Originally, we were going to feature an Italian film called Dawn of the Mummy today. It’s the world’s only zombie/mummy hybrid and you guys would have loved it! Or maybe not. I have to admit that I don’t really love it. It’s actually a pretty bad movie but, at the same time, how many times do you get to see a movie that features both a mummy and zombies?
However, last night, the YouTube account that was hosting Dawn of the Mummy was deleted.
AGCK!
So, instead of showing you Dawn of the Mummy, we’re going to show you the original Little Shop of Horrors. It’s true that we featured Little Shop last Halloween but, oh well. It’s a fun little movie, especially when you consider that Roger Corman filmed it in 3 days. Jack Nicholson gets all the attention for playing a masochistic dental patient but I think the best performance is given by flower-eating Dick Miller.
From 1960, enjoy the original (non-musical) Little Shop of Horrors!
(However, speaking of the musical, I was in a community theater production of Little Shop of Horrors when I was 19. I so should have been cast as Audrey but instead, I was just a member of the “ensemble.” Bleh! Anyway, our director showed us the original Little Shop of Horrors and I was the only member of the cast to understand that Corman’s film was superior to the musical version. That said, I still tear up whenever I hear “Somewhere that’s green.”)
I have to admit that I’m not a huge Western fan. In fact, I can probably count the number of westerns that I’ve actually enjoyed on one hand. However, at the same time, those westerns that I did enjoy also happen to be some of my favorite films of all time. When done poorly, a western can be nearly unwatchable. When done right, however, nothing beats a good western.
Case in point: 1966’s The Shooting.
The Shooting tells the story of Willett Gashade (played by Warren Oates), a former bounty hunter who now makes his living a miner. At the start of the film, he returns to his camp after being gone for several days. At the camp, he discovers one man dead, one man missing, and one sole survivor, the good-natured by simple-minded Coley (Will Hutchins). The panicky Coley explains that the camp was attacked by an unseen gunman and says that it was because the missing man had apparently ridden down “a man and a little person” in a nearby town. How any of this relates to the rest of the film is open to interpretation.
For that matter, the entire film is open to interpretation. That’s one reason why I love it.
The next day, an unnamed, black-clad woman (Millie Perkins) appears at the camp. She hires Gashade and Coley to lead her to a town that lies some distance away, on the other side of an inhospitable desert. Gashade is suspicious of the haughty woman but the far more trusting Coley takes a liking to her immediately.
As Gashade and Coley lead the Woman across the desert, there are hints both obvious and subtle that all is not as it seems. The Woman, at one point, demands to be led in the wrong direction. At another point, the woman suddenly shoots and kills her horse. Eventually, the three of them are joined by Billy Spears (played by a young but already sardonic Jack Nicholson), a well-dressed gunman whose sinister smile does little to hide an obvious sadistic streak and who takes a cruel enjoyment out of taunting and bullying Coley. It all leads to a shockingly violent and deliberately enigmatic conclusion that raises more questions than it answers.
As directed by Monte Hellman (one of the best directors of the 60s and 70s), the film is less concerned with conforming to the rigid expectations of the western genre and, instead, uses the genre as a way to explore the American culture of violence. With its cynical dialogue and its stark imagery of a harsh journey through a seemingly endless desert, it’s little surprise that The Shooting is considered to be an existential western.
Fortunately, The Shooting contains a quartet of fine performances that hold the viewer’s interest, even when the story runs the risk of becoming incoherent. Millie Perkins, who made her film debut playing the title role in 1959’s The Diary of Anne Frank, brings an air of genuine menace to the role of the Woman while Will Hutchins provides the movie with a much-needed heart. The main appeal of the film, of course, is to see two iconic actors performing opposite each other and neither Warren Oates nor Jack Nicholson disappoints. Of the two, Nicholson (who co-produced the film with Hellman) has the showier role and he is obviously having a lot of fun playing such an unrepentant villain. Meanwhile, Warren Oates comes across like a hard-boiled film noir hero who has somehow found himself trapped in a western.
