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‘Where the City Can’t See’: Creepy, dystopic movie shot entirely using laser scanner technology
11.03.2016
12:36 pm

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Movies
Science/Tech

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Director Liam Young has dropped the trailer for “the first narrative fiction film shot entirely with laser scanners.” The movie, which is not feature-length, is some kind of a dystopic vision of the near future.

When you see the word scanners you might think of your supermarket’s checkout line but that’s not the most helpful example. If you have seen a blockbuster film in the past several years, then you have seen a movie that used laser scanners to create the effects. The technology, which commonly goes by the acronym LIDAR (Light Detection and Ranging), is in many ways analogous to radar; it is a remote sensing method that uses a pulsed laser to measure ranges (variable distances). It is one of the building blocks of visual effects production.

Set in the Chinese-owned and -controlled “Detroit Economic Zone,” Where the City Can’t See is about an assembly-line worker who hacks a driverless taxi to find a place that’s not shown on its map. The evocative score for the clip comes from “Deep Breathing” by Shigeto.

Where the City Can’t See is set to premiere at Heart of Glass on November 12, where it will be played before a showing of Alfred Hitchcock’s Rear Window.
 

 
More after the jump…

Posted by Martin Schneider | Leave a comment
Super hot German movie poster & lobby cards for ‘Faster, Pussycat! Kill! Kill!’
11.02.2016
03:19 pm

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Amusing
Feminism
Heroes
Movies

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A German movie poster for the 1965 film ‘Faster, Pussycat! Kill! Kill!’
 

Ladies and gentlemen, welcome to violence, the word and the act. While violence cloaks itself in a plethora of disguises, its favorite mantle still remains… sex. Violence devours all it touches, its voracious appetite rarely fulfilled. Yet violence doesn’t only destroy, it creates and molds as well. Let’s examine closely then this dangerously evil creation, this new breed encased and contained within the supple skin of woman. The softness is there, the unmistakable smell of female, the surface shiny and silken, the body yielding yet wanton. But a word of caution: handle with care and don’t drop your guard. This rapacious new breed prowls both alone and in packs, operating at any level, any time, anywhere, and with anybody. Who are they? One might be your secretary, your doctor’s receptionist… or a dancer in a go-go club!

Russ Meyer’s 1965 Faster, Pussycat! Kill! Kill! features a rogue gang of go-go dancers who decide to set off into the desert in search of mayhem, money and men to mercilessly mess with… and as the title suggests kill. While the best thing about this movie is clearly its karate chopping star Tura Satana, a close runner up would be the German movie posters and lobby cards for the film. The German marketing materials are about as far-out as the film itself.

When I ran the words “Die Satansweiber von Tittfield” through Google Translate it didn’t exactly make sense. And sadly the strange but appropriate sounding word “Tittfield” seems to be there solely for our amusement, like “Boobsville” or something.  I love seeing powerful women beating the crap out any man who gets in the way of them having a good time, don’t you? It’s a sentiment echoed by Meyer himself in an interview from 1998. The then 76-year-old director was touring around the world in support of a re-release of FPKK when he was asked for his opinion regarding the film’s remarkable ability to keep attracting audiences 30-plus years after its initial release:

It’s a little puzzling. Most of my films have women who have large breasts. It’s not that the girls are completely lacking in accouterments there, but… I suppose they like the idea of the women kicking the shit out of the men. More than anything else, I think that’s the reason it’s done very, very well.

It might also have something to do with the snappy and highly quotable dialogue. With lines like “Easy baby! You’re almost a fire hazard!” or “I never try anything, I just do it” or “Women! They let ‘em vote, smoke and drive - even put ‘em in pants! And what happens? A Democrat for president!” how can you go wrong?

Much like the film itself (and everything else in Meyer’s long shapely body of work) some of the images in this post are NSFW. I’ve also included a few U.S. lobby cards for the film that contained images from the movie that were too great not to share.
 

A German lobby card for the 1965 film ‘Faster, Pussycat! Kill! Kill!’
 

