1948: The Three Musketeers di George Sidney

Una stagione cinematografica poco promettente questa in corso. Meglio allora rifugiarsi nella sicurezza di un grande classico…

Uno dei migliori prodotti che la Mecca del cinema abbia mai realizzato. Avventura, romanticismo, divertimento, ritmo a profusione. E che colori, che scenografie, che costumi…! Hollywood al meglio!
E che dire del cast? Favoloso, ineguagliabile… Insuperato e insuperabile.

Riporto la recensione di Pino Farinotti che condivido in pieno (e come non farlo?): È forse la più famosa storia d’avventura del mondo insieme a Robin Hood, e naturalmente il cinema ne ha preso più volte possesso. Fra tutte le edizioni questa è la più preziosa e importante, tradizionale: nessun “D’Artagnan” è stato all’altezza di Gene Kelly, nessuna “Milady” lo è stata di Lana Turner e così via…
Affidato alla regia di George Sidney, specialista di musical, il film si vale di una struttura armoniosa nei tempi e nell’equilibrio dei caratteri: a Kelly, esuberante e irresistibile, si contrappone Heflin, un po’ drammatico; per una Lana Turner, cupa e maledetta, c’è Morgan, che fa un re maldestro e simpatico che quasi sembra uscire da un film musicale.
Successivamente, come detto, il grande romanzo di Dumas ha ispirato altri film. Ricordiamo la versione dell’inglese Richard Lester, regista legato alla pratica della smitizzazione. Convinto com’è che gli eroi siano improbabili e noiosi e che i vigliacchi e i cialtroni debbano essere i veri protagonisti, Lester ha capovolto tutto, tramandandoci una versione inutile e inopportuna. Fortuna che Lester passa e… Kelly rimane. Una menzione per il più recente “Tre moschettieri”, realizzato dalla Disney, edizione dimenticabile, con attori inadeguati. I veri moschettieri sono quelli della MGM, del 1948.

Da parte sua, ecco quanto scrive Alex Bardine: George Sidney confeziona nel 1948 questo classico di cappa e spada in perfetto stile hollywoodiano. Si tratta della versione più celebre del romanzo di Alexandre Dumas, e sicuramente della più aderente allo spirito avventuroso e favolistico del libro, grazie alla puntuale sceneggiatura di Robert Ardrey. Sidney, noto per diverse regie di musical, costruisce un film che fa della leggerezza il suo punto forte, e utilizza al meglio i costumi e le scenografie, rutilanti di colori, per far emergere l’entusiasmo dell’avventura epica.
Il film può essere considerato, a giusta ragione, una fresca e ariosa commedia musicale senza musica, e Sidney sfrutta la sua esperienza nei musical per tratteggiare duelli con la precisione di vere e proprie coreografie…  Perfetto il super cast in stile vecchia Hollywood, in cui spicca il grande Gene Kelly. Il ballerino di “Cantando sotto la pioggia” si cala nei numerosi duelli con l’eleganza e la precisione del danzatore, regalandoci un D’Artagnan mai così leggero. Il suo sguardo ironico attraversa divertito e divertente tutto il film da vero protagonista…

Da sottolineare che questo film, a differenza di altri, contiene l’intero romanzo e non solo la prima parte (quella riguardante i diamanti della regina).

p.s.

Inconcepibile che in Italia non esista il DVD di questo che da tutta la critica è considerato il capolavoro assoluto nel suo genere!

scheda

Começa como uma história de mistério. Esposa de cientista mata o próprio marido. O corpo jaz, irreconhecível, esmagado duas vezes por uma prensa hidráulica. A própria assassina avisa o irmão do morto. O irmão, Vincent Price, comunica as autoridades. Todos reunidos, inclusive a criminosa, procuram entender o crime. A esposa não dá nenhuma pista além de uma estranha obsessão por moscas, passando a defende-las como se fossem pessoas.

