Lisa Marie’s Week In Television: 9/25/22 — 10/1/22

Posted on October 1, 2022 by Lisa Marie Bowman

Not only did I spend this week preparing for Horrorthon, I also ended up watching quite a bit of television. Here’s some thoughts on what I watched.

Abbott Elementary (Wednesday Night, ABC)

This week, Janine tried to get Abbott a computer and Ava got to host a Shark Tank-style competition. Ava is such a great character. This episode may not have matched the premiere but it was still pretty funny and a good example of how Abbott Elementary is able to deal with the realities of public education without losing sight of the comedy.

The Amazing Race (Wednesday Night, CBS)

I wrote about the latest episode of The Amazing Race here!

Atlanta (Thursday Night, FX)

This week’s episode of Atlanta took a break from the surreal with a straight-forward but very funny episode about Earn and Al’s family. Earn’s mother “kidnapped” Grandpa while Earn’s father made the mistake of buying a hat and allowing himself to get delayed in the mall. While Aunt Jeanine called the police and demanded that her sister by criminally charged, Earn and Al looked for a way to escape the studio. It was funny and enjoyably cringey. Give Isiah Whitlock, Jr. an Emmy.

Bachelor in Paradise (Monday Night, ABC)

It’s a new season of Bachelor in Paradise! All of the people who couldn’t find love on the main show get to hang out on the beach. Bachelor in Paradise is actually more fun than The Bachelor because it’s honest about being a totally and completely shallow production. Nobody is there for the right reasons and it’s great.

Apparently, Jesse Palmer is going to be the host for the entire season so I guess last season’s rotating host gimmick has been retired. That’s probably for the best. I actually like Jesse as the overall franchise host. He doesn’t bring a lot of extra drama with him like Tayshia and Kaitlyn did and he seems to understand that his job isn’t exactly the same as being a brain surgeon.

That said …. where’s Meatball!?

Big Brother (Sunday Night, CBS)

Big Brother 24 finally came to a close on Sunday night. Taylor Hale not only won the game but she also won America’s Favorite Player. Considering the way that Taylor was bullied by the other houseguests at the start of the season, her victory was popular with the show’s fans. Personally, I think both Monte and Turner played a better game but knowing that Taylor’s victory upset some of the worst people to ever appear on the show was still a satisfying feeling. Knowing that Ameerah, Nicole, and Daniel were probably upset made the past few months worth it.

I wrote about this season over at the Big Brother Blog.

Bubblegum Crisis (NightFlight+)

80s cyberpunk! Man vs machine! The Sabre Knights vs a pack of robots known as the Boomers! The main character, Priss, is also a rock star! I had no idea what was going on when I watched this show early on Saturday morning but the animation was interesting to look at and Priss was undeniably cool.

CHiPs (Weekday Afternoons, Get TV)

I watched one episode of this old motorcycle cop show on Tuesday. The cops kept the peace at an anti-nuke rally and Erik Estrada provided counseling to a child who was being abused by his parents. I can’t say that I really paid that much attention. I did like the bass-heavy theme song however.

Concentration (Weekday Afternoons, BUZZR)

This was an old gameshow from the 70s and the 80s. I watched an episode on Friday while I was doing some work around the office. The most interesting thing about it was that it was hosted by Alex Trebyk, who came across as being far more relaxed and casual about things than when he hosted Jeopardy.

Full House (Sunday Evening, MeTV)

Uncle Joey (you know, the one with the mullet) tried to teach Michelle how to ride a bike but he wasn’t very good at it and Michelle was humiliated when she fell off her bike at the park. At first, Michelle blamed Joey but eventually she got over it. What a brat.

This was followed by an episode in which poor DJ (who, really, deserves to nominated for sainthood for putting up with her family) has to take her two obnoxious sisters with her on a date. Everyone learned an important lesson about sneaking into the movie and lying. Don’t do either of them but, if you do sneak into the movie, don’t get caught.

Ghosts (Thursday Night, CBS)

The second season premiere of Ghosts was as charming as ever, with the ghosts spying on the B&B’s first guests and Jay discovering that, despite his near death experience, he still cannot see the ghosts. I felt bad for Sam, as most of the stuff that the guests complained about when it came to her was the same stuff that people tend to complain about when it comes to me. I cheered a little when she stood up to them. The whole “Our yelp account was hacked!” ending was perfect.

