all of the film's alien environments, including the planetoid and the derelict spacecraft. In this way, the extraterrestrial aspects were guaranteed to contrast with the look of the human spacecraft Nostromo, designed by Cobb. The sets of the Nostromo's three decks were each created almost entirely in one piece, with each deck occupying a separate stage and the various rooms interconnected via corridors. To move around the sets, the actors had to navigate through the hallways of the ship, adding to the film's sense of claustrophobia and realism. The sets used large transistors and low-resolution computer screens to give the ship a "used", industrial look and make it appear as though it was constructed of "retrofitted old technology". Cobb created a system of industrial-style symbols and color-coded signs for various areas and aspects of the ship; these symbols were later used for the trophy/achievement icons in the video game Alien: Isolation. The company that owns the Nostromo is not named in the film, and is referred to by the characters simply as "the company". However, the name and logo of "Weylan-Yutani" appears on several set pieces and props, such as computer monitors, beer cans and the actors' costumes. Cobb created the name Weylan-Yutani to imply a business alliance between Britain and Japan, deriving "Weylan" from the British Leyland Motor Corporation and "Yutani" from the name of his Japanese neighbor. The 1986 sequel Aliens explicitly named the company as "Weyland-Yutani", and it has remained a central aspect of the franchise ever since. Art director Roger Christian used scrap metal and parts to create set pieces and props to save money, a technique he employed while working on Star Wars. Some of the Nostromo's corridors were created from portions of scrapped bomber aircraft, and a mirror was used to create the illusion of longer corridors in the below-deck area. Special effects supervisors Brian Johnson and Nick Allder made many of the set pieces and props function, including moving chairs, computer monitors, motion trackers and flamethrowers. Four identical cats were used to portray Jones, the Nostromo crew's pet. During filming Sigourney Weaver discovered that she was allergic to the combination of cat hair and the glycerin placed on the actors' skin to make them appear sweaty. By removing the glycerin she was able to continue working with the cats.[3] H. R. Giger designed and worked on all of the alien aspects of the film, including the derelict, which he designed to appear organic and biomechanical in contrast to the industrial look of the Nostromo and its human elements. For the interior of the derelict and the Egg chamber he used dried bones together with plaster to sculpt much of the scenery and elements. Veronica Cartwright described Giger's sets as "so erotic... It's big vaginas and penises... The whole thing is like you're going inside of some sort of womb or whatever... It's sort of visceral".[3] The set with the deceased Engineer Pilot, nicknamed the "Space Jockey" by the production team, proved especially problematic, as 20th Century Fox did not want to spend the money for such an expensive set when it would only be used for one scene. Scott described the set as the cockpit or driving deck of the mysterious ship, and the production team was able to convince the studio that the scene was important to impress the audience and make them aware that this was not a B-movie. To save money only one wall of the set was created, and the Pilot sat atop a disc that could be rotated to facilitate shots from different angles in relation to the actors. Giger airbrushed the entire set and the Pilot by hand. The origin of the Pilot creature was not explored in the film, but Scott later theorized that the ship might have been a weapons carrier capable of dropping Xenomorph Eggs onto a planet so that the Xenomorphs could use the local lifeforms as hosts.[11] In early versions of the script the Eggs were to be located in a separate, pyramid-shaped silo, which would be found later by the Nostromo crew and would contain statues and hieroglyphs depicting the Xenomorph reproductive cycle, offering a contrast of the human, Xenomorph and Engineer cultures. Cobb and Giger each created concept artwork for these sequences, but they were eventually discarded due to budgetary concerns and the need to trim the length of the film. Instead, the Egg chamber was set inside the derelict and was filmed on the same set as the Pilot scene; the entire disc piece supporting the Pilot and its chair was removed and the set was redressed to create the Egg chamber. Light effects in the Egg chamber were created by lasers borrowed from English rock band The Who.[3] The band was testing the lasers for use in their stage show in the sound stage next door. Filming[] Alien was filmed over fourteen weeks from July 5 to October 21, 1978.[12] Principal photography took place at Shepperton Studios near London, while model and miniature filming was done at Bray Studios near Maidenhead, Berkshire. Production time was short due to the film's low budget and pressure from 20th Century Fox to finish on schedule — filming actually began before many of the complex sets were completed, with Scott having to frame his shots to work around sections that were unfinished.[13] A crew of over 200 workmen and technicians constructed the three principal sets: the surface of the planetoid, and the interiors of the Nostromo and the derelict. Art director Les Dilley created 1/24th scale miniatures of the planetoid's surface and derelict spacecraft based on H. R. Giger's designs, then made molds and casts and scaled them up as diagrams for the wood and fiberglass forms of the sets. Tons of sand, plaster, fiberglass, rock and gravel were shipped into the studio to sculpt a desert landscape for the planetoid's surface, which the actors would walk across wearing space suit costumes. The suits themselves were thick, bulky and lined with nylon, had no cooling systems and, initially, no venting for their exhaled carbon dioxide to escape. Combined with a heat wave, these conditions nearly caused the actors to pass out and nurses had to be kept on-hand with oxygen tanks to help keep them going. For scenes showing the exterior of the Nostromo, a 58-foot (18 m) landing leg was constructed to give a sense of the ship's size. Ridley Scott still did not think that it looked large enough, so he had his two sons, Luke and Jake, and the son of one of the cameramen stand in for the regular actors, wearing smaller space suits to make the set pieces seem larger.[6] The same technique was used for the scene in which the crew members encounter the dead Pilot inside the derelict spacecraft. Like the adults, the children nearly collapsed due to the heat of the suits, and eventually oxygen systems were added to assist the actors in breathing. The film was originally to conclude with the destruction of the Nostromo and Ripley escaping in the shuttle Narcissus. However, Ridley Scott conceived of a "fourth act" in which the Alien appears on the shuttle and Ripley is forced to confront it. He pitched the idea to 20th Century Fox and negotiated an increase in the budget to film the scene over several extra days. Scott had wanted the Alien to bite off Ripley's head and then make the final log entry in her voice, but the producers vetoed this idea as they believed that the Alien had to die at the end of the film. Special Effects[] Spaceships and planetoid[] See also: USCSS Nostromo and Acheron (LV-426) The spaceships and planets for the film were shot using models and miniatures. These included models of the Nostromo, its attached mineral refinery, the escape shuttle Narcissus, the planetoid and the exterior and interior of the derelict. Visual effects supervisor Brian Johnson, supervising modelmaker Martin Bower and their team worked at Bray Studios, roughly 30 miles (48 km) from Shepperton Studios where principal filming was taking place. The designs of the Nostromo and its attachments were based on combinations of Ridley Scott's storyboards and Ron Cobb's conceptual drawings. Only one shot was filmed using blue screen compositing: that of the shuttle racing past the Nostromo. The other shots were simply filmed against black backdrops, with stars added via double exposure. Though motion control photography technology was available at the time, the film's budget would not allow for it. The team, therefore, used a camera with wide-angle lenses mounted on a drive mechanism to make slow passes over and around the models filming at 2½ frames per second, giving them the appearance of motion. Scott added smoke and wind effects to enhance the illusion. A separate model was created for the exterior of the derelict. Matte paintings were used to fill in areas of the ship's interior as well as for exterior shots of the planetoid's surface. The surface as seen from space during the landing sequence was created by painting a globe white, then mixing chemicals and dyes in a tank, photographing the results and projecting these images onto the sphere.[14] The planetoid was not named in the film, although in Aliens it is christened LV-426. In Alien the planetoid is said to be located somewhere in the Zeta2 Reticuli system. Egg and Facehugger[] See also: Ovomorph (Egg) and Facehugger The scene of Kane inspecting the Egg was shot during post-production. The "Facehugger" and its proboscis, which was made of a sheep's intestine, were shot out of the Egg using high-pressure air hoses. The Facehugger itself was the first creature that Giger designed for the film, going through several versions in different sizes before deciding on a small creature with human-like fingers and a long tail. Dan O'Bannon drew his own version based on Giger's design, with help from Ron Cobb, which became the final version. Cobb came up with the idea that the creature could have a powerful acid blood, a characteristic that would carry over to the adult Alien and would make it impossible for the crew to kill it by conventional means such as guns or explosives, since the acid would burn through the ship's hull. Chestburster[] See also: Chestburster The design of the "Chestburster" was inspired by Francis Bacon's 1944 painting Three Studies for Figures at the Base of a Crucifixion. Giger's original design resembled a plucked chicken, which was redesigned and refined by effects artist Roger Dicken into the final version seen on-screen. When the creature burst through the prosthetic chest appliance worn by John Hurt, a stream of blood shot directly at Veronica Cartwright, shocking her enough that she fell over and went into hysterics. According to Tom Skerritt, "What you saw on camera was the real response. She had no idea what the hell happened. All of a sudden this thing just came up."[3] The creature then runs off-camera, an effect accomplished by cutting a slit in the table for the puppeteer's stick to go through and passing an air hose through the puppet's tail to make it whip around. The real-life surprise of the actors gave the scene an intense sense of realism and made it one of the film's most memorable moments. During preview screenings the crew noticed that some viewers would move towards the back of the theater so as not to be too close to the screen during the sequence. In subsequent years the Chestburster scene has often been voted as one of the most memorable moments in film. In 2007, the British film magazine Empire named it as the greatest 18-rated moment in film as part of its "18th birthday" issue, ranking it above the decapitation scene in The Omen (1976) and the transformation sequence in An American Werewolf in London (1981). The Alien[] See also: The Alien (Xenomorph) For most of the film's scenes the titular Alien was portrayed by Bolaji Badejo, a Nigerian design student supposedly encountered by the crew in an English pub.[3] A latex costume was specifically made to fit Badejo's 7-foot-2-inch (218 cm) slender frame, made by taking a full-body plaster cast of him. Scott later commented that, "It's a man in a suit, but then it would be, wouldn't it? It takes on elements of the host – in this case, a man." Badejo attended t'ai chi and mime classes in order to create convincing movements for the Alien. Although Badejo was the principle Alien actor, in several famous scenes the creature was actually portrayed by stuntmen Eddie Powell and Roy Scammell. These include the scene where the fully-grown creature is first revealed, when it lowers itself from the ceiling to kill Brett; in the sequence a costumed Powell was suspended on wires and then lowered in a graceful unfurling motion. Shots of the Alien inside the vents also did not feature Badejo, as he simply could not fit inside the restrictive set. Scott chose not to show the Alien in full through most of the film, showing only pieces of it while keeping most of its body in shadow in order to heighten the sense of terror and suspense. The audience could thus project their own fears into imagining what the rest of the creature might look like: "Every movement is going to be very slow, very graceful, and the Alien will alter shape so you never really know exactly what he looks like." The Alien has been referred to as "one of the most iconic movie monsters in film history" in the decades since the film's release, being noted for its biomechanical appearance and sexual overtones. Roger Ebert has remarked that "Alien uses a tricky device to keep the alien fresh throughout the movie: It evolves the nature and appearance of the creature, so we never know quite what it looks like or what it can do... The first time we get a good look at the alien, as it bursts from the chest of poor Kane (John Hurt). It is unmistakably phallic in shape, and the critic Tim Dirks mentions its 'open, dripping vaginal mouth.'" Title Design[] Alien's iconic opening titles, in which the letters of the word A L I E N gradually appear on the screen one piece at a time, was created by the graphic designers Richard Greenberg, who had created the distinctive "flypast" opening credits for Richard Donner's Superman the previous year. The slowly-assembled title was originally intended to appear only in the film's minimalistic teaser trailer, but Scott was so impressed with the design that he incorporated it into the opening credits of the film as well; he would later call the titles the best of any film he has made.[15] The simplistic typeface was also utilized on virtually all of the movie's posters.[16] The same style of gradually-assembled title was later employed in Prometheus and Alien: Covenant, and was also used in the opening credits of the video game Alien: Isolation. Music[] See: Alien (soundtrack) Editing[] Editing and post-production work on Alien took roughly twenty weeks to complete. Terry Rawlings served as editor, having previously worked with Scott on editing sound for The Duellists (1977). Scott and Rawlings edited much of the film to have a slow pace to build suspense for the more tense and frightening moments. According to Rawlings, "I think the way we did get it right was by keeping it slow, funny enough, which is completely different from what they do today. And I think the slowness of it made the moments that you wanted people to be sort of scared... then we could go as fast as we liked because you've sucked people into a corner and then attacked them, so to speak. And I think that's how it worked."[3] The first cut of the film shown to studio executives ran for two hours and 22 minutes;[17] further editing trimmed the final version to just under two hours. One famous scene that was cut from the film occurred during Ripley's final escape from the Nostromo: she encounters Dallas and Brett who have been partially cocooned by the Alien. O'Bannon had intended the scene to indicate that the captured crew were be transformed into new Eggs by the Alien, thus completing the creature's life cycle. Production designer Michael Seymour later suggested that Dallas had "become sort of food for the alien creature", while Ivor Powell explained that "Dallas is found in the ship as an egg, still alive." Director Scott remarked, "They're morphing, metamorphosing, they are changing into... being consumed, I guess, by whatever the Alien's organism is... into an egg." The scene was cut partly because it did not look realistic enough and partly because it slowed the pace of the escape sequence. Tom Skerritt remarked that, "The picture had to have that pace. Her trying to get the hell out of there, we're all rooting for her to get out of there, and for her to slow up and have a conversation with Dallas was not appropriate."[3] The scene was later reinstated in the film's Director's Cut. Deleted Scenes[] See: Alien deleted scenes Release and Reception[] An initial screening of Alien for 20th Century Fox representatives in St. Louis suffered from poor sound in the theater. A subsequent screening in a newer theater in Dallas went significantly better, eliciting genuine fright from the audience. Two theatrical trailers were shown to the public. The first consisted of rapidly changing still images set to some of Jerry Goldsmith's electronic music from Logan's Run. The second, more famous trailer began with test footage of the Xenomorph Egg — in fact a decorated hen's egg — followed by silent clips of the movie set to haunting, alien "wailing" music, composed especially by Jonathan Elias. The music from this trailer has subsequently been used in other Alien media, including documentaries and the trailer for Prometheus. The film was previewed in various American cities in the spring of 1979 and was promoted by the now-iconic tagline "In space no one can hear you scream". Alien opened in theaters on May 25, 1979. It was rated "R" in the United States, "X" in the United Kingdom, and "M" in Australia. The film had no official premier in the United States, yet moviegoers lined up for blocks to see it at Grauman's Egyptian Theatre in Hollywood where a number of models, sets and props were displayed outside to promote it during its first run — religious zealots set fire to the model of the "space jockey", believing it to be the work of the devil. Despite showing in only 100 theaters nationwide, the film grossed $3.5 million in its first four days of release.[17] Alien did have a formal premiere in the United Kingdom, at the Odeon Leicester Square on September 6, 1979, but it did not open widely in Britain until January 13, 1980. Critical reaction to the film was initially mixed. Some critics who were not usually favorable towards science fiction, such as Barry Norman of the BBC's Film series, were positive about the film's merits. Others, however, were not: Reviews by Variety, Sight and Sound, Vincent Canby and Leonard Maltin were mixed or negative. A review by Time Out said the film was an "empty bag of tricks whose production values and expensive trickery cannot disguise imaginative poverty". H. R. Giger later commented that Alien was a third-rate film, and said that he was secretly glad that he didn't "get a fair mention in the screen credits." The film was a commercial success, making $78,900,000 in the United States and £7,886,000 in the United Kingdom during its first run. It ultimately grossed $80,931,801 in the United States and $24,000,000 internationally, bringing its total worldwide gross to $104,931,801. Accolades[] Alien won the 1979 Academy Award for Visual Effects and was also nominated for Best Art Direction (for Michael Seymour, Les Dilley, Roger Christian, and Ian Whittaker). It won Saturn Awards for Best Science Fiction Film, Best Direction for Ridley Scott, and Best Supporting Actress for Veronica Cartwright, and was also nominated in the categories of Best Actress for Sigourney Weaver, Best Make-up for Pat Hay, Best Special Effects for Brian Johnson and Nick Allder, and Best Writing for Dan O'Bannon. It was also nominated for British Academy of Film and Television Arts (BAFTA) awards for Best Costume Design for John Mollo, Best Editing for Terry Rawlings, Best Supporting Actor for John Hurt, and Most Promising Newcomer to Leading Film Role for Sigourney Weaver. It also won a Hugo Award for Best Dramatic Presentation and was nominated for a British Society of Cinematographers award for Best Cinematography for Derek Vanlint, as well as a Silver Seashell award for Best Cinematography and Special Effects at the San Sebastián International Film Festival. Jerry Goldsmith's score received nominations for the Golden Globe Award for Best Original Score, the Grammy Award for Best Soundtrack Album, and a BAFTA Award for Best Film Music. Home video releases[] Alien has been released numerous times in multiple home video formats over the years. The first of these was a drastically edited seventeen-minute Super-8 version for home projectionists. The film was also released on both VHS and Betamax for rental, which grossed an additional $40,300,000 in the United States alone. Several VHS releases were subsequently sold both singly and as boxed sets. LaserDisc and Videodisc versions followed, including the Alien: Special Collectors Edition, which notably included deleted scenes and details on the making of the film. The 1995 THX Laserdisc contains a unique Dolby Digital soundtrack from an unreleased Sensurround print. In the UK, a limited edition Alien Trilogy VHS box set was released in 1993, housed in a Facehugger-shaped case, containing Alien, the extended Special Edition of Aliens and Alien3; this set included some of the deleted scenes from the Special Collectors Edition LaserDisc of Alien as bonus material. To coincide with the release of Alien Resurrection in theaters in 1997, Fox released the Alien Saga VHS box set, containing the first three films along with a bonus Making of Alien Resurrection cassette. A few months later the set was re-released with Alien Resurrection taking the place of the making-of video. Alien was released on DVD in 1999, both singly and packaged with the other three films as The Alien Legacy, which additionally included a commentary track by Ridley Scott and a bonus DVD featuring an exclusive making-of, also titled The Alien Legacy. The set was also released in a VHS version. On December 2, 2003, Alien was released as part of the Alien Quadrilogy DVD box set, which featured both the theatrical release and a new alternate cut of each of the four films in the series, along with a host of bonus features. The Director's Cut of the film was specially created for the set, along with a new commentary track featuring many of the film's actors, writers, and production staff, and a feature-length documentary entitled The Beast Within: Making Alien. Each film was also released separately as a stand-alone DVD, again featuring two versions of each movie. The Alien Quadrilogy set earned Alien a number of new awards and nominations. It won DVDX Exclusive Awards for Best Audio Commentary and Best Overall DVD, Classic Movie, and was also nominated for Best Behind-the-Scenes Program and Best Menu Design. It also won a Sierra Award for Best DVD, and was nominated for a Saturn Award for Best DVD Collection and Golden Satellite Awards for Best DVD Extras and Best Overall DVD. In 2010 both the theatrical version and Director's Cut of Alien were released on Blu-ray Disc as part of the Alien Anthology set. In 2019, as part of the 40th anniversary of the film's original theatrical release, Alien will make its debut in 4K ultra high definition, both on 4K Blu-ray and as part of a limited theatrical re-release. Director's Cut[] See: Alien Director's Cut Merchandising[] A wide range of merchandise items were produced to coincide with Alien's release. Adaptations of the movie included a novelization by Alan Dean Foster (in both adult and "junior" versions), a coffee table photonovel produced by Avon Publications, and a comic strip adaptation of the film by Heavy Metal magazine entitled Alien: The Illustrated Story. Two behind-the-scenes books were released to accompany the film — the first, entitled The Book of Alien, contained many concept sketches and production photographs, as well as details on the making of the movie, while the second, Giger's Alien, focused on the design of the titular creature and the artwork of H. R. Giger. Several tie-in magazines were also produced, including The Officially Authorized Magazine of the Movie Alien, which included a range of behind the scenes articles on the production, and two poster magazines from Paradise Press. Topps released a set of trading cards based on the film. A soundtrack album was also released on vinyl featuring selections of Goldsmith's score; a remixed version of the main theme was even released as a single. Heavy Metal also produced an Alien calendar for the 1980 year. A twelve-inch tall model kit of the Alien was released by the Model Products Corporation in the United States and by Airfix in the United Kingdom. Kenner Products also produced an 18" Alien action figure, as well as a board game in which players raced to be first to reach the shuttle pod while Aliens roamed the Nostromo's corridors and air shafts. Despite the popularity of the Kenner merchandise, the company recalled all of its products due to complaints from parents that the toys were "too scary" and criticism over selling children merchandise for an R-rated film. As a result, the 18" figure in particular has become an incredibly sought-after item.[18] Official Halloween costumes of the Alien were released for October 1979. Several computer games based on the film were released, but not until several years after its theatrical run. Impact and Analysis[] Imitators[] Alien had both an immediate and long-term impact on the science fiction and horror genres. Shortly after its debut, Dan O'Bannon was sued by another writer named Jack Hammer for allegedly plagiarising a script entitled Black Space. However, O'Bannon was able to prove that he had written his Alien script first. In the wake of Alien's success, a number of other filmmakers imitated or adapted some of its elements in their own movies, sometimes even copying its title. One of the first was The Alien Dead (1979), which was renamed at the last minute to cash in on Alien's popularity. Contamination (1980) was initially going to be titled Alien 2 until 20th Century Fox's lawyers contacted writer/director Luigi Cozzi and made him change it. Despite the altered title, the film still built on press coverage of Alien's Chestburster scene by having many similar creatures, which originated from large, slimy eggs, bursting from characters' chests. An unauthorized Italian sequel to Alien, titled Alien 2: On Earth, was released in 1980 and included alien creatures which incubate inside human hosts. Another unauthorized Italian-made sequel from the period, Bruno Mattei's Terminator II, included numerous aspects lifted from Alien and its sequel Aliens. Other notable science fiction films of the era that exploited elements of Alien include Inseminoid (1981), Galaxy of Terror (1981), Forbidden World (1982), Xtro (1982) and Creature (1985). Notably, the sequel to Xtro, Xtro II: The Second Encounter (1991), would include several elements ripped from Alien's sequel, Aliens. Antecedents[] In the decades since its original release critics have analyzed and acknowledged Alien's roots in earlier works of fiction. It has been noted as sharing thematic similarities with earlier science fiction films such as The Thing from Another World (1951) and It! The Terror from Beyond Space (1958), as well as a kinship with other 1970s horror films such as Jaws (1975) and Halloween (1978). Literary connections have also been suggested, including thematic comparisons to And Then There Were None (1939). Many critics have also suggested that the film derives in part from A. E. van Vogt's The Voyage of the Space Beagle (1950), particularly the stories The Black Destroyer, in which a cat-like alien infiltrates the ship and hunts the crew, and Discord in Scarlet, in which an alien implants parasitic eggs inside crew members which then hatch and eat their way out. O'Bannon, however, denies that this was a source of his inspiration for Alien's story. Van Vogt actually initiated a lawsuit against 20th Century Fox over the similarities, but Fox settled out of court. Writer David McIntee has also noted similarities to the Doctor Who episode "The Ark in Space" (1975), in which an insectoid queen alien lays larvae inside humans which later eat their way out, a life cycle inspired by that of the ichneumons wasp. He has also noted similarities between the first half of the film, particularly in early versions of the script, to H.P. Lovecraft's At the Mountains of Madness, "not in storyline, but in dread-building mystery", and calls the finished film "the best Lovecraftian movie ever made, without being a Lovecraft adaptation", due to its similarities in tone and atmosphere to Lovecraft's works. Lasting critical praise[] Alien has continued to receive critical praise over the years, particularly for its realism and unique environment. It has a 96% approval rating at the online review aggregator Rotten Tomatoes based on 82 reviews, while Metacritic gives the Director's Cut an 83% approval rating based on 22 reviews. Critical interest in the film was re-ignited in part by the theatrical release of the "Director's Cut" in 2003. In his "Great Movies" column that year, critic Roger Ebert ranked it among "the most influential of modern action pictures", praising its pacing, atmosphere, and settings: McIntee praises Alien as "possibly the definitive combination of horror thriller with [science fiction] trappings." He notes, however, that it is a horror film first and a science fiction film second, since science fiction normally explores issues of how humanity will develop under other circumstances. Alien, on the other hand, focuses on the plight of people being attacked by a monster: "It's set on a spaceship in the future, but it's about people trying not to get eaten by a drooling monstrous animal. Worse, it's about them trying not to get raped by said drooling monstrous animal." Along with Halloween and Friday the 13th (1980), he describes it as a prototype for the slasher film genre: "The reason it's such a good movie, and wowed both the critics, who normally frown on the genre, and the casual cinema-goer, is that it is a distillation of everything that scares us in the movies." He also describes how the film appeals to a variety of audiences: "Fans of Hitchcockian thrillers like it because it's moody and dark. Gorehounds like it for the chest-burster. [Science fiction] fans love the hard [science fiction] trappings and hardware. Men love the battle-for-survival element, and women love not being cast as the helpless victim." Salon.com critic Andrew O'Hehir notes that Alien "has a profoundly existentialist undertow that makes it feel like a film noir" and praises it over its "increasingly baroque" sequels as "a film about human loneliness amid the emptiness and amorality of creation. It's a cynical '70s-leftist vision of the future in which none of the problems plaguing 20th century Earth—class divisions, capitalist exploitation, the subjugation of humanity to technology—have been improved in the slightest by mankind's forays into outer space." In 2002, Alien was deemed "culturally, historically or aesthetically significant" by the National Film Preservation Board of the United States and was inducted into the National Film Registry of the Library of Congress for historical preservation alongside other films of 1979 including All That Jazz, Apocalypse Now, The Black Stallion, and Manhattan. In 2008 the American Film Institute ranked Alien as the seventh-best film in the science fiction genre as part of AFI's 10 Top 10, a CBS television special ranking the ten greatest movies in ten classic American film genres. The ranks were based on a poll of over 1,500 film artists, critics, and historians, with Alien ranking just above Terminator 2: Judgment Day (1991) and just below Ridley Scott's other science fiction film Blade Runner (1982). The same year, Empire magazine ranked it thirty-third on its list of the five hundred greatest movies of all time, based on a poll of 10,200 readers, critics, and members of the film industry. Sexual imagery[] Critics have also analyzed Alien's sexual overtones. Adrian Mackinder compares the facehugger's attack on Kane to a male rape and the chestburster scene to a form of violent birth, noting that the Alien's phallic head and method of killing the crew members add to the sexual imagery. Dan O'Bannon has argued that the scene is a metaphor for the male fear of penetration, and that the "oral invasion" of Kane by the facehugger functions as "payback" for the many horror films in which sexually vulnerable women are attacked by male monsters. McIntee claims that "Alien is a rape movie as much as Straw Dogs (1971) or I Spit on Your Grave (1978), or The Accused (1988). On one level it's about an intriguing alien threat. On one level it's about parasitism and disease. And on the level that was most important to the writers and director, it's about sex, and reproduction by non-consensual means. And it's about this happening to a man." He notes how the film plays on men's fear and misunderstanding of pregnancy and childbirth, while also giving women a glimpse into these fears. Film analyst Lina Badley has written that the Alien's design, with strong Freudian sexual undertones, multiple phallic symbols, and overall feminine figure, provides an androgynous image conforming to archetypal mappings and imageries in horror films that often redraw gender lines. O'Bannon himself later described the sexual imagery in Alien as overt and intentional: "One thing that people are all disturbed about is sex... I said 'That's how I'm going to attack the audience; I'm going to attack them sexually. And I'm not going to go after the women in the audience, I'm going to attack the men. I am going to put in every image I can think of to make the men in the audience cross their legs. Homosexual oral rape, birth. The thing lays its eggs down your throat, the whole number.'" Series Conventions[] Alien notably establishes several elements and plot points that would become recurring conventions for the rest of the franchise, being reused in most if not all of the subsequent Alien movies and many of the video games based on the series. These include: References to Joseph Conrad: The Nostromo and the Narcissus are both named after aspects taken from Conrad's literary works. Spacecraft in Aliens (the USS Sulaco) and Alien3 (the Patna) would similarly be named in reference Conrad, as would ships featured in the video games Aliens versus Predator 2 (the USS Verloc), Aliens vs. Predator (the USS Marlow), Aliens: Colonial Marines (the USS Sephora) and Alien: Isolation (the Torrens). Flamethrowers: Following on from the Flame Thrower featured in Alien, flamethrower weapons would feature prominently in Aliens (the M240 Incinerator Unit), Alien Resurrection (the Draco Double Burner) and Prometheus (the Prometheus Flamethrower). While Alien3 did not feature flamethrower weaponry, fire was still used against the Dragon in the film. Flamethrowers are also a staple element of video games based on the series. Vent shafts: Alien, Aliens and Alien3 all feature characters entering ventilation shafts. Almost all of the video games in the franchise also feature ventilation shafts. Mess halls: Similarly, Alien, Aliens, Alien3, Alien Resurrection and Prometheus all have scenes set in a mess hall, often as a means to introduce one or more of the major characters in the film. Android characters: After Ash, androids would feature in Aliens (Lance Bishop), Alien3 (Lance Bishop again), Alien Resurrection (Annalee Call), Prometheus (David) and Alien: Covenant (David and Walter). Originally, there was also a notable tradition of giving these synthetic characters names that begin with subsequent letters in the alphabet — Ash, Bishop, Call and David, A-B-C-D. Malevolent mega-corporations: The company operating the Nostromo (Weyland-Yutani, although it is unnamed in Alien) is willing to expend the ship's entire crew to secure the Alien creature. Weyland-Yutani would return with the same goal in Aliens and Alien3, while the United Systems Military would assume a similar role in Alien Resurrection. Most of the games based on the franchise also feature Weyland-Yutani as antagonists, typically attempting to capture and/or study the Xenomorphs at the expense of human life. Begging to be killed: Although initially cut from Alien, a famous scene was reintegrated in the Director's Cut where Ripley discovers Dallas and Brett cocooned in the ship's cargo hold and being transformed into Eggs. Dallas, still conscious, begs to be killed, and Ripley grants his request with her incinerator. Almost identical scenes would appear in Aliens (with Mary), Alien Resurrection (with Ripley 7) and Prometheus (with Holloway). A similar scene was also in several early scripts for Alien3. Alien vs. Predator has its own take on the scenario, when a cocooned Sebastian convinces Lex to shoot him before the Chestburster inside him can emerge. The video game Aliens vs. Predator has the player euthanize a cocooned Major Van Zandt with their flamethrower. Sting-in-the-tail endings: Ripley believes she has safely escaped aboard the Narcissus, but suddenly finds herself confronted one final time by the Alien, which has stowed away on board. The exact same scenario is repeated in Aliens (with the first Acheron Queen aboard the Sulaco), Alien Resurrection (with the Newborn aboard the Betty) and Alien: Covenant (with the final Praetomorph aboard the Covenant). The trope is also used at the end of the video games Aliens: Colonial Marines (with the second Acheron Queen aboard the Resolute) and Alien: Isolation (with the Drone aboard the Torrens). In each case, the creature is killed by being flushed into space. A similar scenario also takes place in Alien3, when the Dragon is believed killed by the lead poured onto it, only for it to emerge from the molten metal and attack again. Drinking birds: The crew of the Nostromo have a pair of drinking bird toys on the table in the ship's dining hall. Such toys have since made appearances in several subsequent films and games, including Alien3 (on Andrews' desk), Alien vs. Predator (on Charles Bishop Weyland's desk aboard the Piper Maru) and Alien: Covenant (on the table on the Covenant's bridge). Several of the toys are scattered around Sevastopol Station in Alien: Isolation. Trivia[] According to director Ridley Scott's commentaries on home versions of the film, the gore and horror in Alien were greatly influenced by classic 1974 horror film The Texas Chainsaw Massacre, of which Scott is a fan. Ridley Scott has even stated in respect to the production of Alien that he wanted to make "a slasher movie in space". Originally, the film was to be directed by Walter Hill, but he left the project to direct The Long Riders.[19] Other directors considered for the film included Peter Yates (Bullitt), Robert Aldrich (The Dirty Dozen) and Jack Clayton (The Innocents), but they all declined.[19] Finally, the role of director was given to Ridley Scott. All of the names of the main characters were changed by Walter Hill and David Giler during the revision of the original script by Dan O'Bannon and Ronald Shusett. The script by O'Bannon and Shusett also had a clause indicating that all of the characters are "unisex", meaning they could be cast with male or female actors. However, Shusett and O'Bannon never thought of casting Ripley as a female character. The stylized artwork that Ridley Scott used to create the storyboards that got Fox to double the budget from $4.2 million to $8.4 million were inspired by the artwork of the late comic book legendary artist Mœbius, who also designed the character costumes, the IRC Mk.50 Compression suit, the insignia and the crew uniforms for the film. Originally, no film companies wanted to make the film, including 20th Century Fox. They stated various reasons, chief among which was that the movie was too bloody. It was not until Walter Hill came on board that 20th Century Fox agreed to make the film, on the condition that the violence was toned down; even after agreeing to make the movie, Fox still rejected the first cut for being "too bloody". It took around 11 weeks to build the sets for the film. Many of the crew dialogue scenes were improvised by the cast.[9] The spacesuits worn by Tom Skerritt, John Hurt and Veronica Cartwright were huge, bulky items lined with nylon and with no outlets for breath or condensation. As the actors were working under hot studio lights in conditions in excess of 100 degrees, they spent most of their time passing out. A nurse had to be on hand at all times to keep supplying them with oxygen. It was only after Ridley Scott's and cinematographer Derek Vanlint's children were used in the suits for long-shots and they also passed out that modifications were made to the costumes to deal with the problem. Ridley Scott is reportedly quoted as saying that originally he wanted a much darker ending. He planned on having the Alien bite off Ripley's head in the escape shuttle, sit in her chair, and then start speaking with her voice in a message to Earth. Apparently, 20th Century Fox wasn't too pleased with such a dark ending. The rumor that the cast, except for John Hurt, did not know what would happen during the Chestburster scene is only partially true. The scene had in fact been explained to the cast in advance, but they did not know specifics. For example, Veronica Cartwright did not expect to be sprayed so liberally with fake blood and her horrified reaction is genuine (to the point where she actually stumbled over part of the set and fell to the floor in shock, as can be seen in behind the scenes footage).[3] Another popular myth surrounding the film — that a member of the cinema staff fainted during the Chestubrster scene at the premier — is also only partly true. An usher working at the theater did indeed faint, although not in reaction to the Chestbursting scene as is usually suggested, but as a result of Ash's decapitation.[3] Several monitor graphics from the Nostromo in Alien were reused in Ridley Scott's later film Blade Runner, on screens inside the movie's flying "Spinner" police cars. This, along with general similarities between the two films' design and appearance, have led many fans to speculate they may share the same universe. Supplemental materials on the Prometheus Blu-ray later listed the Tyrell Corporation from Blade Runner as one of Weyland Corp's competitors[20] (although this information could be considered more of an Easter Egg than hard fact). In many interviews Scott has also referred to the androids from the Alien franchise as "replicants" — a term used in Blade Runner. According to the Colonial Marines Technical Manual, the date the Nostromo set down on the moon and picked up the Alien was June 3, 2122.[21] Alien was originally called "Star Beast." The Volo Auto Museum in the State of Illinois, USA, has the original Nostromo survey buggy prop as part of an Alien themed display exhibit. The exhibit also includes a life-sized statue of a Xenomorph XX121. Goofs[] See: Alien goofs Gallery[] Posters[] Other[] See Also[] Alien (novel) — The novelization of the film by Alan Dean Foster. Alien: The Illustrated Story — The comic book adaptation of the film by Heavy Metal Communications. Alien (soundtrack) — The soundtrack to the film by Jerry Goldsmith. Alien (1982 video game) — The first of two video games based on the film. Alien (1984 video game) — The second video game based on the film. The Alien Legacy — A documentary about the making of the film. The Beast Within: Making Alien — An extensive documentary about the making of the film. Memory: The Origins of Alien — A documentary about the conceptualization of the film. References[]
