Euro art house director Roger Vadim adapted Blood and Roses 1960, from Sheridan Le Fanu’s Sapphic vampire novella Camilla, setting down in contemporary Italy.
A lonely and bitter young heiress – jealous of her cousin’s engagement to another woman – becomes dangerously obsessed with legends surrounding a vampire ancestor, who supposedly murdered the young brides of the man she loved (IMDb).
The role of Carmilla was cast by Annette Vadim and Elsa Martinelli plays Georgia Monteverdi engaged to Leopoldo (Mel Ferrer). Camilla is secretly in love with Leopoldo. He and Georgia host a costume party to celebrate their upcoming wedding, which include fireworks, that wind up unearthing the grave of Milarka, who is Carmilla’s ancestor, a vampiress. Milarka now possesses Camilla and designs to corrupt the lovers. Although the film is in technicolor, Vadim shoots his impressionistic dream sequence in black-and-white with red tinted blood.
The film stoked the theme of the lesbian vampire, though not explicit, the trope gained traction in the late 1960s and 70s with Hammer studios. Martinelli also appeared in The 10th Victim 1965.
Hayley Mills comes from acting royalty, she is the daughter of great British actor John Mills and the younger sister of Juliet Mills. I happened to have the good fortune of meeting the gorgeous Juliet Mills twice at the Chiller convention here in New Jersey. I have to say that I’ve never met a more kind and gracious actor who has a profound inner glow. Having already been a fan, I’m even more enamored with her.
Hayley was discovered while at her parent’s home in 1958 by director J. Lee Thompson who immediately cast her opposite, of her father in the thriller Tiger Bay 1959. Her breakthrough performance, winning an award at the Berlin Film Festival and being acknowledged in Hollywood by Walt Disney who signed her to a five year contract. There she starred in Pollyanna 1960 garnering rave reviews and a second hit was for The Parent Trap 1961. She went on to do That Darn Cat! 1965 and The Trouble with Angels 1966.
Mills had been offered the role of Lolita in Stanley Kubrick’s film (1962) but her parents warned off the part fearing the sexual nature of the role would taint her iconic image of purity. Sue Lyon was cast in the role instead, but Mills regretted not taking the part.
in Twisted Nerve 1968, Hayley Mills plays Susan Harper who befriends psychopath Martin Durnley (Hywel Bennett) who appears to be a painfully troubled young man, taking on the persona of a six year old boy who calls himself Georgie. His mother (Billie Whitelaw) infantilizes Martin. He has a brother with Down Syndrom who has been hidden away in an institution. Georgie becomes fixated on the lovely and patiently kind, who realizes there’s something very wrong with Martin who ultimately goes into a murderous rage.
After Twisted Nerve 1968 Hayley Mills went on to do more psychological thrillers in the 1970s – Once again co-starring with Hywel Bennett in Endless Night 1972, and Deadly Strangers 1975.
Anna also comes from acting royalty being the daughter of actor Raymond Massey. She is known for her role as Helen Stephens in Michael Powell’s Peeping Tom 1960 starring Karlheinz Bohm as Mark, a disturbed young man who films women as he kills them with a tri-pod sword so that he can get off on their reactions of terror. Anna plays Helen Stephans, the one girl that Mark feels a connection to.
Once Mark is drawn to Helen they begin to spend time together. In Helen’s innocence, she remains out of danger from his dark, deranged eye on women’s suffering.
She also appeared in Otto Preminger’s Bunny Lake is Missing 1965, the psycho-sexual thriller drenched in paranoia. Carol Lynley reports her little girl missing, but there seems to be no evidence that she ever existed. Anna plays Elvira Smollett one of the teachers at the school where she disappeared.
Massey went on to do two more horror films in the 1970s, Alfred Hitchcock’s Frenzy 1972 and The Vault of Horror 1973 an anthology directed by Roy Ward Baker.
It’s that wonderful time of the year when we all get to celebrate those unsung actors with loads of character, thanks to Aurora of Once Upon a Screen, Paula’s Cinema & Club& Outspoken and Freckled who are hosting the Fifth Annual WHAT A CHARACTER! BLOGATHON 2016… This will be my fourth time contributing to this fantastic event, having covered Jeanette Nolan, Burgess Meredithand last year’s Agnes Moorehead. As many of you know, it’s often the actors on the periphery of some of our most favorite films that fill out the landscape with their extraordinary presence, a presence that becomes not only essential to the story, but at times become as memorable perhaps even larger than life when compared with the central stars themselves. I’m thrilled to be joining in the fun once again and am sure that it’s going to be just as memorable this year as ever before!
The ASTONISHING… RUTH GORDON!
“The earth is my body; my head is in the stars.”-Ruth Gordon as Maude
Maude: “A lot of people enjoy being dead. But they are not dead, really. They’re just backing away from life. *Reach* out. Take a *chance*. Get *hurt* even. But play as well as you can.”
I’ve been waiting to write about my love of Ruth Gordon for quite some time, and felt that this would be the best way to get off the pot and just start singing those praises for this remarkable lady of theatre, film and television. Ruth Gordon in so many ways channeled her true personality through the character of Maude, in life –she too always projected a spirit that played as well as she could…
“Choose a color, you’re on your own, don’t be helpless.” –Ruth Gordon -An Open Book
There’s a vast dimension and range to Ruth Gordon’s work both her screenwriting and her acting, the effects leave a glowing trail like a shooting star. With her quirky wisdom and sassy vivacity that plucks at your hearth, Ruth Gordon stands out in a meadow of daisies she is emblazoned as bright and bold as the only sunflower in the field. No one, just no one has ever been nor will ever be like this incredible personality.
For a woman who is impish in stature she emanates a tremendous presence, a smile like the Mona Lisa, sporting a unique and stylish way she expresses herself with a poetic & fable-like language. Ruth Gordon is a character who dances to a different rhythm — how she sees herself and how she performs *life* is uniquely mesmerizing as it is burgeoning with all the colors of the universe.
Ruth Gordon is a dramaturgical pixie, with a curious hitch in her git along… an impish dame who rouses and fortifies each role she inhabits with a playful, mischievous and almost esoteric brand of articulation.
In a field of different daisies Ruth Gordon is that sunflower that Maude soliloquies poetically to Harold —
Maude-“I should like to change into a sunflower most of all. They’re so tall and simple. What flower would you like to be?”
Harold-“I don’t know. One of these, maybe.”
Maude-“Why do you say that?”
Harold-“Because they’re all alike.”
