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Awesome behind-the-scenes images from ‘Apocalypse Now’
12.09.2015
11:27 am

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“My film is not about Vietnam, it is Vietnam.”—Francis Ford Coppola

Brutal, intense, fascinating, whimsical and yes, even beautiful photographs from behind-the-scenes of Apocalypse Now. As you can tell right off the bat with these images, filming was “Hell on earth.” Dennis Hopper once said of the film, “I felt like I had fought in the war.” The actors and crew battled tropical diseases, monsoons, alcoholism, drug-binges, insects and insanely humid weather. And that’s just the fun stuff.

Death by Films wrote this about the film:

One day early on, Sheen got completely shitfaced and ordered the crew to film him. He got aggressive, punching out mirrors and even tried to attack Coppola. The director kept rolling, and the footage is now in the scene with Martin Sheen sitting on the edge of his bed.

Martin Sheen has since described the making of Apocalypse Now as “chaos,” and even told friends back home that he genuinely believed he was going to die.

The majority of these photographs, shot in the Philippines, were captured by the celebrated photographer Mary Ellen Mark, who died earlier this year. If you dig these photographs, many of them can be found in Mark’s book Seen Behind the Scene .


Francis Ford Coppola working his movie magic in the Philippines
 

Francis Ford Coppola and Dennis Hopper
 

 

Brando and Coppola
 

Marlon Brando goofing around
 
More after the jump…
 

Posted by Tara McGinley | Leave a comment
High-end plush dolls of Frank Zappa, Robert Smith, Kraftwerk, Jim Jarmusch & more, that you NEED!
12.09.2015
10:39 am

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Art
Movies
Music
Punk

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Kraftwerk plush dolls by Uriel Valentin
Kraftwerk plush dolls by Uriel Valentin

Uriel Valentin is the talented Argentinian-based doll maker and artist behind a massive line of plush, hand-painted dolls that are about to send you running for your credit card. I often blog about these kinds of collectibles here on Dangerous Minds but didn’t know until today how much I needed a plush Robert Smith doll clad in look-alike pajamas like the ones that he wore in the 1989 video for “Lullaby.” Did you?
 
Robert Smith of The Cure in his Lullabye pajamas
Robert Smith of The Cure in his “Lullaby” PJs
 
Frank Zappa plush doll by Uriel Valentin
Frank Zappa in his iconic “PIPCO” shirt.
 
Among the illustrious and eclectic inhabitants of Valentin’s cool world are plush versions of everyone from famous punks like Elvis Costello, director Jim Jarmusch, Charlotte Gainsbourg (covered in blood clutching the disemboweled fox from Antichrist), Andy Warhol and Jean Basquiat (wearing boxing gloves and attire no less, as in the poster for their 1985 collaboration), Iron Maiden’s “Eddie” (as well as Maiden bassist Steve Harris, squeee!), two delightful versions of Robert Smith of The Cure and every member of fucking KRAFTWERK.

Valentin’s figures stand about fourteen inches tall, are hand-painted and sealed with a transparent acrylic varnish, and have wire inside of them so they are able to be put into posed positions. I’ve included over 40 (!) images of Valentin’s dolls for you to digest after the jump that will run you around $100 (including international shipping). The talented Argentinian also does custom orders (which are $115) - contact him via his Flickr page for more information.
 
Jim Jarmusch
Jim Jarmusch
 
Bette Davis and Joan Crawford from the 1962 film, What Ever Happened to Baby Jane?
Bette Davis and Joan Crawford from the 1962 film, Whatever Happened to Baby Jane?
 
Hedwig (played by actor James Cameron Mitchell in the film and play Hedwig and the Angry Inch)
Hedwig as played by actor James Cameron Mitchell from Hedwig and the Angry Inch)
 
Way more of these amazing handmade dolls after the jump…

Posted by Cherrybomb | Leave a comment
One man who does what the police can’t do: The cult of Charles Bronson grows
12.09.2015
08:34 am

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Books
Heroes
Movies

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A new Charles Bronson book and a slew of DVD releases seem to indicate the cult of the macho movie tough-guy is ever-growing. Twelve years after his death, the actor’s legacy shows no signs of fading.

