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Beyond Good & Evil: Behind the scenes of ‘The Night of the Hunter’
01:30 pm



Robert Mitchum played a “diabolical shit” in The Night of the Hunter. Mitchum was Harry Powell—a twisted serial killer who disguised himself as a fire and brimstone reverend to find the location of some stolen loot. In order to get to it, Powell has to marry Willa Harper (Shelley Winters) and become the stepfather to her children—John (Billy Chapin) and Pearl (Sally Jane Bruce). It soon becomes obvious that Powell is not going to be married for very long.

Upon its release, The Night of the Hunter was reviled by critics and audiences alike. The press hated everything about it. They hated the script by novelist and poet James Agee. They loathed Robert Mitchum’s “hammy” acting. They denounced Charles Laughton for his weird, bizarre and utterly perverse direction. They decried his deliberate use of movie sets to tell his story. They also hated his use of black and white film. This was the Technicolor fifties, they said, the nuclear age of rock ‘n’ roll, hula-hoops, Cinemascope, and drive ins. This was no place for a ramped-up Southern Gothic melodrama. Audiences agreed and the film tanked at the box office.

It was actor Charles Laughton’s first and only film as director. The negative reviews hurt so much that he abandoned any hope of opening up a new career as Hollywood director. The screenplay was adapted by James Agee from the novel by Davis Grubb. Agee was the screenwriter of The African Queen and had written the text to accompany Walker Evan’s ground breaking photographs in Let Us Now Praise Famous Men.  Agee died not long after the film was completed. The story of The Night of the Hunter had been inspired by the case of the real life serial killer Harry Powers who murdered two widows and three children in the 1930s. Powers sought out his victims through the ads in newspapers lonely hearts’ ads.
Robert Mitchum was convincingly deranged as Powell in The Night of the Hunter. His hands were tattooed with “LOVE” and “HATE” above the knuckles—as his character explained in the film:

Ah, little lad, you’re starin’ at my fingers. Would you like me to tell you the little story of Right Hand-Left Hand - the story of good and evil?

H-A-T-E! It was with this left hand that old brother Cain struck the blow that laid his brother low. 

L-O-V-E. You see these fingers, dear hearts? These fingers has veins that run straight to the soul of man. The right hand, friends! The hand of love!

Now watch and I’ll show you the story of life. These fingers, dear hearts, is always a-warrin’ and a-tuggin’, one agin’ the other.

Now, watch ‘em. Ol’ brother Left Hand. Left hand, he’s a-fightin’. And it looks like LOVE’s a goner. But wait a minute, wait a minute! Hot dog! LOVE’s a winnin’? Yes, siree. It’s LOVE that won, and ol’ Left Hand HATE is down for the count!

Many a young punk was said to have copied Mitchum’s homemade LOVE/HATE tattoos—no doubt as badge to their stupidity. Laughton originally wanted Gary Cooper to play the evil reverend—but he nixed the idea on the grounds it would damage his good guy image. Mitchum was far less precious. He jumped at the chance to play Powell—allegedly fighting off interest from both Laurence Olivier and John Carradine. Mitchum was unforgettable—a performance only rivalled by his later turn as Max Cady in Cape Fear.

Laughton cast Shelley Winters as the pivotal character Willa Harper—whose murder leads Mitchum to chase her children across the country. Winters gives a restrained performance that only emphasizes the horror of her misfortune. The children were played by Billy Chapin and Sally Jane Bruce. Laughton had considered his wife Elsa Lanchester for the role of the old woman who protects the children from Mitchum. Lanchester suggested he try silent movie star Lillian Gish—a perfect choice for such a strange, disturbing and dreamlike movie.

Filmed in the Fall of 1954, Laughton created an unforgettable Expressionist style—imbued with menace and filled with allegory—along with the cinematographer Stanley Cortez—cameraman from Orson Welles’ The Magnificent Ambersons and later Sam Fuller’s classic Shock Corridor.  The film had a budget of around $800k which meant they were unable to film on location—hence the use of indoor film sets—something Laughton used to great stylistic effect. Today The Night of the Hunter is considered a classic—one of the Library of Congress’ films deemed “culturally, historically, or aesthetically significant.”
Robert Mitchum with director Charles Laughton.
More behind the scenes photos from ‘The Night of the Hunter,’ after the jump…

Posted by Paul Gallagher | Leave a comment
Marc Bolan, Andy Warhol, Joan Jett & other famous folk with their dogs, for your election 2016 blues
09:35 am



A young Joan Jett and an adorable dog. Jett has gone on to dedicate much of her life to animal advocacy.
If you’re a jittery bag of nerves with questionable sleep patterns thanks to the fucking fiasco that is the Presidential Election of 2016, then I hope this post will help restore some of your faith in humanity. At least temporarily.

