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Night Gallery: A connoisseur selection of bloody, gruesome & sexy Giallo and horror movie posters
09:58 am



7 Deaths in the Cat’s Eyes  (Italy/France/West Germany, 1973)    d. Antonio Margheriti     Italian 4F Manifesto     55x78

You may recall last month, when—against my better instincts as a collector of these things—I recommended my new favorite online movie poster shop, the Los Angeles-based Westgate Gallery. Why spoil one of the least picked-over bastions of high-end movie posters on the entire Internet for myself, right? Well anyway, I did share it with our readers and apparently y’all turned out in force and picked the place clean.

But fear not, Westgate’s deeply knowledgeable self-described “poster concierge” Christian McLaughlin has unleashed over two hundred new sophisticated eye-popping wall coverings for your perusal and purchase. He obviously had to turn over a lot of rocks (many of them in Italy, from the looks of things) to find posters like the ones you see below. Trust me, you can search through eBay for thousands of pages—I do it all the time—and not find the gold like this passionately persistent and proficient poster prospector can.

And right now—as in right now and for the next seven days only, there is a 30% off Halloween sale—every item in stock—going on at the Westgate Gallery. Just enter the discount code HFS30 at the checkout.

Here’s a selection of some of the best from the latest crop of rare posters at Westgate Gallery...

Slasher Is the Sex Maniac  (Italy, 1972)  d. Roberto Montero     Italian 4F Manifesto       55x78

Jack the Ripper   (Switzerland/West Germany, 1976)    d. Jess Franco     Italian 2F Manifesto   39x55
Many, many more after the jump…

Posted by Richard Metzger | Leave a comment
‘Mad Max: Fury Road’ is astonishing in black and white and you can ALREADY watch it on Amazon!
01:03 pm


Mad Max Fury Road

With just about zero fanfare, one of the most magnificent of movies ever made has appeared in the past 24 hours on Amazon in a previously unreleased version that is astonishing. The black & white (aka “black & chrome”) incarnation of Mad Max: Fury Road—which director George Miller considers the “best version”—is already streaming on Amazon as you read this. The theatrical release isn’t until Nov. 1 and the Blu-ray box will come after that, so this is quite a surprise.

You must see it. It takes the already masterful film to places that make it a fresh and thrilling viewing experience, elevating the film in ways that actually surpass the color version. Like mono versions of records that sound more present than their stereo counterparts, MM:FR has an in-your-faceness that is searing in its detail and dimension. The geometry of space in MM:FR is a hyper-real b&w dream world that recalls Cocteau, Fritz Lang and Bergman. Can a black and white movie be psychedelic? Absolutely!

When I first reviewed Mad Max: Fury Road in May of 2015 I described it as…

“... a surreal universe as beautifully imagined as those of Alejandro Jodorowsky and Moebius’s concepts for their ill-fated Dune project. And there’s more than a little of Terry Gilliam’s dreamy machinery in the mix. There’s not a frame in the movie that isn’t ravishing and filled with intricate and startling details. Every widescreen landscape is alien and yet familiar. As if David Lean’s T.E. Lawrence had wandered into some post-apocalyptic Arabia.

MM:FR doesn’t achieve its epic grandeur and high powered velocity with bigger and better toys or special effects (though it does have that), it does it through sheer cinematic brilliance. This is a movie that doesn’t feel like it was composed in a computer and it doesn’t look like a series of video game cut scenes. MM:FR feels alive, palpably real, organic, crafted. It draws you in in ways that today’s special effects films generally don’t. The distancing effect of CGI is minimal. The scale of the movie is both epic and intimate. Astonishingly magical and deeply human. The poetry is in the motion. This is a moving picture in every sense of the word.


So a film I loved when I first saw it (in both the 2D and 3D versions) is now a movie I rank among the greatest black and white films of all time. If you love the b&w gorgeousness of Jean Cocteau’s Beauty And The Beast, Fritz Lang’s Metropolis and Martin Scorsese’s Raging Bull then you’ll swoon over this new take on Mad Max: Fury Road.

I agree with George Miller when he says “something about black and white, the way it distills it, makes it a little bit more abstract. Something about losing some of the information of color makes it somehow more iconic.” Black and white is not how we see the real world. It is automatically otherworldly. It is a subtraction that can heighten the way an image is perceived. There is something essential about black and white - shapes and geometry are pushed to the foreground and beyond that is shadow. Imagine seeing Ingmar Bergman’s “The Seventh Seal” in color. Would it be as haunting? Would it be as vivid? I think not.

