Lobby Card Collection - Barry Lyndon (1975)

 

Press Book Collection - The Monolith Monsters (1957)

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Press Book Collection - Scanners (1981)

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Famous Monsters - The Film Art of Basil Gogos

Here at The Celluloid Highway I do my level best to celebrate some of the finer promotional materials used in the selling of films I consider interesting. My abiding interest is not in unimaginatively photo-shopped or blandly airbrushed posters, but in posters that employ the skills of artists. Naturally this bias is weighed heavily towards materials produced from the 1950's to the late 1980's, the period afterward has become an arid creative wasteland, only occasionally lessened by an all too rare moment of inspired film artwork. The various journals and magazines published from the 1950's to the late 1980's are an important part of the promotional machine. Although often the work of dedicated fans and enthusiasts, these works feed into the images we come to associate with certain movies and certain genres. One of the key artists working in this field during the period under discussion was the Egyptian born Greek Basil Gogos. His wonderful efforts adorned the covers of numerous editions of Famous Monsters of Filmland, Creepy, Eerie, Spaceman, and Wildest Westerns, and many film posters from the period. I don't own a single copy of any of these magazines; I've never really been much of a magazine of fanzine purchaser. But my appreciation and admiration of the artistic efforts involved in their production will never diminish. So without further ado I invite you on a slightly different journey than normal...into the monstrous art of Basil Gogos!

Guest Review - Dracula (1958) - The 2012 Restoration

Dir: TERENCE FISHER
Country: UK

AKA:
Horror of Dracula

A long time ago I watched a horror movie on television. I had seen a few horrors before and was beginning to develop a preference for the genre. There seemed to be one on every Friday night and occasionally if you were really lucky a double bill. It wasn’t long before one such Friday Fight Feature on Night Time TV was Hammer’s production of Dracula starring Peter Cushing as a dashing, determined, younger Van Helsing and Christopher Lee as a full-blooded and sexually charged Count Dracula. It was directed by Terence Fisher who is now rightly regarded as an auteur. The only detraction to this stunning production it seems has been the passage of time. The colour fading, and dulling of light which can often hide the detail in a film recorded originally with an emphasis on set design and colour photography. As well as a deterioration of the sound quality through regular cinema screenings and copies of copies made for distribution around the world. General ageing and wear and tear have all played a part in lessening the impact of a once vibrant and visceral rendering.

Wake in Fright (1971)

Dir: TED KOTCHEFF

Country: AUSTRALIA/USA

AKA:

Outback

It is becoming all too rare nowadays to see a film that leaves a genuinely indelible impression. A combination of my own academic education (which pretty much destroyed the magic of the movies) and a gradual desensitisation towards challenging and provocative material means that most films cross my line of sight with barely a blip on my internal Richter scale. But occasionally one can still find that precious diamond buried beneath the tonnes of coal. It doesn’t surprise me in the least that when such a discovery is made the film is quite often a product of the 1970’s. One such recent discovery was an Australian film called Wake in Fright, a nightmarish narrative that left me bewildered and devastated in equal measure. That we can now view Wake in Fright in a pristine high definition transfer is a tremendous privilege. For decades the only print of the film in existence was considered totally insufficient for either VHS or DVD release. But thanks to the dogged efforts of the films editor Anthony Buckley, the negatives were located, and one of the most important restoration processes in modern film history was able to take place. 

Guest Review - Dracula A.D. 1972 (1972)

Dir: ALAN GIBSON

Country: UK

This film desperately needs to be restored and transferred to the digital medium. I have the DVDs which are to my mind in the wrong ratio and the colour is fading. And I completely accept that Christopher Lee had less and less to do as the films went on. All this said; I think that attempting to remake the 1958 Dracula would have been an even greater folly. Aside from an attempt to put the novel on screen, which would have been a great idea, it makes perfect sense to me to keep the Count in the shadows and build up gradually to his appearance. To focus on the other characters and allow the audience to get to know them, to care for them and to allow the audience to get involved. So that when they finally meet their peril it is more disturbing. By the time the final ‘period’ movie of the Dracula series Scars of Dracula was released in 1970 most of the possible scenarios had been played out. A new direction, setting and indeed drive was sought to re-vamp the vamp. And so in the early 70’s Hammer decided to move their Dracula movie cycle from the 19^th Century villages of Europe to the swinging London of the 20^th.

Lobby Card Collection - City Heat (1984)

I Drink Your Blood (1970)

Dir: DAVID E. DURSTON
Country: USA

In the years since its release, the hysterically titled I Drink Your Blood (a bit of a misnomer as not a single drop is imbibed) has built a steady and resolute cult following. This is largely due to the fact that the film was the first to receive an X certificate from the MPAA for violence alone, and also due to the legendary double bill that paired it with Del Tenney’s largely forgettable zombie dross I Eat Your Skin (1964). This inspired double feature was the brainwave of exploitation producer/distributor Jerry Gross. A semi-legendary figure whose skill at creating alluring film titles (it should be noted that David E. Durston the director of I Drink Your Blood wanted the film to be called Phobia), eye catching posters, and outrageous promotional campaigns resulted in numerous commercial successes in the Grindhouses and drive ins. By and large the films Gross produced and distributed are exploitation trash, but the man deserves a place of importance in film history for producing one of the most significant films of the 1970’s – Sweet Sweetback’s Baadasssss Song (1971). Another reason for I Drink Your Blood’s cult success is the resulting effect of the X certificate. In a desperate move to reap some kind of financial reward from the film, Gross gave permission for exhibitors to cut the film to their own liking. The resulting multitude of cuts meant that for decades what constituted the complete or director’s cut of the film was a matter for debate and conjecture rather than fact.

