Category: movies

Herschell Gordon Lewis

One thing watching the movie Juno took me right out of it for a minute. That was a reference to Herschell Gordon Lewis. I shan’t expand on that in terms of the movie.

Herschell Gordon Lewis is, more than anything, a businessman. He discovered that one way to make money is to make films filled with blood and/or sexual titillation that the major studios wouldn’t get caught dead doing back in the early 1960s. Read this particular description by Steve Bissette, who knows a WHOLE lot more than I do:
“BLOOD FEAST (1963) Notorious Herschell Gordon Lewis shocker dared to go where no major studio would, crudely carving out brains, tongues, limbs, and its unique niche as the first true ‘gore’ film. This widely-imitated breakthrough hit of the 1960s drive-in circuit was filmed in and around the beaches of Sarasota, Florida.”

I was working at FantaCo, primarily a comic book store, in 1983. Splatter Movies (1981), written by John McCarty, was, after we found a sales niche advertising in FANGORIA magazine every issue, became a huge success. So what do we do next? As I hope I made clear, it’s not my genre, so I haven’t a clue. But Tom Skulan, the owner, and John McCarty somehow team up with Daniel Krogh, cinematographer on Lewis’ The Wizard of Gore (1970), and decide to put out a book called The Amazing Herschell Gordon Lewis, and His World of Exploitation Films by Krogh, with McCarty.

The book premiered at the 1983 FantaCon, and HGL, as I referred to him, was making an appearance. What kind of man makes these kind of films? Well, as it turns out, the guy was very much a gentleman, sweet, soft-spoken, at least in that setting. He was a natty dresser. I didn’t spend a whole lot of time with him, but I did get him to sign my copy of the book, which read: “To my friend Roger”. Daniel Krogh signed it “TO ROGER OF FANTACO”. John McCarty, who I had gotten to know from Splatter Movies, wrote, “To Roger – Whose job I don’t envy”. That was in reference to the fact that my task, once the convention was over, was to ship hundreds and hundreds of these to the comic book distributors. Ultimately, we also sold directly to non-comic book shops and at retail. As FantaCo subsequently published scripts for 2000 Maniacs and Blood Feast, HGL dominated my life until I left FantaCo in 1988.

I started my new job as a librarian in 1992. Perusing the shelves of the SBDC Research Network, what should I see but a book on direct marketing by someone named Herschell Gordon Lewis! Could it be the same guy? It could, and it was – check out his bibliography and filmography, right on his own website. He doesn’t shy away from his past – or his present – there is a Blood Feast 2 listed for 2002.

So seeing the HGL reference in Juno brought it full circle for me.
ROG

ROG

MOVIE REVIEW: Juno


Here’s why I like to go to the movies early in the run of a film: I don’t like to have preconceived notions. So, it was only mildly problematic that I knew this film, and its star, Ellen Page, were critically acclaimed. This was Roger Ebert’s favorite film of the past year. Conversely, it has suffered a certain backlash of perhaps being too cute and clever and trendy – it was 0 for 3 in the Golden Globes! And there was one other antipathetic strain I heard: Juno is about [if you have seen the trailer or the poster, or the cover of the soundtrack, this absolutely CANNOT be a SPOILER] pregnant and 16, and she is, some feel, too glib for that situation.

Carol and I got a babysitter and went to the Spectrum Theatre in Albany to see it anyway. It is a smart and warm comedy, though I can see that in lesser hands, this could have traveled into treacle. As it was, I really enjoyed the film, especially the co-stars Alison Janney (West Wing) as the stepmom, with one particularly great scene with Page; JK Simmons (The Closer; the Spider-Man movies) as the dad, totally credible. Two guys from Arrested Development, Michael Cera as the baby’s father and Jason Bateman as the would-be adoptive father, are also strong, though they don’t share a scene.

But the real surprise here is Jennifer Garner (Alias) as the would-be adoptive mom. Would it be catty to say that I didn’t know she could act? Probably.

The other revelation is the music, much of it by someone named Kimya Dawson, which integrated quite well with the storyline. But the most affecting songs were by Cat Power and by Sonic Youth, oh, and the last song in the movie before the credits; I won’t ruin it any further.