8999	dbpedia	0	7	http://www.cineoutsider.com/reviews/bluray/b/bloody_terror_shocking_cinema_of_norman_warren_4.html	en	Bloody Terror: The Shocking Cinema of Norman J. Warren 1976-1987: Inseminoid Blu-ray review			[ "http://www.cineoutsider.com/graphics/frontpage/outsider_header_bar_hd.png", "http://www.cineoutsider.com/menus/menu_general/1_leftbar.png", "http://www.cineoutsider.com/menus/menu_general/2a_home_up.png", "http://www.cineoutsider.com/menus/menu_general/3a_discreviews_up.png", "http://www.cineoutsider.com/menus/menu_general/4a_filmreviews_up.png", "http://www.cineoutsider.com/menus/menu_general/5a_articles_up.png", "http://www.cineoutsider.com/menus/menu_general/6a_blogs_up.png", "http://www.cineoutsider.com/menus/menu_general/7a_interviews_up.png", "http://www.cineoutsider.com/menus/menu_general/8_rightbar.png", "http://www.cineoutsider.com/graphics/clearpixel.gif", "http://www.cineoutsider.com/reviews/pix/i/in/inseminoid_01.jpg", "http://www.cineoutsider.com/reviews/pix/i/in/inseminoid_05.jpg", "http://www.cineoutsider.com/reviews/pix/i/in/inseminoid_03.jpg", "http://www.cineoutsider.com/reviews/pix/i/in/inseminoid_02.jpg", "http://www.cineoutsider.com/reviews/pix/i/in/inseminoid_04.jpg", "http://www.cineoutsider.com/reviews/pix/i/in/inseminoid_06.jpg", "http://www.cineoutsider.com/graphics/clearpixel.gif", "http://www.cineoutsider.com/reviews/covers/b/bloodyterror_br.jpg", "http://www.cineoutsider.com/news/newscovers/i/inseminoid_br.jpg", "http://www.cineoutsider.com/graphics/clearpixel.gif", "http://www.cineoutsider.com/graphics/clearpixel.gif" ]	[]	[]	[ "" ]	null	[]	null					null	Right, here we go... When I began researching Inseminoid, one thing became abundantly clear; it definitely wasn't influenced by Alien. No sir, not a bit. On one of the special features on this disc, producer Richard Gordon is emphatic that none of those involved in the making of Inseminoid had seen Ridley Scott's sf-horror masterpiece when they made their film. They couldn't have, he assures us, as Alien hadn't even been released when they started shooting. Hmm. It may well be the case that the husband-and-wife team of Nick and Gloria Maley wrote their screenplay before clapping eyes on Ridley Scott's masterpiece, but research suggests that Alien hit UK cinemas a good eight months before principal photography on Inseminoid commenced and US cinemas four months before that. In case you need reminding, Norman J. Warren was and remains a fan of horror movies and Alien was a blockbuster hit that every genre fan worth his or her salt rushed to the cinema to see as soon as they were able. I'm just saying... What I will say is that Inseminoid is not the cheapjack Alien rip-off that some accused it of being on its release, but the idea that it wasn't in any way influenced by Scott's film cuts little ice with me. It wasn't, I should point out, an isolated case, and that's hardly surprising. Alien redefined the look of cinematic space travel, and the gender-mix of its crew and the unglamorous practicality of its ship interior quickly became new the new genre norm. It's success also saw Hollywood studios try to cash in on its success with titles like Saturn 3 (1980) and Outland (1981), while flying the flag for the independents, as ever, was New World with the 1981 Galaxy of Terror, and the cheapie 1980 Italian rip-off Alien 2: On Earth. As with Alien, Inseminoid features a mixed-gender crew stationed in the isolation of deep space. Here they're not on a spaceship but on an unspecified Â planet where they've been tasked with the excavation of ruins of an ancient alien civilisation. According to Warren the original plan was indeed to set the film on a spaceship but it would have cost too much to design and build the sets. Instead they secured full access to the Chislehurst Caves in Kent, which double rather nicely as underground mining tunnels. Anyway, whilst prodding around the caves in a sequence that visually takes its cue from the exploration of the alien ship in, erm, Alien, crew member Dean (Dominic Jephcott) discovers a cocoon that then explodes in his face and knocks him cold. When his crewmates get him back to their base, Doctor Karl (Barry Houghton) notices that he is clutching a handful of crystals and sensibly puts them in a jar rather for later study. These same crystals then infect fellow crew member Ricky (David Baxt) through a wound in his arm, prompting him to go batty and charge back into the caves. On his way he pushes Gail (Rosalind Lloyd) out of his way, causing her to fall on some debris and wedge her foot between two twisted metal shards on the floor. It's a predicament that from where I was sitting looks as though she could easily escape from if she just stood up and leant forward, but oh no, she's trapped, her thermostat is failing and she's a bit of a panic monkey. So instead of listening to radioed advice from her colleagues, she opens her helmet, stuffs the air feed from her backpack into her mouth and tries to cut her foot off with a futuristic chainsaw, one that looks suspiciously like a hedge trimmer and that couldn't make a serious dent on a piece of puff pastry. Kate (Stephanie Beacham), who I initially thought was a reporter and turned out to be the mission's Documentation Officer, whatever that is, puts a sharp end to Ricky's rampage by shooting him squarely in the chest with a spear gun. Once Gail and Ricky have been safely buried on the planet's surface, Sandy (Judy Geeson) and archaeological boffin Mitch (Trevor Thomas) return to the caves to collect some more of those crystals. The same crystals that infected Ricky and drove him mad. Their mission goes awry when a large alien creature appears out of nowhere and disposes of Mitch. It then takes Sandy prisoner and, in a scene that should have you shifting in your seat in discomfort, impregnates her with a gooey fluid pumped through a glass tube that is inserted into her...well...I'm sure you don't need me to spell this one out. A search party brings the disorientated Sandy back to the base, and as an alien creature starts growing speedily inside her it begins to take control of her actions and turn her against her surviving colleagues, whom she sets about killing one by one. To recap, a human astronaut is attacked by an alien creature, one that plants its seed inside its human victim who is then transported back to the base by two comrades, where the seed enters the human habitat inside of the body of its victim, where it grows until ready to be born and it tries to kill all of its victim's crewmates. Now where, exactly, have I heard that before? So is Inseminoid science fiction, horror or a slasher flick? Yes, yes and yes. Unlike those earlier Warren movies that I so recently fell for, this film is not remotely interested in low key naturalism or the notion of slow build (two things that continue to make Alien special, by the way) and opts instead to start the action early and then just keep it coming. And I've no problem with that. What trips it up a little are a handful of iffy performances, a lack of character depth, and the fact that much of the action is, well, not all that great. There's a lot of running about and chasing and bashing into things and pushing people over, but... OK, considering I responded so well to previous titles in this set and am by nature sympathetic to the specific pleasures of low-budget genre filmmaking, why is it that much of Inseminoid still fails to click for me? This is, after all, something of a favourite with those who cherish Warren as a director. What am I not getting? Certainly the fact that some of the sets and technology have a future-on-the-cheap feel is not a problem. It's a common trait of low and even medium (and occasionally high) budget sf films whose predictions are based on then current trends and fashions and are often more about looking sleek and minimalist than creating environments that people would realistically choose to live and work in. And when you're doing things on the cheap you have to fake it as best you can with whatever comes to hand. But we've learned to live with that, at least if there are appropriately mitigating factors. Dark Star, anyone? Where Warren aims high but almost inevitably stumbles is in the conflicting demands here of pace and characterisation. In an approach that's almost the polar opposite of the one taken in Satan's Skin, in this film things kick off even before we've seen any of the characters without their spacesuits. The problem for audience identification is that there are a hefty twelve people on this mining station, and if we're going to care about what happens to them we need to get to know a little about them before horrible things are inflicted on them. The short version is we don't. Maybe if they'd each had a distinctive introduction, just a spattering of witty or engaging dialogue, a memorable trait, or a short sequence telling us something about them beyond the news that X is having an affair with Y it would have helped. But the truth is that I had to watch the film a third time with a notebook in hand and then reference the film's Wikipedia page to even put names to some of the faces, faces that I still can't easily recall. Once again, Alien provided an object lesson in how to do this, as did John Carpenter's The Thing the following year. What's a tad frustrating about all of this is that Warren did a blinding job of it himself in Prey, where we spent a lot more time with considerably fewer people and thus got to know them rather well before the story got under way. Even the incident-packed Terror had more distinctive and well-rounded characters than present here. In Inseminoid, the only ones who really stood out for me were the doctor (interesting face) and the unfortunate Sandy, at least once she moves out of the ensemble to become the main antagonist. Being a Norman J. Warren film, we expect there to be violence and while the gore makeup is as good as ever, some of the physical conflict is oddly toothless here. When the rampaging Sandy bangs one of her victims' head against a cupboard hard enough to spray blood, you can see her doing the head-bash equivalent of pulling her punches to avoid causing actual injury to the actor. Elsewhere there's a similar lack of force to hits and throws that are supposed to be indicative of the strength of the aggressor in question. Neither the hedge trimmer chainsaw or the welding gun make for particularly fearsome weapons, especially as the welding gun is used to kill by advancing slooooowly towards the verbally protesting victim and snapping the sparky pincers open and closed for the camera. I'm also still trying to work out why an archaeological team would feel the need to include a spear gun on their list of essential equipment. Probably for the same reason the crew of the Nostromo thought it prudent of add a grappling hook gun to theirs. So am I as dismissive of the film as I was when I first saw it? Well, despite everything I've written above, I'd have to say no. I was younger and less tolerant then and less receptive to what makes horror and science fiction so ripe for more analytical study, and there's definitely some subtextual meat to get your teeth into here. Central to this is the character of Sandy and the unspoken notion that the alien DNA that has invaded her system is tapping into and firing up her maternal instinct to protect the life form growing rapidly inside her. It drives her to remove all potential threats to its survival, and if that means disposing of her former friends and colleagues, then so be it. And once she starts taking them out she's given good reason to get pissed at the survivors when one of the men foils her attack on a female colleague by heavily pressing his foot on her pregnant belly and then angrily stamping on it for good measure. Having genuinely winced at this action myself, I was not surprised when Warren revealed in the extras that this moment had women's groups up in arms on the film's release. What really sells this aspect of the film is the total commitment of Judy Geeson's performance as Sandy. Her physicality and focused fury makes her a convincingly dangerous threat and I absolutely bought into the notion that she could beat seven bells of crap out of even the toughest of her former comrades. The sheer wincing intensity of her pained screams as she gives birth to her alien progeny, meanwhile, should be enough to convince a few of those watching that the so-called miracle of childbirth is possibly not all it's cracked up to be. Warren's regular composer John Scott opted for an electronic score here, and while I have to admit that there are times when it made my fillings hurt, there are also moments when it proves unexpectedly effective and some elements even have the ring of late-career John Carpenter about them. Not bad for film that was released the same year as Escape From New York. I also really like the cave set that's lit primarily by lights in the floor panels, a familiar bit of sf movie design that was doubtless done on the cheap but looks as good as any of its big budget counterparts. Warren's ever-inventive regular art director Hayden Pearce really earned his (probably deferred) wage on this one. So did this turn me all around on Inseminoid? Well, yes and no. As I watched it again (and a third time) it felt almost as if the things I didn't like were doing battle with the ones that I have subsequently warmed to, and while the former ultimately won the battle it was a closer fight than I could have expected. Just recently I read an interview with Martin Scorsese in which he said, "The films that I constantly revisited or saw repeatedly held up longer for me over the years not because of plot but because of character,"* and I can't fault him on that. Despite the attention that is always paid to its makeup effects, I'd ague that a key reason The Thing is so riveting and so tense is that each of its characters is so distinctively drawn before any of them falls victim to the monster in their midst. For me, it's the lack of character depth, coupled with some unexciting performances, dialogue that never rise above the functional and the decision to kick things off before we've really got our bearings that makes it hard to care anything like as much about the death of any of the Inseminoid crew. Ultimately it's in Sandy and her protective maternal rampage that the film is at its strongest and most subtextually interesting, though a perhaps unintended side-effect of this is that I found myself siding with her as she stalked the surviving members of her team, much as I might with Jason Voorhees as he disposes of charisma-free teens in one of the Friday the 13th films. Yet I can't fault its drive or its energy, and despite the (probable) Alien influence it still manages to be unexpectedly forward-looking, with a final scene that contains elements and imagery that absolutely anticipates the content and look of a key sequence from Aliens, which at the time of filming was a good five years in the future. sound and vision Whatever your views on the film you should be more than happy with the 2.35:1 transfer here, which was scanned and restored in 2K from the original internegative by Screenbound Productions under Norman J. Warren's supervision and looks terrific. The detail is sharp, the contrast just right and the colour vibrant without feeling artificially saturated. It's clean and stable and has a very fine film grain, and is quite possibly the best restoration in the set. The Linear PCM 1.0 mono soundtrack is also in good condition. The bass notes may not boom and rumble but at least there is some bass. There's also none of the crispy trebles you'll find elsewhere in this set. The dialogue is always clear and the music especially so. Optional English subtitles for the hearing impaired have been included. extra features Audio Commentary with Norman J. Warren and Gary White Here Warren is teamed with the film's first assistant director Gary White, who was present for all of the film's principal photography and at the time of recording was still good friends with the director. As ever, Warren is a fountain of memories about the making of the film, and much of what he has to say you'll be hearing for the first time here, at least if you're watching the special features in the order they're listed on the discs and in these reviews. We learn that the abstract opening title backgrounds were done by Oxford Scientific Films, that the planet surface exteriors were shot on the island of Gozo, that a number of the cast suffered injuries on the shoot, that one oddly high-angle shot was the result of the production running out of money, that Warren struggled to get much of a performance out of Victoria Tennant, and that the futuristic chainsaw was indeed the hedge trimmer it looks to be. We're provided with the formula used to create the gooey alien sperm (now you can make your own!), and in a lovely bit of gotcha timing, Warren remarks on what a shame it wa that at the end of Alien we could see that the title creature was a man in an alien costume just seconds before his own, even more obviously man-in-an-alien-suit creature puts in an appearance. As ever, there's loads more, and Warren is as engagingly chatty as ever. BEHP Interview with Norman J. Warren Part Two (69:20) The second part of the British Entertainment History Project interview with Warren (the first is on the Prey disc) focuses on his film career from 1976 through to 2018, and thus covers the inception and production of all five films in this box set. A lot â though not all â of what he has to say about them you will also find covered elsewhere in this set, but if you're looking for a comprehensive overview of all of them then this is the interview I'd plump for first. In addition, we also get info and anecdotes about the making of the 1979 sf comedy Spaced Out, which gets hardly any coverage elsewhere, plus a documentary film he made for pop star Gary Numan and his recent collaboration with filmmaker Yixi Sun, Susu. That last one is covered in more detail on the Bloody New Year disc. Manchester Festival of Fantastic Films Interview (61:30) Recorded at the Manchester Conference Centre at the event named in the title, this has Warren interviewed on stage by an initially very animated and enthusiastic John Llewellyn Probert. He opens with the stated intent of conducting this as an informal chat instead of the career overview that other interviews with the director tend to consist of. It doesn't quite work out, but we still get to hear a great deal here that gets only a passing mention in other extras in this set. The centrepiece has to be the problems that Warren had with producer Maxine Julius on the 1986 Gunpowder and on Bloody New Year, which is a welcome expansion on the coverage he gives this in the BEHP interview detailed above. He's impressively and entertainingly forthright about the things that went wrong on these films and why. This includes the hiring of what he describes as the world's worst stunt driver and equally terrible explosives and gun specialists, whose combined ineptitude nearly resulted in the deaths of cast and crew members. The stories about Julius's late-night drinking and how they would find her in the morning sleeping on public benches and how this repeatedly put the filming of Gunpower behind schedule makes it all the more surprising that Warren risked working with her again on Bloody New Year. She apparently convinced him that she'd changed her ways. Want to guess how that worked out? In a particularly telling moment when talking about Gunpowder, Probert asks Warren, "Are there any bits or effects you are happy with?" to which Warren replies instantly, "Not really." The sound is recorded with an on-camera mic and is clear enough, but Warren does occasionally forget to hold his microphone â which is hooked up to the venue's PA system â up to his mouth and his voice can thus be a little quiet in places. This is such valuable inclusion that I'd live with it. Subterranean Universe (44:46) A making-of featurette produced for what I'm guessing is an earlier DVD release, one whose unattractive lighting camerawork thankfully does not detract from the content, some of which is unique to this extra. Those interviewed include Warren, producer Richard Gordon, executive producer Peter M. Schlesinger, art director Hayden Pearce, first assistant director Gary White (it's he who shares the commentary track with Warren), composer John Scott, and actors David Baxt, Barry Houghton and Stephanie Beacham, who still has a voice that could prompt even hardened career criminals to melt at her feet. Warren associate Ken Dowling also pops up near the end to talk briefly about a promotional flyer that he and Warren produced that caused offence and was subsequently judged by both men to have been a bad call. There's plenty of interest here and even familiar stories are refreshed by being told from an alternate perspective, and while he recalls that the film was generally well received, Warren does remember a BAFTA screening at which elderly industry figures were disgusted by it in a manner that only helped to sell the film to its target audience. In my favourite throwaway moment, Warren recalls that Stephanie Beacham was a joy to work with but kept calling the film 'Insecticide'. Alien Encounter (6:02) A brief chat with actor Trevor Thomas, who remembers working with "a lot of pretty ladies" but otherwise divides his time between cheerful chuckles and lightweight snippets of answers to unheard questions. Interestingly, he does at one point describe the film as "a cross between Alien and Rosemary's Baby." Electronic Approach (13:10) Composer John Scott talks about the partially budget-driven decision to go with an electronic score, though he compositionally approached it as a "synthetically produced" orchestral one. He also talks about the soundtrack album and one element of the closing music that didn't make it into the film. Trailers and TV Spot The Theatrical Trailer #1 (2:13) is not a bad sell, despite its overly serious dramatic narration and is better than Theatrical Trailer #2 (1:47), where some of the film's weaker elements are on show. This one's definitely not for kiddies, and the audio quality of the narration takes a serious dive midway and then recovers, suggesting a restoration from two sources. Theatrical Trailer #3 (1:02) is a short version of #2 and includes the line, "The most dreaded fear of every woman on earth is even more horrifying in space â the inconceivable is about to be conceived." A jelly baby for whoever came up with that one. The French Theatrical Trailer (2:28) is a French language take on #1, and the 'Horror Planet' Teaser Trailer (0:31) is for the film under its US retitle, one that assures us that, "No-one who lands here leaves here alive." Does that count as a spoiler? You'll have to watch the film and see. Finally, we have a TV Spot (0:31), which is a shorter take on the structure followed by its theatrical brethren. Image Gallery A hefty 108 screens of promotional and production stills, including that image from the VHS cover (three times), press book pages, video covers (including the one I referred to in my introduction to this set) and posters.
8999	dbpedia	3	55	https://www.thisishorror.co.uk/columns/the-bloodstained-balcony/quartets-canaries-wild-sexy-scary-world-radley-metzger/	en	Quartets and Canaries: The Wild, Sexy, Scary World of Radley Metzger	https://www.thisishorror…zger-300x189.jpg	https://www.thisishorror…zger-300x189.jpg	[ "https://i0.wp.com/www.thisishorror.co.uk/wp-content/uploads/2018/07/cropped-header-1170x198px.png?resize=1170%2C198&ssl=1", "https://i0.wp.com/www.thisishorror.co.uk/wp-content/uploads/2013/03/Radley-Metzger.jpg?resize=300%2C189&ssl=1", "https://i0.wp.com/www.thisishorror.co.uk/wp-content/uploads/2013/03/Bloody-Pit-of-Horror.jpg?resize=199%2C300&ssl=1", "https://i0.wp.com/www.thisishorror.co.uk/wp-content/uploads/2014/03/Buy-This-Is-Horror-books.jpg?resize=250%2C250&ssl=1", "https://i0.wp.com/www.thisishorror.co.uk/wp-content/uploads/2020/10/Theyre-Watching-by-Michael-David-Wilson-and-Bob-Pastorella.png?resize=250%2C355&ssl=1", "https://i0.wp.com/www.thisishorror.co.uk/wp-content/uploads/2016/06/this-is-horror-merch-redbubble.jpg?resize=250%2C250&ssl=1", "https://i0.wp.com/www.thisishorror.co.uk/wp-content/uploads/2019/09/This-Is-Horror-Podcast-2019.jpg?resize=250%2C250&ssl=1", "https://i0.wp.com/www.thisishorror.co.uk/wp-content/uploads/2024/08/DemonsInMyBloodstream.jpg?resize=50%2C50&ssl=1", "https://i0.wp.com/www.thisishorror.co.uk/wp-content/uploads/2024/08/TIH-578-Joshua-Millican-on-Teleportasm-Cannabis-Culture-and-Dread-Central.png?resize=50%2C50&ssl=1", "https://i0.wp.com/www.thisishorror.co.uk/wp-content/uploads/2024/08/The-Night-Guest-by-Hildur-Knutsdottir.jpg?resize=50%2C50&ssl=1", "https://i0.wp.com/www.thisishorror.co.uk/wp-content/uploads/2024/08/9800-still-wakes-the-deep-review-teaser.webp?resize=50%2C50&ssl=1", "https://i0.wp.com/www.thisishorror.co.uk/wp-content/uploads/2024/08/best-hammer-horror-feature.webp?resize=50%2C50&ssl=1", "https://i0.wp.com/www.thisishorror.co.uk/wp-content/uploads/2014/03/Buy-This-Is-Horror-books.jpg?resize=250%2C250&ssl=1", "https://i0.wp.com/www.thisishorror.co.uk/wp-content/uploads/2020/10/Theyre-Watching-by-Michael-David-Wilson-and-Bob-Pastorella.png?resize=250%2C355&ssl=1", "https://i0.wp.com/www.thisishorror.co.uk/wp-content/uploads/2016/06/this-is-horror-merch-redbubble.jpg?resize=250%2C250&ssl=1", "https://i0.wp.com/www.thisishorror.co.uk/wp-content/uploads/2019/09/This-Is-Horror-Podcast-2019.jpg?resize=250%2C250&ssl=1" ]	[]	[]	[ "" ]	null	[ "ThisIsHorror" ]	2013-03-27T13:55:23+00:00	I always relish a challenge, and so when our esteemed editor here at This Is Horror asked me if I might be able to write an article concentrating on the more horror-oriented aspects of the work of …	en		This Is Horror	https://www.thisishorror.co.uk/columns/the-bloodstained-balcony/quartets-canaries-wild-sexy-scary-world-radley-metzger/	I always relish a challenge, and so when our esteemed editor here at This Is Horror asked me if I might be able to write an article concentrating on the more horror-oriented aspects of the work of highly respected erotic movie auteur Radley Metzger, I jumped at the chance. Three of Metzger’s earlier adult works have just been released on blu-ray and DVD by Arrow Films, a UK film company that has done much to make available obscure and weird cult cinema to UK viewers over the last few years, and whose sterling work within our genre deserves encouragement. Thus it was that, armed with practically no first hand knowledge of this director’s work and review copies of the three films in question – Camille 2000 (1969), The Lickerish Quartet (1970), and Score (1976), I found myself embarking on one of those journeys of cinematic discovery that can make being a fan of exploitation cinema so rewarding. Prior to writing this article, the only Radley Metzger film I had ever seen was, perhaps not surprisingly, the only one that might be considered a horror film. It also happened to be his only bid for mainstream acceptance. In 1978 Metzger remade the old dark house classic The Cat and the Canary for famous British exploitation producer Richard Gordon. Metzger and Gordon peopled their cast with famous faces of British stage and screen including Honor Blackman (seen most recently in Cockneys vs Zombies), Edward Fox (blink and you’ll miss him in Herbert J Leder’s 1966 Nazi zombie pic The Frozen Dead), Daniel Massey (Vault of Horror) and Peter McEbery (Hammer House of Horror’s ‘Mark of Satan’ episode). Carol Lynley is the possible heiress to a fortune, trapped in the family pile with a bunch of disgruntled relatives and a psychopath know as ‘The Cat’ who has allegedly escaped from the asylum for the criminally insane that happens to be just up the road. There are the usual twists and turns and a couple of nasty murders – audiences of 1978 liked it enough to make Richard Gordon enough money to co-finance Norman J Warren’s Inseminoid (1981), after which he retired from the film business. But back to Radley Metzger, a man most famous for directing softcore erotic films (like the ones mentioned above) in the late 1960s and early 1970s under his own name, before succumbing to the necessities of the Deep Throat revolution of the mid-1970s to produce similarly well-made hardcore titles like The Opening of Misty Beethoven (regarded by Boogie Nights director Paul Thomas Anderson as his favourite erotic film of all time) and The Private Afternoons of Pamela Mann under the pseudonym Henry Paris. Like Russ Meyer, Metzger quickly gained a reputation for himself as something of an auteur in a genre where it was well known that “the only Art was Jim Mitchell’s brother”, to slightly misquote the producers of the mid-1970s Marilyn Chambers-starring mega-hit Behind the Green Door. Unlike Mr Meyer, whose movies were essentially low budget knockabout sexy fun featuring women with enormous breasts, Radley Metzger, and his movies, has always been afforded more serious respect by film students. It was therefore with some interest, and not a little trepidation, that I sat down to view Arrow’s blu-ray presentations of movies that, while now considered classics of a kind, have never before received any kind of UK release. 1970’s The Lickerish Quartet is perhaps the most fascinating of the three, and certainly one I would recommend to any enthusiast for 1970s exploitation cinema. If I then say that it runs like David Lynch attempting to make a European horror film in the style of Jean Rollin, or possibly Jess Franco’s Succubus, I hope I’ve encouraged a few more to take a look at it as well. Like Camille 2000, Metzger made this movie near Rome with an Italian crew, and even the music is by horror regular Stevio Cipriani, who would go on to work on giallos like Antonio Bido’s Bloodstained Shadow and Umberto Lenzi’s deliriously bonkers Nightmare City. In the kind of gorgeously gothic Italian castle usually used by directors like Riccardo Freda or Antonio Marghereti to shoot horrors like Tragic Ceremony (1972) or The Bloody Pit of Horror, a dysfunctional family sits watching a strange black and white softcore erotic film. There is the father (Frank Wolff), the mother (Erika Remberg) and the son (Paolo Turco) who is probably in his early twenties. None of these characters have names in the credits. Well-dressed, rich and jaded, they begin to bore of the antics seen on screen and take a trip into town where a local circus is visiting. There they encounter a female motorcyclist (Sylvana Venturelli) who rides the wheel of death, and they become convinced she is one of the girls they have just seen in the film. They invite her back to their castle where things quickly get very strange indeed. They replay the film for her to watch, but now the camera angles in it have all changed. As the night and the next day progress, it becomes increasingly difficult to differentiate fact from fantasy, and the characters we are watching become interchangeable with the film they keep viewing (which appears to be set during the second world war). Finally the family disappears altogether to be replaced by the cast of the film (still with me?), and the family themselves take the place of the actors up on the screen. The ‘new family’ members repeat the dialogue that opened the movie and the film comes to an end. For a sexploitation film The Lickerish Quartet doesn’t have an awful lot of sex in it, and that which occurs is filmed so creatively and flamboyantly that today’s audiences would be hard pushed to think of this as pornography. Probably the best of these scenes takes places in an enormous and beautifully designed library where the floor is literally carpeted with words, and the shelves are pure white and graced with blood red volumes. The narrative itself doesn’t make sense but is never confusing, rather it seems to be a meditation on the nature of reality and if viewed in the right mood can leave one feeling properly weirded out by the end. There’s no actual horror in The Lickerish Quartet, but for anyone who is a fan of the heady weird fictions beloved of early 1970s EuroHorror directors, or indeed the films of David Lynch, this one is a must see. Arrow’s blu-ray transfer is the usual excellent job, and the film itself is so filled with vibrant colour that this is definitely the best way to see this item. The disc is also packed with extras, including a commentary track, featurette on the making of the film and a fascinating bit about the dubbing, which shows that even when Italian actors and actresses are speaking English, sometimes they’re better off being re-voiced. Prior to The Lickerish Quartet Metzger made Camille 2000 (1969), a lush, arty, expensive-looking adaptation of Alexandre Dumas’ La Dame aux Camelias. While not a horror film by any means, it’s certainly worth a look by anyone interested in late 1960s Italian-made cinema. The plot is as much tragedy as love story, set in the rich swinging world of the Italian in-crowd. The production design is gorgeous and gorgeously weird (some of the apartments seem to consist of little other than mirrors and inflatable furniture). The photography is a treat, and looks all the better with Arrow’s blu-ray presentation. Piero Piccioni contributes a memorable hammond organ score and, combined with some nice performance and some very pretty girls indeed, Camille 2000 is worth at least one viewing by any serious film connoisseur. Sadly, the same cannot be said of Score (1976), despite the promise of its plot summary that this is going to be a weird futuristic fantasy (it takes place in the town of Leisure which is close to the town of Decadence) it is strictly over-the-top cliched softcore sex romp material. Genre fans and Lynn Lowry completists may wish to see it because of Lowry’s starring role, coming as it did after her memorable turns in David Durston’s I Drink Your Blood, George Romero’s The Crazies and, of course, David Cronenberg’s Shivers, but for anyone else it’s certainly missable compared to the other films covered above. Still, for those interested Arrow’s BluRay disc is probably the best this film is going to look, and there’s a nice little interview with Lynn Lowry to complement things. Overall, though, I have to give full marks to Arrow for releasing these, and in such excellent presentations. Radley Metzger was not a filmmaker whose works I would have thought of seeking out but my life is certainly better for having seen Camille 2000 and The Lickerish Quartet. Now all we really need to do is get Arrow to release The Cat and the Canary. JOHN LLEWELLYN PROBERT If you enjoyed John Llewellyn Probert’s column, please consider clicking through to our Amazon Affiliate links and buying some of his fiction. If you do you’ll help keep the This Is Horror ship afloat with some very welcome remuneration.
8999	dbpedia	0	16	https://www.target.com/p/inseminoid-aka-horror-planet-blu-ray-1981/-/A-90729594	en	Inseminoid (aka Horror Planet) (Blu-ray)(1981)	https://target.scene7.com/is/image/Target/GUEST_c40bdb4a-937d-4ee7-b65c-ea6a369f2d5a	https://target.scene7.com/is/image/Target/GUEST_c40bdb4a-937d-4ee7-b65c-ea6a369f2d5a	[ "https://target.scene7.com/is/image/Target/GUEST_c40bdb4a-937d-4ee7-b65c-ea6a369f2d5a?wid=800&hei=800&qlt=80&fmt=pjpeg" ]	[]	[]	[ "Inseminoid (aka Horror Planet) (Blu-ray)(1981)" ]	null	[]	null	Shop Inseminoid (aka Horror Planet) (Blu-ray)(1981) at Target. Choose from Same Day Delivery, Drive Up or Order Pickup. Free standard shipping with $35 orders.	en	https://assets.targetimg1.com/static/images/favicon.ico		https://www.target.com/p/inseminoid-aka-horror-planet-blu-ray-1981/-/A-90729594	undefined out of 5 stars with 0 reviews be the first!