More after the jump…

Posted by Marc Campbell | Leave a comment
For Sale: The Private Life of Marilyn Monroe

This is what it comes to when we die: a wardrobe full of clothes, shoes, some scattered notes, several albums of photographs and a few good memories to be shared by others.

When Marilyn Monroe died on August 5th 1962, she left behind a shitload of personal effects from which we can learn more about her private life than any biography or old movie magazine interview could ever reveal. This November, Julien’s Auctions are selling some of Marilyn’s personal belongings from the collections of David Gainsborough-Roberts, the estate of Lee Strasberg and the estate of Frieda Hull. The lots up for grabs include clothes, costumes, jewelry, photographs, memorabilia, private journals, and poetry.

Julien’s shortlists the sale as follows:

Highlights from Marilyn Monroe Property From The Collection of David Gainsborough-Roberts include a sheer black beaded and sequined dress worn by Monroe in her Golden Globe winning role Sugar Kane as she crooned “I’m Through With Love” in the award winning 1959 film Some Like it Hot; an elaborate embellished stage gown worn by Monroe as she sang “After You Get What You Want You Don’t Want It” in the 1953 comedy There’s No Business Like Show Business which was designed by one of Marilyn’s all-time favorite designers, William Travilla; a pink linen halter wiggle dress designed for Monroe by Dorothy Jenkins for the 1953 thriller Niagara

The Marilyn Monroe Property From The Estate of Lee Strasberg collection includes one of just a few pieces of fine jewelry ever owned by Monroe: a ladies platinum and diamond cocktail watch with movement reading “Blancpain, Rayvill Watch Co. 17 Jewels, Unadjusted Switzerland.” Other highlights in this collection include a beautiful 1950’s brown alligator ladies handbag from I. Magnin & Co. with matching accessories; a grey pony handbag from Mexico still containing three one peso bills; a number of other handbags, fur coats and stoles; a stunning ladies minaudière with the original box, featuring multiple compartments containing loose powder with cotton buffer, mirror, comb, two mercury dimes, eight Phillip Morris cigarettes and a tube of used Revlon lipstick in “Bachelor’s Carnation” with a date of 1947, a virtual time capsule of one of the star’s nights out on the town.

Déjà vu Property From The Life and Career of Marilyn Monroe includes personal items originally sold at Christie’s 1999 and Julien’s Auctions’ 2005 Property From The Estate of Marilyn Monroe auctions and other consignors.

Among these incredible treasures are many of Marilyn’s intimate writings which reveal her frustrations with acting, her fear of being unable to love another, and various poems including one which might be about suicidal feelings:

Stones on the walk,
every color there is
I stare down at you
like a horizon
The space—air is between us beckoning
and I am many stories up
my feet frightened
as I grasp towards you.

The auction takes place over three days on November 17th, 18th and 19th, Los Angeles in what would have been Marilyn’s ninetieth year. View the catalogs here and full details of the auctions here.
More Marilyn Monroe memorabilia auction, after the jump…

Posted by Paul Gallagher | Leave a comment
Terrifying bust of Bette Davis as the diabolical ‘Baby Jane Hudson’
10:56 am


Bette Davis
Daniel Horne

A resin-based bust of actress Bette Davis as ‘Baby Jane Hudson’ from the 1962 psychological thriller, ‘Whatever Happened to Baby Jane.’
If you happen to be as terrified of Bette Davis’ portrayal of the unforgettable “Baby Jane Hudson” from the 1962 film Whatever Happened to Baby Jane? as I am, then the news that you can own a shockingly life-like resin bust of Davis as Hudson might send you off to hide under the bed. However if you dig the idea of Baby Jane’s menacing mug staring at you disapprovingly while her signature bright-red evil pout glistens in the sun, then this is your lucky day.

According to painter, sculptor and doll maker Daniel Horne’s official site his startling hand-painted resin reproduction of “Baby Jane” is now back in stock and can be yours for $500. Horne has created other equally terrifying versions of this character in the past but for my money his most recent vision is an absolutely sinister slam dunk.

If you’re already shouting “shut up and take my 500 hundred smackaroos” here’s the link to purchase Horne’s maniacal “Baby Jane” bust. It also comes with her shabby dressing gown.

An older rendition of ‘Baby Jane Hudson’ by Daniel Horne.
More after the jump…

Posted by Cherrybomb | Leave a comment
Now you can own a giant six-foot Godzilla statue for only $40K!
10:21 am



An image of the 6’4” statue of ‘Godzilla’ by Bandai along with an actual human to illustrate scale.
This massive Godzilla statue was modeled after the irritable Tokyo-stomping version of Godzilla that went up against King Ghidorah in the 1991 film Godzilla vs. King Ghidorah. Standing approximately 6’4” only ten of these incredible statues were made by Japanese toy giant Bandai.

