What was the last film you watched?

Willie Oleson

Telly Talk Schemer
LV
9
 
Awards
27
After the events of the first film, the family is no longer the people down the road, and so the starting point is on a very different footing.
While we accept and enjoy that a lot of bad and bizarre things keep happening to our beloved soap families-and-neighbourhoods - mostly because they are supposed to forget what happened in the previous seasons, if they want to keep their sanity - it doesn't always work that way for their cinematic counterparts. It also depends on the genre, of course.
Perhaps this sequel would have been better if it had been the story of a different family, the way they did it in The Conjuring series.

I've rewatched a part of it some time ago because I remembered the attack of the braces and I wanted to see that again. And that's what the film looks like: "some things we didn't do in the first one".
It really is the only appeal of these kind of sequels. What bizarre death scenes are they going to show in the next Final Destination? Will there be more blood and big teeth in the next Jaws film? It's not the most artistic kind of appeal, but an appeal nonetheless.

any serious and memorable shock value.

CALIGULA (1979)

1709491604928.png

This had been in my to-watch list for ages and yet, for reasons I can't explain, I've never been terribly eager to watch it.
While it's still very much the curiosity it was back then, the "watching everything you want on the internet" in these modern days may have tempered some of its controversy.

Let's start with the one thing that put a smile on my face. Caligula has "conquered" Britain and he's got the papyrus to prove it!
Not that that makes any sense, and it wasn't supposed to make sense, but naturally it made me think of another famously nefarious character.

The way I see it, CALIGULA is made up of three elements. The characters and story, the production (it looks like they had some money to spend) and the pornography.
The challenge here is to present it as one thing, finding ways to glue it together, as it were. And that's where this film fails because these three elements are competing with each other, with the unfortunate result that almost everything is being cancelled out.

The pornography looks too much out of context and I believe it was filmed seperately from the story scenes, so there's already the idea of two films edited together.
It is audacious to bring hardcore porn into a mainstream release (as opposed to "underground" cinema) but since it doesn't involve the actors that matter it isn't quite as envelope-pushing as it wants to be.
If you want to see a film that surprises with its erotic themes and nudity and violence then EQUUS (1977) is a much better choice. It also happens to be a terrific film with incredible performances.
Furthermore, the producer's argument to incorporate graphic sex for the sake of realism is absolute nonsense because there's no real torture and killing in it (well, thankfully).
All these orgy scenes could have been filmed with just enough nudity to spice things up.

The sets and set pieces are a feast for the eyes, to the point that it almost makes the actors disappear, and that's why it's another thing that kinda operates on its own.
I understand that they wanted to show off but good cinematography also means that you understand what's important in what particular scene. It's never used to create a certain mood or intimacy, it's just standing there tall and shiny. Sorry but I can't be bothered to apologise for any unintentional puns.

But the worst is yet to come because this film has absolutely nothing to say.
These Ancient Rome stories are, by nature, always fun to watch because of all the plotting and scheming, the feuds and treachery, the paranoia and lust for power.
CALIGULA tackles some of it but only in the broadest way because Caligula himself is the only mover & shaker and all the other characters stand by passively.
The film has zero sense of conflict or suspense; the death of Drusilla is the only thing that came close to something of a drama but everything else in the film doesn't allow it to be.
Malcom McDowell is up for the task of playing the psychopathic child in a man's body, but since that's the only thing the story has to offer it becomes a bit irritating after a while.

I wouldn't call it a Bad Film but my personal experience might be even worse because for all it's obvious and somewhat successful attempt to create controversy I found it an underwhelming 156 minutes to sit through. My curiosity is the only thing that's been satisfied and even that doesn't mean very much.
I could tell anyone who wants to hear it that "I've watched Caligula!" - but does anyone care?

Disc 2 has the....*grabs DVD*....alternative pre-release version which is three minutes shorter. I'm not in hurry to spot the differences.
The picture quality of both films is dreadful by today's standards. I guess the high definition transfer was something else in 2009. I'm very forgiving when it comes to digitalising old crap movies and TV series, but for a film from 1979 this is not acceptable anymore.

