FIT TO KILL!!!>>> •BLUEBEARD (1944), •FAB NOIR (1982), •A UNICORN IN
THE GARDEN (1953), •THE MURDERER (1976), •BLUEBEARD (1944). <<<FIT TO
KILL!!!

SPLODGE! NOTES: 3rd. Mon. MARCH (17/03/03)
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ON THE FIRST AND THIRD MONDAY OF EVERY MONTH

"SPLODGE!"

a community FilmEdSoc project,
WE CONTROL THE CONTENT

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Unusual films of discernment, still presented in convivial
surroundings!

ALL PRESENTED ON GROOVY 16 MILLIMETRE FILM!

the back room
714 NICHOLSON (CNR. SCOTCHMER) STREET, NORTH FITZROY

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1st. Quartile

MARCH
AD 2003

Monday, 17th.

Registration: 7.30 - 8.00 pm
Screening: >>>>> 8.00 (*EIGHT*!!!!) pm <<<<<


FIT TO KILL!!!

*A UNICORN IN THE GARDEN (1953),
"There's a unicorn in the garden," he said. "Eating roses." She opened
one unfriendly eye and looked at him. "The unicorn is a mythical
beast," she said, and turned her back on him. An animated version -
from the spiffy UPA (Mr. Magoo) studio - of the satirical short story
by James Thurber.

Why wasn't this nominated for an Academy Award? The failure of AMPAS to
nominate this cartoon for an Oscar is unbelievable! Granted, it was a
good year for animated shorts and a good year particularly for
UPA-Columbia, but this cartoon is simply delightful! Written by James
Thurber and animated in Thurber's artistic style, it is his world come
to life! Prod: Stephen Bosustow. Dir: William T. Hurtz. Mus: David
Raksin. Anim: Phil Monroe, Rudy Larriva, Tom McDonald. 7 mins. ALC.


*FAB NOIR (1982),
The acrid smell of stale socks hung heavily in the air - Clay motions
to open the window but the phone rings. 2am was always a bad time to
die. Cast includes PETER MOON, Peter Stretton. Prod Co: Swinburne Film
& Television School. Prod: Debbie Packham, Christine Wardale, Jack
White. Dir: Phillip Healy. 20 mins. ALC.


*THE MURDERER (1976),
A drama based on RAY BRADBURY's comic story of an individual in a
futuristic society who decides to liberate that society by turning off
all communication devices. Prod Co: Phoenix Films. Wr. RAY BRADBURY
(story), Andrew Silver. Cast: Jayne Chamberlin , Paul Guilfoyle,
Frederic Kimball, Janet Rodgers, David Wheeler, Andrea Womack. Prod.
Andrew Silver. Mus Roger Powell.Phot. Bill Charette. Ed. Ashton Peery,
Andrew Silver. Prod. Des. Sansea Sparling. Dir: Andrew Silver. 28 mins.
ALC.


*BLUEBEARD (1944),
Edgar (G.) Ulmer started out in the German UFA studio system, fled with
the likes of friend Billy Wilder to America for refuge, and had one of
the most spectacular and unsung filmographies ever to show for it
(from DETOUR (1945) to Yiddish language films!). Exiled from Universal
to a career labouring for Poverty Row studios, Ulmer developed a
reputation for making the best out of meager resources. Ulmer signed on
there two years earlier and completed BLUEBEARD within his customary
six-days schedule, averaging over 40 camera set-ups per day!. The
result is more compelling than any six-day movie has a right to be. His
stature has only grown over the years, thanks to some French champions,
and films such as this.

It's an amazingly classy movie considering it came from the cheapest of
the studios, PRC (Producer's Releasing Corporation). Originally
intended as the follow-up to the macabre 1934 classic THE BLACK CAT,
BLUEBEARD was to have starred BORIS KARLOFF as the infamous ( - though
now exonerated - ) lady-killer. Instead, as befitted his career path,
Ulmer would have to wait a decade before filming Bluebeard with JOHN
CARRADINE, a poor man's Karloff, even in his prime; in this version, he
plays Gaston Morel, a painter and puppeteer with the nasty habit of
killing his models. Bluebeard is distinguished first by CARRADINE's
superb performance, easily one of the best in his career. JOHN
CARRADINE's career is made up almost entirely of character parts, at
which he excelled; given the chance to carry a film, he does it
beautifully, as here. His rich voice, with its authoritative, rolling
tones, is a crucial part of the illusion. Bluebeard was a distinctly
personal film for star CARRDINE, whose role as a painter paralleled his
own background as an artist.

