Into the Drink

Need a new holiday tradition? Of course you don't. So do this instead:

Get your hands on two science fiction films from the 1950s, specifically, Creature from the Black Lagoon and Monster on the Campus. Then get your hands on a few of your favorite alcoholic beverages. Don't drink yet!

First a few words about these films.

Creature and Monster are united by their director, Jack Arnold. But they're two very different movies. 

Much like watching James Whale's Frankenstein, any reasonable viewer will root for the monster in Creature. The story concerns a crew of scientific researchers who find evidence of a missing link-type beast, an amphibious humanoid swimming the waters of the Amazon River. The men decide they need to bring the creature -- popularly referred to as the Gillman -- back to civilization for further research.

Naturally, Gillman does everything he can to avoid being kidnapped. Trouble is, Gillman can't stop oggling Julie Adams, the token damsel who enjoys leisurely swims in the Amazon.

About those swims: The underwater photography in Creature is just lovely. Arnold and cinematographer William E. Snyder use the swimming sequences like tension-filled ballets. Creature is fun on it's own, but it's also fun to look at.

Monster on the Campus packs a big mess of fun too, though it's hard to imagine, once you've seen it, that the same man directed this and Creature. The plot of Monster is simple: A scientist studying a coelacanth, the primitive fish long thought to be extinct, cuts his hand on the beast's fangs. Yadda, yadda, yadda, he transforms into an equally primitive primate and proceeds to terrorize various co-eds.

Modern sensibilities may cause us to giggle at Gillman's appearance. But the brute running around in Monster prompts guffaws. He's a sloppy blend of werewolf and Neaderthal. And that's cool. Monster on the Campus never reaches beyond it's B status. Audiences surely laughed when it raged across drive-in screens in 1958.

Now you have the movies and know a little bit about them, what to do with that booze? Reader, you are in for a treat as we instruct you in the ways of Jack Arnold's Double Feature Monster Creature Drinking Game. [caps ours]

Gather some friends and the liquor. Watch Creature first, because it's worth your (mostly sober) attention. Every time Gillman appears and that terrifying blast of trumpets plays, take a drink. When the scientist throws his cigarette into the Amazon, do a shot. Did Julie Adams just scream? Drink. Has she fainted in the grip of Gillman? Shot.

By the time the credits roll, your team will be properly lubricated to take on Monster on the Campus. No rules at this point, just make sure there are some snacks too and craft your own commentary as you go, or maybe try to remember how to spell coelacanth.

***BONUS CREATURE STUFF***

Though Creature from the Black Lagoon was released in 1954, the appearance and design of Gillman has become iconic enough that he's often referenced in popular culture as if he were part of the roster of classic Universal Monsters of the 1930s and early '40s. 

How iconic? He was painted by the amazing Basil Gogos:

A Splotch, A Blotch

The 1958 horror/sci-fi movie The Blob gets tossed into the pile of it's kitsch/camp peers too often. It's a surprisingly funny and self-aware film that still delivers the cheap thrills of a good drive-in distraction.

The Blob probably isn't the first movie of the era to have adults doubting teens who deliver stories of wild goings-on. But it executes the trick well, and in doing so, must have endeared a fair portion of its target demographic by saying: "Yes, new social class, you teenagers, you. We believe you. We think you have something to say."

Perhaps that's giving the filmmakers too much credit. But it's hard not to think that way when Steve McQueen, in one of his first big screen roles, does such a sly impression of James Dean in Rebel Without a Cause -- the ultimate in teen validation cinema. 

In Rebel it was the need to be understood -- that the violence the teens were engaging in was a cry for attention, a cry for help. With Blob, it's the need to be believed -- for the adults to accept that two teens saw a protoplasmic monster crawl out of a meteorite and eat a hobo.

And if all else fails, watch The Blob for the nifty opening credits music -- a beach-blanket pop treat written by Burt Bacharach and pretty much designed to get teen feet on the dance floor.

