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‘20th Century Toy’: Behold the glam-rock glory of this customized ‘Marc Bolan’ Lambretta scooter
05.02.2016
12:30 pm

Topics:
Heroes

Tags:
Marc Bolan
T. Rex
Lambretta scooter

Danielz, the vocalist for the T. Rex tribute band, T.Rextasy sitting on the customized Marc Bolan Lambretta scooter
Danielz, the vocalist for the T. Rex tribute band, T. Rextasy sitting on the customized Marc Bolan Lambretta scooter.
 
In May of 2012, this vintage, customized Lambretta scooter plastered with images of T. Rex frontman, Marc Bolan sold for a whopping $17,372.22 in an Ebay auction. And once you see the images of said scooter, you’ll understand why.
 
The customized
Customized Marc Bolan Lambretta scooter.
 
Made in Italy, this model of Lambretta (a “TV 175” according to the listing) was manufactured in 1964. The seller, who aptly dubbed the tricked out ride “20th Century Toy,” completely rebuilt the engine before a team of experts “glamified” the scooter in nearly every possible way. Such as the addition swan-shaped mirrors, the modification to the Lambretta’s handlebars that include an engraved nod to T. Rex’s smash from their 1972 album The Slider, “Metal Guru,” as well as the brake & clutch levers which were cleverly fashioned into Gibson “Flying V” guitars. Bolan was fond of using the Gibson Flying V during the 1970s, and one owned by the “Jeepster” himself sold for $36,000 at a Christie’s “Pop Memorabilia” auction in 2007.

More photos of what possibly may be the coolest scooter ever, follow.
 

 

 
More after the jump…

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Frank Zappa and the Mothers of Invention get caught up in a German student riot, 1968

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1968 was a year of great political unrest across Europe. The psychedelic summer of love had quickly faded—replaced by angry students hurling cobblestones at police in Paris or instigating loud and bloody demonstrations against the Vietnam War in London. It was against this background that Frank Zappa and the Mothers of Invention paid their first visit to Germany on the band’s second tour of Europe. The trip to Germany was to prove memorable for two very different reasons.

Firstly on October 6th, 1968: Zappa and co. appeared on Beat-Club where they jammed through a superb set of tracks including “King Kong,” “A Pound For A Brown On The Bus,” “Sleeping In A Jar” and “Uncle Meat”—all of which would appear on the band’s next album Uncle Meat. There was also an instrumental version of “Let’s Make The Water Turn Black”—from We’re Only in It for the Money; an early attempt at “Prelude To The Afternoon Of A Sexually Aroused Gas Mask” and some interesting takes on Richard Wagner’s prelude to act three of Lohengrin and Edgard Varese’s piece for a small orchestra Octandre. All jolly stuff and very agreeable too.

However, any youngsters catching the Mothers on tour at this time may have been fooled into thinking Zappa was the ringleader of some revolutionary collective—which leads us dear reader on to our second reason this was such an interesting occasion..
 
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The Mothers 1968—Ron Kroon / Anefo / Nationaal Archief.
 
A week after their appearance on Beat-Club Zappa and the Mothers played one of Hitler’s old stomping grounds, the Sportpalast in Berlin. It was here Zappa was approached by a group of young German radical students who—depending on which book you read or version you hear—either wanted their pop idol to demand the release of Fritz Teufel—founder of the radical group Kommune 1 who was currently under arrest; or to denounce capitalism from the stage that very night; or show his support for the imminent glorious socialist revolution or wanted they wanted Zappa’s help with their plans to riot for a “socialist education policy.” Take your pick.

Having witnessed the Civil Rights movement in America, Zappa was none too impressed by these grievance hungry students, who had mistakenly taken their cue from the length of the Mothers’ hair and Zappa’s subversive songs that he and they would willingly sign on to the student demands. Understandably, Zappa said “nope” or perhaps he said “nein.”

Undeterred, the students demanded Zappa to order the audience at that night’s concert to go out and set fire to the Allied Command Building on Potsdamer Strasse. Again and none too surprisingly Zappa said “no.” The students felt doubly betrayed.