Disc 3 (!) has the best part: The Making Of. The secrecy and anti-press regarding the production of the film really creates the promise of something extraordinary and exciting, like, maybe the Best Film Ever Made.
Watching those people working very hard to create the epic sets - and knowing that it's all going to be a waste of time, energy and craftsmanship - almost made me cry.
It also got hours of alternative and deleted scenes and one of those scenes was filmed in Charlie Chaplin style (maybe it was simply the wrong speed) and I thought, hey that works!
Instead of the porn they could have done lots of wacky stuff, have a UFO descend on the stage, do a musical number about cunnilingus, just anything to make it more fun.

 

Mel O'Drama

Admin
LV
16
 
Awards
44
Perhaps this sequel would have been better if it had been the story of a different family, the way they did it in The Conjuring series.

It's a tricky one. Naturally, the powers that be will want to include as many familiar ingredients as possible - and the audience will feel disappointed if they're not there - and they've done a great job of that here. But of course it's the presence of those ingredients that makes it so unlikely.

I remember when Jaws 2 was shown on TV back in the Eighties, the voiceover on the promos asked "Can lightning really strike twice?" And that's exactly what so many sequels are about: that an improbable event occurring to a certain group of people can happen to the same group a second or even third time.



that's what the film looks like: "some things we didn't do in the first one".

Yes. A number of these scenes could be inserted into the original as part of an "extended TV cut" or something and it would be hard to tell.

It didn't help that the "fresh" twists that differentiated this from the original just didn't appeal. The only part that worked was the retread, which was still far inferior to the original. It's a lose/lose situation.






do a musical number about cunnilingus

Now there's something that gives a film a USP.
 

Willie Oleson

Telly Talk Schemer
LV
9
 
Awards
27
THE TWO FACES OF JANUARY (2014)

1709569592064.png

There was something about the title and the "Death On The Nile" image that intrigued me.
The short description on prime also made me think of Ripley therefore it was no surprise to find out that TWO FACES is indeed based on a Patricia Highsmith novel.
It's a very entertaining and pleasantly old-fashioned psychological thriller but the change in tone in the last scenes feels a bit abrupt. It was one of those "oh?" moments.
 

Willie Oleson

Telly Talk Schemer
LV
9
 
Awards
27
Tonight was an "underrated gems of 1980s cinema" double feature.

REPO MAN (1984)

1709949665880.png

A philosophical comedy with charming B-movie effects, but I think the best part is the background noise.
Characters never stop talking and there's always something going on on the radio or TV. It reminded me of the industrial score that is often used in David Lynch films.
I always confuse Emilio Estevez with Mario Lopez even though Mario is the only one who looks like his name.
Emilio plays Otto, and the connection with Auto-mobile is made in the film but I also think it's one of those names that could feature in a Euro-obsessed Sparks song.
Most of the humour is deadpan and I think it helps to make REPO MAN a genuine cult classic. DALLAS gets soap-dropped, by the way.


THE MOSQUITO COAST (1986)

1709952113517.png

The 6.6 IMDB rating is ridiculous because this film has everything that Aguirre, Wrath Of God doesn't have: an all-round terrific cast, big drama and one of the most impressive explosions I have ever seen in a film. Directed by Peter "Picnic At Hanging Rock" Weir.
Former action-adventure hero Indy seems a logical choice for MOSQUITO's techno-Frankenstein who's trying to build a new and untarnished civilisation in the jungle, except that this Harrison Ford is far from likeable.
The first 20 minutes is almost a non-stop tirade against US consumerism and waste culture, and it even continues when the setting moves from America to their green nirvana.
There is the irony of the disillusioned American who then buys a jungle village and accuses another white man of trespassing.
I've never really thought about it but there's something truly bizarre about "man" owning a piece of the planet. Who the hell do we think we are?

Yound and fresh-looking River Phoenix was the eighties answer to Leonardo DiCaprio and I must check out some of his other films.
Andre Gregory is a joy as Reverend Spellgood and I wish his part had been bigger. "Dinner With Andre" added to the watch list.
The twins are the stereotypical twin toddlers who only serve as extra precious baggage. At one point they have to be strapped to a mast to keep them inside the boat. Funny.
Conrad Roberts is the main black actor who plays Mr. Haddy and he's so good that I almost didn't notice it. Perhaps it's also a bit racist to assume that these kind of roles are easy to do for black actors.
Protagonist Allie Fox is definitely a racist, a dictator and a lousy father, and not in an entertainingly villainous kind of way. It goes completely against Harrison Ford's blockbuster charm and that alone makes it an interesting performance to watch.
Helen Mirren is never not good but I wonder if the novel describes as being British.
Somehow it kinda works that she unintentionally creates an air of detachment, it makes it easier to believe that she would follow her bossy genius-husband all over the world, like a devoted Mary Poppins wife.
It's a beautiful and very intense film, and as with most great films of the 80s decade a bit harder to discover. But it's always the payoff that counts.
 