BLUEBEARD opens with the director's trademark combination of miniatures
and mattes, gorgeously evoking an atmosphere-drenched Seine River in
Paris, where the body of a beautiful girl floats to the surface.
Authorities are stymied by the "Bluebeard" in their midst who strikes
at random and vanishes quickly. With the first appearance of John
Carradine as romantic, handsome puppeteer Gaston Morel, it’s clear that
here is the Bluebeard. He charms the hoi-poloi with puppet operas, but
it’s soon evident that he’s dangerously unhinged. As the story
unravels, we learn that Morel is a painter whose search for an ideal of
beauty — his failure to find it, that is — causes him to go into a
trancelike state and strangle those who fail to measure up. Bluebeard
details his cat-and-mouse game with authorities and an unscrupulous art
dealer, his courtship with a sophisticated dressmaker, Lucille (Jean
Parker), and his end in the same place as his victims.

Bluebeard - in which Ulmer transforms his protagonist from a creature
of folklore into a Jack The Ripper-like serial killer in 19th-century
Paris - has the odd habit of vacillating between a police-procedural
and a horror film in the Universal mold. But to compensate for its
unevenness, Ulmer offers a pervasive stylishness, particularly in the
form of creepy lighting, and several unforgettable moments, such as a
puppet production of Faust. One of the pleasures of the film is this
puppet opera. Ulmer was a music fanatic, and it shows in his faithful
re-creation of bits of Faust complete with mandolin-strumming
Mephistopheles and a too-real-for-comfort hellfire, which sprung onto
the stage, threatening the puppeteers and burning the eyebrows off the
puppets. It may not be enough to elevate Bluebeard to the status of a
classic, but it's more than enough to make it worth watching.

Tagline: The most sinister love story ever told!

"One of [JOHN CARRADINE's] best roles," says The Psychotronic
Encyclopedia.

Video Hound's Golden Movie Retriever agrees, "This effective low-budget
film [is] one of CARRADINE's best vehicles."

Leonard Maltin calls it a "surprisingly effective story of incurable
strangler CARRADINE, who falls for smart girl Parker who senses that
something is wrong."

The landmark survey, Film Noir writes, "A representative example [of]
the period noir film [using] expressionistic techniques, which include
oblique camera angles and surreal sets. Period films in the noir style,
like Bluebeard, concentrated on exploiting the mental conflicts and
disturbances that isolated differing, insular personalities from the
rest of society."

QUICKTIME 5 files:
http://www.countdracula.com/Media/pages/bluebeard.asp

http://www.countdracula.com/Media/video/Bluebeard.mov

Prod: Leon Fromkess. Wr: Werner H. Furst, Pierre Gendron, Arnold
Phillips. Mus: Leo Erdody (as Erdody). Prod Des: Eugen Schüfftan. Art
Dir: Paul Palmentola, Angelo Scibetta. Dir. Edgar G. Ulmer (as Edgar
Ulmer) Cast: JOHN CARRADINE, Jean Parker, Nils Asther, Ludwig Stössel,
George Pembroke. 73 mins. NFVLS.


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Splodge!-lite mailing-list, just give us a "'hoy" here at
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Minor programme changes may occur due to unforseen
circumstances.
Feature runs last; shorts order may vary from listing.

* Acknowledging ACMI Inc. ;) *

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CASUAL VISITORS are MOST WELCOME and admitted WITHOUT CHARGE
up to TWO times!!!!

OTHERWISE, ADMISSION IS RESTRICTED TO MEMBERS & THEIR GUESTS!
(SO WE RECOMMEND THAT YOU ATTEND AS A CASUAL VISITOR!)
THIS IS A FILM SOCIETY SCREENING OPEN TO MEMBERS

BUT IF YOU WISH TO BECOME A MEMBER, THE JOINING FEE IS SO LOW,
IT *MIGHT AS WELL BE FREE*!

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MEMBERSHIP RATES:
Quarterly*:
Generally Socially-Advantaged: $7.00

Generally Socially-Oppressed: $6.00

*annual and half-yearly memberships available on request

If you wish to join on the night, we strongly advise you to
arrive well-prior to the time listed for the screening to
commence!

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