Hell’s Kitchen (Thursday Night, FOX)

Hell’s Kitchen is back! This season is going to be 40-something chefs vs 20-something chef. To be honest, the gimmick doesn’t matter. I’m just looking forward to Chef Ramsay yelling at people and losing his temper at the potentially lethal incompetence around him. Who will be the first to try to send out raw chicken? Sadly, the premiere episode did not feature a dinner service but, according to the previews, it’s coming up next week!

Law & Order (Thursday Night, NBC)

Last week’s Law & Order was pretty good. This week, sadly, was one of those middling, lefty political episodes that the franchise often does in an attempt to remain in the good graces of those who would otherwise dismiss the whole thing as being copaganda. It’s always funny to me how the Law & Order franchise is full of blue collar, Catholic cops who sound like they spend all of their time watching Joy Reid and Chris Hayes as soon as their shift is over.

On last night’s Law & Order, the victim was the daughter of the governor of Texas so, of course, we got this whole big thing about how the governor is always criticizing New York City as being crime-ridden. “Why does the governor of Texas care about New York?” one of the detectives demanded and that’s when I started to tune this episode out. One could just as legitimately ask why people in California and New York always feel the need to comment on what’s happening in Texas. Law & Order always errs on the side of going overboard when it attempts to deal with politics. This was especially true this week, as Law & Order waded into the abortion debate and came up with an ending that was both so heavy-handed and so predictable that I felt embarrassed for the show’s writers.

Law & Order: Organized Crime (Thursday Night, NBC)

With the start of a new season, Stabler got a new partner and a new crooked family to investigate. From what I’ve seen, Organized Crime is the least interesting of the Law & Order shows and often feels more like it should be a part of NCIS franchise than Law & Order. It was difficult for me to watch because Stabler really does seem like he’s going to give himself a heart attack if he doesn’t figure out a way to relax.

Law & Order: SVU (Thursday Night, NBC)

This week’s episode of SVU opened with an extremely disturbing scene in which a teenage girl was gang-raped on a subway while, just a few feet away, the rest of her family was hacked to death with machetes. This scene reminded me of why I don’t regularly watch this show. It’s undeniably well-acted and usually well-written, except for when it tries to be overly political. But Good Lord, are the cases ever disturbing!

Mike (Hulu)

I wrote about Hulu’s disappointing Mike Tyson miniseries here.

Mike Judge’s Beavis and Butt-Head (Paramount Plus)

Inspired by a holy nacho chip, Beavis went on a spiritual journey and learned nothing. This was a unique episode in that it told one story instead of the usual two. It’s become obvious that Beavis, with his odd moments of clarity and his desire to actually be something more than just a sidekick, is a far more compelling character than Butt-Head.

Monarch (Tuesday Night, FOX)

This show gets sillier and sillier with each episode but it’s kind of worth it for the scenes of Trace Adkins glowering in the shadows while holding a gun. I don’t really care much about which Roman daughter is crowned the next queen of country music but I definitely do what to know who Trace has been burying for the past three episodes.

Night Flight (NightFlight+)

From the 80s, it was a look at women in rock, from Janis Joplin and Grace Slick to Stevie Nicks. I watched on Friday night. The music was good.

Password (Weekday Afternoons, BUZZR)

I watched two episodes of this old game show on Tuesday. Apparently, the aim was to try to guess a word and win money. The episodes I saw were from the mid-70s and the most interesting thing about them was how cheap and run-down the show’s set looked. One got the feeling that the whole studio probably reeked of cigarettes and spilled beer.

Saving Grace (Weekday Nights, Start TV)

On this show, which apparently ran for three seasons, Holly Hunter played an Oklahoma detective who, after she accidentally ran over a pedestrian after a night of drinking, was told by a fallen angel named Earl that she was going to go to Hell unless she changed her ways. So, apparently, the rest of the show was about Grace solving crimes and talking to Earl. How have I never heard of this show before? It aired from 2007 to 2010 and Hunter was even nominated for two Emmy awards for playing Grace.

Anyway, the episode that I watched on Wednesday night featured Grace trying to solve a murder while another angel (F. Murray Abraham) tried to convince her to abandon Earl and work with him. It was odd but Holly Hunter is always good and the show took place in Oklahoma so, as someone who spent some time in Oklahoma while she was growing up, I felt like I could relate to most of the characters.

