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#119 From: Splodgy Splodgeburger® <splodgeburger@...>
Date: Wed May 2, 2007 5:05 pm
Subject: SPLODGE! NOTES: THIS Monday MAY (07/05/07) <<< RUN FOR YOUR LIVES!!! • LOGAN'S RUN (1976), • GRIZZLY GOLFER (1951) • LOGAN'S RUN (1976) 		splodgeburger
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SPLODGE! NOTES: THIS Monday MAY (07/05/07) <<< RUN FOR YOUR LIVES!!! • LOGAN'S RUN (1976), • GRIZZLY GOLFER (1951) • LOGAN'S RUN (1976)
 
ON THE FIRST MONDAY OF EVERY MONTH
(except JANUARYs!)...
 

a community FilmEdSoc project,
WE CONTROL  THE CONTENT
 
TONIGHT: STRICTLY MEMBERS-ONLY
 
* MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT, 'THO *

DETAILS BELOW
 
************ ********* ********* *********
SPLODGE! NOTES:
1st. Mon. in MAY (07/05/07)
 
 
************ ********* ********* *********
Unusual films of discernment, still presented in convivial surroundings!
 
ALL PRESENTED ON
GROOVY 16 MILLIMETRE FILM!
 
'the back room' o'
714 NICHOLSON (CNR. SCOTCHMER) STREET,
NORTH FITZROY
splodgeburger@ yahoo.com
 
************ ********* ********* *********
2nd.  Quartile
 
MAY
AD 2007
 
MONDAY 07th
 
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
 
TONIGHT! -
 
RUN FOR YOUR LIVES!!!

•GRIZZLY GOLFER
 
  (1951)
 
 
 
 
 
Mr. Magoo and his nephew Waldo set out to have a game of golf at the Ozark Hollow Golf Course, but a bear becomes unintentionally involved in the game. Prod Co: U.P.A. (United Productions of America). Exec Prod: Stephen Bosustow.  Prod: John Hubley. Dir: Pete Burness. Wrs: Bill Scott; Bill Danch. Mus: Hoyt Curtin. Anim: Rudy Larriva; Art Babbitt; Cecil Surry. Voice: JIM BACKUS. 7 mins. NFVLS
 
 
followed by:
 
•LOGAN'S RUN
 
   (1976)
 
 
 
Yes, I know Michael York isn't everybody's cup of tea - talks through his nose, etc, etc, ( - 'tho here at Splodge!, we DO have to confess to harbouring a definite penchant for ZEPELLIN (1971) in the ol' "guilty pleasures" closet - ), and, sure, Peter Ustinov is , er, something of an acquired taste, and, yerr, this 'Seventies sci-fi flick isn't really considered one of the "biggies", but here's the plus side - it's GOT the great ROSCOE LEE BROWNE ( - sayyyy, when was the last time we had a chance to see UP TIGHT! (1968) in this hick town???)... AND it was directed by Michael ANDerson ( - ever see THE DAM BUSTERS (1954)? - He made THAT one!), AND it's got FARRAH FAWCETT - in her prime -  AND JENNY AGUTTER, who is still said to be a BIG favourite with quite a few! But, wait! That's not all - the music's by the more-than-ever-reliable JERRY GOLDSMITH, and cinematography by multiple Oscar™ -winning cinematographer ERNEST LASZLO! So, what's the problem??? There IS no problem!
 
 
      
 
      
 
 
        
 
Eclipsed by the lumbering elephantine penumbra of STAR WARS (1977) in the following year, this often-maligned film is, in fact, waaaaaay better than the nay-sayers will have you believe. And here's your big chance to find out for sure! 
 
In the 23rd Century, people now exist inside domed cities, forgetting about the outside world, which has been ruined by war, over-population, and pollution ( - kind of like today, actually!) Life is perfect for the inhabitants... except for one minor detail - life must end at 30, in the fiery (and, admittedly, rather daggy named) ritual of "Carousel" ( - Don't worry - nothing to do with Rogers and Hammerstein!)
 