According to the site Famitsu this latest Godzilla collectible is the largest reproduction of the monster ever made (outside of the 22-foot Godzilla statue that was erected in Tokyo this past summer). The giant Godzilla was based on the detail from a scan of the original 12-inch Godzilla created by one of Japan’s master “Kaiju” (or “monster”) sculpture artists Yuji Sakai. Sakai himself oversaw the entire production in excruciating detail. The piece was painted by hand as well as airbrushed in an effort to produce as “realistic” a Godzilla as possible. The ten “life-sized” Godzillas will go on sale here on November 7th and will be available until January 10th, 2017 or until they are gone.

As noted in the title of this post each figure is going to run you 4,150,000 yen or $39,967 U.S. dollars plus shipping. Damn. Images of the massive (and spendy) Godzilla follow.


More after the jump…

Posted by Cherrybomb | Leave a comment
Stray Cat Beat Girl: Meet the electrifying ‘Aretha Franklin’ of Japan, Akiko Wada
10:40 am

Pop Culture

Akiko Wada

Akiko Wada.
The arrival of the “beat girl” archetype in Japanese culture back in the 60s came with numerous girl rockers taking the helm of bands, cranking out garage rock sounds and pop-inspired hits some of which would go on to sell more than a million copies (such as the 1965 smash sung in English by Emy Jackson “Crying in a Storm”). Of the many that were a part of this movement, one of the most notable was a woman often referred to as the “Japanese Aretha Franklin,” Akiko Wada.

Born Akiko Iizuka (according to her website) to Korean parents, she soon adopted her maternal uncle’s name (Wada) and started skipping school (before dropping out of high school entierly) to enjoy the nightlife of Osaka. At the age of seventeen she had added “runaway” to her growing rebellious teenage resume after a trip to Tokyo. Wada’s “look” was perceived as “unconventional” even during her childhood. In elementary school Wada was already over five-feet tall and by the time she stopped growing she stood approximately 5’9. Not only did Wada sound more like a man she was also taller than most of her male counterparts on the hit parade. Due to her unique looks and vocal style she was often referred to as being “butch.

It’s important to note here that being labeled as “butch” is a distinct inference of homosexuality. And being gay in Japan isn’t merely frowned upon, it is also considered an “unacceptable” lifestyle (though there has been some progress over the last two decades). Despite assumptions regarding her sexuality Wada has been married to a man (photographer Koji Iizuka) for the past 35 years.

Wada would embark on her recording career in 1968, singing on an astronomical number of records (somewhere in the neighborhood of 70 singles) since the release of her first single “Hoshizora no Kodoku” (“The Solitude of the Starry Sky”). Fast-forward to 2016 and the unstoppable Wada shows no signs of slowing down. Her latest release “All Right!!!” came out in July of this year—three months after her 66th birthday.

Wada also appeared in a few memorable films, a few which audiences outside of Japan may be familiar with such as the 1970 Japanese chick biker-flick (the first of the long-running franchise) Alleycat Rock: Female Boss where Akiko gets to play the cycle-riding biker girl “Ako.” Wada would reprise the role of “Ako” in the follow-up film, Stray Cat Rock: Wild Jumbo. Wada has also hosted her own TV show, Akko ni Omakase (“Leave It To Akko”), as well as a radio show DJ Akko No Panic Studio. I’ve included a number of cool tracks from Wada’s vast catalog for you to listen to below and the groovy trailer for Stray Cat Rock: Wild Jumbo (which was lovingly remastered back in 2014 by Arrow Films) that features Wada looking larger than life, rocking out in a sweet brown pantsuit.

The trailer for the 1970 film ‘Stray Cat Rock: Wild Jumbo’ featuring Akiko Wada.
More Akiko Wada after the jump…

Posted by Cherrybomb | Leave a comment
‘Private Property’: Kinky, sexually tense—and long lost—film noir thriller gets rediscovered
10:33 am