8999	dbpedia	3	63	https://nerdist.com/article/the-9-most-shameless-alien-rip-offs-of-all-time/	en	The 9 Most Shameless ALIEN Rip-Offs of All Time	https://legendary-digita…offs_feature.jpg	https://legendary-digita…offs_feature.jpg	[ "https://img.youtube.com/vi/C6bMP8sF1GA/default.jpg", "https://nerdist.com/wp-content/themes/nerdist_2021/img/icon-play-youtube.png", "https://img.youtube.com/vi/EKjfjHHpOCg/default.jpg", "https://nerdist.com/wp-content/themes/nerdist_2021/img/icon-play-youtube.png", "https://img.youtube.com/vi/UTTJi4GlzFk/default.jpg", "https://nerdist.com/wp-content/themes/nerdist_2021/img/icon-play-youtube.png", "https://img.youtube.com/vi/-sDWjXk335s/default.jpg", "https://nerdist.com/wp-content/themes/nerdist_2021/img/icon-play-youtube.png", "https://img.youtube.com/vi/N2ZHZyj8vrU/default.jpg", "https://nerdist.com/wp-content/themes/nerdist_2021/img/icon-play-youtube.png", "https://img.youtube.com/vi/D_4Rs626suk/default.jpg", "https://nerdist.com/wp-content/themes/nerdist_2021/img/icon-play-youtube.png", "https://img.youtube.com/vi/NfeCg4q-ofo/default.jpg", "https://nerdist.com/wp-content/themes/nerdist_2021/img/icon-play-youtube.png", "https://nerdist.com/wp-content/themes/nerdist_2021/img/geek_sundry_logo_blue.png" ]	[]	[]	[ "" ]	null	[]	2017-05-17T17:00:53+00:00		en	https://legendary-digita…review-32x32.png	Nerdist	https://nerdist.com/article/the-9-most-shameless-alien-rip-offs-of-all-time/	They say that imitation is the sincerest form of flattery, but it’s also one of the laziest forms of filmmaking. Just as countless imitators sprung up to try and recapture the space fantasy magic of Star Wars following its 1977 release, dozens of filmmakers tried their hand at reproducing the claustrophobic body horror of Ridley Scott’s 1979 classic Alien too. While Alien has had its fair share of canonical sequels — including the upcoming Alien: Covenant, which you can read our review of right here — it has had even more low-budget, shameless rip-offs. In honor of a new Alien movie chestbursting its way into theaters this week, on today’s episode of The Dan Cave, we’re wading through the muck and the mire to showcase the best worst Alien rip-offs ever made. Contamination Ah, Italy…is there anything they can’t remake cheaply and crappily in an effort to make a quick buck? Even spaghetti began its existence as a low-budget reboot of England’s famous “floppy bread rope.” Fittingly, in order to make the quintessential Alien knockoff, it took the famed Italian exploitation director Luigi Cozzi, who also made the batshit crazy Star Wars rip-off Starcrash. Renamed Alien Contamination in the United States in order to double down on the brand association, Contamination features a weird one-eyed vagina monster laying eggs that spray people with a toxic goo that makes them explode. The best part is that they didn’t have the money to set it in space, so it takes place in New York City for some reason. Honestly, though, this bonkers voyage in the bargain bin of history is worth it for the sweet Goblin score alone. DeepStar Six https://www.youtube.com/watch?v=pouTM3jqZCMHow do you make your Alien rip-off seem like less of an Alien rip-off? Easy! You set it in the next best thing to outer space: under the sea. DeepStar Six follows a group of scientists and Navy crewmen who are stationed on an underwater missile silo, which they discover is on top of a massive network of caverns. Of course, what lies beneath is a murdermonster that looks like a hermit crab who ate nothing but steroids and PCP every day for a year. The film has everything: accidental harpoon deaths, hallucinogenic episodes, and a literal chestburster — by which I mean guy who forgets to properly decompress and is subsequently exploded like a blood-filled meat balloon during his rapid ascent. Inseminoid I want to wash my mouth out just typing that title. If your main complaint about Alien was that it was too subtle and wasn’t rapey enough, then you’re in luck, you creep. Everything about Inseminoid is an assault on good taste, right down to its poster which features a nightmarish space-baby emerging from a womb to shoot jizz-lasers at a pair of astronauts. It’s a surreal, sleazy, and all around uncomfortable story of a foreign body invading our own in the most gruesome way possible. Add in chainsaw amputations, harpoon guns, and more grisly deaths than you can shake a severed limb at, and you have a cult classic for real slimeballs. Galaxy of Terror https://www.youtube.com/watch?v=GL199i0mKrs Roger Corman is, perhaps, the master of purveying B-movie schlock, and his take on Alien didn’t disappoint. With a young James Cameron serving as second unit director and a cast including Robert Englund (Nightmare on Elm Street) and Erin Moran (Happy Days), Galaxy of Terror not only recycled ideas from Alien, but footage from a Corman Star Wars/Magnificent Seven rip-off Battle Beyond the Stars. The basic premise is that a spaceship crew winds up on a planet with a facehugger-style creature that takes the form of what they fear most. In the case of one unfortunate crew member, that leads to a particularly vile rape scene in which she is sexually assaulted by a worm creature. It is as stomach-churning and gross as it sounds, so let’s just move on to the next one, shall we? Parasite If you’re going to get someone to shamelessly pilfer H.R. Giger’s iconic xenomorph design, you damn well hire a master of the craft like Stan Winston. The man who would one day bring us Jurassic Park also brought us a bunch of creepy fanged slug-beasts in Charles Band’s ultra-shlocky Parasite. The film takes place in a post-apocalyptic America where a criminal organization runs the world, and they accidentally create a deadly parasite that escapes. What follows is a whole lot of slugs bursting out of where they shouldn’t be bursting from and a young Demi Moore as a lemon grower because why the hell not. Forbidden World It’s a tale as old as time: in the distant future, a research team creates a new, experimental life form that winds up murdering all its creators and everyone in the lab. Of course, the old adage “you are what you eat” proves to be the creature’s undoing when it eats a liver that is positively teeming with cancer. So, you know, uh, don’t eat cancer liver is the moral of this story I guess. Produced by schlockmaster general Roger Corman, this bananas film has more unnecessary nudity than Lenny Kravitz playing guitar in jeans that can’t contain his weenomorph. Creature In grand Roger Corman tradition, Creature ripped off another rip-off by reusing sets and props from Forbidden World to tell its story of — you guessed it — a bunch of explorers coming across a menacing alien lifeform in outer space. Unlike lesser knockoffs, Creature features, as my colleague Kyle Anderson likes to say, renowned German crazy person Klaus Kinski, as well as Lyman Ward, a.k.a. the dad from Ferris Bueller’s Day Off. Honestly, it’s well directed and it nails Alien‘s style fairly well, but it’s still like getting a Pepsi when what you really ordered was an end to police brutality. Lily C.A.T. If you thought you were going to go one week without hearing me talk about anime, think again, kouhai. Featuring characters designed by legendary Final Fantasy artist Yoshitaka Amano, Lily C.A.T.‘s plot might sound more than a little familiar: a crew of people working for an intergalactic mining concern awake from cryogenic sleep, and start dying off one by one due to a mysterious alien invader. The ostensible culprit here is a strange bacteria that can mimic the forms of various crew members, but the real villain is whoever approved the horrendous English dub. These bored-ass voiceover actors talk about things like murder, suicide, and the nightmarish chameleon beast hiding among them like they’re reading the iTunes terms and conditions agreement. And just in case you were wondering, yes there’s a robotic cat that secretly takes control of the ship. Roots Search Yet another dumb-as-hell anime knockoff of Alien, Roots Search follows a research team in isolated, deep space that discovers a seemingly derelict ship, The Green Planet, which contains a sole survivor named Buzz. Unfortunately, Buzz neglected to tell his rescuers that there was an alien onboard with a mouth that’d make Georgia O’Keefe blush that uses its psychic abilities to systematically murder everyone on board by using their insecurities and anxieties against them. So basically, it’s like if Persona 5 was cheaply made trash instead of the best RPG of the year. Alien: Covenant hits theaters on May 20, 2017. Which of these Alien rip-offs is your favorite? What would you add to this list? Let us know in the comments below! Sources: Shortlist, Kyle Anderson, The Robot’s Voice, ComingSoon —
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"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYhDImjLSk2sR6xiDDVlcABudaffB1ZE9z0WUSZdrKd2zrAQGy3-N6epurc8nK4hpI1eOWvZlPOr0ghmepVJyasRA9eat4b8t-v3e_1P9E3Ct5m7G4mStyxc0skVewU_6KPyeuv_V1OLI/w72-h72-p-k-no-nu/escapefromnewyork1981.jpg" ]	[]	[]	[ "" ]	null	[ "View my complete profile" ]	null	Covering cinema from the highest of the highbrow to the lowest of the low-grade.	en	https://goodefficientbutchery.blogspot.com/favicon.ico		https://goodefficientbutchery.blogspot.com/2020/03/	Because posting and updating here has been made as difficult as possible, click here for new reviews About Me Mark Film critic, music writer, general freelancer. 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"https://d3ulwu8fab47va.cloudfront.net/skin/frontend/default/ubuycom/images/countries-flag/uzbekistan-flag-v3.png", "https://d3ulwu8fab47va.cloudfront.net/skin/frontend/default/ubuycom/images/countries-flag/vietnam-flag-v3.png", "https://ubuykw.s3.amazonaws.com/ubuycom/view_all_countries.jpg", "https://d2ati23fc66y9j.cloudfront.net/ubuycom/assets/v5/images/pci-dss-compliant.svg" ]	[]	[]	[ "" ]	null	[]	null	Shop Inseminoid [Blu-ray] online at a best price in Maldives. B082BWZRHR	en	https://d3ulwu8fab47va.cloudfront.net/media/favicon/default/favicon.ico	Ubuy Maldives	https://www.ubuy.mv/en/product/1B53SA8MI-inseminoid-blu-ray
8999	dbpedia	3	59	https://www.emovieposter.com/agallery/archiveitem/10270183.html	en	7b382 INSEMINOID 1sh R83 Horror Planet, really wild sci	https://www.emovieposter…ed_CG00293_L.jpg	https://www.emovieposter…ed_CG00293_L.jpg	[ "https://www.emovieposter.com/menu/images/corner1.png", "https://www.emovieposter.com/menu/images/corner2.png", "https://www.emovieposter.com/menu/images/corner4.png", "https://www.emovieposter.com/menu/images/corner3.png", "https://www.emovieposter.com/images/icons/question_auctionhistory.gif ", "https://www.emovieposter.com/images/moviestars/AA130219/200/inseminoid_R83_retitled_CG00293_L.jpg", "https://www.emovieposter.com/gallery/add_to_want_list.gif", "https://www.emovieposter.com/images/icons/readmore.gif", "https://www.emovieposter.com/images/announcements/unparalled_customer_service.png", "https://www.emovieposter.com/images/announcements/bruce02.jpg", "https://www.emovieposter.com/images/logos/LAMP-2020Logo.png" ]	[]	[]	[ "movie posters", "movie poster", "buy vintage movie posters", "Poster image archive", "price guide", "sales results database", "masterprints", "popcorn reprints", "poster info" ]	null	[]	null	Movie Posters for sale at auction. Buy vintage movie posters here! Check out our sales results, and image archive.	en			null	ARE YOU LOOKING TO BUY MOVIE POSTERS OR RELATED ITEMS? We are the world's leading auctioneer of movie posters and related items. You are currently on one of our non-auction pages. We hold 4,000 to 5,000 auctions every FOUR WEEKS. To learn more about our auctions, click here. To register to bid on our auctions, click here. About eMoviePoster.com: In the past 32 years, we have auctioned MORE movie paper for MORE money than ANY other auction company, period! EVERY item we auction starts at $1, with NO reserve, and NO buyers premium, and EVERY item is honestly described, with an unenhanced super-sized image! We charge consignors the lowest rates of ANY major auction, and we have held over 1,834,000 online auctions! Go to our current auctions in our Auction Galleries, and you will quickly see why we are the most trusted auction site!
8999	dbpedia	1	17	https://www.amazon.com/Inseminoids-Larry-Miller/dp/0450052249	en	Amazon.com			[ "https://images-na.ssl-images-amazon.com/captcha/derqnxxq/Captcha_qzgmkxoeyz.jpg", "https://fls-na.amazon.com/1/oc-csi/1/OP/requestId=APSQS9RQHS0RGD88SHN3&js=0" ]	[]	[]	[ "" ]	null	[]	null		en			null	Enter the characters you see below Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
8999	dbpedia	1	2	https://www.rottentomatoes.com/m/inseminoid	en	Rotten Tomatoes	https://resizing.flixste…8138_p_v8_aa.jpg	https://resizing.flixste…8138_p_v8_aa.jpg	[ "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://www.rottentomatoes.com/assets/pizza-pie/images/rtlogo.9b892cff3fd.png", "https://images.fandango.com/cms/assets/5b6ff500-1663-11ec-ae31-05a670d2d590--rtactordefault.png", "https://resizing.flixster.com/a-xXem4jHfgVoRTc4e9Qp2ZN_4w=/fit-in/128x128/v2/http://resizing.flixster.com/vVtbIp0cua1SmHhNGxlkmhcBGUE=/38x42/v1.YzsxNjE1O2c7MTk5ODA7MjA0ODszODs0Mg", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg" ]	[]	[]	[ "" ]	null	[]	null	A space-team member (Judy Geeson) goes berserk after being impregnated by something on another planet.	en	https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico	Rotten Tomatoes	https://www.rottentomatoes.com/m/inseminoid	Let's keep in touch! > Sign up for the Rotten Tomatoes newsletter to get weekly updates on: Upcoming Movies and TV shows Rotten Tomatoes Podcast Media News + More Sign me up No thanks
8999	dbpedia	1	57	https://www.christopherfowler.co.uk/blog/2012/09/07/the-fine-art-of-swearing	en	The Fine Art of Swearing	https://www.christopherf…avicon-32x32.png	https://www.christopherf…avicon-32x32.png	[ "https://www.christopherfowler.co.uk/themes/custom/christopherfowler/logo.svg", "https://www.christopherfowler.co.uk/wp-content/uploads/2012/09/filthyenglish.jpg", "https://www.christopherfowler.co.uk/wp-content/uploads/2012/09/victoria-tennant-la-story-2-450x335.jpg", "https://www.gravatar.com/avatar/445f94b8f126ed2e485fe4684c65fa21?d=mm&s=55", "https://www.gravatar.com/avatar/dbab994f3b995fff512de3c3ecac72a4?d=mm&s=55", "https://www.gravatar.com/avatar/62f49f255b53a6890f1f73ca4d5a4b6d?d=mm&s=55", "https://www.gravatar.com/avatar/e93001549205a5f9e3c22a81c8cb1796?d=mm&s=55", "https://www.gravatar.com/avatar/e8307bb5d094e2aea0cd4b530c05a296?d=mm&s=55", "https://www.gravatar.com/avatar/440ded87462e103ae9e98129ea4f783f?d=mm&s=55", "https://www.gravatar.com/avatar/440ded87462e103ae9e98129ea4f783f?d=mm&s=55", "https://www.gravatar.com/avatar/a39962cef1af487414f87458ba7cef78?d=mm&s=55", "https://www.gravatar.com/avatar/df04e6333084837207bf6fbc2c809d13?d=mm&s=55", "https://www.gravatar.com/avatar/e56f140924a18d722923e8072ff45274?d=mm&s=55", "https://www.gravatar.com/avatar/1edf0dfedf4e45625c20a36d30a32530?d=mm&s=55", "https://www.gravatar.com/avatar/1edf0dfedf4e45625c20a36d30a32530?d=mm&s=55", "https://www.gravatar.com/avatar/440ded87462e103ae9e98129ea4f783f?d=mm&s=55", "https://www.gravatar.com/avatar/e8307bb5d094e2aea0cd4b530c05a296?d=mm&s=55", "https://www.gravatar.com/avatar/e56f140924a18d722923e8072ff45274?d=mm&s=55", "https://www.gravatar.com/avatar/e56f140924a18d722923e8072ff45274?d=mm&s=55", "https://www.gravatar.com/avatar/1edf0dfedf4e45625c20a36d30a32530?d=mm&s=55", "https://www.gravatar.com/avatar/3fa90df87c3a506b9d41f38a01368ab4?d=mm&s=55", "https://www.gravatar.com/avatar/c6ec86161fa8bb7d6bb162febea0950c?d=mm&s=55", "https://www.gravatar.com/avatar/e8307bb5d094e2aea0cd4b530c05a296?d=mm&s=55" ]	[]	[]	[ "" ]	null	[]	2012-09-07T00:00:00		en	/sites/default/files/favicons/apple-touch-icon.png		https://www.christopherfowler.co.uk/blog/2012/09/07/the-fine-art-of-swearing
8999	dbpedia	1	3	https://www.bbfc.co.uk/release/inseminoid-q29sbgvjdglvbjpwwc0zmdy2odq	en	Inseminoid	https://m.media-amazon.c…tps://bbfc.co.uk	https://m.media-amazon.c…tps://bbfc.co.uk	[ "https://queue.simpleanalyticscdn.com/noscript.gif" ]	[]	[]	[ "" ]	null	[ "BBFC" ]	null	A crew of interplanetary archaeologists is threatened when an alien creature impregnates one of their members, causing her to turn homicidal and murder them one by one.	en	/_next/static/images/favicon-7dbebdc25cd083286e777238d2431e44.ico		https://www.bbfc.co.uk/release/inseminoid-q29sbgvjdglvbjpwwc0zmdy2odq	A crew of interplanetary archaeologists is threatened when an alien creature impregnates one of their members, causing her to turn homicidal and murder them one by one.…
8999	dbpedia	3	58	https://www.genregrinder.com/post/baby-blood-blu-ray-review	en	Baby Blood Blu-ray Review	https://static.wixstatic…13d1f412~mv2.jpg	https://static.wixstatic…13d1f412~mv2.jpg	[ "https://static.wixstatic.com/media/5ae2fe_15aacab850c34acabb8139366e1f3295~mv2.png/v1/fill/w_96,h_96,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/5ae2fe_15aacab850c34acabb8139366e1f3295~mv2.png", "https://static.wixstatic.com/media/5ae2fe_c268b5abd7a1476f9c3e3df3d790d5f3~mv2.jpg/v1/fill/w_985,h_337,al_c,q_80,usm_0.66_1.00_0.01,enc_auto/genregrinderead3.jpg", "https://static.wixstatic.com/media/5ae2fe_b8d5b3dd902141799259db57783ee8ac~mv2.png/v1/fill/w_61,h_61,al_c,q_85,usm_0.66_1.00_0.01,enc_auto/5ae2fe_b8d5b3dd902141799259db57783ee8ac~mv2.png", "https://static.wixstatic.com/media/5ae2fe_09412fed6c6d49b28d93b9c362efe9e7~mv2.png/v1/fill/w_61,h_61,al_c,q_85,usm_0.66_1.00_0.01,enc_auto/5ae2fe_09412fed6c6d49b28d93b9c362efe9e7~mv2.png", "https://static.wixstatic.com/media/5ae2fe_d98e2bda2df74f28872f085bbdc9c3ab~mv2.png/v1/fill/w_61,h_61,al_c,q_85,usm_0.66_1.00_0.01,enc_auto/instagram_button.png", "https://static.wixstatic.com/media/5ae2fe_420663e36a1b46c4a9373a0958df4c56~mv2.png/v1/fill/w_61,h_61,al_c,q_85,usm_0.66_1.00_0.01,enc_auto/5ae2fe_420663e36a1b46c4a9373a0958df4c56~mv2.png", "https://static.wixstatic.com/media/5ae2fe_28e3eb85c1b54090a01c22393c89edfb~mv2.png/v1/fill/w_61,h_61,al_c,q_85,usm_0.66_1.00_0.01,enc_auto/5ae2fe_28e3eb85c1b54090a01c22393c89edfb~mv2.png", "https://static.wixstatic.com/media/5ae2fe_9bf5e4c56a6646dda239f69da41f6eeb~mv2.png/v1/fill/w_61,h_61,al_c,q_85,usm_0.66_1.00_0.01,enc_auto/5ae2fe_9bf5e4c56a6646dda239f69da41f6eeb~mv2.png", "https://static.wixstatic.com/media/5ae2fe_8329888aabd14e07997a3af6f854c05d~mv2.png/v1/fill/w_133,h_59,al_c,q_85,usm_0.66_1.00_0.01,enc_auto/patreonbutton_edited_edited.png", "https://static.wixstatic.com/media/5ae2fe_0f4128fa3972487f9abcc0a5160b5a2f~mv2.jpg/v1/fill/w_144,h_178,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/5ae2fe_0f4128fa3972487f9abcc0a5160b5a2f~mv2.jpg", "https://static.wixstatic.com/media/5ae2fe_dbba9e83035f41f0947d5a82ac21f3b6~mv2.jpeg/v1/fill/w_147,h_83,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/5ae2fe_dbba9e83035f41f0947d5a82ac21f3b6~mv2.jpeg", "https://static.wixstatic.com/media/5ae2fe_d9d48d001f8543688be85fe4d878f408~mv2.jpeg/v1/fill/w_147,h_83,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/5ae2fe_d9d48d001f8543688be85fe4d878f408~mv2.jpeg", "https://static.wixstatic.com/media/5ae2fe_262d1b3c879c478680379dd6359553b7~mv2.jpeg/v1/fill/w_147,h_83,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/5ae2fe_262d1b3c879c478680379dd6359553b7~mv2.jpeg", "https://static.wixstatic.com/media/5ae2fe_77fe75ac0f3a4dfa9de5284d33fe83f2~mv2.jpeg/v1/fill/w_147,h_83,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/5ae2fe_77fe75ac0f3a4dfa9de5284d33fe83f2~mv2.jpeg", "https://static.wixstatic.com/media/5ae2fe_23eac38a97be4ce6b2df98dd78e2eb61~mv2.jpeg/v1/fill/w_147,h_83,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/5ae2fe_23eac38a97be4ce6b2df98dd78e2eb61~mv2.jpeg", "https://static.wixstatic.com/media/5ae2fe_3d227033e3eb407090e2a700e7ba76b8~mv2.jpeg/v1/fill/w_147,h_83,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/5ae2fe_3d227033e3eb407090e2a700e7ba76b8~mv2.jpeg", "https://static.wixstatic.com/media/5ae2fe_5e02c9595b994a299f9b82b276086355~mv2.jpeg/v1/fill/w_147,h_83,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/5ae2fe_5e02c9595b994a299f9b82b276086355~mv2.jpeg", "https://static.wixstatic.com/media/5ae2fe_74b10365bf9d4a65ace0a21763fc102e~mv2.jpg/v1/fill/w_250,h_250,fp_0.50_0.50,q_30,blur_30,enc_auto/5ae2fe_74b10365bf9d4a65ace0a21763fc102e~mv2.webp", "https://static.wixstatic.com/media/5ae2fe_74b10365bf9d4a65ace0a21763fc102e~mv2.jpg/v1/fill/w_292,h_165,fp_0.50_0.50,q_90,enc_auto/5ae2fe_74b10365bf9d4a65ace0a21763fc102e~mv2.webp", "https://static.wixstatic.com/media/5ae2fe_e5db8d1cf78843d79ac007c20c0110eb~mv2.jpg/v1/fill/w_250,h_250,fp_0.50_0.50,q_30,blur_30,enc_auto/5ae2fe_e5db8d1cf78843d79ac007c20c0110eb~mv2.webp", "https://static.wixstatic.com/media/5ae2fe_e5db8d1cf78843d79ac007c20c0110eb~mv2.jpg/v1/fill/w_292,h_165,fp_0.50_0.50,q_90,enc_auto/5ae2fe_e5db8d1cf78843d79ac007c20c0110eb~mv2.webp", "https://static.wixstatic.com/media/5ae2fe_da180dd06cd04bba96d38b1d039a38b2~mv2.jpg/v1/fill/w_250,h_250,fp_0.50_0.50,q_30,blur_30,enc_auto/5ae2fe_da180dd06cd04bba96d38b1d039a38b2~mv2.webp", "https://static.wixstatic.com/media/5ae2fe_da180dd06cd04bba96d38b1d039a38b2~mv2.jpg/v1/fill/w_292,h_165,fp_0.50_0.50,q_90,enc_auto/5ae2fe_da180dd06cd04bba96d38b1d039a38b2~mv2.webp" ]	[]	[]	[ "" ]	null	[ "Gabe Powers" ]	2019-10-08T19:47:38.793000+00:00	Well before the advent of New Extremism – a distinction coined by Artforum critic James Quandt and characterized by blunt and graphic sexual content and gut-punching violence, French horror entertainment was ahead of the curve in terms of its shocking content. Following the sadistic eroticism of the Marquis de Sade and	en	https://static.wixstatic…0_3000_s_4_2.jpg	Genre Grinder	https://www.genregrinder.com/post/baby-blood-blu-ray-review	Kino Lorber Studio Classics Blu-ray Release: October 8, 2019 Video: 1.85:1/1080p/Color Audio: French DTS-HD Master Audio 2.0; English Dolby Digital 2.0 Subtitles: English Run Time: 87 minutes Director: Alain Robak It is a voracious parasite from the dawn of creation, surviving centuries in search of the one thing it needs: to be born of a human. But, when this cunning creature slithers inside a sexy circus performer (Emmanuelle Escourrou), it demands gallons of fresh blood to grow stronger. Now, this reluctantly expectant mommy and her chatty mutant fetus are off on a cross-country killing spree, where prenatal care means violent carnage and the ultimate mother’s milk is Baby Blood! (From Kino’s official synopsis) Well before the advent of New Extremism – a distinction coined by Artforum critic James Quandt and characterized by blunt and graphic sexual content and gut-punching violence, French horror entertainment was ahead of the curve in terms of its shocking content. Following the sadistic eroticism of the Marquis de Sade and the pre-cinematic tradition of Grand Guignol theatre, French art and entertainment has had a lasting, healthy relationship with vulgarity and violence. Maurice Tourneur’s The System of Doctor Goudron (French: Le système du docteur Goudron et du professeur Plume, 1913) brought the Grand Guignol to cinema screens, Luis Buñuel and Salvador Dalí broke silent era arthouse taboos when they sliced open an eyeball for Un Chien Andalou (1929), and Georges Franju’s Eyes Without a Face (French: Les yeux sans visage; aka: The Horror Chamber of Dr. Faustus, 1960) features bloody special effects that still shock to this day. By the late ‘70s and early ‘80s, the rest of the world caught up and gore movies were regular, mainstream entertainment throughout America, Europe, and parts of Asia. As a result, the cult underground grew more extreme in the lead-up to the 1990s and France, for the most part, fell behind with minor exceptions. Before the worm turned in 1992 with the release of Benoît Poelvoorde, Rémy Belvaux, and André Bonzel’s Man Bites Dog (French: C'est arrivé près de chez vous), the purely French-born gore boom was almost exclusively encapsulated by a single film: Alain Robak’s Baby Blood (1990). A simple explanation of Baby Blood would be the dramatic natal horrors of Roman Polanski’s Rosemary’s Baby (1968) meets the exploitative glee of a middle-period slasher. It’s easily appreciated for its lowbrow delights (more on those below), but, like the greatest gore movies, it excels because of its not willing to rest on its laurels. Robak tweaks clichés and expectations just enough to keep the audience occupied, while also acknowledging his inspirations. The script draws upon familiar insemination terrors, namely the dozens of trashy science fiction movies made to cash-in on the chest-busting shocks of Ridley Scott’s Alien (1979) – Norman J. Warren’s Inseminoid (aka: Horror Planet, 1981) and Barbara Peeters & Jimmy T. Murakami’s Humanoids from the Deep (1980) spring to mind – but tweaks the formula beyond extra terrestrial beings and religious demons, opting instead for an ancient creature of unknown origins. The greater difference is found in the way Baby Blood emphasizes the relationship between its main character, Yanka, and the blood-thirsty parasite growing inside her. The creature is at first a scourge that forces its host to do unspeakable things, ruining her life and setting her on the run. But, the fetus can speak and, as they communicate, they come to an understanding and even grow to love and depend on each other. It’s an oddly poignant touch that is, nevertheless, quite perverse, befitting the gory mayhem. And do not worry – there’s plenty of said gory mayhem to go around. It’s not as offensive as early ‘80s Italian cannibal and zombie movies had been, nor is it as completely over-the-top and wall-to-wall as Peter Jackson’s Braindead/Dead Alive (1992), but Robak doesn’t pull any punches, either. Highlights include an exploded leopard (while I want to say no animals were harmed during filming, the circus scenes were shot in and around a working circus, so the big cats were emotionally abused at the very least), multiple squirting jugulars, a stabbing murder from the point of view of the scissors doing the stabbing, no fewer than four squishy vehicular manslaughters (one culminating in a beheading), a bloody birthing nightmare, a man blown up under the pressure of oxygen being forced into his lungs, and a series of full-on creature attacks during the closing minutes. Robak is clearly acknowledging the pacing choices of North American slashers and perhaps poking fun at their appalling sexual politics by portraying the murderer as a promiscuous woman who (almost) exclusively slaughters abusive men. Still, even when it’s joyfully depicting extraordinary violence, Baby Blood has the same sense of desolate, grim melancholy that typifies the best extreme cinema from Europe in the late ‘80s/early ‘90s. Unlike its more irony-driven American (and New Zealand) counterparts, Baby Blood takes its artful vulgarity pretty seriously and portrays acts of graphic violence as filthy, seedy affairs, similar to Germany’s Jörg Buttgereit (Nekromantik [1987], Der Todesking [1990], others) and the New Extremist French films of the following decade. Those that aren’t delighted by its copious bloodletting may still find themselves enthralled by its relentless mood. Many years after Baby Blood’s release, writer/director Jean-Marc Vincent made a belated sequel, entitled Lady Blood, in which, 15 years after birthing the demon fetus, Yanka (again played by Emmanuelle Escourrou) is working as a police detective, trailing another supernatural killer. It is seldom seen outside of France and was not well received by fans of Robak’s original film. Video Baby Blood was released stateside as The Evil Within, practically straight to VHS video. Some of the violence was cut to secure an R-rating and the order of some scenes was reportedly changed. It was easy enough to find, but remained relatively obscure until Anchor Bay released an uncut, 1.85:1 anamorphic DVD in 2006. More than a decade later, this underseen (outside of France) gem has finally had its first HD release via Kino Lorber (under their Studio Classics banner). Kino doesn’t list any source information, but the results are a spectacular upgrade on all accounts. The image is extremely clean, featuring almost zero in the way of print damage artifacts, though not at the expense of fine film grain. There’s a lot of darkness and purposefully grimy, drab environments, but color quality is still impressive, especially the separation of hues and vividness of greens and reds. Some of the darkest scenes have a grey/green quality that was probably inherent in the original material, but most blacks are clean and the contrast levels are neatly balanced. Compression artifacts aren’t an issue with the exception of some very minor low level noise that is only really noticeable during swift camera movement. Note that, despite the box art sporting an R-rating, this is the uncut/unrated version of the film. Audio Baby Blood is presented in its original French and dubbed English. Normally, I wouldn’t recommend watching a dubbed version of a B-horror movie made after the 1980s (unless it was made in a country like Italy that didn’t record on-set sound at the time). Purpose and performance are almost always lost in translation. However, American distributor Dimension Films put real effort into their dub, including hiring Jennifer Lien (Kes on Star Trek Voyager) to voice Yanka (renamed Bianca for this version). The real masterstroke, however, was hiring deep, velvet-voiced Gary Oldman to speak for the monster, who speaks to his wouldbe mother in utero. On the original French tracks, the monster’s voice (provided by Robak himself) is modulated squeaky and high pitched, which isn’t merely annoying, but less compelling, considering the monster isn’t really a baby. Unfortunately, my advice comes with a catch – the French track is presented in clean, loud, uncompressed 2.0 stereo DTS-HD Master Audio, but the English track is somewhat muffled, lossy Dolby Digital stereo. It’s not a huge difference, but, obviously, two lossless tracks would be preferable. There are differences in sound quality between the tracks that I don’t think are the results of compression, but the mixes themselves. This includes the English dub’s bassier and more echoey ambiance versus the original mix’s sharper and thinner effects work. For example, during Yanka’s first kill, there is a storm outside and raindrops can only be heard on the English mix, while the French mix emphasizes thunder only). There are also a few scenes that are only available in French. If the English track is selected, subtitles will pop up during these sequences. Carlos Acciari’s ambient, sometimes tribal drum-driven score, is the one aural element that sounds consistently better when uncompressed. Extras Commentary with film historian Lee Gambin and critic/filmmaker Jarret Gahan – writer for Fangoria, Delirium & Diabolique magazines and author of Massacred by Mother Nature: Exploring the Natural Horror Film (Midnight Marquee Press, 2012), Gambin and Gahan, who has directed/produced dozens and dozens of featurettes/documentaries, dive right into the factoids and speak about a mile a minute. The quantity of content can be a little overwhelming, but this is an enormously valuable track, because there simply isn’t a lot of English language information available on the film. French trailer Trailers for Umberto Lenzi’s Nightmare Beach (aka: Welcome to Spring Break, 1988), George Pavlou’s Rawhead Rex (1986), Dominique Othenin-Girard’s Night Angel (1990), and Richard Franklin’s Link (1986). The images on this page are taken from the BD and sized for the page, but due to .jpg compression, they are not necessarily representative of the quality of the transfer. Full-sized .jpg versions can (currently) only be accessed by right-clicking/ctrl-clicking the images and opening them in a new window/tab.