They soon made their disappointment known at the gig that night when these red kerchiefed malcontents bombarded the stage with vegetables and blasted air horns. The Mothers carried on regardless, as Zappa later recalled:

We had to play a two hour show in the middle of all this bullshit. And these guys were out there stomping around and throwing stuff and the people on the bandstand are getting hit with hard vegetables, you know, cucumbers [laughter]. Squash. you know they really hit you like a rock up there. And they were throwing eggs, and cherry bombs. And then they grabbed this big fence, like a restraining device to keep the audience away from the performers at those events. It was made out of pipes this big around with a chain link fence in between and concrete feet. And about thirty of them picked it up and tried to throw it on stage, which would have killed both of our drummers by pinning them against the amplifiers, you see.

So our manager Herbie [Cohen] and this German promoter Fritz Rau caught it in mid air and threw it back on them. And then this other guy charged the stage and Herbie put his foot through his face. And then they kept on throwing things, and then they kept on trying to get up onto the stage. We kept pushing these guys back—and we’re up there humming and strumming…[laughter] and it was really a very unusual situation.

So then we had to take an intermission, see. We left the stage after an hour of fun and merriment. And during that time the ordinaries, that the local promoter had hired to keep everything under control at the hop thought that we had run off, so they ran away. And when they ran away, about a hundred of these kids went up onto the stage and started stomping all over our equipment.

So we come back from intermission, and here’s all these people milling around on stage. They don’t even know why they’re there. They look like cows. They’re standing there like this. But they’re standing, you know, on drums, and they’re knocking things over, and a few of the guys had stolen small pieces of equipment and disappeared into the audience. They were just making a lot of noise and standing around. Just completely blank. They don’t even know what their revolution is about.

So we started pushing them off the stage. We started putting our equipment back together. We got the PA system working. And I gave them a speech for about 15 minutes, wherein I discussed the possibility that they were acting more like Americans than anything I’ve ever seen. And that pissed them off. And they’re out there yelling “Revolution, Revolution”—and I’m saying “You people need evolution, not revolution.”

And they said, “No take it back you’re the Mothers of Reaction.” And I told them they were [beeped], and they understand English. I told them whether they liked it or not we were going to continued to play the second half of the program. So gradually they shut up, and they sat down. The only thing that happened during the second hour was one cherry bomb on stage.

And we had played about 45-50 minutes, and we were into a long instrumental piece, which was going to be our closing number, and I’d reduced the volume of the tune so that I could say goodnight to the nice German people. At which point the student leader with the red rag around his neck comes running up on stage and grabs the microphone and starts raving in German. I just knew he was telling these people, “I’ve got the matches come with me.”

So we played real loud so nobody could hear what he was saying. Two people were taking the instruments off the stage, you know piece by piece pulling things away until it was just me and the organist left on stage playing one full-volume fuzztone loud ugly note that was just going BLAAAAAH.

And it was the only thing that kept people back off the stage, ‘cause they kept trying to get up onto the stage and this noise would hit them and they’d go ...

Finally, when they got all the drums and all the rest of the stuff out of the way, we just unplugged and split off the stage. And they all came milling back up there. And they looked around and they didn’t know why they were on stage again. That’s Germany today.

Zappa later wrote about it all in the song “Holiday In Berlin”:

Look at all the Germans
Watch them follow orders
See them think they´re doing
Something groovy in the street.

See the student leader,
He´s a rebel prophet
He´s fucked up
He´s still a Nazi
Like his Mom and Dad.

Cheap shot, maybe. That’s what happened in Berlin.

After the jump Frank Zappa and the Mothers of Invention perform a fantastic improvisational set on ‘Beat-Club’...

Posted by Paul Gallagher | Leave a comment
That time Jack Kerouac asked Marlon Brando to make a movie of ‘On the Road’ 1957
04.27.2016
11:55 am

Topics:
Books
Heroes
Literature
Movies

Tags:
Jack Kerouac
Marlon Brando

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It’s fair to say most writers would like a movie made of their books—it’s a way of reaching a far greater audience and pegging a stake on fame, fortune and celluloid immortality. To this end, some writers often dream up a cast list of their favorite actors who they think are best suited to play the fictional characters they’ve created. Though of course this rarely happens as box office clout always beats artistic sensibilities when it comes to casting.

In September 1957, Jack Kerouac’s novel On the Road was published to great and immediate acclaim. Film studios clamored to option the book. Warner Brothers expressed an interest as did Paramount, but Kerouac had his own ideas.