Este é o enredo de boa parte da trama. Mas como o próprio cartaz avisa é a história de um homem, inventor da máquina de tele-transporte que, em uma experiência frustrada, embarca com uma mosca e sofre as previsíveis sequelas.

O lado humano predomina aqui em todos os sentidos. Por extensão, os milagres da ciência, e seus eventuais efeitos deletérios sobre a humanidade, são articulados num registro de exclusão. Se há forças que podem, de fato, conferir ao homem poderes inacreditáveis é melhor aderir a máxima: Mantenha o segredo !

Como uma boa história de mistério.

Assista o trailler

Tower of London (1939) black-and-white historical film released by Universal Pictures and directed by Rowland V. Lee. It stars Basil Rathbone as the future Richard III of England, and Boris Karloff as his fictitious club-footed executioner Mord. Vincent Price appears as George, Duke of Clarence. Actor John Rodion, who appears in a small role, is actually Rodion Rathbone, Basil’s son.

The film is based on the traditional depiction of Richard rising to become King of England by eliminating everyone ahead of him. Each time Richard accomplishes a murder, he removes one figurine from a dollhouse resembling a throneroom. Once he has completed his task, he now needs to defeat the exiled Henry Tudor to retain the throne.

The plot was not derived from Shakespeare’s Richard III, but rather was written by Robert N. Lee (director Rowland V. Lee’s brother) after reading a great deal of British history. George, Duke of Clarence (one of Richard’s brothers) is depicted as something less than the tragically noble figure found in Shakespeare. Ian Hunter portrays Edward IV, who is not depicted here as the feeble, dying King found in Laurence Olivier’s 1955 film version of Shakespeare’s play. The exterior castle sets constructed for this film became a staple of the Universal backlot and could be seen time and time again in subsequent films (most prominently in the 1952’s The Black Castle).

The film inspired a 1962 remake with Vincent Price now in the lead role. The remake was made on an extremely low budget, was shot in black-and-white with a small cast (and used stock footage from the 1939 version for the battle sequences), and placed far more of an emphasis on genuine horror. Price later told Rathbone’s biographer Michael Druxman that he felt Rathbone’s performance as Richard was probably more historically genuine than either Laurence Olivier’s or his own.

Cast
  Basil Rathbone … Richard – Duke of Gloucester
  Boris Karloff … Mord
  Barbara O’Neil … Queen Elyzabeth
  Ian Hunter … King Edward IV
  Vincent Price … Duke of Clarence
  Nan Grey … Lady Alice Barton
  Ernest Cossart … Tom Clink
  John Sutton … John Wyatt
  Leo G. Carroll … Lord Hastings
  Miles Mander … King Henry VI

Make Up Department
  Sam Kaufman … makeup artist
  Otto Lederer … makeup artist
  Jack P. Pierce … makeup artist

Amazon Specials!

The Boy with Nails in his Eyes
put up his aluminium tree.
It looked pretty strange
because he couldn’t really see.

Work of the famous film director Tim Burton will be exhibited from November 22, 2009–April 26, 2010 in the Museum of Modern Art, New York.

This major career retrospective on Tim Burton (American, b. 1958), consisting of a gallery exhibition and a film series, considers Burton’s career as a director, producer, writer, and concept artist for live-action and animated films, along with his work as a fiction writer, photographer and illustrator.

This very entertaining short film is narrated by Burton’s childhood hero and horror icon Vincent Price.

The opposing themes of adolescence and adulthood, and the elements of sentiment, cynicism, and humor inform his work in a variety of mediums—drawings, paintings, storyboards, digital and moving-image formats, puppets and maquettes, props, costumes, ephemera, sketchbooks, and cartoons.

MoMa spot:

I do like his films, but I like his drawings and poems/stories even better, so I recommend you to check them out.

(found through  Whatspace)

Vincent,1982 – Diretor:Tim Burton – Elenco:Vincent Price

Uma das primeiras obras-primas de Tim Burton, Vincent é um de seus filmes mais pessoais e biográficos. Aqui ele trás tudo que seria característica única de seus filmes, como bizarrices de mais, cenários góticos, clima pesado, fantasia, incompreensão, diversão, e tudo o mais.

