ERIC THEATRE!!!>>> •APHRODITE, GODDESS OF LOVE (1958), •SAMANTHA'S
CAESAR SALAD (1969), • VIOLENCE, JUST FOR FUN (1962), •APHRODITE,
GODDESS OF LOVE (1958), <<<ERIC THEATRE!!!

TONIGHT: STRICTLY MEMBERS-ONLY
* MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT, 'THO *
DETAILS BELOW

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SPLODGE! NOTES: 1st. Mon. FEBRUARY (02/02/04)
splodgeburger@...

ON THE FIRST 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

FEBRUARY
AD 2004

Monday, 02nd.

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

TONIGHT: STRICTLY MEMBERS-ONLY
MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT
DETAILS BELOW


ERIC THEATRE: VENUS WOZZER NAME!!!

•SAMANTHA'S CAESAR SALAD
Episode 173 from Season Six of the ‘60s sitcom BEWITCHED! Elizabeth
Montgomery returns from her three-month maternity leave to film this
episode on August 22, 1969.

Continuing on from the previous episode (#172, also written by Ed
Jurist) - where Endora, insists Samantha needs a maid and brings her a
witch, Esmeralda, she of the fading powers – this next episode picks up
with the maid trying to help Sam in the kitchen, by whipping up a
caesar salad. Instead, she produces Roman Emperor Julius Caesar (Jay
Robinson) in toga and laurel wreath, who is incensed that history has
branded him a dictator. Then Darrin announces that Larry Tate is coming
to discuss ideas for a beauty account, Charday Lizard Oil.

When Esmeralda can't send Caesar back, Darrin asks that she at least
dress him in modern clothes. Esmeralda switches the two men's outfits.
When Darrin opens the door clad in toga and wreath, Larry worries that
Darrin is cracking up. Evelyn Charday arrives to hear Darrin's great
idea. Meanwhile, Caesar declares he will stay with the Stephens.
Seemingly unable to rid herself of the volatile house-guest, Samantha
decides to lure Caesar back to his own time by conjuring up Cleopatra
(Elizabeth Thompson), borne on a litter by six Nubians. The commotion
in the kitchen brings in the others. Mrs. Charday approves the idea for
her ad campaign - Great Romances of History. Caesar gleefully leaves
for Rome to keep his rendezvous with Cleo. Samantha asks for Hearts of
Palm salad and Esmeralda produces a palm tree. Here are a couple of
bloopers to watch out for in this episode: Larry arrives and his car is
the only one in the driveway. A few minutes later, with Larry still
there, Samantha's car is the only one in the driveway, with one seen in
the garage. There’s also a shot of a newspaper Darrin is holding, with
the headline, "Taxi Driver Receives Fortune In Old Roman Coins From
Unidentified Hippie", but when he hands the paper to Samantha and she
reads the headline aloud, she says "Cab Driver" instead of "Taxi
Driver". JAY ROBINSON, it seems, was born to play Roman Imperials, and
made a bit of a speciality out of playing them at the start of his
career in the early 1950s, as those with sharp memories will remember
him appearing in THE ROBE (1953) then next in DEMETRIUS AND THE
GLADIATORS (1954). As for this one, heh, heh, how come they can't write
stuff like this any more? Dir: William Asher. Wr: Ed Jurist. Cast:
ELIZABETH MONTGOMERY, AGNESS MOORHEAD, DICK SARGENT, DAVID WHITE, ALICE
GHOSTLEY, JAY ROBINSON, ELIZABETH THOMPSON. 30 mins. RM

PLUS
THE RETURN OF "QUICKIE THEATRE", with:

•VIOLENCE, JUST FOR FUN (1962),
Fabbo gladiator scenes from the Richard Fleischer sword&sandal epic,
BARABBAS. Stars JACK PALANCE & ANTHONY QUINN going at each other
tooth&nail, in the days of the Roman Empire. A DINO DI LAURENTIIS
Production. 17 mins. ALC

and featuring:

•APHRODITE, GODDESS OF LOVE (1958),
Lotsa action & intrigue during the time of Nero! Lust, togas,
Centurions, dubbing! Splodge! persists with its kinky Sword&Sandal
fetish with this fantastic item, CO-WRITTEN & ASST. DIRECTED BY SERGIO
LEONE! You've got well-oiled, spastically-shaped men in mini-skirts,
who can suck in their nipples & ride horses at the same time! Dead-set
legends. Bad editing; cliched plots; a dodgy, barely-there narrative;
double Dgrade FX & midgets! Bring on da beefcake!

In the 67AD, during the reign of Emperor Nero, Antigono, Archon of
Corinth, a powerful Roman official - in order to win the favour of
Emperor Nero - decides to proceed with a mammoth work of civil
engineering, even by the standards of the Ancient World: to the cut the
famous Isthmus of Corinth.