 

 
More ‘Faster Pussycat, Kill! Kill!’ after the jump…

Posted by Cherrybomb | Leave a comment
A preview of ‘Häxan’ (‘The Witch’) the latest from Swedish psych-prog rockers Dungen
11.02.2016
11:29 am

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Animation
Movies
Music

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Last year my #1 top favorite album was Allas Sak by proggy Swedish psychrockers Dungen. As I prattled on at some length about it then, I’ll direct you now to that earlier post from 2015 if you are interested, but let me add that I still play this album all the time. As in all the time all the time. It’s just that good. Whenever you hear someone lamenting that they “don’t make ‘em like that anymore” sit ‘em down, stick a joint in their mouth, slap some headphones on ‘em and then play them Allas Sak and watch them convert. They do still make ‘em like that.

Before that album was even released apparently there was already another full-length Dungen project in the can, their all-instrumental original score to German director Lotte Reiniger’s early animated feature film, The Adventures of Prince Achmed from 1926.

The Adventures of Prince Achmed, based on an Arabian Nights fable by way of Andrew Lang’s Fairy Books, took three years to make, and was animated with a unique silhouette “shadow show” animation technique Reiniger herself had invented using cardboard cutouts and thin sheets of lead placed under a camera. Reiniger’s original musical collaborator was German composer Wolfgang Zeller who wrote his score to match the onscreen action and “photograms” were created for orchestras to follow along with. Although all known German nitrate masters of the film had basically disintegrated, it was painstakingly restored by German and British technicians in the late 1990s using the Desmetcolor process and has become well known to modern day cinema buffs.
 

 
Dungen’s re-imagined score for The Adventures of Prince Achmed—released by Mexican Summer later this month (Novermber 25th, this year’s “Black Friday” Record Store Day, to be exact) as Häxan (“The Witch”) is a bubbling caldron of everything great about the Dungen sound, but even more dramatic, mystical and moody. Freer. More extreme. The sound of the album varies a lot, but the flute and Mellotron brings to mind Moody Blues or Focus in the prettier moments, and in the harder-rocking sections Pink Floyd’s “Nile Song” and even riff-heavy Sabbath-influenced stoner rock. As I type this, I’ve only listened to it once all the way through, but I fully expect I’ll be playing Dungen’s mighty Häxan longplayer as much as I played its glorious predecessor.

Continues after the jump…

Posted by Richard Metzger | Leave a comment
‘My name is my cocaine’: That time Michael Caine had a hit with a song about an IRA informer
11.02.2016
11:24 am

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Movies
Music
Politics
Pop Culture
Superstar

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Apparently, the easiest way to improve your Michael Caine impersonation is to say:

My name, is my cocaine.

See. It works.

Now, Peter Sellers used to do a superb Michael Caine impression which began something like that and then going on to detail some utterly trivial boring fact (a bit like the one above…) before finishing, “Not a lot people know that.”

“Not a lot of people know that…” became the catchphrase most associated with Caine though he never actually said it. However, the great movie star did say “My name is Michael Caine” for a top ten chart hit by band Madness in 1984.

Anyone who has seen Caine’s stellar performance in the movie Little Voice will know that he is not the world’s greatest singer. Thankfully no singing was required with the song “Michael Caine.” When first approached by London’s nutty boys Madness to add his voice to their single, the great actor knocked it back. But then he had a change of heart as he explained to William Orbit in 2007:

My daughter, who was 10 at the time, said: ‘You’ve got to do it, dad, it’s Madness!’ I did it for her.

 
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Caine as he appeared on the back cover of the single ‘Michael Caine’ by Madness.
 
Written by Madness sometime vocalist and trumpeter Carl Smyth (aka Chas Smash) and drummer Daniel Woodgate “Michael Caine” might at a first listen sound like some strange hybrid pop song about spies and celebrity and wanting a photograph or something or other. But the song is actually far more complex than its catchy little tune suggests.

I recall it was the NME that first highlighted the deeper (darker) significance of the song “Michael Caine” in its inky black pages. The NME revealed Madness’ eighteenth single was in fact about an IRA informer “forced to live under an assumed name.” When the strain becomes too great for this unlucky chap—he “cracks under the pressure” and all he has as a reminder of his past life is a photograph.