Vincent é Burton. E Burton é Vincent. Sem precisar esconder nada. Quem conhece ao menos um pouco a história de Burton vai notar que o personagem retratado no curta é ele e mais um pouco dele. O garoto é estranho, descabelado (estranhamente igual a Burton), incompreendido, inteligente, sonhador, gótico, bizarro, assustador, enfim, é o mesmo garoto que Burton foi quando menor.

O garoto retratado no curta é tão bem argumentado que assusta o quão verdadeiro Burton foi ao escrever o roteiro e ainda sim o como conseguiu expressar anos de sua vida sem ao menos uma coisa sequer ficar ininteligível. Com é um curto é muito rápido se comparado as outras experiências Burtonianas, mas ainda sim consegue ser um de seus melhores filmes.

O garoto gosta de morcegos, e deseja banhar a tia em cera quente. Ele sonha com seu cachorro morto que vira seu servo e sonha com uma esposa enterrada viva que nunca teve. No meio de tantos sonhos, a mãe do garoto traz todo o ceticismo de um adulto e tenta destruir a visão de Vincent desejando audivelmente para seu filho que ele seja normal. Burton sofreu muito com seus pais por não ter sido “normal” como os outros garotos e ter muitos amigos. Burton preferia ficar em casa desenhando monstros a sair para brincar na rua. Seus pais odiavam isso tanto quanto a mãe de Vincent. E como uma espécie de vingança, Burton joga aqui a mãe de Vincent como ele via a sua, uma mulher cética e que não tem mais tempo para sonhar e que por isso não consegue ver que outras pessoas sonhem.

Depois de ir pro castigo, Vincent desmaia e no meio de um devaneio termina seu curta da melhor maneira possível, feliz (triste), satisfeito (insatisfeito), tranquilo (desesperado) e ciente de que como tudo o que sente é o oposto do que a grande massa sente nunca será incompreendido e que estará perdido dali pra frente.

Narrado por Vincent Price que Burton sempre babou quando criança como o Vincent do curta, essa maravilha simples e direta, consegue ser um bom divertimento rápido e pessoal pra quem nunca se encaixou nos moldes produzidos e reproduzidos pela sociedade e pela infelicidade de não poder explicar que quando está infeliz é porque finalmente está feliz.

4.5/5

Vincent Price, não tem preço…

Aqui por Cowboy Lucas

Originally shot for 3-D, this one still works as one of the classic horror movies. Professor Henry Jarrod is betrayed, and is burned badly and thought to be dead. After disposing of his partner, Jarrod decides to reopen his House of Wax paying tribute to the macabre, making his Palace of Wax a true House of horrors.

The great Vincent Price (The Pit and the Pendulum) plays Henry Jarrod. He plays a good portion of the film with very heavy make-up, and in my opinion, maybe a little too much make-up. There is just something about his performances that are naturally creepy, down to the tone of voice and the way each line is delivered. Also if you think you recognize Igor, yes, that is Charles Bronson (Death Wish), even though he is credited under his real name Charles Buchinsky.

If you are in the mood for classic horror with style, you should watch this one. Since it was originally a 3-D movie, there a few shots that would not make it into a normal film, or at least be cut back. Still, this movie is all classic horror movie fun. Throw it on late at night with a big bowl of popcorn.

Pre-4 a.m. Coming down with the Black Plague. I thought they only gave that to orphans. Do they still make orphans? Do they still have orphan factories? I sure do miss 19th century England.

Hot chocolate way too hot for my face. My tongue screams! This is an interesting way to start the day.

I’ll probably watch a movie now, or finish watching the BBC documentary on Motorhead, “Live Fast, Die Old”, that I turned up the other day.  Ahhh Lemmy… I started to watch Braveheart on Blu-ray last night. I had forgotten how unutterably cool that movie is.  Ahhh Mel… I’ll pick it up from the beginning  tonight after the girlfriend gets home, if I don’t die of this Black Plague. I can almost hear Vincent Price laughing.