So, it may be “overrated” compared with the hype, but but it was a good time at the cinema.
***
The Ultimate Adventure.

ROG

ROG

2007 movies

Pitiful.

I saw 14 movies in 2007. I’m not talking 14 movies in a movie theater, though most of them were. I mean 14 movies TOTAL in 2007.

Only two were on video: Raging Bull and the original Hairspray, probably when Carol and Lydia were away.

One was on a wide-screen TV at a resort: Spider-Man 2.

Four were movies I saw in movie theaters that came out in 2006: The Queen; The Pursuit of Happyness; Volver; and Notes on a Scandal.

Finally, seven of them were movies I saw in movie theaters in 2007 that I actually saw in 2007. No Michael Clayton or Lars and the Real Girl or Away from Her or No Way Out or I’m Not There or Ratatouille or the new Hairspray or Enchanted, all of which came and went in this market. Seeing videos just doesn’t seem to work in our one-TV household.

So here’s the paucity of my 2007-released films, ranked by what I liked best.

7) The Simpsons Movie: I liked the pig, I liked the Disney touch with the sex scene. I especially loved Bart going to Flanders for advice. But, as I think back on it, there was too much time when not much happened.

6) Knocked Up: Gross. But often funny.

5) The Namesake: quite touching, though it sags in the middle.

4) Once: The movie musical for people who hate movie musicals.

3) Waitress: I always hated the term “chick flick.” Vibrant character study, and Keri Russell was luminescent.

2) Sicko: Less Moore + incontrovertibly broken health care system = better Moore pic.

1)The Savages: Great acting, specific script. Think I mentioned it recently.

Anyway, I’m planning to take off a day a month this year and see a movie, either at the cinemas or at home.
***
I was reading Ken Levine’s piece about why Walk Hard: The Dewey Cox Story bombed at the box office, a movie that, had I seen thrice as many movies this year as I did, probably would have made the cut. Maybe it was the middling reviews, or the fact that the target audience didn’t see the reference material, the movies “Ray” and especially “Walk the Line.” But the primary reason for the b.o. failure was that no one knew what it was supposed to be about. I subscribe to the latter school of thought, though in fact, I didn’t see either reference movie myself.
Here’s a scene:

ROG

ROG

Movie Review: The Savages


Carol and I went to see the new movie The Savages, starring Laura Linney and Philip Seymour Hoffman, two of my favorite actors, back on December 29 at The Spectrum Theatre in Albany. Then we got in the car to pick up Lydia from Grandma and Grandpa’s house in Oneonta. When we got home, I flipped on Ebert & Roeper. Roeper and New York Times film critic A.O. (Tony) Scott were giving their Top 10 Picks for 2007. Number 9 on Scott’s list was The Savages, which he described as a “comedy.” A comedy?

The story is about a couple adult children at opposite ends of New York State, Wendy Savage (Linney) in NYC and brother Jon (Hoffman) in Buffalo, forced to deal with their estranged father (Philip Bosco), now in decline, as well as each other. Hilarity does not ensue, but the movie does have quite a few comic moments. The story, on the surface, could be both conventional and depressing; the fact that it is neither is due to the fine screenplay by Tamara Jenkins and the main actors, who were – how do I put it? – specifically Wendy and Jon.

Of course, a viewer also brings himself or herself to the screening, and I could not help but notice that the architecture of Buffalo was noticeably upstate New York; the movie was filmed in the Buffalo area, NYC and Arizona. Also, I couldn’t help but recall disagreements one of my sisters and I had about my father’s end of life issues.

Still, I enjoyed this film immensely. I’ll say again – it’s NOT a downer, but an affirmation of life, which sounds corny, and I don’t care. However, I do think the title is weak; it suggests a much different film from that offered.

It’s rated R, largely for language, a couple tame sex scenes and an early scene which I won’t describe, except to say it’s not violent. An R rating covers a lot of ground, I’m reminded. My wife went to see The Kite Runner the day before, and she found that PG-13 movie far more disturbing than The Savages.

