4 Shots From 4 Films: Special David Cronenberg Edition


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

Today, we wish a happy birthday to one of the greatest Canadian filmmakers of all time, David Cronenberg!  Cronenberg is not only one of the best directors to come out of Canada but he’s also a favorite of those of us here at the Shattered Lens as well.  Just check out Arleigh’s review of Eastern Promises, for example.

In honor of a great artists’s birthday, here are….

4 Shots From 4 David Cronenberg Films

The Brood (1979, dir by David Cronenberg)

Scanners (1981, dir by David Cronenberg)

Videodrome (1983, dir by David Cronenberg)

existenz (1999, dir by David Cronenberg)

Wives Of The Skies: Preview and Trailer


Wives of the Sky

From Press Release:

Winner of 24 awards, including Best Film at the New York Cinematography Awards and Best Original Screenplay at the Indie X Film Festival, Wives of The Skies is a romantic dramedy, set in 1965, starring two stewardesses, Fran and Marcy from Fine Air, a well-appointed airline. One evening after work, at their stewardess’ hotel, they befriend Derrick, a British photojournalist who wants to interview them as “subjects” for his “documentary film”. 

 As Fran and Marcy are interviewed, they are revealed as very different than Derrick hoped for or could possibly have expected…  As they get to know each other, Wives Of The Skies makes a contemporary socio-cultural statement regarding the meme of “the good girl, drawn bad”.  Wives of The Skies clarifies the impact of the overarching “men’s gaze” which objectifies women as carnal sex objects men seek, while they look for love…  along the way, addressing the primitive issue of Trust vs. Mistrust, Wives of The Skies displays the Japanese art of Kinbaku.
Currently a soaring success on the festival circuit, the short film is directed by Honey Lauren and features a superlative cast including Rachel Alig, Maddison Bullock, Sebastian Fernandez,  Drew Brandon Jones and Embry Rose.

Director Honey Lauren : When someone I know sent me a link to vintage 1960’s Stewardess outfits for sale on EBAY, I was blown away at not only the popularity and high prices, but that these outfits are sold, collected and bid on, by what looked like mostly men. I recognized that these uniforms have become a fetish… for me, at the very least unexpected. Curious, I researched the history of stewardesses during this particular era.
The stewardesses were sporting uniforms by top fashion designers like Pucci, Mary Wells and Yves Saint Laurent. The fabrics, which “hugged” as they stretched, were considered revolutionary for their ability to display the stewardesses. During the flights, the layers of clothing came off at different altitudes. Dramatic designs were all the rage, with geometric patterns and stripes; bold pinks and lavenders topped off with tangerine go-go boots!

As I read the famous COFFEE, TEA OR ME, the tell all book by two “randy Stewardesses”, something about these “sexy Stewardesses”, seemed pushed and insincere. It seemed a marketing ploy by the airlines to sell tickets. Ok. We’ve seen this before. Sex sells. These ladies, and only ladies, were dressed, weighed, packaged and displayed. One airline even advertised the suggestive “Does your wife know you’re flying with us?” Another display of the pattern of woman being sexualized and sold. Only after I wrote WIVES OF THE SKIES, did I find out that COFFEE, TEA OR ME was indeed a hoax, written by a man hired by the airline industry.

I have long recognized that where there is a pattern, there is a story. WIVES OF THE SKIES, is a story. And a question… ‘Sex sells, but at what cost?’

My Review:

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This is a beautiful short film (about 25 minutes) but it covers some hard hitting topics that need to be dealt with in our society. Humorous at points, graphic at others. I loved how Honey Lauren took a modern problem and placed a throw-back theme on it. Everything about this film had me connected from the start. The cinematography is just spectacular, the music is amazing. I could watch this movie for hours on end.

Would I Recommend this movie?

Yes, absolutely and definitely! (And you might need a tissue while watching)

Where can you see it?

Unfortunately, with all the cancellations lately, It might not be in theaters for a while, but, here is hoping everyone gets to see this gem of a film! (I’ll give updates on release dates if/when they become available)

Here is the trailer:

Wives of the Skies Official Trailer from Panik Piktures on Vimeo.

Credits:

Panik Piktures: Destroy All Media: CinemaScope

Music Video of the Day: Leader of the Pack by Twisted Sister (1985, directed by Marty Callner)


Since today is Dee Snider’s 65th birthday, it makes sense that today’s music video of the day would come to us from Twisted Sister.  It might not make as much sense for that video to be for their cover of Leader of the Pack, which is widely considered to be one of the worst covers of the 80s.  Personally, I think both the cover and the video are a good example of Snider’s sense of humor.  Watching this, it’s hard to believe that Snider and the band were once considered to be a threat to young minds.  I may be picking Leader of the Pack because I think its underrated or I might be picking it because Valerie already did the video for I Wanna Rock.  Take your pick.