Maybe just maybe I landed a gig as a film reporter for an online publisher. Don’t know how much it pays but rest assured that I need more money. Gobs more. I wish to stuff my wallet full of large bills to the point where it will no longer close. I had that feeling once. They weren’t all large bills but there were some in there, yes indeed. Gotta get the defibrillator panels to the old bank account.

Cover of Carnival Of Souls (1962 Film)

I watched a lot of documentaries about horror movies to not disturb my housemates.  It was a satisfying experiment, I think.  I might try it again next year.  I was most pleased by Heroes of Horror which was on Peter Lorre and Vincent Price.  I plan to get the first volume in the series.  I also enjoyed Fantastic Flesh which was on film makeup in various movies.  Dark Dreamers was poorly constructed and dull.

The spooky movies I watched were Trick r Treat, Kakurenbo, and Carnival of Souls.  Kakurenbo looked beautiful but the story was too thin for me.  I could only watch Trick r Treat in short bursts and while I liked it, I want to watch it again in one piece next time.  Carnival was surprisingly entertaining though it fell apart at the very end.  Beautiful location shot of carnival/spa and lovely black and white photography.

I’m watching a number of TV series:  No. 1 Ladies’ Detective Agency is pure pleasure.  Cadfael was not to my taste.  Castle is enjoyable fluff.  I enjoyed MST3K’s version of Touch of Satan but Zombie Nightmare was less enjoyable.

Laura’s Star and Kakurenbo were well-animated.  Laura’s Star was especially beautiful, and worth seeing for the visuals alone.  Both movies had rather thin stories.

Finally saw Trip to the Moon in its entirety.

1. No. 1 Ladies’ Detective Agency 1:1
2. Laura’s Star (2004)
3. Help! (1965)
4. Haunted History of Halloween (1997)
5. Kakurenbo: Hide and Seek (2005)
6. Cadfael: One Corpse too Many (1994)
7. Dark Dreamers 1:1
8. Trip to the Moon (1902)
9. Heroes of Horror 2
10. Twitches (2005)
11. No. 1 Ladies Detective Agency 1:2
12. Trick r Treat (2009)
13. Harryhausen Chronicles (1998)
14. Bride of Monster Mania (2000)
15. Bloodsucking Cinema (2007)
16. MST3K: Touch of Satan (1971)
17. Fantastic Flesh (2008)
18. Carnival of Souls (1962)
    
19. Labyrinth (1986)
    
20. Monster Mania (1997)
    
21. MST3K: Zombie Nightmare (1986)

Greetings Shirleyphiles and welcome to another 40 minutes or so of low-fi lovliness!

Time for a second serving Shirleyphiles, of a show we posted couple of years back – “Please laShirl, Can I Have Some More?” While the manservant is twiddling around with a new show, I hope this repeat keeps your appetite for low-fi lovliness sated. Its one of our favourite dishes.

Now I’m no Margaret Fulton or Nigella Lawson when it comes to tossing it up big time in the kitchen department, but mr.Kenneth has a bit of the Jamie Oliver in him when the fancy takes him. And that certain kind of fancy takes him often … but we’ll leave that for another show, shall we?

The manservant been known to have a whole dinner party contingent on the floor squealing with delight after sampling one of his “special” desserts. Apparently he came across the recipe in “The Alice B. Toklas Cookbook”. Do I need to say anymore? I learned my lesson long ago and dare not put so much as a crumb of these after dinner treats near my lips. I just sashay over to the bar, as usual, mix myself another Harvey Wallbanger, sit back with a cigar and count the car keys as they get thrown into the fruitbowl.

Its a very mixed bag in this show, kind of like a musical stir fry with The Tubes, Herb Alpert, Terri “Cupcake” O’Mason, Vincent Price, Deee-Lite, Jack Blanchard & Misty Morgan, Duran Duran, Sly Stone, Ella Mae Morse, Eydie Gormé and other tasty musical morsels more or less all ending sunnyside up in the pan!