The Beat author wanted Marlon Brando to make a movie of On the Road. He thought Method actor Brando was perfect for the central role of Dean Moriarty. Kerouac was ambitious enough to consider himself for the role of his fictional alter ego and Moriarty’s sidekick Sal Paradise. Brando was a hot property. He was considered perhaps the greatest actor of his generation and had been nominated five times for an Academy Award—winning one for his performance in On the Waterfront in 1954. It was a big ask, but Kerouac was hopeful.

“Dear Marlon,” his letter began:

I’m praying that you’ll buy ON THE ROAD and make a movie of it. Don’t worry about the structure, I know to compress and re-arrange the plot a bit to give a perfectly acceptable movie-type structure: making it into one all-inclusive trip instead of the several voyages coast-to-coast in the book, one vast round trip from New York to Denver to Frisco to Mexico to New Orleans to New York again. I visualize the beautiful shots could be made with the camera on the front seat of the car showing the road (day and night) unwinding into the windshield, as Sal and Dean yak. I wanted you to play the part because Dean (as you know) is no dopey hotrodder but a real intelligent (in fact Jesuit) Irishman. You play Dean and I’ll play Sal (Warner Bros. mentioned I play Sal) and I’ll show you how Dean acts in real life, you couldn’t possibly imagine it without seeing a good imitation. Fact, we can go visit him in Frisco, or have him come down to L.A. still a real frantic cat but nowadays settled down with his final wife saying the Lord’s Prayer with his kiddies at night… as you’ll see when you read the play BEAT GENERATION. All I want out of this is to be able to establish myself and by mother a trust fund for life, so I can really go roaming around the world writing about Japan, India, France etc… I Want to be free to write what comes out of my head & free to feed my buddies when they’re hungry & not worry about my mother.

Incidentally, my next novel is THE SUBTERRANEANS coming out in N.Y. next March and is about a love affair between a white guy and a colored girl and is a very hep story. Some of the characters in it you know in the Village (Stanley Gould etc.) It easily could be turned into a play, easier than ON THE ROAD.

What I wanta do is re-do the theater and the cinema in America, give it a spontaneous dash, remove pre-conceptions of “situation” and let people rave on as they do in real life. That’s what the play is: no plot in particular, no “meaning” in particular, just the way people are. Everything I write I do in the spirit where I imagine myself an Angel returned to the earth seeing it with sad eyes as it is. I know you approve of these ideas, & incidentally the new Frank Sinatra show is based on “spontaneous” too, which is the only way to come on anyway, whether in business or life. The French movies of the 30’s are still far superior to ours because the French really let their actors come on and the writers didn’t quibble with some preconceived notion of how intelligent the movie audience is, they talked soul from soul and everybody understood at once. I want to make great French Movies in America, finally, when I’m rich… American theater & Cinema at present is an outmoded dinosaur that ain’t mutated along with the best in American Literature.

If you really want to go ahead, make arrangements to see me in New York when next you come, or if you’re going to FLorida here I am, but what we should do is talk about this because I prophesy that it’s going to be the beginning of something real great. I’m bored nowadays and I’m looking around for something to do in the world, anyway — writing novels is getting too easy, same with plays, I wrote the play in 24 hours.

Come on now, Marlon, put up your dukes and write!

Sincerely, later, Jack Kerouac

 
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This letter was only discovered after Brando died in July 2004. Helen Hall was tasked by auction house Christie’s to visit the actor’s home on Mulholland Drive in Los Angeles and select property to include in an auction of his estate.

Hall spent around ten days at Brando’s house sifting through his personal effects “with a fine tooth comb.”  The most valuable thing she had found was an annotated copy of Brando’s script for The Godfather tucked away with all his other movie memorabilia in a bunker in the garden. Hall thought this was the best she would find. On her tenth day at the house, Hall and her team searched through the very last room on their list—Brando’s office.

Continues after the jump…

Posted by Paul Gallagher | Leave a comment
Can’t look away: Go behind the scenes of films by Dario Argento, John Carpenter, Tobe Hooper & more

Dennis Hopper and Tobe Hooper on the set of The Texas Chainsaw Massacre 2
Dennis Hopper (dressed as his character ‘Lt. Boude “Lefty” Enright’) and director Tobe Hooper on the set of the 1986 film, ‘The Texas Chainsaw Massacre Part 2’.
 