Bronson’s Loose Again! On the Set with Charles Bronson was released last month by BearManor Media. Author Paul Talbot’s exhaustive, definitive document of Charles Bronson’s work from the mid ‘70s through the ‘80s follows his previous volume Bronson’s Loose!: The Making of the Death Wish Films which specifically covered the Death Wish franchise.
 

 
Bronson’s Loose Again! indicates that the cult of Bronson initially took hold in Europe and Asia, while he was still largely unknown in the United States. According to the book, Bronson had passed on three Spaghetti Westerns which ended up making Clint Eastwood a huge star. It was then that Bronson finally agreed to appear in the European films Farewell, Friend (1968), Once Upon a Time in the West (1968) and Rider on the Rain (1970). These three films were virtually ignored upon initial release in America, but made Bronson a huge megastar throughout the rest of the world.

He became one of the highest paid actors in the world by the time he went on to shoot Violent City (1970), Cold Sweat (1970) and Red Sun (1971).

The Bronson phenomenon was so huge in Japan that his face alone could sell a movie—or anything else, for that matter.

From Bronson’s Loose Again!:

Red Sun unspooled in one Tokyo theater for nine months and broke the house record set by the recent reissue of Gone with the Wind (1939)—which had played for a mere four months. Nearby, a massive billboard displayed a lone image: a painting of Bronson’s cracked, mustached face. There was no text, just the visual promise that the latest movie with the nation’s favorite star could be seen locally. In 1971 Bronson collected $100,000 for four days work shooting (in Colorado) a series of TV ads for a new cologne from the Japanese firm Mandom. These clever spots by director Nobuhiko Ohbayashi (who went on to do the 1977 cult horror film Hausu) perfectly captured the rugged Bronson mystique. A few weeks after the first commercial’s broadcast, Mandom’s product was the best-selling cologne in Japan. A rival company decided to not even bother airing its own Bronson-less ad.

The hyper-masculine Mandom ad must be seen to be believed:
 

 
Bronson didn’t really break through in the United States until Death Wish was released in 1974. The controversial vigilante film cemented his stardom both in the United States and abroad. The squinty-eyed, gun-weilding, middle-aged man with the weather-beaten features became an unlikely archetype for American badassery.
 

 
Strangely, the one person unaffected by the cult of Bronson seemed to be Bronson himself. Bronson, quoted from Talbot’s book:

“I’m not a fan of myself. I wouldn’t go to see me. I don’t like the way I look and talk. I like the way I walk, but I don’t like the way I stand. I hate the way I stand. There’s something about the way I stand. I’m embarrassed at myself. I’m not embarrassed at what I’m doing. I’m just embarrassed at myself.”

Audiences didn’t seem to have a problem with the way he looked or talked or stood—then or now: Six of Bronson’s films have gotten recent Blu-Ray reissues on boutique labels: 10 to Midnight, Kinjite: Forbidden Subjects, Mr. Majestyk, Messenger of DeathThe White BuffaloBreakheart Pass... and two more titles are set to be released soon: Assassination, and Murphy’s Law.

We wrote about 10 To Midnight back in October here at Dangerous Minds, calling it the weirdest, “most fucked-up, underrated, ‘80s slasher horror movie.” It’s a MUST-WATCH for either fans of Bronson’s “cop not playing by the rules” antics or fans of homocidal maniacs in a proto-American Psycho vein.

If you’re unfamiliar with Bronson’s canon of work, or have any lingering doubts about him being the ultimate movie badass, after the jump, I invite you to bask in the testosterone of the brilliant “Ultimate Charles Bronson Movie Trailer” supercut. It’s a thing of glory…

Posted by Christopher Bickel | Leave a comment
Sex, Politics and Religion: The making of Ken Russell’s ‘The Devils’
12.08.2015
11:02 am

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Art
Belief
Heroes
Hysteria
Literature
Movies

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0devilrussel0.jpg
 
The great film director Ken Russell once remarked that if he had been born in Italy and called, say, “Russellini” then critics would have thrown bouquets at his feet. He was correct as Russell’s worst critics were generally slow-witted, myopic beasts, lacking in imagination and untrustworthy in their judgement.