Warren Oates
film noir
Private Property

Private Property
The 1960 independent feature, Private Property, is a rarely seen, sexually tense thriller. Anyone who digs film noir, crime dramas, or vintage indie flicks is going to want to see this movie. Believed to have been lost for the ages, a 35mm print has been found and restored, so, lucky you, now you’ll have a chance to see it, as it’ll be released this week on home video for the first time.
Private Property - title card
Private Property is the work of writer/director, Leslie Stevens (he’d later create the sci-fi horror series, The Outer Limits). Shot in just ten days on a minuscule budget, the movie is a critique of classism and bourgeois suburban life. It’s also a beautifully photographed exploitation film. Stevens’ cast his own spouse, Kate Manx, as the doting ‘50s housewife Ann, and the majority of the picture was filmed on location at or near their Beverly Hills home. Much of the story takes place while the sun is blaring, but when the night comes, those same areas are transformed into creepy, shadowy settings.
Boots and Duke
Corey Allen and Warren Oates play criminal drifters, Duke and Boots. Allen worked primarily in TV, but will be familiar to many as Buzz, the lead delinquent in Rebel Without a Cause (1955). Oates is now remembered as one of Hollywood’s great character actors, having appeared in such revered pictures as The Wild Bunch (1969), Two-Lane Blacktop (1971), and Bring Me the Head of Alfredo Garcia (1974).
Duke and Boots
Though we know next to nothing about the backgrounds of Duke and Boots—factors that contribute to the ubiquitous tension in Private Property—it is clear from the get-go that Duke calls the shots. During a conversation early in the film, Boots admits to being a virgin, and Duke promises to find him a “twitch”. The first woman they spot is Ann, and they begin following, tailing her to the home in the hills she inhabits with her square husband, Roger. From there, Duke and Boots begin spying on her from a nearby vacant house, with the movie’s audience complicit in their voyeurism.
Duke then hatches a long game strategy to seduce Ann and pass her off to Boots. Duke, in his relentless, yet cool pursuit of Ann, exhibits such sociopathy that Donald Trump would praise him for his powers of skillful manipulation. Brilliantly portrayed by Allen, such a character is often seen as a heartless, one dimensional creature, but as Duke’s wicked plan to ensnare Ann progresses, there are hints that he is falling for her.
Duke and Ann
Kate Manx gives a nuanced performance as the lonely lady of the house. Ann is generally a cheerful person, but there is a discernible sadness that is just below the surface. Her husband, Roger, is frequently absent, and when he is around he callously disregards her frequent overtures for sex (“wife noises,” he calls them). She is faithful to her spouse, yet has been so deprived of tenderness and physical intimacy that she is seduced by the smarmy Duke, which challenges her morality. Knowing that Manx would commit suicide (in 1964, shortly after her divorce from Stevens), one can’t help but feel a heightened compassion and anxiety for the vulnerable Ann. The actress would star in just one other film—another written and directed by Stevens, in which Oates also appears—Hero’s Island (1962).
Warren Oates isn’t on screen as much as Allen and Manx, but he too shines here. Like Ann and Duke, Boots is a complex individual. He’s dopey, but not dumb; vicious, yet sensitive. He says he wants to be with a woman, but he may be a homosexual. Boots is actually the loneliest soul in the picture. For much of Private Property, he’s on the outside looking in.
Outside looking in
Late in the film, Boots gazes lovingly at Duke (in a blink-and-you’ll-miss-it moment), revealing he thinks of his partner in crime as more than just a buddy. As is the case with Ann, Boots needs Duke in a way that society will not accept, his confusion over who he thinks he’s supposed to want made clear in the riveting finale.
In many ways, Private Property was ahead of its time, especially in regards to the Ann character. Her descent into moral ambiguity, as well as her obvious—and at times kinky—sexual desires (in one scene, she drapes Duke’s belt around her neck and tightens it), were progressive components in Hollywood movies at that time. Not too mention the sexual tension between Duke and Ann that is so intense it threatens to boil over into your popcorn. The Motion Pictures Association deemed Private Property “unacceptable” due to, among other things, its overt depictions of “lust,” and was subsequently denied the MPA’s Production Code seal. In a few years, cutting edge films like Who’s Afraid of Virginia Wolf (1966) and Bonnie and Clyde (1967) would lead to the creation of a more modern ratings system, but it was too soon for Private Property. Even Manx’s “overly suggestive postures” rattled the conservative censors.
Overly suggestive posture
Without the all-important seal, Private Property was effectively doomed to obscurity. Passed over by major distributors, it was released by the independent Kano Productions in the spring of 1960, before quietly vanishing. Though lost for decades, a 35mm print was recently discovered by the UCLA Film & Television Archive and restored by Cinelicious.
More after the jump…

Posted by Bart Bealmear | Leave a comment
Peter Murphy stars as ‘The Dead’ in the experimental Super 8 film ‘The Grid,’ 1980
09:53 am


Peter Murphy

The VHS release of The Grid (via Tumblr)
In 1980, the animator Joanna Woodward (a/k/a JoWOnder) cast her boyfriend Peter Murphy in a short film called The Grid. Now I know it’s hot on planet Earth, but goddammit! If In The Flat Field-era Peter Murphy playing a character called “The Dead” doesn’t put you in the holiday spirit, then maybe somebody’s forgotten the true meaning of Halloween.