So kids, it’s time to strap on the aprons … you don’t want too much mess in the kitchen now do you … get out the beaters and prepare yourself to wrap your luscious lips around the mixing bowl with the Sunbeam mixmasters of lurve, yours truly and mr.Kenneth!

Until next time, take absolute care, play fair and don’t forget to eat your crusts!
They’ve put hairs on Shirl’s chest … no kidding!

*be smooched*
laShirl and mr. Kenneth

DOWNLOAD .mp3 (17mb) | STREAM via realplayer.

If you need the player, download here

Pre and post Halloween or Samhain always seems to be a settling in time with longer nights that are highlighted by the music of leaves dancing across the roads and laughter indoors where it’s warm and things that go bump in the night are selectively welcomed in. Usually it’s via annual viewings of Charlie Brown and Garfield specials (candy, candy, candy, candy…), a fun movie romp or maybe something more psychologically scary, and of course books of a certain genre that can run the spectrum from charming to nightmare rewarding. I lean towards historical, cozy, and British mysteries. Also childhood sleuth series. You’re never too old to enjoy red leather bound books inherited from your grandfather’s library when you were ten. Or randomly coming across more in a beloved series and then some at completely random used book stores. The bulk of Lucy Maud Montgomery’s novels were bought in this way. A couple of weeks ago while traveling it took Resolve to not to leave here in Mariposa, California with an armload of used treasures. Damn baggage limits!

Recently I came upon this Mystery intro and it was like entering a time warp to the mid eighties on Thursday nights. I associate that night with PBS Mystery, As Time Goes By, Keeping Up Appearances, and my mom. I grew up in a home without cable so PBS was never buried among 125 flashy channels of… crap. Edward Gorey is why I’m very fond of pen and ink drawings no matter how macabre. There are a few Gorey inspired intros but that’s the favourite. It’s disturbingly amusing, especially with the two legs slipping into the pond at the end. Love it. And St. Louis native, Vincent Price, always had that intrigue of wicked eyebrows and a magnetic voice that draws the viewer in whether he was himself or a sinister character.

As a bonus to this post I’m including Mystery Wallpaper gleaned from an old computer before an upgrade. The past month my computer has been creaking and eerie footstep falling with every move in this almost forgotten, favourite theme. This is 400 x 300 but I’ve a 800 x 600 plus the full deal for sharing if anyone comes across this in search. The wallpaper is almost impossible to find, let alone the full theme. It’s a definite keeper.

Source: Microsoft Windows ‘98

So here’s the rest of my last minute horror marathon.  There is no way this is going to be as wordy as my first fugue fest post. I’ll manage a few comments as I go.

My little festival seems to have been swirling around past icons like Price, Lee, & Cushing. They had a charismatic power that seems lacking in the usual suspects of horror these days. Inbred rednecks, zombies, and masked killers are how we like our madmen now. I miss that old spectre of sophisticated malignance. I mean The Pit and The Pendulum is carried on Price’s satin shoulders and Corman’s 60s savvy gothic camera.

Though I was slow to recognize how great he was, I know now that Paul Naschy is probably the last old school horror icon we have left. And he will probably be obscure forever simply because of his pure dedication to horror of the past. Not that he is not savvy to the rhythms of his prime era, the 70s. Spanish horror of that era has always felt like the film equivalent of 70s marvel horror comics but with that regional flavor. Horror Rises From The Tomb has an atmosphere that can overcome any shortcomings. Well unless you have problems with resurrected warlocks and half naked spanish starlets.  It seems almost (heh) innocent to modern sensibilities.

The final film of my little horror soiree was Anguish. It was not intended to be the last film.  It is a tribute to a type of film that in this day would be impossible to do. With the spoiler infested info-sphere we live in these days, its secrets are a click away.  While there are good performances from Michael Lerner and Zelda Rubenstein, this is a movie strangely without a central performance to hold it together. It is an enjoyable film but certainly anticlimactic after all these villain driven vehicles that I managed to cram into the last hours of Halloween. Stay tuned !