Take for example the critic Alexander Walker who once dismissed Russell’s masterpiece The Devils as:

...the masturbatory fantasies of a Roman Catholic boyhood.

Walker was being petty and spiteful. He was also badly misinformed. Russell was not born a Catholic, he became one in his twenties and was lapsed by the time he made The Devils. More damningly, if Walker had taken a moment to make himself cognisant with Russell’s source material—a successful West End play by John Whiting commissioned by Sir Peter Hall for the Royal Shakespeare Company or its precursor the non-fiction book The Devils of Loudon by Aldous Huxley—then he would have realised Russell’s film was based on historical fact and his so-called excesses were very tame compared to the recorded events. However, Walker’s waspish comments became his claim to fame—especially after he was royally slapped by Russell with a rolled-up copy of his review on a TV chat show in 1971—Russell later said he wished it had been an iron bar rather than a newspaper.
 
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Oliver Reed as Grandier and Vanessa Redgrave as Sister Jeanne rehearse under the watchful eye of Ken Russell.
 
The Devils is the story of a priest named Urbain Grandier and his battle against the ambitions of Church and State to eradicate the independence of the French town of Loudon. In a bid to have this troublesome priest silenced, Grandier was tried for sorcery after a confession was brutally extracted from a nun, Sister Jeanne, who claimed he was an emissary of the Devil. Grandier was acquitted of all charges but a second show trial found him guilty and he was tortured and burnt at the stake. Russell described Grandier’s case as “the first well-documented political trial in history.”

There were others, of course, going back to Christ, but this had a particularly modern ring to it which appealed to me. He was also like many of my heroic characters…great despite himself. Most of the people in my films are taken by surprise, like [the dancer] Isadora Duncan and [the composer] Delius. They’re out of step with their times and their society, but nevertheless manage to produce rather extraordinary changes in attitude and events. This was exactly Grandier’s situation. He was a minor priest who was used as a fall guy in a political conflict, who lost his life and his battle but won the war.

After that they [the Church and State] couldn’t go on doing what they were doing in quite the same way, and around that time [1634] the Church did begin to lose its power. Twenty years later no one could have been burned as a witch in France. The people of Loudon realised too late that this man they knew so well simply couldn’t have been guilty of the things he was charged with, and if they hadn’t been so bemused by the naked nun sideshow that was going on and the business and prosperity it brought to the town, they’d have realised it sooner. So the fall guy achieved as much in the end as if he had been a saint. And to me that’s just what he is.

Though Russell was on a high after his international success with the Oscar-winning Women in Love (1969) starring Glenda Jackson, Alan Bates, Oliver Reed and Jennie Linden, and The Music Lovers (1970) a flamboyant biopic on the life of Tchaikovsky with Richard Chamberlain and Glenda Jackson, he had found it difficult to find a backer for The Devils. Original producers United Artists pulled out, leaving Russell “out on a limb: having written a script and commissioned set designs from Derek Jarman and costume designs from Shirley Russell.

It would have been a disaster to scrap all that work. Bob Solo, the producer, who had spent years getting the rights to Huxley’s book and Whiting’s play started looking around for another backer, but it took four months of offering the package before Warner Brothers agreed to have a go.

Russell’s script was considered too long and cuts were made. He had originally made Sister Jeanne the focus of his story, following the nun through her involvement in Grandier’s execution to her career as a star:

I suppose it’s the film that turned out most like I wanted it to, though I would have liked to carry the story further to show what happened to [Cardinal] Richelieu and Sister Jeanne. At the end de Laubardemont says “You’re stuck in this convent for life”, but as soon as he’d gone Jeanne set about getting out because her brief moment of notoriety had whetted her appetite for more. So she gouged a couple of holes in her hands and pretended she had the stigmata, saw ‘visions’ and, with the help of Sister Agnes, gulled some old priest into thinking she was the greatest lady since the Virgin Mary.

So she and Agnes went on a jaunt all over France and were hailed with as much fervour as show biz personalities and pop stars are received today. In Paris 30,000 people assembled outside of her hotel just in the chance of getting a glimpse of her. She became very friendly with Richelieu, the King and Queen wined and dined her, she had a grand old time. When she died—I particularly wanted to include this scene—they cut off her head and put it in a glass casket and stuck it on the altar in her own convent. People came on their knees from miles around to pay her homage.