The Leader Of The Pack video is from the 80s and it features something that I always love to see in videos from that era: bad green screen special effects.  The anti-Twisted Sister notes from Mom and Dad float through the video like a weatherman superimposed in front of a map of the continental United States.

The video is about a girl who apparently only has room in her heart for Twisted Sister and Leonard Nimoy.  Just check out that giant poster of Spock that she’s got in her bedroom.  Her parents are probably alright with her love of Spock but they can’t stand the thought of their daughter liking Twisted Sister, probably because they think that Tipper Gore has a point about labeling music.  As for the girl, she may be in love with the leader of the pack (Dee, of course) but that doesn’t make her a good driver.  Not only does she wreck that bulky car but she barely survives.  Was it all worth it?

Just ask Bobcat Goldthwait, who plays her boss for some reason.  Goldthwait is instantly recognizable.  I haven’t been able to find the name of the girl in the video, though she looks familiar to me.

This video was directed by Marty Callner, who directed videos for everyone.

Enjoy!

The King of Love (1987, directed by Anthony Wilkinson)


From the depths of the 80s comes this soapy film about a publisher played by Nick Mancuso whose father issues fuel not only his rise but also his fall.  When the movie starts, Mancuso is dying because he’s been shot by an unknown assassin but he still needs someone to give him some answers before he can give up the mortal coil.  Much like Dutch Schultz deliriously babbling about his dog Biscuit after getting fatally wounded, Mancuso spends his last minutes flashing back to how he became America’s most controversial magazine publisher.

In a ruthless and methodical fashion, Mancuso rose up the ranks from being just a lowly photographer to being the publisher of Love, a magazine that may remind you of Playboy and Penthouse but which is definitely not either one because it’s called Love.  Because sex and nudity sells, Love grows to be a billion dollar empire but, along the way, Mancuso uses and alienates everyone who gets close to him.  With his outspoken views on politics and his advocacy for free love and personal freedom, he also become the number one enemy of anti-pornography crusaders everywhere.  Only his partners, Nat (Michael Lerner) and Annie (Sela Ward), are willing to stay with him, mostly because they’re both in love with him.

Mancuso is obsessed with running a rival publisher out of business.  Jack Kraft (Rip Torn) is just a ruthless as Mancuso and he also might be his father.  In fact, everything that Mancuso does is because he wants to get revenge on Jack for not being there for him as he was growing up, even though he doesn’t have any definite proof that Jack is actually his father and Jack refuses to say whether he is or isn’t.  As Mancuso lies on his death bed, Jack stops in for one last visit.  Mancuso finally asks Jack flat-out if he’s his father.  “I don’t know,” Jack answers, as the film draws to a close.  I know that’s a big spoiler but it probably does not matter because this film has never been released on video and it probably never will be.  My mom has a copy on VHS tape, which she recorded when it originally aired in 1987.  It even has the original commercials.  It’s possible my mom may have the only copy of this film in existence, I don’t know.

The King of Love‘s attempt to be daring and racy is sabotaged by its origin as a made-for-TV movie from the 80s.  There may be a lot of talk about sex but you’re not going to see or hear anything that could have gotten ABC fined by the FCC.  What’s most interesting about The King of Love is the way that the film combines the personas of the three most famous adult magazine publishes.  Mancuso dresses like Bob Guccione, spouts Hugh Hefner’s philosophy, and ultimately suffers Larry Flynt’s fate.  Otherwise, the movie’s not very interesting at all but it is also ways enjoyable to watch Rip Torn play an arrogant bad guy and Michael Lerner manages to overcome a bad script and give an effective performance as Mancuso’s conflicted second-in-command.

18 Days of Paranoia #1: The Flight That Disappeared (dir by Reginald Le Borg)


Way back in the early days of the site, I did a series of reviews called 31 Days of Paranoia, in which I reviewed films about mysteries, cover-ups, and conspiracies.  Unfortunately, because I wasn’t all that disciplined about posting during the early days of the Shattered Lens, my 31 Days of Paranoia ended up being something like 24 days.  Still, it was a lot of fun and, historically, it was important because it was the very first “themed” series of reviews that I had ever done.  Shattered Politics, Embracing the Melodrama, Back to School, Sprin Breakdown, and all the rest started with 31 Days of Paranoia.

So, with this being the 10-year anniversary of the Shattered Lens’s founding and Spring Breakdown wrapping itself up tomorrow, I figured why not return to where it all started.  From now til April, please enjoy …. 18 Days of Paranoia!

We begin with:

The 1961 film, The Flight That Disappeared, deals with an airplane that …. wait for it …. disappears!

What’s happened to Trans-Coast Airways Flight 60?  When it first took off from Los Angeles, everything seemed fine.  It was carrying a small but well-behaved group of middle-aged people to Washington D.C.  The pilots all seemed like good professionals.  The two flight attendants were busy serving people coffee and having conversations about whether or not one of them would ever get married.  She had every right to be concerned, of course, seeing as how she was in her 20s and still unmarried and childless, despite the fact that this film was made in 1961.