Michael is currently interning with us as he completes his music degree at UAlbany.

The Monster Mash Album

On the way into the studio yesterday, I heard “The Monster Mash” on 88.3 WVCR. The track, by Bobby “Boris” Pickett and the Crypt Kickers debuted in 1962, where it was a number one on the Billboard Hot 100 for two weeks starting on October 20.

Even though this is a novelty song, it’s got some REALLY great production and in addition to Bobby “Boris” Picket, it features Gary S. Paxton, Leon Russell, Johnny McCrae, Rickie Page, and Terry Berg as the house band “The Crypt Kickers”.

Just listen to the background vocals: “Monster Mash, ah ooh” how could you go wrong?

I bought the whole album of spooky Halloween songs this year, it’s fun! Think 1960’s girl group / Spector / Beach Boys pop music narrated / sung by a faux monster. It’s a win / win situation. Happy Halloween!

Bonus clip: A far out speech from spooky Vincent Price and a video of him singing a disco version of the song!

Double bonus clip: The Beach Boys covering The Monster Mash shortly after the track debuted.

Late Halloween Offerings

When it comes to the perfect Halloween movies, I have a definite preference for classic rather than current Hollywood. I prefer gothic to gore and a less-is-more approach to torture porn. This week, for the holiday, I celebrated by indulging in some oldies but goodies.

First off, is Paul Leni’s 1927 The Cat and the Canary, which should not be confused with the later comedic remake starring Bob Hope. The original Cat and the Canary is one of the first American horror movies though steeped, as most of the genre was, in German Expressionism. Like most American horror films before Todd Browning’s Dracula, the menace was decidedly non-supernatural. There is a famous shot of a hairy hand coming out of a library wall to grab a lawyer. I’d seen that shot many times in documentaries, and so was more startled by a later shot where the same hand reaches out from behind a bed to snatch a diamond necklace from the neck of the young woman lying there. I’ve got an instinctual fear of something threatening me in my bed that stems back to childhood. No, I didn’t have a monster under the bed. I was convinced that Dracula was hanging in the closet or scratching at the window.

Speaking of Dracula, I finished off the remaining films on the Universal Legacy Collections of Frankenstein and Dracula. Son of Frankenstein, I mentioned last week, so I’ll move on. The other two Frankenstein films in the set are Ghost of Frankenstein and House of Frankenstein. Ghost of Frankenstein was interesting to me for two reasons: the return of Bela Lugosi as Ygor and the first mention of a reasonable if gruesome way of permanently destroying the monster: dissect him one body part at a time, reversing the way Dr. Frankenstein put him together. Of course, this method is not used, but I found the logic sound. House of Frankenstein is one of the later monster movies where Universal liked to throw a bunch of their classics creatures together in one film. In this instance, it is Frankenstein’s Creature, the Wolf Man and Dracula. Dracula gets little to do, but I enjoyed this one because of the Wolf Man and the presence of Boris Karloff (who does not play the Creature).

The other films in the Dracula collection include the Spanish version of Dracula. Filmed at the same time as the English version and using the same sets, it is a technically superior production. Unfortunately, the absence of Bela Lugosi is painfully felt. That absence is also keenly felt in Son of Dracula where Dracula is played by Lon Chaney Jr., of the Wolf Man fame. Chaney is absolutely wrong for Dracula. His strength in playing Larry Talbot, the man cursed to turn into a werewolf, is the haunted look in his eyes. Lugosi’s eyes are haunting not haunted. It creates a sense of danger and power that Chaney can’t match. Chaney’s liquid expression calls for sympathy and pathos, perfect for the Wolf Man but not for the way Dracula is portrayed in these early films. Much better is House of Dracula. Once again the Creature, the Wolf Man and Dracula cross paths. Both the Creature and Dracula fair badly in this match-up. The Creature is barely present and Dracula’s motivations veer all over the place. The highlight of the film is the hope finally given to Talbot. If you’re a fan of the Wolf Man, don’t miss this one. Last, is one of the strongest films of the collection, Dracula’s Daughter. Here we have a female vampire and some very interesting subtext between her and her female victims that had the censors of the day hopping.