 
More from Ken Russell and ‘The Devils’ including special documentary, photospread and Oliver Reed interview, after the jump…
 

Posted by Paul Gallagher | Leave a comment
Special FX horror makeup god Tom Savini profiled in new documentary
12.07.2015
09:09 am

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Movies

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Special makeup effects artist Tom Savini was one of the early “rock stars” of horror make-up alongside notable names such as Dick Smith, Rick Baker, Rob Bottin, and Stan Winston. Savini connected with horror fans in the 80s not only because of his spectacular gore effects in films like Friday the 13th, Creepshow, The Burning, Maniac, The Prowler, and Dawn of the Dead, but because of his larger-than-life personality which was reflected in Fangoria magazine interviews and his (usually bit part) acting roles.
 

Tom Savini in George A. Romero’s “Dawn of the Dead”
 
Savini is undoubtedly responsible for inspiring an entire generation of oddball artists to go into the makeup FX field, and by extension, also responsible for the fortunes of liquid-latex manufacturers world-wide. His Grande Illusions books are standard issue for kids going into makeup FX. The man is a legend.
 

Savini creating Jason in “Friday the 13th”
 

Behind the scenes on “The Texas Chainsaw Massacre Part 2”
 
A new documentary has just been released on Savini. The film, titled Smoke and Mirrors, covers both his professional and personal life and features interviews with director George Romero, former proteges Greg Nicotero and Howard Berger, Jerry Only of The Misfits, and Night of the Living Dead actor “Chilly” Billy Cardille.
 
More after the jump…

Posted by Christopher Bickel | Leave a comment
Who was that masked man? ORION: The Man Who Would Be King
12.04.2015
12:10 pm

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Movies
Music

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This is a guest post by Jeanie Finlay, director of ORION: The Man Who Would Be King which comes out in limited release today via Sundance Selects. In cinemas and on VOD through all of the usual suspects: iTunes, Amazon, Direct TV, YouTube and elsewhere.

Ten years ago I was at a garage sale with my husband Steven in our hometown of Nottingham, England. On a stall filled with cheap ornaments and dog-eared paperbacks, standing proudly at the front of a box of faded vinyl records, we found this album:
 

 
Orion: Reborn. Sun Records. Collector’s gold vinyl. Release date on the back said 1979. No songs we’d ever heard of, but that coverWho was this mysterious masked man, standing hand on hips, with his perfect raven hair and sta-press trousers? What the hell was his story?

We took the record home, put it on and within seconds the mystery deepened. Whoever this guy was, he sounded exactly–and I mean exactly—like Elvis. Except these weren’t songs that Elvis ever recorded, and there was no mention of the King on the record. But there was the fact of Sun Records and this odd story on the back sleeve about this guy called Orion Eckley Darnell and something about a coffin, and a book… Most of all, though, there was this guy in the blue rhinestone-studded mask with the voice of Elvis. I had to know more.
 

  

The story I uncovered was one of the strangest I’ve ever encountered. As a documentary-maker, I’ve long been fascinated with stories that peek under the surface of popular culture and the machinations of the music industry, or explore just how important music is in our lives. Stories like The Great Hip Hop Hoax–about two Scottish chancers who faked their way to a record deal by pretending to be American rappers; SOUND IT OUT about the very last record shop in my home town in Teesside or Goth Cruise a documentary about 150 goths (along with 2500 “norms”) taking a cruise in the sunshine to Bermuda.

But this story had it all. A roller coaster tale of the Nashville music scene in the wake of Elvis Presley’s death, taking in deception, a quest for success, a search for identity and ending in brutal and tragic murder.

Even if you’ve never heard of Orion, you probably know about the “Elvis is Alive” myth. What I uncovered was that the story of Orion is the story of how that myth got started. 
In the marketing offices of Sun Records, maverick producer Shelby Singleton came up with the plan to utilize the incredible pipes of Alabama singer Jimmy Ellis – a voice which was both a blessing and a curse to the singer. Ellis had found it hard to get a solid foothold in the industry because of the similarity of his voice to Elvis’ –a similarity which was wholly unpracticed. Jimmy didn’t try to sound like Elvis, he just did. That made it hard for any record company to use him.
 