8999	dbpedia	3	74	https://archive.org/details/01Opening_20170721	en	Science Fiction Saturdays 04 : CULTivated : Free Download, Borrow, and Streaming : Internet Archive	https://archive.org/down…ening_000114.jpg	https://archive.org/down…ening_000114.jpg	[ "https://archive.org/services/img/etree", "https://archive.org/services/img/librivoxaudio", "https://archive.org/services/img/metropolitanmuseumofart-gallery", "https://archive.org/services/img/clevelandart", "https://archive.org/services/img/internetarcade", "https://archive.org/services/img/consolelivingroom", "https://archive.org/images/book-lend.png", "https://archive.org/images/widgetOL.png", "https://archive.org/services/img/tv", "https://archive.org/services/img/911", "https://archive.org/services/img/opensource_movies", "https://archive.org/services/img/community", "https://athena.archive.org/0.gif?kind=track_js&track_js_case=control&cache_bust=1915030532", "https://athena.archive.org/0.gif?kind=track_js&track_js_case=disabled&cache_bust=2111858670" ]	[]	[]	[ "" ]	null	[]	null	This Drive-In experience delves into the concept of a certain type of sci fi films... the aliens need Earth women for repopulation purposes type. It started...	en	https://archive.org/images/glogo.jpg	Internet Archive	https://archive.org/details/01Opening_20170721	Search the history of over 866 billion web pages on the Internet. Search the Wayback Machine Search icon An illustration of a magnifying glass. Save Page Now Capture a web page as it appears now for use as a trusted citation in the future. Please enter a valid web address
8999	dbpedia	3	62	https://uk.news.yahoo.com/horror-director-norman-j-warren-141643130.html	en	Horror director Norman J Warren dies at 78	https://s.yimg.com/ny/api/res/1.2/7djbBH.pdksugyApMLgyhg--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEyMDA7aD02NzU-/https://media.zenfs.com/en/snappa_entertainment_819/9c4b4462367ff552767647c25d7a297c	https://s.yimg.com/ny/api/res/1.2/7djbBH.pdksugyApMLgyhg--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEyMDA7aD02NzU-/https://media.zenfs.com/en/snappa_entertainment_819/9c4b4462367ff552767647c25d7a297c	[ "https://uk.news.yahoo.com/_td_api/beacon/info?beaconType=noJSenabled&bucket=news-GB-en-GB-def%2Cseamless&code=pageRender&device=desktop&lang=en-GB&pageName=deeplink&region=GB&rid=7b6iq81jc6hln&site=news&t=1724073655897", "https://s.yimg.com/rz/p/yahoo_news_en-GB_h_p_newsv2.png", "https://s.yimg.com/rz/p/yahoo_news_en-GB_h_w_newsv2.png", "https://s.yimg.com/uu/api/res/1.2/YHQ3R3PkF4VaYkUkp.glvA--~B/Zmk9ZmlsbDtoPTEzNjtweW9mZj0wO3c9MjU4O2FwcGlkPXl0YWNoeW9u/https://s.yimg.com/os/creatr-uploaded-images/2024-08/48d888a0-5e11-11ef-8ff7-6f1fb6c96b39", "https://s.yimg.com/ny/api/res/1.2/mWO4.YFDA.Y_zX2VIz7QHg--/YXBwaWQ9aGlnaGxhbmRlcjt3PTIwNDtoPTYw/https://s.yimg.com/os/creatr-uploaded-images/2021-03/5b459fb0-8bf5-11eb-afdf-e12ef998abfb", "https://s.yimg.com/ny/api/res/1.2/krgTUAZsaIURO.ZScIB4uQ--/YXBwaWQ9aGlnaGxhbmRlcjt3PTk2MDtoPTY0MA--/https://media.zenfs.com/en/snappa_entertainment_819/350bd0db751b9068a9b6ab19792c317c", "https://s.yimg.com/ny/api/res/1.2/krgTUAZsaIURO.ZScIB4uQ--/YXBwaWQ9aGlnaGxhbmRlcjt3PTk2MDtoPTY0MA--/https://media.zenfs.com/en/snappa_entertainment_819/350bd0db751b9068a9b6ab19792c317c", "https://s.yimg.com/g/images/spaceball.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://sb.scorecardresearch.com/p?c1=2&c2=7241469&c5=1197793442&c7=https%3A%2F%2Fuk.news.yahoo.com%2Fhorror-director-norman-j-warren-141643130.html&c14=-1" ]	[]	[]	[ "" ]	null	[ "Laura Harding" ]	2021-03-12T14:16:43+00:00	He was responsible for films such as Satan’s Slave, Prey and Terror.	en	https://s.yimg.com/rz/l/favicon.ico	Yahoo News	https://uk.news.yahoo.com/horror-director-norman-j-warren-141643130.html	Horror filmmaker Norman J Warren has been remembered as a “ground-breaking director” and a “gentle, kind, sweet chap” after his death at the age of 78. The English director is best known for 1970s horror films such as Satan’s Slave, Prey and Terror, as well as the 1980s works Inseminoid and Bloody New Year. His manager and friend Thomas Bowington told the PA news agency he died in the early hours of Thursday morning from natural causes, after a year of ill health. He said: “He was a ground breaking director in the 70s and 80s, after so many films had been in a period setting, he put horror in a more modern setting. “He was the biggest film lover I ever met, he loved films and was so helpful young film makers. “He was always happy, always laughing, always kind. “Considering some of his films were quite savage, a gentler, kinder, sweet chap you couldn’t find, he was like everyone’s best friend.” Warren’s films have been referred to as “New Wave” British horror because of the increase in gore and sexual explicitness following the popularity of the Hammer Horror films previously. He stopped making feature films in the 1980s and turned his attention to documentaries and educational films, including for the BBC, and Mr Bowington said he was popular with children because of his “lovely, easy-going” nature. He also made short films, including the silent film Fragment, with his frequent collaborator, the composer John Scott. He also worked frequently with the screenwriter David McGillivray, who said: “Norman J Warren was my best friend in the entertainment business. “We met in 1967 when he was making his first feature My Private Hell. “He was the youngest director of ‘sexploitation’ films in the 60s and went on to try other genres until the 1980s. “Subsequently his early films have become cult successes. “He liked nothing more than to attend festivals and convention and talk to fans and young filmmakers and help to prepare for DVD releases.”
8999	dbpedia	0	17	https://rarelust.com/inseminoid-1981/	en	Inseminoid (1981) – Rarelust	https://rarelust.com/wp-content/uploads/2020/08/rarelust.ico	https://rarelust.com/wp-content/uploads/2020/08/rarelust.ico	[ "https://s6.dpic.me/02275/feixxtqo4ijp.jpg", "https://s6.dpic.me/02275/7atieteidcj3.jpg", "https://follow.it/static/img/colored-logo.svg" ]	[]	[]	[ "" ]	null	[]	2020-03-21T23:56:52+00:00		en	https://rarelust.com/wp-content/uploads/2020/08/rarelust.ico		https://rarelust.com/inseminoid-1981/	Directed by: Norman J. Warren Stars: Robin Clarke, Jennifer Ashley and Stephanie Beacham Language: English + Commentary (2nd track) \| Subtitles: English (embed) Country: Uk \| Imdb Info \| Ar: 16:9 \| Brrip Also known as: Horror Planet Description: A crew of interplanetary archaeologists is threatened when an alien creature impregnates one of their members, causing her to turn homicidal and murder them one by one. preview
8999	dbpedia	0	6	https://www.imdb.com/title/tt0084090/faq/	en	Samen des Bösen (1981)	https://m.media-amazon.c…Mjpg_UX1000_.jpg	https://m.media-amazon.c…Mjpg_UX1000_.jpg	[ "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:131-2907347-2322344:XNSWDC36E854EAFPQG8V$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3DXNSWDC36E854EAFPQG8V:0", "https://m.media-amazon.com/images/M/MV5BYjMyNzNlYTUtYTliNy00MzQ2LWI3OTUtMzhmMTg3YWQ1NzVlXkEyXkFqcGdeQXVyMTQxNzMzNDI@._V1_QL75_UX90_CR0,4,90,133_.jpg", "https://m.media-amazon.com/images/M/MV5BYjMyNzNlYTUtYTliNy00MzQ2LWI3OTUtMzhmMTg3YWQ1NzVlXkEyXkFqcGdeQXVyMTQxNzMzNDI@._V1_QL75_UX90_CR0,4,90,133_.jpg", "https://m.media-amazon.com/images/G/01/IMDb/Mobile/DesktopQRCode-png.png", "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:131-2907347-2322344:XNSWDC36E854EAFPQG8V$uedata=s:%2Fuedata%2Fuedata%3Fnoscript%26id%3DXNSWDC36E854EAFPQG8V:0" ]	[]	[]	[ "Frequently Asked Questions" ]	null	[]	null	Samen des Bösen (1981) - Top questions and answers about Samen des Bösen (1981)	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/title/tt0084090/faq/
8999	dbpedia	3	78	https://plan-b-movie.livejournal.com/3931.html	en	The Visitor	http://i82.photobucket.com/albums/j279/glittergodzilla/visitor.jpg	http://i82.photobucket.com/albums/j279/glittergodzilla/visitor.jpg	[ "https://top-fwz1.mail.ru/counter?id=3402139;js=na", "https://sb.scorecardresearch.com/p?c1=2&c2=10463284&cv=2.0&cj=1", "https://l-stat.livejournal.net/img/community.gif?v=556&v=776.1", "https://l-stat.livejournal.net/img/community.gif?v=556&v=776.1", "https://l-stat.livejournal.net/img/schemius/print-logo.png?v=49361", "https://l-userpic.livejournal.com/33060487/7892394", "https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=776.1", "https://l-stat.livejournal.net/img/community.gif?v=556&v=776.1", "https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=776.1", "https://l-stat.livejournal.net/img/community.gif?v=556&v=776.1", "https://i82.photobucket.com/albums/j279/glittergodzilla/visitor.jpg", "https://i82.photobucket.com/albums/j279/glittergodzilla/vistior1.jpg", "https://i82.photobucket.com/albums/j279/glittergodzilla/vistior2.jpg", "https://i82.photobucket.com/albums/j279/glittergodzilla/vistior4.jpg", "https://i82.photobucket.com/albums/j279/glittergodzilla/vistior3.jpg", "https://www.tns-counter.ru/V13a**sup_ru/ru/UTF-8/tmsec=lj_noncyr/", "https://www.tns-counter.ru/V13arambler_ad/ru/UTF-8/tmsec=rambler_cid1100104-posid2155079/", "https://www.tns-counter.ru/V13a**rambler_ad/ru/UTF-8/tmsec=rambler_cid1100108-posid2155106/", "https://xc3.services.livejournal.com/ljcounter/?d=srv:3dt-ws05,r:0,j:14577806,p:7892394,uri:%22%2F3931.html%22,vig:0,m:0,v:1,extra:AN5wjgB4baoAAA9b", "https://mc.yandex.ru/watch/27737346" ]	[]	[]	[ "ЖЖ", "LiveJournal", "живой журнал", "italian", "pong", "goofy", "70's", "sf", "exploding basketball", "evil children", "alien", "80's", "Plan B from Outer Space" ]	null	[]	null	The Visitor 1980 Giulio Paradisi The Visitor is the reason, I love looking for and watching b-movies. After sifting through hours upon hours or dull, uninspired films, clones of bigger budget films that bring nothing new to the table, and Jerry Fucking Warren, once and a while something so bat shit…	en	https://l-stat.livejourn…icon.png?v=17026		https://plan-b-movie.livejournal.com/3931.html	1980 Giulio Paradisi The Visitor is the reason, I love looking for and watching b-movies. After sifting through hours upon hours or dull, uninspired films, clones of bigger budget films that bring nothing new to the table, and Jerry Fucking Warren, once and a while something so bat shit insane that it defies description comes along and makes you sit on your couch wondering what the hell is unfolding before you. The Visitor is such a film. The poster tells you nothing, the initial description of it's plot, seemed to offer little more than yet another evil kid movie, this one with more science fiction trappings than demonic. I settled in expecting little more than that, and hoping at least a little bit of that odd atmosphere that only seems to occur in 1970's b-movies would be there. From moment one The Visitor lets loose with full blown weirdness. The film opens with John Huston standing in an alien landscape in his finest cape and talking to the sun about an eight year old girl. And then out of nowhere we cut to a basketball game where Raymond Armstead (a very young Lance Hendrickson), his girlfriend, Barbara ( played by Joanne Nail) and their daughter, Katy (played by Paige Conner) are watching it. It seems Ray is the new owner of a failing basketball team and he's promised that they are going to be much improved thanks to the massive amount of money he's pouring into the organization. He neglects to mention that his daughter can look a basketball player in the eye and cause him to preform a dunk so awesome that the basketball explodes. Which she does, and which the player does and which the basketball indeed does and the game is won. Well now it's seems Ray owes his recent acquisition of the team to a shadowy organization that really wants Barbara to crank out another kid. So yes, this organization offered Ray anything he wanted in return for two kids, anything... at all... and he chose a basketball team. A shitty basketball team that needs alien hybrid intervention to even win a single game. The evil guys in dark suits seem to need two evil children for whatever reason, and Barbara is the last human on Earth who has the Evil Gene™ which must be recessive or something. Unfortunately Barbara is an independent modern 70's gal and won't marry Ray or produce any more kids, they tell Ray to fix that or else. Meanwhile John Huston has finally gotten his old ass to Earth where he's greeted at the airport by a bald guy, who proceeds to take him to meet a bunch of other bald guys on a roof. All these bald guys then spend several scenes building a secret bald guy feng shui club house of transparent white cubes. This is never explained and in fact never comes up again in the movie. The evil club decides to help Ray become close to Barbara by transforming this horribly creepy peacock statue that talks into a gun, which Katy gets at her birthday party. Katy throws the gun on the table and mom gets shot and paralyzed for life. This is the evil plan to make her get closer to Ray and produce more children. Eh...yeah. I should also note two things: Barb's recovery is intercut with Katy being really good at gymnastics and at no point does being paralyized for life ever cause Barb to be upset. Not once, ever. She's totally cool with it. Later mom hires Shelly Winters as a nanny, Katy blows up a cop car and beats up some teenagers by out ice skating them. She plays a sinister game of Pong against John Huston. Mom gets pregnant, has the world's easiest abortion and a hot dog vendor gets crushed by a fire escape. None of these things really have anything to do with the plot, whatever the hell that might be. All I know is it somehow involves good birds fighting evil birds and Space Jesus in a white turtleneck. In short this movie is brilliant. It's shot surprisingly well, everything has a lush menace about it. Despite being gutted by pan and scan on the VHS tape, the shot compositions are strong and very interesting. The special effects are a bit on the cheap side but that just adds to whole weirdness factor, special note should be made of a cool looking space ship that might in fact be a tractor trailer near the end of the movie. The acting is decent. John Huston looks like he's about ready to fall over dead at any moment and I'm not sure why Paige Conner has a southern accent despite neither of her parents having one. Space Jesus has a nice smile and the worst perm job imaginable. And the music...oh the music. There's this theme. This triumphant theme that gets played over the the opening and closing credits and anytime and I mean anytime John Huston does anything. Including walking up stairs or looking around at things. It's hilariously out of place and it just gets funnier as the movie goes on. I really hope someone out there is planning a nice cleaned up wide screen release of the movie sometime especially since it seems some foreign editions contain an extra ten minutes. But if you see a VHS tape of this sitting at a garage sale, pick it up, I guarantee a wonderfully confusing and insane 90 minutes.
8999	dbpedia	2	34	https://www.cageyfilms.com/2019/09/trashy-brit-horrors/	en	Trashy Brit horrors	https://www.cageyfilms.c…9/09/prey_01.jpg		[ "https://www.cageyfilms.com/wp-content/themes/cageyfilms2022/images/cageyfilms_logo.png", "https://www.cageyfilms.com/wp-content/themes/cageyfilms2022/images/menu-icon.png", "https://www.cageyfilms.com/wp-content/uploads/2019/09/prey_01.jpg", "https://www.cageyfilms.com/wp-content/uploads/2019/09/satans-slave_01.jpg", "https://www.cageyfilms.com/wp-content/uploads/2019/09/prey_04.jpg", "https://www.cageyfilms.com/wp-content/uploads/2019/09/terror_01.jpg", "https://www.cageyfilms.com/wp-content/uploads/2019/09/inseminoid_03.jpg", "https://www.cageyfilms.com/wp-content/uploads/2019/09/bloody-new-year_08.jpg", "https://www.cageyfilms.com/wp-content/uploads/2019/09/terror_07.jpg", "https://www.cageyfilms.com/wp-content/uploads/2019/09/satans-slave_06.jpg", "https://www.cageyfilms.com/wp-content/uploads/2019/09/inseminoid_02.jpg", "https://www.cageyfilms.com/wp-content/uploads/2019/09/the-legacy_05.jpg", "https://www.cageyfilms.com/wp-content/uploads/2019/09/the-legacy_07.jpg", "https://www.cageyfilms.com/wp-content/uploads/2019/09/the-legacy_06.jpg", "https://www.cageyfilms.com/wp-content/themes/cageyfilms2022/images/cc_logo_white.png" ]	[]	[]	[ "indicator blu-ray", "bloody terror the shocking cinema of norman j warren 1976-87", "the legacy 1978", "satan\\'s slave 1976", "prey 1977", "terror 1978", "inseminoid 1981", "bloody new year 1987", "judy geeson", "michael gough", "richard marquand", "norman j warren", "blu-ray", "british film", "directors", "exploitation", "horror", "indicator", "science fiction" ]	null	[ "Kenneth George Godwin" ]	2019-09-25T00:15:34-05:00	Recent Blu-rays from Indicator serve up a feast of British exploitation horror with Bloody Terror, a lavish box set of five features (1976-87) by Norman J. Warren. plus Richard Marquand's first feature, The Legacy (1978).	en		Cagey Films \| K. George Godwin - Film Editor	https://www.cageyfilms.com/2019/09/trashy-brit-horrors/	I’ve no doubt said it more than once here, but it bears repeating: context can radically alter one’s opinion about a movie or a filmmaker. That’s why I love box sets; they allow you to see connections which add interest to individual movies which on their own you might not give much thought to. It’s also no doubt clear that I have a great affection for genre and exploitation movies. My tolerance for creative weaknesses is probably higher when it comes to low-budget exploitation than it is for more serious filmmaking. To some degree I guess that makes me an unserious critic. One week I might be contemplating the richness of genuine cinematic art, but then the next I’ll be making excuses for enjoying trash. If I think about it too much, I start to feel self-conscious and even a bit embarrassed. But at the same time, it wouldn’t be honest to conceal that aspect of my taste. Bloody Terror: the films of Norman J. Warren I bring this up now because in the period of less than two weeks, I immersed myself in Criterion’s new Blu-ray set of Abbas Kiarostami’s exquisite Koker Trilogy and Indicator’s Bloody Terror, a new box set of horror movies by English exploitation specialist Norman J. Warren. In purpose and execution, you’d be hard put to find two points farther apart on the cinematic spectrum. In no sense does Warren’s work touch me emotionally, intellectually or aesthetically the way Kiarostami’s does – but nonetheless, I enjoyed watching his five features for all their shortcomings and actually gained an appreciation of his work previously lacking, thanks to the mutual support given to each movie by the proximity of the others, plus the massive quantity of supplementary material provided by Indicator. Kiarostami was an artist of the highest order, but Warren is an engaging hack who turns out to have a great deal of personal charm. He has no pretensions about what he has done in his career, but has simply done his best with what came his way as a commercial journeyman. I’d previously seen the set’s first four movies via an Anchor Bay region 2 box set from 2004, but even though there were featurettes and commentaries in that set, I still didn’t think much of the films themselves – they seemed for the most part slow and clunky. Of the four, I’d actually seen one during its theatrical release in 1981; Inseminoid is an Alien imitation on a par with something like Bruce D. Clark’s Galaxy of Terror (also 1981). So what makes my experience of the movies different now? Maybe a bit of mental decline, maybe my susceptibility to the movie equivalent of shiny objects. Indicator has produced an appealing limited edition package (mine is #3391 of 6000), complete with a substantial 120-page book, a double-sided poster (Terror and Inseminoid), five Satan’s Slave lobby cards, and literally hours of new and archival extras – making-of documentaries and interviews, commentaries and deleted scenes, shorts and commercials directed by Warren, plus an alternate cut of Satan’s Slave. It would have been impossible to believe when the movies were first released that decades later they would receive this kind of loving attention … and it’s no doubt still arguable that they don’t deserve it, but there’s no question that the set provides an entertaining, in-depth look at a particular niche of British cinema history, which if it doesn’t convince one that Warren is the equal of Pete Walker at his best, nonetheless shows that he deserves attention. Apart from an expected level of gratuitous nudity and graphic gore, there are two things to note about Warren’s work: a tendency to sluggish pacing which undermines the building and sustaining of suspense and narrative tension, and a real facility with actors which produces some better than expected performances. In Satan’s Slave (1976), his first horror film (after a pair of exploitation features, including Her Private Hell [1967], released on Blu-ray by the BFI in 2012), Warren managed to cast Michael Gough as his suavely solicitous villain and the actor gives a fully committed performance steeped equally in charm and menace. Martin Potter (Encolpio in Fellini Satyricon [1969]) is genuinely creepy as Gough’s tortured son; his fate involves a very convincing, extremely cringey effect. And Candace Glendenning makes an excellent damsel-in-distress. Satan’s Slave is the best movie in the set. Conceived as a small drama with supernatural overtones, it uses its horror elements to support the story of a young woman dealing with trauma and grief, who doesn’t realize that her solicitous and supportive relatives are actually planning to use her in a sacrificial ritual to resurrect an ancestor executed as a witch hundreds of years earlier. Every helpful gesture is designed to draw her closer to her own destruction. There are various layers of madness, deceit and betrayal, making it the best-scripted movie in the collection. Despite a thinly developed script, Prey (1977) is sustained by the idiosyncratic performances of Sally Faulkner, Glory Annan and Barry Stokes. Terror (1978), on the other hand, has no real standouts in a cast which is nonetheless more than competent, while the cast in Warren’s biggest movie, Inseminoid (1981), don’t have a lot to work with as they run about in a cave complex (an impressive location) being driven mad by an alien power; however, Judy Geeson throws herself totally into the role of a woman carrying monstrous alien babies, torn between vulnerability and murderous fury. One thing I wouldn’t have guessed without the disk extras is that Terror was inspired by Dario Argento’s Suspiria (1977). When a party trick involving hypnosis causes one of the guests to be possessed by a witch executed hundreds of years earlier, people start dying in gruesome ways. So what’s the connection to Suspiria? Well, there are moments of unnaturally saturated colour, but mostly it’s that Terror was conceived as a string of murder set-pieces held together by a thin and seemingly irrelevant thread … which is kind of like Argento’s masterpiece, but Warren lacks the maestro’s bravura camera style; Terror is fairly entertaining, but despite some effective moments it has none of Suspiria’s operatic grandeur – which is that film’s raison d’etre, as is so clearly highlighted by Luca Guadagnino’s tediously pretentious remake. Warren’s final feature, Bloody New Year (1987), suffers from late ’80s slasher syndrome, with a cluster of unfamiliar young actors playing paper-thin characters who exist only to be tormented and killed. That said, I was actually engaged by this film – perhaps because it was previously unknown, but also because it had a more original and interesting concept. A group of friends out for a day at the beach sink their sailboat by what seems to be an uninhabited island. There’s a resort hotel decorated for New Year 1960, and strange, sometimes menacing figures appear and disappear as the friends try to find a way to get back to the mainland. These ghostly figures become increasingly threatening and the friends gradually figure out that they’re caught in a space-time warp caused by a military experiment gone wrong almost thirty years before. Like the island’s inhabitants, they’re apparently condemned to an eternity of going in circles, dying and returning to die again. Despite the irritating characters, Warren does a good job of revealing this situation, with some effective jump scares along the way. (The best part of the movie is the prologue, which ends with something completely unexpected.) Two of the movies hinge on witchcraft and family curses going back centuries (Satan’s Slave and Terror), while the other three, despite some Gothic trappings, all have sci-fi premises. To some degree, Prey is the most disappointing movie in the set because it falls far short of its potential. A three-character piece, it has an alien in human disguise intrude on the isolated lives of a pair of lesbians hidden away in a big country house. The two women have a relationship fraught with tensions stemming from some unrevealed secret. Josephine (Sally Faulkner) is very controlling, seeming to keep Jessica (Glory Annan) a virtual prisoner. There are hints of past trauma, dark family secrets. The tension between them is brought to the surface with the arrival of Anders (Barry Stokes), a stranger who seems virtually autistic, certainly socially inept. Jessica invites him to stay against Josephine’s wishes, apparently seeing him as a way out of their claustrophobic relationship. Anders’ obliviousness enables them to play with him in potentially humiliating ways (they dress him in women’s clothes and makeup for an impromptu party), but he doesn’t know enough about human behaviour to understand what they’re doing because he’s an alien newly arrived on Earth to scout the planet for a food source. The horror potential of this is repeatedly undermined by the ludicrous makeup inflicted on Stokes whenever he reverts to his true form – dark contact lenses, plastic fangs and a plastic pig-like nose. It’s frustrating that the script never actually fills in the women’s past history, but the biggest disappointment is the resolution. It would have been nice to see the alien defeated by the two women using him as a pawn in their own psychodrama, perhaps without them even realizing that they’d saved the planet. But instead the male intruder triumphs, paving the way for an invasion. This ending points to one final defining characteristic of Warren’s movies: the downer ending so popular in the 1970s and ’80s. These are all stories in which evil wins, which in itself is not necessarily bad narratively speaking, but sometimes it would be more satisfying if characters managed to find a way out of a dire situation – if the lesbian couple had managed to outwit the predatory male intruder, or at least one or two of the friends in Bloody New Year had been able to reason their way out of the space-time trap on the island. The first four films look pretty good on Blu-ray considering their age and budgetary limitations, but the original negative of Bloody New Year was apparently destroyed and the transfer was sourced from a print which shows quite a bit of damage, with faded colours and frequently poor contrast. I haven’t watched all the plentiful extras, but really enjoyed a couple of the recent interviews with Warren. * The Legacy (Richard Marquand, 1978) Would Richard Marquand’s first feature The Legacy (1978) have benefited by some additional context? I’m not sure what that might have been, but as a stand-alone disk, it’s as underwhelming as when I first saw it in a theatre on its original release. A creaky old-dark-house horror, it was based on a script by Jimmy Sangster which was heavily rewritten by Paul Wheeler and Patrick Tilley – to such a degree that Sangster all but disowned it as an undesirable throwback to the kind of horrors he had churned out for Hammer in the mid-’60s. I was a bit surprised to learn from several of the disk extras that it was considered by those who made it (including producer David Foster, director Marquand and editor Anne V. Coates) to be in the same category as Richard Donner’s The Omen (1976); it seems more akin to something by William Castle from a couple of decades earlier. Essentially a supernatural slasher movie, it gathers a fairly random collection of characters in an English country house, where they die one by one in different gruesome ways (which we eventually learn are related to events in their personal histories) as the dying host chooses the one who will inherit his wealth and black magic powers. The protagonists are an American couple played by Katherine Ross and Sam Elliott, who are respectively troubled and bemused by the strange ways of their foreign housemates. Any movie which also features Charles Gray and Roger Daltrey automatically slides down the slope into camp, further undercutting any genuine sense of horror – Daltrey’s protracted death choking on a chicken bone is something to see. Despite some decent production values and a good cast, The Legacy feels like a television movie-of-the-week, recycling already tired elements for no particular reason. Just three years later, Marquand directed the excellent World War Two thriller Eye of the Needle (1981), so he must have learned something from his experience on this un-scary horror. And yet Indicator has lavished its usual attention on the movie, including both the U.S. theatrical version and the original longer British cut (the latter unfortunately in open-matte standard def). The U.S. cut receives an excellent hi-def transfer; there’s a commentary, three interview featurettes (two originally from Shout! Factory’s Blu-ray), plus a comparison between the two versions. There’s also an early documentary by Marquand, Between the Hammer and the Anvil (27:06, 1973), about the Liverpool police. Given my memory of seeing the movie in 1978, I wouldn’t have made any effort to watch it again … but I added it to my order for the Warren box set purely because of all the extras offered by Indicator. That annoying attraction to shiny objects keeps overruling my better judgment.
8999	dbpedia	3	81	https://www.emovieposter.com/agallery/archiveitem/4668360.html	en	6f420 INSEMINOID 1sh '82 really wild sci	https://www.emovieposter…id_WC11179_T.jpg	https://www.emovieposter…id_WC11179_T.jpg	[ "https://www.emovieposter.com/menu/images/corner1.png", "https://www.emovieposter.com/menu/images/corner2.png", "https://www.emovieposter.com/menu/images/corner4.png", "https://www.emovieposter.com/menu/images/corner3.png", "https://www.emovieposter.com/images/icons/question_auctionhistory.gif ", "https://www.emovieposter.com/images/moviestars/AA170418/200/inseminoid_WC11179_T.jpg", "https://www.emovieposter.com/gallery/add_to_want_list.gif", "https://www.emovieposter.com/images/icons/readmore.gif", "https://www.emovieposter.com/images/announcements/unparalled_customer_service.png", "https://www.emovieposter.com/images/announcements/bruce02.jpg", "https://www.emovieposter.com/images/logos/LAMP-2020Logo.png" ]	[]	[]	[ "movie posters", "movie poster", "buy vintage movie posters", "Poster image archive", "price guide", "sales results database", "masterprints", "popcorn reprints", "poster info" ]	null	[]	null	Movie Posters for sale at auction. Buy vintage movie posters here! Check out our sales results, and image archive.	en			null	ARE YOU LOOKING TO BUY MOVIE POSTERS OR RELATED ITEMS? We are the world's leading auctioneer of movie posters and related items. You are currently on one of our non-auction pages. We hold 4,000 to 5,000 auctions every FOUR WEEKS. To learn more about our auctions, click here. To register to bid on our auctions, click here. About eMoviePoster.com: In the past 32 years, we have auctioned MORE movie paper for MORE money than ANY other auction company, period! EVERY item we auction starts at $1, with NO reserve, and NO buyers premium, and EVERY item is honestly described, with an unenhanced super-sized image! We charge consignors the lowest rates of ANY major auction, and we have held over 1,834,000 online auctions! Go to our current auctions in our Auction Galleries, and you will quickly see why we are the most trusted auction site!
