•VULCAN, SON OF JUPITER (1962), •NEPTUNE NONSENSE (1936), •HOMER'S
ODYESSEY (1911), •STUNTS: FIGHTS AND FALLS (1973), •JABS AND JOLTS
(1951), • VULCAN, SON OF JUPITER (1962), <<< ERIC THEATRE PT. 2!!!
(PEPLUM MADNESS!)

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

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SPLODGE! NOTES: 1st. Mon. APRIL (05/04/04)
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ON THE FIRST MONDAY OF EVERY MONTH

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a community FilmEdSoc project,
WE CONTROL THE CONTENT

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Unusual films of discernment, still presented in convivial
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2nd. Quartile

APRIL
AD 2004

Monday, 05th.

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 PT.2 (PEPLUM MADNESS)!!!

For those who have been wondering about the title of this current
series of screenings, we’d like to point out that they refer to a
series run by Channel 9, Melbourne, waaaaay back, we think in the 1960s
even, called "EPIC THEATRE".

All we can really remember about it ( - it *was* the '60s you know - )
was that it seemed to go to air on Sundays ( - early afternoon, we
think, either before or after WORLD CHAMPIONSHIP WRESTLING, hosted by
the great JACK LITTLE); featured the most outrageous Sword‘n’Sandalry
you could imagine; was usually accompanied by the most horrifically
blitzing heat-waves, and WAS POSSIBLY INTRODUCED BY ERIC PEARCE!

We’d also like to take this little opportunity to point you in the
direction of the ONLY PICTURE THAT CAN BE FOUND ON THE ENTIRE
WORLD-WIDE WEB OF THE BELOVED HAL TODD, WHO DID SO MUCH, ALONG WITH
DEADLY EARNEST, ISSY DYE, CAROL LOPEZ, YEA, EVEN THE POMPOUS BRUCE
MANSFIELD, AND MANY OTHERS, FOR THE PROMOTION OF RIGHTEOUS FILM CULTURE
IN MELBOURNE:

http://www.angelfire.com/film/splodge/shrine/TODDY.HTML

And, having said that, on with the show...


•JABS AND JOLTS (1951),
Tongue-in-cheek examination of the sport of boxing and wrestling.
Stresses the gentle good humour of inflicting violence on others.
Combines an appreciation of beautifully choreographed physical theatre
with a genuine affection for the comical aspects of these civil
athletic pastimes. Prod Co: Castle Films / United World Films. 9 mins.
ALC


•STUNTS: FIGHTS AND FALLS (1973),
Like good athletes, stuntmen must warm up before attempting any feats.
Control and practice are of paramount importance. For realism rehearsal
in the front of a camera and the matching of the movements of the actor
and stuntman are essential. Narrator Jack Mohoney, as well as giving
the historical background to stunts in films - gives many hints on
safety and training. Prod Co: Barr Films. Prod: Tim Barr Dir: Tony de
Zarraga. 13 mins. ALC


•NEPTUNE NONSENSE (1936),
In the mid-1930s, the Van Beuren studio purchased the rights to the
famous silent cartoon character, Felix the Cat. Felix was transformed
into a goody two-shoes with a squeaky kiddy’s voice, bearing little
resemblance to OTTO MESSMER's magnificent original. Not long after,
unsurprisingly, the van Beuren Studio closed it’s doors forever.

Felix goes fishing to try to find a companion for his lonely pet
goldfish, Annabelle. A powerful swordfish pulls him to the bottom of
the sea, where he observes a number of undersea sight-gags ( - an
octopus traffic-cop, fish who eat each other fish in sequence, an
electric eel, et c).