 
Shelby had already tried one tack, dubbing Jimmy Ellis’ vocals uncredited onto the Jerry Lee Lewis tracks in the Sun catalog, releasing the recording under the name of Jerry Lee Lewis “and friends.” He’d leave it up to the audience to come to the conclusion –if they saw fit—that it might just be a previously unheard recording from the depths of the Sun vaults. After all, it sounded just like Elvis…

 

“I was born in Sun Records, in the studio.”

But it wasn’t until Shelby came across a novel by Georgia writer Gail Brewer Giorgio that the stars aligned for Jimmy Ellis.  Orion was the story of the world’s greatest rock star and how he fakes his own death. As a character, her “Orion” was not a million miles away from a certain Memphis-dwelling King. It was a fantasy that so easily could be true. A fantasy that could be made true… In a move that Shelby himself later described as “part madman, part genius,” Sun Records put a mask on Jimmy Ellis, rechristened him “Orion” and unleashed him on an unsuspecting world. In Jimmy Ellis, Shelby had “The Voice.” And the book gave him a name, and a backstory.
 

A copy of the letter announcing the name “ORION” for the first time. The mask was the beginning of the Orion mystery.

In May of 1979, one month after his announcement of the imminent arrival of “ORION,” Shelby Singleton sent the first single to the radio stations. The cuts were “Ebony Eyes” and “Honey,” but there was no label on either side. Shelby wanted to build the mystery. The voice was the thing. He knew that the moment they heard that voice, they would have a million questions. And they’d want to see the mouth it came from…
 

 
Orion’s first album was readied – but hit controversy when there were complaints about the depiction of the masked singer appearing to rise from the dead from an open casket. (It was replaced by the blue cover above, which was later to catch my eye.)

Orion was now out in the world. Performing across America, always in the mask, always in character (legend was that Shelby would fine Jimmy if he were caught not wearing the mask at any time). And the crowds came. Hundreds and thousands of them, many coming for that voice–and many simply coming for the fantasy, the fantasy that the thin mask kept precariously in place. But for Jimmy, it was a frustrating ride.
 

 
Orion traveled the world while on Sun–including, bizarrely, performing with Kiss in Germany—putting out seven albums on Sun in just five years, but Jimmy hated the mask; the gimmick that provided the all-important mystery was ultimately a trap.  He could never be himself.
 

“Look Me Up”

When the gimmick wore thin, Ellis discarded the mask. The fragile spell was broken – but Jimmy was free. However, he struggled to step out of the shadow of Presley and the voice he was “blessed and cursed” with. He tried out many different identities – Ellis James, Mister E – he put the mask back on, then took it off again - but he never really found the same bright spotlight again.
 

 
For the past four years, I have tracked down the people that were close to Orion to discover his story. The result is ORION: The Man Who Would Be King.

More ‘Orion: The Man Who Would Be King’ after the jump…

Posted by Richard Metzger | Leave a comment
‘Punk Can Take It’: Julien Temple shoots the U.K. Subs, 1979
12.04.2015
09:48 am

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Music
Punk

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0subspunk79temple.jpg
 
Fresh from making his cinematic debut with The Great Rock ‘n’ Roll Swindle, director Julien Temple wrote and directed this short promotional film Punk Can Take It for punk band the U.K. Subs. 

The promo mixed live performances—shot during the U.K. Subs’ tour to promote the single “Stranglehold”—with a comedic pastiche of Temple’s source material—a Second World War propaganda film London Can Take It, which had shown the plucky Londoners’ resilience to Germany’s bombing campaign. In Temple’s film the U.K. Subs provided the “symphony of war” while Eddie Tudor Pole and Helen Wellington-Lloyd are embattled punks fighting for victory against crass blood-sucking commercialization of the music they love:

Punk is dead. Long live Mod. Or, should that be Rude Boys or Teds?

How often have you heard the enemy make this fatuous claim? Seeking to transmute the volatile energies of punk into safe commercial profits, an unholy alliance of ageing rock stars and child-molesting media businessmen have exhumed the faded fashions of the fifties and sixties.