Gather the Kids and Ruin Their Day

Vimeo's Staff Picks are often very good, the pinnacle of "user-generated content" as the industry jargon calls it.

The short horror film (it's less than three minutes long) Lights Out does a lot with a little and is highly inappropriate for children -- not because it's violent, or filled with adult images they're not ready for, but rather because it shows them exactly why we're all afraid of the dark. It won awards for a reason.


Lights Out - Who's There Film Challenge (2013) from David F. Sandberg on Vimeo.

Sleep tight.

Oscar the Grouch Does Crowd Work

On Sunday, May 25, we took a field trip to Seattle's Egyptian Theater to see the West Coast premiere of the documentary film I Am Big Bird.

The movie tracks the rise and rise of puppeteer Caroll Spinney, the man inside the Big Bird costume/puppet on Sesame Street. He's also the performer behind Oscar the Grouch. It's standard fare as far as documentaries like this go, but entertaining and particularly moving if you're a fan of the Muppets. There are even a few revelations that pack a punch, and not just because of the contrast between the child-like innocence of an 8-foot tall yellow bird puppet versus the adult man who inhabits the suit.

Caroll Spinney, Oscar and various puppets.
[Photo courtesy of the I Am Big Bird website.]

Spinney and his wife attended the screening and during the Q and A session after the movie, Spinney brought out Oscar the Grouch. That is, the actual Muppet he uses when filming for Sesame Street.

A room mostly full of adults suspended disbelief and engaged with Oscar as if we were a bunch of preschoolers. Oscar became real. Oscar is real. Some patrons even asked questions directly to Oscar, and the Grouch never skipped a beat, saying things to fans that Spinney himself cannot. Though, to be fair, Spinney is saying those things to fans, but in a way he can't.

A fuzzy green puppet ran that room for ten minutes, and he was like Don Rickles on a cruise ship. See I Am Big Bird when you can. It's worth the time and attention even if you're not a major Muppet geek. The documentary shows how the right performer, in the right role, can make a major impact around the globe. And in Spinney's case, it's all for the positive.

Everybody Loves a Doris

Please accept The Typing Monkey's apologies for the long absence. Shit got real over the past few weeks and nobody at the offices felt like lifting the pencil or finding a piece of paper unbesmirched by memory and loss.

Let's get back to publishing with a belated birthday wish of health and happiness to Doris Day, who turned 90 on April 3.

It's easy to dismiss Day as a peroxided, harmless cutie whose sole purpose was to be irritated and flummoxed by Rock Hudson only to come around and fall in love in the third act of the many meringue-light romantic comedies the two made together during the 1960s.

That's fine, but we've always preferred the rom-coms with James Garner as her foil/paramour, as Garner's gravelly nature played better off of Day's sugary charms. Her outing with David Niven ain't bad either.

Better still is to remember that Day is the secret key to the success of Alfred Hitchcock's 1956 remake of his own The Man Who Knew Too Much. James Stewart does great work in the film, but it's Day's determined, crafty mom who finds a way out of the international intrigue mess they're in. It's a shame she didn't get more roles of this nature, as Day holds her own in a way many probably don't expect.

Her delivery of the song "Que Sera Sera" is not only a great plot device in Too Much, but just straight-up great selling of a song that uses Day's velvety delivery to great effect, given that the lyrics are actually quite clear-headed when put up against many other romantic tunes of the day.

And with that we arrive at Day's other great gift: The woman could sing. She's on par with other lauded Big Band vocalists (Kay Starr, et al.) and her creamy vibrato stands proud alongside Dinah Shore (another singer who rarely gets her due.)

Day could deliver the sad and heartbroken as well as the dreamy lovestruck material. And The Typing Monkey says if you want a real snapshot of what Day could do, look no further than "Everybody Loves a Lover."