Super Password (Weekday Afternoons, BUZZR)

I watched two episodes of this show on Tuesday. It was just like Password, except the set looked cleaner.

Survivor (Wednesday Night, CBS)

I wrote about the latest episode of Survivor here!

AMV of the Day: Horror Movies (Satsuriku no Tenshi)

Posted on October 1, 2022 by Lisa Marie Bowman

It’s the first day of October and this amv just seems appropriate for the day.

Anime: Satsuriku no Tenshi

Song: Horror Movies (by Neoni)

Creator: Nameless_Anime_Freak (please subscribe to this creator’s channel)

Past AMVs of the Day

Horror on TV: Ghost Story 1.1 “The Dead We Leave Behind” (dir by Paul Stanley)

Posted on October 1, 2022 by Lisa Marie Bowman

During the month of October, we like to share classic episodes of horror-themed television. That was easier to do when we first started doing our annual October horrorthon here at the Shattered Lens because every single episode of the original, black-and-white Twilight Zone was available on YouTube. Sadly, that’s no longer the case.

However, there is some good news! Twilight Zone may be gone but there are other horror shows on YouTube! For instance, I’ve discovered that, in 1972, there was a horror anthology series that was originally called Ghost Story. It was produced by William Castle and each episode featured a different guest star having to deal with the supernatural.

The show made its debut on September 15th, 1972. In this episode, Sebastian Cabot (playing the role of the mysterious Winston Essex) introduces a story about the mortality and technology. Jason Robards and Stella Stevens are a married couple who discover that their television cannot only predict the future but that also one of them is going to die!

Enjoy the first episode of Ghost Story!

Bela Lugosi As Henry Frankenstein?

Posted on October 1, 2022 by Lisa Marie Bowman

When it comes to the 1931 film version of Frankenstein, the piece of trivia that everyone seems to know is that Bela Lugosi was the original choice to play the Monster.

As the story goes, Lugosi had just finished filming Dracula and Universal’s Carl Laemmle felt that it would only make sense for Lugosi to play the lead role in Universal’s second horror adaptation. Not only would Lugosi be firmly established as Universal’s favorite monster but it would also reunite him with Edward van Sloan and Dwight Frye, both of whom played prominent supporting roles in Dracula. However, the story continues, Lugosi turned down the part when he saw that the monster wouldn’t have any dialogue.

Well, the story is partially right.

The truth of the matter is that Frankenstein was one of several books to which Universal had the rights. And when Lugosi learned that one of the studio’s directors, Robert Florey, was interested in directing a film based on Mary Shelley’s novel, he did meet with Florey to say that he was intrigued by the idea of playing the monster. Lugosi even did a makeup test, one in which the proposed look of Lugosi’s monster reportedly owed much to 1920’s The Golem. As a director, Florey was heavily influenced by German expressionism so it makes sense that he would look to The Golem for inspiration.

The Golem (1920, dir by Paul Wegner and Carl Boese)

Lugosi eventually lost interest in the role, not because of the lack of dialogue but because he felt that he wouldn’t be able to give a good performance while made up to look like the Monster. His face would be barely visible and, as an actor, Lugosi naturally wanted to be recognized. Lugosi had no objections to the script because the script itself hadn’t been written. When Lugosi lost interest, so did Florey.

Instead, the project was taken on by director James Whale, who specifically asked for the project because he felt it would be a change-of-pace from the war movies that he had been directing. Universal suggested John Carradine for the role of the Monster. Whale, however, spotted Boris Karloff sitting in the studio’s cafeteria and specifically asked him to test for the role. Karloff, with his imposing frame but gentle manner, more aligned with Whale’s version of the Monster as essentially being a child who is easily angered but ultimately more of a victim than a victimizer.

From the start, Whale also wanted Colin Clive to play Henry Frankenstein and Mae Clarke to play Elizabeth. The studio, who wanted at least one star in the film, tried to convince him to go with Leslie Howard as Henry and Bette Davis (who, at that time, was just starting her career) as Elizabeth. While the studio was willing to substitute the more glamorous Clarke for Davis, they were a bit less enthusiastic about Colin Clive as Henry. If Whale was that opposed to Leslie Howard, the studio suggested, how about Bela Lugosi instead?

