Blast From the Past: A Day In The Death of Donny B (dir by Carl Fick)


Just a few hours earlier, I was going through my DVR and I discovered that I had recorded, off of TCM, a film called A Day In The Death of Donny B.  That title immediately caught my attention (and I imagine that the title is probably what inspired me to record the film in the first place).  A Day In The Death of Donny B sounds like the title of something that would have come out of Andy Warhol’s Factory in the late 60s, maybe starring Joe Dallesandro as Donny B and Edie Sedgwick as herself.

So, of course, I simply had to watch it to discover just who Donny B was and how many days it would take him to die.  Add to that, I also noticed that the film only lasted 15 minutes, making it the perfect viewing experience for someone, like me, who has absolutely no attention span.

Anyway, I watched it and I discovered that it’s not a Warhol film.  However, it was filmed in 1969 and it contains a lot of cinéma vérité-style footage of the slums of New York City, which means that it takrd place in roughly the same world as some of Warhol’s films.  It turns out that The Death of Donny B was produced by the Substance Abuse and Mental Health Services Administration.  It’s an anti-drug film, obviously designed to speak to young and black audiences.

The film follows an African-American addict named Donny B as he wanders through the shadows of New York City and tries to scrounge up enough money to buy heroin.  While we watch him go about his day, we listen to voice overs from former addicts and some of Donny’s family members.  They all agree that Donny is basically a huge loser.  Donny B. is credited as playing himself and he has a definite screen presence, even if he looks a bit too healthy for someone who, we’re told, shoots heroin several times a day.

The film itself is shot in harshly beautiful black-and-white and the soundtrack features a droning song (credited to someone named Harry Holt) that, for the most part, consists lyrically of: “It’s a day in the death of Donny B…” and trust me, that song will get stuck in your head.  Today, of course, the main appeal of The Death of Donny B is that it’s a time capsule of when it was made.  For those of us who might be curious as to what New York was like back in the dangerous 1960s, The Death of Donny B is our time machine.

And you can watch it below!

And if you happen to be Donny B, leave a comment below because we would love to hear from you!

Here’s the latest trailer for Suicide Squad!


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I have to be honest.  Up until this point, I haven’t had much enthusiasm for seeing The Suicide Squad and it’s always going to bother me that Jared Leto chopped off all of his beautiful hair.  However, the latest Suicide Squad trailer is actually pretty entertaining!  If the very least, it deserves some credit for its use of Bohemian Rhapsody

 

Mr. Ugly Rides Again: Lee Van Cleef in THE BIG GUNDOWN (Columbia 1967)


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I’ll be the first to admit I’m no expert on Spaghetti Westerns. I’ve probably seen more than the average filmgoer though, and have learned to appreciate them  over the years. If I were to make a Top Ten favorite film list, Sergio Leone’s THE GOOD THE BAD AND THE UGLY would definitely make the grade. Recently I watched THE BIG GUNDOWN for the first time, and while it doesn’t quite measure up to classic status, it does serve as a good example of what the genre’s all about.

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Lee Van Cleef was fresh off his success in two Leone/Clint Eastwood Spaghettis (FOR A FEW DOLLARS MORE and the aforementioned film) when he was cast in this Sergio Sollima saga. Van Cleef, who struggled for years as a villainous second banana in Hollywood, was now an international star, and THE BIG GUNDOWN was his first leading role. He plays the steely-eyed, steel nerved Jonathan…

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Carol Wins at The GALECA Awards!


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Carol may not have gotten a best picture nomination from the Academy but that doesn’t mean that it’s not winning awards!  Yesterday, it swept the Gay And Lesbian Entertainment Critics Association awards!  You can check out the GALECA nominations here and the winners below!