Finally, he finds a suitable fish and tries to make off with it, but
the entire undersea community gives chase and has him arrested as a
kidnapper. He is taken before KING NEPTUNE - who has a topless little
Mermaid swimming about his head! - (Huh? What is going on, under the
sea?), and is set on trial. King N. is angry, but when Felix explains
himself, NEPTUNE takes him to a fish orphanage, where he can select a
fish that really needs a home. Neptune drops them off back at the
shore, and everyone lives happily ever after. Color: TechniColor®. Prod
Co: Van Beuren Studios. Prod: Amadee J. Van Beuren. Soundtrack: Winston
Sharples. Distributors: Copley Pictures Corporation, RKO Radio
Pictures [USA], RKO-Pathé. Dir: BURT (THREE LITTLE PIGS 1933) GILLETT,
Tom (GULLIVER’S TRAVELS 1939) Palmer. 7 mins. NFVLS


•HOMER’S ODYSSEY (1911),
Early silent Italian cinema produced a wave of magnificent historical
and fantastical “spectacle” films, including CABIRIA (1914), DANTE’S
INFERNO (1909) & (1912), and this one, ODISSEA. The film, directed by
Francisco Bertolini and Adolph Padovan, and performed by Giuseppe de
Liguoro (Ulisse) and Eugenia Tettoni (Penelope), evoked high praise in
it’s time for its cinematic ingenuity.

The two directors, in fact, used complex make-up and special effects in
sequences such as Ulysses' fight with the sirens, and a spectacular
run-in, incorporating double-exposures, with POLIFEMUS, Chief of the
Cyclops, which even today, is still striking.

Although its limitations are typical of all early cinema, this bold
attempt to render in film a complete vision of the Homeric work,
undoubtedly turns out to be highly successful and satisfying.
It won Third Prize in the "Artistic” category" in the cinematographic
competition of the Industrial Exposition (l'Esposizione
dell'Industria), and was shot in the Parco Del Valentino in Turin in
1911. It was released in the United States in 1912, accompanied by a
spectacular publicity campaign. Prod Co: Milano Film, Milano. Dir:
Francesco Bertolini, Adolfo Padovan. Wr: Homer. Cast: Giuseppe de
Liguoro (Ulisse), Eugenia Tettoni Fior (Penelope), Ubaldo Maria Del
Colle. Alternate Titles: Austria: ODYSSEE (xi.’11 - 1000 m.), Finland:
ODYSSEIAN HARHARETKET, France: L'ODYSSÉE D'HOMÈRE (29.12.’11 - 885 m.),
Germany: DIE IRRFAHRTEN DES ODYSSEUS (13.01.’12 - 1100 m.),
Netherlands: DE DWAALWEGEN VAN ODYSSEUS, Spain: ODISEA DE HOMERO
(02.’12 - 925 m.), Swiss: L'ODYSSÉE (04.’12), USA: ODYSSEY / HOMER'S
ODYSSEY (02.’12 – 3000 ft.). 25 mins. NFVLS

and featuring:

•VULCAN, SON OF JUPITER (1962),
If you happened to have liked APHRODITE GODDESS OF LOVE (1958) a few
months back, we are sure you will just luvvvvv this incredibly rare
Sword and Sandal spectacular. Classic film fun, we might add. ( - Don’t
believe anything about this film that anyone else might tell you - mind
you, we’re biased, as we just can’t get enough Sword and Sandal
action!) We don’t have much time for that school of thought that some
films can be so bad that they are good. In this case, this film is so
good, it is great!

Italian sweaty beefcake films of the late '50s / early '60s rank right
up there with Japanese Godzilla flicks and Mexican masked-wrestler
epics as the ultimate in classy entertainment. If you hanker for
dubbing, this genre is for YOU! VULCAN, SON OF JUPITER is a typical
Italian, biceptual muscle-man adventure, where the Vaseline® isn’t on
the camera lens, it’s all over the leading players!

In this wonderful pastiche of Ancient Greek mythology, the coquettish
goddess of Love, Venus (Annie Gorassini), has fled (again – apparently
she had, in the past, made something of a habit of this) to Earth -
Bronze Age Greece, to be specific, to consort with mortal men, in this
instance, the handsome Adonis. Meanwhile, back in the dry-ice temple of
the gods on Mount Olympus, King of the gods, Jupiter (Furio Meniconi),
is taunted by Pluto, god of the Underworld (GORDON MITCHELL), to punish
the disobedient goddess, an incredible, mirror-bound floozy who drapes
herself over any man at hand, much as we would hope Venus to. (Clearly
the Italians’ were way ahead of Hollywood with these archetypes of the
Goddess of Love as a flirty, shallow, blonde bimbo!