Snarky Oracle!

Telly Talk Supreme
LV
8
 
Awards
21
The 6.6 IMDB rating is ridiculous because this film has everything that Aguirre, Wrath Of God doesn't have: an all-round terrific cast, big drama and one of the most impressive explosions I have ever seen in a film. Directed by Peter "Picnic At Hanging Rock" Weir.

It's Harrison Ford's stated favorite film amongst his filmography.
 

Willie Oleson

Telly Talk Schemer
LV
9
 
Awards
27
I did some background reading on wiki and I found it interesting to learn that sweet River's childhood was not that different from the role of obedient son of Harrison Ford's self-imposed cult leader The natives call him "Father" until they are converted by the other Father, and I kinda hoped it would end in a much more physical confrontation like it happened in THERE WILL BE BLOOD.

Martha Plimpton was River's future girlfriend, I don't know when that started because River as a 16 y/o male (and I always confuse his death with Kurt Cobain's) still looked very much like a child. She, of course, didn't.
I only knew her from THE GOOD WIFE and that brilliant Covid-made film MASS in which she plays opposite Ann Dowd who, incidentally, looks very much like Martha's MOSQUITO COAST mother.

I must say that it is a story that requires the viewer to buy into it from the very beginning. Some of it looks so bizarre that it could only happen in reality, and fiction is usually about believability which is not the same thing.
Considering the Spielbergfication of 1980s cinema it is probably not surprising that MOSQUITO wasn't a hit, and personally I think it would have fared better in the next decade or the decade after that.
Needless to say I couldn't help drawing the comparison between the Mosquito disaster and the explosion of KNOTS' Empire Valley with its unintentionally nasty side effect.
 

James from London

International Treasure
LV
6
 
Awards
18

Willie Oleson

Telly Talk Schemer
LV
9
 
Awards
27
It's a very unusual film
Then I must have a taste of it (could it be something like a John Cassavetes film?)
My Own Private Idaho?
The film exists in my 1990s consciousness and it's been referenced here on tellytalk by highly-qualified forum members, but just like BROKEBACK MOUNTAIN I've never actually watched IDAHO. For no particular reason, whereas I've avoided BROKEBACK intentionally (and will continue to do so no matter what people say).

I see prime has it, I guess I could double feature it with another previously unseen 1990s film.
 

James from London

International Treasure
LV
6
 
Awards
18
could it be something like a John Cassavetes film?
It's very different in style, but possibly similar in spirit.
I guess I could double feature it with another previously unseen 1990s film.
If you're looking for a theme for your '90s double bill, My Own Private Idaho includes Laura Palmer's mother/Karen Mackenzie's assassin in a small but interesting role, and if by any remote chance you've never seen Lynch's Wild at Heart, she has a small but interesting role in that too.

I don't know if you're a podcast sort of a person, Willie, but 'You Must Remember This' recently did a fascinating series called Erotic 90s, dealing with sexy-themed movies of the period. If nothing else, it might give you some interesting ideas of films to watch (not that you need any, I'm sure).

 
Last edited:

Snarky Oracle!

Telly Talk Supreme
LV
8
 
Awards
21
I did some background reading on wiki and I found it interesting to learn that sweet River's childhood was not that different from the role of obedient son of Harrison Ford's self-imposed cult leader The natives call him "Father" until they are converted by the other Father, and I kinda hoped it would end in a much more physical confrontation like it happened in THERE WILL BE BLOOD.

Martha Plimpton was River's future girlfriend, I don't know when that started because River as a 16 y/o male (and I always confuse his death with Kurt Cobain's) still looked very much like a child. She, of course, didn't.
I only knew her from THE GOOD WIFE and that brilliant Covid-made film MASS in which she plays opposite Ann Dowd who, incidentally, looks very much like Martha's MOSQUITO COAST mother.