The lyrics are certainly oblique enough to disguise any direct correlation between a world class movie actor, spying, the IRA and “The Troubles”—which was the rather twee term used to describe the war in Northern Ireland between 1968 and 1998. Anyhow, the lyrics go as follows:

He’s walking where I’m afraid I don’t know
I see the firemen jumping from the windows
There’s panic and I hear somebody scream

He picks up useless paper
And puts it in my pocket
I’m trying very hard to keep my fingers clean
I can’t remember tell me what’s his name

And all I wanted was a word or photograph to keep at home
And all I wanted was a word or photograph to keep

The sun is laughing its another broken morning
I see a shadow and call out to try and warn him
He didn’t seem to hear
Just turned away

The quiet fellow follows and points his fingers
Straight at you
He had to sacrifice his pride yes throw it all away

His days are numbered he walks round and round in circles
There is no place he can ever call his own
He seems to jump at the sound of the phone

Staring out the window there’s nothing he can now do
All he wanted was to remain sane
He can’t remember his own name

 
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Madness.
 
It’s obvious from these lyrics the song’s about something nasty in the woodshed. But wait—this was Madness who weren’t exactly known for putting out deep political songs. They were considered “a singles band” which was greatly unfair considering the magnificence of their fourth studio album The Rise & Fall—which is to be frank is their Sgt. Pepper moment—a literal classic. But yes, Madness was seen as a jolly, happy, fun bunch of guys whose ska-influenced music was deeply joyous entertainment.

But then again “Michael Caine” wasn’t the band’s first foray into politics…

Watch ‘Michael Caine,’ after the jump…
 

Posted by Paul Gallagher | Leave a comment
Señor Lobo: Horror movie hero Paul Naschy, the ‘Spanish Lon Chaney’
10.31.2016
10:47 am

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Heroes
Movies

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Paul Naschy as ‘Father Adrian Dunning’ in the Spanish riff on ‘The Exorcist,’ 1974’s ‘Exorcismo.’
 
Hailing from Madrid, Spanish actor Paul Naschy (born Jacinto Molina Álvarez) had the distinguished honor to be affectionately nicknamed “The Spanish Lon Chaney” as like the illustrious Chaney himself, Naschy has played nearly every single movie monster to ever grace the silver screen.

Naschy is a fascinating cat whose career spans the course of at least 60 years during which he not only held the role of actor, but also writer (including authoring many bawdy Spanish pulp novels under the name “Jack Mills”) and illustrator for various Spanish music albums. Naschy’s behind-the-scenes life was full of interesting gigs including holding the title of champion lightweight weightlifter of Spain in 1958. Looking at the build of the beefy-looking Naschy, this is perhaps not all that surprising.

According to other Naschy folklore, the aspiring actor once met another famous horror icon, Boris Karloff, back in the mid-60s while he was working as an extra on the television showI Spy which was shooting on location in Spain. Karloff was 79 at the time and was cast as a scientist in the episode though he was barely able to walk even with the assistance of leg braces. According to Naschy (a story that is reflected in the title of the posthumous 2010 documentary film on his life, The Man Who Saw Frankenstein Cry) he observed the elderly Karloff weeping while waiting in the bitter cold for a ride after finishing up his work on the set. Naschy would later say about the heartbreaking scene that he believed that he was one of the only people (perhaps the only person) who ever saw Frankenstein’s monster cry.

Launching his horror film acting career in the late 1960s, Naschy ended up playing the role of “Waldermar Daninsky” (one that Naschy would reprise a dozen times in the “El Hombre Lobo” series of films) the wayward Spanish Wolf Man after Lon Chaney Jr. turned the role down (or according to some sources was passed over due to the fact that he was “too old” as Chaney Jr. was in his 60s at the time). Spain’s own “king of horror” would earn both that title and the loving homage to Chaney Jr.‘s famous father by portraying the following villains and monsters in various films—Dracula; Frankenstein’s monster; the Mummy; Fu Manchu; the Devil; Mr. Hyde; Quasimodo; the Phantom of the Opera; and of course a werewolf (which Naschy played a whopping sixteen times). So popular was Naschy’s role as the Wolf Man that there is even an action figure based on his “El Hombre Lobo” character made by the Spanish branch of the MAGE toy company.
 

A fantastic movie poster for ‘The Werewolf VS. Vampire Woman’ (aka: ‘La Noche de Walpurgis’), 1971. 
 