Jupiter recalls Venus to Olympus, and skittles the unlucky Adonis, with
a craftily executed lightning bolt ( - which looks like it has either
been scratched directly on to the negative of the film, has been
hand-drawn, or is, otherwise, the product of some kind of retro ‘60s
animation process), and dictates that the wayward Venus must finally
choose a husband, and that she should marry his son Vulcan (Richard
Lloyd - “Rod Flash Ilush”), the god of Fire, or possibly Mars, the god
of War, played by the lithe and wiry Roger (THE INCREDIBLE PARIS
INCIDENT, 1967) Browne.

Our first view of the mighty Vulcan is afforded us as we see him
banging away on his anvil at his underground forge. Venus pays him a
visit there, where she is quick to admire his big sword, but
law-abiding Vulcan won’t entertain the flirtatious nymph without
Jupiter’s prior consent. Spurned, Venus takes her leave, but no sooner
does she go than she runs into tear-away Mars, who quickly diverts her
attention, but then proceeds on his way to have it out big-time with
Vulcan, his rival. (Of course, you realize, this means War!)

Jupiter intervenes in the brawl, revoking the duo’s superpowers for a
period of two months. Stroppy at having been punished by Jupiter, Mars
seizes Venus (who actually doesn’t mind), flees Olympus, with the
goddess in tow, and hot-foots it to Earth - to the Kingdom of Thrace,
in fact - a land inhabited by a people sworn against Jupiter, ruled by
The King of Thrace, a chrome-domed, anti-Jupiter stooge - a sort of
cross between PETER LORRE and CURLEY HOWARD! – who, of course,
immediately falls in love with Venus (who actually doesn’t mind).

Next, nasty ol’ Pluto intercepts the unjustly punished, super-powerless
Vulcan and starts shoving him around, taking advantage of the god of
Fire’s weakened condition, ultimately pushing him off the edge of
Olympus, with the helpless Vulcan also plummeting to terra.

Vulcan lands, unconscious, on the shores of the Kingdom of Thrace, but
is discovered by a band of mortal beauty contestants - King Neptune,
god of the Sea (Jupiter’s brother)’s (mer-)maidens. No sooner have they
fished him out of the water than he and his beautiful benefactors both,
are captured by a tribe of fork-weilding reptilian monsters, once men,
but cursed by Jupiter to scaley-dom, and are hauled off to their
cavern, there to join a whole bunch of enslaved Sicilian prisoners, who
have befallen a similar fate.

The band of maidens’ midget companion, a dwarf, by name of Géo - who
quickly emerges as Vulcan’s comedy sidekick - is smuggled out in the
trash by the girls, and sent to bring help from Neptune.

On hearing the news, Neptune immediately sends a liberating force of
trident-wielding triton warriors to vanquish the lizard-men, and sends
the midget back to Earth to rejoin his original party. Now also free,
Vulcan and Etna, one of the maids, bid farewell to the other girls and
prisoners, promising to return.

Meanwhile, back on Olympus, Pluto just wont quit goading Jupiter, who,
consequently, gets fed-up to the back teeth, and reads him the Riot
Act.

Back on the ground, insubordinate Mars is clearly totally out of his
tree, and proposes a scheme to the Curley Joe that will garner him all
the wealth and power he could lust for, by building a tower reaching to
the heavens, enabling he and Mars to mount an invasion of Olympus and
wrest power from Jupiter.