The Unprecedented Defence of the Fortress Deutschkreuz (1967)

Dir: WERNER HERZOG

Country: WEST GERMANY

The Unprecedented Defence of the Fortress Deutschkreuz is a short fourteen minute film written, directed, and produced by Bavaria’s finest filmmaker Werner Herzog. It was his third film, following on from his debut short Herakles (1962) and the mysterious and totally obscure Game in the Sand (1964). The latter is a film that Herzog has consistently refused to distribute, and will almost certainly remain hidden, owning to subject matter that still leaves the director disturbed. Fortress Deutschkreuz was Herzog’s first attempt at fiction, and as such it can be seen as something of a dress rehearsal for his first feature film Signs of Life which would follow in 1968. Both films explore the psychology of warfare, as the protagonists do battle with imaginary enemies. Signs of Life benefited tremendously from its beautiful Crete locations, brought vividly to monochrome life by the cinematography of Thomas Mauch, and the brilliantly unhinged performance of Peter Brogle as the brittle fantasist Stroszek. Fortress Deutschkreuz by contrast is still a little uneven and crude in places and the quality of the transfer I viewed does not aid its cause. However it does set up a satirical attitude to warfare that Herzog would develop and refine throughout his career.

Blaxploitation Poster Gallery [Part 3]

Mean Johnny Barrows (Fred Williamson, 1976)

Mean Mother (Al Adamson, Leon Klimovksy, 1974)

The Monkey Hustle (Arthur Marks, 1976)

Mr Mean (Fred Williamson, 1977)

Blaxploitation Poster Gallery [Part 2]

Cool Breeze (Barry Pollack, 1972)

Cotton Comes to Harlem (Ossie Davis, 1970)

Darktown Strutters (William Witney, 1975)

Death Dimension (Al Adamson, 1978)

Blaxploitation Poster Gallery [Part 1]

Abby (William Girdler, 1974)

Aaron Loves Angela (Gordon Parks Jr, 1975)

Adios Amigo (Fred Williamson, 1976)

 Amazing Grace (Stan Lathan, 1974)

No One Will Play With Me (1976)

Dir: WERNER HERZOG

Country: WEST GERMANY

This unusual and obscure little film from Werner Herzog emerged in between his two feature films The Enigma of Kaspar Hauser (1974) and Heart of Glass (1976). The former is quite rightly lauded as one of Herzog’s finest achievements, and introduced the world to the bizarre talents of the non-professional actor Bruno S. The latter was a challenging fable of prophecy and apocalypse, a highly stylised and visionary film in which the director famously hypnotised the majority of the cast members. It seems odd that Herzog would return to the short film at this stage in his career. His previous short film was made seven years before and was entitled Precautions Against Fanatics (1969), and in that time he had achieved his international breakthrough with feature films like Aguirre: Wrath of God (1972), the aforementioned Kaspar Hauser, and critically acclaimed documentaries such as Land of Silence and Darkness (1971) and The Great Ecstasy of the Woodcarver Steiner (1974), both of which were made for West German television, but achieved wider distribution due to the directors new found fame.

Lobby Card Collection - The Beguiled (1971)

Herakles (1962)

Dir: WERNER HERZOG
Country: WEST GERMANY

This short nine minute film would be totally insignificant were it not for the fact that it marked the debut to filmmaking of Werner Herzog. The barmy Bavarian was a mere twenty years old when he wrote, directed, produced, and edited this somewhat amateurish effort. It is fair to say that Herakles was an exercise; an experiment on Herzog’s part to see if he could actually make a film. But even at this early stage Herzog’s decision to shoot on 35mm film shows that he had ambitions that far exceeded the humble nature of this production. But Herakles was an instructive lesson, especially for a young man who largely existed in a world without cinematic reference points, and whose influences were extremely limited. In this film Herzog explores the art of editing, and although Herakles is little more than an editorial exercise, it does contain a few images that will be of interest to Herzog enthusiasts. 

Soundtrack Gallery - The Films of Dario Argento

The Bird with the Crystal Plumage - Capitol Records US LP Cover (1970)

 Cerberus US LP Cover (1981)

 Cinevox CD Cover (1998)

Cinevox CD Cover - Expanded Edition (2008) 
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 The Cat O' Nine Tails  - Dagored LP/CD Cover (1971/2000)

The Ruthless Four (1968)

Dir: GIORGIO CAPITANI
Country: ITALY/WEST GERMANY

AKA:
Chacun Pour Soi
Every Man for Himself
Sam Cooper's Gold
The Goldseekers

It’s always a pleasure to discover a hidden gem, but unfortunately it is an increasingly rare occurrence nowadays. This is especially so in a cycle as dense and derivative as the Euro-Western. But my interest in the Euro-Western was recently piqued again by the purchase of an excellent book called Any Gun Can Play, written by Kevin Grant, and published by FAB Press in 2011. If hidden cinematic gems are rare, then well written books on film are like goldust. The Ruthless Four (one of many titles it was released under) is one such discovery, and the analogy with gold is appropriate, for the film charts the damaging and corrosive effect, this particular precious metal can have on human beings. There are certain themes and concerns that are endemic in the Euro Western, and one theme this cycle returns to time and again is greed. This theme is of course also present in both traditional American westerns, and the revisionist westerns that followed in the wake of A Fistful of Dollars (1964). But the difference lies in the way that this theme is presented. The traditional western always seeks to emphasise the positive aspects of its principal themes, and greed exists as part of a cross-current of themes that ultimately serve a redemptive plot. In many European examples greed is the entire raison d’être of the film, with screenplays often allowing no room for anything else, as they explore its acidic effect.