But punk won’t go away. And punks themselves are becoming younger and nastier everyday. Punks are the shock troops of the eighties. The children of the oil crisis, they have no time for the vicarious thrills of nostalgia or for its trivial rules

.

The U.K. Subs (short for “Subversives”) were among the original bands who led the British punk charge in 1976. Still performing and recording today, this film captures the Subs at an early high point in their career under the pairing of Charlie Harper (vocals) and Nicky Garratt (guitar) who created a blistering output between 1979-1982.
 

Posted by Paul Gallagher | Leave a comment
Judy Garland doing ‘blackface’ two years before ‘The Wizard of Oz’
12.04.2015
09:45 am

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Race

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No, this is not Judy Garland auditioning for the part of “Crazy Eyes” in the original 1938 Orange is the New Black.

It’s amazing that this was not considered unusual in 1938. Two years before she became an immortal megastar with The Wizard Of Oz, Judy Garland performed in blackface in Everybody Sing. This is one of the many ways that Hollywood helped institutionalize racism and there she is, America’s sweetheart, dancing around like a nappy-headed Golliwog and singing goofy lyrics about Uncle Tom’s Cabin! (The year before this, Garland did a number in Babes in Arms as a light-skinned black girl complete with an entire blackface men’s chorus.)

As jaw-dropping as this is, Garland and other performers (like Al Jolson and Mickey Rooney) obviously weren’t conscious of how history would perceive this sort of thing. D.W. Griffiths’ controversial 1916 Birth of a Nation (original title The Clansman) is regarded today as much as an example of a historically significant silent film epic as it is a record of what beastly and commonly held attitudes towards blacks, slavery and the Civil War that Americans held and that Hollywood was portraying well into the 20th Century! (The Ku Klux Klan were the good guys in what is, adjusted for historical and present day monetary value, a film that’s only truly been bested at the box office by Titanic and Avatar.)

In 1938 blackface was still a completely acceptable theatrical convention. But today’s Hollywood knows exactly what it’s doing. Case in point: This year’s No Escape, a xenophobic gore fest starring Owen Wilson in which the bad guys are hordes of bloodthirsty generic Asians from an unnamed country (it’s Thailand). Anybody who isn’t white in No Escape is deadly, faceless and you know, simply brown-skinned. Racism still lives and thrives in Hollywood.
 

Owen Wilson and the Yellow Peril.
 
Coming soon: Adam Sandler’s Ridiculous Six, in which the terrifically unfunny “funnyman” pokes fun at Redskins. I really thought we had outgrown this kind of tone deaf bullshit. You can thank Netflix for bankrolling this turd. We’ll never know if this will be the box office bomb that most of Sandler’s films have been in recent years because Netflix doesn’t publicize any numbers, particularly when something fails.
 

Rob fucking Schneider finally gets a gig… as a Native American?!
 
In light of the recent events in Paris and San Bernadino County, I fully expect a glut of Hollywood movies in which Muslims will be brutally dispensed with as casually as those savage Injuns in the old cowboy movies. But why be surprised? We’re living in a nation where we award prizes to movies like Zero Dark Thirty, which was nothing more than CIA propaganda with a pro-torture agenda. We were meant to feel more for angsty CIA sadist Jessica Chastain than the innocent victims of waterboarding. None of whom, despite what the film would like you to believe, gave up Osama Bin Laden.

Yes, Hollywood is and always has been a useful propaganda tool. Hell, when the hippies started to make waves they killed off two of them in Easy Rider and a whole fucking commune in Joe. Damn peaceniks!
 

 
So yeah this Judy Garland clip is wildly racist—dig the post song scene—but have things really changed that much? I fully expect that the critically praised Beasts of No Nation will be celebrated and receive several awards this season. It’s a well-crafted film with some terrific performances. It’s also a shallow depiction of the brutal violence taking place in West Africa and virtually every African character in the film is a murdering sociopath. What drives the violence is never dealt with in any significant manner. Who cares about that? The movie’s main function seems to be violence for violence’s sake. “Things are hell in parts of Africa.” Period. End of fucking story. The last time I saw a film that depicted Africans as one homogeneous killing machine was Ridley Scott’s lamentable Black Hawk Down. At least the racism in Everybody Sing is out in the open. The new blackface is harder to see, but it’s there.
 