Needless to say, with its deliberately obscure storyline and its refusal to provide a traditional conclusion, The Shooting is not a movie for everyone. However, for those willing to take a chance, The Shooting can be a very rewarding film.
“Starring Academy Award nominee Jack Nicholson…” Actually, this film features at least 3 Academy Award nominated performers — Nicholson, Bruce Dern, and Diane Ladd.
2) Cry Baby Killer (1958)
Speaking of Jack Nicholson, here’s proof that even the most iconic stars had to start somewhere. This was Nicholson’s film debut.
3) The Delinquents (1957)
This juvenile delinquent film was directed by Robert Altman, who would later direct films like M*A*SH, Nashville, The Player, Short Cuts, Gosford Park, and The Company.
4) The Cool and the Crazy (1958)
The 50s were a wild time to be a teenager, apparently.
5) The Narcotics Story (1958)
“It’s a story of the young and innocent…” They’re young and innocent only be the standards of the decadent 50s!
6) The Pusher (1960)
And, of course, you can’t have the narcotics story without …. The Pusher!
Last night, I turned over to TCM and I watched the 1968 film Head.
Why Was I Watching It?
Though Head was a notorious box office bomb when it was released in 1968, it has since become notorious as one of the most incomprehensible movies ever made. Every book that I’ve ever read about film or pop culture in the 1960s makes mention of Head. Not only was the film written by a pre-Easy Rider Jack Nicholson, but the film also featured The Monkees literally acting out against their stardom by committing career suicide by appearing the film that was apparently conceived while Nicholson and director Bob Rafelson were tripping on LSD. I’ve read about Head in dozens of books and I’ve seen it described as being “a surreal masterpieces,” “an incomprehensible, pretentious mess,” and “a total head trip of a film.” Having now seen the film, I can say that’s all true.
I do have to admit that before I saw Head, I didn’t know who the Monkees were. Don’t get me wrong — I knew that there was a band in the 60s called The Monkees and I knew that they had their own TV show. Thanks to the fact that The Brady Bunch Movie played on cable for like two months straight earlier this year, I knew which one was Davey Jones. But, that was about it. Even after seeing Head, I’m still not really sure I could tell you which was one was Mickey Dolenz and which one was Peter Tork. I also have to admit that I spent the first half of the film referring to Michael Nesmith as the “Texan with the sideburns.”
Fortunately, I watched Head with two wonderful groups of people on twitter — the TCM Party and the Drive-In Mob. They came together last night and provided a very entertaining live tweet session devoted to the film. Unlike me, they actually knew one Monkee from another and following their tweets helped me survive the film’s rough first half. To all of them, I say “Thank you for the education.”
What’s It About?
That’s not an easy question to answer but I’ll try.
The Monkees jump off a bridge and plunge into the psychedelic waters below but they’re saved from drowning by a bunch of mermaids. This, of course, leads to the four members of the groups finding themselves in scenes from a war film, a boxing film, a western film, and eventually they discover that they’re actually dandruff on the head of actor Victor Mature. Ultimately, they end up wandering around on a studio backlot where they’re menaced by veteran scary actor Timothy Carey and an ominous black box that seems to intent on trapping them. The Monkees react to this by running for their lives, complaining to Jack Nicholson and Bob Rafelson about the script, and telling everyone that they meet that they’re just actors in a film. Eventually, it appears that the Monkees don’t have any options left beyond committing public suicide but Rafelson has other ideas…
What Worked?
If you’re as obsessed with pop cultural history as I am, Head is one of those films that simply you have to see. Even if you find the film to be totally incomprehensible and just a tad bit pretentious, Head is a valuable artifact of its time. Head is a film that could have only been made in the late 60s and it epitomizes everything about the age that produced it. It’s like a cinematic Pompeii.
Now, I have to admit that most of the enjoyment I got out of the first half of the film came more from my own curiosity as a secret history nerd than from the film itself. However, the second half of the film is often times genuinely entertaining. The satire is a bit sharper and the overall theme (i.e., the struggle to maintain your own unique individuality in a world that demands conformity) starts emerge from the film’s mix of surreal images.