I must say that it is a story that requires the viewer to buy into it from the very beginning. Some of it looks so bizarre that it could only happen in reality, and fiction is usually about believability which is not the same thing.
Considering the Spielbergfication of 1980s cinema it is probably not surprising that MOSQUITO wasn't a hit, and personally I think it would have fared better in the next decade or the decade after that.
Needless to say I couldn't help drawing the comparison between the Mosquito disaster and the explosion of KNOTS' Empire Valley with its unintentionally nasty side effect.

Even River observed the eerie parallels between hauntingly lyrical MOSQUITO COAST (which I love) with his own life. River "lost his virginity" at age four to women during his family's tenure in The Children of God cult, which had an enthusiastic child-sex policy. It apparently wasn't pleasant, as one could imagine. He was celibate from age seven (when they left the cult at River's urging, his being determined to save his younger siblings from the same fate) until he was fourteen. His relationship with Martha Plimpton indeed began during MOSQUITO COAST (and they subsequently did RUNNING ON EMPTY together, where River is again very good -- which I also recommend, although Judd Hirch's casting irritates the bejesus out of me).

In 1999, The Children of God conducted an interview from the grave with River, six years after his death, where he "condemned" male homosexuality -- specifically -- because male-on-male was the only combination cult leader David Berg wasn't "into". And some people didn't realize the interview was bogus, and didn't reflect Phoenix's viewpoint at all (in fact, he'd dabbled).

River -- in real life -- said the cult "is ruining people's lives" in much the way it ruined River's.

The film exists in my 1990s consciousness and it's been referenced here on tellytalk by highly-qualified forum members, but just like BROKEBACK MOUNTAIN I've never actually watched IDAHO. For no particular reason, whereas I've avoided BROKEBACK intentionally (and will continue to do so no matter what people say).

Speaking of haunting, MY OWN PRIVATE IDAHO is a flawed but fascinatingly little avant-guard, occasionally cinéma vérité, mess of a movie (they use real street boys in the cast), and is the perfect film to capture the cusp-of-the-'80s-and-'90s zeitgeist (whatever that is). Again, River Phoenix is terrific, Keanu is Keanu (god-bless-him), the cinematography is breath-taking. And it almost works.

And it has those numerous prescient moments contained in so many River Phoenix movies (like his collapsing onto sidewalks, roads, etc.) we've come to expect.

Curiously, Gore Vidal turned down the role of the pederastic mentor of a band of hustler kids (ultimately played by William Richert) a real life portrait of the guy cast to give River a B.J. in the near-opening scene. Although Vidal liked the movie -- well, he wrote Myra Breckenridge -- he didn't want to play it (some have suggested it was too typecasting for his tastes).

I liked Heath Ledger in BROKEBACK MOUNTAIN (I always call it "Bareback Mounting" because I'm clever) yet found the film a little too patronizing for me. But my demands are unreasonable.

MyOwnPrivate2-1600x900-c-default.jpg
 
Last edited:

Willie Oleson

Telly Talk Schemer
LV
9
 
Awards
27
I don't know if you're a podcast sort of a person, Willie
The first question should be: is that something I can do, but I clicked on the link and it worked.
I think it's something I would enjoy when I'm in the bus or train, but to sit here in my chair and stare at a screen that doesn't show any action isn't a lot of fun, to be honest.
it might give you some interesting ideas of films to watch (not that you need any, I'm sure).
Every time I look for something on the internet (music or films or just anything that interests me) I always get to the point where I feel I've exhausted every source available, that idea of "now I've seen it all".
Then after a while I start again and then there's still so much more I hadn't noticed before. Suggestions are always very welcome and I pick up a lot of titles that are mentioned in the various threads. It all gets jotted down in the bloc note. Information first, decision later.
 