Film of the Year
“Carol”

Director of the Year
Todd Haynes, “Carol”

Film Actor of the Year
Leonardo DiCaprio, “The Revenant”

Film Actress of the Year
Cate Blanchett, “Carol”

LGBTQ Film of the Year
“Carol”

Foreign Language Film of the Year
“Son of Saul”

Screenplay of the Year
“Carol”

Documentary of the Year
“Amy”

Visually Striking Film of the Year
“Mad Max: Fury Road”

Unsung Film of the Year
“Tangerine”

Campy Flick of the Year
“Magic Mike XXL”

Here’s 4 Different Actors Reading Edgar Allan Poe’s The Raven!


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Let’s all wish Edgar Allan Poe a happy 207th birthday!  In honor of the occasion, here’s four different actors reading The Raven!

First here’s Vincent Price!

And now it’s time for Christopher Lee!

Check out James Earl Jones!

And, of course, we have to include Christopher Walken!

And here’s the poem, in all its glory.  Read it aloud in your own voice!

Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore—
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
“’Tis some visitor,” I muttered, “tapping at my chamber door—
Only this and nothing more.”

Ah, distinctly I remember it was in the bleak December;
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;—vainly I had sought to borrow
From my books surcease of sorrow—sorrow for the lost Lenore—
For the rare and radiant maiden whom the angels name Lenore—
Nameless here for evermore.

And the silken, sad, uncertain rustling of each purple curtain
Thrilled me—filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
“’Tis some visitor entreating entrance at my chamber door—
Some late visiter entreating entrance at my chamber door;—
This it is and nothing more.”

Presently my soul grew stronger; hesitating then no longer,
“Sir,” said I, “or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you”—here I opened wide the door;—
Darkness there and nothing more.

Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word, “Lenore?”
This I whispered, and an echo murmured back the word, “Lenore!”—
Merely this and nothing more.

Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
“Surely,” said I, “surely that is something at my window lattice;
Let me see, then, what thereat is, and this mystery explore—
Let my heart be still a moment and this mystery explore;—
’Tis the wind and nothing more!”

Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately Raven of the saintly days of yore;
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door—
Perched upon a bust of Pallas just above my chamber door—
Perched, and sat, and nothing more.

Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
“Though thy crest be shorn and shaven, thou,” I said, “art sure no craven,
Ghastly grim and ancient Raven wandering from the Nightly shore—
Tell me what thy lordly name is on the Night’s Plutonian shore!”
Quoth the Raven “Nevermore.”

Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning—little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door—
Bird or beast upon the sculptured bust above his chamber door,
With such name as “Nevermore.”

But the Raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did outpour.
Nothing farther then he uttered—not a feather then he fluttered—
Till I scarcely more than muttered “Other friends have flown before—
On the morrow he will leave me, as my Hopes have flown before.”
Then the bird said “Nevermore.”

Startled at the stillness broken by reply so aptly spoken,
“Doubtless,” said I, “what it utters is its only stock and store
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore—
Till the dirges of his Hope that melancholy burden bore
Of ‘Never—nevermore’.”

But the Raven still beguiling all my fancy into smiling,
Straight I wheeled a cushioned seat in front of bird, and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore—
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking “Nevermore.”

This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom’s core;
This and more I sat divining, with my head at ease reclining
On the cushion’s velvet lining that the lamp-light gloated o’er,
But whose velvet-violet lining with the lamp-light gloating o’er,
She shall press, ah, nevermore!

Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
“Wretch,” I cried, “thy God hath lent thee—by these angels he hath sent thee
Respite—respite and nepenthe from thy memories of Lenore;
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!”
Quoth the Raven “Nevermore.”

“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!—
Whether Tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted—
On this home by Horror haunted—tell me truly, I implore—
Is there—is there balm in Gilead?—tell me—tell me, I implore!”
Quoth the Raven “Nevermore.”

“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!
By that Heaven that bends above us—by that God we both adore—
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore—
Clasp a rare and radiant maiden whom the angels name Lenore.”
Quoth the Raven “Nevermore.”

“Be that word our sign of parting, bird or fiend!” I shrieked, upstarting—
“Get thee back into the tempest and the Night’s Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken!—quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!”
Quoth the Raven “Nevermore.”

And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon’s that is dreaming,
And the lamp-light o’er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted—nevermore!