Showing posts with label Classics. Show all posts
Showing posts with label Classics. Show all posts

22 February 2010

The Longest Day


1962 - United States
Director - Ken Annakin, Andrew Marton (Darryl F. Zanuck)

Back when I first moved to Seattle from the backwoods of New Mexico I had no money and no job, but I still had to feed the movie beast. My solution was to get a library card in the first couple of weeks and check out loads of documentaries, classics and foreign films. I was also really interested in military history and so  quite a few of those ended up being old war films. The Longest Day is one of the better World War Two movies to come out after the war, partially because it made a point to tell "both sides" of the story. Nevertheless, it is still definitely a part of the heroic myth-making tradition of American popular history. From a technical standpoint though the film is still pretty good and stands well above the other low caliber war-movie garbage that the US was producing just prior to Vietnam.

This poster is striking to me because of its exceptional use of negative space. It's a great example of less-is-more and conveying a message more effectively with what is not explicitly stated. While the film is about D-Day, to me the image itself actually brings to mind a battlefield in the Pacific Campaign, specifically Tarawa, but that doesn't change the fact that I love the design of this poster.



This half sheet from The Poster Palace demonstrates how adding one element can profoundly alter the aesthetic of the design, and consequently change the message.

01 February 2010

Reptilicus


Denmark/US - 1961
Director - Sidney Pink
Orion Home Video, 1994, VHS
Run Time - 1 hour, 22 minutes

This used to be one of my favorite movies to hate. It really is as terrible as people say, but I guess since my last viewing almost ten years ago my tastes have, ummmmmm, matured? I love it now. Reptilicus is on par with The Giant Claw for howling-laughter, rubber-monster fun, if just a little bit slower and dumber. But at least you can't see the wires, wait is that a bad thing? I love how you needed approval to rent Reptilicus at this particular store. Whatever for, did they warn you at the counter that it was terrible so you didn't ask for your money back on return?

Watch the Reptilicus trailer at Cult Trailers


 This one from Paleoblog


This pic from Micro-Brewed Reviews

See piles more Reptilicus stuff at Random Acts of Geekery.

14 January 2010

Creature from the Black Lagoon


Creature from the Black Lagoon was one of the first real monster movies I remember seeing. Even during the long cold years when I couldn’t appreciate any other black and white film, for some reason Creature stayed with me. On the surface, the Creature story is about the fear that modern science is still somehow inadequate to meet the challenges revealed by its own discoveries. We're smart, but still profoundly impotent in the face of the natural cosmos. Some might suggest that this challenge comes specifically from nature itself, the unexplained biological processes of life. Or it might be science itself that poses a challenge, because our ability to generate useful answers is insufficient to keep pace with the reach of our minds.

The prologue of the film certainly supports such conclusions. In any case those conclusions aren't wrong nor are they necessarily right, I just think that they over emphasize external causes. Any film is open to multiple interpretations depending on one’s personal experiences. That's why I see Creature as something above and beyond those explanations. I identify with the Gillman because I see him as a facet of my own personality. For me Creature from the Black Lagoon is a story of man vs. himself.

First, and simplest of all, you can hardly blame the Gillman for feeling covetous of Kay (Julie Adams), she is rightfully the center of attention of the entire film. The Gillman hasn't seen a Gillwoman in millennia, but beyond the obvious biological urges, she's also undeniably beautiful and, though the Gillman probably doesn't know it, intelligent. She’s not just desirable to him, but to all of us, but he can't have her. As I see it this is not because he's a different species, but because he doesn't fit within the status quo. Modernity is only one aspect of his ostracism. Metaphorically speaking here, he hasn't mastered the outward modes of acceptable behavior, he's not civilized. More specifically he represents the ill mannered, unrefined element of our society and our individual personalities. And more simply, he's the weird kid at school, the one that nobody likes because he's "socially awkward." We are all glad we’re not him, and a little bit scared that we might become, or once were him. We’re scared that he lingers inside us. He doesn’t have any friends, he never gets the girl, so we can understand but remain wary of his loneliness, and at least in my case, sympathize with him.

Even if that wasn't you, you can still get a taste because as you'll recall I didn't say man vs. the weird kid, but man vs. himself. We're all implicated in this because ultimately it is about our own inner desires as portrayed by the Gillman. He is our Id. The dueling protagonists of Creature, Mark and David, in fact all the scientists in all three films spend their screen time acting rationally and "analyzing" the Gillman one minute, and schmoozing up with the female lead the next. Their dichotomous personalities are indicative of our own struggle to behave rationally and respectably while simultaneously harboring unpredictable biological drives. They are man’s competing visions of himself as civilized and his fear of his baser animal nature represented by the Gillman. Evolution is perhaps less something that man embraces, than something he fetishizes. Modernity and civilization, we would like to think, give us victory over our primitive condition. But the reality is far less heroic.



Whether we like it or not as we strive to be composed and act evolved, the Gillman resides within, reminding us that we are still animals. He is our social discomfort and our longing to fit in. We are the Black Lagoon, and he is just the simple instinct we try and control to maintain the façade of manners. He is everything the modern human mind has sought and struggled to convince us that we no longer are.








I love the Creature films, and I love posters, so this post is all about both, above are a French poster and an Argentine poster. All the ones above are American.

 
An LP of the soundtrack, and "other Jungle pictures". Even though I'm ambivalent about pinball, I wouldn't mind playing the Creature Pinball once or twice.

30 November 2009

Classics on Key


The Hustler
United States - 1961
Director - Robert Rossen
Key Video, 1986, VHS
Run Time - 2 hours, 14 minutes



Notorious
United States - 1946
Director - Alfred Hitchcock
Key Video, 1988, VHS
Run Time - 1 hour, 43 minutes

I won't say much about these movies except that both of them are superb. Of course.
Personally of the two I prefer The Hustler because Paul Newman is a brilliant actor particularly at this stage of his life, and because it's subject is far seedier than the high-class world of Notorious. That's not to say Notorious is by any means bad, I just prefer the underbelly.

Really this post is about Key Video, a subsidiary of CBS/Fox. While I don't particularly think that the history of the company is terribly interesting in and of itself, I do find the intentional differentiation of the home video company from the parent studio to be interesting.
In the early days of home video this happened frequently as the middlemen who sprang up to deliver product to retail stores had to basically talk the studios into going along with the whole home video thing in the first place. When the studios realized there were huge profits being made, they bought out these distributors. In the case of CBS/Fox, the distributor was Magnetic Video, basically the midwife to the birth of home video.
What I find interesting about these old Key boxes is their lack of artistic skill. Both boxes, but The Hustler in particular appears to be designed primarily for product recognition more than anything else. The spine in particular, the title is difficult to read superimposed over the stripes and is not aligned in the same place because of the barcode. The Notorious box is much better, oh what a difference two years can make.