Maude-“Ooooh, but they’re *not*. Look. See, some are smaller, some are fatter, some grow to the left, some to the right, some even have lost some petals. All *kinds* of observable differences. You see, Harold, I feel that much of the world’s sorrow come from people who are *this”, (pointing to a daisy) yet allow themselves to be treated as *that*.” (she gestures to a field of daisies)
From the Arlene Francis 1983 interview with Ruth Gordon– actress, screenwriter and playwright…
Ruth Gordon 1975 photo by Alfred Eisenstaedt
Ruth Gordon never wanted to be told how to write nor be instructed on how to act… from her autobiography An Open Book- “I don’t like to be told how to act either. When I’m left alone thoughts come… ‘Don’t try to think’ said our New England philosopher, Emerson, leave yourself open to thought. If you find out stuff for yourself, you get to know what you believe; what you like, how to live, how to have a good time. It’s important to have a good time.”
from Hugh Downs Interview
“ I did grow up to have character. And I’m always doing some damn thing that uh I don’t wanna do but I know it’s right to do. And I finally thought of something in my next book and I’m gonna have it in there and it’s a very important thing to remember. Just because a thing is hard to do doesn’t make it any good. You tackle something and you work at it and slave at it and say now I’m gonna do this I’m gonna do it and when you’ve done it better think it over and see if it was worth it… some easy things like falling off a log and stuff those easy things probably just as good but a New Englander has to do it the hard way. “
Arlene Francis “You once said ‘never face facts’ how can you avoid it?”
Ruth Gordon-“Oh my god look, we’re not facing facts now surely cause I might dry up and not have a thing to say in the world and then where would you be, you know… […] it would be stupid there are enough hazards in the world, I’m 85 now and I’m at my very best peak of my looks which might be an interesting thing to anybody because you figure, 18 why wouldn’t I be better looking than now?… “Don’t lets anyone tell their symptoms, it would be the most boring thing, even though everybody has so many… so the ‘don’t face your facts’ is if you face what’s the matter with you, you know we’d open a window and say goodbye everybody like tinker bell and take off and hope you could fly (she laughs) Don’t face the facts you know, I was 18 years old I was going on the stage didn’t know anybody in New York and I didn’t know anybody on the stage, and I wasn’t beautiful and I wasn’t tall which everybody was in those days, and uh I didn’t have any money and how was I gonna do this, so if I didn’t ‘not face those facts’ I’d say too bad she wanted to be an actress…”
Ruth Gordon, who always dreamed of becoming a ‘film’ star, beside an astonishing stage presence talks about winning awards for her work–“ The main award that I really value is the award I give myself and people say Oh you don’t know when you’re good you know, the audience knows, people know but you don’t know Well that’s stupid I know when I’m good for myself You might not like it, they might not like it, the public might not like it, but I know that wonderful performance that doesn’t happen too often, when anticipation and realization come together because that night when it’s all perfect and is great and you know … that you’ve just taken off… that’s my award…”
Ruth Gordon is bold and vibrant and an actress who never shied away from taking the quirkiest and eccentric roles. From irreverent Ma in Every Which Way But Loose (1978) the poignant Becky Rosen in Boardwalk (1979) to the perspicacious Maude in Harold and Maude (1971) George Segal’s tushy biting batty mother-Mrs. Hocheiser in Where’s Poppa? (1970) and of course the queen of campy kitschy New York City’s enigmatic coven hostess with the mostest– Minnie Castavet in Rosemary’s Baby (1968) …
Once Ruth Gordon personified the unforgettable Minnie Castavet in “Rosemary’s Baby”in 1968 she manifesting a lasting and unfading, enigmatic character that only Ruth Gordon could infuse with that unforgettable energy.
Minnie is perhaps one of the most vividly colorful film characters with her sly and farcical mispronunciations and a wardrobe that is distinctly tacky. Part cosmopolitan part menacing, no one could have performed Minnie Castavet quite like Ruth Gordon, that next door meddling neighbor who befriends an American housewife, who is secretly waiting to become the godmother to the devil’s unborn son.
Gordon appears as if she was cut from a mold that makes her seem like a rebel to the inner workings of Hollywood. And as extremely unconventional as she can be, there is always a depth and authenticity to the wackiest of characters she’s portraying. From the lyrically loving and life devouring Maude in Hal Ashby’s different style of love story.
“ Well it’s a very good movie, I was absolutely wonderful Collin Higgins wrote a great movie Bud Cort was sensational, Hal Ashby became one of the top directors so how do you account for that, well it just happened. But, you see, some guy in Cambridge Mass. he wrote from the YMCA he wrote me a letter and he said, ‘I’ve seen Harold and Maude’ I don’t know how many times he’d seen it, and he said I’m at a loss to know why it means so much to me and I think about it , I think about it a lot and I finally came to the conclusion that it’s because to get through life you have to have somebody to tell it to’ that’s a very profound remark. I’ve had lovers I’ve have friends I’ve had family and I didn’t exactly tell it to them but Garson Kanin I tell it to him whether it’s bad whether I’m a failure whether I’m going grey. Somebody to tell it to. And it’s a very very necessary part of life. And in Harold & Maude Harold who was a kind of helpless geek with looks riches money everything he had … except knowing how to live. And Maude who didn’t have anything except she knew how to live. And Harold could tell it to her. he could tell it to her. She didn’t always have the answer. But he could pour it out. And so it was wonderful really, just pour it out, I said once even if I’m wrong agree with me because you know to Gar, have somebody you know would stand up for you.”
Ruth and husband Garson Kanin… super writing team!
Bud Cort remained very close friends with Ruth Gordon. Here he is talking about her tremendous influence on This is Your Life television show honoring the extraordinary actress/writer.
Ruth Gordon and Hal Ashby on the set of Harold and Maude 1971
from the Dick Cavett interview from September 19, 1969 expressing how if you had never seen Ruth Gordon on the stage “You would lament that fact… a lady who is one of the incomparable ladies of American Theatre. There have been cults about Ruth Gordon for years and years and years. When great performances on Broadway are discussed, Laurette Taylor in The Glass Menagerie or Mildred Dunnock in Death of a Salesman, or Vivien Leigh or any of the classics are referred to Olivier in Oedipus, Ruth Gordon in *The Matchmaker* is always brought up as one of the masterpieces of all time. And she has been a wondrous presence in the theatre for over 50 years. Splendid comedian and a splendid comic writer.”