Here are JoWOnder’s own notes about her movie, which she says was projected at Bauhaus shows in the 80s. I wish she explained what T.S. Eliot is doing on the soundtrack. Typos are hers.

A story about a time traveler and the search for the first cell of one’s existence. ‘The Dead’, played by Peter Murphy searches for and finds a ‘Grid’ which enables him to watch the beginning of his life -from the moment of conception.

Tip: For a better picture view: watch using the ‘Full Screen’ Option.

Filmed when, when Peter was the boyfriend of Joanna Woodward in the 1980’s, on Super 8 Film Format. This copy has been taken by Jo from the VHS which Peter sold copies of on his, 2000, international Just for Love tour. (The original a clear picture Super 8 copy having been mislaid).

The Grid, movie toured with Bauhaus and was projected on stage in the 1980s. Jo says;’ that she was much more interested in fine art and not so much commercial art or popular music. Punk was predominant at that time and it was quite common for things to get ‘gobbed at’ as a sign of appreciation.’

The closing music here is Subhanallah by Peter Murphy however, the original concluding music track, for The Grid was Kate Bush, Lion Heart. Jo finds both concluding music tracks satisfying however, the Kate Bush track was intended to echo the opera music earlier in the film and the female ‘creator of life’ bursting through. The film’s main soundtrack Jo devised herself on a synthesizer with live playing of a recorder. The tiny sound of ‘clicks’ that can be heard are, literally the sound of switching on and off equipment as she recorded live to the film picture with an open microphone.

Watch ‘The Grid’ after the jump…

Posted by Oliver Hall | Leave a comment
‘The Witch’ movie playset for kids!
09:48 am


The Witch

Somehow I missed this delightful The Witch playset for kids created by Playnnobil and featured on Millionaire Playboy. It was “released” to the Internet back in March and is based on Robert Eggers’ 2015 historical period horror flick The Witch (or The VVitch if you prefer). Dig his Black Phillip figure!

I had mixed emotions about The Witch. While I thought that it was very beautifully shot, and well-acted, it just didn’t scare the pants off me the way movie critics (and seemingly everyone on Facebook) promised it would. More “arthouse flick” as opposed to something truly terrifying, like say The Descent.

I don’t know, but I thought that it could’ve been a lot scarier. That’s just me. I kept waiting and waiting for something to happen, but by the time it finally did it just felt too late. If you haven’t seen it yet, I won’t give anything away. Again, what do I know, it could make for a good, spooky October film for you and yours. You might love it. Many people did. There were several haunting elements of the film that stayed with me, but I can’t honestly recommend The Witch but tepidly.

Anyway, I can appreciate the artistry, of both the film and this cool PLAYMOBIL-themed playset! If you want to know more about Playnnobil’s thoughts about his creations—and the source of his inpiration—go here. There aren’t too many spoilers.


More after the jump…

Posted by Tara McGinley | Leave a comment
Behold the wonders of ‘The Simply Divine Cut-Out Doll Book’
01:50 pm



Seventy-one years ago today, Harris Glenn Milstead was born at the (appropriately named?) Women’s Hospital in Baltimore, Maryland. Decades later, after a potent handful of John Waters movies and who knows how many disco singles, we celebrate perhaps the greatest diva the world has ever known—as Divine.

It’s amazing to think that Divine appeared in only thirteen movies in all those years. Thirteen! At least that’s how IMDb has it. I find that absolutely amazing. You could easily argue that on a per-minute basis, Divine had the biggest impact on audiences in movie history. Who would rate higher, Rob Reiner’s mother?

Much like Groucho Marx, Divine’s characters always had the best names, from Francine Fishpaw (Polyester) and Dawn Davenport (Female Trouble) to Babs Johnson (Pink Flamingos) and Edna Turnblad (Hairspray).

In 1983 Van Smith, who did make-up and costume design for most of Waters’ movies, released The Simply Divine Cut-Out Doll Book. Today it’s out of print, and is listed on Amazon for more than $300, although a typical asking price is closer to $125. However, you don’t need the book to soak in the bumptious appeal of Divine, we’ve got several pics from it right on this page.

More pics after the jump…...

Posted by Martin Schneider | Leave a comment
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