It's not a showcase for her vocal abilities the way "Dream a Little Dream" or "When I Fall In Love" are. Instead it's a testament to Day's ability to inhabit the material. Where she's both mother and child -- and all realist -- in "Que Sera Sera" Day plays the wholly self-aware woman who is both confident and stupidly in love in "Everybody Loves a Lover."

It's an almost Bugs Bunny-like performance culminating in Day's round-style duet with herself. She found a guy she loves who loves her back and has no qualms floating by the rest of us, flaunting her luck and (subversively) the hint of the skills she employed to snag her man.


[courtesy of VinylNostalgia]

But I Do

Here's a Valentine for you, sweethearts:


Olive Oyl sings He Needs Me from Blue Heron on Vimeo.

24 Frames Per Second

"Film and digital are different mediums; they make different cinema and different art. They have their own unique disciplines, image structures and visual qualities. Their co-existence is essential to keep diversity and richness in our moving image vocabulary. The ascendance of one does not have to mean the capitulation of the other, unless we allow this to happen."

This quotation is from Guillermo Navarro ASC, A.M.C., whose new organization SaveFilm.org is working to get film, the traditional media of the cinema, UNESCO status so that it can be preserved and continue to thrive as a medium.

His request is pretty simple and his logic is airtight. A growing binary attitude infects our thinking about media in the digital age. If it's not zeroes and ones, it should go away. But we didn't kill all the horses when cars became the more common mode of transportation in the Western world. We didn't take a photograph of the Mona Lisa and burn the painting when cameras emerged.

The world is not black and white, and our media choices should reflect that. Film deserves our efforts to keep it alive. We signed the petition, and wouldn't ask you to do the same if we didn't think it mattered. All that was required was an e-mail confirmation.

Click?

Six

Tuesday Jan 21, 2014 was The Typing Monkey's sixth anniversary ... or birthday? What do you call the day that marks another year of blogging into the wind? Right. "Pointless." Very good.

[At this point in the conversation, our intern Kim was asked to clock out for the day. "Clock out? I don't even get paid," he said. Kim. Kim, c'mon. -- ed.]

To celebrate, we punish you with links culled from Arts & Letters Daily, our ongoing source of quality journalism, editorials and critical thinking that helps us remember there's more to this technology than bewbs and horror movie trailers.

"We need to talk about TED" by Benjamin Bratton
... in which a man gives a TED talk that points out everything wrong with TED talks. It's like he's saying what we're thinking.

"No, Jane Austen Was Not a Game Theorist" by William Deresiewicz 

... a call to resist and reject the post-Freakonomics/Gladwell trend in literary and art criticism to assert that modern, often trendy, scientific theories and ideas are the real themes and subtexts of many great works of art, history be damned.

"The Paratext's the Thing" by Thomas Doherty

"The irritating distractions have morphed into the main attractions."

Perhaps the thematic thread that connects these editorials is just in our imagination. But  we think they're complementary.

Holidays With the Devil

Hammer Films produced a lot of inventive, effective horror movies during the 1960s and early ‘70s. They put out a lot of dreck too, but that’s to be expected and in no way dampens the positively English stamp they put all over classic and new horror stories during their run as a go-to brand for movie-night scares. Even their duds are still fun in the right setting.

Just because Halloween has passed doesn’t mean you can’t enjoy some occult spookiness. We recommend a double feature of two Hammer titles: The Devil Rides Out (1968) and The Witches aka The Devil’s Own (1966). If anyone questions why you’re watching movies about the occult instead of some Christmas nonsense, tell them you’re following the European tradition of sharing ghost stories during the holidays. Then press play before they can protest.

The Devil’s Own
Hitchcock vet Joan Fontaine (Rebecca, Suspicion) stars as Gwen Mayfield, an English school teacher working in Africa. After a jarring encounter with a tribal shaman, and the local ancient pagan practices, she heads back to England. But soon after Mayfield settles in the village of Heddaby, she starts to notice strange behavior in the locals and outright claims of witchcraft.