As we all know, Whale held firm and he eventually got Colin Clive. Still, it’s interesting to imagine Frankenstein with Bela Lugosi, in the role of Henry, bringing Karloff’s Monster to life. Personally, I think Whale made the right decision. Lugosi would have been a bit too obviously sinister for the role of Henry Frankenstein whereas Colin Clive really nailed the characterization of Henry being an essentially good man who allowed his own obsessions to get the better of him. Still, it’s interesting to imagine a Frankenstein that not only reunited the stars of Dracula but which included Boris Karloff as well! Not only would it have been Lugosi and Karloff’s first film together but who knows? Perhaps if a Lugosi-Karloff version of Frankenstein had been as successful as the Clive-Karloff version, Lugosi and Karloff would never have started their rivalry and Lugosi could have escaped the Dracula typecasting that hampered the rest of his career.

Though they didn’t share the screen in Frankenstein, Karloff and Lugosi would go on to appear in several films together. Unfortunately, unlike the universally beloved Karloff, Lugosi’s career would be sabotaged by his own addictions and personal demons. Lugosi would eventually get his chance to play Frankenstein’s Monster in 1943’s Frankenstein Meets The Wolf Man. Unfortunately, that film is considered to be one of the weaker of the Universal horror films and Bela really didn’t get much of a chance to make a huge impression as the monster. (He was right about the difficulty of being recognized under all that makeup.)

Bela Lugosi would die in 1956, at the age of 73.

Boris Karloff passed away 13 years later, at the age of 81.

Boris and Bela

The TSL’s Horror Grindhouse: Embrace of the Vampire (dir by Anne Goursaud)

Posted on October 1, 2022 by Lisa Marie Bowman

In this incredibly silly film from 1995, Martin Kemp plays The Vampire. He doesn’t get a name but he does get a backstory. Back when he was mortal, the Vampire pursued a secret and forbidden affair with a princess. One day, after making love, the man who would became the Vampire was laying down next to a stream when he was approached by three naked women who proceeded to bite his neck and vampirize him.

Centuries later, the Vampire is sickly and approaching the end of his existence. He only has three days to convince the reincarnation of his former lover to allow him to drink her blood so that he can continue to exist. And apparently it won’t work unless she’s a virgin and unless she rejects all others and loves only him. That sounds like a lot of rules to me and, to be honest, most of them seem to be kind of arbitrary. Not only does The Vampire have to find the reincarnation of the Princess but he has to find her before she loses her virginity or otherwise, what? She’ll cease to be the reincarnation? Her love will somehow be devalued? Her blood will no longer be worth drinking? If this vampire has had to spend centuries only drinking blood from virgins who were in love with him, no wonder he looks so sickly. I really think that maybe the other vampires were playing a practical joke when they explained the rules to him. Hazing the new guy, it has consequences!

Anyway, the princess has been reincarnated as Charlotte (a young Alyssa Milano). Fortunately, for the Vampire, Charlotte was raised in a convent and, even though she is now a college student, she’s still a virgin who blushes when she even hears the word sex. Unfortunately, Charlotte has a boyfriend named Chris (Harrison Pruett) and she’s thinking about losing her virginity if she can convince herself that she loves Chris more than any other person that she will ever possibly meet. So, the Vampire not only has to convince Charlotte to fall in love with him but he also has to make sure that she doesn’t have sex beforehand. It’s going to be difficult because everyone on campus is determined to get Charlotte laid. This has all the makings of Italian sex comedy but Embrace of the Vampire instead takes its plot very seriously.

The Vampire starts to appear in Charlotte’s dreams. He gives her an ankh to replace the cross that Chris gave her. Because the Ankh is a symbol of desire, just wearing it makes Charlotte more sexually aggressive and soon, she’s wearing short skirts, low-cut tops, and white stockings. She’s also making out with Sarah (Charlotte Lewis), the photographer who lives in the dorm room next to hers. (As played by Charlotte Lewis, Sarah is actually an interesting character and it’s a shame that the film pretty much just uses her for titillation.) But since the Vampire’s whole thing is keeping Charlotte from losing her virginity, why would he give her something that would make her more open to sexual experiences? Again, it’s hard not to think that the Vampire is just the victim of an elaborate practical joke.