Even better fare from the ‘40s includes Fox’s Horror Classics boxed set starring three films by director John Brahm: The Undying Monster, The Lodger and Hangover Square. Brahm has been largely forgotten today, which is a shame. These are three wonderfully atmospheric, beautifully shot films with great performances. The Undying Monster is an answer to Universal’s popular The Wolf Man, down to its own little warning chant that owes a large debt to The Wolf Man’s, “Even a man who is pure of heart and says his prayers at night can become a wolf when the wolf bane blooms and the moon is clear and bright.” Other than that misstep, the film is quite entertaining. The next two films, though, are quite special. Starring Laird Cregar, The Lodger and Hangover Square are complementary pieces. The Lodger is more recognizable because it is about Jack the Ripper and is a remake of a silent Hitchcock film. Hangover Square, though, contains one of Bernard Hermann’s most wonderful and evocative scores (which is quite the feat). The concerto he composes for Cregar’s character George Bone has to be heard – intensely powerful and unhinged like its fictitious creator. This boxed set is highly recommended.

Finally, I watched two films from the ‘50s: The Bad Seed and The Fly. The Bad Seed is also highly recommended. It contains one of the most chilling performances by a child actor I’ve ever witnessed. The nature vs. nurture argument is one that has been debated endlessly for years. It’s interesting to see here that the characters profess to believe in the nurture side of things, but the movie argues that nature, and possibly fate, decide who we are. The Fly was famously remade in the ‘80s by David Cronenberg. This is the original starring Vincent Price and Herbert Marshall. It was wonderful to see these two veterans give solid performances, but at its heart the movie is a tragic love story. More terrifying than any supernatural horror is the twofold idea explored here: what if your spouse changed so much that they became unrecognizable? On the flip side, what if you had an accident which disfigured you so much that your spouse rejected you? Terrible questions, to be sure.

HAPPY HALLOWEEN!

We cruised along Mulholland Drive last night from Encino to the 90068, the Hollywood Hills to our destination over looking the town.

If you haven’t seen the titular David Lynch movie, there may be something wrong with you.

Funny thing is, my friend Bryce, NYC photographer extraordinaire, went to the party destination the night before, thinking it was the right evening. Instead of the party house, he walked into a dinner party at Kyle McLaughlin’s home- star of many a David Lynch projects like Twin Peaks.  Talk about a LA experience.

If you know Lynch’s work- then we have no body switching to report to you than this bit of serendipity way above the sparkling lights of the city.

Here is what we did get into with @SuiteCaroline @Teigehertales @timbannock  @laurienlandry and @bryce_ward and Lil Ashley and Will.

Gashley & The Ghouullls gonna rock YOU.

Ash made that latex tentacle. Caroline is Edie Beale from Grey Gardens. Alissa is a Robert Palmer girl. Topie is Edgar Frog, vampire slayer from Lost Boys.

Tim & Laurie as Zombie Romeo & Juliet

Willy Bones as Willy Wonka and She-Devil

Alissa gettin’ down w/ L.A. (Lil Ash)

Happy Hallowienie to you all (insert Vincent Price laugh here)*

Happy Halloween, my dearest fellows !!!

Je ne sais pas vous mais en ce qui me concerne j’adore faire rimer Halloween avec Vincent Price. Il faudrait absolument que j’écrive un post à son sujet mais pour cela il faudrait aussi que je sois morte car dans cet état j’aurais au moins le temps de faire autre chose que travailler, travailler et…travailler! Bon, je vais voir ce que je peux faire mais en attendant voici “Le Corbeau” d’Edgar Allan Poe merveilleusement récité par Vincent Price. Enjoy