Fontaine’s a joy to watch, hitting a very Hitchcock-esque tone of the everywoman in over her head. Mayfield tries to keep her wits and logic about her despite the mounting evidence that occult skullduggery is happening right before her eyes.

The pagan ritual at the climax of Devil’s Own may put off some viewers, as it seems a little like a community theater idea, but if those actors can commit to it, just give yourself over to the diet Walpurgisnacht and enjoy the ride. Besides, based on Pentecostal congregations, this performance probably isn’t too far off from the real thing.

One of the big charms of The Devil’s Own is the pacing of the story. There are pauses and diversions built into the story, including a surprising chapter in which Fontaine’s character is institutionalized. It makes the loaded front-end of the movie novel-like.

Based on Ebert’s Law of Economy of Characters viewers shouldn’t have too much trouble sorting the mystery of the village, and the ending reeks of MPAA style fiddling. But everything leading up to that is a good fun and a nice choice for viewers who generally avoid horror movies.

***

The Devil Rides Out
Christopher Lee gets to branch out from his regular Hammer jobs as Dracula, the Mummy, and Frankenstein’s monster in this chilling tale of Satanism.

Lee plays Nicholas Duc le Richleau (!), a scholar of the dark arts who calls on an old friend, Van Ryn, for help. Richleau is worried about a young acquaintance of his, Simon Aron. A visit to Aron’s estate confirms Richleau’s fear. There are 12 guests at Aron’s “party” and the guest called Mocata (the wonderful Charles Gray) has a certain air about him.

Spoiler: Mocata leads a Satanic cult and plans on baptizing Aron and his lady friend Tanith. Richleau is not about to let that happen, and the chase is on.

Rides Out is based on the Dennis Wheatly novel of the same name. We’ve never read it, but the film leads us to believe that Wheatly must have devoured the works of M.R. James, as the film unfolds with the casually mounting terror of James’ work, with real-world scares (a car chase on narrow country roads) gradually giving way to other worldly horror.

He sees you when you're sleeping

When Mocata actually summons Old Scratch (perhaps it’s Baphomet?) viewers may wonder where the filmmakers could go from there. Giant spider aside – which isn’t bad, but suffers from the effects budget – how do you top a middle act appearance from the Devil? Oh, but they do top it.

Richleau and his cohorts fumble on the way to toppling Mocata, ending in a showdown that turns out to be a demonstration for why you don’t come between a mother and her child. We repeat: Don’t mess with mom.

Like Devil’s Own, Rides Out leans on a denouement that must have been at the bidding of various decency groups in Britain. And that’s fine. We don’t mind the happy ending, even if it does seem to be the cinematic equivalent of handing out a tiny bible as we exit the theater.

Everything else in Rides Out reads like source material for the wave of heavy metal bands that were beginning to fire up their amps, sparking up doobs, and incanting the names of demons for shock effect in the decade that followed. Surely Angel Witch has a DVD of this movie on their tour bus.


Reference material: Occult/Satanism horror tends toward the ridiculous or gore-filled. But somewhere along an alternate scale of films such as The Believers, The 39 Steps, and House of the Devil is the right tone for these two Hammer films. And we didn't link to The Witches/Devil's Own on IMDB for this piece, because the stupid DVD art gives away the big twist.

So Much to See

Sometimes we see blogs, Tumblrs and other stops on the web and wonder why we even bother. Then we remember, we bother because if we weren't here to pass the links on to you, who would?

At least that's what we tell ourselves at night before drinking enough cough syrup to fall asleep while listening to old radio dramas.

Imagine some sort of brass fanfare here. Now look!

Can you even stand it?! Yeah, exclamation points. Journalism-degree-be-damned. If ever there was a still from a Disney cartoon that merited a freak-out, this certainly makes the grade.

This is just a smoked pepper corn amongst the bounty of spicy offerings at the Graves and Ghouls Tumblr.