Ruth Gordon Jones was born October 30, 1896 in Quincy, Massachusetts. “growing up with the brown taste of poverty in her mouth.” As a child she wrote fan letters to her favorite film stars and received a personal reply from Hazel Dawn. So struck with stage actress Hazel Dawn after seeing her perform in “The Pink Lady” in Boston, Ruth Gordon decided to go into acting. After high school she went to the American Academy of Dramatic Arts in New York City, and was an extra in silent films made in Fort Lee, New Jersey making $5 in 1915. She made her Broadway debut in 1915 as one of the Lost Boys later that year in Peter Pan or The Boy Who Wouldn’t Grow Up as Nibs. She garnered a favorable review by Alexander Woolcott, who at the time was an extremely influential theater critic eventually the two became close friends and he her mentor. Gordon was typecast in “beautiful but dumb” roles in the early 20s.
Ruth Gordon began to hone her craft and push the range of her acting ability which she revealed in Edith Wharton’s Ethan Frome, the restoration comedy The Country Wife in which she appeared at the influential theater–London’s Old Vic. She eventually found her way to Broadway, and landed a role in Henrik Ibsen’s A Dolls House during the 1930s.
Severely bow-legged, in 1920 she spent time in a hospital in Chicago where she had her legs broken and straightened.
Ruth Gordon as Edward G. Robinson’s wife in director William Dieterle’s Dr. Erhlich’s Magic Bullet 1940
Ruth Gordon with the great Greta Garbo in director George Cukor’s Two-Faced Woman 1941.
She was married to actor Gregory Kelly from 1921-1927 when he died of heart disease. In 1929, she had a child (Jones Harris) with Broadway producer Jed Harris. She stared in plays in New York City and London, not doing another film until she played Mary Todd in director John Cromwell’s Abe Lincoln in Illinois 1940, co-starred with Edward G. Robinson in director William Dieterle’s Dr. Ehrlich’s Magic Bullet 1940 and appeared as Miss Ellis in director George Cukor’s film starring Greta Garbo film Two-Faced Woman 1941 and co-starred with Humphrey Bogart in Action in the North Atlantic 1942.
Ruth Gordon plays Ann Sheridan’s mother in director Lewis Milestone’s story of a small fishing village in Norway and the resistance to the Nazi occupation, Gordon plays Anna Stensgard the unassuming wife and neurotic mother who lives too much in the past in Edge of Darkness 1943.
In 1942, active on Broadway again, she married writer Garson Kanin and started writing plays. Together with her husband she wrote screenplays for Katherine Hepburn and Spencer Tracy like A Double Life 1947, Adam’s Rib 1949, and Pat and Mike 1952. She also wrote an autobiographical play “Years Ago”, that then became a film directed by the great George Cukor starring Jean Simmons, Spencer Tracy and Teresa Wright in The Actress 1953 about her life growing up and getting into the theatre.
Ruth Gordon and her husband were included in a round up of theatre actors questioned by the House on Un-American Activities in 1947 and flown to Washington for questioning. Nothing came of the investigation.
In the 1960s she returned to Hollywood with roles in films and television adaptations–
The television movie version of Noel Coward’s 1941 play Blithe Spirit—Ruth Gordon manifests the spiritual medium Madame Arcati in the 1966 tv version.
Ruth Gordon as Stella Barnard co-starring with Roddy McDowall and Tuesday Weld in Lord Love a Duck 1966.
Playing Mrs. Stella Barnard in Lord Love a Duck 1966 The film stars Tuesday Weld as the innocent attention seeking teenager from a broken home who aspires to become loved by everyone, wears 12 colorful cashmere sweaters given to her by friend and mastermind Roddy McDowall (who was 36 at the time playing a teen!) Director George Axelrod’s biting satire that pokes fun at teen beach movies of the 1960s, elitism and the adults that satellite around their machinations …
Stella Bernard: (Ruth Gordon) “You lied to me, Miss Greene. You permitted me to believe your father was dead.”
Barbara Ann: (Tuesday Weld) “Well, they’re divorced.”
Stella Bernard: (Ruth Gordon) “In our family we don’t divorce our men; we *bury* ’em!”
Where’s Poppa? 1970 In director Carl Reiner’s black comedy- Ruth Gordon lets it rip as the irreverent Mama Hocheiser who’s senile antics are driving New York attorney Gordon Hocheiser (George Segal) to the brink. When he finally meets the loving and naive nurse Louise Callan (Trish Van Devere) , worried his mother’s idiosyncrasies will ruin his budding romance, he grasps at any means to finally get rid of her! Ron Leibman is hilarious as brother Sidney!
Inside Daisy Clover 1965, for which Ruth Gordon returning to the screen after almost 20 years -was nominated for an Oscar and won a Golden Globe as Supporting Actress… One of my favorite directors Robert Mulligan creates a portrait of a tomboy (Natalie Wood) who dreams of being a singer, lives in a trailer and runs a beach side concession stand where she forges the autographs of Hollywood stars — suddenly discovered Daisy rises to stardom herself, falls in love with Robert Redford, only to turn her back on the viciousness of the business.
Ruth Gordon plays her quirky card playing mother whom she calls ‘Old Chap’ who lives in her own world. Daisy loves her dearly, but the studio heads force her to hide Old Chap/Mrs. Clover in an old age home and tell the public she’s dead in order to project her star image without an eccentric & batty mother in her life. Ruth Gordon once again plays batty to the poignant level of art form.
Inside Daisy Clover co-stars Christopher Plummer, Robert Redford and Roddy McDowall, with a wonderful soundtrack “You’re Gonna Hear From Me” by André Previn and Dory Previn.
Police (Harold Gould)-“You waited seven years to report your husband missing?” Mrs. Clover-‘The Dealer’“I just started missin’ him this morning.”
Natalie Wood grew so fond of Ruth Gordon after working on the film Inside Daisy Clover that she made her the godmother to her daughter Natasha Gregson Wagner
Gordon plays Alice Dimmock involved in a dangerous battle of wits with the menacing Clare Marrable who buries her victims in her lovely rose garden–Geraldine Page hires companions who have a nice savings built up and no relatives to come around looking for them in What Ever Happened to Aunt Alice 1969.
WHAT EVER HAPPENED TO AUNT ALICE? 1969 directed by Lee H. Katrin Produced by Robert Aldrich Music by Gerald Fried.