correct_birth_00015	FactBench	2	7	https://en.wikipedia.org/wiki/Harry_S_Truman_Birthplace_State_Historic_Site	en	Harry S Truman Birthplace State Historic Site	https://upload.wikimedia…0150715-8218.jpg	https://upload.wikimedia…0150715-8218.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/57/Harry_S_Truman_Birthplace_SHS_20150715-8218.jpg/284px-Harry_S_Truman_Birthplace_SHS_20150715-8218.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/29/USA_Missouri_relief_location_map.svg/280px-USA_Missouri_relief_location_map.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/0/0c/Red_pog.svg/8px-Red_pog.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/f3/Usa_edcp_relief_location_map.png/280px-Usa_edcp_relief_location_map.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/0/0c/Red_pog.svg/8px-Red_pog.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/0/0b/TRUMAN_58-766-06_%28cropped%29.jpg/100px-TRUMAN_58-766-06_%28cropped%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/3/36/Seal_of_the_President_of_the_United_States.svg/100px-Seal_of_the_President_of_the_United_States.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/16px-Symbol_category_class.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/16px-Symbol_category_class.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/12px-Commons-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/9/97/Logo_of_the_United_States_National_Park_Service.svg/50px-Logo_of_the_United_States_National_Park_Service.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/c/cd/Map_of_USA_MO.svg/100px-Map_of_USA_MO.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2009-01-01T20:47:26+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Harry_S_Truman_Birthplace_State_Historic_Site	Historic house in Lamar, Missouri The Harry S Truman Birthplace State Historic Site is a state-owned property in Lamar, Barton County, Missouri, maintained by the Missouri Department of Natural Resources, preserving the 1+1⁄2-story childhood home of Harry S. Truman, the 33rd President of the United States. The future president was born here on May 8, 1884, in the downstairs southwest bedroom. The home was purchased by the state in 1957 and dedicated as a historic site in 1959 at a ceremony attended by Truman himself.[4][5] The site was added to the National Register of Historic Places in 1969.[6] List of residences of presidents of the United States
correct_birth_00015	FactBench	1	58	https://www.osti.gov/opennet/manhattan-project-history/People/Administrators/harry-truman.html	en	Manhattan Project: People > Administrators > HARRY S. TRUMAN			[ "https://www.osti.gov/opennet/manhattan-project-history/images/Manhattan_Banner.jpg", "https://www.osti.gov/opennet/manhattan-project-history/People/Administrators/images/captain-truman.jpg", "https://www.osti.gov/opennet/manhattan-project-history/People/Administrators/images/roosevelt-truman-wallace.jpg", "https://www.osti.gov/opennet/manhattan-project-history/People/Administrators/images/president-truman-1945.jpg", "https://www.osti.gov/opennet/manhattan-project-history/images/nuclear-next.jpg" ]	[]	[]	[ "" ]	null	[]	null					null	HARRY S. TRUMAN (President of the United States, 1945-1953) People > Administrators Bush, Vannevar Compton, Arthur H. Conant, James B. Groves, Leslie R. Lawrence, Ernest O. Oppenheimer, J. Robert Roosevelt, Franklin D. Truman, Harry S. Harry Truman was born in Lamar, Missouri, on May 8, 1884. He grew up in rural Missouri and following graduation from high school worked at an assortment of clerical jobs, eventually moving to the family farm near Grandview, Missouri. During the First World War, he was elected an officer of his National Guard unit, and in 1918 he saw combat in France. After the war, he opened a men's haberdashery in Kansas City, Missouri, but, with the subsequent failure of his business, he entered local politics. In 1934, he became the Democratic nominee for the United States Senate and handily defeated the Republican incumbent, Roscoe C. Patterson. In 1940 he was narrowly reelected to the Senate. Senator Truman earned a national reputation investigating charges of corruption and incompetence at defense installations. In March 1941, the Senate formed the Senate Special Committee to Investigate the National Defense Program, headed by Truman and informally known as the Truman Committee. The committee's investigations briefly brought Truman into contact with the Manhattan Project, although he did not realize it at the time. In June 1943, the committee began making inquiries about land acquisition near Pasco, Washington, for what would become the Hanford Engineer Works. For reasons of military security and to head off any unwanted publicity, General Leslie Groves, head of the Manhattan Engineer District, had Secretary of War Henry Stimson ask Truman to eliminate the site from his investigations. Truman agreed, with the understanding that Stimson would assume full responsibility for project activities. In 1944, President Franklin Roosevelt chose Truman as his surprise running mate for the upcoming election, replacing Henry Wallace as Vice President. Truman was never brought into Roosevelt's inner circle of advisers, however, and his tenure as Vice President was a remarkably quiet one. Prior to Roosevelt's sudden death on April 12, 1945, Truman was not aware that the Manhattan Project existed. On April 25, 1945, Stimson and Groves fully briefed the new President on the atomic bomb project. They traced the history of the Manhattan Project, summarized its status and detailed the timetable for testing and combat delivery. Stimson also discussed postwar control of the bomb, noting that the United States could not retain its present advantage indefinitely. One week later, Stimson met with Truman again, asking that the President appoint an advisory group to recommend proper use of atomic weapons during the war and develop a plan for postwar atomic policy. Stimson called the group the "Interim Committee" because after the war Congress would probably want to form a permanent commission to supervise, regulate, and control the atom. Over the next several months, Truman would hold ultimate responsibility for making hard decisions on use of the bomb and post-war considerations. Input from the Interim Committee was essential, but Truman also would rely heavily on the counsel of his Secretary of War. Stimson, as the historians Richard Hewlett and Oscar Anderson have noted, "more than any other man… was in a position to influence the advent of nuclear energy." Truman made the decision, based on advice from the Interim Committee and Stimson, to drop the atomic bomb on Japan without warning prior to his meeting with British Prime Minister Winston Churchill and Josef Stalin, leader of the Soviet Union, at Potsdam in mid-July. He also had decided to tell Stalin, if the opportunity arose, that the United States was working on the bomb and intended to use it against Japan. Following the successful Trinity test of the plutonium device on July 16, which buoyed his confidence and hardened his resolve toward the Soviet Union, Truman on July 24 approached Stalin without an interpreter and, as casually as he could, told him that the United States had a "new weapon of unusual destructive force." Stalin, who through Soviet espionage and unbeknownst to Truman was well aware of the atomic bomb, replied that he was glad to hear it and hoped that it would be used against Japan to good effect. The following day, a directive, written by Groves, approved by Truman, and issued by Stimson and General of the Army George Marshall, ordered the Army Air Force's 509th Composite Group to attack Hiroshima, Kokura, Niigata, or Nagasaki (in that order of preference) as soon after August 3 as weather permitted. The United States dropped the untested uranium bomb on Hiroshima on August 6 and three days later a plutonium bomb on Nagasaki. Japan announced its willingness to surrender the following day, and Truman ordered that no further atomic attacks be made while negotiations to finalize the surrender took place. Truman's decision to drop the bomb effectively ended the war. As the president of post-war America, Truman oversaw the largely unsuccessful initial efforts at international control of the atom and the more successful efforts at domestic control. Failing to reach an agreement with Stalin, he secured the central role atomic weapons were to play in postwar military strategy by expanding the production of fission weapons and, in 1950, by approving the development of the hydrogen bomb. This was made possible with the creation of a civilian Atomic Energy Commission-successor to the wartime Manhattan Engineer District-that strictly controlled the domestic atom, developed and built new weapons, and made the first fledgling efforts at peaceful uses of the atom. Deciding not to run for reelection in 1952, Truman retired from public life. He died on December 26, 1972, at the age of 88. To view the next people section of the Manhattan Project, proceed to Scientists. Bush, Vannevar Compton, Arthur H. Conant, James B. Groves, Leslie R. Lawrence, Ernest O. Oppenheimer, J. Robert Roosevelt, Franklin D. Truman, Harry S.
correct_birth_00015	FactBench	3	41	https://www.facebook.com/reel/792801126132896/	en	Facebook	https://scontent.xx.fbcd…D2uQ&oe=66A3D6FE	https://scontent.xx.fbcd…D2uQ&oe=66A3D6FE	[]	[]	[]	[ "" ]	null	[]	null	The 33rd president, Harry S. Truman was born on May 7, 1884. In 1961, JFK called HST to wish him a happy 77th..	de	https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico		https://www.facebook.com/JFKLibrary/videos/the-33rd-president-harry-s-truman-was-born-on-may-7-1884-in-1961-jfk-called-hst-/792801126132896/
correct_birth_00015	FactBench	3	16	https://www.history.com/this-day-in-history/harry-s-truman-is-born	en	Harry S. 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https://www.history.com/editorial/_next/image?url=https%3A%2F%2Fassets.editorial.aetnd.com%2Fhistory-article-default.desktop.jpg&w=48&q=75 48w, https://www.history.com/editorial/_next/image?url=https%3A%2F%2Fassets.editorial.aetnd.com%2Fhistory-article-default.desktop.jpg&w=64&q=75 64w, https://www.history.com/editorial/_next/image?url=https%3A%2F%2Fassets.editorial.aetnd.com%2Fhistory-article-default.desktop.jpg&w=96&q=75 96w, https://www.history.com/editorial/_next/image?url=https%3A%2F%2Fassets.editorial.aetnd.com%2Fhistory-article-default.desktop.jpg&w=128&q=75 128w, https://www.history.com/editorial/_next/image?url=https%3A%2F%2Fassets.editorial.aetnd.com%2Fhistory-article-default.desktop.jpg&w=256&q=75 256w, https://www.history.com/editorial/_next/image?url=https%3A%2F%2Fassets.editorial.aetnd.com%2Fhistory-article-default.desktop.jpg&w=392&q=75 392w, https://www.history.com/editorial/_next/image?url=https%3A%2F%2Fassets.editorial.aetnd.com%2Fhistory-article-default.desktop.jpg&w=640&q=75 640w, https://www.history.com/editorial/_next/image?url=https%3A%2F%2Fassets.editorial.aetnd.com%2Fhistory-article-default.desktop.jpg&w=750&q=75 750w, https://www.history.com/editorial/_next/image?url=https%3A%2F%2Fassets.editorial.aetnd.com%2Fhistory-article-default.desktop.jpg&w=828&q=75 828w, https://www.history.com/editorial/_next/image?url=https%3A%2F%2Fassets.editorial.aetnd.com%2Fhistory-article-default.desktop.jpg&w=1080&q=75 1080w, https://www.history.com/editorial/_next/image?url=https%3A%2F%2Fassets.editorial.aetnd.com%2Fhistory-article-default.desktop.jpg&w=1248&q=75 1248w, https://www.history.com/editorial/_next/image?url=https%3A%2F%2Fassets.editorial.aetnd.com%2Fhistory-article-default.desktop.jpg&w=1920&q=75 1920w, https://www.history.com/editorial/_next/image?url=https%3A%2F%2Fassets.editorial.aetnd.com%2Fhistory-article-default.desktop.jpg&w=2048&q=75 2048w, https://www.history.com/editorial/_next/image?url=https%3A%2F%2Fassets.editorial.aetnd.com%2Fhistory-article-default.desktop.jpg&w=3840&q=75 3840w" ]	[]	[]	[ "" ]	null	[ "Missy Sullivan" ]	2009-11-16T10:31:53+00:00	On May 8, 1884, Harry S. Truman is born in Lamar, Missouri. The son of a farmer, Truman could not afford to go to college. He joined the army at the relatively advanced age of 33 in 1916 to fight in World War I. After the war, he opened a haberdashery in Kansas City. When […]	en	https://www.history.com/…e-touch-icon.png	HISTORY	https://www.history.com/this-day-in-history/harry-s-truman-is-born	On May 8, 1884, Harry S. Truman is born in Lamar, Missouri. The son of a farmer, Truman could not afford to go to college. He joined the army at the relatively advanced age of 33 in 1916 to fight in World War I. After the war, he opened a haberdashery in Kansas City. When that business went bankrupt in 1922, he entered Missouri politics. Truman went on to serve in the U.S. Senate from 1934 until he was chosen as Franklin D. Roosevelt’s third vice president in 1945; it was during his Senate terms that he developed a reputation for honesty and integrity. Upon FDR’s death on April 12, 1945, Truman became the 33rd president of the United States, assuming the role of commander in chief of a country still embroiled in World War II. With victory in Europe imminent, Truman agonized over whether or not to use the recently developed atomic bomb to force Japan to surrender. After only four months in office, Truman authorized the dropping of two atomic bombs on Japan in August 1945. He and his military advisors argued that using the bomb ultimately saved American and Japanese lives, since it appeared that the Japanese would fiercely resist any conventional attempt by the Allies to invade Japan and end the war. The use of the new weapon, dropped on the cities of Hiroshima and Nagasaki in early August, succeeded in forcing Japan’s surrender, but also ushered in the Cold War. From that point until the late 1980s, the U.S. and Russia raced to out-spend and out-produce each other in nuclear weaponry. After the war, the long-term and deadly effects of radiation fall-out on human beings were bleakly illustrated in pictures of the Japanese who survived the Hiroshima and Nagasaki bombings. Images and information released after the war regarding illnesses and environmental devastation related to nuclear weapons shocked the world and earned Truman lasting criticism for ushering in the possibility of complete global annihilation through nuclear warfare. Although best known—and reviled by some—as the only president to choose to use nuclear weapons against innocent civilians in combat, Truman’s time in the executive branch was also notable in other areas. In 1941, Truman drove 10,000 miles across the country in his Dodge to investigate potential war profiteering in defense plants on the eve of World War II. After World War II, Truman helped push the Marshall Plan through Congress, which provided desperately needed reconstruction aid to European nations devastated by the war and on the verge of widespread famine. He also supported the establishment of a permanent Israeli state. Truman was also known for his explosive temper and fierce loyalty to his family. In December 1950, his daughter Margaret gave a singing recital that was panned the following day in the Washington Post. Truman was so furious that he wrote a letter to the editor in which he threatened to give the reviewer a black eye and a broken nose. This was just one of many events that illustrated Truman's feisty, no-nonsense style, for which he was earlier given the nickname “Give ’em hell, Harry.” Truman served as president for two terms from 1945 to 1953, when he and his wife Bess happily retired to Independence, Missouri, where he often referred to himself jokingly as “Mr. Citizen.” He died there on December 26, 1972.
correct_birth_00015	FactBench	0	43	https://www.patriotledger.com/article/20090328/News/303289878	en	The Patriot Ledger: Local News, Politics & Sports in Quincy, MA	https://www.gannett-cdn.…ages/favicon.png	https://www.gannett-cdn.…ages/favicon.png	[ "https://www.gannett-cdn.com/authoring/authoring-images/2024/07/18/USAT/74463085007-afp-2161710293.jpg?crop=2709,1524,x0,y271", "https://www.gannett-cdn.com/authoring/authoring-images/2024/07/18/NPAL/74453760007-duxburylisting-071824.jpg?crop=987,554,x6,y0&quality=50&width=270", "https://www.gannett-cdn.com/authoring/authoring-images/2024/07/18/NPAL/74456065007-img-3613.jpeg?crop=3085,1735,x3,y361&quality=50&width=270", "https://www.gannett-cdn.com/presto/2023/09/07/NPAL/00bbbdfd-6e0e-4a15-8044-3215415fdaae-August2330.JPG?crop=1067,1067,x266,y0&quality=50&width=135", "https://www.gannett-cdn.com/authoring/images/smg/2024/07/11/USAT/74375923007-USATSI_16521318_1.jpeg?crop=2649,2650,x0,y167&quality=50&width=135", "https://www.gannett-cdn.com/authoring/authoring-images/2024/06/24/NPAL/74194147007-kings-castle-land-5.jpg?crop=1528,1527,x102,y0&quality=50&width=135", "https://www.gannett-cdn.com/authoring/authoring-images/2023/12/01/NPAL/71764023007-113023-gd-mil-winners-09.JPG?crop=966,966,x633,y0&quality=50&width=135", "https://www.gannett-cdn.com/presto/2023/01/21/NPAL/191f046e-665b-416d-8cf6-7b5922a3be1f-012023_gd_QUI_basketball62.JPG?crop=1464,1464,x0,y0&quality=50&width=135", "https://www.gannett-cdn.com/presto/2023/09/16/NPAL/bddb050c-85bc-4578-8bf7-0b438c983289-091523-gd-QUI_football10.JPG?crop=1210,1210,x194,y0&quality=50&width=135", "https://www.gannett-cdn.com/authoring/authoring-images/2024/07/19/USAT/74476534007-usatsi-23361392-168401916-lowres.jpg?crop=804,803,x201,y0&quality=50&width=135", "https://www.gannett-cdn.com/authoring/authoring-images/2024/07/21/NENT/74487501007-0720024-mv-braintree-bridgewater-42.JPG?crop=1962,1961,x1194,y0&quality=50&width=135", "https://www.gannett-cdn.com/authoring/authoring-images/2024/07/21/NENT/74487506007-0720024-mv-braintree-bridgewater-40.JPG?crop=2932,2931,x2100,y0&quality=50&width=135", "https://www.gannett-cdn.com/authoring/authoring-images/2024/07/21/NENT/74486993007-0720024-mv-quincy-rugby-11.JPG?crop=2808,2807,x181,y0&quality=50&width=135", "https://www.gannett-cdn.com/authoring/authoring-images/2024/07/21/NENT/74486980007-0720024-mv-quincy-rugby-6.JPG?crop=2298,2297,x259,y0&quality=50&width=135" ]	[]	[]	[ "" ]	null	[ "The Patriot Ledger Staff" ]	0001-01-01T00:00:00+00:00	Get the latest breaking news, sports, entertainment and obituaries in Quincy, MA from The Patriot Ledger.	en	https://www.gannett-cdn.…ages/favicon.png	The Patriot Ledger	https://www.patriotledger.com/
correct_birth_00015	FactBench	1	19	https://mrnussbaum.com/president-33-harry-s-truman-biography-presidents-series	en	President 33 - Harry S. Truman Biography - Presidents Series	https://mrnussbaum.com/favicon.png	https://mrnussbaum.com/favicon.png	[ "https://mrnussbaum.com/images/logo.svg", "https://mrnussbaum.com/storage/uploads/activities/worldimages/truman.jpg", "https://mrnussbaum.com/storage/uploads/activities/ads/adthis.png", "https://mrnussbaum.com/images/white-logo.svg" ]	[]	[]	[ "" ]	null	[]	null	Harry S. Truman was born on May 8, 1884 in Lamar, Missouri, though hew grew up in nearby Independence . His parents gave him the middle initial S. to honor Harry's two grandfathers, though it stands for nothing in particular.	en	https://mrnussbaum.com/favicon.png		null	Everyday Guy Harry S. Truman was born on May 8, 1884 in Lamar, Missouri, though hew grew up in nearby Independence . His parents gave him the middle initial S. to honor Harry's two grandfathers, though it stands for nothing in particular. As a child, Harry enjoyed playing the piano and reading. In 1901, he graduated from Independence High School. After high school, he worked on the Santa Fe Railroad. Although he never earned a college degree, he became a successful Missouri farmer and served as a Captain in World War I. In 1919, he married Bess Wallace, seven years after she rejected his first request. The couple would have a single child named Mary Margaret. In 1919, Harry and a wartime friend opened a haberdashery (a store that sells sewing supplies such as buttons) in Kansas City. The business succeeded for a couple of years but went bankrupt during the recession of 1921. Senator Truman Truman's political career began in 1922 when he was elected as judge of the County Court of the eastern district of Jackson County, Missouri. During this time, Truman was instrumental in the development of Kansas City, Missouri and helped initiate programs that built roads, buildings, and monuments in the city. In 1934, he was elected Senator from Missouri. He was re-elected in 1940. During his second term as Senator, Truman established the "Truman Committee" which exposed military spending fraud during World War II. Truman's committee is thought to have saved the United States Military over 15 billion dollars and launched his political career into the national limelight. Becoming President In 1944, Truman was selected as President Franklin D. Roosevelt's vice-presidential running-mate during the election of 1944, though Truman reluctantly accepted only after listening to a fake phone call orchestrated by members of the Republican National Committee, in which Roosevelt claimed that his refusal to accept the vice-presidency would disrupt the unity of the party. Roosevelt won the election for a record fourth time, but died in 1945 after suffering a stroke. Truman was sworn in as President. Atomic Bombs Truman's presidency began in the latter stages of World War II. In 1945, after being briefed on the top secret Manhattan Project (the testing of Nuclear Weapons), Truman authorized the use of nuclear Weapons against Japan, after Japan refused to surrender in the Potsdam Declaration. American military forces dropped two nuclear bombs on August 6, 1945 over the cities of Nagasaki and Hiroshima , marking the first and only time nuclear weapons had ever been used in warfare. Tens of thousands of Japanese were killed instantly and Japan surrendered eight days later. Domestic Challenges After the war, Truman led the nation's transition back to a peacetime economy, despite innumerable domestic challenges including severe inflation, labor unrest, and shortages of houses and consumer products. Furthermore, issues abroad with the Communist Soviet Union suggested their thirst for global domination. In an attempt to quell the spread of Communism, Truman won support for the Marshall Plan, which aimed to help re-build postwar Europe. Truman also signed the National Security Act of 1947 which eventually resulted in the Department of Defense and the creation of the U.S. Air Force and Central Intelligence Agency (CIA). International Challenges In 1948, Truman took measures to recognize the state of Israel in the former Palestine, giving the Jewish people displaced during the European Holocaust their own state. Truman also authorized the Berlin Airlift, a campaign that delivered food, coal, and other supplies to areas of West Berlin, Germany that had been blockaded by the Russians. The airlift was seen as a great success in American foreign policy. NATO and the Korean War Later in 1948, after the Democratic Party seemed ready to split, and after Truman signed a controversial order integrating the U.S. Armed Forces, he was re-elected president in an improbable victory, prompted at least in part, by his incredible campaign effort which covered nearly 22,000 miles in traveling. In 1949, Truman was instrumental in the establishment of NATO (the North Atlantic Treaty Organization) which established alliances with Canada and much of western and northern Europe in opposition to the growing Communist threat of the Soviet Union. Nevertheless, Truman's popularity began to wane as the Soviet Nuclear program rapidly developed amidst allegations that Truman's administration was harboring Soviet spies (the resulting paranoia concerning Communists in the U.S. Government and Russian spies would be forever referred to as McCarthyism). In 1950, Communist North Korea invaded South Korea prompting the Korean War. Truman's handling of the war was heavily criticized, particularly his decision to fire the popular World War II hero Douglas MacArthur from his command in Japan and Korea. Although the two-year war cost over 30,000 American lives, Truman succeeded in preventing the war from becoming a major international struggle between surrounding Communist nations such as China and the Soviet Union. Truman declined to run for re-election in 1952. After the Presidency After his presidency, Truman retired to Independence where he wrote his Memoirs and lived a humble existence. On December 26, 1972, Truman died of complications from pneumonia. Today, he is honored with the Harry S. Truman Presidential Library in Independence, Missouri, and the Harry S. Truman National Historic Site, which includes the Truman family farm in Independence . The University of Missouri mascot is known as the Truman Tiger.
correct_birth_00015	FactBench	0	55	https://www.yellowpages.com/lamar-mo/mip/truman-harry-s-birthplace-state-historic-site-5761367	en	Truman Harry S Birthplace State Historic Site	https://i3.ypcdn.com/blob/a9fc7c5656ed8f10cbf028884788a90d8779bd06	https://i3.ypcdn.com/blob/a9fc7c5656ed8f10cbf028884788a90d8779bd06	[ "https://c.ypcdn.com/2/p/webyp?ptid=www.yellowpages.com&rid=webyp-9f5aed23-93d6-4e11-a4e0-0cc115e529ed&vrid=f83ee9a7-9045-4cfb-b8d9-b821335346b8", "https://i3.ypcdn.com/ypu/images/svgs/mobile_yp_logo.svg?975a4ad", "https://i4.ypcdn.com/ypu/images/svgs/yp.svg?975a4ad", "https://i3.ypcdn.com/ypu/images/svgs/log-in.svg?975a4ad", "https://i2.ypcdn.com/ypu/images/svgs/sign-up.svg?975a4ad", "https://i1.ypcdn.com/ypu/images/svgs/explore-cities.svg?975a4ad", "https://i1.ypcdn.com/ypu/images/svgs/find-people.svg?975a4ad", "https://i3.ypcdn.com/ypu/images/svgs/download.svg?975a4ad", "https://i1.ypcdn.com/ypu/images/svgs/advertise-w-us.svg?975a4ad", "https://i2.ypcdn.com/ypu/images/svgs/auto-services.svg?975a4ad", "https://i2.ypcdn.com/ypu/images/svgs/beauty.svg?975a4ad", "https://i3.ypcdn.com/ypu/images/svgs/home-services.svg?975a4ad", "https://i1.ypcdn.com/ypu/images/svgs/insurance.svg?975a4ad", "https://i4.ypcdn.com/ypu/images/svgs/legal-services.svg?975a4ad", "https://i3.ypcdn.com/ypu/images/svgs/medical-services.svg?975a4ad", "https://i4.ypcdn.com/ypu/images/svgs/pet-services.svg?975a4ad", "https://i3.ypcdn.com/ypu/images/svgs/restaurants.svg?975a4ad", "https://i3.ypcdn.com/blob/a9fc7c5656ed8f10cbf028884788a90d8779bd06_150x150_crop.jpg", "https://i1.ypcdn.com/ypu/images/svgs/business-icon.svg?975a4ad", "https://i3.ypcdn.com/blob/a9fc7c5656ed8f10cbf028884788a90d8779bd06_228x168_crop.jpg", "https://i2.ypcdn.com/ypu/images/svgs/auto-services.svg?975a4ad", "https://i2.ypcdn.com/ypu/images/svgs/beauty.svg?975a4ad", "https://i3.ypcdn.com/ypu/images/svgs/home-services.svg?975a4ad", "https://i1.ypcdn.com/ypu/images/svgs/insurance.svg?975a4ad", "https://i4.ypcdn.com/ypu/images/svgs/legal-services.svg?975a4ad", "https://i3.ypcdn.com/ypu/images/svgs/medical-services.svg?975a4ad", "https://i4.ypcdn.com/ypu/images/svgs/pet-services.svg?975a4ad", "https://i3.ypcdn.com/ypu/images/svgs/restaurants.svg?975a4ad" ]	[]	[]	[ "" ]	null	[]	null	Get reviews, hours, directions, coupons and more for Truman Harry S Birthplace State Historic Site. Search for other Places Of Interest on The Real Yellow Pages®.	en	//i4.ypcdn.com/ypu/images/favicon.ico?975a4ad	YP.com	https://www.yellowpages.com/lamar-mo/mip/truman-harry-s-birthplace-state-historic-site-5761367	© 2024 Thryv, Inc. All rights reserved. YP, the YP logo, The Real Yellow Pages, and all other YP marks are registered trademarks of Thryv, Inc. All other marks contained herein are the property of their respective owners.
correct_birth_00015	FactBench	3	57	https://www.whitehouse.gov/about-the-white-house/first-families/elizabeth-virginia-wallace-truman/	en	Elizabeth Virginia Wallace Truman	https://www.whitehouse.g…social-share.png	https://www.whitehouse.g…social-share.png	[ "https://www.whitehouse.gov/wp-content/themes/whitehouse/assets/img/wh-outline.svg", "https://www.whitehouse.gov/wp-content/themes/whitehouse/assets/img/bottomcta-logo.svg", "https://www.whitehouse.gov/wp-content/themes/whitehouse/assets/img/footer-seal.svg" ]	[]	[]	[ "" ]	null	[]	2021-01-12T18:18:29+00:00	Elizabeth Virginia “Bess” Truman was the wife of Harry S. Truman and First Lady of the United States from 1945 to 1953. She served as her husband’s	en	/favicon.ico	The White House	https://www.whitehouse.gov/about-the-white-house/first-families/elizabeth-virginia-wallace-truman/	Elizabeth Virginia “Bess” Truman was the wife of Harry S. Truman and First Lady of the United States from 1945 to 1953. She served as her husband’s secretary and was known for often voicing her opinions. Whistle-stopping in 1948, President Harry Truman often ended his campaign talk by introducing his wife as “the Boss” and his daughter, Margaret, as “the Boss’s Boss,” and they smiled and waved as the train picked up steam. The sight of that close-knit family gallantly fighting against such long odds had much to do with his surprise victory at the polls that November. Strong family ties in the southern tradition had always been important around Independence, Missouri, where a baby girl was born to Margaret (“Madge”) Gates and David Wallace on February 13, 1885. Christened Elizabeth Virginia, she grew up as “Bess.” Harry Truman, whose family moved to town in 1890, always kept his first impression of her — “golden curls” and “the most beautiful blue eyes.” A relative said, “there never was but one girl in the world” for him. They attended the same schools from fifth grade through high school. In recent years their daughter has written a vivid sketch of Bess as a girl: “a marvelous athlete–the best third baseman in Independence, a superb tennis player, a tireless ice skater–and she was pretty besides.” She also had many “strong opinions….and no hesitation about stating them Missouri style–straight from the shoulder.” For Bess and Harry, World War I altered a deliberate courtship. He proposed and they became engaged before Lieutenant Truman left for the battlefields of France in 1918. They were married in June 1919; they lived in Mrs. Wallace’s home, where Mary Margaret was born in 1924. When Harry Truman became active in politics, Mrs. Truman traveled with him and shared his platform appearances as the public had come to expect a candidate’s wife to do. His election to the Senate in 1934 took the family to Washington. Reluctant to be a public figure herself, she always shared his thoughts and interests in private. When she joined his office staff as a secretary, he said, she earned “every cent I pay her.” His wartime role as chairman of a special committee on defense spending earned him national recognition–and a place on the Democratic ticket as President Roosevelt’s fourth-term running mate. Three months after their inauguration Roosevelt was dead. On April 12, 1945, Harry Truman took the President’s oath of office–and Bess, who managed to look on with composure, was the new First Lady. In the White House, its lack of privacy was distasteful to her. As her husband put it later, she was “not especially interested” in the “formalities and pomp or the artificiality which, as we had learned…, inevitably surround the family of the President.” Though she conscientiously fulfilled the social obligations of her position, she did only what was necessary. While the mansion was rebuilt during the second term, the Trumans lived in Blair House and kept social life to a minimum. They returned to Independence in 1953. After her husband’s death in 1972, Mrs. Truman continued to live in the family home. There she enjoyed visits from Margaret and her husband, Clifton Daniel, and their four sons. She died in 1982 and was buried beside her husband in the courtyard of the Harry S. Truman Library. You can learn more about Mrs. Truman at the Harry S. Truman Library & Museum.
correct_birth_00015	FactBench	1	35	https://kids.britannica.com/kids/article/Harry-S-Truman/345529	en	Harry S. Truman	https://kids.britannica.…-07-14-17-A2.jpg	https://kids.britannica.…-07-14-17-A2.jpg	[ "https://www.facebook.com/tr?id=160638381132823&ev=PageView&noscript=1", "https://pubads.g.doubleclick.net/activity;dc_iu=/15510053/DFPAudiencePixel;ord=1;dc_seg=806891421", "https://kids.britannica.com/resources/img/BkidsLogoDesktop.png", "https://kids.britannica.com/resources/img/BkidsLogoTruncated.png", "https://cdn.britannica.com/91/1491-004-6581ECB0.jpg?w=300&h=300&q=85", "https://cdn.britannica.com/96/96196-004-2539B3E8.jpg?w=300&h=300&q=85", "https://cdn.britannica.com/76/88676-004-DBF1D89F.jpg?w=300&h=300&q=85", "https://images.ctfassets.net/g6sptuky6qmo/3aeH01gwahf0dxON8IPfOp/b8bc73283d6830741d3bbb24ff4edefe/K-2_View_All_Activities.jpeg", "https://images.ctfassets.net/g6sptuky6qmo/2Vup63T378qUrOIr6iKfNW/a1a7665c63796cf2166ea048ada48f7b/3-5_View_All_Activities.jpeg", "https://cdn.britannica.com/14/96214-004-B17D338B.jpg", "https://cdn.britannica.com/32/139932-004-D125F321.gif", "https://cdn.britannica.com/26/194126-138-8F223B21.jpg", "https://cdn.britannica.com/14/96214-004-B17D338B.jpg", "https://cdn.britannica.com/32/139932-004-D125F321.gif", "https://cdn.britannica.com/26/194126-138-8F223B21.jpg", "https://kids.britannica.com/resources/img/tour/icon-inspire.png", "https://kids.britannica.com/resources/img/tour/icon-inform.png", "https://kids.britannica.com/resources/img/tour/icon-educate.png", "https://kids.britannica.com/resources/img/tour/icon-subscribe-yellow.png" ]	[]	[]	[ "Harry S. Truman", "encyclopedia", "encyclopaedia", "article" ]	null	[]	null	After President Franklin D. Roosevelt died in 1945, Vice President Harry S. Truman became the 33rd president of the United States. Truman led the country through the end of…	en	/resources/icons/favicons/bkids/bkids-favicon-57c.png	Britannica Kids	https://kids.britannica.com/kids/article/Harry-S-Truman/345529	Truman was born in Lamar, Missouri, on May 8, 1884. He was the oldest of the three children of John Anderson Truman, a farmer, and Martha Young. Harry graduated from high school in Independence, Missouri. A member of the Missouri National Guard, Truman volunteered to serve in World War I in 1917. He fought in France and then returned to the United States in 1919. That year he married Elizabeth (Bess) Wallace. They had one daughter. With an Army friend, Truman opened a men’s clothing store in Kansas City. The business failed in the early 1920s. World War II in Europe soon ended, but war with Japan continued. Hoping to prevent more U.S. deaths by making Japan surrender, Truman decided to use the newly invented atomic bomb in Japan. In early August 1945 U.S. airplanes dropped atomic bombs on the cities of Hiroshima and Nagasaki. The bombs killed more than 100,000 men, women, and children. Japan surrendered on August 14, 1945. After the war Truman helped the United States join the United Nations, a new international peace organization. He also introduced the Truman Doctrine. That policy said that the United States would fight the spread of Communism, the political system of the Soviet Union. In 1948 Truman approved the Marshall Plan. Under the plan the United States sent billions of dollars to help rebuild Europe. By strengthening the economies of western Europe, the plan prevented Communism from spreading there. That year Truman also ordered desegregation (the mixing of races) in the U.S. military. After beginning his second term in 1949, Truman presented a program of reforms called the Fair Deal. He wanted more public housing, more money for education, higher wages, government-protected civil rights, and national health insurance. Congress did not pass most of the Fair Deal reforms, but citizens debated Truman’s ideas for years to come. The Korean War began during Truman’s second term. In 1950 Communist North Korea invaded South Korea. Backed by the United Nations, Truman ordered U.S. military forces to help South Korea. The war dragged on past the end of Truman’s presidency.