For me, the film really picked up with Davy Jones’ performance of Daddy’s Song:
The woman dancing with Davy Jones was Toni Basil, who choreographed all the dance numbers in this film.
Here’s another sequence that I particularly enjoyed. This came towards the end of the film and, as I said on twitter, who doesn’t enjoy a little psychedelic dancing?
What Did Not Work?
While Head had all the virtues of its time, it also had all the flaws. It’s a definite hit-and-miss affair, with the stronger (and occasionally insightful) moments uneasily balanced with plenty of sequences that dragged. As you may have guessed, Head is the type of film that’s brilliant if you’re in the mood for it but it’s rather annoying if you’re not.
“Oh my God! Just like me!” Moments
I would have loved to have been Toni Basil, dancing with Davy Jones in the Daddy’s Song number.
Lessons Learned
Watching Head, I realized that I had discovered this year’s perfect Christmas present. I’m going to get a 100 copies of Head on DVD and give them out to everyone I know. That way, I’ll have an excuse to call everyone up in November and tell them, “Don’t worry, I’m giving you Head for Christmas.” I think, if nothing else, that’ll make me a very popular girl come December.
On Thursday night, my twitter timeline briefly exploded when it was reported that legendary filmmaker Roger Corman had just passed away. I immediately jumped over to Wikipedia and I saw that Roger Corman was officially listed as being newly deceased. Quickly, I jumped back over to twitter and I tweeted, “R.I.P. to one of the most important figures in American film history — the legendary Roger Corman.” I then sent out another tweet in which I pointed out that this meant that two of the men who has played senators in The Godfather, Part II — G.D. Spradlin and Roger Corman — had died this year and within months of each other.
Immediatly, one of my twitter friends tweeted back, “If only real Senators would die as quickly.”
“Agck!” I thought to myself, “how do I respond to that? If I get all offended or humorless, I might lose a follower. If I say yes, that’s a good point, I might end up getting put on some sort of super secret government list…”
Even as I worried about my future as a subversive, I was thinking to myself that the best way I could pay tribute to the late Roger Corman was to devote my next edition of Lisa Marie’s Favorite Grindhouse and Exploitation trailers to his memory. Yes, I decided, the next edition would have be all Corman, a celebration of the man, his life, and his movies…
And then it turned out that Roger Corman wasn’t dead. Turns out that some idiot journalist named Jake Tapper tweeted that Corman was dead and that’s what set off a chain reaction of false assumptions and early tributes. However, Roger Corman is still alive but you know me. Once I get an idea in my head, I have to see it through. Letting things go is not one of my talents.
So, with that in mind, here are 6 trailers in tribute to Roger Corman, who is not dead.
1) The Trip (1967)
In 1967, Roger Corman directed this film in which Peter Fonda plays a tv director who drops acid and ends up having a really bad trip. The script was written by Jack Nicholson and Dennis Hopper plays a random guru guy. Bruce Dern is in it too. As far as drug movies go, The Trip is actually pretty good though it does indulge in some of the standard Renaissance Faire imagery that all movies seem to use whenever attempting to visualize an acid trip.
2) St. Valentine’s Day Massacre (1967)
I recently saw this movie, Roger Corman’s first “studio” film. I have to admit that I thought it was a little bit slow but it had some fun performances and Jack Nicholson gets a memorable cameo where he explains why he dips his bullets in garlic.
3) The Intruder (1962)
In 1962, Roger Corman and William Shatner teamed up to make this look at racism and the people who exploit it.
4) The Raven (1963)
This is one of Corman’s famous Poe films.
5) The Wild Angels (1966)
Peter Fonda again. In this seminal biker film, Fonda again costars with Bruce Dern. Fonda’s girlfriend is played by Nancy Sinatra who, by the way, is one of the few celebs on twitter who will not only follow back but who will also actually respond to her followers.
6) It Conquered The World (1956)
Finally, let’s end things off with some truly old school Corman — It Conquered the World! This was Corman’s 3rd film as a director and his first major success.