In this taut Grande Dame Guignol horror thriller Whatever Happened to Aunt Alice 1969 Ruth Gordon portrays Alice Dimmock who sets out to uncover the truth behind her companion’s (Mildred Dunnock) disappearance after she takes a job with the austere and cunning Clare Marrable, a prolific serial killer who sows the seeds of her rose garden with her victims.
Director Lee H. Katzin and Bernard Girard’s psychological thriller that positions two powerful actresses in a taut game of cat and mouse…
Geraldine Pages plays the ghastly & audacious serial killer Claire Marrable, whose husband left her penniless. In order to keep living a life of luxury and comfort she begins offing her paid companions who have stashed doe and no family to come looking for them. When Edna Tinsley played by Mildred Dunnock goes missing and becomes part of Mrs Marrable’s wondrous garden of roses, Ruth Gordon pretends to be Page’s companion in order to get to the truth about her missing friend.
Ruth Gordon was amazed at the showing of What Ever Happened to Aunt Alice? She figured that by playing the part of a woman in peril at the mercy of the ruthless and calculating psychopath, performed perfectly by Geraldine Page, at the final moment of confrontation her split decision to for self preservation and become a murderer herself or be true to her inherent goodness allowing herself to be a victim. Ruth Gordon believed that it was this defining moment the goodness that ruled Alice’s heart and head would be the most powerful moments in the film. Yet, when the audience responded at this critical scene, to her surprise they screamed out “Kill her, kill her!” The audience had wanted Ruth’s character to live so badly…
from director Hal Ashby’s Harold and Maude (1971)
A 79 old woman and a twenty year old lost soul meet at a funeral, and find love and life together in a darkly light comedy. Bud Cort creates an iconic figure of a young privileged young man disillusioned by life, who gets a kick out of antagonizes his priggish mother Mrs. Chasen (Vivian Pickles) with creative faked suicides. Once Harold is exposed to the wisdom and insight that Maude imparts, she manages to open up his heart and teaches him how to reach out and embrace the substance of life’s beauty.
“You know, at one time, I used to break into pet shops to liberate the canaries. But I decided that was an idea way before its time. Zoos are full, prisons are overflowing… oh my, how the world still *dearly* loves a *cage.* “-the inimitable Maude
Harold: “Maude” Maude: “Hmm?”Harold: “Do you pray?” Maude: “Pray? No. I communicate.” Harold: “With God?” Maude: “With *life*”
Every Which Way But Loose 1978
Ruth Gordon plays the impertinently, uninhibited Ma to Clint Eastwood as trucker Philo Beddoe & Orville (Geoffrey Lewis) who travel around the West Coast looking for street style prize- fights. Along for the ride are Beverly D’Angelo as Echo, and evasive love interest Sondra Locke as country singer Lynn Halsey-Taylor. There’s a hilarious assorted misfit motorcycle gang members and Philo’s pet Orangutan Clyde who’s always stealling’s Ma’s Oreo cookies!
Ruth Gordon reprised her role as the cantankerous Ma in Any Which Way You Can 1980.
Ma after Clyde has eaten her bag of Oreos-“Ohh! Stop that, ya goddamn baboon. No respect! No privacy! No nothing!”
co-staring with Lee Strasberg in Boardwalk 1979
Lee Strasberg plays David Rosen and Ruth Gordon portrays wife Becky who own a wonderful little diner, a loving older couple who have lived in their Coney Island jewish neighborhood for 50 years, until a gang moves in and changes the communities quality of life by threatening the local store owners with violence if they don’t pay ‘protection’ money. When David defies them, they burn down the diner and desecrate the synagogue. Janet Leigh also co-stars as Florence Cohen.
Ruth Gordon manifests a marvelously warm and poignant chemistry with master actor/teacher Lee Strasberg.
She personified the unforgettable role as Minnie Castavet in “Rosemary’s Baby”in 1969. Manifesting an unfading, enigmatic character that only Ruth Gordon could perform.
Ruth Gordon started to get more regular film and television roles. Reprising the role of Minnie Castavet in the made for tv fright-flick Look Whats Happened to Rosemary’s Baby (1976) and played the devouring Jewish mother Cecilia Weiss in the television movie The Great Houdini 1976. And the television movie The Prince of Central Park 1977.
Ruth Gordon was cast in the feature film The Big Bus (1976) among a terrific ensemble of actors. She appeared as Arvilla Droll in Scavenger Hunt 1979 and the very touching film about growing up and friendship- My Bodyguard 1980 in -Maxie (1985) Ruth Gordon plays Chris Makepeace’s kindly but rascally grandmother, while he finds a way to school bully Matt Dillon from beating him to a pulp, he finds an outcast that everyone is afraid of to be his bodyguard in Adam Baldwin. The film also co-stars John Houseman.
Ruth Gordon co-stars with Chris Makepeace in 1980’s My Bodyguard
Ruth Gordon co-stars with Glenn Close in Maxie 1985
As the eccentric Marge Savage in the ABC tv Movie of the Week directed by John Badham starring Alan Alda- Isn’t It Shocking (1973) Gordon possessed the seamless ability to oscillate between a delightfully aerated conviviality and acerbic snapdragon capable of delivering the most colorful tongue lashing!
Alda plays a small town sheriff with his quirky secretary/sidekick Blanche (Louise Lasser) who is daunted by a string of mysterious deaths that are plaguing the elderly town folk. Edmund O’Brien plays Justin Oates an odd serial killer who is holding a lifetime grudge against his old friends who humiliated him in high school. Marge was his great love who might have done him wrong! Co-stars Lloyd Nolan, and Will Geer and the county coroner who uncovers the weird details that connect the murders.
Lynn Redgrave stars with Ruth Gordon in the stage production of George Bernard Shaw’s Mrs. Warren’s Profession.
Ruth Gordon was nominated for Broadway’s 1956 Tony Award as Best Dramatic Actress for playing Dolly Levy in Thornton Wilder’s “The Matchmaker.” Ruth Gordon says that Wilder had been a tremendous help and influence to her, having ‘picked him up in front of The Booth Theater’ way back when. She won a Golden Globe award as Best Supporting Actress as Natalie Wood’s mother she calls Old Chap in Inside Daisy Clover, and a much deserved Academy Award for Best Supporting Actress in Rosemary’s Baby.
She was nominated for a Golden Globe for playing Maude in Harold and Maude in 1971.