It doesn’t take too long for something strange to happen.  The plane suddenly starts to climb upward, eventually going up over 10 miles high in the sky.  The pilots can’t do anything to get the plane to come back down.  Due to the lack of oxygen, some of the passengers start to pass out.  One passenger panics and opens a door, out of which he promptly falls.  Oddly, this doesn’t create the whole vacuum effects that we always see in other movies where a window or a door is opened while a plane is in the air.  Stranger still, no one thinks to close the door afterwards.  Was this intentional or was it just crappy filmmaking?  It’s hard to say.

Why is the plane being lifted up into the air?  Could it have something to do with the three atomic scientists who are all on the plane?  One of them, Dr. Morris (Dayton Lummis), is wearing glasses and has a van dyke beard so you know he’s smart!  It turns out that Dr. Morris has been working on the Beta Bomb, which is apparently the most powerful atomic bomb ever built.  I kept waiting for someone to ask Dr. Morris why it was called the Beta Bomb and not the Alpha Bomb or the Omega Bomb or the Big Scary Bomb or the …. well, seriously, anything would be better than Beta Bomb!  Everyone in the movie says, “Beta Bomb,” in a tone that’s meant to communicate reverence but it just sounds too much like “Beta Male” for me to really take it seriously.

But, again, who is responsible for the flight climbing?  Is it the Russians?  Is it aliens?  Is it some enemy of the American way?  While everyone else on the plane is passed out, the three scientists find themselves awake.  Their watches are no longer running and, despite the fact that they appear to be alive, their hearts are no longer beating.  Are they dead?  Or have they been transported to the future where they will now be put on trial for the crime of developing the Beta Bomb?

Of course, the thing with being put on trial in the future is that it provides the perfect defense for making weapons in the present.  “Hey,” a smart defense attorney would say, “you’re still alive in the future and you’ve got time travel technology so what are you bitching about?”  But the jurors explain that they’re actually the ghosts of the people who would have been born in the future if not for the Beta Bomb which …. what?  So, is the plane in the future or is it in the afterlife?  The film itself doesn’t seem to be sure.

I’m probably making it sound like this is a more intriguing film than it actually is.  This movie is about 72 minutes long and all the stuff with the people in the future takes place during the final 10 minutes.  That means that the film is essentially just 60 minutes of people saying, “We’re still climbing.”  From a historical point of view, it’s an interesting example of people being paranoid about the arms race.  (If the film were made today, the future the ghostly jurors would be the souls of people who were not born in the future due to climate change.)  From an entertainment point of view, it’s a forgettable dud.

4 Shots From 4 Bloody Films: Special Michael Caine Edition


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

Today is the 87th birthday of the great actor and icon of all things British, Michael Caine!

Caine is famously prolific and, when it comes to picking shots from his films, it’s hard to narrow them down to just four.  At a certain point in his career, the big joke about Michael Caine was that he would appear in literally everything.  He even missed accepting his first Oscar in person because he was busy filming Jaws: The Revenge.  Not surprisingly, it was after Jaws: The Revenge that Caine started to become more discriminating when it came to picking his films.

Despite the fact that he’s now a bit more careful about picking roles that allow him to show off his considerable talent as opposed to just supplying him with an easy paycheck, Caine remains a busy actor.  In his autobiography, Blowing the Bloody Doors Off, Caine wrote that he plans to keep acting as long as he is physically and mentally able to do so.  I look forward to seeing what future, great performances Michael Caine is going to give us.

For now, here are:

4 Shots From 4 Films

Get Carter (1971, directed by Mike Hodges)

The Man Who Would Be King (1975, directed by John Huston)

A Shock to the System (1990, directed by Jan Egleson)

The Dark Knight Rises (2012, directed by Christopher Nolan)

 

Weekly Reading Round-Up : 03/08/2020 – 03/14/2020


Ryan C. (fourcolorapocalypse)'s avatarRyan C.'s Four Color Apocalypse

Image Comics dominated my admittedly-small pull list this week, so let’s have a look at all four of their books that I picked up and see which ones are worth your time and money —

Jonathan Hickman is back with another typically ambitious and expansive creator-owned project, but the best thing about Decorum #1 is Mike Huddleston’s wildly varied, and in some cases quite experimental, art. Yeah, there’s some intriguing “world-building” going on here — hell, it’s more than that, it’s “universe-building” — but, as with all things Hickman, we’ll have to see how fully he develops all that, or even if he fucking sticks with it. For my money, the only one of his Image projects where the steak matched the sizzle was East Of West, but let’s be fair : they’ve all started out well enough, and this tale of the universe’s most purportedly polite assassin…

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