James from London

International Treasure
LV
6
 
Awards
18
Every time I look for something on the internet (music or films or just anything that interests me) I always get to the point where I feel I've exhausted every source available, that idea of "now I've seen it all".
Then after a while I start again and then there's still so much more I hadn't noticed before. Suggestions are always very welcome and I pick up a lot of titles that are mentioned in the various threads. It all gets jotted down in the bloc note. Information first, decision later.
A few years ago, I watched an amazing documentary series called 'The Story of Film: An Odyssey' which made it feel like the whole history of cinema was inter-connected and made me want to see every film ever made.
I think it's something I would enjoy when I'm in the bus or train, but to sit here in my chair and stare at a screen that doesn't show any action isn't a lot of fun, to be honest.
I like listening to podcasts when I'm doing something else, like cooking, or when I'm in bed. Weirdly, the most interested I am in it, the more likely I am to fall asleep.


 

Willie Oleson

Telly Talk Schemer
LV
9
 
Awards
27
INCEPTION (2010)

1710591342639.png

Inspired by the Leonardo DiCaprio thread (which was inspired by an update of the River Phoenix thread, which was inspired by my review of a River Phoenix film, which was inspired by my desire to watch a great film from the 1980s) I decided to ignore my instincts and my previously failed attempts to watch this film.
This time it was going to happen, come hell or high water.

It turned out be hell and high water, and I'm not sure if I can ever forgive myself. It's really not about the time I've wasted, it's just that I don't want to know this story.
I've never realized how happy and blissfully unaware I was before I subjected myself to INCEPTION.
And btw, why does IMDB show me Dutch translations and film posters - but not consistently? I understand the IP address thing but I don't understand why they do it.

It looks as if the filmmaker has taken his cue from the Gaming Universe by writing a new rule book that allows the story to develop in a particular and most spectacular way. So far so good, I suppose.
The problem is that the film explains relentlessly how it works (inadvertently magnifying the issues why it doesn't work) but completely omits the explanation why it works.
The story has already arrived there when the film begins but that is something I can overlook when I'm in the mood for it, and to be honest the film does give you the option to buy into it or walk away from it right from the very beginning.
This time I felt strong and ready for the challenge, but apart from the issues mentioned earlier I had not foreseen that INCEPTION was also going to take itself very very very seriously, like watching someone masturbating to his own crazy fanfic. It made me feel dirty but not in a fun way.

Then, on top of everything, it also manages to be a boring film. Even without trying keeping up with the specific rules and why this-or-that works in such-or-so way I found it increasingly difficult to pay attention to the non-stop action/fantasy sequences. When it feels like watching the screen rather than what's happening on that screen then it sucks all the pleasure out of it.

INCEPTION is currently rated 8,8 at IMDB. (!!)
How in the world.

Leonardo got the "dead wife" movie trope and if I have to mention one positive thing then I'll say that I liked her as the antagonist who keeps popping up in Leonardo's unconsciousness.
I don't hate INCEPTION, I just want to un-see it. Please write me a rule book that can make it happen.
1710595574520.png
 

Snarky Oracle!

Telly Talk Supreme
LV
8
 
Awards
21
INCEPTION (2010)

View attachment 51619

Inspired by the Leonardo DiCaprio thread (which was inspired by an update of the River Phoenix thread, which was inspired by my review of a River Phoenix film, which was inspired by my desire to watch a great film from the 1980s) I decided to ignore my instincts and my previously failed attempts to watch this film.
This time it was going to happen, come hell or high water.

It turned out be hell and high water, and I'm not sure if I can ever forgive myself. It's really not about the time I've wasted, it's just that I don't want to know this story.
I've never realized how happy and blissfully unaware I was before I subjected myself to INCEPTION.
And btw, why does IMDB show me Dutch translations and film posters - but not consistently? I understand the IP address thing but I don't understand why they do it.

It looks as if the filmmaker has taken his cue from the Gaming Universe by writing a new rule book that allows the story to develop in a particular and most spectacular way. So far so good, I suppose.
The problem is that the film explains relentlessly how it works (inadvertently magnifying the issues why it doesn't work) but completely omits the explanation why it works.
The story has already arrived there when the film begins but that is something I can overlook when I'm in the mood for it, and to be honest the film does give you the option to buy into it or walk away from it right from the very beginning.
This time I felt strong and ready for the challenge, but apart from the issues mentioned earlier I had not foreseen that INCEPTION was also going to take itself very very very seriously, like watching someone masturbating to his own crazy fanfic. It made me feel dirty but not in a fun way.