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famous Little White House in Key West is now a museum, and still a retreat for our nation's leaders.	en			https://www.visitflorida.com/travel-ideas/articles/arts-history-harry-trumans-house-key-west/	By Gary McKechnie If Florida could ever lay claim to a president, one of the best would be Number 33: Harry S Truman. Sure, he was born in Missouri, but he had a soft spot in his heart for Florida. In particular,Key West. An interesting fact: Truman came to Key West because he was poor. In the 1920s, the haberdashery he owned with an Army pal had gone under and Truman spent decades trying to crawl out from under his debts. Even when he was a county judge and, later, when he entered the U.S. Senate, he was so scrupulously honest he would never take a loan (much less a bribe), so he never had enough. It was during his Senate term that his family farm was lost in foreclosure. So when his doctor advised the president to get some rest and relaxation, he looked at his bank account, and then looked at a place that had a naval base that would justify a presidential trip. Key West. Along with Ernest Hemingway, Harry Truman helped put Key West on the map. Initially, the house served as the naval station’s command headquarters during the Spanish-American War, World War I and World War II. In 1946, it became Truman's escape, and later was the site for the Cold War response by following presidents. Today, the Trumans' Key West Little White House is a living museum, and still a retreat and place of government business for our nation's leaders. To learn more about this remarkable man and how his presence helped transform the island, visit Truman's Key West Little White House where, each winter during his 11 visits, the buck stopped at America’s southernmost island. When you go...
correct_birth_00015	FactBench	3	94	https://www.mycorneronline.com/photography/photo21_401.html	en	Harry S Truman Birthplace State Historic Site			[ "https://www.mycorneronline.com/images/photo/trumanbirthplace/IMG_6780.jpeg", "https://www.mycorneronline.com/images/photo/trumanbirthplace/IMG_6775.jpeg", "https://www.mycorneronline.com/images/photo/trumanbirthplace/Harry S Truman Birthplace State Historic Site June 25 2023.jpeg", "https://www.mycorneronline.com/images/photo/trumanbirthplace/IMG_6782.jpeg", "https://www.mycorneronline.com/images/photo/trumanbirthplace/IMG_6784.jpeg", "https://www.mycorneronline.com/images/photo/trumanbirthplace/IMG_6785.jpeg", "https://www.mycorneronline.com/images/photo/trumanbirthplace/IMG_6789.jpeg", "https://www.mycorneronline.com/images/photo/trumanbirthplace/IMG_6791.jpeg", "https://www.mycorneronline.com/images/photo/trumanbirthplace/IMG_6792.jpeg", "https://www.mycorneronline.com/images/photo/trumanbirthplace/IMG_6796.jpeg", "https://www.mycorneronline.com/images/photo/trumanbirthplace/IMG_6799.jpeg", "https://www.mycorneronline.com/images/photo/trumanbirthplace/IMG_6803.jpeg", "https://www.mycorneronline.com/images/photo/trumanbirthplace/IMG_6806.jpeg" ]	[ "https://www.youtube.com/embed/rvYz1KxRm8U" ]	[]	[ "" ]	null	[]	null		en			null	We visited the Harry S Truman Birthplace State Historic Site on June 25, 2023, and it was late in the day, but we were thankful that they were still open and that the tour was free. The home is located at 009 Truman St, Lamar, Missouri. When he was 10 months old the family moved. When he was 6 years old, the family moved and he grew up in Independence, Missouri. The guide was a sweet young lady who gave an excellent tour and even allowed us two separate tours because we had the dogs with us. We kept our tours short because of the same. It is interesting to learn about the birthplace of our 33rd President who was from our home State of Missouri. President Truman was the Vice President under President Franklin Roosevelt for 82 days when President Roosevelt died on April 12, 1945. President Truman was born in this room on May 8, 1884. This is a photo of a tree that is an offspring of the original tree that was here when President Truman was born.
correct_birth_00015	FactBench	2	37	https://www.nationalparks.org/explore/parks/harry-s-truman-national-historic-site	en	Harry S Truman National Historic Site	https://www.nationalpark…mtime=1655152822	https://www.nationalpark…mtime=1655152822	[ "https://npf-prod.imgix.net/uploads/NPF_FY23AnnualReport_Thumb_2024-04-11-202729_eoap.png?auto=compress%2Cformat&crop=focalpoint&fit=crop&fp-x=0.5&fp-y=0.5&h=622&q=80&w=480", "https://npf-prod.imgix.net/uploads/8919e49b225c46be9d39adbb00f74a1b.jpg?auto=compress%2Cformat&crop=focalpoint&fit=crop&fp-x=0.3108&fp-y=0.4716&h=967&q=80&w=580", "https://npf-prod.imgix.net/uploads/209ea5b16f784145a579ad7c00483b9b.jpg?auto=compress%2Cformat&crop=focalpoint&fit=crop&fp-x=0.2535&fp-y=0.3191&h=967&q=80&w=580", "https://npf-prod.imgix.net/uploads/ea67bf33e6984008bd37ad7c003c2ac1.jpg?auto=compress%2Cformat&crop=focalpoint&fit=crop&fp-x=0.5&fp-y=0.5&h=643&q=80&w=386", "https://npf-prod.imgix.net/uploads/208e2aaea4594da09cf0ad7c003f5831.jpg?auto=compress%2Cformat&crop=focalpoint&fit=crop&fp-x=0.6425&fp-y=0.2725&h=967&q=80&w=580", "https://npf-prod.imgix.net/uploads/a7b67beebf314aafa0d3aea900e49d1c.jpg?auto=compress%2Cformat&crop=focalpoint&fit=crop&fp-x=0.5&fp-y=0.5&h=967&q=80&w=580", "https://npf-prod.imgix.net/uploads/LauraSchimmel_WomensPlusAdvancedSawCrew_2021_ConservationCorpsNorthCarolina.jpg?auto=compress%2Cformat&crop=focalpoint&fit=crop&fp-x=0.5&fp-y=0.5&h=967&q=80&w=580", "https://npf-prod.imgix.net/uploads/a000a14454064dc7be64ad7c003e0821.jpg?auto=compress%2Cformat&crop=focalpoint&fit=crop&fp-x=0.5&fp-y=0.5&h=666&q=80&w=400", "https://npf-prod.imgix.net/uploads/707e67441e5d4ffd95b9ad7c003d8260.jpg?auto=compress%2Cformat&crop=focalpoint&fit=crop&fp-x=0.5&fp-y=0.5&h=967&q=80&w=580", "https://npf-prod.imgix.net/uploads/StonewallNM_Flags_NPS_ElizabethLaRochelle.jpeg?auto=compress%2Cformat&crop=focalpoint&fit=crop&fp-x=0.5&fp-y=0.5&h=704&q=80&w=1056", "https://npf-prod.imgix.net/uploads/BiscayneNP_CoralReefs_NPS_ShaunWolfe.jpg?auto=compress%2Cformat&crop=focalpoint&fit=crop&fp-x=0.5&fp-y=0.5&h=704&q=80&w=1056", "https://npf-prod.imgix.net/uploads/aa85a5da63d840979ad3ad7c003ef1ed.jpg?auto=compress%2Cformat&crop=focalpoint&fit=crop&fp-x=0.5&fp-y=0.5&h=978&q=80&w=1738", "https://npf-prod.imgix.net/uploads/NPF_FY23AnnualReport_Thumb_2024-04-11-202729_eoap.png?auto=compress%2Cformat&crop=focalpoint&fit=crop&fp-x=0.5&fp-y=0.5&h=622&q=80&w=480", "https://npf-prod.imgix.net/uploads/NPF_FY23AnnualReport_Thumb_2024-04-11-202729_eoap.png?auto=compress%2Cformat&crop=focalpoint&fit=crop&fp-x=0.5&fp-y=0.5&h=622&q=80&w=480", "https://npf-prod.imgix.net/uploads/aa85a5da63d840979ad3ad7c003ef1ed.jpg?auto=compress%2Cformat&crop=focalpoint&fit=crop&fp-x=0.5&fp-y=0.5&h=978&q=80&w=1738", "https://npf-prod.imgix.net/uploads/aa85a5da63d840979ad3ad7c003ef1ed.jpg?auto=compress%2Cformat&fit=max&q=80&w=1600", "https://npf-prod.imgix.net/uploads/2525475955_356568a246_o_2022-06-13-204021_mxan.jpg?auto=compress%2Cformat&fit=max&q=80&w=1600", "https://npf-prod.imgix.net/uploads/9d05c3cedcd04ea4a57aae2701655e50.jpg?auto=compress%2Cformat&fit=max&q=80&w=1600", "https://npf-prod.imgix.net/uploads/ba-ribbon-logo.png?auto=compress%2Cformat&fit=max&h=160&q=80", "https://npf-prod.imgix.net/uploads/candid-seal-platinum-2023.png?auto=compress%2Cformat&fit=max&h=160&q=80", "https://npf-prod.imgix.net/uploads/charity-nav-logo.png?auto=compress%2Cformat&fit=max&h=160&q=80" ]	[]	[]	[ "national park foundation", "national parks" ]	null	[]	2022-06-13T16:26:00-04:00	Harry S. Truman National Historic Site includes the Truman Home in Independence, Missouri, and the Truman Farm Home in Grandview, Missouri. Harry S.…	en	/apple-touch-icon.png	National Park Foundation	https://www.nationalparks.org/explore/parks/harry-s-truman-national-historic-site	By entering your cell phone number, you agree to receive automated, recurring news and donation requests from the National Park Foundation from 33077. Reply STOP to cancel. Message and Data Rates May Apply. By submitting my email, I agree to receive correspondence from the National Park Foundation.
correct_birth_00015	FactBench	3	82	https://learningenglish.voanews.com/a/americas-presidents-harry-truman/4067702.html	en	Harry Truman: Atomic	https://gdb.voanews.com/…_tv_w1200_r1.jpg	https://gdb.voanews.com/…_tv_w1200_r1.jpg	[ "https://ssc.voanews.com/b/ss/bbgprod,bbgentityvoa/1/G.4--NS/1947227600?pageName=voa%3alearn%3aw%3aarticle%3aharry%20truman%3a%20atomic&c6=harry%20truman%3a%20atomic&v36=8.32.0.0.278&v6=D=c6&g=https%3a%2f%2flearningenglish.voanews.com%2fa%2famericas-presidents-harry-truman%2f4067702.html&c1=D=g&v1=D=g&events=event1,event52&c16=voa%20learning%20english&v16=D=c16&c5=learningenglish-americas-presidents&v5=D=c5&ch=america%27s%20presidents&c15=english&v15=D=c15&c4=article&v4=D=c4&c14=4067702&v14=D=c14&v20=no&c17=web&v17=D=c17&mcorgid=518abc7455e462b97f000101%40adobeorg&server=learningenglish.voanews.com&pageType=D=c4&ns=bbg&v29=D=server&v25=voa&v30=473&v105=D=User-Agent ", "https://learningenglish.voanews.com/Content/responsive/img/player-spinner.png", "https://learningenglish.voanews.com/Content/responsive/VOA/en-US-LEARN/img/logo-compact.svg", "https://learningenglish.voanews.com/Content/responsive/VOA/en-US-LEARN/img/logo-print.gif", "https://learningenglish.voanews.com/Content/responsive/VOA/en-US-LEARN/img/logo-print_color.png", "https://gdb.voanews.com/756acee7-2ebb-4ed7-ad98-eb9bb6412e04_tv_w250_r1.jpg", "https://learningenglish.voanews.com/Content/responsive/img/player-spinner.png", "https://gdb.voanews.com/6AD44B97-4251-4D10-B871-C134BBFB39FA_w250_r1.jpg", "https://learningenglish.voanews.com/Content/responsive/img/player-spinner.png", "https://gdb.voanews.com/39FCEE23-3DE3-4729-B802-C25D996BCB11_w250_r0_s.jpg", "https://gdb.voanews.com/403DBA1C-5545-49A7-9E99-BB2389E9849F_w250_r0_s.jpg", "https://gdb.voanews.com/A65BB6CC-6E39-4B39-9A96-A742D7CD0B8D_cx8_cy27_cw92_w250_r1_s.jpg", "https://gdb.voanews.com/6573F7A9-E8AE-46EC-BFD5-F6A7FCE7225F_w250_r0_s.jpg", "https://gdb.voanews.com/88B4C0EF-184A-44B2-9FE1-2EAEBFA1F160_w250_r0_s.jpg", "https://gdb.voanews.com/B3D2C70D-B142-4655-8916-6F5761FE940A_w250_r1.jpg", "https://gdb.voanews.com/7839e5c5-a69d-40ca-b953-5e64fe4efbf2_tv_w100_r1.jpg", "https://gdb.voanews.com/7839e5c5-a69d-40ca-b953-5e64fe4efbf2_tv_w33_r1.jpg", "https://gdb.voanews.com/B3D2C70D-B142-4655-8916-6F5761FE940A_w100_r1.jpg", "https://gdb.voanews.com/B3D2C70D-B142-4655-8916-6F5761FE940A_w33_r1.jpg", "https://gdb.voanews.com/7839e5c5-a69d-40ca-b953-5e64fe4efbf2_tv_w100_r1.jpg", "https://gdb.voanews.com/7839e5c5-a69d-40ca-b953-5e64fe4efbf2_tv_w33_r1.jpg", "https://gdb.voanews.com/1b6d12d8-ba04-4363-b77e-28046d51100f_tv_w100_r1.jpg", "https://gdb.voanews.com/1b6d12d8-ba04-4363-b77e-28046d51100f_tv_w33_r1.jpg" ]	[]	[]	[ "Lessons of the Day", "U.S. History", "America's Presidents" ]	null	[ "VOA Learning English" ]	2023-10-14T21:57:00+00:00	Truman took office after Franklin Roosevelt died suddenly of a cerebral hemorrhage. Roosevelt had been president for 12 years. But Truman was new to the position of vice president. Two other men had earlier served in the office under Roosevelt.	en	/Content/responsive/VOA/img/webApp/favicon.svg	Voice of America	https://learningenglish.voanews.com/a/americas-presidents-harry-truman/4067702.html	VOA Learning English presents America’s Presidents. Today we are talking about Harry S. Truman. He became president of the United States in 1945, a few weeks before the end of World War II in Europe. Truman took office after Franklin Roosevelt died suddenly of a cerebral hemorrhage. Roosevelt had been president for 12 years. But Truman was new to the position of vice president. Two other men had earlier served in the office under Roosevelt. On April 12, 1945 – less than three months after he became vice president – Truman was called to the White House. There, Roosevelt’s wife, Eleanor, told Truman about her husband’s death. Truman was quickly sworn-in as president. Shortly after the ceremony, the secretary of war privately told Truman about a secret project involving American scientists. They were building an extremely destructive atomic bomb. Historians debate whether Truman already knew about the project, or whether the information was a complete surprise. In either case, the new president had to decide whether to use the weapon, which he called “the most terrible bomb in the history of the world.” Early life Harry Truman came from simple beginnings. He was born in the state of Missouri. He, his parents, a brother and a sister lived in the town of Independence. As a boy, Harry Truman helped his father on the family’s farm, but he did not enjoy the work. And he could not play sports because he could not see very well; from the time he was a child, Truman wore eyeglasses. So he developed his interests in reading and music. He was an especially good piano player. Truman was also a good student, but his parents did not have enough money to send him to a four-year college. Instead, Truman worked in a number of jobs, including as a bank clerk, mining company operator, and partner in an oil business. When the United States became involved in World War I, Truman decided to re-join the National Guard. His guard unit became part of the U.S. Army, and Truman earned a position as a captain. Truman experienced real success in the military. He was an able soldier and leader, and he and his troops fought in battle. When the war ended, Truman kept both the feeling of self-confidence and the friendships with the other solders he had formed. One of Truman’s first acts after the war was to get married. He married a woman from his hometown. They had been romantically linked for a long time. Her name was Elizabeth Wallace, but she was called Bess. The Trumans remained happily married for more than 50 years and had a daughter named Mary Margaret. In the first years after the war, Harry Truman opened a men’s clothing shop with a friend from the military. But the shop – called a haberdashery -- eventually failed. Truman soon found a new line of work. An operative from the Democratic Party asked Truman to be a candidate for a position as a judge. Truman won the seat, as well as a public reputation for being an honest, effective public servant. In time, Truman successfully won election to a seat in the U.S. Senate. For the most part, he earned a good public image there, too. He supported the social programs of President Roosevelt, and he tried to prevent big businesses or large labor unions from misusing public money. Both voters and Democratic officials liked Truman enough to accept him as the party’s vice presidential candidate in 1944. Truman performed well as a candidate, but he did not have a close relationship with Roosevelt or play much of a part in his government. Yet in a few weeks, following Roosevelt’s death, Truman was leading the country. Presidency Truman faced a number of difficult decisions during his two terms as president. Many of them involved foreign policy. His actions helped shape the second half of the 20th century. In his first months after taking office, Truman watched the end of World War II in Europe. He then had to decide how to deal with the war in the Pacific. Japan did not want to accept the Allied forces’ demand for total surrender. And Truman did not want to extend the war. So he approved using the atomic bomb on Japan. Truman directed the secretary of war to drop the weapon on military targets and try to reduce civilian deaths. But the destruction was still terrible. An estimated 192,000 people died in the attack or the effects of the bomb in Hiroshima. Most of the city was destroyed. Three days later, the U.S. military dropped another atomic bomb, this time on the city of Nagasaki. More than 70,000 people died instantly. The emperor of Japan called the weapon “a new and most cruel bomb.” He agreed to his country’s surrender on August 14, 1945. World War II came to an end. Truman and his government quickly had to make other decisions about how to react to the new international situation. One of the most pressing concerns was the Soviet Union. Soviet officials sought to expand their influence around the country’s borders, especially in Eastern Europe, Turkey and Iran. Truman and other U.S. officials believed those moves threatened American interests. The United States supported democracy and capitalism. It did not want the Soviet Union’s form of communism to spread. So Truman’s government put in place two measures to answer the Soviet Union’s influence. One was a policy known as the Truman Doctrine. It promised American support to Greece, Turkey and other democratic nations against authoritarian forces. The measure was a new step for the United States. In the past, the country had tried to avoid conflicts that did not directly involve it. Under Truman, the U.S. government was committed to helping “free peoples” anywhere by improving their living conditions. A second measure came to be called the Marshall Plan, after Truman’s secretary of state, George Marshall. Marshall wanted the United States to invest a large amount of money in rebuilding Europe after World War II. Because the Soviet Union controlled much of Eastern Europe, the money eventually went to improving the market economy of Western Europe. The office of the historian at the State Department notes that one effect of the Marshall Plan was to introduce foreign aid programs as an official part of U.S. foreign policy. Truman also sought to guarantee peace and contain communism in other ways. He supported the United Nations, which was officially launched during his presidency. And he negotiated a military alliance among Western, democratic nations. The group became known as the North Atlantic Treaty Organization, or NATO. Military alliances became especially important in 1950 when communist forces in North Korea invaded South Korea. The U.N. agreed to send troops to help South Korea -- although many of the troops were American, and they were led by an American general. Fighting in the Korean War lasted until 1953. As many as 5 million people died in the conflict. Neither side gained much territory. But the Korean War had other effects. It fueled the Cold War between communist and democratic forces. It showed the U.S. would really defend other countries against authoritarian forces. It sharply increased Americans’ spending on the defense industry. And it helped make President Truman very unpopular. Many Americans believed Truman was losing the battle against communism. During his presidency, the Soviet Union successfully tested a nuclear weapon, and China officially became a communist country under Mao Zedong. Some U.S. lawmakers even accused Truman’s government of protecting communist spies. Senator Joseph McCarthy was the most famous of these critics. He launched investigations against thousands of U.S. government employees, as well as movie actors and directors in Hollywood. McCarthy did not have evidence that these people were secretly working for the Soviet Union. But his campaign helped fuel the public’s concerns over communism, a fear that came to be called the Red Scare. Truman grew tired of the accusations, as well as other political battles. He decided not to seek re-election in 1952. Instead, he retired with his wife to their home in Missouri. Legacy At first, many Americans had mixed emotions about Truman’s presidency. For the most part, they did not support the Korean War. And they remained suspicious that his government had included communist supporters. But Truman’s public reputation rose over time. He became known as a down-to-earth person who would and could fight if needed. His supporters liked to say, “Give ‘em Hell, Harry.” Truman is also remembered for taking some steps toward ensuring equal rights for all Americans. Truman supported the racial desegregation of the military and banned racial discrimination in the civil service. But Truman is probably best remembered for the difficult decisions he made during his presidency, especially the one to drop atomic bombs on Japan. To the end of his life, he accepted responsibility for the decision and did not apologize for it. Truman died of natural causes at the age of 88. His remains are buried at his presidential library in Independence, Missouri. I’m Kelly Jean Kelly. ________________________________________________________ ________________________________________________________ Words in This Story self-confidence - n. confidence in oneself and in one's powers and abilities romance - n. love affair haberdashery - n. a shop selling notions or men's clothing and accessories reputation - n. overall quality or character as seen or judged by people in general authoritarian - n. of, relating to, or favoring a concentration of power in a leader or an elite not constitutionally responsible to the people introduce - v. to lead or bring in especially for the first time
correct_birth_00015	FactBench	1	74	https://constitutionus.com/presidents/president-harry-s-truman/	en	President Harry S. 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Truman becamse president when Roosevelt died and served the rest of his term. He was not a popular president, but is famous for several military moves including the nuclear bomb.	en	https://constitutionus.c…logo-100x100.png	Constitution of the United States	https://constitutionus.com/presidents/president-harry-s-truman/	In some ways, Harry S. Truman is one of those presidents that should never have had the job. He came into power in 1945 following the death of Franklin Delano Roosevelt, was touted to lose his election campaign in 1948, and then dissuaded from running again in 1952. It could have easily been someone else in charge for those seven years. But it was Truman taking on the Japanese, Soviet Union, the Koreans, and a few key domestic issues along the way. Truman Becomes President Following the Death of Franklin D. Roosevelt Truman had taken on the role of vice president during President Franklin D Roosevelt’s fourth presidential election campaign. However, just 82 days into this term, Roosevelt collapsed from a cerebral hemorrhage and died. Vice President Truman had been presiding over the United States Senate at the time and was called into the White House to learn of the death and his new role as the 33rd President of the United States from Eleanor Roosevelt. It is reported that when Truman asked what he could do for the First Family, Eleanor replied, “Is there anything we can do for you? For you are the one in trouble now!” Harry S. Truman’s Shock Victory in 1948 There wasn’t that much faith that Truman would continue in the White House beyond his time completing Roosevelt’s fourth term. He wasn’t seen as someone that the people would get behind. Yet, there was a surge in campaigning towards the end of the run, and Thomas Dewey still had a fight on his hands. On election night, the press began printing front-page news that Dewey defeated Truman, having taken a projection from telephone polls. However, the telephone polls were inaccurate as they didn’t reach many Truman supporters. Truman would win and begin his first full term as an elected president. Few Presidents Have Taken the US Through War As Truman Did A large part of the Harry S. Truman presidency relates to war efforts to some degree. The death of Roosevelt at the start of his 4th term plunged Truman straight into a role not only as President of the United States but as Commander in Chief towards the end of World War II. Then came tensions with the Soviet Union, the Cold War, and subsequent concerns over Communist threats. Later on, he would engage in the Korean War. Truman’s Efforts at the End of World War II The Pearl Harbor attack of 1941 stunned the nation and drove President Roosevelt into declaring war on the Japanese. The Axis Forces would then make their own declaration. Roosevelt also sanctioned the Manhattan Project for the creation of nuclear weapons. On succeeding to the presidency, Truman would then inherit all of this at the tail-end of the war. He was thrown into the deep end from day one, learning about the full situation and now having responsibility for what came next. President Truman sent an ultimatum to the Japanese on July 26th, 1945, to surrender or face “utter devastation.” He was now fully aware of the extent of the US nuclear powers and successful tests in New Mexico. Atomic bombings of Hiroshima and Nagasaki If the Japanese didn’t agree, he would use the bomb. On August 9th, he ordered the bombing of Hiroshima, soon followed by the bombing of Nagasaki. It is estimated that more than 100,000 people died. Harry S. Truman’s reasoning for the bombing was he had been advised that even more Americans would be killed if they were to invade Japan. The idea was to stop the country in its tracks while also making a point about the new firepower of the US. Truman would state that the decision was actually to “spare the Japanese people from utter destruction.” He also spoke of the “rain of ruin from the air” and a “new era in man’s understanding of nature’s forces.” The decision was highly controversial and polarizing, bringing a lot of criticism as well as support. But, it wouldn’t be the last time that Truman would cause such an effect. Truman and the Cold War The efforts against the Japanese in World War II were barely over when the Allied countries began to become warier of threat posed by the Soviet Union. President Truman met with British Prime Minister Winston Churchill in Missouri in 1946, discussing the region’s problems. Truman strengthened his allegiance to Churchill and the British as the Prime Minister delivered his Iron Curtain speech, which changed United States foreign policy to a position of containing the power of the Soviet Union rather than cooperating with it. Hydrogen bombs The escalating tensions between the United States and the Soviet Union led to the further development of hydrogen bombs. Truman’s simple reasoning was that the United States needed to stay one step ahead if the Soviet Union were as far forward as suspected in this arms race. He couldn’t risk the Soviets creating a bomb that could destroy parts of the United States without having something in response. So, he gave the go-ahead for H-bomb testing in the deserts of the United States. The first successful test took place on October 31st, 1952, although it wasn’t officially announced until the following January. Anti-Communist Sentiments and McCarthyism It wasn’t just the Soviet Union abroad that Truman had to worry about during this period. There were growing concerns about communists infiltrating the United States and growing scaremongering of “reds under the bed.” Senator McCarthy was a major player in the second Red Scare in the United States, having accused the State Department of harboring communists. In 1948, 78% of the public reputedly believed McCarthy, and there were fears about distrust of the Democratic Party. Truman would then go on to denounce communist leaders in the US as traitors. Harry S. Truman and the Korean War There was a war in Korea. Around the time of these growing tensions and prospects for H-bomb tests, North Korean forces had entered South Korea in an attempt to seize the state. As a communist nation on the attack, North Korea was a prime target for American retaliation, and Truman did not hold back in his outrage. This is where the president carried out yet another highly controversial decision as Commander in Chief. Truman did not take his plan to Congress for an official declaration of war. Instead, he directed United States forces straight to South Korea to help them repel the invasion. It was a fast and direct response that showed precisely which side Truman was on. The United States was then locked into a devastating war that would continue after Truman left office. More than 33,000 Americans died in the Korean War, and the fighting would have a major impact on both sides. There was declining support for the war at home due to the growing casualties and the length of the conflict. Truman’s Ratings in the Opinion Polls Slumped Significantly Truman’s presidency also led to major proposals on domestic politics. While many of the talking points of the Truman presidency relate to foreign affairs and war efforts, there were also many important proposals on domestic policy. Still, many of these actions on home soil were influenced by war efforts. Truman made an order as Commander in Chief to take control of a number of the nation’s steel mills in April 1952 and use the resources for the Korean war effort. The move was later deemed unconstitutional. Fair Deal Program When Truman was elected, he worked on his Fair Deal domestic reform program in 1949. The Fail Deal was a plan to improve living standards and opportunities for those in the United States. The main proposals were for expanding public housing, better access to education, the federal protection of civil rights, a higher minimum wage, and national health insurance. As with many Democratic deals like this, the proposals did not resemble their original form once they had gone through the House and Senate. Those that did pass were stripped back. Truman and Civil Rights The issue of Truman and civil rights is an interesting one. On one side, you have the proposals to improve the lives of African-Americans, create a fairer society, and help African-American veterans returning from the war. On the other, you have the fact that Truman also sat down to meet with the Ku Klux Klan (KKK) and is reported to have used racist terms in informal conversations. Some suggest his affiliation with the KKK may have gone further. Truman would go on to work on the Committee on Equality of Treatment and Opportunity in the military, with the notion that the services should become racially integrated. An Executive Order in 1948 made it illegal to discriminate based on race for those applying for civil service positions. Failed Assassination Attempt During White House Renovations Normally, stories of assassinations and assassination attempts are commonly known and referenced in the media. Lincoln’s death at the theater, Kennedy’s death in the motorcade, and Roosevelt continuing his speech all come to mind. The story of the attempt on Truman’s life isn’t so well-known. Truman had moved his family into the Blair House residence close to the West Wing after ordering renovations on the residence at the White House. On November 1st, 1950, two Puerto Rican nationalists shot at the residence. One hit a policeman instead, causing a fatal injury. That shooter was shot and killed, and the other was shot and detained before he could enter the house. Although originally sentenced to death for murder in 1952, Truman commuted the sentence to life in prison. Harry S. Truman Withdraws From the 1952 Election Originally, there were plans for Truman to include his name on the ballot for the 1952 election. He would have been eligible to do so as he was exempt from the two-term limit introduced by the the 22nd Amendment as sitting president. The amendment states that no vice president that takes over the presidency less than two years into a term may seek more than one additional term. His name was originally on the New Hampshire ballot but withdrawn under guidance from advisors. It was felt that a combination of a poor approval rating, his age, and the fact he was not the man he was when he started all went against him. Truman’s Life After the Presidency And so Truman would leave the office after the election and move back into life outside of politics. He would still continue to play his part now and then with endorsements and comments as needed. A notable example is a public statement coming out against the nomination of John F. Kennedy. He wasn’t happy with how Kennedy had gained the nomination, so he decided to boycott the Democratic Convention that year. Truman would live a simple life that often put him in financial difficulties. He had refused to take a corporate job for fear of damaging his position’s integrity as a former president. He instead lived on his army pension. During the later years of Truman’s life, Lyndon B. Johnson would bring in the Medicare Bill, something that Truman was influential in getting off the ground with his views on health care initiatives. Truman was in poor health at this time, having fallen at his home. Johnson made a point of signing the bill at the Harry S. Truman Presidential Library and Museum and giving the first two Medicare cards to Harry and his wife. Harry S. Truman Dies at the Age of 88 In 1972, Truman developed pneumonia and was admitted to the hospital. He suffered multiple organ failures and fell into a coma, eventually dying on December 26th. Truman may not have been the most popular president during the end of his time at the White House, nor the candidate that the Democrats ever had much confidence to put forward as the face of the party, but he was impactful. Whatever your views on the events of the Second World War, Cold War, or Korean War, Truman wasn’t shy in reinforcing the position of the United States on the world stage.