In order to obtain the money necessary for this hugely expensive
enterprise, the Archon imposes on the people heavy imposts and taxes,
and, naturally, provokes popular resentment and dissatisfaction.
Furthermore, Antigono plans another huge construction, that is, a
magnificent temple, to be dedicated to the Goddess Aphrodite, which
only deepens the animosity.

The Commission for the statue of the Goddess of Love is awarded to the
celebrated sculptor Demetrio Elleno (ANTONIO DE TEFFÉ). Antigono
instructs him to use his mistress, the beatiful, ambitious and
manipulative slave, Diala ( - the stunningly gorgeous IRÈNE TUNC) as
the model. Demetrio, himself, although not blind to the charms of
Diala, has his eyes, however, on another slave, a blonde woman, the
kind and mild Lerna, (ISABELLE COREY), not knowing that she has
recently gotten God in a big way, converted to Christianity, and
probably doesn't go in for that sort of thing any more, if she ever
did.

Meanwhile, The Plague has descended on Corinth, and law and order
verges on the brink of collapse. Diala uses her seductive powers for
revenge against a former lover by persuading Antigono to scapegoat it
all onto the Christians and order the lot of them arrested. Lerna and
Demetrio, by this stage, bound by love - the latter now also having
converted to Christianity: basically the only way he was ever going to
get what he was after - are condemned to death. Will the young lovers
succumb, or will they escape the wrath of the wicked Archon and his
corrupt regime? Only a miracle can save them!

AKA: AFRODITE, DEA DELL'AMORE (Italy); SLAVE WOMEN OF CORINTH (UK); LA
DIOSA DEL AMOR (Spain), L'ESCAVE DE L'ORIENT (France), APHRODITE,
GÖTTIN DER LIEBE (Germany). Category: Pèplum (Sword and Sandal).
Dubbed. Originally shot in CinemaScope (Schermiscope / Ultrascope) -
n.b. - Our print is flat. Eastman Color / (Ferraniacolor).

In the 1950s, when Hollywood introduced its wide-screen films in an
attempt to lure TV viewers back into the cinemas, 20th Century Fox’s
first presentation in CinemaScope was THE ROBE (1953), soon to be
followed by further historical epics such as DEMETRIUS AND THE
GLADIATORS (1954), THE EGYPTIAN (1954), PRINCE VALIANT (1954) and THE
300 SPARTANS (1962). These spectacles set in ancient times seemed ideal
for filling the expanse of the new wider screens, and Warner Bros.
followed with LAND OF THE PHARAOHS (1955), THE SILVER CHALICE (1954),
HELEN OF TROY (1956) and KING RICHARD AND THE CRUSADERS (1954). Other
studios soon came up with ALEXANDER THE GREAT (1956), SIGN OF THE PAGAN
(1954), THE PRODIGAL (1955), SOLOMON AND SHEBA (1959), THE CONQUEROR
(1956).

THE TEN COMMANDMENTS (1956), BEN HUR (1959) and CLEOPATRA (1963) were
the most spectacular of these Hollywood epics, and later efforts like
Samuel Bronston’s EL CID (1961) and FALL OF THE ROMAN EMPIRE (1964)
were among the last.

These productions were often made in Europe, perhaps utilising the
studios of Cinecitta near Rome, or taking advantage of the local
populations as cheap extras for crowd or army scenes. It was not long
before the Italians especially attempted their own historical epics,
often utilising sets and props left behind by the American filmmakers.
There was certainly a wealth of stories in their own history and legend
into which they could delve.

This is the sub-group of films which have become known as "sword and
sandal" films, or "pèplum" films - the name they were given by the
French - who, it seems, couldn't bring themselved to call them "toga"
films. ( - A peplum is a short overskirt, or "ruffle", attached at the
waistline of a jacket, blouse, or dress, which hung like an ancient
peplos; the peplos (Greek) was a loose outer robe worn by women in
ancient times. In Latin, a peplum was a "robe of state". The word
derived from the Greek "peplon", and the adjective from the noun is
"peplumed". Get the picture now?).

Showman Joseph E. Levine began their popularity in America when he
imported LE FATICHE DI ERCOLE (1958), retitled it HERCULES, and
probably spent more in promoting it than the film had ever cost to
make. HERCULES made a star of its leading man, STEVE REEVES, the first
of several muscleman heroes to appear in these films, although fading
Hollywood stars were often persuaded to be the leads.