ROG

ROG

Roger Answers Your Questions, Gordon and Rick

Gordon, whose birthday is the day before mine, albeit a couple several many years later, asks:

1)Who IS your hero?
Actually, it’s anyone who speaks truth to power. But the person who’s moved me the most this year is Bill Moyers on PBS, who used to work in LBJ’s administration. He’s talked about the fallacies of the war in Iraq, taken on Big Media in a BIG way, and speaks about religion and faith and race in a wonderful, open-minded manner. Did you see Keith Olbermann on his show recently? Maybe I’m reading into it, but I think Keith, who I like, BTW, is a bit in awe of Bill, because they are in the same “town crier” business, but Moyers has been doing it a lot longer.

2) In this age of mega media-conglomeration, when the major studios are crying poverty during the Writer’s Strike…what do you suggest we (as citizens) do?
Use less. Interesting sentence, that, because take away the space and it’s useless, which is how I think lots of people are feeling about struggling against the mass everything. And it is a struggle. But to the degree possible, go to the locally-owned movie theater. See the local productions. Watch Moyers. As to the specifics of the writer’s strike, don’t watch the network shows online, don’t buy DVDs (if you really must see the complete Stargate again, rent it.)
Did you see the Story of Stuff? If you do, I think you’ll be less likely to want to buy the crap that we’re being told that we MUST have. It’s all part of the same struggle. On the same news cycle that we read that retailers are hoping for a late pre-Christmas shopping surge, we see that credit card debt is getting higher than ever.
They put out individual seasons of our favorite TV show and we buy that. Then they put out the box set with “extras”, expecting us to buy that too. Don’t. The music industry works the same way; no wonder that many people are “ripping off” the record companies. The system seems to be designed, per planned obsolesce and/or bait and switch, to make you buy the same thing again and again. Don’t let ’em.

Before I get to Gordon’s last question, I want to address this query by George (Rick) Lewis: Why are the daytime talk shows unaffected by the writer’s strike??? Well, I did not know that they weren’t affected. Poking around the Internet, I’ve read that the producers have enough scripts to get through January. And at least during the last strike 20 years ago, scabs non-union “scribes” were hired to pick up the slack. But the particulars of who is or is not covered is not my area of expertise; go ask Mark Evanier.

3) Why do people insist on playing/listening to “Grandma Got Run Over By A Reindeer”? That is one of the most annoying songs ever written.

(Plus, traumatic incidents should never be comedy fodder).

Let me take on the parenthetical aside first. Trauma is often comedy fodder. I understand the feeding the Christians to the lions was considered great fun; well, not to the Christians, I suppose.
Seriously, there are people who think that horror movies where the cliched young adults meet their demise is high camp; I tend not to watch them myself, but that’s what I’ve heard.
One traumatic event I thought was TERRIBLY funny was the end of the movie, The Life of Brian – a crucifixion! And the victims are singing “Always Look on the Bright Side of Life”! A song so strong that it made its way into the musical Spamalot. So I think the eye-gouging of the Three Stooges or Wile E. Coyote’s Acme bomb blowing up before he gets the Road Runner (meep meep) definitely have its fans.

As to the Elmo and Patsy song itself, I’ll admit that I actually purchased the single. (For you youngsters, a single, for about a half century starting in the 1950s, was a seven-inch piece of musical vinyl with a large hole in the middle, to be played at 45 revolutions per minute on something called a “record player”.) And I liked it because it was, to my mind, a lovely little deconstruction of all the cloying sentimentality of the season. I never thought it would turn out to be a perennial favorite, and I don’t listen to it much any more, mostly because I’ve become bored with it. (And the remake that you hear on the radio is not, to my mind, as good as the less-polished version that I purchased.) In any event, Gordon, it may please you to know that others share your sentiment.
***
Confidential to GP: I’m not sure that I’ve had a breakup as devastating as yours with Liar Ex (who told many lies). But the cumulative effect on me of “love gone bad” (title of a Chris Clark song, not bad grammar) has had its impact. Were you ever dumped by an e-mail so circuitous that it took you three reads to get the message? I have. I’m just sayin’. But if I went through the litany, we’d both be way too depressed.

ROG

ROG
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