The website’s now defunct, but sometime in 2006 some brilliant person going by the name “Bubblegum Fink” concocted these fake (yes, fake) trading cards celebrating and promoting the memorable cult movie of 1973 known as The Wicker Man.
With The Wicker Man, there’s no way there ever could’ve or should’ve been a series like this. I can’t imagine any kid running out to buy several packs of Wicker Man cards and filling their cheeks with the gum as they shout “I got the Lord Summerisle I’ve been needing!” But that’s why I think it’s great. I love the Wicker Man, and as an adult, I’d happily slap down my cash for the cards if they existed.
True enough—there’s no way a nudity-filled escapade about a mad pagan cult would have qualified for the Topps treatment. There’s even a wrapper, with the old Topps logo lovingly included as well:
Having said that, you really have to admire the Bubblegum Fink’s workmanship. These cards are really perfect re-creations, easily close enough to the real thing to fool me, and the 1970s as a decade were just insane enough that when someone says, “Oh look at these Wicker Man trading cards!” you don’t shut it down as impossible right away—it takes a moment or two before the perfect absurdity of it becomes clear.
The almost random selection of images, the occasional foray into “behind the scenes” when an actor’s name is mentioned, the beautifully stilted captions, which remind me of nothing so much as DVD chapter titles….. just a job well done.
The definitive version of ‘70s cult classic The Wicker Man will be released later this month in a new beautiful digital restoration. Using a 35mm print that was recently discovered at the Harvard Film Archive, this restored final cut of the film has been approved by its director, Robin Hardy, as the one that, in his words, “fulfills my vision.” The unauthorized version released back in 1973 was mutilated by its original distributor and is the movie that most of us are familiar with. So, this resurrected edition really should be an eye-opener for fans and novices alike.
The unmolested print of The Wicker Man was discovered via a Facebook campaign launched by the film’s current worldwide rights holder Studiocanal. Other than re-introducing me to an old flame that eventually became my wife, this is about the grooviest thing Facebook has done for me personally.
The film’s press release offers some details:
Butchered by its doomed UK distributor to fit on double bills, with its original camera negative apparently lost, THE WICKER MAN has gathered a devoted fan base over the past four decades. Some missing scenes were recovered from an obsolete one-inch broadcast tape, but over the years there were rumors of complete 35mm prints floating around.
Earlier this year, the search intensified when worldwide rights holder Studiocanal initiated a Facebook campaign to recover the missing 35mm material, resulting in the discovery of a 92-minute 35mm release print at the Harvard Film Archive. This print was scanned and sent to London, where it was recently inspected by director Robin Hardy, who confirmed that it was the same cut he had put together for its American distributor in 1979, years after the film’s UK bow. This culminated in a digital restoration of the complete U.S. theatrical version, which director Hardy recently anointed as “the final cut.”
The Wicker Man will be opening Friday, September 27 at IFC Center in NY, Nuart in LA, and national release to follow. Thanks to Rialto distribution for getting behind it and getting it out there.
Here’s a clip from the restored version:
The extraordinarily cool poster is by artist Dan Mumford.
Curtain up on a starry night. Comets fire across the sky. Center stage, one star shines more brightly than the rest, its spotlight points towards a globe of the earth as it spins form a thread. Glitter falls, as a white screen rises, the lights glow brighter filling the stage.
Single spot tight on a woman’s face
We are unsure if she is in pain or ecstasy. No movement until, at last, she exhales, then pants quickly, rhythmically. Her face glistens. The spot widens, revealing 2 nurses, dressed in starched whites, symmetrically dabbing her face.
The woman is Mrs. Kemp, and she is about to give birth. 3 mid-wives are guided by house lights through the audience to her bedside. Each carries a different gift: towels, a basin of hot water, and swaddling.
It’s May 3rd 1938, and Lindsay Kemp is about to be born.
Though this maybe a fiction, it is all too believable, for nothing is unbelievable when it comes to Lindsay Kemp.
Lindsay Kemp has agreed to give a telephone interview. He is to be called at his home in Italy, by Paul Gallagher from Dangerous Minds, who is based in Scotland. We never hear the interviewer’s questions, only Kemp’s answers and see his facial expressions as he listens to questions.