Between 1957 and the mid 1960s, nearly 200 of these films appeared.
Because they were often co-productions, usually between France, Italy,
and Spain, although West Germany, Yugoslavia, Egypt and even Romania
were sometimes involved, each film usually had at least three titles,
often but not always translations of each other. The Italians often
told tales of Maciste, a strongman-hero of nearly 30 Italian films
dating back to the Silent era. While he was as well-known to Italians
as Chaplin’s tramp was to Americans, such was not the case outside
Europe. So, for American consumption, the title was likely to be
altered to "Hercules...".

In Britain, or Australia, there may have been a concurrent string of
Hercules movies, so the title would be changed to "Goliath...", or
"Atlas...", or "Ursus...". Thus one "sword and sandal" film might wind
up with half a dozen different titles. A number were bought for U.S.
television, and the titles all changed to refer to "the Sons of
Hercules".

A few passing notes on some of the cast: There is a record of an Andrea
Aureli having presented a Doctoral Thesis, "Historiography of the '70s,
Italy" in 2001. Might this be the one and the same appearing in
APHRODITE? Aureli (playing the slimy Kibur) has a huge filmography to
his credit, which you'll find at IMDB:
http://us.imdb.com/name/nm0042164/

IRÈNE TUNC (Diala) is the daughter of a Lyons furniture-store owner and
was raised in a religious boarding school. She came to fame as a model,
( - or, as they used to say in the old days, a "cover girl"), posing
for leaflets extolling the merits of washing machines and the like. In
1953, she won the title of Miss Lyons, and then, the following year,
was awarded the title of Miss France.

From there, she went on to film work, in both France and Italy. She
began to be noticed in small roles which called for a beautiful young
woman, such as Pierre Gaspard-Huit's SOPHIE ET LE CRIME (THE GIRL ON
THE THIRD FLOOR), 1955, or in some thrillers, such as Pierre
Chevalier's VOUS PIGEZ (THE DIAMOND MACHINE), 1956.

Her films in Italy, for directors such as Giuseppe Bennati, or Luigi
Filippo D'Amico, are relatively forgotten these days, and, apart from
some comedies with TERENCE HILL and UGO TOGNAZZI, such as LAZZARELLA,
1957, by Carlo Ludovico Bragaglia, or I GENITORI IN BLUE-JEANS, (1960),
by Camillo Mastrocinque, she is fondly remembered for her brief
associations with the péplum and cloak-and-dagger genres, with such
titles as APHRODITE, GODDESSE OF LOVE, 1958, and IL CAVALIERE DEL
CASTELLO MALEDETTO (THE KNIGHT IN THE DEVIL'S CASTLE), 1958, by Mario
Costa), always in support roles.

In the 'Sixties, she moved to France where she was then engaged, for
her Lyons background, and her accent, by JEAN-PIERRE MELVILLE, in LEON
MORIN, PRIEST (1961). The editors cut a scene from the production where
she was seen unclothed. Was this censorship? If so, it was a surprising
occurrence in French cinema.

After a small role as a secretary in LES AVENTURIERS, 1967, by ROBERT
ENRICO (AN OCCURRANCE AT OWL CREEK BRIDGE, 1962), she continued her
collaborations with some of the great names of cinema, such as CLAUDE
LELOUCH in VIVRE POUR VIVRE (LIVE FOR LIFE), 1967, where she attends
the trio in love with YVES MONTAND, and ALAIN RESNAIS for his
experimental science-fictioner JE T'AIME, JE T'AIME (I LOVE YOU, I LOVE
YOU), 1968. Always in supporting roles, she appeared in two films by
Alain Cavalier: MISE À SAC (PILLAGED), 1967, a thriller co-written by
Claude Sautet, based on the novel by Richard Stark, where she played a
blasée, but sexy telephonist, and then in LA CHAMADE (HEARTBEAT), 1968,
with CATHERINE DENEUVE and MICHEL PICCOLI.

In 1971, she made her last film, LES DEUX ANGLAISES ET LE CONTINENT
(ANNE AND MURIEL / TWO ENGLISH GIRLS), by FRANÇOIS TRUFFAUT, and signed
the "Proclamation of the 343" for women's right to abortion - part of a
struggle which would lead to law reform in 1975.