As I know many of our Dangerous Minds readers are also fans of movies that curdle even the blackest of blood-types, I’m sure that you will enjoy ogling these “behind the scenes” shots from some of my favorite horror films like Dario Argento’s Suspiria, the second installment of Tobe Hooper’s Texas Chainsaw franchise, The Texas Chainsaw Massacre Part 2 (that features a chainsaw-wielding Dennis Hopper, pictured above), and the films of the great John Carpenter, among others.
 
Dario Argento goofing around on the set of his 1977 film, Suspiria
Dario Argento goofing around on the set of his 1977 film, ‘Suspiria.’
 
Images of Dario Argento not being laser-serious for a change on set (pictured above), to candid photos of actors hanging out during their downtime still dressed like their gory characters, as well as amusing shots of FX master, Tom Savini in action happily creating fiends that have frequented your nightmares for the last few decades, follow. That said, some of what you’re about to see should be considered NSFW. But you knew that the minute I said “chainsaw massacre,” right?
 
Director John Carpenter with P.J. Soles and John Michael Graham on the set of Halloween, 1978
Director John Carpenter with P.J. Soles and John Michael Graham on the set of ‘Halloween,’ 1978.
 
More after the jump…

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Behold the ‘holy grail’ of fashion: Adult onesie features the many faces of Steve Buscemi
04.22.2016
09:35 am

Topics:
Amusing
Fashion
Heroes
Movies

Tags:
Steve Buscemi
onesie

Steve Buscemi adult-sized onesie
Steve Buscemi adult-sized onesie by ‘RageOn.’

If the title of this post just made your day, like it made mine, then hey you’re welcome!

Available over at weirdo apparel purveyors, RageOn, this adult-sized onesie features the gorgeous mug of none other than actor Steve Buscemi at varying stages of his long career. Such as his portrayal of bungling kidnapper, Carl Showalter in the 1996 film, Fargo, and a snapshot of young Steve positioned to sit perfectly across your shoulder. You can pick up your very own “Steve Buscemi Galaxy Collage” onesie for the reasonable cost of just $99.84, a relatively small price to pay to have Steve Buscemi all over you.

Hey, a girl can dream, can’t she?

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‘Hiya Dogface!’: Wasted Iggy Pop goes totally off-the-rails on Australian TV, 1979

Iggy Pop, I'm Bored, 1979
 
In honor of Iggy Pop’s 69th birthday today I thought I’d share this footage of Iggy’s very “Iggy” interview and off-the-rails lip syncing of “I’m Bored” that aired in 1979 on the Australian television show, Countdown.

The video starts with an interview with a glassy-eyed Iggy conducted by Countdown‘s host Molly Meldrum. Despite repeated requests to focus on the “questions” he was asking, Iggy jumps up and down out of his chair, sneers at the audience, and in general acts like a five-year-old version of himself because he’s plainly high as fuck. Then, in what appears to be an unplanned event, Iggy leaves the interview and is nowhere to be seen after a commercial break, which causes Meldrum to advise the audience not to worry about Iggy because he’s “fine.” Right.
 
Images from Iggy Pop's 1979 appearance on Australian show, Countdown
Iggy Pop on ‘Countdown.’
 
I was lucky enough to see Iggy’s electrifying gig a few weeks ago in Seattle for the first stop of his Post Pop Depression Tour and can say without a doubt that Iggy is still “Iggy.” He has no need for such things as shirts, loves the word “fuck,” and jumps around on stage like his pants are on fire.

Happy Birthday, Iggy! Never change!
 


Iggy Pop ‘perorms’ ‘I’m Bored’ from his ‘New Values’ album in 1979

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Celebrity boozehounds hawking hooch: Dennis Hopper, Merle Haggard, Redd Foxx, Sean Connery & more

Print ad featuring Merle Haggard (RIP) for George Dickel Whisky
Print ad featuring Merle Haggard (RIP) for George Dickel Whisky, 1986.
 
Most of the time when our favorite musicians or celebrities appear as though they have “sold-out,” we all breathe a collective sigh of sadness. Such as the time that John Lydon shilled for Country Life Butter (the proceeds from which the crafty Lydon used to fund the creation of PiL’s 2012 album, This is PiL. Take that haters!), or when a part of you died after seeing Bob Dylan in a strange television commercial for Victoria’s Secret in 2004. As was the case with Lydon, it’s not always a bad thing. I mean, even I couldn’t hate on The Cure’s “Pictures of You” (from the band’s brilliant 1989 album, Disintegration) playing in the background of a Hewlett-Packard commercial back in 2003.
 