As the title indicates I’ve culled some images of famous people and their dogs that I’m quite sure will get you to your “happy place” pretty quickly. At the very least it will briefly distract you and keep you from checking the latest statistics over at Fivethirtyeight or wherever it is that you happen to be getting your political updates these days. Until this all blows over (if in fact it ever does) I’d keep this post close by for when you need to talk yourself out of moving to Canada, moving underground or perhaps relocating to the fucking moon. Honestly, if photos of Marc Bolan and David Bowie cradling adorable canines doesn’t help restore your pulse to a more reasonable rate, I’m not sure anything will. Hang in there kittens, it’s almost over!

Marc Bolan.

David Bowie and a wee little Scottie, 1980. Photo by Duffy.

The band Queen and their four-legged canine pal.
More after the jump…

Posted by Cherrybomb | Leave a comment
Public Image Ltd met with Martin Scorsese about doing the ‘Raging Bull’ soundtrack
08:56 am



Public Image Ltd live at the Palladium, NYC, April 20, 1980 (photo by Rob Pistella via Fodderstompf)
I confess that I haven’t yet read Jah Wobble’s autobiography, Memoirs of a Geezer, though it’s been sitting on my desk for a month. If I’m apprehensive, it’s only because the last book I read with as promising a title was I, Shithead, and that turned out to be a disappointment because Joey Shithead only has nice things to say about people.

But Martin Scorsese’s name did jump out as I was turning the pages of Wobble’s book, trying to figure out why some paragraphs are set in italics (as below). I didn’t solve that mystery, but I did learn that Scorsese met with Lydon and Wobble about recording the soundtrack to Raging Bull. One can only begin to imagine what a different movie Raging Bull would have been with a soundtrack by Metal Box-era PiL in place of the one Robbie Robertson produced.

Wobble says Scorsese was in the audience at Public Image Ltd’s first New York show, the start of a two-night engagement at the Palladium in April of 1980. And suddenly they were having a showbiz meeting in Marty’s penthouse, and Marty was giving a manic reading of Harry Lime’s famous monologue from The Third Man:

Martin Scorsese was making a film, Raging Bull, and he wanted to have a meet in regard to us doing the soundtrack. I went to meet him with John. We ended up sitting in a penthouse apartment with Scorsese; because of the combination of my first-ever jet lag, speed comedown, booze and general tour weirdness, I was very spaced out (I think I must have had a puff as well). My memory is a bit hazy, but I seem to remember that John left soon after we arrived with some biggish geezer who worked for Scorsese. I don’t know where they went. They may well have explained where they were going, but in the state I was I in I probably just grinned inanely at them. So anyway, I was left in the apartment with Scorsese. I was very happy because the bloke was an absolute hero to me. Taxi Driver, as far as I was concerned, was a masterpiece. Paul Schrader wrote the incredible screenplay. Apparently, Schrader was brought up in a strictly Calvinist household, and didn’t see a movie until he was eighteen; he’s a very interesting bloke. The soundtrack by Bernard Herrmann is also something I never tire of.

Scorsese was a like a cat on a hot tin roof, just couldn’t sit still. He was jabbering away like crazy. I recall him beckoning me to the window. He pointed down at the people milling around on Broadway. (We were several floors up in a skyscraper.) He asked me if I would care if ‘one of those little “dots” suddenly stopped moving’. I immediately knew what he was on about; he was reciting Orson Welles’ speech from Carol Reed’s adaptation of Graham Greene’s The Third Man, the one where Orson is on the Ferris wheel and goes on about ‘the Renaissance’, ‘cuckoo clocks’, ‘the Borgias’ and ‘Switzerland’. Basically Scorsese did a performance. He was very wired and his delivery was far more urgent and imploring than Orson’s. His face was no more than two feet from mine.

I certainly wasn’t disappointed with Scorsese, he more than lived up to any expectations that I had. To tell the truth I don’t like all his films but when I do I love them; Taxi Driver, GoodFellas, Casino, Last Temptation and Kundun are the ones for me.

