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Corridors of Blood (1958) More at IMDbPro »
2011 | 2010
9 items from 2011
Daily Briefing. Radical America in 1980
12 November 2011 7:18 AM, PST | MUBI | See recent MUBI news »
Catherine Grant's retweeted an intriguing find from Alternative Takes, the January/February 1980 issue of Radical America (Pdf). From the "Introduction": "Lynn Garafola's article, 'Hollywood and the Myth of the Working Class,' discusses such box office successes as Rocky, The Deer Hunter, Saturday Night Fever and Norma Rae, as well as some commercial productions that didn't do so well, such as Blue Collar and F.I.S.T. John Demeter's article, on the other hand, looks at two examples of a new class of technically advanced non-Hollywood left-wing movies: The Wobblies and Northern Lights. In a curious way, the Hollywood films that Garafola writes about are more political than the left-wing films."
For Bookforum, John Domini reviews Paolo Sorrentino's first novel, Everybody's Right, and finds that "this filmmaker's energetic wallow in prose does seem best appreciated as a cry for the beloved country, resonating off touchstones from »
Richard Gordon obituary
7 November 2011 4:05 PM, PST | The Guardian - Film News | See recent The Guardian - Film News news »
Canny film producer known for his horror and sci-fi classics
The producer Richard Gordon, who has died aged 85, was involved with several offbeat classics of horror and science-fiction cinema. These included Arthur Crabtree's Fiend Without a Face (1958), which climaxes with a still-astonishing siege of a power station by disembodied, tentacled, malicious human brains, and Antony Balch's Horror Hospital (1973), a lively and perverse mad-scientist satire featuring Michael Gough and Robin Askwith.
It may be that Gordon and his brother, Alex, so closely associated that many reference sources mistakenly say they were twins, were the first people to take the now-common route from movie-crazed kid to industry professional, later the path of film-makers as different as Jean-Luc Godard and Steven Spielberg. As schoolboys, the Gordons founded a film society, then wrote for fan magazines and performed menial roles on low-budget productions, always motivated by a boundless enthusiasm for the films »
- Kim Newman
Daily Briefing. Jacques Rancière on Béla Tarr
4 November 2011 7:05 AM, PDT | MUBI | See recent MUBI news »
With The Turin Horse opening in France on November 30 and the Béla Tarr retrospective at the Centre Pompidou running from December 3 through January 2, Capricci will be releasing Jacques Rancière's Béla Tarr, le temps d'après on November 29.
David Lynch's new album, Crazy Clown Time (which, again, you can listen to in full at NPR for the time being), has the Guardian building an annex to its special section on Lynch, "David Lynch's Film&Music," wherein you'll find Xan Brooks's interview, Cath Clarke on the newly rediscovered 50 minutes of never-before-seen footage from Blue Velvet (they'll be "re-edited — supervised by Lynch — into an extra on a new DVD celebrating the film's 25th anniversary (available early next year in the UK)," Michael Hann listening in while Lynch and Zz Top's Billy Gibbons discuss "the beauty and power of industry" and more. Related listening: Lynch and 'Big' Dean Hurley's mixtape at Pitchfork. »
Rip, Richard Gordon!
2 November 2011 6:11 PM, PDT | Trailers from Hell | See recent Trailers from Hell news »
With thoughts from Tom Weaver on the producer of Devil Doll.
Prolific author and legendary film buff Tom Weaver has been a friend of Tfh since before we existed, and his essential series of book-length interviews with horror/sci fi filmmakers, writers and actors has mirrored what we try to do here at the site, which is disseminate information and opinions on the movies we all love.
Tom’s latest book examines the career of Devil Doll producer Richard Gordon, friend of both Karloff and Lugosi, one of the first fans-turned-pro and whose long career has finally ended. Richard was 85.[More about The Horror Hits of Richard Gordon here.]
Here’s Tom:
As Tim Lucas of Video Watchdog once pointed out, Steven Spielberg, George Lucas (etc.) are called the first people to have grown up movie nuts and then become moviemakers themselves, but Years before them came Alex and Richard Gordon, who loved movies as kids in England, belonged to fan clubs, »
- Joe
Horror Producer Richard Gordon Dead at 85
2 November 2011 9:05 AM, PDT | WeAreMovieGeeks.com | See recent WeAreMovieGeeks.com news »
The man who teamed Boris Karloff and Christopher Lee together for the first time in 1958′s Corridors Of Blood and brought us the flying brains in Fiend Without A Face (1958) is gone. A great loss to the Horror Film community, Richard Gordon not only produced a string of beloved horror films in the ’50s, ’60s, and ’70s, but was a staple at conventions and a huge supporter of those who wrote on the subject of film. He produced his last film 30 years ago but his always-informative ‘letters to the editor’ to a variety of publications from small-time fan magazines up to the New York Times, offering corrections, and recollections, remain an enduring legacy for film fans.