By now, Vulcan has journeyed to Uncle Neptune’s realm, where Neptune
welcomes him, arranging Etna to dance for him, but no sooner have the
festivities begun than, alas, Mercury, messenger of the gods,
interrupts to announce Mars’ treachery. This news of Mars’ rebellion
against Jupiter gets family-values-oriented Vulcan’s blood boiling, as
it’s established he won’t hear a bad word said about his dad, let alone
allow this sort of thing to go on, so he seeks leave, bidding Neptune
adieu, as it were, returning to Earth to represent his father’s
interests, and to set about putting his immortal sibling in his place.

This is where Vulcan’s mission really kicks off: it is absolutely
necessary to prevent Mars, Venus and the King of Thrace from
constructing this nefarious (bamboo!) sky-scraper to Olympus - the
peace of the immortals depends on it. But the problem is how to track
the plotters down. Fortunately, Vulcan has a plan: he bullies the
unco-operative Géo and forces the Dwarf to lead him to the Thracian
encampment.

After having overcome some reservations, quickly addressed by Vulcan,
thanks to the vigorous use of the technique of persuasion known as
“shaking the Dwarf”, Géo agrees to guide the god, whilst, unbeknownst,
Etna, who has been told to stay back for safety, tracks after them.

Unfortunately, on the way to the Thracians, the party encounters a
tribe of troglodytes, who appear to be going through a fairly major
Morlock-influenced fashion phase, and who capture the disobedient Etna.
Vulcan and his (from-now-on) solid pal, Géo, contrive her rescue and
give the primates a good thrashing, and then it’s off again to Thrace.

Vulcan, Etna and the Dwarf eventually arrive at the gates of the
Thracian camp, from where the sinister bamboo Tower of Babel reaches
upwards, set up by the evil triumvirate. Having arrived at the
inevitable, our heroes do what one always does in such cases - when
only three, and on the verge of fighting hundreds of enemies - they
separate under a pretext, Etna deciding that, after so long, it’d be OK
to head down to the river for a quick wash of the ol’ pins. Bad idea,
as she is almost instantly captured by the enemy and led in front of
Mars and Venus. They decide that she will be sacrificed to the gods of
Olympus(!) - Hey, don’t ask me –I’m not making this up!

Etna is tied to a stake and tormented by another variant on the full-on
Morlock, this time he’s a Witch-Doctor - with feathers and all! - who,
whirling around the poor woman, starts to carry out some obscure occult
shamanic ritual that can hardly bode well for the hapless maiden.

It looks bad! Now our heroes are no more than two, of which one is a
Dwarf! How will they begin their invasion of the Thracian camp? It’s
simple! Vulcan has a plan, which, of course, again involves “dwarf
agitation”, - this time forcing Géo to disguise himself as a shrubbery.
Brilliant! - because, when one thinks of it, what Thracian guard would
be on the lookout for a mobile bush out to warn the Thracian slaves
that the hour of the revolution is at hand, I ask you?

Amazingly, Vulcan’s plan proceeds without a hitch, and, in the early
morning, the slaves rise up and an intense battle ensues. It’s at this
point that the real Battle of the Titans arrives, the one we have been
awaiting all along: Etna and Venus have it out, pulling hair and
cracking whips. Unfortunately, this bit has been cut from the print by
the Australian censors! Hiss! (But it’s on the video, if you can find a
copy!)

Meanwhile, Mars, armed with a rake, does all he can to avoid Vulcan’s
weapon of retribution, which could possibly deserve to be entered in
the Guinness Book of Records as holder of the record for the largest
club of the history of the cinema.

All-of-a-sudden, back on Olympus, the watchful Jupiter abruptly
commands the conflict of our mythic heroes cease, giving thanks to his
faithful son, and that’s it…THE END! FINIS!

Admittedly, it is all comic-book stuff; theatrical, like a ritual, and,
yet, still very cinematic in style. It’s good fun, with tons of action
sequences, heroic struggles against other-worldly menaces, exotica
galore, and lots of horror and fantasy elements. But, let’s face it,
gods of Olympus, and Marvel Super-heroes, really, what’s the diff? It’s
all Shakespeare to me – archetypal symbolism, and that’s the bottom
line. There's fighting, infighting, scheming and midgets. For what more
could you want?