Then, on top of everything, it also manages to be a boring film. Even without trying keeping up with the specific rules and why this-or-that works in such-or-so way I found it increasingly difficult to pay attention to the non-stop action/fantasy sequences. When it feels like watching the screen rather than what's happening on that screen then it sucks all the pleasure out of it.

INCEPTION is currently rated 8,8 at IMDB. (!!)
How in the world.

Leonardo got the "dead wife" movie trope and if I have to mention one positive thing then I'll say that I liked her as the antagonist who keeps popping up in Leonardo's unconsciousness.
I don't hate INCEPTION, I just want to un-see it. Please write me a rule book that can make it happen.
View attachment 51620

I haven't seen them since they came out, But I get INCEPTION and SHUTTER ISLAND confused, conflated and mixed-up in my head. Probably for no good reason.
 

TaranofPrydain

Telly Talk Fan
LV
0
 
Awards
6
Tonight was an "underrated gems of 1980s cinema" double feature.


THE MOSQUITO COAST (1986)



The 6.6 IMDB rating is ridiculous because this film has everything that Aguirre, Wrath Of God doesn't have: an all-round terrific cast, big drama and one of the most impressive explosions I have ever seen in a film. Directed by Peter "Picnic At Hanging Rock" Weir.
Former action-adventure hero Indy seems a logical choice for MOSQUITO's techno-Frankenstein who's trying to build a new and untarnished civilisation in the jungle, except that this Harrison Ford is far from likeable.
The first 20 minutes is almost a non-stop tirade against US consumerism and waste culture, and it even continues when the setting moves from America to their green nirvana.
There is the irony of the disillusioned American who then buys a jungle village and accuses another white man of trespassing.
I've never really thought about it but there's something truly bizarre about "man" owning a piece of the planet. Who the hell do we think we are?

Yound and fresh-looking River Phoenix was the eighties answer to Leonardo DiCaprio and I must check out some of his other films.
Andre Gregory is a joy as Reverend Spellgood and I wish his part had been bigger. "Dinner With Andre" added to the watch list.
The twins are the stereotypical twin toddlers who only serve as extra precious baggage. At one point they have to be strapped to a mast to keep them inside the boat. Funny.
Conrad Roberts is the main black actor who plays Mr. Haddy and he's so good that I almost didn't notice it. Perhaps it's also a bit racist to assume that these kind of roles are easy to do for black actors.
Protagonist Allie Fox is definitely a racist, a dictator and a lousy father, and not in an entertainingly villainous kind of way. It goes completely against Harrison Ford's blockbuster charm and that alone makes it an interesting performance to watch.
Helen Mirren is never not good but I wonder if the novel describes as being British.
Somehow it kinda works that she unintentionally creates an air of detachment, it makes it easier to believe that she would follow her bossy genius-husband all over the world, like a devoted Mary Poppins wife.
It's a beautiful and very intense film, and as with most great films of the 80s decade a bit harder to discover. But it's always the payoff that counts.

The mosquito Coast was a very impressive film, and definitely should have a higher profile. It is definitely one of the best films of 1986, and Harrison Ford has never been better. As for River Phoenix, I would definitely suggest Running on Empty and Dogfight as being your next stops to look at.
 

Willie Oleson

Telly Talk Schemer
LV
9
 
Awards
27
Last night was a "the eyes have it" double feature.

THE VISITOR (1979)

1711288890960.png

I have no idea how this film poster connects with the feature itself, unless it should be read as a promise that we're going to gaze into Franco Nero's uncredited Jesus eyes.
1711289475865.png
And a few eyes are getting picked out so perhaps it all makes sense anyway.

THE VISITOR is a typical example of an ill-conceived (semi-)European project that borrows bits and bobs from popular sci-fi and horror films, kinda like the Italian soft-core disco vampire genre.
It goes without saying that these type of films have tremendous "cult" value - it would be a great entry for Studiocanal's Cult Classics label, maybe I should drop them an email - but the surprise here is that THE VISITOR is much more entertaining than it deserves to be.
It's messy, it's overwrought or downplayed in all the wrong places, scenes are rushed or go on forever, the soundtrack - albeit a very good one - is often used inappropriately, it's unintentionally campy etc etc.
You'd think this is one of those "so bad it's good films" but it's not. There really is something effective and fascinating about this trippy potpourri, but it's a matter of sheer luck rather than the result of creative input.
My experience was similar to watching ASSAULT ON PRECINCT 13, John Carpenter's film that failed to deliver its vision (at least there was one) but made with such deadpan coolness that it acquired a unique atmosphere.