Naschy acted in more than 100 films many of which have been remastered much to the delight of Naschy’s fans (like yours truly) who appreciate the combination of half-dressed female victims (many of Naschy’s films included a fair amount of nudity) as well as tons of blood and good-old B-movie vibes. Plenty of them are worth watching if you dig vintage Euro schlock horror cinema, such as 1974’s Exorcismo, a Spanish riff on director William Friedkin’s 1973 film The Exorcist in which Naschy not only starred as the tormented character of “Father Adrian Dunning” but also penned the screenplay along with some help from the film’s director Juan Bosch. Others such as Naschy’s 1977 “comeback” Curse of the Devil, his early portrayals of werewolf “Waldemar Daninsky” (especially 1971’s La Noche Del Walpurgis), and the gory 1973 film Hunchback of the Morgue also rank as a few of Naschy’s best when it comes to his massive body of work.

If any or all of this has piqued your interest there is also a fantastic 1200 page book from 2012 that details Naschy’s long career Muchas Gracias Señor Lobo: Paul Naschy Memorabilia by author Thorsten Benzel. Eighteen years in the making, the publication contains a dizzying array of memorabilia some of which had never seen the light of day until the book’s release. And if that is not enough to convince you to check out Mr. Naschy’s films then perhaps consider the fact that other admirers of the multi-talented Spaniard include luminaries such as Quentin Tarantino, fellow actor and forever vampire Christopher Lee, and director John Landis. I’ve included some fantastic Naschy artifacts in this post from publicity stills and far-out posters, as well as a few trailers for Naschy’s movies which would make for perfect viewing on Halloween
 

Naschy in chains as the Wolf Man ‘Waldemar Daninsky.’
 

Naschy as ‘Dracula.’
 
More after the jump…

Posted by Cherrybomb | Leave a comment
Classic horror movie posters reimagined as 8-bit NES video screens
10.31.2016
09:13 am

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Amusing
Art
Movies

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L.A.-via Detroit video director/photographer/poster artist Jesus Rivera wears a lot of creative hats, and he wears them all under the pseudonym “Demonbabies.” His range of styles is as diverse as his range of media, as a perusal of his web site will confirm, but what concerns us on this fine Halloween is his wonderful ongoing series of classic horror flick posters, redesigned as vintage 8-bit Nintendo video game startup screens. He’s been doing these for a few years, and sharing them, and other warped goodies, on his Instagram and on his “Shitty Halloween” Tumblr page. We love how these lean so heavily toward cult horror like House, Cannibal Holocaust, Possession, and I Spit on Your Grave, largely eschewing more mainstream offerings. He’s also done some in video form, complete with glitchy 8-bit music, and those are at the end of this post.
 

 

 
Continues after the jump…

Posted by Ron Kretsch | Leave a comment
Tom Hardy is James Bond: See the trailer now!
10.29.2016
07:30 pm

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Movies

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While it’s still up in the air as to who is going to play Agent 007 in the next Bond film, there’s been lots of rumors bouncing around the Internet that if it isn’t Daniel Craig it could be Idris Elba, Tom Hiddleston or Tom Hardy, among a handful of others. In polls taken, Hardy is way in the lead among Bond movie fans. Personally, I think Hardy would be terrific and so does a hardcore Hardy fanboy who created a teaser trailer for an imaginary upcoming Bond movie with Hardy in the starring role.

Using clips from Inception, Casino Royale, Skyfall, Tinker Tailor, Soldier Spy, This Means War and a commercial for the Aston Martin Vanquish Zagato, JakeNumber24’s inventive mashup is a convincing argument for Hardy as Bond.
 

Posted by Marc Campbell | Leave a comment
Night Gallery: A connoisseur selection of bloody, gruesome & sexy Giallo and horror movie posters
10.27.2016
12:45 pm

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Art
Movies

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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!
10.26.2016
01:03 pm

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Movies

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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
10.26.2016
11:15 am

Topics:
Design
Fashion
Movies
R.I.P.
Superstar

Tags:

004monroeauction.jpg
 
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.
 
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More Marilyn Monroe memorabilia auction, after the jump…

Posted by Paul Gallagher | Leave a comment
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