It's run by a woman named Cat who has another Tumblr worth your time, Vintage Gal.

There are GIFs on both, which tend to bug our wonky eyes, but that's one broken match in the factory full of joy. And please know there are ladies in various states of undress on both blogs, so don't get fired on our watch, okay?

Monsters All the Time

Need near-daily doses of hideous horrors, creeping corpses and fantastic phantasms? [Who wrote this, Stan Lee? -- ed]

Get thee to Monster Crazy and Monster Brains.

Yeah, we talk about both blogs a lot, and link to them in the Monkey Love section. But that's because they are excellent portals to art both high and low, and all of it geared toward monsters. What are you even still doing here reading this?

Oh fine, here's a sample of one of many great things you'll see at Monster Crazy:

Now get going.

Sebastian's Voodoo

Joaquin Baldwin made this animated short in 2009, and it's presented here by the National Film Board of Canada. The Paraguay native now works for Disney. Let's hope the mouse doesn't squeeze the creativity from him.

Now, for our feature presentation:

French-Goth-Surf-Pop

The French band La Femme has a decidedly surf- and noir-influenced sound, with just the right shades of psychedelia, ye-ye, and first-generation goth (Banshees, Bauhaus, Specimen).

And lucky for us, they made a long-form video for their song "Hypsoline." A long form video. That's so ... Duran Duran.

The film creeps around as if a loose adaptation of an M.R. James or J. Sheridan Le Fanu story, finally wrapping around to a nightmare party that we'd still happily attend. (French girls!)

It's lightly spooky and a great exercise in matching song to visuals. Here, drink this ...

Art From a Film That Never Was

Hans Bacher and Andreas Deja are artists and animators who have worked for Disney as well as other studios. Some time ago (2004 per one source) they were put to work doing character and design work for a proposed animated feature for Disney called Fraidy Cat.

As is usually the case, the project was shelved and will likely never come back. And as is sometimes the case, giving up on the project is a big loss. The film was "a charming crime story taking place in London of the sixties, a bit of HITCHCOCK’S ‘REAR WINDOW’ with animals," said Bacher. [caps and emphasis his]

Alas, Fraidy Cat will never be. But Deja and Bacher have posted some of their early concept art and oh boy, does it look like it would have been fun.

Deja worked on character design for Oscar and Corrina, a cat and a bird who were to be the film's protagonists. He also did a sizeable gallery of the various supporting cast:

Bacher worked on background and style designs that show off the script's proposed settings:

And is it just us, or does that cat look a little like Cary Grant?

See everything they posted here and here. And read Bleeding Cool's post about the abandoned project, because that's where we read about it.

Goodbye Aubra, Goodbye Eleanor

Stage and film actress Julie Harris died on Aug 24. She was 87. Harris was the kind of actor who just does the damn work, and as a result, turned in many great performances.

She wasn't a movie star, but one peep at her IMDB resume shows how much she worked during a six-decade career. That's right: six decades.

Chances are you've seen her in something and maybe didn't know who she was. Two excellent places to start watching Harris and paying attention to how quietly she slides into roles and really soars with the material are two of her most well-known:

East of Eden - James Dean's screen debut and the little mumbler couldn't have asked for a better female lead. Harris plays Aubra, a thoughtful farm girl who can't decide if she loves Dean's tortured youth or his brother, played by Richard Davalos, who is dad's favorite. The film isn't about Aubra, it's about the brothers. But Harris delivers as an almost mythical love interest, too kind and too in love to hurt either boy, which only complicates the familial battle.

The Haunting - Hands down, this movie is one of the best horror films ever made, anywhere, and every single member of The Typing Monkey staff will fight any jerk in the bar who says otherwise. And what's key to this terrifying, theatrical masterpiece? Julie Harris. She doubts everything, mostly herself. She's wound up and may be psychic, and holy balls, the walls just took a breath.