As I said at the start of the review, Embrace of the Vampire is incredibly silly. It’s also a film that seems to be a bit popular with viewers of a certain age. I’m assuming that’s because of the frequent Alyssa Milano nudity and that one scene with Charlotte Lewis. For the most part, Alyssa Milano gives a bland performance in Embrace of the Vampire. It’s not so much that she’s bad as everything about her performance is on the surface. One gets the feeling that there’s really not much going on with Charlotte’s inner life, both before and after she starts dreaming about The Vampire. As The Vampire, Martin Kemp appears to be absolutely miserable. He comes across as if he’d rather be anywhere than appearing in this movie.

That said, the film’s director got her start working with Francis Ford Coppola and she has a good eye for gothic scenery and atmosphere. A scene where Charlotte imagines a frat party turning into a Hellish orgy is effectively done. Jennifer Tilly has a small role as a vampire and she has said that Quentin Tarantino approached her at the Oscars to tell her that he enjoyed the movie. It’s a silly movie (yes, third time I’ve used that specific term and that should tell you just how silly it is) but, for better or worse, it epitomizes an era.

Retro Television Review: California Dreams 1.9 “Mother and Child Reunion” and 1.10 “Romancing The Tube”

Posted on October 1, 2022 by Lisa Marie Bowman

Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Saturdays, I will be reviewing California Dreams, which ran on NBC from 1992 to 1996. The entire show is currently streaming on YouTube!

Last week, California Dreams dealt with both racism and misogyny. It was two heavy episodes, featuring important lessons about the problems of the world. Would the trend continue? Let us find out!

Surf dudes with attitude, feeling mellow, let’s get on with it….

Episode 1.9 “Mother and Child Reunion”

(Directed by Don Barnhart, originally aired on November 7th, 1992)

It’s been over a month since the Dreams last had a gig. Maybe they should break up! Matt thinks that they just need to practice more. (Of course, being a music camp kid, he would say that, wouldn’t he?) Sly thinks that the band need to change its image and be less beach-y. Considering what was going on in music in the early to mid-90s, Sly probably has a point. Anyway, Sly goes out and buys a smoke machine so that the Dreams can use it to change their middlebrow image. Maybe they just need a new lead singer. WHERE’S JAKE!?

Now, the smoke machine and the edgy image stuff is actually kind of cute but the majority of the show revolves around Tiffani and her mom. It turns out that Tiffani’s mom essentially abandoned her when Tiffani was only six. For ten years, Tiffani’s mom worked as a dancer in New York. Now, she’s back in California. At first, everyone is shocked by the fact that Tiffani doesn’t seem to be angry at her mom but it turns out that Tiffani is angry and that anger finally comes out at Tiffani’s 16th birthday party when her mom suggests that Tiffany come live with her for a year.

By the standards of California Dreams’s first season, this wasn’t a bad episode. Kelly Packard did a good job of portraying Tiffani’s anger. Plus, this episode did have one good joke, in which Sly tried to rename the band The California Nightmares in an attempt to change their image. They should have stuck with the new name.

Episode 1.10 “Romancing The Tube”

(Directed by Don Barnhart, originally aired on November 14th, 1992)

This was a weird episode. I’ve seen plenty of episodes of California Dreams but somehow, I never knew that Sly and Tiffani were a couple for an episode. Apparently, Tiffany and Sly fell for each other while Tiffany was teaching Sly how to surf. It all led to a “Surf Soul Swapping” ceremony, which was overseen by Peter Tork of the Monkees. However, at the last minute, Tiffani realized that she was just using Sly as a rebound to help her get over her ex. And Sly never really wanted to be in a committed relationship to begin with. So, they broke up and I guess it all worked out in the end.

Meanwhile, Matt, Jenny, and Tony were supposed to paint a room in the Garrison House in return for Mrs. Garrison paying them $300 so they could get a new lighting system. But then they got bored and abandoned the job. Fortunately, the new lighting system turned out to be a bust so they tricked Mrs. Garrison into taking it off their hands. No one learned a thing, which was probably about as realistic as California Dreams ever got.

Weird episode.

Horror Scenes That I Love: Edward Van Sloan Introduces Frankenstein

Posted on October 1, 2022 by Lisa Marie Bowman

For our first Scene that I love for this year’s Horrorthon, I’m sharing the opening of the 1931 classic, Frankenstein. The scene below features neither Colin Clive or Boris Karloff. Instead, Edward Van Sloan breaks the fourth wall and, in his humorously avuncular way, lets the audience know what’s in store for them.