In the 1970s and 1980s she played parts in well-known television shows like Kojak as psychic Miss Eudora Temple in Season 2 “I Want to Report a Dream”, Rhoda, and Taxi(which she won an Emmy for.)
and in the superb episode of Columbo as mystery writer Abigail Mitchell one of the most sympathetic murderess’ of the series as she avenges the death of her beloved niece with unrelenting Lt. Columbo dauntlessly nipping at her heels. And though Abigail finds Columbo to be a very kind man, he tells her not to count on that. He must stay true to his calling as a homicide detective though we wish he would just Abigail get away with murder– in “Try and Catch Me.”
Ruth Gordon as mystery writer Abigail Mitchell: I accept all superlatives.
Ruth Gordon also had the distinguished honor of hosting Saturday Night Live in 1977.
Ruth Gordon died of a stroke at 88 in Massachusetts with her husband Garson at her side.
“She had a great gift for living the moment and it kept her ageless.”
— Glenn Close
Ruth Gordon had quite a unique way of expressing herself on stage, screen and in person and as Dick Cavett had said about the great actresses’ ability to always project her incomparable persona, what we get! — “It’s a lesson in something that only Ruth Gordon can teach.” And as she would say, she had “a lot of zip in her doo dah.”
I’ll end by saying this about this astonishingly iconic character whose sagacity and spark will never dim, when asked that particularly interesting question, ‘if you had 3 people you could meet in Heaven who would you choose?’ Ruth Gordon, you would be one of them!- With all my love, MonsterGirl
It’s Saturday, day One of the Anti-Damsel Blogathon 2015! And Fritzi of Movies Silently who will be taking over on Sunday… and I are SO knocked over by the amazing turn out! We’re glad to see you so raring to go just like those women who kicked down doors, crossed boundaries and forged a wholly unique path for themselves and other women who are empowered and inspiring and unrestrained to be gloriously-themselves.
So I’ll not wasted any further time with ‘cheap sentiment’ as Bette so effectively impresses upon us… and just get on with the show!
Our host Fritzi chooses a ‘new’ kind of women Miss Lulu Bett who as she explains the wonderful Lulu and her story as “throwing off the gloomy shackles of Victorianism and making her own way in the modern world! And Lulu’s not so easy to bully!
Lindsey at The Motion Pictures pays tribute to one of the most versatile mavericks Ida Lupino. Actress, writer, director, producer. An Emmy-nominated actress and as Lindsey points out, the second woman ever to be admitted to Hollywood’s Director’s Guild. To look at her long impressive career & body of work is to behold a legend that took the reigns and made her life in the shape of Ida Lupino!
Mind of Levine comes up with a title that makes me feel all warm inside, because she conjures up a bold title that I can grab onto. As of late, I’ve been devouring every film I can on the incredible Carole Lombard, who tragically died in a plane crash. What would she have accomplished in a life time if she had survived.
She has a pantheon place here at The Last Drive In. Irreverent, hilarious, gorgeous, sublime and one step ahead of her male leads. A comedic timing and genius that shook up a studio system that couldn’t handle her verve. Well just read this amazing contribution to the event in Stacy LeVine’s own words… Carole Lombard forever a legend, and an Anti Damsel if there ever was one!
Nitrate Glow offers us a beautiful gem from 1968… directed by Isao Takahata. Hilda is the little songstress who was way before her time in terms of animation heroines. Nitrate Glow offers an incredibly eloquent and insightful look at a unique film!
Kristina’s offbeat & clever insight =Cobra Woman and it’s a hell of a choice. It’s got the good twin/bad twin paradigm and Maria Montez, a warrior woman in charge! Here’s just a tidbit of Kristina at Speakeasy’s perspicacity!
It is said that “no drug-soaked brain could dream up the horrors of Cobra Island,” ‘but this movie dreamed it up and brought it to vivid life. This is fantastic entertainment and pulpy comic book spectacle bursting at the seams with fantastic things:’
Fantastic things like Maria Montez an Anti Damsel for sure…I know what I’m watching later!
When you think of a woman who is less imperiled you think Jessica Walter as Evelyn Draper or as The Joy & Agony of Movies did, Tuesday Weld is spine chilling as Sue Ann Stepanek, a pretty sociopath who let’s nothing get in her way! She is the epitome of the ‘pretty bad girl’ It’s a great addition to the Anti Damsel Blogathon!
Leave it to Dorian of Tales of the Easily Distracted to offer us a witty and apropos tribute to the Anti Damsel Audrey Hepburn as Regina Lampert in Charade (1963) Just because Hepburn exudes a delicate finery and elegance, she has always manifested a power that strikes out like a lioness! Charade is a wonderful romantic comedy that showcases why the versatile Audrey Hepburn is a legend!
Frieda Inescort plays Lady Jane Ainsely in The Return of the Vampire 1943. Now it’s no small task to play it empowered along side Bela Lugosi! Lady Jane Ainsley: “Your eyes look like burning coals. Don’t come any nearer. Don’t touch me.”
Serendipitous Anachronisms pays tribute to the great Kim Hunter and her memorable character as Dr. Zira in Planet of the Apes 1968. It’s a passionate piece about brave and brilliant women who command an entire civilization of men, oops I mean apes with her strong leadership style and wisdom… Couldn’t have an Anti Damsel Blogathon without her!
The prolific Karen has to say about our lovable Joan “downtrodden Depression-era woman who transforms her existence from bleak oppression to indisputable triumph. Using her wits, her nerve, and her determination” We couldn’t have an Anti Damsel party without inviting one of the most effervescent gals Joan Blondell!
Who better than to pay tribute to an immensely empowered, and I do mean immense! 50 feet worth of empowered woman, than Aurora from Once Upon a Screen. Nancy Fowler Archer will remain indelibly in our secret voyeuristic yearnings to grow tall enough to kick the crap out of the finks who dare betray us!
Old Hollywood Films does this Anti Damsel Blogathon proud to showcase one of the greatest legends, Lillian Gish brings to life one of the strongest, pure hearted gun totin’ characters Rachel Cooper in Charles Laughton’s Masterpiece Night of the Hunter (1955) And say… this is a gif that just keeps giffing !!! Thanks Old Hollywood Films for sharing this fabulist heroine!
Moon in Gemini has also honored this grand bash with yet another legendary figure of empowered women-ness! We can’t neglect Barbara Stanwyck and this post will make all you Stanny fans happy with…
The Furies: The Anti-Damsel with a Daddy Fixation! I would have liked to taken one of those Dr. Taylor classes. And as Debbie so aptly puts it- “Is there any character that Barbara Stanwyck played that COULDN’T be classified as an anti-damsel?”