Posted by Marc Campbell | Leave a comment
Make ‘Dune’ Spice-Filled Sandworm Bread for the holidays!
12.04.2015
08:48 am

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Amusing
Food
Movies

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This is one of the best holiday bread/cake recipes I’ve ever seen! A spiced-filled Dune sandworm!

Now, I haven’t made this sucker yet—so I don’t know what it tastes like—but I fully intend to test my culinary skills this weekend and try this worm out.

I don’t know how many people would watch David Lynch’s take on Dune and see something yummy when the grotesque sandworms are onscreen, but Chris-Rachael Oseland over at The Kitchen Overlord came up with this brilliant-looking recipe. “The final result is even more delicious than it looks. Now, you too can make a proud, impressive, spice-scented Great Maker of Arrakis,” she writes. I believe her.

FYI, there are pretty detailed steps to follow at The Kitchen Overlord for your edible Dune sandworm. Here are the ingredients to get your tasting buds salivating:


 
Spice-Filled Sandworm Bread

SANDWORM DOUGH:

1 1/2 cups warm water
2 tbsp yeast
1/2 cup brown sugar
1 tsp vanilla
1 tbsp cinnamon
3 eggs
¼ cup slightly cooled melted butter
2 tsp salt
6 ½ – 7 cups bread flour

SPICE FILLING:

2 tbsp garam masala (or pumpkin pie spice, or Chinese five spice powder, by preference)
2 tsp cinnamon
3/4 cup brown sugar (or 1/2 cup brown sugar and 1/4 cup white sugar if you want it less sticky)
1/4 cup melted butter
sliced blanched almonds
1/2 cup raisins (optional)

GLAZE:

3/4 cup powdered sugar
¼ cup water
1 tsp cinnamon or garam masala
1 tsp vanilla extract

Now that I’ve hopefully piqued your interests with the ingredients, please follow the step-by-step cooking instructions that you’ll find here.

h/t Colihouse on Facebook

Posted by Tara McGinley | Leave a comment
‘Neon’ movie posters of cult films by Quentin Tarantino, Dario Argento, Stanley Kubrick and more
12.02.2015
10:20 am

Topics:
Art
Movies

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The Shining neon movie poster by Van Orton Design
The Shining (Stanley Kubrick, 1980) neon movie poster
 
Using the art of “one point perspective” (an approach to art that began as early as the 15th century in Europe that utilizes a “vanishing point” on the horizon point of the image) two Italian twin brothers (working under the moniker Van Orton Design) took on the task of digitally reimagining movie posters based on cult films from directors like Dario Argento and Wes Anderson, in vivid electric neon color schemes.
 
Suspiria neon movie poster by Van Orton Design
Suspiria (Dario Argento, 1977)
 
Pulp Fiction neon movie poster by Van Orton Design
Pulp Fiction (Quentin Tarantino, 1994)
 
Although the twins used modern methods to obtain their striking results, there is a distinct old-school feel to their posters that homage some of cinema’s greatest achievements of the past 50 years. The brothers, who appear to prefer to remain nameless and obscure their faces with masks, have also managed to have the films be seen through fresh eyes due to their unique presentation and interpretation of different, unforgettable scenes in the films themselves. Such as the moment Marcellus Wallace unfortunately strolled in front of the beat up Honda that Butch Coolidge was driving in Pulp Fiction (pictured above) before everything goes to shit for both of them. Bonus? A few of the twins’ prints and other works are available for purchase, here. Many images that may require sunglasses (or an extra tab of LSD in your morning coffee if that’s how you roll) to maximize your enjoyment, follow.
 
h/t: Design Boom
 
The Grand Budapest Hotel neon poster by Van Orton Design
The Grand Budapest Hotel (Wes Anderson, 2014)
 
2001: A Space Odyssey neon movie poster by Van Orton Design
2001: A Space Odyssey (Stanley Kubrick, 1968)
 
More after the jump…

Posted by Cherrybomb | Leave a comment
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