Photographs of Kemp’s career appear on screens. We hear a recording of his voice.
I began dancing the same as everybody does, at birth. The only difference was, unlike many other people, I never stopped. In other words, you know, I love movement. Movement gave me such a great pleasure, such a great joy.
Dance is really my life. I’ve always said for me ‘Dance is Life, Dance is Living, Dance is Life and Life is Dance’. I’ve never really differentiated between the two of them. It’s always been a way of life, a kind of celebration of living.
Kemp is an exquisite dancer, a fantastic artist, and a brilliant visual poet. No hyperbole can truly capture the scale of his talents.
In the 1960s and 1970s, his dance group revolutionized theater with its productions of Jean Genet’s The Maids, Flowers and Oscar Wilde’s Salome.
He shocked critics by working with non-dancers. At the Traverse Theater in Edinburgh, he often cast his productions by picking-up good-looking, young men in Princes Street Gardens - good looks, an open mind and passion for life were more important than learned techniques, or a classical training. His most famous collaborator was the blind dancer, Jack Birkett, aka The Great Orlando – perhaps now best known for his role as Borgia Ginz in Derek Jarman’s Jubilee.
Kemp was the catalyst who inspired David Bowie towards cabaret and Ziggy Stardust. He taught him mime, and directed and performed in Bowie’s Ziggy Stardust and the Spiders from Mars and was his lover. He also taught Kate Bush, and choreographed her shows.
As an actor, he gave outrageous and scene-stealing performances in Jarman’s Sebastiane, Ken Russell’s Savage Messiah and Robin Hardy’s The Wicker Man.
“I’ve never really differentiated between dance and mime and acting and singing. I’ve always loved all aspects of performing, though I still can’t play the trumpet, but I’d like too. Well, it’s never too late to learn.”
He has performed across the world, from department stores in Bradford, through the Edinburgh Festival, the streets and cafes of Italy, to London’s West End and Broadway.
Kemp is a poetic story-teller, and his performances engage and seduce as much as the words that spill from tell such incredible tales. His voice moves from Dame Edith Evans (“A handbag!”) to a lover sharing intimacies under the covers.
A house in Livorno. A desk with a telephone. A chaise longue. A deck chair and assorted items close at hand. Posters and photographs of Kemp in various productions are back-projected onto gauze screens.
Kemp makes his entrance via a trap door.
The phone rings once. Kemp looks at it.
Rings twice. Kemp considers it.
Rings three times. He answers it.
Lindsay Kemp is on the ‘phone.
Hello. (Pause.) Where are you in Scotland?
My grandparents are from Glasgow. I always pretend to be Scottish because I was born accidentally in Liverpool when my Mother was saying bye-bye to my Father, who was a sailor, and he was off to sea from Liverpool’s port, you see.
Well, I don’t quite know where that came from, unless I said it one drunken night, maybe when I chose to be more romantic than Birkenhead, where I was in fact born. I was born in Birkenhead on May the 3rd, 1938, but my family hailed form Scotland, between Glasgow and Edinburgh, and for many years I lived in Edinburgh, when I returned there for the first performance of Flowers, that show that put me on the map, you know.
Lindsay Kemp> debuts his new production Histoire du Soldat (‘A Soldier’s Tale’) by Stravinsky on 5th May, in Bari, Italy. You can buy tickets for the World Premiere here.
Lindsay Kemp – The Last Dance is a film currently being made by Producer / Director Nendie Pinto-Duschinsky – check here for more information.
Veteran actor Edward Woodward, who was known for his roles in The Wicker Man and The Equalizer, died today.
The 79-year-old had been suffering from various illnesses, including pneumonia, and died in hospital, his agent said.
Janet Glass released a statement praising his “brave spirit and wonderful humour”.
It said: “Universally loved and admired through his unforgettable roles in classic productions such as Breaker Morant, The Wicker Man, Callan, The Equalizer and many more, he was equally fine and courageous in real life, never losing his brave spirit and wonderful humour throughout his illness.
Featured below, a trailer for the Wicker Man featuring Woodward in full form.