I’d say no! it wasn’t possible for her to be non-empowered or in peril. She didn’t have those strong shoulders and that gritty voice for nothing. Even if Bogie was poisoning her milk, or she was bed ridden or stalked by a dream lover or even a witness to murder, she never quite seemed like a weak woman. Just a strong one in the wrong place at the right time. So dive in now to Moon in Gemini’s brilliant perspective on quite an interesting Stanwyck film!
BNoirDetour showcases the talent of Linda Darnell in this highly charged film of social criticism that explodes on the screen in No Way Out (1950)! As Edie Johnson caught in the crossfire of racism, she’s got a lot of guts to rise above the chaos and come out kicking!
When CineMaven’s Essays from the Couch writes that her heart skips a beat because of our Anti Damsel themed Blogathon, I want to return the compliment and say how grateful both Fritzi and I are for the overwhelming response to this tribute to empowered women! And CineMaven, you couldn’t have picked someone better to cause pangs in my heart than the underrated Ella Raines in what I think is one of THE most incredibly intricate psychological film noirs Phantom Lady, with gutsy Carol (Ella) as our heroine!
You’ll never get anything but unique and mind expanding insight from Goregirl’s Dungeon. I was sooo thrilled to have her join in and offer her take on an Anti Damsel. Read her fascinating overview of Anna Karina in the films of Jean -Luc Godard…
Defiant Success has made this Anti Damsel Blogathon that much better for having covered Deborah Kerr as Karen Holmes a woman who speaks her mind in From Here To Eternity (1953) Kerr is the consummate anti damsel and she always wields that classy composure!
As Virginie from The Wonderful World of Cinema says- “Movie heroines are not always princesses waiting for a prince to rescue them, they are not always victims or damsels in distress. Female movie characters can be strong, they can have guts, determination and many other wonderful qualities” Shirley Booth had a powerful stamina and warmth that couldn’t be extinguished. We’re so happy to have her as a part of our Anti Damsel Blogathon!
Carole & Co. devotes a journal to the groundbreaking versatility, beauty and comedic genius of Carole Lombard. We’re so glad to have her join us for the Anti Damsel Blogathon! Taken away from us too soon, journey through this insightful post and read about Lombard as producer!
Karavansara has done the honor of taking up my wish list and paying tribute to one of THE most iconic sexy and strong female role models of the 60s. I am with them. Diana Rigg & Emma Peel both left a huge impression on me growing up. And yes I couldn’t resist having a one of my first crushes either… Read this well written tribute to one of the finest examples of empowerment…!
“Emma Peel, as portrayed by Dame Diana Rigg, is one of the icons of the 1960s, a sex symbol, and one of the earliest strong, empowered female leads in television entertainment.”
Heather Drain of Mondo Heather explores the Uber mod & deviant world of the Cult & Exploitation 60s paying tribute to a pretty formidable Anti Damsel Big Shim (Marni Castle) sporting a steel bra that could be registered as a lethal weapon. The film includes other divinely demented Anti Damsels’ as Heather writes- “Sweety East (Monique Duval), who is a Texan-fried, butt-crack rocking version of Honey West, things go from nutzoid to putting out fire with gasoline”
PS: You gotta love a reference to Honey West (Anne Francis) that sexy private eye with her groovy house ocelot Bruce!
Naturally we couldn’t do this empowering bash without spotlighting the great Joan Crawford. And Wolffian Classic Movies Digest does a wonderful job of reminding us why Crawford the legend and Mildred Pierce the Anti Damsel are so timeless… Here’s a quote from their fabulous piece –“Joan Crawford starting out as the happy housewife breaks free of that mold becoming her own woman as She carries the movie on her Broad shoulders”
Smitten Kitten Vintage did one hell of a bang up job covering not only the incomparable Bette Davis but her iconic portrayal of Margo Channing in All About Eve 1950. The film that put her back on track in Hollywood! Read this insightful piece here. Because no Anti Damsel Blogathon would be complete without the legendary Bette ‘hold onto your seatbelts it’s gonna be a bumpy night’ Davis
Superfluous Film Commentary shares the sublimely bold Gene Tierney as Lucy Muir, a steadfast widow who is fiercely independent and isn’t afraid of ghosts either! A beautiful film and a wonderful contribution to our Anti Damsel bash! as they so eloquently put it Tierney is “positively radiant Gene Tierney, likewise fits the definition of empowered.”
I’ll think I’ll go get a banana split until we’re back with Fritzi on Sunday for more Empowered Lady Love!- Your everlovin’ MonsterGirl
Rachel Cameron:“I’m exactly in the middle of my life. This is my last… ascending summer. Everything else from now on is just rolling downhill into my grave.”
Joanne Woodwardis the dowdy looking emotional time bomb Rachel a 35 year old school teacher who lives with her mother and needs to either break free or break down. Kate Harringtonis fabulous as her mother, James Olsonwho was often cast as the male figure of desire in 60s & early 70s psycho-sexual thrillers plays her lover Nick. The marvelous Estelle Parsonsis her well intentioned by misguided friend Calla who has a budding lesbian attraction for her and Donald Moffat plays her dad.
I almost included this film with my compendium of cult films, though it is more melodrama than a crossing of noir, or psycho-sexual horror. The film works on the underlying premise that establishment culture has become like a sort of imprisonment to Rachel, reinforcing a repressive landscape and marginalizing the character of Rachel thus creating her own counter-culture reflecting the eroding of the American Dream and crumbling Idealism. (source American Cinema of the 1960s Themes and Variations Edited by Barry Keith Grant)
Rachel is the archetype of the repressed New England girl form a small town. Where everyone knows your business and it becomes impossible to breathe. One reviewer on IMDb called it “deep-level collective cultural phantoms”I particularly like that phrase. A suffocating lifestyle or stasis of life more aptly, Rachel is trapped by caring for her overbearing mother. and pulled to one side by the desire she has for Nick. Haunted by memories and collected damage over the years, she carries her emotional baggage til it is too heavy to bear.
A few very memorable scenes come to mind. Of course when Calla has the awkward revelation that she is in love with Rachel. But there is the bizarre church scene, and several flashbacks that allude to her childhood trauma.
Will Rachel decide to free herself from the shackles of stifling conformity and become a liberated individual
The film also co-stars the great Geraldine Fitzgerald as Rev. Wood.
Who was she? Sometimes she was a child skipping rope. Sometimes she was a woman with a passionate hunger. And one day the woman and the child came together..