Born in England, Gordon moved to the U.S. in 1947, and two years later, at age 23, he set up his own company Gordon Films, distributing imported films in the United States. Joined by writer Tom Weaver, »
- Tom Stockman
Not Available on DVD – Curse Of The Crimson Cult
21 September 2011 5:46 AM, PDT | WeAreMovieGeeks.com | See recent WeAreMovieGeeks.com news »
Any film featuring either Christopher Lee or Boris Karloff is an instant must-see for horror fans. The two terror titans joined forces the first time in 1958′s Corridors Of Blood, a grimy graverobber/mad doctor opus that took place in 19th century England. Ten years later came their second and final collaboration, Curse Of The Crimson Cult (aka Curse Of The Crimson Altar or simply The Crimson Cult) and this time cult siren Barbara Steele, the reigning queen of horror, joined them as well. With this type of fright wattage, you’d expect Curse Of The Crimson Cult to be some sort of classic much-discussed by monster kids just for the cast alone (it’s even got Michael Gough!), but that’s not the case with this strange but confused brew of devil-worshipping, witches, creepy old mansions with secret passageways torture devices, and ritual sacrifices. It’s considered to be »
- Tom Stockman
Blogging Through The Collection: This Week In Criterion Blogs
21 April 2011 10:07 PM, PDT | CriterionCast | See recent CriterionCast news »
It appears that I should re-title this semi-regular column on the blog “this month in criterion blogs,” rather than “this week,” given that I haven’t written one of these since the end of March. If you’ve been following along with the various news items in my life, you’ll know that I have a lot on my plate these days, and it won’t be cleared for another 18 years or so. That being said, there have been a lot of great Criterion-related blog posts going up on my favorite sites in April, and I thought it was about time to share them all with you fine readers.
This month I’d like to highlight all of the amazing stuff going on at Film School Rejects. As you know from the past few entries in this series, they have their own weekly Criterion column, the Criterion Files. For April, »
- Ryan Gallagher
A Journey Through the Eclipse Series: Basil Dearden’s Sapphire
4 April 2011 12:00 PM, PDT | CriterionCast | See recent CriterionCast news »
Last week this column featured a review from the most recent Eclipse Series release, Silent Naruse. Sharp-eyed, or perhaps somewhat obsessive-compulsive, readers may have taken note that I had not yet made any mention in this space of the Eclipse set that preceded Silent Naruse. There’s a simple reason for that: I was waiting for the late 50s/early 60s films included in Eclipse Series 25: Basil Dearden’s London Underground to come up in the meticulous chronological sequence I use in my main blog, Criterion Reflections, where I’ve just recently advanced to the movies of 1959. (And with that disclosure, those same sharp-eyed readers are now wondering just who I am to call anyone else “somewhat obsessive-compulsive.”) Well, since I’ve moved past the double feature of First Man Into Space and Corridors of Blood, that point in the timeline has been reached. This week, I’m buffing up and polishing Sapphire. »
- David Blakeslee
Criterion Files #367: The Haunted Strangler
9 February 2011 8:54 AM, PST | FilmSchoolRejects.com | See recent FilmSchoolRejects news »
There was a period in the early to mid-1950s where the horror genre, in hindsight, was appearing to go through somewhat of a period of transition. Not just caterpillar to butterfly in terms of the material, but also the beginnings to a passing of the torch from the Universal Pictures horror icons to the next generation of scare feature personalities. The 1940s, arguably, began the period of movement away from the creature features of the Universal monster pictures and started to explore deeper psychological, and supernatural elements of the horror genre over the course of the decade with the output of films from the Val Lewton team of collaborators at Rko. That period could possibly mark the first time that a major studio distributed a sequence of psychological thrillers sold as horror pictures over that length of time here in the United States, and probably the most significant since the silent-era German Expressionist pictures of the »
- Adam Charles
2011 | 2010
9 items from 2011
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