Like we said, these two are probably her most famous film roles, and there's a reason for that. She takes good material and elevates it with her performance, making them better, greater. If you've not seen them, they're easy to come by and seeing them will make you more interesting at parties.

Thank you Ms. Harris.

Kung Fu and Other Delights

We confess we knew little of the athlete-turned-film-star Jim Kelly before he died and the obituaries began to appear.

The Typing Monkey has never seen Black Belt Jones, despite being a fan of the dub tune by Lee "Scratch" Perry. We knew the title only, and had not carved out time to watch what sounds like a crackerjack good time, combining action of the chop-sockey and Blaxploitation varieties.

It's hot out, and summer laziness has put a few writing projects on hold, so please enjoy first, this YouTube clip of the theme song from Black Belt Jones by Dennis Coffey and Luchi De Jesus:


[courtesy of funkybrezhoneg]

Then spin this playlist of nearly every cut from dub legend Lee "Scratch" Perry's 1975 LP Kung Fu Meets the Dragon, a record clearly inspired not just by Jim Kelly's black man of action, but martial arts movies in general.

Note the only cut that's been pulled from the playlist is "Black Belt Jones", possibly the best tune on the record. Despite that, this is a fun listen, so get yourself a glass of limeade or something and have a relax.


[courtesy of sqezyplus]

"Somebody would come looking for the Death master tapes"

This looks like a fun ride, in the classic story arc of "band more influential than famous gets rediscovered by a world finally ready for their music."



A Band Called Death is available now via various on-demand and download services, but it's also coming to various big screens.

We'd have made plans to see this movie anyway, but thanks to the crate-digging work of Rich at The Day After the Sabbath, we knew a bit about this band and can't wait to learn more.

Thank You Ray Harryhausen

Stop-motion animation and visual effects master Ray Harryhausen has died.

For a certain kind of kid, the mere mention of Harryhausen stirs up many happy memories of watching his films on TV, or in the theater if you were lucky enough, and being fully transported to worlds where the beasts of Greek, Arab and Hindu mythology were very real and frequently out to kill the hero.

The AV Club's obit contains the fun "Creature List" video from Youtube, with a montage of nearly every beast that came to life at Ray Harryhausen's hands -- including his wonderful dinosaurs that are clearly the foundation of Jurassic Park.

Coming Soon's obit contains this wonderful quotation from Phil Tippet, the man who is as close to inheriting the Harryhausen throne as any: "You know I'm always saying to the guys that I work with now on computer graphics -- do it like Ray Harryhausen"

The Typing Monkey spent many afternoons running loose in the suburban wilds, recreating scenes from the Sinbad movies, and especially Ray Harryhausen's master work, Jason and the Argonauts.


[courtesy of jasonargomov]

Aloha, Pineapple Princess

Actor/singer Annette Funicello died today. Her twilight years were complicated by multiple sclerosis, but she will be remembered as the Mouseketeer who vaulted to teen flicks for Disney and a handful of squeaky-clean/covertly salacious "beach movies" for American Pictures International during the mid-1960s.

Her beach movie co-star was usually Frankie Avalon, but later another Disney grad, Tommy Kirk joined her. It was with Tommy Kirk that Funicello starred in The Monkey's Uncle, a live-action Disney caper released in 1965.

In the opening credits for Monkey, she's billed simply as "Annette" because she was just that famous at the time, ya dig? But crazier still is the theme song, recorded and performed during the credit sequence, by Annette and The Beach Boys:


[Thanks to j peoplemover for the Youtube upload.]


Good-bye, Ms. Funicello.

Greta's Stacks of Wax

Writer/director/producer Allison Anders went to an auction where the items sold were once the personal belongings of legendary actor Greta Garbo. She bid on, and won, Garbo's record collection.

Anders did the smart thing: She started a blog about it. She plays a record and talks about the record. It's elegant and fun.

Go there now and read it.