THE SPIRAL STAIRCASE (1946)

1711293408940.png

This time it's a misleading title rather than a misleading film poster, as that spiral staircase only marginally contributes to the story.
In fact, it's massively upstaged by the grand staircase in this typically American mansion including the offensive but fashionable black statures.
Although it could be argued that the staircase is upstaged by that fantastic, huge mirror on the mid-landing.
1711294021703.png
1711294040395.png
Yes, why didn't the Carringtons have a mirror like that on their dramatic staircase?

It's very much a product of its time, an unsubtle and melodramatic gothic noir, but the effects and cinematography are excellent.
I'd say that it puts the "dark" back in DARK SHADOWS, and I always love it when they transform something as mundane as a person's eye into a macabre and grotesque feature.
1711295045570.png
The events play out during a thunderstorm - well, naturally - and it enhances the experience of cozy nighttime watching.
Dorothy McGuire's ficitional vocal handicap proves a little bit too ambitious sometimes but never to the point that it started to irritate me. Besides, it was compensated by physical acting that captured the frenzy this film was going for.

I enjoyed the bitchiness between the bedridden matriarch and nurse Barker.
You're being paid to sit in the hall, that's all you're good for.
The actress who played nurse Barker reminded me of a woman who used to work in a department store I frequented, and we hated each other.
Then there's the sneaky maid who's only interested in getting drunk, sexy secretary Blanche who also lives in the mansion, and the new handsome doctor in town, Dr. Rossi style.
So, apart from being a serial strangler whodunnit there are various other things to enjoy. I guessed the murderer but not for the correct reasons.
All in all, this is a good choice if you're in the mood for something old-fashioned with a few surprisingly creepy effects, but don't expect too much from the spiral staircase itself.
 

Snarky Oracle!

Telly Talk Supreme
LV
8
 
Awards
21
THE SPIRAL STAIRCASE (1946)

View attachment 51761

This time it's a misleading title rather than a misleading film poster, as that spiral staircase only marginally contributes to the story.
In fact, it's massively upstaged by the grand staircase in this typically American mansion including the offensive but fashionable black statures.
Although it could be argued that the staircase is upstaged by that fantastic, huge mirror on the mid-landing.
View attachment 51762
View attachment 51763
Yes, why didn't the Carringtons have a mirror like that on their dramatic staircase?

It's very much a product of its time, an unsubtle and melodramatic gothic noir, but the effects and cinematography are excellent.
I'd say that it puts the "dark" back in DARK SHADOWS, and I always love it when they transform something as mundane as a person's eye into a macabre and grotesque feature.
View attachment 51764
The events play out during a thunderstorm - well, naturally - and it enhances the experience of cozy nighttime watching.
Dorothy McGuire's ficitional vocal handicap proves a little bit too ambitious sometimes but never to the point that it started to irritate me. Besides, it was compensated by physical acting that captured the frenzy this film was going for.

I enjoyed the bitchiness between the bedridden matriarch and nurse Barker.

The actress who played nurse Barker reminded me of a woman who used to work in a department store I frequented, and we hated each other.
Then there's the sneaky maid who's only interested in getting drunk, sexy secretary Blanche who also lives in the mansion, and the new handsome doctor in town, Dr. Rossi style.
So, apart from being a serial strangler whodunnit there are various other things to enjoy. I guessed the murderer but not for the correct reasons.
All in all, this is a good choice if you're in the mood for something old-fashioned with a few surprisingly creepy effects, but don't expect too much from the spiral staircase itself.

Yes, Siodmak's SPIRAL STAIRCASE is a good one, lots of atmosphere in a perfect '40s horror-noir. dark-and-stormy-night kind of way, beautifully filmed. And, yes, the title doesn't make much sense for the reasons you state.

I also liked Elsa Lanchester as the alky cook who does indeed use that spiral servant's staircase in the back (so maybe she was supposed to be the star and we never knew it).

You should re-post this on the Noir thread.
 
Top