In Istanbul a jazz trumpeter Jimmy Logan (James Darren) finds the corpse of a beautiful woman named Wanda Reed (Maria Rohm–House of 1,000 Dolls 1967. The Blood of Fu Manchu 1968, Eugenie… Her Story into Perversion 1970, Count Dracula 1970) washed up on the beach.
Jimmy remembers her from the night before, when he saw her at a party and then later as she was assaulted by the party’s host and two of his friends.
He winds up in Rio where he hooks up with Rita, played by Barbara McNair a singer who invites him to live with her and help him shake the nightmare off and stop thinking of Wanda.
Jimmy Logan: “She was beautiful, even though she was dead.”
Suddenly a woman appears who looks exactly like Wanda. Jimmy becomes obsessed and pursues her trying to get to the bottom of this mysterious woman.
The woman returns from the dead to take revenge on the group of wealthy sadists responsible for her death. The film also stars Margaret Lee,Dennis Price and Klaus Kinski
Frenzied, dream like colorful excursion into the psycho-sexual mind of Jess Franco.
Driven by jealousy, Diane McBainplays Shayne the jilted leader of a female motorcycle gang who’s socio-pathic and ruthless nature instigates a sadistic reign of terror against her ex-lover Rodeo Cowboy Jeff Logan and his new bride Connie (Sherry Jackson)
Stars Jeremy Slate, Diane McBain, Sherry Jackson, Patty McCormack and Harry Dean Stanton.
Patty McCormack not beating a little boy to death with her tap shoe
Set in the atmosphere of the mod 60s of London —Boris Karloff is a subtly imposing looking more time worn elderly Professor Marcus Monserrat scientist and hypnotist extraordinaire who has discovered the secret of mind control, and the ability to become empathic with the object of their desire.
Monserrat and his wife Estelle (Catherine Lacey-stage actress who was a regular performer with the Old Vic Company from 1951-went on to play eccentric spinsters-) can literally share sensations, thoughts and feelings of the subjects they wish to control.
Ian Ogilvy is the shady swinger Mike Roscoe who falls into their trap and allows them the excitement of experiencing what he does, virtually enjoying the self-indulgence of being young again. But as usual power corrupts and greedy Estelle begins to crave devouring Roscoe and the pleasure it gives her. Roscoe begins to lose control of himself, mind and body as the battle of wills ensues with the power hungry old bird trying to experience ‘kicks’ vicariously through the unlucky chap. Co-stars Elizabeth Ercy and Susan George.
Boris Karloff He Turns Them On…He Turns Them Off…to live…love…die or KILL!
When a mentally disturbed young man Dennis Pitt (Anthony Perkins) tells a pretty girl that he’s a secret agent, she believes him, and murder and mayhem ensue. Anthony Perkins character of Dennis Pitt is every bit more an emotional enigma as the young man with the pathological imagination who is an outlier of society. Released from an institution he gets a regular job at a lumber yard. But he meets the All American Cheerleader squeaky clean blonde apple pie Sue Ann Stepaneck (Tuesday Weld) who just might be even more disturbed than Dennis. He informs her that he’s working undercover for the CIA and enlists her in helping him on his case. Dennis cannot help live in his fantasy world. She is an stone cold sociopath with ulterior motives.
As she manipulates his vulnerabilities into committing acts of dangerous vandalism and eventually murder, she is in control of this Folie à deux
Co-stars Beverly Garland as Sue Ann’s Mama.
She’s such a sweet girl. He’s such a nice boy. They’ll scare the hell out of you.
Did you ever see two kids like Dennis and Sue Ann? We think not…
…Wait till you see what they did to his aunt – the night watchman – to her mother.
What brought a nice kid like Sue Ann to a shocking moment like this?
Powell had been known for his very barbed visual style.
The background story behind Mark Lewis’ madness/murder compulsion.
Mark Lewis-focus puller on Arthur Baden’s new film The Walls Are Closing In-he also moonlights as a photographer of racy pictures on the West End. He is smitten with 21 year old Helen Stephens (Anna Massey) and they are carrying on a very civil and sweet courtship. Almost child-like which is probably what kept Helen safe from Mark’s darker side.
What Helen doesn’t know is that Mark, has a blade hidden in the armature of his tripod, and stabs the object of his desire, filming their deaths, as a surrogate to his past abuse. When he was a young boy his father, a biologist researching the effects of fear on children, ‘the physiology of fear’ used to film Mark continuously like a mouse in a maze, through out his childhood, subjecting him to various fear inducing incidents as his experimentation.
Voyeurism and psycho-sexual compulsion drive this very startling horror/suspense film starring Karl Böhm, as Mark Lewis who works as a camera-man at a British film studio. His fetish is to kill women with his camera tripod while filming their death. It’s not hard to envision that the tripod is a surrogate for his phallus, and the act of stabbing them with it is his act of penetration. A mirror is fixed to the tripod so that the women can see the expression of their own faces right before death, to witness their own fear.
Unfortunately in the way Psycho with its subversive themes propelled Hitchcock’s status to auteur, the controversial Peeping Tom ended Michael Powell’s career with all the reviled reviews.
Nothing, nothing nothing… has left me with such a feeling of nausea and depression as I got this week while sitting through a new British film called Peeping Tom… Mr Michael Powell (Who once made such outstanding films as Black Narcissus and A Matter of Life and Death) produced and directed Peeping Tom and I think he ought to be ashamed of himself. The acting is good. The photography is fine. But what is the result? Sadism, sex and the exploitation of human degradation- Daily Express
Mark has had a very traumatic upbringing by his father who used his own son in experiments of the effects of fear and self loathing. Well, they produced a son who is a sexual sadist who makes his female victims watch their own deaths-specifically the expression of terror on their faces right before death. Co-stars Moira Shearer, Anna Massey and Brenda Bruce as Dora. Absolutely chilling for 1960. Bohm’s Mark Lewis almost elicits sympathy due to his childhood psycho-trauma. Much like Anthony Perkins’ Norman Bates and his fateful childhood.
The gist of why this film shook up the British film industry in a time when they were trying to tone it down was the idea of this gruesome ‘snuff’ film maker getting off on sublimating his own sexual impotence by finding victims to penetrate with his camera or gaze. The way Otto Heller sets up our participation as voyeurs makes it doubly uncomfortable to watch the killings. For example. Mark takes a red bloused prostitute up to her room. His camera it’s several lens eyes like an insect about to prey is concealed, the whirring is cloaked inside his duffel bag. See they even had kill bags back then. As she leads him upstairs he throws an empty box of Kodak film in the garbage. Not cigarettes, or a box of condoms, but still the very sexual instrument in his mode of arousal + fixtion+ object / spectacle +gaze =murder. Also turning their own destroyed images back on themselves is quite disturbing–It’s a kinky and interesting little detail. Otto Heller also added a wonderful detail to the film as Mark’s private ‘viewing room’ was bathed in a sanguinary red tone.