Today, of course, we all know the story of Frankenstein and his monster. However, imagine how audiences in 1931, many of whom probably knew nothing about the story they were about to watch, must have felt when Edward Van Sloan specifically took a minute to warn them that they were about to see something terrifying. You have to remember that Van Sloan was talking to the first generation of regular filmgoers and he was introducing them to one of the first true horror films of the sound era. Today, it’s easy to smile when Van Sloan says, “You can’t say we didn’t warn you.” In 1931, I imagine it probably sounded more like a dare. Van Sloan was asking, “Do you have the courage to stay in theater?” It’s kind of charming, isn’t it?

Edward Van Sloan was a bit of fixture when it came to the early Universal horror films. Not only did he play Henry Frankenstein’s mentor but, in the same year, he played Prof. Van Helsing in Dracula. He also had a key supporting role in The Mummy. When it came to explaining the supernatural and the undead, no one else did it with quite the class of Edward Van Sloan.

Novel Review: Capital Crimes by Lawrence Sanders

Posted on October 1, 2022 by Lisa Marie Bowman

Tell me if the plot of the 1990 novel, Capital Crimes, sounds familiar.

The President of the United States is struggling. The economy is bad. The U.S. is long ground internationally. The President’s approval ratings are plummeting. The members of his own party are searching for a way to get rid of him. However, the President himself is more concerned about the health of his son, a hemophiliac who seems destined to suffer an early death if he’s not somehow cured of his condition.

Everything looks hopeless until the President meets Brother Kristos. Brother Kristos is a wild holy man from the backwoods, a sensualist who drinks vodka, believes that the best way to worship is to have an orgy, and who claims that he has a direct line to God and that he can heal the President’s son. Kristos not only makes the claim but he backs it up by actually doing it. The President and his wife soon become dependent on the mysterious Kristos. Kristos goes from being an obscure cult leader to one of the most powerful men in the country but is he a servant of God or the Devil? While Kristos sets about seducing all of the women in Washington, others try to investigate his background. Is Kristos a charlatan or does he truly have magical powers?

If this sounds familiar, that’s probably because you’re familiar with Rasputin, the Russian monk who became a shadowy and much-feared influence on the family of Nicholas II, the final Tsar of Russia. In fact, Capital Crimes so closely follows the story of Rasputin that you kind of have to wonder why no one in the book ever seems to pick up on the connection. Russia exists as a rival to the United States in Capital Crimes and, as such, one assumes that Rasputin must have existed as well. And yet no one in the book ever says, “Hey, remember when this happened before and it didn’t end well? Maybe we shouldn’t invite the unwashed holy man to live in the White House?”

Capital Crimes is one of the books that I found in my aunt’s paperback collection. I read it a few weeks ago and, beyond the fact that it was so obviously based on the story of Rasputin, there wasn’t anything particularly memorable about it. The reader is continuously told that Brother Kristos is incredibly charismatic and that his piercing stare can hypnotize almost anyone but telling and showing are two different things and Kristos is such a ludicrous figure that it’s hard to take him seriously. (Then again, I imagine many initially said the same thing about Rasputin.) The book flirts with suggesting that Kristos actually does have supernatural powers but it neve really commits to the idea, which is a shame. If you’re going to write a book about a Rasputin in the White House, you might as well go all out and fully embrace the supernatural aspect of the story. Instead, the book gets bogged down in the political machinations of all the people who would like to replace the president. It’s a bit dull.

The book is credited to Lawrence Sanders, who I know wrote quite a few best sellers and who is usually listed among the better thriller writers. Capital Crimes feels extremely sloppy and derivative so I’m going to assume that it was written strictly for the money. That’s not necessarily a criticism, of course. Money’s a good thing! But so is an interesting plot.

Book Review: Blood, Sweat & Chrome: The Wild and True Story of Mad Max: Fury Road by Kyle Buchanan

Posted on October 1, 2022 by Lisa Marie Bowman

Wow, I thought as I read Kyle Buchanan’s oral history of the making of Mad Max: Fury Road, Charlize Theron and Tom Hardy really did not like each other.