Here’s to you, Roger Corman! Thank you for the movies and congratulations on still being with us.
Hi! Good morning and Happy October the 26th! For today’s plunge into the world of public domain horror films, I’d like to present you with a true classic. From 1960, it’s the original Little Shop of Horrors!
When I was 19 years old, I was in a community theater production of the musical Little Shop of Horrors. Though I think I would have made the perfect Audrey, everybody always snickered whenever I sang so I ended up as a part of “the ensemble.” Being in the ensemble basically meant that I spent a lot of time dancing and showing off lots of cleavage. And you know what? The girl who did play Audrey was screechy, off-key, and annoying and after every show, all the old people in the audience always came back stage and ignored her and went straight over to me. So there.
Anyway, during rehearsals, our director thought it would be so funny if we all watched the original film. Now, I’m sorry to say, much like just about everyone else in the cast, this was my first exposure to the original and I even had to be told that the masochistic dentist patient was being played by Jack Nicholson. However, I’m also very proud to say that — out of that entire cast — I’m the only one who understood that the zero-budget film I was watching was actually better than the big spectacle we were attempting to perform on stage. Certainly, I understood the film better than that screechy little thing that was playing Audrey.
The first Little Shop of Horrors certainly isn’t scary and there’s nobody singing about somewhere that’s green (I always tear up when I hear that song, by the way). However, it is a very, very funny film with the just the right amount of a dark streak to make it perfect Halloween viewing.
So, if you have 72 minutes to kill, check out the original and the best Little Shop of Horrors…
Apparently, as I sit here in my underwear and glasses, the Earth is about as close to the moon as it will ever get. Because of that, the moon is huge out in the night sky. Or at least that’s what I’m hearing. It looks pretty normal to me but anyway, this is being referred to as being “Supermoon.” I’m not sure why. If I stood less than an inch from your face, would that suddenly make me Super Lisa?
Of course, a gigantic full moon would bring a werewolf film with it. This is one of the thousand or so biker films to come out in the late 60s and early 70s. These films were interesting mostly from the point of view of how they mixed other genres with the biker conventions. Werewolves on Wheels did it with lycanthrophy.
Actually, since it’s a supermoon, we better include two werewolf-themed trailers. This is for the Werewolf of Washington, starring Dean Stockwell. For some reason, I’ve actually got several copies of this on DVD (I think this is one of those films that somehow found its way into the public domain) but I’ve yet to actually sit down and watch it. I think my hesitation has to do with the fact that it appears to be a political satire and it was made in the 70s. That sounds like a combination for boredom, to be honest.
But before Jack Nicholson could become a hippie, he was a sinister gunman in Monte Hellman’s existential grindhouse western, The Shooting. The Shooting, which co-stars Warren Oates and Millie Perkins, is an unacknowledged classic and a movie that I’m going to have to review one of these days. Perkins, by the way, was married to none other than Dean Stockwell.
And then, 7 years later, Hellman, Oates, and Perkins reunited to make an odd little film called Cockfighter. This is another film I have to review though I also have to say that, as a former country girl who has actually seen a few cockfights, cockfighting is right up there with dogfighting as far as sickening sadism is concerned.*
And, of course, while some people in the south were going to cockfights, others were apparently getting killed by redneck lawmen in films like the ’74 classic, Macon County Line.
In honor of Supermoon, I’m going to include two extra trailers. Seriously, don’t ever doubt that Lisa loves you.
While rural audiences (probably made up of people I’m distantly related to) spent 1974 cheering police brutality and animal cruelty, urban grindhouse audiences were enjoying films like this one.
Finally, since we’re under a supermoon, here’s the trailer for Jesus Franco’s infamous (and frequently banned) slasher Bloody Moon. I haven’t seen Bloody Moon (copies aren’t that easy to find) but seriously, the involvement of Jesus Franco tells me all I probably need to know.**
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*If you’ve got a cock, use it to spread love, not hate.
** Well, we’ll see about that. I just ordered a copy off of Amazon.
Through the Shattered Lens 