Director Emimmo Salvi is one of the many craftsmen of the Golden Age of
1960s Italian cinema. Starting his career writing and producing, he is,
today, remembered for such successes as DAVID AND GOLIATH (1961)
directed by Richard Pottier, and, especially, the mythical fantasy
péplum THE GIANT OF METROPOLIS (1961). Also in 1961, Salvi moved on to
direction and progressed through a succession of genres, while
remaining faithful to three actors: Bella Cortez, his MUSE, and the two
body-builders, Richard Lloyd and Gordon Mitchell. We, thus, owe him
some classic titles in the péplum genre, such as VULCAN GOD OF FIRE
(1962), and ALI BABA AND THE SEVEN SARACENS (1964), the spy film NONE
BUT THE LONELY SPY (1964), and a real success in westerns with THREE
GRAVES FOR A WINCHESTER / THREE BULLETS FOR RINGO (1965).

Richard Lloyd is not the guitarist of the rock'n'roll group,
Television, but is the guy with the beard who appeared under the
pseudonym of “Rod Flash” or “Rod Flash Ilush”, and pursued a meteoric
career in Italian péplae. Lloyd was quite an athlete and, like many of
his péplum pals, did his own stunts in films without the benefit of a
stand-in. It was director Salvi who put Lloyd’s foot on the first rung
of the ladder of success with the title-role in VULCAN, SON OF JUPITER,
followed by THE SEVEN TASKS OF ALI BABA (1962). Then, in two other
péplae with unusual themes: HERCULES, SAMSON AND ULYSSES (1965), in
which he played Samson, and INVINCIBLE BROTHERS MACISTE (1964). Like
many other actors in the genre, he then disappeared from the screen,
once the full force of the Italian “spaghetti” western cycle took off.

Thankfully, the love-interest (not Venus, but Etna – one of Neptune’s
maids) is played by Cuban actress BELLA CORTEZ (THE GIANT OF
METROPOLIS, 1961) - whose incredible figure is highlighted in the
number of skimpy costumes she wears; - her exotic showgirl-style
set-piece dancing is one of the film's highlights! (Other highlights
include a scene where the delectable Cortez is attacked by the
Neanderthal Thracians in a mountainous valley, and a catfight between
Venus and Etna, with the pair whipping each other, ( - which, sadly the
Australian censors have excised from our print!! - That whipping
business, y’know?)

Cortez had quite a career in fantasy film, and particularly specialized
in roles as princesses, such as in THE GIANT OF METROPOLIS, or as
queens, as in TAUR THE MIGHTY (1960). Her hour of glory is, arguably,
in THE TARTARS (1961), directed by Richard Thorpe and Ferdinando Baldi,
where she played a beautiful hand-maiden along-side ORSON WELLES and
VICTOR MATURE. She also shone in other Emimmo Salvi-written or directed
films: THE SEVEN TASKS OF ALI BABA (1962) and ALI BABA AND THE SEVEN
SARACENS (1964).

Appearing under the billing of "special guest star" - befitting his
legendary status in popular Italian cinema - is none other than
péplum-favourite, GORDON MITCHELL (BRENNUS, ENEMY OF ROME, 1963) - as
the evil Pluto. Mitchell also appeared with CORTEZ in THE GIANT OF
METROPOLIS, as well as ALI BABA AND THE SEVEN SARACENS (1964).
According to him, Bella was Emmimo Salvi's girlfriend. Whatever
happened, we wonder, to this beautiful Cuban actress? We'd like to
think she married rich and now is entertaining fallen dictators and
bloodshot ex-starlets with Mai Tais and bright conversation on Ibiza,
while her 90-year-old billionaire husband snoozes in the cabana. But
no. Apparently, she now lives in Alabama.