I can’t remember how the encounter ended, but eventually John came back. I dimly remember Raging Bull being discussed, the storyline and all that. I don’t think they showed us scenes from the film or anything. I vaguely remember thinking that they weren’t really serious. Anyway, we never did the soundtrack for Raging Bull.

More after the jump…

Posted by Oliver Hall | Leave a comment
A bloody feast: Herschell Gordon Lewis box set is a fitting tribute to the late ‘Godfather of Gore’
08:40 am



Scene from Herschell Gordon Lewis’ 1963 “Blood Feast”
This September horror and exploitation film fans mourned the death of the “Godfather of Gore,” Herschell Gordon Lewis.

Lewis, originally known as a producer of “nudie” pictures in the early ‘60s, became a horror trailblazer with 1963’s Blood Feast, considered to be the first “gore” film. That film about an Egyptian caterer who prepares a feast of human body parts became a drive-in sensation and was quickly followed up by the hillbilly splatter epic Two Thousand Maniacs and Color Me Blood Red, the story of an artist who paints in human blood.

Lewis continued to direct outrageous low-budget films into the early ‘70s, including the splatter classics The Wizard of Gore and The Gruesome Twosome as well as other types of non-gore exploitation fare such as the biker girl-gang flick She Devils On Wheels and the juvenile delinquency opus Just For the Hell of It

Lewis’ Blood Feast was completely ground-breaking for its time, bringing the Grand Guignol tradition of blood and guts to the screen, and setting the stage for the new era of splatter horror which didn’t really come into its own until the late ‘70s. The film’s villain, Fuad Ramses, was the original machete-wielding maniac.

An unbelievably jam-packed box set of Lewis’ films was announced by Arrow Video last July in a limited edition of 500 copies and despite the hefty price tag, I found myself pre-ordering the thing right away. I was planning to review the set upon release, not knowing that Lewis would die a couple of months later and that the set would actually completely sell out before I got my copy.

The full Shock and Gore set is truly a wonder to behold and I don’t really want to rub it in to our readers just how cool this out-of-print beast is. Though anyone who reads about this and just HAS TO HAVE ONE, can probably find one on the second-hand market. Be warned, they are selling for about double the original cost (as of this writing, there are copies on eBay for around $500).

The box is bigger than a human head.
There IS, however, a lighter version of the set, without the books and barf bags and poster reproductions, and fake eyeball, that just contains the fourteen films. It’s called The Feast and is still currently available for under $160.

I’ll tell you right now, the price tag is TOTALLY worth it if you are a fan. The fourteen films, Blood Feast, Scum of the Earth, Two Thousand Maniacs, Moonshine Mountain, Color Me Blood Red, Something Weird, The Gruesome Twosome, A Taste of Blood, She Devils on Wheels, Just For the Hell of It, How to Make a Doll, The Wizard of Gore, This Stuff’ll Kill Ya, and The Gore Gore Girls are all presented in the best transfers available with an insane amount of extra features including loads of bonus interviews and documentaries on Lewis’ career.

The death of Lewis in September makes this release all the more important, and one hopes that he died knowing so much love was going into a retrospective collection of his life’s works. I’ve only waded about a quarter of the way into these discs, but so far I’m extremely impressed with the quality of the transfers on some of these films which have always looked bad on video releases. Granted, some of the original prints are messed up beyond repair (lots of scratches on The Gruesome Twosome print, for instance), but on a film like She Devils on Wheels there’s a night-and-day difference between what I’d previously seen and the new transfer. I’ve watched that film a dozen times from a dub I had of the original VHS release. I always assumed the film had kind of a sepia look to it. No sir, this thing is in blazing Eastmancolor in all of it’s magnificently over-saturated glory. Watching that film on this set was like seeing an entirely different movie.

The Feast box is limited to 2,500 copies and hasn’t sold out yet, but I seriously wouldn’t sleep on this if you are a fan.

Continues after the jump…

Posted by Christopher Bickel | Leave a comment
‘Where the City Can’t See’: Creepy, dystopic movie shot entirely using laser scanner technology
12:36 pm



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!’
03:19 pm



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
11:29 am



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
11:24 am

Pop Culture


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.

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

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’
10:47 am



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
09:13 am



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
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