I have to admit that I feel a little bit bad that my main reaction to Blood, Sweat, & Chrome centered around the most “gossipy” part of the book, the chapter in which everyone interviewed talked about how Theron and Hardy simply did not get along during filming. That, of course, is also the part of the book that got the most media attention when it first came out. Overall, it’s really a very small part of the overall story. The books deals with much more than just Charlize and Tom. It discusses how the stunts were achieved. It documents just how much time George Miller spent planning Fury Road and also how the project was changed by Mel Gibson’s very public fall from grace. There’s a very touching chapter that deals with Hugh Keays-Bryne, the Australian actor who played memorable villains in both the first and, to date, the last of the Mad Max films. There’s a lot of good stuff in Blood, Sweat & Chrome but it’s the chapter about Hardy and Theron that will probably capture the attention of most readers. They’re movie stars, after all. We’re all fascinated by stars, especially when they don’t get along.

As for why Theron and Hardy didn’t get along, the people interviewed for the book all have their theories. Some say that Hardy was not only feeling pressure over stepping into Mel Gibson’s shoes but that he was also miffed to realize that he was primarily going to be a supporting player in his own movie. Others say that it was a conflict in working styles, with Theron going out of her way to always be professional and on time while Hardy was a bit more relaxed when he would show up on the set. Nicholas Hoult (who comes across as being both a professional and a gentleman) says that being on set with them often felt like being in the back seat of a car while your parents are fighting up front. Whatever the reason, Hardy and Theron did not enjoy either’s company while filming. Shouting matches were followed by meetings with George Miller, who Theron observes was not necessarily always on her side when it came to her conflict with Tom Hardy. And while actors arguing during filming is hardly a unique event, what stands out about Theron and Hardy is that they both appeared to continue to dislike each other even after filming ended. Even with the success of the film, one gets the feeling that the two of them will never voluntarily star opposite each other again. Or, at the very least, they’ll get a lot of money before agreeing to do so.

What’s interesting though is that Hardy and Theron’s dislike for each other was probably a major factor in Mad Max: Fury Road‘s success. One reason why Fury Road stands out is because neither Furiosa nor Max end up having the type of relationship that you might otherwise expect. Though they eventually work together, they never become a couple. Neither surrenders to the other. Furiosa never stops fighting and Max never stops wandering. Even when they become allies, there’s still that tension there. Neither one really trusts the other. As was so often the case with the production of Mad Max: Fury Road, Theron and Hardy’s contentious relationship, something that should have led to disaster, actually served to make the film better.

Reading Buchanan’s book, one comes away with the impression that, for all the difficulties that were encountered during filming, Mad Max: Fury Road was almost a blessed production. Everything that went wrong only served to make the final product better. George Miller’s struggles to get the film into production gave him the time he needed to create a film that had a good deal more thematic depth than the average action sequel. The harsh working conditions were the perfect backdrop for the film’s equally harsh world. Mel Gibson’s troubles allowed Miller to rethink the character of Max and also gave Miller room to make Furiosa an equally important character. That few people were expecting much from Mad Max: Fury Road allowed Miller to take the world by surprise. Even the fact that many were surprised when Fury Road won Best Picture from the National Board of Review allowed the film to enter the Oscar season as an appealing underdog. Of course, while Mad Max: Fury Road did win the most Oscars that year, it did not win Best Picture. But I can promise you that, as you sit here reading this, more people are currently watching Mad Max: Fury Road than are watching Spotlight.

Mad Max: Fury Road is a great film and Blood, Sweat, & Chrome provides an in-depth look at how that happened. It’s hard not to be inspired by George Miller and he refusal to give up on the project. Much like Furiosa, Miller never stopped fighting. Neither Furiosa nor Miller found what they were initially expecting at the end of their journey. Instead, they discovered something better and, as a result, their stories will never be forgotten.

International Horror Film Review: Bloody Moon (dir by Jesus Franco)

Posted on October 1, 2022 by Lisa Marie Bowman

A 1981 West German/Spanish co-production, Bloody Moon open with a disfigured man named Miguel (Alexander Waechter) putting on a Mickey Mouse mask and sneaking into a party being held on the campus of a private school that is known as (deep breath) Europe’s International Youth-Club Boarding School of Languages. It’s a school that is meant for the young, the rich, and the unburdened. In short, it’s not a place for Miguel at all.

With his face safely hidden behind the smiling image of Disney’s favorite mouse, Miguel meets a young woman who is dancing by herself. She mistakes him for her boyfriend and heads into a nearby bungalow with him. They start to make love but — uh oh! — the mask falls off! The woman screams at the sight of Miguel’s scarred face. Miguel grabs a pair of scissors and stabs her to death while Mickey Mouse’s smiling face smiles on the floor. (One can only imagine how Disney reacted to this film.)