Dennis Hopper and John Huston for Jim Beam
Dennis Hopper and John Huston for Jim Beam.
 
But back to the point of this post—if there is a more perfect pairing when it comes to commercial endorsements than badass celebrities and musicians pimping out booze, I do not know what it is. And I’m quite sure that many of these vintage ads will have you checking your watch to see if it’s already noon. However, if you’re like me and go by the guideline that it’s always noon somewhere, then congratulations! Because you’re probably on your second Bloody Mary, rationalizing that it’s okay because it’s almost a meal as long as it’s served with olives and celery. Tons of vintage ads for Jim Beam, Smirnoff, Colt 45 and other party liquids, held lovingly by folks such as Merle Haggard (pictured at the top of this post, RIP), Chuck Berry, Dennis Hopper (seen above with director John Huston), Telly Savalas, and two badass ladies—Joan Crawford and Julie Newmar—follow.
 
Julie Newmar in an ad for Smirnoff Vodka, 1966
Julie Newmar in an ad for Smirnoff Vodka, 1966.
 
More celebrity boozehounds hawking hooch (say that in a slurred voice) after the jump…

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J.G. Ballard: The first published profile of the author as a young student in 1951

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J.G. Ballard was a 20-year-old medical student in his second year at Cambridge University when he jointly won a crime story competition organized by the local student newspaper Varsity.

Ballard’s story “The Violent Noon” recounted the events of a violent and gory terrorist attack on a British officer and his family during the Malayan War. It has been described as a “Hemingwayesque pastiche” allegedly written to please the judges. According to “an an unsigned summary of the judges’ reasons for picking” Ballard’s story:

‘Violent Noon’ was the most mature story; it contains patches of high tension, the characters come to life, and the ending is brilliant in its cynicism. The author should, however, avoid a tendency to preach.

The Violent Noon” was Ballard’s first published work. When it appeared in Varsity on Saturday 26th May, 1951, the paper printed a profile of the author—which included Ballard’s first ever published interview:

J. Graham Ballard who shares the first prize of ten pounds with D. S. Birley in the “Varsity” Crime Story Competition is now in his second year at King’s and immersed in the less literary process of reading medicine.

He admitted to our reporter yesterday that he had in fact entered the competition more for the prize than anything else, although he had been encouraged to go on writing because of his success.

The idea for his short story which deals with the problem of Malayan terrorism, he informs us, he had been thinking over for some time before hearing of the competition.

He had, in addition to writing short stories, also planned “mammoth novels” which “never get beyond the first page.”

 
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What these “mammoth novels” were about one can now only imagine. It was four years since Ballard had returned to England from internment at a Japanese P.O.W. camp—the horrors of which were filtered through his work as he later said:

The experience of war is deeply corrupting. Anybody who witnesses years of brutality can’t help but lose a sense of the tragedy and mystery of death. I’m sure that happened to me. The 16-year-old who came to England after the war carried this freight of ‘matter-of-factness about death’. So spending two years dissecting cadavers was a way of reminding me of the reality of death itself, and gave me back a respect for life.

Ballard harbored plans to become a psychiatrist. But this was quickly dropped after his success with “The Violent Noon.” He quit his medical studies at Cambridge and enrolled at Queen Mary University, London to study English Literature.
 
More on young Ballard plus full documentary, after the jump….

Posted by Paul Gallagher | Leave a comment
Stained glass windows of Aleister Crowley, Serge Gainsbourg, Johnny Cash, JG Ballard & many more


 
In 2010 and 2011 the English artist Neal Fox executed an utterly gorgeous series of stained-glass windows in imitation of the iconography of saints found in cathedrals all over Europe. The series included Johnny Cash, J.G. Ballard, Hunter S. Thompson, Albert Hofmann, Screamin’ Jay Hawkins, Serge Gainsbourg, Aleister Crowley, William S. Burroughs, Billie Holiday, and Francis Bacon.

Now, it’s perfectly possible that you will see these images and think, “Wow, those paintings in the stained-glass style are awesome.” So it’s important to emphasize that these are not paintings, Fox actually created the stained-glass windows themselves—in fact, he worked with traditional methods “at the renowned Franz Mayer of Munich manufacturer” in order to produce a dozen windows, each using leaded stained glass in a steel frame and standing 2.5 meters tall.