Prod Co: Schermi Produzione /Schermi Riuniti. Prod: Prod. Alberto Manca
dell'Asinara, (for Screen Production), Adriano Merkel. Dir: Mario
Bonnard. Asst. Dir: SERGIO LEONE, Romolo Girolami. Story: Mario
Bonnard, Alberto Manca Dell'Asinara. Scr: Mario Bonnard, Mario Di
Nardo, SERGIO LEONE, RICHARD MATHESON, Ugo Moretti. Phot: Tino Santoni.
Mus: LES BAXTER, Giovanni Fusco. Ed: Nella Nannuzzi. Set Design:
Saverio D'Eugenio. Snd: Bruno Francisci,Silvio Santaloce, Tullio
Petriccia. Effects: Baciucchi. Costumes: Giancarlo Bartolini Salimbeni.
Cast: ISABELLE COREY (LERNA), ANTONIO DE TEFFÉ (DEMETRIO ELLENO), IRÈNE
TUNC (DIALA), IVO GARRANI (ANTIGONO), ANDREA AURELI (KIBUR), SYLVIA
KOSCINA (Uncredited), Emma Baron (ONORIA), Clara Calamai (STENELE),
Nada Cortese (A WOMAN OF THE PEOPLE), Guilio Donnini (ERASTO), Mino
Doro (CREPILO), Liliana Gerace (THE SEER), John Kitzmiller (TOMORO),
Germano Longo (OSCO), Silvio Lorenzon (THE SPY), Adriano Micantoni
(FTIRÉ), Paul Muller (THE ASIAN), Mimmo Poli (A TRADER), Giampaolo
Rosmino (DINEO / DIONSO), Massimo Serato (QUINTO RUFO), Edda Soligo
(THE PEASANT), Matteo Spinola (GLAUCO), Carl Tamberlani (MATTEO),
Gustavo Serena, Nello Pazzafini, Renato Montalbano, Ettoré Jannetti. 91
mins. RM.

Note: If you'd like to join our "low-kilobyte", no-attachment
Splodge!-lite mailing-list, just give us a "'hoy" here at
splodgeburger!

...................... http://splodge.homestead.com/ .................

Minor programme changes may occur due to unforseen
circumstances.
Feature runs last; shorts order may vary from listing.

* Acknowledging ACMI Inc. ;) *

**********************************************************************

ADMISSION IS RESTRICTED TO MEMBERS FOR THIS PROGRAMME

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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For e-mail notification, spam your Subscribe-Request to:
splodgefilms-subscribe@yahoogroups.com

or visit:

http://groups.yahoo.com/group/splodgefilms/

or register* via snail-mail (address below).

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To exit the manual mailing list, or for general correspondence,
dispatch to:
splodgeburger@...

...................... http://splodge.homestead.com/ .................

714 NICHOLSON STREET (CNR. NICHOLSON & SCOTCHMER STREETS),
NORTH FITZROY. PHONE 04 25 74 28 01


LOCATION MAP:
- http://makeashorterlink.com/?P23D21A01


ACCESS BY #96 TRAM (TRAM-STOP #21, SECTION 7):

-To > Splodge! (ie., FROM city):
http://makeashorterlink.com/?X15B31403

-From < Splodge! (ie., TO city):
http://makeashorterlink.com/?S14B31403

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SPLODGE! GETS BOLSHY WHEN IT'S MATES ARE IN TROUBLE!

Our amiable hosts at The Empress Hotel, who supply us with a safe and
congenial space for our exclusive use and enjoyment ( - which we could
never otherwise afford - ) are under siege by nefarious anti-joy
forces, so we are rallying to their help!

If you support Splodge!, you can play YOUR part in helping fight the
sound restrictions unfairly placed on our beloved venue by signing THE
PETITION! And RETURNING IT! ( - You could send it back over to
Splodge!, or straight to the kindly folk at the Empress. If you're
coming to our future screenings, you'll find a hard copy of the
petition at our admin desk.)

http://www.theempresshotel.com.au/fair%20go.htm

- Splodge! says thanks for you consideration in this matter. You could
not begin to imagine how much our l'il film society owes these people!

"VicMusic supports it. Fair go 4 Live Music supports it.
100s, if not thousands, support it and enjoy it!

This call for help is wider, though, not only punters and musicians
need to respond to this call. Anyone who has taken advantage
of the colourful and diverse live music scene in Melbourne
will be affected by this. The Threat? One resident!

The Empress stands as a 16 year old supporter and promoter of live
music.

And her demise will undermine the value and joy of our inherent musical
talent, and jeopardise the future of local businesses and artists.
The solution? Well! Its starts with your support at the benefit gigs.

Highly regarded artists such as Vika and Linda, The Lucksmiths and
Machine Translations as well as locally celebrated artists such TZU,
Curse of Dialect, Music Vs Physics and The Dave Broadly Band, to name a
few have banded together, making a stand to save a stronghold of the
Melbourne Live music scene currently under fire.

The petition, already signed by so many across Melbourne, is available
at:

http://www.theempresshotel.com.au "


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Attachments:

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Pics for: -SamsCaesarSalad17369Trio400.jpg (27k)
-Barrabbas62Slick300.jpg (22k)
-AphroditeGoddessOfLove58Poster300.jpg (23k)





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