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Season 1, Episode 33: Harry S Truman and Lamar Harry S Truman, the only Missourian to become President, and a true example of a Show-Me-State resident: Harry was plain-talking and direct, an outgrowth of his childhood in Missouri towns, starting with Lamar. Learn about Harry's childhood and education, as well as…	en	https://visitingthepresi…74456_n.jpg?w=32	Visiting the Presidents	https://visitingthepresidents.com/2021/08/31/harry-s-truman-and-lamar/	Listen to This Episode! Harry S Truman, the only Missourian to become President, and a true example of a Show-Me-State resident: Harry was plain-talking and direct, an outgrowth of his childhood in Missouri towns, starting with Lamar. Learn about Harry’s childhood and education, as well as what happened to his birth house in Lamar! Harry S Truman Birthplace State Historic Park from Missouri State Parks. Harry S Truman Birthplace from Visit Missouri. Article on “Truman Day” and the reopening following foundational work. Be sure to check out Harry S Truman’s “Visiting the Presidents” Episode from Season 2, “Harry S Truman and Independence”! From My May 2017 Visit! From my December 2021 Visit! Harry S Truman Birthplace: 1009 Truman St, Lamar, Missouri. Check Out the Most Recent Episodes! S3 E10 John Tyler's Tomb – Visiting the Presidents "Doctor, I am going. Perhaps it is best.” Our First President to die in a foreign country, John Tyler, 10th President of the United States.! Learn about his tumultuous post-Presidency; his illness and death; his funeral, burial, and commemorations, plus his controversial gravesite!Check out the website at VisitingthePresidents.com for visual aids, links, past episodes, recommended reading, and other information!Episode Page:Season 1's John Tyler Episode-"John Tyler and Greenway Plantation" on his birthplace!Season 2's John Tyler Episode-"John Tyler and Sherwood Forest" on his home!Support the Show.Visit the social media on Facebook, Twitter, and Instagram! S3 E10 John Tyler's Tomb 45:01 BONUS! How I Spent My Christmas Break with Presidential Travels 2024! 21:30 S3 E9 William Henry Harrison's Tomb 49:49 S3 E8 Martin Van Buren's Tomb 49:07 S3 E7 Andrew Jackson's Tomb 53:53 Recommended Reading for Harry S Truman Share this: Like Loading... Related Published by visitingthepresidents I'm a Professor of History at Central Arizona College and someone who loves history and travel; my new blog will combine those interests! View more posts
correct_birth_00015	FactBench	1	23	https://www.newworldencyclopedia.org/entry/Harry_S._Truman	en	Harry S. Truman	https://www.newworldency…avicon-32x32.png	https://www.newworldency…avicon-32x32.png	[ "https://www.newworldencyclopedia.org/images/nwe_header.jpg", "https://www.newworldencyclopedia.org/d/images/thumb/5/52/Harry_S_Truman%2C_bw_half-length_photo_portrait%2C_facing_front%2C_1945-crop.jpg/225px-Harry_S_Truman%2C_bw_half-length_photo_portrait%2C_facing_front%2C_1945-crop.jpg", "https://www.newworldencyclopedia.org/d/images/d/d2/HST_Uniform.PNG", "https://www.newworldencyclopedia.org/d/images/thumb/9/94/TrumanWedding.PNG/250px-TrumanWedding.PNG", "https://www.newworldencyclopedia.org/d/images/thumb/e/e0/Nagasakibomb.jpg/300px-Nagasakibomb.jpg", "https://www.newworldencyclopedia.org/d/images/thumb/2/2d/Truman_initiating_Korean_involvement.jpg/200px-Truman_initiating_Korean_involvement.jpg", "https://www.newworldencyclopedia.org/d/images/thumb/3/32/LyndonJohnsonSigningMedicareBill.gif/300px-LyndonJohnsonSigningMedicareBill.gif", "https://www.newworldencyclopedia.org/d/images/2/22/Harry_S._Truman_signature.png", "https://static.newworldencyclopedia.org/skins/common/images/Cc.logo.circle.png", "https://www.newworldencyclopedia.org/resources/assets/poweredby_mediawiki_88x31.png" ]	[]	[]	[ "" ]	null	[]	null		en	https://static.newworldencyclopedia.org/favicon.ico		https://www.newworldencyclopedia.org/entry/Harry_S._Truman	Harry S. Truman 33rd President of the United States Term of office April 12, 1945 – January 20, 1953 Preceded by Franklin D. Roosevelt Succeeded by Dwight D. Eisenhower Date of birth May 8, 1884 Place of birth Lamar, Missouri Date of death December 26, 1972 Place of death Kansas City, Missouri Spouse Bess Wallace Truman Political party Democrat Harry S. Truman (May 8, 1884 – December 26, 1972) was the thirty-third President of the United States (1945–1953); as Vice President, he succeeded to the office upon the death of Franklin D. Roosevelt. Truman, whose personal style contrasted sharply with that of the patrician Roosevelt, was a folksy, unassuming president. He overcame the low expectations of many political observers who compared him unfavorably to his highly regarded predecessor. President Truman suddenly assumed office at a watershed moment in the twentieth century: the end of the Second World War both in Europe and Pacific took place in his first months in office; he was the only President ever to authorize the use of the atomic bomb (against Japan); he sponsored the creation of the United Nations; he presided over the rebuilding of Japan and helped rebuild Europe through the Marshall Plan; he recognized the new state of Israel; and the Cold War began in his first term which took the form of a hot conflict by 1950 in the Korean War. Although he was forced to abandon his re-election campaign in 1952 because of the quagmire in Korea and extremely low approval ratings, scholars today rank him among the better presidents. Early life Harry S. Truman was born on May 8, 1884, in Lamar, Missouri, the eldest child of John Anderson Truman and Martha Ellen Young Truman. A brother, John Vivian, soon followed, along with sister Mary Jane Truman. Did you know? Truman's middle initial "S" honors his grandfathers, Anderson Shipp Truman and Solomon Young Harry's father, John Truman, was a farmer and livestock dealer. Truman lived in Lamar until he was 11 months old. The family then moved to his grandparent's 600-acre farm at Grandview, Missouri. When Truman was six years old, his parents moved the family to Independence, Missouri, so he could attend school. After graduating from high school in 1901, Truman worked at a series of clerical jobs. He returned to the Grandview farm in 1906 and stayed there for the next decade. For the rest of his life, Truman would hearken back nostalgically to the years he spent as a farmer, often for theatrical effect. The ten years of physically demanding work he put in at Grandview were real, however, and they were a formative experience. During this period he courted Bess Wallace and even proposed to her in 1911; she turned him down. Truman said he wanted to make more money than a farmer before he proposed again. He did propose to her again, successfully, in 1918 after coming back as a captain from World War I. He was the only president after 1870 not to earn a college degree, although he studied for two years toward a law degree at the Kansas City Law School in the early 1920s. World War I With the onset of American participation in World War I, Truman enlisted in the Missouri National Guard. At his physical, his eyesight had been an unacceptable 20/50 in the right eye and 20/400 in the left eye; he passed by secretly memorizing the eye chart. Before heading to France, he was sent for training at Fort Sill in Oklahoma. He ran the camp canteen, selling candy, cigarettes, shoelaces, sodas, tobacco, and writing paper to the soldiers. To help run the canteen, he enlisted the help of his Jewish friend Sergeant Edward Jacobson, who had experience in a Kansas City clothing store as a clerk. Another man he met at Fort Sill who would help him after the war was Lieutenant James M. Pendergast, the nephew of Thomas Joseph (T.J.) Pendergast, a Kansas City politician. Truman was chosen to be an officer, and then commanded a regimental battery in France. His unit was Battery D of the 129th Field Artillery, 60th Brigade, 35th Division. Under Truman's command in France, the battery performed bravely under fire in the Vosges Mountains and did not lose a single man. Truman later rose to the rank of lieutenant colonel in the National Guard, and always remained proud of his military background. Marriage and early business career At the war's conclusion, Truman returned to Independence and married his longtime love interest, Bess Wallace, on June 28, 1919. The couple had one child, Margaret. A month before the wedding, banking on the success they had at Fort Sill and overseas, the men's clothing store of Truman & Jacobson opened in downtown Kansas City. After a few successful years, the store went bankrupt during a downturn in the farm economy in 1922; lower prices for wheat and corn meant fewer sales of silk shirts. In 1919, wheat had been selling for $2.15 a bushel, but in 1922 it was down to a catastrophic 88 cents a bushel. Truman blamed the fall in farm prices on the policies of the Republicans and Secretary of the Treasury Andrew Mellon, a factor that would influence his decision to become a Democrat. Truman worked for years to pay off the debts. He and his former business partner, Eddie Jacobson, were accepted together at Washington College in 1923. They would remain friends for the rest of their lives, and Jacobson's advice to Truman on the subject of Zionism would, decades later, play a critical role in Truman's decision to recognize the state of Israel. Politics Jackson County judge In 1922, with the help of the Kansas City Democratic machine led by boss Tom Pendergast, Truman was elected judge of the county court of Jackson County, Missouri—an administrative, not judicial, position similar to county commissioners elsewhere. Although he was defeated for reelection in 1924, he won back the office in 1926, and was reelected in 1930. Truman performed his duties in this office diligently and won personal acclaim for several popular public works projects, including an extensive series of roads for the increase in automobile traffic, the construction of a new county court building, and the dedication of a series of 12 "Madonna of the Trail" monuments honoring pioneer women. In 1922, Truman gave a friend $10 for an initiation fee for the Ku Klux Klan but later asked to get his money back; he was never initiated, never attended a meeting, and never claimed membership. Though it is a historical fact that Truman at times expressed anger towards Jews in his diaries, it is also worth remembering that his business partner and close friend Edward Jacobson was Jewish. Bess Truman however was proud that a Jew had never set foot in her or her mother's home.[1] Truman's attitudes toward blacks were typical of Missourians of his era. Years later, another measure of his racial attitudes would come to the forefront: tales of the abuse, violence, and persecution suffered by many African-American veterans upon their return from World War II infuriated Truman, and were a major factor in his decision to back civil rights initiatives and desegregate the armed forces. U.S. Senator In the 1934 election, Pendergast's political machine selected Truman to run for Missouri's open United States Senate seat, and he campaigned successfully as a New Deal Democrat in support of President Franklin D. Roosevelt. During the Democratic primary, Truman defeated Tuck Milligan, the brother of federal prosecutor Maurice M. Milligan, who would eventually topple the Pendergast machine—and run against Truman in the 1940 primary election. Widely considered a puppet of the big Kansas City political boss, Truman assumed office under a cloud as "the senator from Pendergast." Adding to the air of distrust was the disquieting fact that three people had been killed at the polls in Kansas City. In the tradition of machine politicians before and since, Truman did indeed direct New Deal political patronage through Boss Pendergast—but he insisted that he was an independent on his votes. Truman did have his standards, historian David McCullough later concluded, and he was willing to stand by them, even when pressured by the man who had emerged as the kingpin of Missouri politics. Milligan began a massive investigation into the 1936 Missouri gubernatorial election that elected Lloyd C. Stark; 258 convictions resulted. More importantly, Milligan discovered that Pendergast had not paid federal taxes between 1927 and 1937 and had conducted a fraudulent insurance scam. He went after Senator Truman's political patron. In 1939, Pendergast pled guilty and received a $10,000 fine and a 15-month sentence. Stark, who had received Pendergast's blessing in the 1936 election, turned against him in the investigation and eventually took control of federal New Deal funds from Truman and Pendergast. In 1940, both Stark and Milligan challenged Truman in the Democratic primary for the U.S. Senate. Robert E. Hannegan, who controlled St. Louis Democratic politics, threw his support in the election to Truman. Truman campaigned tirelessly and combatively. In the end, Stark and Milligan split the anti-Pendergast vote, and Truman won the election by a narrow margin. Hannegan would go on to broker the 1944 deal that put Truman on the Vice Presidential ticket for Franklin D. Roosevelt.) Truman always defended his decisions to offer patronage to Pendergast by saying that by offering a little, he saved a lot. Truman also said that Pendergast had given him this advice when he first went to the Senate, "Keep your mouth shut and answer your mail." Truman Committee On June 23, 1941, a day after Nazi Germany attacked the Soviet Union, Senator Truman declared, "If we see that Germany is winning we ought to help Russia and if Russia is winning we ought to help Germany, and that way let them kill as many as possible, although I don't want to see Hitler victorious under any circumstances. Neither of them thinks anything of their pledged word" (The New York Times, June 24 1941). Liberals and conservatives alike were disturbed by his seeming suggestion of the possibility of America backing Nazi Germany, and he quickly backtracked. He gained fame and respect when his preparedness committee (popularly known as the "Truman Committee") investigated the scandal of military waste by exposing fraud and mismanagement. His advocacy of common sense, cost-saving measures for the military attracted much attention. Although some feared the Committee would hurt war morale, it was considered a success and is reported to have saved at least $11 billion. In 1943, his work as chairman earned Truman his first appearance on the cover of TIME. (He would eventually appear on nine TIME covers and be named its Man of the Year in 1945 and 1949.[2]) Truman's diligent, fair-minded, and notably nonpartisan work on the Senate committee that came to bear his name turned him into a national figure. It is unlikely that Roosevelt would have considered him for the vice presidential spot in 1944 had the former "Senator from Pendergast" not earned a new reputation in the Senate—one for probity, hard work, and a willingness to ask powerful people tough questions. Truman was selected as Roosevelt's running mate in 1944 as the result of a deal worked out by Hannegan, who was Democratic National Chairman that year. Roosevelt wanted to replace Henry A. Wallace as Vice President because he was considered too liberal. James F. Byrnes of South Carolina was initially favored, but as a segregationist he was considered too conservative. After Governor Henry F. Schricker of Indiana declined the offer, Hannegan proposed Truman as the party's candidate for Vice President. After Wallace had been rejected as too far to the left, and Byrnes as too far to the right, Truman's candidacy was humorously dubbed the "Missouri Compromise" at the 1944 Democratic National Convention in Chicago. The nomination was well received, and the Roosevelt-Truman team went on to score a victory in 1944 by defeating Governor Thomas E. Dewey of New York. He was sworn in as Vice President on January 20, 1945, and served less than three months. Truman shocked many when, as Vice President, he attended his disgraced patron Pendergast's funeral a few days after being sworn in. Truman was reportedly the only elected official of any level who attended the funeral. On April 12, 1945, Truman was urgently called to the White House, where Eleanor Roosevelt informed him that the President was dead. Truman, thunderstruck, could initially think of nothing to say. He then asked if there was anything he could do for her, to which the former First Lady replied, "Is there anything we can do for you? For you are the one in trouble now."[3] Presidency 1945–1953 First term (1945-1949) End of World War II Truman had been Vice President for only 82 days when President Roosevelt suddenly died. He had very little meaningful communication with Roosevelt about world affairs or domestic politics since being sworn in as Vice President, and was completely in the dark about major initiatives relating to the successful prosecution of the war—notably the top secret Manhattan Project, which was, at the time of Roosevelt's passing, on the cusp of testing the world's first atomic bomb. Shortly after taking the oath of office, Truman said to reporters: "Boys, if you ever pray, pray for me now. I don't know if you fellas ever had a load of hay fall on you, but when they told me what happened yesterday, I felt like the moon, the stars, and all the planets had fallen on me."[3] Momentous events would occur in Truman's first five months in office: April 25—Nations met in San Francisco to create the United Nations April 28—Benito Mussolini of Italy killed May 1—Announcement of the suicide of Adolf Hitler May 2—Berlin falls May 7—Nazi Germany surrenders May 8—Victory in Europe Day July 17-August 2—Truman, Josef Stalin, and Winston Churchill met at the Potsdam Conference to establish the political landscape of post-war world August 6—U.S. drops atomic bomb on Hiroshima, Japan August 8—USSR declares war on Japan and enters the Pacific theater August 9—U.S. drops atomic bomb on Nagasaki, Japan August 14—Japan agrees to surrender (Victory over Japan Day) September 2—Japan formally surrenders aboard the USS Missouri The United Nations, the Marshall Plan and Beginning of the Cold War As a Wilsonian internationalist, Truman strongly supported the creation of the United Nations, and included former First Lady Eleanor Roosevelt on the delegation to the U.N.'s first General Assembly in order to meet the public desire for peace after the experience of the Second World War. One of the first decisions he made in office was to personally attend the San Francisco UN Charter Conference. He saw the United Nations as in part the realization of an American dream, providing essential "international machinery" that would help America re-order the world by allowing states to cooperate against aggression. Some critics argue the United Nations should have admitted only democratic states, and Truman should have resisted the Soviet Union's permanent membership on the Security Council, which from the outset compromised the United Nation's integrity. But most of the provisions of the UN Charter had already been negotiated by Roosevelt with Stalin, and the Soviet Union obtained not only permanent UNSC membership but three seats in the General Assembly (for three Soviet socialist republics); moreover, the USSR was still an ally in April 1945 and no one could predict when World War II would end. On the other hand, faced with Communist abandonment of commitments to democracy in Eastern Europe made at the Potsdam Conference, and with Communist advances in Greece and Turkey, Truman and his advisers concluded that the interests of the Soviet Union were quickly becoming incompatible with those of the United States. The Truman administration articulated an increasingly hard line against the Soviets, and by 1947 most scholars consider that the Cold War was in full swing. Although he claimed no personal expertise on foreign matters, and the opposition Republicans controlled Congress, Truman was able to win bipartisan support for both the Truman Doctrine, which formalized a policy of containment, and the Marshall Plan, which aimed to help rebuild postwar Europe. To get Congress to spend the vast sums necessary to restart the moribund European economy, Truman used an ideological approach, arguing forcefully that Communism flourished in economically deprived areas. He later admitted that his goal had been to "scare the hell out of Congress." To strengthen the United States against Communism, Truman signed the National Security Act of 1947 and reorganized military forces by creating the Department of Defense, the C.I.A., U.S. Air Force (originally the U.S. Army Air Forces), and the National Security Council. Fair Deal After many years of Democratic majorities in Congress and two Democratic presidents, voter fatigue with the Democrats delivered a new Republican majority in the 1946 midterm elections, with the Republicans picking up 55 seats in the House of Representatives and several seats in the Senate. Although Truman cooperated closely with the Republican leaders on foreign policy, he fought them on domestic issues. He failed to prevent tax cuts and the removal of price controls. The power of the labor unions was significantly curtailed by the Taft-Hartley Act, which was enacted by overriding Truman's veto. As he readied for the approaching 1948 election, Truman made clear his identity as a Democrat in the New Deal tradition, advocating universal health insurance, the repeal of the anti-union Taft-Hartley Act, and an aggressive civil rights program. Taken together, it all constituted a broad legislative program that he called the "Fair Deal." Truman's Fair Deal proposals made for potent campaign rhetoric that helped Truman to win the 1948 presidential election, but the proposals were not well received by Congress, even after Democratic gains in the 1948 election. Only one of the major Fair Deal bills, an initiative to expand unemployment benefits, was ever enacted. Recognition of Israel Truman, who had been a supporter of the Zionist movement as early as 1939, was a key figure in the establishment of a Jewish state in Palestine. In 1946, an Anglo-American Committee of Inquiry recommended the gradual establishment of two states in Palestine, with neither Jews nor Arabs dominating. However, there was little public support for the two-state proposal, and Britain, its empire in rapid decline, was under pressure to withdraw from Palestine quickly because of attacks on British forces by armed Zionist groups. At the urging of the British, a special United Nations committee recommended the immediate partitioning of Palestine into two states, and with Truman's support, this initiative was approved by the General Assembly in 1947. The British announced that they would leave Palestine by May 15, 1948, and the Arab League Council nations began moving troops to Palestine's borders. Support for a Jewish state in Palestine was strong in portions of European nations, many of whose citizens were eager to endorse some kind of tacit compensation for the genocidal crimes against Jewish communities perpetrated by the Nazis. The idea of a Jewish state in the Middle East was also extremely popular in the U.S., and particularly so among one of Truman's key constituencies, urban Jewish voters. The State Department, however, was another matter. Secretary George C. Marshall resolutely opposed the creation of a Jewish state in Palestine on the grounds that its borders were strategically indefensible. Nonetheless, Truman, after much soul-searching, agreed to the fateful step of holding a face-to-face meeting with Zionist leader Chaim Weizmann—arranged by Truman's old Jewish friend, Eddie Jacobson—who deeply moved Truman. Truman promised the "old man" that he would recognize the new Jewish state.[4] According to historian David McCullough, Truman feared Marshall would resign or publicly condemn the decision to back the Jewish state, both disastrous outcomes given the rising tensions between the U.S. and Soviet Union. However, in the end, Marshall chose not to dispute the President's decision. Ultimately, Truman recognized the state of Israel eleven minutes after it declared independence on May 14, 1948, one day before the British mandate expired. Berlin Airlift On June 24, 1948, the Soviet Union blocked access to the three Western-held sectors of Berlin. The Allies had never negotiated a deal to guarantee supply of the sectors deep within Soviet occupied East Germany. The commander of the American occupation zone in Germany, Gen. Lucius D. Clay, proposed sending a large armored column driving peacefully, as a moral right, down the Autobahn from West Germany to West Berlin, but prepared to defend itself if it were stopped or attacked. Truman, however, following the consensus in Washington, believed this entailed an unacceptable risk of war. On June 25, the Allies decided to begin the Berlin Airlift to support the city by air. The airlift continued until May 11, 1949, when access was again granted. Integration of the military After a hiatus that had lasted since Reconstruction, the Truman administration marked the federal government's first steps in many years in the area of civil rights. A series of particularly savage 1946 lynchings, including the murder of two young black men and two young black women near in Walton County, Georgia, and the subsequent brutalization of an African American WWII veteran, drew attention to civil rights and factored in the issuing of a 1947 report by the Truman administration titled To Secure These Rights. The report presented a detailed ten-point agenda of civil rights reforms, including making lynching a federal crime. In February 1948, the President submitted a civil rights agenda to Congress that proposed creating several federal offices devoted to issues such as voting rights and fair employment practices. This provoked a firestorm of criticism from Southern Democrats in the time leading up to the national nominating convention, but Truman refused to compromise, saying "My forbears were Confederates…. But my very stomach turned over when I had learned that Negro soldiers, just back from overseas, were being dumped out of Army trucks in Mississippi and beaten."[5] Second Term (1949-1953) 1948 Election The presidential election of 1948 is best remembered for Truman's stunning come-from-behind victory. At the 1948 Democratic National Convention, Truman attempted to place a tepid civil rights plank in the party platform so as to assuage the internal conflicts between North and South. A sharp address, however, given by Mayor Hubert H. Humphrey, Jr. of Minneapolis, Minnesota, and candidate for the United States Senate—as well as the local political interests of a number of urban bosses—convinced the party to adopt a strong civil rights plank, which was wholeheartedly adopted by Truman. Within two weeks he issued Executive Order 9981, racially integrating the U.S. armed services.[6] Truman took considerable political risk in backing civil rights, and was very concerned that the loss of Dixiecrat support might destroy the Democratic Party. With Thomas E. Dewey having a substantial lead, the Gallup Poll quit taking polls two weeks before the election[7] even though 14 percent of the electorate was still undecided. George Gallup would never repeat that mistake again, and he emerged with the maxim, "Undecided voters side with the incumbent." Truman's "whistlestop" tactic of giving brief speeches from the rear platform of the observation railroad car Ferdinand Magellan became iconic of the entire campaign.[8] His combative appearances captured the popular imagination and drew huge crowds. The massive, mostly spontaneous gatherings at Truman's depot events were an important sign of a critical change in momentum in the campaign—but this shift went virtually unnoticed by the national press corps, which simply continued reporting Dewey's (supposedly) impending victory as a certainty. The defining image of the campaign came after Election Day, when Truman's held aloft the erroneous front page of the Chicago Tribune that featured a huge headline proclaiming "Dewey Defeats Truman."[9] Nuclear standoff The Soviet Union, aided by espionage on America's "Manhattan Project," developed an atomic bomb much faster than expected and exploded its first weapon on August 29, 1949, commencing the Cold War arms race. On January 7, 1953, Truman announced the detonation of the much bigger hydrogen bomb. Communist China On December 21, 1949, Chiang Kai-shek and his nationalist forces left the mainland for Taiwan in the face of successful attacks by Mao Zedong's Communists. In June 1950, Truman ordered the Seventh Fleet of the U.S. Navy into the Strait of Formosa to prevent further conflict between the PRC and the Republic of China on Taiwan. Truman also called for Taiwan to cease any further attacks on the mainland.[10] Rise of McCarthyism A period of intense anti-communist suspicion in the United States began in the late 1940s that lasted a decade. It saw increased fears about Communist influence on American institutions and espionage by Soviet agents. Originally coined to criticize the actions of Republican senator Joseph McCarthy, "McCarthyism" later took on a more general meaning of a witch-hunt against alleged communists. During this time many thousands of Americans were accused of being communists or communist sympathizers and became the subject of aggressive investigations and questioning before governmental or private-industry panels, committees and agencies. The primary targets of such suspicions were government employees, those in the entertainment industry, educators and union activists. The reality was that the Soviet Union in some instances had made successfully penetrations of the U.S. government both prior to and during World War II, and Soviet dictator Joseph Stalin benefited from highly classified American information that informed his own decisionmaking. The most prominent alleged Soviet spy, named by former communist and writer Whittaker Chambers, was State Department official Alger Hiss, who presided over the United Nations Charter Conference in San Francisco in 1945. Korean War In June 25, 1950, armies of North Korea invaded South Korea, nearly occupying the whole of the peninsula. Truman promptly urged the United Nations to intervene; it did. The Soviet Union was not in attendance at the Security Council vote that authorized U.S. forces and those of 15 other nations to take military action under the UN flag. Gen. Douglas MacArthur led the UN Forces, pushing the North Korean army nearly to the Chinese border after scoring a stunning victory with his amphibious landing at Inchon. In late October 1950, the Peoples Republic of China intervened in massive numbers on North Korea's behalf. MacArthur urged Truman to attack Chinese bases across the Yalu River and use atomic bombs if necessary; as it was, he was not even permitted to bomb the Chinese end of Yalu bridges. Truman refused both suggestions. The Chinese pushed American forces back into South Korea, and temporarily recaptured Seoul. MacArthur, who had given assurances that he would respect Truman's authority as Commander in Chief during a one-on-one meeting at Wake Island on Oct. 14, 1950, publicly aired his views on the shortcomings of U.S. strategic decisionmaking in the conduct of the war, appearing to indirectly criticize Truman. MacArthur reached out his hand to Truman for a handshake, instead of saluting him as Commander in Chief, a small gesture that held great implications in military protocol. Truman was gravely concerned that further escalation of the war would draw the USSR which now possessed a few atomic weapons into the conflict. He was also personally offended at what he interpreted as MacArthur's insubordination. On April 11, 1951, Truman finally relieved MacArthur of his command. The Korean War turned into a stalemate until an armistice took effect on July 27, 1953, under President Dwight D. Eisenhower. The war, and his dismissal of MacArthur, helped make Truman so unpopular that he eventually chose not to seek a third term. Truman thus earned a strange—and, so far, unique—distinction in American history: He ascended to the presidency to inherit the responsibilities of conducting a war already in process—and left office while an entirely different armed conflict with a foreign enemy was still underway. White House renovations Unlike most other Presidents, Truman lived in the White House very little during his second term in office. Structural analysis of the building in 1948 showed the White House to be in danger of imminent collapse, partly because of problems with the walls and foundation that dated back to the burning of the building by the British during the War of 1812. While the interior of the White House was systematically dismantled to the foundations and rebuilt (the outer walls were braced and not removed), Truman moved to nearby Blair House, which became his "White House." Before this demolition took place, Truman had ordered an addition to the exterior of the building, an extension to its curved portico known as the "Truman Balcony." Assassination attempt On November 1, 1950, two Puerto Rican nationalists attempted to assassinate Truman at Blair House. One mortally wounded a police officer, who shot the assassin to death before expiring himself. The other gunman was found guilty of murder and sentenced to death in 1952. Truman later commuted his sentence to life in prison. Major legislation signed National Security Act—July 26, 1947 Truman Doctrine—March 12, 1947 Marshall Plan/European Recovery Plan—April 3, 1948 Important executive orders Executive Order 9981 establishing equality of treatment and opportunity in the Armed Services Administration and Cabinet OFFICE NAME TERM President Harry S. Truman 1945–1953 Vice President None 1945–1949 Alben W. Barkley 1949–1953 State Edward R. Stettinius, Jr. 1945 James F. Byrnes 1945–1947 George C. Marshall 1947–1949 Dean G. Acheson 1949–1953 Treasury Henry Morgenthau, Jr. 1945 Fred M. Vinson 1945–1946 John W. Snyder 1946–1953 War Henry L. Stimson 1945 Robert P. Patterson 1945–1947 Kenneth C. Royall 1947 Defense James V. Forrestal 1947–1949 Louis A. Johnson 1949–1950 George C. Marshall 1950–1951 Robert A. Lovett 1951–1953 Attorney General Francis Biddle 1945 Tom C. Clark 1945–1949 J. Howard McGrath 1949–1952 James P. McGranery 1952–1953 Postmaster General Frank C. Walker 1945 Robert E. Hannegan 1945–1947 Jesse M. Donaldson 1947–1953 Navy James V. Forrestal 1945–1947 Interior Harold L. Ickes 1945–1946 Julius A. Krug 1946–1949 Oscar L. Chapman 1949–1953 Agriculture Claude R. Wickard 1945 Clinton P. Anderson 1945–1948 Charles F. Brannan 1948–1953 Commerce Henry A. Wallace 1945–1946 W. Averell Harriman 1946–1948 Charles W. Sawyer 1948–1953 Labor Frances Perkins 1945 Lewis B. Schwellenbach 1945–1948 Maurice J. Tobin 1948–1953 Supreme Court appointments Truman appointed the following Justices to the Supreme Court of the United States: Harold Hitz Burton—1945 Fred M. Vinson (Chief Justice)—1946 Tom Campbell Clark—1949 Sherman Minton—1949 Post-presidency Later life and death In 1956, Truman took a trip to Europe with his wife, and was a universal sensation. In Britain, he received an honorary degree in Civic Law from Oxford University. He met with his friend Winston Churchill for the last time, and on returning to the U.S., he gave his full support to Adlai Stevenson's second bid for the White House, although he had initially favored Democratic Governor W. Averell Harriman of New York for the nomination. In 1965, President Lyndon B. Johnson signed the Medicare bill at the Truman Library and gave the first two cards to Truman and his wife Bess. Truman had fought unsuccessfully for government sponsored health care during his tenure. He was also honored in 1970 by the establishment of the Truman Scholarship, the official federal memorial to him. The scholarship sought to honor U.S. college students who exemplified dedication to public service and leadership in public policy. Upon turning 80, Truman was feted in Washington and asked to address the United States Senate. He was so emotionally overcome by his reception that he was unable to deliver his speech. He also campaigned for senatorial candidates. A bad fall in his home in 1964 severely limited his physical capabilities, and he was unable to maintain his daily presence at his presidential library. On December 5, 1972, he was admitted to Kansas City's Research Hospital and Medical Center with lung congestion from pneumonia. He subsequently developed multiple organ failure and died on December 26 at age 88. He and Bess are buried at the Truman Library. Truman's middle initial Truman did not have a middle name, but only a middle initial. It was a common practice in southern states, including Missouri, to use initials rather than names. Truman said the initial was a compromise between the names of his grandfathers, Anderson Shipp(e) Truman and Solomon Young. He once joked that the S was a name, not an initial, and it should not have a period, but official documents and his presidential library all use a period. Furthermore, the Harry S. Truman Library has numerous examples of the signature written at various times throughout Truman's lifetime where his own use of a period after the "S" is very obvious. Trivia Truman was the first president to travel underwater in a modern submarine. "Tell him to go to hell!"—Truman's first response to the messenger who told him that Franklin D. Roosevelt wanted him to be his running mate. Truman watched from a window as guards had a gunfight with two men trying to break into Blair House and kill him (November 1, 1950). One of the men was killed, the other was convicted and sentenced to death, Truman commuted his sentence to life in prison. President Jimmy Carter freed the man in 1979. One of his Secretaries of State, George C. Marshall, won the Nobel Peace Prize. Truman loved to play the piano. In 1948, a piano leg went through the floor of the White House. Truman was a great-nephew of President John Tyler. Truman was the first president to be paid a salary of $100,000. (Congress voted him a raise early in his second term.) Truman was left-handed, but his parents made him write with his right hand, in accordance with the custom for all students in American elementary schools at that time. Truman popularized the saying, "If you can't stand the heat, stay out of the kitchen." He had first heard this line in the 1930s, from another Missouri politician, E.T. "Buck" Purcell. Truman was named one of the 10 best-dressed senators. Truman was named after an uncle, Harrison Young. Truman once said, "No man should be allowed to be president who doesn't understand hogs." Truman was the first president to take office during wartime. Notes References ISBN links support NWE through referral fees Secondary sources Biographies American National Biography. Vol. 21. New York: Oxford University Press, 1999, 857–863. ISBN 0195206355 Donovan, Robert J. Conflict and Crisis: The Presidency of Harry S. Truman, 1945-1948. Columbia, MO: University of Missouri Press, 1996. ISBN 082621066X Ferrell, Robert H. Harry S. Truman: A Life. Columbia, MO: University of Missouri Press, 1994. ISBN 082620953X Fleming, Thomas J. Harry S. Truman, President. New York: Walker and Co., 1993. ISBN 0802782671 Gosnell, Harold Foote. Truman's Crises: A Political Biography of Harry S. Truman. Westport, CT: Greenwood Press, 1980. ISBN 0313212732 Graff, Henry F., ed. The Presidents: A Reference History, 3rd ed. New York: Charles Scribner’s Sons, 2002. ISBN 0684312263 Hamby, Alonzo L. Man of the People: A Life of Harry S. Truman New York: Oxford University Press, 1995. ISBN 0195045467 Kirkendall, Richard S. Harry S. Truman Encyclopedia. Boston: G.K. Hall, 1989. ISBN 0816189153 McCullough, David. Truman. New York: Simon & Schuster, 1992. ISBN 0671869205 Truman, Margaret. Harry S. Truman. New York: William Morrow, 1974. Foreign Policy Beschloss, Michael. Presidential Courage: Brave Leaders and How They Changed America, 1789-1989. (see Ch. 25, "No People but the Hebrews") New York: Simon & Schuster, 2007. ISBN 0684857057 Collins, Larry, and Dominique Lapierre. O Jerusalem! New York: Simon & Schuster, 1988. ISBN 0671662414 Gaddis, John Lewis. "Reconsiderations: Was the Truman Doctrine a Real Turning Point?" Foreign Affairs 52(2)(1974): 386-402. Ivie, Robert L. "Fire, Flood, and Red Fever: Motivating Metaphors of Global Emergency in the Truman Doctrine Speech." Presidential Studies Quarterly 29(3)(1999): 570-591. Matray, James. "Truman's Plan for Victory: National Self Determination and the Thirty-Eighth Parallel Decision in Korea," Journal of American History 66 (September, 1979): 314-333. Merrill, Dennis. "The Truman Doctrine: Containing Communism and Modernity" Presidential Studies Quarterly 2006 36(1): 27-37. Offner, Arnold A. "'Another Such Victory': President Truman, American Foreign Policy, and the Cold War." Diplomatic History 1999 23(2): 127-155. Pelz, Stephen. "When the Kitchen Gets Hot, Pass the Buck: Truman and Korea in 1950," Reviews in American History 6 (December, 1978), 548-555. Smith, Geoffrey S. "'Harry, We Hardly Know You': Revisionism, Politics and Diplomacy, 1945-1954," American Political Science Review 70 (June, 1976): 560-582. Spalding, Elizabeth Edwards. The First Cold Warrior: Harry Truman, Containment, And the Remaking of Liberal Internationalism. Lexington, KY: University Press of Kentucky, 2006. ISBN 978-0813123929 Wainstock, Dennis D. Truman, MacArthur, and the Korean War. Westport, CT: Greenwood Press, 1999. ISBN 0313308373 Walker, J. Samuel. Prompt and Utter Destruction: Truman and the Use of Atomic Bombs Against Japan. Chapel Hill, NC: University of North Carolina Press, 1997. ISBN 0807846627 Walker, J. Samuel. "Recent Literature on Truman's Atomic Bomb Decision: A Search for Middle Ground" Diplomatic History 29 (2)(April 2005): 311-334 Domestic Policy Hartmann, Susan M. Truman and the 80th Congress. Columbia, MO: University of Missouri Press, 1971. ISBN 0826201059 Heller, Francis H. Economics and the Truman Administration Lawrence, KS: Regents Press of Kansas, 1981. ISBN 0700602178 Kirkendall, Richard S., ed. Harry's Farewell: Interpreting and Teaching the Truman Presidency. Columbia, MO: University of Missouri Press, 2004. ISBN 0826215521 Koenig, Louis W. The Truman Administration: Its Principles and Practice. Westport, CT: Greenwood Press, 1979. ISBN 0313211868 Levantrosser, William F. ed. Harry S. Truman: The Man from Independence. New York: Greenwood Press, 1986. ISBN 0313251789 Marcus, Maeva. Truman and the Steel Seizure Case: The Limits of Presidential Power. Durham, NC: Duke University Press, 1994. ISBN 0822314177 Ryan, Halford R. Harry S. Truman: Presidential Rhetoric. Westport, CT: Greenwood Press, 1993. ISBN 031327908X Theoharis, Athan. The Truman Presidency: The Origins of the Imperial Presidency and the National Security State. Stanfordville, NY: E.M. Coleman Enterprises, 1979. ISBN 0930576128 Primary sources Bernstein, Barton J. (ed.). Politics and Policies of the Truman Administration Chicago: Quadrangle Books, 1974. OCLC 4167214 Ferrell, Robert H. (ed.). Dear Bess: The Letters from Harry to Bess Truman, 1910-1959. Columbia, MO: University of Missouri Press, 1998. ISBN 0826212034 Ferrell, Robert H. (ed.). Off the Record: The Private Papers of Harry S. Truman. Columbia, MO: University of Missouri Press, 1997. ISBN 0826211194 Neal, Steve. (ed.). Miracle of '48: Harry Truman's Major Campaign Speeches & Selected Whistle-Stops. Carbondale, IL: Southern Illinois University Press, 2003. ISBN 0809325578 Truman, Harry S. Memoirs of Harry S. Truman. 2 vol., New York: Da Capo Press, 1986-1987, (original 1955-1956). ISBN 030680266X Truman, Margaret. Harry S. Truman. (original 1974) New York: Quill, 1984. ISBN 0688039243 All links retrieved June 25, 2024.