When Mitchell first entered Italian cinema, he quickly became a staple
of the péplum genre, getting early starring breaks with directors like
Antonio Leonviola in ATLAS IN THE LAND OF THE CYCLOPS (1961), and with
Salvi in VULCAN. His style is energetic, as befitted his action-film
roles, and he was another of those who performed often very physically
demanding parts without the benefit of stuntmen or doubles: “All the
films I ever did, all my action films, I always did myself as me. I
didn't have any stuntmen. I did all the falls and jumping. To this day,
now, I'm paying for it. Now I have (laughs) bad shoulders, arms, back,
and everything else. It's hard for me to move around, but I'm still
doing it. So remember, that's why people knew there were no doubles, it
was me doing it.” says Mitchell. Gordon Mitchell passed away on
September 20, 2003.

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 péplum 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 péplum was a "robe of state". The word
derived from the Greek "peplon", and the adjective from the noun is
"péplumed". 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".

Filmed on location in Iran. Aka: VULCAN, GOD OF FIRE (1961); VULCAN,
SON OF GIOVE (VULCANO, FIGLIO DI GIOVE) (1961) (USA); VULCAN, SON OF
JUPITER (1961); VULCANUS, DER TITAN, VULCANO, SCHLACHT DER TITANEN.
Colour: Eastmancolor. Genre: Péplum (Sword and Sandal). Dubbed in
English. Prod Co: Juno Film / Juno Centro. A Juno-Rome production.
Exec. Prod: Decio Salvi. Prod: Ambrogio Molteni, for JUNO FILM. Iranian
Prod: Zamani Manucher. Dir: Emimmo Salvi. Wr. Emimmo Salvi. Scr: Benito
Ilforte, Ambrogio Molteni, Emimmo Salvi, Gino Stafford. Prod Des:
Ambrogio Molteni. Phot: Mario Parapetti (Eastmancolor / SuperCinescope.
Developing and printing by Stacofilm).. Ed: Otello Colangeli.Mus: C.
Blengini. Orig. Mus: Marcello Giambini. Set Designer: Giuseppe Ranieri,
c.s.c. Unit Director: Spartaco Antonucci. Unit Manager: Franco Di
Mauro. Prod Asst: Maurizio Pradeaux. 1st Asst Dir: Angelo De Amicis.
2nd Asst Dirs: Carlo Ferrero, Leo Scuccuglia. Scr Girl: Adriana
Bellanti. Asst Phot: Giorgio Pasquali. Makeup: Corrado Blengini.
Hairstyles: Evelina Maggi. Cost’ms: Augusta Morelli. Fight Seqs: Romano
Gasparri, Luigi Ciavarro. Choreography: Leo Coleman. Furnishings:
Tonino Fratalocchi. SFX: Roberto Parapetti. Costumes created by Casa
d’Arte, di Ciarlo Virgilio (Rome). Wigs:Ditta Rocchetti. Footwear:
Ditta Pompei. Special costumes: Orlando Giangrande. Exteriors:
Salvatore Siciliano. Horses provided by The Simonelli Stables. Sound
men: Neri Alfredo [Alfredo Neri], Occhetti Sandro [Sandro Occhetti].
Cast: Richard Lloyd, (aka Rod Flash Ilush), Bella Cortez, Roger Browne,
SPECIAL GUEST STAR – GORDON MITCHELL, Liliana Zagra, BELLA CORTEZ,
Furio Meniconi, Omero Gargano, Isarco Ravaoli, Yvonne Scire’, Ugo
Sabetta, Luigi Ciavarro, Renzo Stefilongo, Romano Gasparri, Leo
Coleman, Edda Ferronao, Paolo Pieri, Pasquale Fasciano, Giuseppe
Trinca, Amedio Trilli, Salvatore Furnari, Isarco Ravaioli. Uncredited:
Amedeo Trilli, Leo Coleman, Luigi Ciavarro. (US) An Embassy Pictures
release. A Joseph E. Levine presentation. 76 mins. RM


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Minor programme changes may occur due to unforseen
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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

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

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. Hundreds - 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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