A few years later, Miguel is being released from a mental hospital. He’s released into the custody of his sister, Manuela (Nadja Gerganoff). Miguel’s doctor (played by the film’s director, Jesus “Jess” Franco) says that Miguel should be fine as long as he’s not around anything that reminds him of the incident. Manuela says that she’ll look after him and then promptly takes him back to the school where he committed the murder. What part of not reminding him did she fail to understand?

Manuela does actually have an excuse for bringing Miguel to the school with her, though. She and her aunt, Countess Maria (Maria Rubio), own the school. Countess Maria is an angry, wheelchair-bound woman who is convinced that Manuela wants to kill her so that she can take over the school and it does seem that Manuela does have some hostility towards her aunt. Of course, another reason for bringing Miguel back to the school to live with her is that he and Manuela have an incestuous relationship …. or, at least, they did. Now that Manuela refuses to sleep him, Miguel is reduced to lurking around campus and staring at all the students while they sunbathe topless at the pool. While Manuela stands naked in her room and stares at the moon (the bloody moon?), Miguel is hunched down in the shrubbery and peeping through windows.

Among the students is Angela (Olivia Pascal). Angela is upset because she discovered a dead body but no one’s willing to believe her because she also enjoys reading mystery novels. Angela knows that someone is committing murders on campus but is it Miguel or it is Professor Alvaro (Christoph Moosbrugger) or could it even be the enigmatic Bueno (Otto Retzer), a bald guy who seems to randomly pop up around campus? Can Angela convince her remarkably stupid classmates that there’s a murderer on campus before it’s too late?

Bloody Moon was one of the many films directed by the Spanish auteur and former Orson Welles collaborator, Jesus Franco. In a career that lasted over 60 years, Franco directed at least 173 feature films. (It’s felt that he actually directed quite a bit more, usually under a pseudonym. Franco, himself, claimed that he didn’t really remember how many films he had directed.) As a director, Franco is remembered for his low budgets, his unapologetic embrace of the sordid, his rather casual attitude towards maintaining continuity from one scene to another, and for occasionally framing an interesting shot or two. By his own admission, Bloody Moon was not a personal project for Franco. It’s something that he did for the money, as a director-for-hire. However, Bloody Moon is unmistakably a Franco film. The budget is low. The subject matter is often so sordid that it borders on parody. As far as continuity goes, Angela goes from wearing a nightshirt when she discovers a dead body inside her bungalow to wearing a colorful sweater when she runs outside in a panic. (I guess she could have stopped to change clothes with a dead body on the bed and a killer lurking somewhere in the bungalow but I doubt it. When there’s a dead body on your bed, modesty should be the least of your concerns.) And yet, as silly as it all is, there are moments when Bloody Moon does achieve a certain dream-like intensity. The mix of badly dubbed performers, sudden jump cuts, bloody violence, and the total lack of narrative logic makes Bloody Moon feel a bit like a filmed nightmare. It works despite itself.

Bloody Moon is one of the films that was, for a while, banned in the UK due to its violence and bloodshed. And indeed, there is a lot of blood and the violence is a bit more graphic than what one might expect to find in the American slasher films that Bloody Moon was obviously meant to capitalize upon. This film is notable for just how cruel the killer is. Not even Michael Myers or Jason Voorhees resorted to using a giant radial saw. That said, this is one of those films that has a reputation for being bloodier than it actually is. The majority of the film is taken up with scenes of people wandering around campus, either searching for their friends or stalking a potential victim. Personally, I felt the nonstop searching scenes added to the film’s dreamlike feel but I imagine those who only watch films like this for the kills will find it all to be a bit slow.

Bloody Moon was clearly made to capitalize on the success of American slasher films like Halloween and Friday the 13th. That said, Bloody Moon has more in common with the Italian giallo genre, right down to the whodunit nature of the plot, the ludicrously sleazy motives of the killer, and the total lack of intentional comic relief. Like so many giallo films, Bloody Moon takes place in a world where everyone’s either a victim or a killer and no one’s particularly likable. It’s not one of Franco’s personal films but there’s still enough of his signature style to appeal to his fans. As with most of Franco’s film, it will be best appreciated by those who like a little ennui mixed with their horror.