correct_birth_00015	FactBench	2	76	https://nationaltoday.com/birthday/harry-s-truman/	en	Harry S. Truman Birthday	https://nationaltoday.co…Harry-Truman.jpg	https://nationaltoday.co…Harry-Truman.jpg	[ "https://www.facebook.com/tr?id=315068065503197&ev=PageView&noscript=1", "https://nationaltoday.com/wp-content/uploads/2022/05/60-Harry-Truman-1200x834.jpg", "https://nationaltoday.com/wp-content/uploads/2022/05/73-John-Kennedy-676x390.jpg", "https://nationaltoday.com/wp-content/uploads/2022/06/27-Gerald-Ford-676x390.jpg", "https://nationaltoday.com/wp-content/uploads/2022/07/lkjhgfhjkl-5-min-7-676x390.jpg", "https://nationaltoday.com/wp-content/uploads/2022/09/26-Dwight-D-Eisenhower-Birthday-676x390.jpg", "https://nationaltoday.com/wp-content/uploads/2022/09/Theodore-Roosevelt-676x390.jpg", "https://nationaltoday.com/wp-content/uploads/2022/04/30-Enrique-Iglesias-150x150.jpg", "https://nationaltoday.com/wp-content/uploads/2022/05/60-Harry-Truman-150x150.jpg", "https://nationaltoday.com/wp-content/uploads/2022/10/37-Trisha-Paytas-150x150.jpg", "https://nationaltoday.com/wp-content/plugins/wp-facebook-login/public/img/loading.svg" ]	[]	[]	[ "" ]	null	[]	2022-05-05T13:30:14+00:00	Are you a Harry S. Truman admirer? Learn all the exciting facts about this former American president as we celebrate his birthday.	en	/apple-touch-icon-57x57.png	National Today	https://nationaltoday.com/birthday/harry-s-truman/	Background Harry S. Truman, born on May 8, 1884, is one of the greatest presidents the United States has ever had. He was the oldest son of John and Martha Truman. Truman was named after his uncle Harrison and was of Scottish, Irish, German, and French descent. In his early years, he was a livestock dealer and farmer. Truman developed an interest in music and rose every morning at 5 a.m. to practice the piano until he was 15, and he became very skilled at it. He studied bookkeeping and shorthand at Spalding’s Commercial College but soon dropped out after a year owing to financial constraints. He was unable to join the military because of his poor eyesight but got enlisted into the Missouri National Guard in 1905. Truman was not particularly keen on the vice presidency; he feared the negative publicity that came with public office. He did not campaign for the position but somehow got nominated. On January 20, 1945, he was sworn in as vice president of the United States alongside President Franklin D. Roosevelt. Truman was vice president for 82 days, until Roosevelt died, and was sworn in as president in April 1945. During his first term in office, from 1945 to 1949, he helped end World War II in Europe. Truman served his second term from 1949 to 1953. In 1949, he announced his domestic policy initiative, The Fair Deal, which included universal healthcare, financing for education, and an increase in the minimum wage. Truman was responsible for implementing the NATO and Truman Doctrine. In 1948, he oversaw the Marshall Plan and Berlin Airlift; in 1959, he was awarded a 50-year award by the Masons; in 1973, a sports complex (Truman Sports Complex), which is the home of stadiums in the city of Kansas, was named after him; and in 1975, a Truman Scholarship was created for U.S. college students who excelled in their dedication to public leadership and service policy. Truman faced a few political challenges, such as the Cold War IV and the Korean War, but he overcame them. He lived a fulfilled life. In 1952, he announced he would no longer run for re-election and retired. He wrote his memoir, “Years of Decisions,” in 1955. Truman died on December 26, 1972. He was a democrat and was married to Bess Wallace, with whom he had one child named Magaret.
correct_birth_00015	FactBench	0	18	https://www.facebook.com/mostateparks/videos/harry-s-truman-birthplace-shs/788522565099207/	en	DYK: Today is the birthday of Missouri’s only president, Harry S Truman. President Truman, the 33rd president of the United States, was born on May 8,...	https://scontent.xx.fbcd…19Aw&oe=66A84A6F	https://scontent.xx.fbcd…19Aw&oe=66A84A6F	[]	[]	[]	[ "" ]	null	[]	null	DYK: Today is the birthday of Missouri’s only president, Harry S Truman. President Truman, the 33rd president of the United States, was born on May 8,...	de	https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico		https://www.facebook.com/mostateparks/videos/harry-s-truman-birthplace-shs/788522565099207/
correct_birth_00015	FactBench	1	54	https://www.independencemo.gov/visitors/our-history-and-culture/harry-s-truman/harry-trumans-hometown-out-and-about-independence	en	Harry Truman’s Hometown: Out and About in Independence	https://www.independence…s/favicon-32.png	https://www.independence…s/favicon-32.png	[ "https://www.independencemo.gov/themes/custom/if_design_system/images/Independence-Logo-White.png", "https://www.independencemo.gov/sites/default/files/styles/max_width_800/public/2023-09/Harry%20Truman-Independence%20with%20hat.jpg?itok=N2pz0Dis", "https://www.independencemo.gov/sites/default/files/styles/max_width_800/public/2023-09/Harry%20Truman%20at%20gate%20at%20Truman%20Home.jpg?itok=njB0OK-V", "https://www.independencemo.gov/sites/default/files/styles/max_width_800/public/2023-09/Harry%20Truman%20with%20reporters%20on%20Square.jpg?itok=EUvvGzEj", "https://www.independencemo.gov/sites/default/files/styles/max_width_800/public/2023-09/Harry%20Truman%20with%20photographer%20Train%20Depot.jpg?itok=UGTPbM-s", "https://www.independencemo.gov/sites/default/files/styles/max_width_800/public/2023-09/Truman%20walk%20with%20Reporter.jpg?itok=Q1Nq49ua", "https://www.independencemo.gov/sites/default/files/styles/max_width_800/public/2023-09/Truman%20walking%20in%20Independence.jpg?itok=Ni_nJRct", "https://www.independencemo.gov/sites/default/files/styles/max_width_800/public/2023-09/Truman%20walking%20in%20Independence%20-2.jpg?itok=UZW2H2yX", "https://www.independencemo.gov/themes/custom/if_design_system/images/logo-cimo-white.png", "https://www.independencemo.gov/themes/custom/if_design_system/images/if-logo.svg" ]	[]	[]	[ "" ]	null	[]	2023-07-10T00:00:00		en	/themes/custom/if_design_system/images/favicon-32.png		https://www.independencemo.gov/visitors/our-history-and-culture/harry-s-truman/harry-trumans-hometown-out-and-about-independence	Independence, Missouri, was Harry Truman’s hometown, and, throughout his life, he enjoyed walking its streets. Enjoy these photos of Truman out and about in Independence. Then, learn how you can retrace our hometown president’s steps today. Truman was an early riser, and his walks typically began at about 7 a.m. Here he is opening the gate to his home to begin his morning walk. Truman would usually walk a mile or two each morning. He was known for taking different routes around his neighborhood, past the homes, schools, and churches he grew up near. Here he is on the Independence Square, walking with reporters from the Independence Examiner. The morning walk was a way for Truman to maintain his physical and mental health. He used the time to sort out the day’s business in his mind, but he never turned down a request for a quick chat or an autograph. Above, surrounded by unidentified individuals, Truman chats with photographer Sammie Feeback outside the Truman Depot. Truman kept up a quick pace on his walks, as a result of his experience in the Army. It’s reported that he walked about 120 paces per minute. Here he is walking in stride with a younger, taller photographer outside his home in 1954. The time of year didn’t matter much. Above, Truman walks through the snow on the streets of Independence with various unidentified individuals. As he got older, Truman continued his walks, though he shortened his route. As late as 1969, a schoolboy at William Chrisman Junior High School remembers President Truman walking by every morning a little before 8 o’clock. The photo above was taken in 1956 as Truman walked to vote in the polls.
correct_birth_00015	FactBench	2	56	https://www.senate.gov/artandhistory/history/minute/Harry_S_Truman.htm	en	U.S. Senate: Harry S. Truman			[ "https://www.senate.gov/resources/images/usFlag.png", "https://www.senate.gov/resources/images/senate_logo.png", "https://www.senate.gov/about/resources/graphics/small/truman-harry-s.jpg", "https://www.senate.gov/resources/images/senate_logo_footer.png" ]	[]	[]	[ "" ]	null	[]	2024-02-08T00:00:00	1878: Harry S. Truman -- May 8, 1884		/resources/images/us_sen.ico		null	Harry S. Truman was born on May 8, 1884. In January 1935, in the company of an all-Democratic class of freshmen, he took his oath for the first time as a United States senator from Missouri. Truman quickly became popular among his colleagues. They appreciated his folksy personality, his modesty, and his diligence. His big first-term legislative accomplishment was a landmark statute that promoted fair competition between the nation's railroads and the burgeoning trucking industry. He won a second term in 1940 after a bruising primary contest. He later considered this race, against Missouri Governor Lloyd Stark, the toughest of his career. Stark was behind the unsubstantiated charge that Truman was a "tool" of the Kansas City political machine. Truman won that primary by fewer than 8,000 votes, thanks to a last-minute infusion of 8,000 votes from the St. Louis political machine. (Years later, associates agreed that there were only two political figures whom Truman truly hated: Lloyd Stark and Richard Nixon.) At the start of his second Senate term in 1941, Truman took up the assignment that made his political career. Waste and corruption in the construction of army posts in preparation for World War II led him to propose and then to chair the Senate Special Committee to Investigate the National Defense Program. During the three years of his chairmanship, the "Truman Committee" held hundreds of hearings here and throughout the nation. This role made him a respected national figure. When his party's leaders dumped controversial vice president Henry Wallace from the 1944 ticket, Truman was the ideal replacement. Within a year, he would be president. Early in 1947, after two years in office, President Truman came to Capitol Hill for a morale-boosting luncheon with Senate Democrats. Recent mid-term elections had made them the Senate's minority party for the first time in 14 years. During that luncheon, several senators had "dared" him to slip into the Senate Chamber "to see what would happen." Perhaps they had in mind surprising the presiding officer, Republican President Pro Tempore Arthur Vandenberg. They succeeded. Without notice, Truman walked directly to his old back-row desk. He loved that location, because, as he once confessed, when the going got rough, the door was only 10 feet away. Senator Vandenberg graciously acknowledged the president. Then, violating Senate rules against non-senators speaking on the floor, Vandenberg recognized him for five minutes. "I sometimes get homesick for this seat." said Truman. "I spent what I think were the ten best years of my life in the Senate. I made friendships and had associations which I can never forget." As the chamber erupted in applause and lusty cheers, an ecstatic Truman slipped out that door nearest his old seat.
correct_birth_00015	FactBench	1	0	https://mostateparks.com/park/harry-s-truman-birthplace-state-historic-site	en	Harry S Truman Birthplace State Historic Site	https://mostateparks.com…rks_logo_154.png	https://mostateparks.com…rks_logo_154.png	[ "https://mostateparks.com/sites/mostateparks/themes/mogov_site/img/logo.png", "https://mostateparks.com/sites/mostateparks/files/region-map-small-pastel.png", "https://mostateparks.com/sites/mostateparks/files/megamenu_shelter.png", "https://mostateparks.com/sites/mostateparks/files/megamenu_tour.png", "https://mostateparks.com/sites/mostateparks/files/megamenu_camping.png", "https://mostateparks.com/sites/mostateparks/files/megamenu_lodging.png", "https://mostateparks.com/sites/mostateparks/modules/mo_cms_share/img/little_blue_email.png", "https://mostateparks.com/sites/mostateparks/files/flickrcache/72157625842891171/15216570944.jpg", "https://mostateparks.com/sites/mostateparks/files/flickrcache/72157625842891171/15217125163.jpg", "https://mostateparks.com/sites/mostateparks/files/flickrcache/72157625842891171/15309485370.jpg", "https://mostateparks.com/sites/mostateparks/files/flickrcache/72157625842891171/15651116598.jpg", "https://mostateparks.com/sites/mostateparks/files/flickrcache/72157625842891171/15651411197.jpg", "https://mostateparks.com/sites/mostateparks/files/flickrcache/72157625842891171/15651703520.jpg", "https://mostateparks.com/sites/mostateparks/files/flickrcache/72157625842891171/15812906056.jpg", "https://mostateparks.com/sites/mostateparks/files/flickrcache/72157625842891171/15812907136.jpg", "https://mostateparks.com/sites/mostateparks/files/flickrcache/72157625842891171/15836545585.jpg", "https://mostateparks.com/sites/mostateparks/files/flickrcache/72157625842891171/15838108702.jpg", "https://mostateparks.com/sites/mostateparks/files/styles/related_park/public/park_images/DSCN0057.jpg?itok=tOCiMSBS", "https://mostateparks.com/sites/mostateparks/files/styles/related_park/public/GEDC0194.jpg?itok=VmQr8MbM", "https://mostateparks.com/sites/mostateparks/files/findmap_signpost_orig.png", "https://mostateparks.com/sites/mostateparks/files/Beach-Closure-horz.png", "https://mostateparks.com/sites/mostateparks/files/DNRlogo_new.png" ]	[]	[]	[ "" ]	null	[]	2010-12-10T08:40:00-06:00	See where the only U.S. president born in Missouri started at Harry S Truman Birthplace State Historic Site. Visitors can view the small frame house where the future president was born, and see furnishings that reflect what a house in western Missouri would have looked like during the time Truman lived in the house.	en			https://mostateparks.com/park/harry-s-truman-birthplace-state-historic-site	For temporary closures related to weather, stewardship activities and maintenance, as well as temporary trail closures, click here to visit our Park and Site Status Map. On the following days (actual or observed), staff will not be available and site buildings will be closed: Thanksgiving Day; Nov. 24, 2023; Christmas Eve; Christmas Day; New Year’s Eve; New Year’s Day; Martin Luther King Jr. Day; Lincoln’s Birthday; and Presidents Day. Historic Site Grounds: Sunrise to sunset, year-round Site Office hours March through October 10 a.m. to 4 p.m., Wednesday through Saturday Noon to 4 p.m., Sunday November through February 10 a.m. to 4 p.m., Wednesday through Saturday On the following days (actual or observed), staff will not be available and site buildings will be closed: Thanksgiving Day; Nov. 24, 2023; Christmas Eve; Christmas Day; New Year’s Eve; New Year’s Day; Martin Luther King Jr. Day; Lincoln’s Birthday; and Presidents Day. Tours: Free tours are offered during the hours listed above.
correct_birth_00015	FactBench	0	59	https://www.ebay.com/itm/225853737663	en	Lamar Missouri MO President Harry S Truman Birthplace House Postcard	https://i.ebayimg.com/im…feS-c/s-l400.jpg	https://i.ebayimg.com/im…feS-c/s-l400.jpg	[ "https://ir.ebaystatic.com/f/c4uaywiq0y1mrh0jfqkgbvsdpez.png", "https://i.ebayimg.com/images/g/rFMAAOSwhBtfeS-c/s-l140.jpg", "https://i.ebayimg.com/images/g/yToAAOSw7xlfeS~F/s-l140.jpg", "https://i.ebayimg.com/images/g/rFMAAOSwhBtfeS-c/s-l1600.jpg", "https://i.ebayimg.com/images/g/yToAAOSw7xlfeS~F/s-l1600.jpg", "https://i.ebayimg.com/images/g/rFMAAOSwhBtfeS-c/s-l1600.jpg", "https://i.ebayimg.com/images/g/yToAAOSw7xlfeS~F/s-l1600.jpg", "https://i.ebayimg.com/images/g/rFMAAOSwhBtfeS-c/s-l500.jpg", "https://i.ebayimg.com/images/g/yToAAOSw7xlfeS~F/s-l500.jpg", "https://i.ebayimg.com/images/g/fRYAAOSwiYVmke1b/s-l64.jpg", "https://i.ebayimg.com/images/g/fRYAAOSwiYVmke1b/s-l140.jpg" ]	[]	[]	[ "" ]	null	[]	null	Find many great new & used options and get the best deals for Lamar Missouri MO President Harry S Truman Birthplace House Postcard at the best online prices at eBay! Free shipping for many products!	en		eBay	https://www.ebay.com/itm/225853737663	US $14.12GermanyeBay International ShippingUS $0.00 Estimated between Mon, Aug 5 and Mon, Aug 12 to 60323 Seller ships within 1 day after receiving cleared payment. US $12.95GermanyeBay International ShippingAuthorities may apply import charges upon delivery Estimated between Mon, Aug 5 and Mon, Aug 12 to 60323 Seller ships within 1 day after receiving cleared payment.
correct_birth_00015	FactBench	2	40	https://www.bbc.co.uk/history/historic_figures/truman_harry_s.shtml	en	Historic Figures: Harry S Truman (1884	http://www.bbc.co.uk/favicon.ico	http://www.bbc.co.uk/favicon.ico	[ "https://www.bbc.co.uk/staticarchive/2e00d1d53e9c3bd91993196aa19a1d88589969f0.png", "https://www.bbc.co.uk/staticarchive/d33c52fb8bd516111402a694597604b8951dd7ad.jpg", "https://www.bbc.co.uk/staticarchive/b83623508ad5dc6b7d615989b4b3e89cd6946136.jpg", "https://www.bbc.co.uk/staticarchive/0dd5b3117955adde20b5c309087de919447b3964.jpg", "https://www.bbc.co.uk/staticarchive/a8e42f8fe987b7cc9bf2d43b74b2c74b2448d2e3.png", "https://www.bbc.co.uk/staticarchive/56d45f8a17f5078a20af9962c992ca4678450765.gif" ]	[]	[]	[ "history", "harry s truman", "president", "usa", "world war two", "cold war" ]	null	[]	2006-09-04T00:00:00	World War Two US president, ordered atomic bombings of Japan	en	http://www.bbc.co.uk/favicon.ico		null	Truman was the 33rd president of the United States who oversaw the end of World War Two, including the atomic bombing of Japan, and the new challenges of the Cold War. Harry Truman was born in Lamar, Missouri, on 8 May 1884. After leaving school he held a series of clerical positions, as well as farming. In 1917, he joined the US Army and fought in World War One. He returned home in 1919 and married Bess Wallace. They had one daughter. In 1923, he was appointed a judge in Jackson County, a mainly administrative position, and in his spare time studied at Kansas City Law School. He became active in Democrat politics in Missouri and was elected to the senate in 1934 and re-elected in 1940. In 1941, he headed the Truman Committee investigating waste and fraud in the US defence programme. It was estimated to have saved around $15 billion and made Truman a national figure. Franklin Roosevelt selected Truman as vice president in 1944. In April 1945, with the end of World War Two in sight, Roosevelt died and Truman became president. With very little preparation he faced huge responsibilities in the final months of the war, including authorising the use of the atomic bomb against Japan, and planning the post-war world. Two months after taking office he witnessed the signing of United Nations Charter. Truman was unable to achieve many of his immediate post-war domestic aims because of opposition within his own party and the Republican Party regaining control of congress. In foreign policy, he responded to the growing threat from the Soviet Union. He issued the Truman Doctrine, justifying support for any country the US believed to be threatened by communism. He introduced the Marshall Plan, which spent more than $13 billion in rebuilding Europe. When the Soviets blockaded the western sectors of Berlin in the summer of 1948, Truman authorised a massive airlift of supplies until the Soviets backed down. The fear of the spread of communism in Europe led to the establishment in 1949 of the North Atlantic Treaty Organisation (NATO), a defence alliance between Western European countries, Canada and the US. Truman expected to lose the 1948 presidential election as his pro-civil rights actions had alienated many southern Democrats. Nonetheless, he won and foreign policy again dominated in his second term. In the summer of 1950, he authorised US military involvement in the Korean War. Truman retired from politics in 1952 and died in Kansas City on 26 December 1972.
correct_birth_00015	FactBench	1	15	https://www.history.com/topics/us-presidents/harry-truman	en	Facts, Presidency & WWII	https://assets.editorial…es-515411776.jpg	https://assets.editorial…es-515411776.jpg	[ "https://sb.scorecardresearch.com/p?c1=2&c2=3005002&cs_ucfr=1&cv=3.6&cj=1", "https://www.history.com/assets/images/history/logo.svg", "https://www.history.com/assets/images/history/logo.svg", "https://assets.editorial.aetnd.com/uploads/2009/11/truman-healthcare-gettyimages-515411776.jpg?width=640&height=426.66666666666663&crop=640%3A426.66666666666663%2Csmart&quality=75&auto=webp 640w, https://assets.editorial.aetnd.com/uploads/2009/11/truman-healthcare-gettyimages-515411776.jpg?width=750&height=500&crop=750%3A500%2Csmart&quality=75&auto=webp 750w, https://assets.editorial.aetnd.com/uploads/2009/11/truman-healthcare-gettyimages-515411776.jpg?width=828&height=552&crop=828%3A552%2Csmart&quality=75&auto=webp 828w, 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https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=828&quality=75&auto=webp 828w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=1080&quality=75&auto=webp 1080w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=1248&quality=75&auto=webp 1248w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=1920&quality=75&auto=webp 1920w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=2048&quality=75&auto=webp 2048w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=3840&quality=75&auto=webp 3840w" ]	[]	[]	[ "" ]	null	[ "Harry Truman - Facts, Presidency & WWII", "History.com Editors" ]	2009-11-12T19:41:07+00:00	Harry Truman (1884-1972), the 33rd U.S. president, assumed office following the death of President Franklin Roosevelt. In the White House from 1945 to 1953, Truman made the decision to use the atomic bomb against Japan in World War II, helped rebuild postwar Europe, worked to contain communism and led the United States into the Korean War (1950-1953).	en	https://www.history.com/…e-touch-icon.png	HISTORY	https://www.history.com/topics/us-presidents/harry-truman	Harry S. Truman’s Early Years Harry S. Truman was born on May 8, 1884, in the farm community of Lamar, Missouri, to John Truman (1851-1914), a livestock trader, and Martha Young Truman (1852-1947). (Truman’s parents gave him the middle initial S to honor his grandfathers, Anderson Shipp Truman and Solomon Young, although the S didn’t stand for a specific name.) In 1890, the Trumans settled in Independence, Missouri, where Harry attended school and was a strong student. As a child, he had to wear thick eyeglasses due to poor vision, and his doctor advised him not to play sports in order to avoid breaking them. Truman had hoped to attend the U.S. military academy at West Point, but his eyesight prevented him from gaining admittance. Truman’s family could not afford to send him to college, so after graduating high school in 1901 he worked as a bank clerk and held various other jobs. Starting in 1906, he spent over a decade helping his father manage the family’s 600-acre farm near Grandview, Missouri. During this time, Truman also served in the Missouri National Guard. In 1917, when America entered World War I, Truman, then in his early 30s, reenlisted in the National Guard and was sent to France. He saw action in several campaigns and was promoted to captain of his artillery unit. In 1919, after returning from the war, Truman married Elizabeth “Bess” Wallace (1885-1982), his childhood classmate. That same year, Truman and a friend opened a men’s clothing store in Kansas City; however, the business closed in 1922 due to a poor economy. The Trumans had one daughter, Mary Margaret Truman (1924-2008), who grew up to become a professional singer and author of biographies and mystery novels. From County Judge to U.S. Vice President In 1922, Harry Truman, with the backing of Kansas City political boss Thomas Pendergast (1873-1945), was elected district judge in Jackson County, Missouri, an administrative position that involved handling the county’s finances, public works projects and other affairs. In 1926, Truman won the election as the county’s presiding judge. Earning a reputation for efficiency and integrity, he was reelected in 1930. In 1934, Truman was elected to the U.S. Senate. As a senator, he supported President Franklin Roosevelt’s New Deal programs, designed to help lift the nation out of the Great Depression, which began in 1929 and lasted about a decade. Additionally, Truman was instrumental in the passage of the Civil Aeronautics Act of 1938, which established government regulation of the burgeoning aviation industry, and the Transportation Act of 1940, which established new federal regulations for America’s railroad, shipping and trucking industries. From 1941 to 1944, Truman headed the Senate Special Committee to Investigate the National Defense Program, which worked to reduce waste and mismanagement in U.S. military spending. Commonly known as the Truman Committee, it saved American taxpayers millions of dollars and propelled Truman into the national spotlight. Franklin D. Roosevelt Dies In Office In 1944, as Roosevelt sought an unprecedented fourth term as president, Truman was selected as his running mate, replacing Vice President Henry Wallace (1888-1965), a divisive figure in the Democratic Party. (Truman, a moderate Democrat, was jokingly referred to as the “second Missouri Compromise.”) In the general election, Roosevelt easily defeated Republican Thomas Dewey, the governor of New York, and was sworn into office on January 20, 1945. Less than three months later, on April 12, 1945, the president died suddenly of a cerebral hemorrhage at age 63. Several hours after learning of Roosevelt’s death, a stunned Truman was given the oath of office in the White House by Chief Justice Harlan Stone (1872-1946). The new president later told reporters, “I don’t know if you fellas ever had a load of hay fall on you, but when they told me what happened yesterday, I felt like the moon, the stars and all the planets had fallen on me.” Harry S. Truman’s First Administration: 1945-1949 Upon assuming the presidency, Harry Truman, who had met privately with Roosevelt only a few times before his death and had never been informed by the president about the construction of the atomic bomb, faced a series of monumental challenges and decisions. During Truman’s initial months in office, the war in Europe ended when the Allies accepted Nazi Germany’s surrender on May 8; the United Nations Charter was signed, and the president participated in the Potsdam Conference to discuss postwar treatment of Germany with Great Britain’s Winston Churchill (1874-1965) and the Soviet Union’s Joseph Stalin (1878-1953). In an effort to end the war in the Pacific and prevent the massive U.S. casualties that could result from an invasion of Japan, Truman approved the dropping of atomic bombs on the Japanese cities of Hiroshima (on August 6) and Nagasaki (on August 9). Japan’s surrender was announced on August 14, 1945; however, Truman’s use of the atomic bomb continues to be one of the most controversial decisions of any American president. In the aftermath of the war, the Truman administration had to contend with deteriorating U.S.-Soviet relations and the start of the Cold War (1946-1991). The president adopted a policy of containment toward Soviet expansion and the spread of communism. In 1947, he introduced the Truman Doctrine to provide aid to Greece and Turkey in an effort to protect them from communist aggression. That same year, Truman also instituted the Marshall Plan, which gave billions of dollars in aid to help stimulate economic recovery in European nations. (The president defended the plan by stating that communism would thrive in economically depressed regions.) In 1948, Truman initiated an airlift of food and other supplies to the Western-held sectors of Berlin, Germany, that were blockaded by the Soviets. He also recognized the new state of Israel. On the home front, Truman was faced with the challenge of transitioning America to a peacetime economy. Amid labor disputes, a shortage of consumer goods and a national railroad strike, he saw his approval ratings plummet. He ran for reelection in 1948 and was widely expected to lose to Republican challenger Thomas Dewey. However, Truman conducted a vigorous whistle-stop campaign in which he traveled by train around the country, giving hundreds of speeches. The president and his running mate Alben Barkley (1877-1956), a U.S. senator from Kentucky, won with 303 electoral votes and 49.6 percent of the popular vote, while Dewey captured 189 electoral votes and 45.1 percent of the popular vote. Dixiecrat candidate Strom Thurmond (1902-2003) earned 39 electoral votes and 2.4 percent of the popular vote. An iconic photograph from the day after the president’s upset victory shows him holding a copy of the Chicago Tribune featuring the inaccurate front-page headline “Dewey Defeats Truman.” Harry Truman’s Second Administration: 1949-1953 Harry Truman was sworn in for his second term in January 1949; his inauguration was the first to be nationally televised. The president set forth an ambitious social reform agenda, known as the Fair Deal, which included national medical insurance, federal housing programs, a higher minimum wage, assistance for farmers, repeal of the Taft-Hartley labor act, increases in Social Security and civil rights reforms. Truman’s proposals were largely blocked by conservatives in Congress; however, he had some legislative successes, such as the Housing Act of 1949, and also issued executive orders (at the end of his first term) to end segregation in the U.S. armed forces and to prohibit discrimination in federal government jobs. The threat of communism continued to be a major focus of Truman’s second administration. The president supported the creation in 1949 of the North Atlantic Treaty Organization (NATO), a military alliance of democratic nations, including the United States, Canada, France, the United Kingdom and eight other countries, and appointed Dwight Eisenhower (1890-1969) as its first commander. Also that year, a revolution in China brought the Communists to power, and the Soviets tested their first nuclear weapon. Additionally, during his second term, Truman had to contend with unproven accusations made by U.S. Senator Joseph McCarthy (1908-1957) of Wisconsin that the president’s administration and the U.S. State Department, among other organizations, had been infiltrated by communist spies. In June 1950, when communist forces from North Korea invaded South Korea, Truman sent in U.S. planes, ships and ground troops to aid the South Koreans. The conflict turned into a lengthy stalemate that left Americans frustrated and hurt Truman’s popularity; however, his decision to intervene ultimately preserved South Korea’s independence. Although he was eligible to run for another presidential term, Truman announced in March 1952 that he would not do so. In that year’s general election, Democrat Adlai Stevenson (1900-1965), the governor of Illinois, was defeated by Republican Dwight Eisenhower. Harry S. Truman’s Final Years After Eisenhower’s inauguration in January 1953, Harry and Bess Truman traveled by train from Washington to their home in Independence. There, the former president penned his memoirs, met with visitors, continued his habit of brisk daily walks and raised funds for the Harry S. Truman Presidential Library, which opened in Independence in 1957.
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R", "A. H", "W.M", "P.W", "B. G", "Mike B", "Golden Valley Minnesota", "Scott K", "Walter S", "John W" ]	null	Presidential memorabilia, collectibles & souvenirs of Harry S. Truman born, May 8, 1884 – died December 26, 1972. Truman was the 33rd President. He succeeded Franklin D. Roosevelt, who died less than three months after he began his fourth term.	en	https://eadn-wc02-144471.nxedge.io/cdn/pub/media/favicon/default/favicon.ico		null	JavaScript seems to be disabled in your browser. For the best experience on our site, be sure to turn on Javascript in your browser.
correct_birth_00015	FactBench	3	2	https://mostateparks.com/park/harry-s-truman-birthplace-state-historic-site	en	Harry S Truman Birthplace State Historic Site	https://mostateparks.com…rks_logo_154.png	https://mostateparks.com…rks_logo_154.png	[ "https://mostateparks.com/sites/mostateparks/themes/mogov_site/img/logo.png", "https://mostateparks.com/sites/mostateparks/files/region-map-small-pastel.png", "https://mostateparks.com/sites/mostateparks/files/megamenu_shelter.png", "https://mostateparks.com/sites/mostateparks/files/megamenu_tour.png", "https://mostateparks.com/sites/mostateparks/files/megamenu_camping.png", "https://mostateparks.com/sites/mostateparks/files/megamenu_lodging.png", "https://mostateparks.com/sites/mostateparks/modules/mo_cms_share/img/little_blue_email.png", "https://mostateparks.com/sites/mostateparks/files/flickrcache/72157625842891171/15216570944.jpg", "https://mostateparks.com/sites/mostateparks/files/flickrcache/72157625842891171/15217125163.jpg", "https://mostateparks.com/sites/mostateparks/files/flickrcache/72157625842891171/15309485370.jpg", "https://mostateparks.com/sites/mostateparks/files/flickrcache/72157625842891171/15651116598.jpg", "https://mostateparks.com/sites/mostateparks/files/flickrcache/72157625842891171/15651411197.jpg", "https://mostateparks.com/sites/mostateparks/files/flickrcache/72157625842891171/15651703520.jpg", "https://mostateparks.com/sites/mostateparks/files/flickrcache/72157625842891171/15812906056.jpg", "https://mostateparks.com/sites/mostateparks/files/flickrcache/72157625842891171/15812907136.jpg", "https://mostateparks.com/sites/mostateparks/files/flickrcache/72157625842891171/15836545585.jpg", "https://mostateparks.com/sites/mostateparks/files/flickrcache/72157625842891171/15838108702.jpg", "https://mostateparks.com/sites/mostateparks/files/styles/related_park/public/park_images/DSCN0057.jpg?itok=tOCiMSBS", "https://mostateparks.com/sites/mostateparks/files/styles/related_park/public/GEDC0194.jpg?itok=VmQr8MbM", "https://mostateparks.com/sites/mostateparks/files/findmap_signpost_orig.png", "https://mostateparks.com/sites/mostateparks/files/Beach-Closure-horz.png", "https://mostateparks.com/sites/mostateparks/files/DNRlogo_new.png" ]	[]	[]	[ "" ]	null	[]	2010-12-10T08:40:00-06:00	See where the only U.S. president born in Missouri started at Harry S Truman Birthplace State Historic Site. Visitors can view the small frame house where the future president was born, and see furnishings that reflect what a house in western Missouri would have looked like during the time Truman lived in the house.	en			https://mostateparks.com/park/harry-s-truman-birthplace-state-historic-site	For temporary closures related to weather, stewardship activities and maintenance, as well as temporary trail closures, click here to visit our Park and Site Status Map. On the following days (actual or observed), staff will not be available and site buildings will be closed: Thanksgiving Day; Nov. 24, 2023; Christmas Eve; Christmas Day; New Year’s Eve; New Year’s Day; Martin Luther King Jr. Day; Lincoln’s Birthday; and Presidents Day. Historic Site Grounds: Sunrise to sunset, year-round Site Office hours March through October 10 a.m. to 4 p.m., Wednesday through Saturday Noon to 4 p.m., Sunday November through February 10 a.m. to 4 p.m., Wednesday through Saturday On the following days (actual or observed), staff will not be available and site buildings will be closed: Thanksgiving Day; Nov. 24, 2023; Christmas Eve; Christmas Day; New Year’s Eve; New Year’s Day; Martin Luther King Jr. Day; Lincoln’s Birthday; and Presidents Day. Tours: Free tours are offered during the hours listed above.