Put them all together in a room, as the Daniel Blau gallery in London did in 2011, and you have “an alternative church of alternative saints.” Here is what that room looked like:
 

 
The Daniel Blau show was called “Beware of the God.” Alongside the well-known provocateurs and trouble-makers like Crowley and Hawkins is a figure that might challenge even the most astute student of antiheroes, a man named John Watson. Far from the complacent invention of Arthur Conan Doyle, this John Watson is the artist’s grandfather, described by his loving grandson as a “hell raiser” and “a World War II bomber pilot, chat show host, writer and publisher, who in his post war years sought solace in Soho’s bohemian watering holes.”

Quoting the Daniel Blau exhibition notes:
 

As traditional church windows show the iconography of saints, through representations of events in their lives, instruments of martyrdom and iconic motifs, Fox plays with the symbolism of each character’s cult of personality; Albert Hoffman takes a psychedelic bicycle ride above the LSD molecule, J G Ballard dissects the world, surrounded by 20th Century imagery and the eroticism of the car crash, and Johnny Cash holds his inner demon in chains after a religious experience in Nickerjack cave.

 
You can order prints of some of these images for £150 each (about $214).
 

 

 
Many more after the jump…

Posted by Martin Schneider | Leave a comment
The making of ‘The Shining’: ‘A lot of things have happened in this particular hotel’

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Authors hate it when filmmakers fuck around with their work. They see the word as paramount and everything else subservient to it. Take Stephen King. He hated it when Stanley Kubrick fucked around with his book The Shining. Which is surprising as Kubrick’s movie greatly adds to King’s novel.

King sweated a lot blood writing The Shining. The story was as much about the his own personal addictions as it was about some haunted hotel. I like King. I like King a lot, and think he’s due a lot more respect as a writer than he gets. And though I generally prefer King’s books to the films, in the case of The Shining I will always opt for Kubrick’s movie rather than for King’s book.

The reason is simple: Where King filled pages with backstory and character motivation—making everything neat and tidy and very, very explainable—Kubrick left his adaptation of The Shining open—allowing the horror to seep in.

Where King has a genius for storytelling and plot, Kubrick had a genius for making deeply intelligent, visually stunning, multi-layered films that only reveal the director’s full mastery of his art after successive viewings. If ever.
 
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Barkeep, I’ll have a Jack and Coke.
 
The Shining is probably the most discussed and obsessed over movie Kubrick made—though maybe it’s run pretty by 2001: A Space Odyssey. Theories about the film range from coded confessions about the Moon landings to the “narrative of a murder” embedded in the film, to Kubrick’s interest in the Jungian duality of human nature—as seen through the set designs, motifs and parallel characters to a critique of history—the failure to learn from past experience—as the caretaker Hallorann explains to Danny in the film:

A lot of things have happened in this particular hotel, over the years, and not all of ‘em good.

Kubrick was fastidious in making The Shining. Originally scheduled as a seventeen-week shoot, the production went on for fourteen months. That’s around 200 filming days. According to the film studio, Kubrick shot 1.3 million feet of film—roughly a shooting ratio of 120:1. Most movies have a 5:1 or 12:1 shooting ratio—so you get an idea of justhow picky Mr. K was when filming.
 
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Kubrick shot and reshot scenes time and again. There was genius at work in this seeming profligate madness. Jack Nicholson always gave a brilliant first take. Then Kubrick would ask for another, then another—anything up to one hundred takes before he was satisfied. This meant, Nicholson’s performance varied the longer the filming process went on. In the edit, Kubrick often chose the more over the top performances, which he then countered with one where Nicholson underplayed. The juxtaposition of two differing styles highlighted the growing split in Nicholson’s character—revealing the internal battle between good and evil. But let’s be clear—this was Jack Nicholson who supplied the performances, the raw material—not the director.

Kubrick used different psychological techniques to obtain the performances he wanted from his cast. He was particularly hard on Shelley Duvall, who he berated and criticized during filming—though Duvall delivered one of her most memorable performances. Much of Kubrick’s techniques was captured by his daughter Vivian Kubrick, in her documentary film The Making of ‘The Shining’—which followed Stanley Kubrick, Nicholson, Duvall, the other cast and crew members during the long interminable weeks of filming at Pinewood and Elstree Studios.

Keep reading after the jump…

Posted by Paul Gallagher | Leave a comment
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