Director of Photography was Otto Heller, Art Director- Arthur Lawson, Editor Noreen Ackland.
Anna Massey plays Helen Stephens, Maxine Audley is Helen’s mother Mrs Stephens who while blind senses that there is something off about Mark, Moira Shearer is Vivian, Nigel Davenport is Sergeant Miller.
Can you see yourself in this picture? Can you imagine yourself facing the terror of a diabolical killer? Can you guess how you’d look? You’ll live that kind of excitement, suspense, horror, when you watch “Peeping Tom”.
A mad scientist Doctor Moran (George Coulouris) captures women and feeds them to his carnivorous tree with tentacle like branches that only has a taste for the ladies preferably young ones, this in turn gives him a serum that helps bring the dead back to life.
Because the tree gets fed it’s nourishment, it provides the evil doctor with a liquid that restores life to the dead. So naturally the first woman you would want resuscitated would be a good housekeeper right! No… She goes all Rochester’s crazy wife Bertha on the place, you know the violently insane first wife of Edward Rochester; moved to Thornfield and locked in the attic and eventually commits suicide after setting fire to Thornfield Hall in Jane Eyre., that sort of way! and ruins everything….
It’s really just a silly B movie from the 50s that finds unique ways to destroy beautiful women by way of mad science or mad obsession.
The film also stars Robert MacKenzie, Norman Claridge, Marpessa Dawn as a ‘native’ girl. Jimmy Vaughn as Tanga, Sarah Leighton as Susan Curtis and Vera Day as Sally.
“No Beautiful Woman is Safe!
See the nerve-shattering Dance of Death!
See the Woman Eater ensnare the beauties of two continents!
See the hideous arms devour them in a death-embrace?”
Your Everlovin’ MonsterGirl saying hope you stay on the good side of the camera and watch out for those strange large plants at Home Depot!
“Unexpressed emotions will never die. They are buried alive and will come forth later in uglier ways.”
― Sigmund Freud
“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.” — Narrator from Faster, Pussycat! Kill! Kill! (1965)
THE DARK PAGES NEWSLETTER a condensed article was featured in The Dark Pages: You can click on the link for all back issues or to sign up for upcoming issues to this wonderful newsletter for all your noir needs!
Patricia Morán as Rita Ugalde: The Exterminating Angel 1962:“I believe the common people, the lower class people, are less sensitive to pain. Haven’t you ever seen a wounded bull? Not a trace of pain.”
Ann Baxter as Teresina Vidaverri Walk on the Wild Side 1962—“When People are Kind to each other why do they have to find a dirty word for it.”
The Naked Venus 1959–“I repeat she is a gold digger! Europe’s full of them, they’re tramps… they’ll do anything to get a man. They even pose in the NUDE!!!!”
Baby Boy Franky Buono-Blast of Silence (1961)“The targets names is Troiano, you know the type, second string syndicate boss with too much ambition and a mustache to hide the facts he’s got lips like a woman… the kind of face you hate!”
Lorna (1964)-“Thy form is fair to look upon, but thy heart is filled with carcasses and dead man’s bones”
The Snake Pit (1948): Jacqueline deWit as Celia Sommerville “And we’re so crowded already. I just don’t know where it’s all gonna end!” Olivia de Havilland as Virginia Stuart Cunningham“I’ll tell you where it’s gonna end, Miss Somerville… When there are more sick ones than well ones, the sick ones will lock the well ones up.”
Delphine Seyrig as Countess Bathoryin Daughters of Darkness (1971)– “Aren’t those crimes horrifying. And yet -so fascinating!”
Julien Gulomar as Bishop Daisy to the Barber (Michel Serrault) King of Hearts (1966)–“I was so young. I already knew that to love the world you have to get away from it.”
The Lickerish Quartet (1970)–“You can’t get blood out of an illusion.”
THE SWEET SOUND OF DEATH (1965)– Dominique-“I’m attracted” Pablo-” To Bullfights?” Dominique-” No, I meant to death. I’ve always thought it… The state of perfection for all men.”
Peter O’Toole asSir Charles Ferguson Brotherly Love (1970): “Remember the nice things. Reared in exile by a card-cheating, scandal ruined daddy. A mummy who gave us gin for milk. Ours was such a beautifully disgusting childhood.”
Euripides 425 B.C.–“Whom God wishes to destroy… he first makes mad.”
WHAT DOES PSYCHOTRONIC MEAN?
psychotronic|ˌsīkəˈtränik| adjective denoting or relating to a genre of movies, typically with a science fiction, horror, or fantasy theme, that were made on a low budget or poorly received by critics. [1980s: coined in this sense by Michael Weldon, who edited a weekly New York guide to the best and worst films on local television.] Source: Wikipedia
In the scope of these transitioning often radical films, where once, men and women aspired for the moon and the stars and the whole ball of wax. in the newer scheme of things they aspired for you know… “kicks” yes that word comes up in every film from the 50s and 60s… I’d like to have a buck for every time a character opines that collective craving… from juvenile delinquent to smarmy jet setter!
FILM NOIR HAD AN INEVITABLE TRAJECTORY…
THE ECCENTRIC & OFTEN GUTSY STYLE OF FILM NOIR HAD NO WHERE ELSE TO GO… BUT TO REACH FOR EVEN MORE OFF-BEAT, DEVIANT– ENDLESSLY RISKY & TABOO ORIENTED SET OF NARRATIVES FOUND IN THE SUBVERSIVE AND EXPLOITATIVE CULT FILMS OF THE MID TO LATE 50s through the 60s and into the early 70s!
I just got myself this collection of goodies from Something Weird!
Just like Alice falling down the rabbit hole, Noir took a journey through an even darker lens… Out of the shadows of 40s Noir cinema, European New Wave, fringe directors, and Hollywood auteurs, brought more violent, sexual, transgressive, and socially transformative narratives into the cold light of day with a creeping sense of verité. WhileFilm Noir pushed the boundaries of taboo subject matter and familiar Hollywood archetypes it wasn’t until later that we are able to visualize the advancement of transgressive topics.