 
 
 
Those who choose to live and flee, are hunted and killed by the elite police force, known as "Sandmen". Logan 5 is one of the best, but circumstances require him to skip town with girlfriend, Jessica 6. Logan's best friend, and fellow Sandman, Francis 7, is chasing them, determined to stop them at any cost. What they discover changes their lives forever. Then they happen to run into Mr. THX 1138 ( - no, I just made that bit up!) Nominated for 3 Oscar™s! Based on the novel by William F. Nolan and George Clayton Johnson. Prod Co: Metro-Goldwyn-Mayer. Prod: Saul David. Dir: MICHAEL ANDERSON. Wr: David Zelag Goodman. Phot: ERNEST LASZLO. Mus: JERRY GOLDSMITH. Ed: Bob Wyman.  Cast: Michael York, Richard Jordan, JENNY AGUTTER, ROSCOE LEE BROWNE, FARRAH FAWCETT (as FARRAH FAWCETT-MAJORS), Peter Ustinov. 117 mins. NFVLS
 
Minor programme changes may occur due to unforseen circumstances.
Feature runs last; shorts order may vary from listing.
 
* Acknowledging  ACMI Inc. & ScreenSound Australia ;) *
 
************ ********* ********* *********
 
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!
 
************ ********* ********* *********
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!
 
************ ********* ********* *********
 
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).
 
************ ********* ********* *********
To exit the mailing list,
or for general correspondence,
dispatch to:

http://movies.groups.yahoo.com/group/splodgefilms/
 
714 NICHOLSON STREET
(CNR. NICHOLSON & SCOTCHMER STREETS),
NORTH FITZROY.
PHONE 04 25 74 28 01
************ ********* ********* *********

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#118 From: Splodgy Splodgeburger® <splodgeburger@...>
Date: Wed Mar 28, 2007 4:19 pm
Subject: SPLODGE! NOTES: THIS Monday APRIL (02/04/07) <<< REEL AUSSIES!!! • THREE IN ONE (1957), • WHERE DEAD MEN LIE (1972), • FACES IN THE STREET (1961), • THE TERIFFIC ADVENTURES OF THE TERRIBLE TEN, Ep: THE JOLLY SWAGMAN (1962), • VB AD (c. 1966) • THREE IN ONE (1957) 		splodgeburger
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SPLODGE! NOTES: THIS Monday APRIL (02/04/07) <<< REEL AUSSIES!!! • THREE IN ONE (1957), • WHERE DEAD MEN LIE (1972), • FACES IN THE STREET (1961),  • THE TERIFFIC ADVENTURES OF THE TERRIBLE TEN, Ep: THE JOLLY SWAGMAN (1962), • VB AD (c. 1966) • THREE IN ONE (1957)
 
ON THE FIRST MONDAY OF EVERY MONTH
(except JANUARYs!)...
 

a community FilmEdSoc project,
WE CONTROL  THE CONTENT
 
TONIGHT: STRICTLY MEMBERS-ONLY
 
* MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT, 'THO *

DETAILS BELOW
 
************ ********* ********* *********
SPLODGE! NOTES:
1st. Mon. in APRIL (02/04/07)
 
 
************ ********* ********* *********
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
splodgeburger@ yahoo.com
 
************ ********* ********* *********
1st.  Quartile
 
APRIL
AD 2007
 
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
 
TONIGHT! -
 
REEL AUSSIES!!!
 
•WHERE DEAD MEN LIE
 
  (1981)
 
 
    
 Director KEITH GOW (R), with JOCK (Jack) LEVY (L)
 
 
A dramatisation based on a Henry Lawson story "The Australian Cinematograph", made to commemorate the 50th anniversary of Lawson's death. This film was shot using the directions written by Lawson in 1896, in the days when cinema was no more than a curiosity.
 
The story is about the fate of a drover who has driven a mob of cattle hundreds of miles across the vast dry plains of North-West Australia to their destination.
 
Luck is against him, and he doesn't make it through the drought-stricken countryside. His remains are found by a search party, one of whom is chosen to take the sad news home to the drover's wife and family. Prod Co: Australian Commonwealth Film Unit. Prod: Gil Brealey. Dir: KEITH GOW (FILM WORK, 1981). Cast: JACK THOMPSON, MAX CULLEN. 15 mins. ALC
 
 
•FACES IN THE STREET
 
   (1961)
 
Collins St., 5p.m. Htr003.jpg (17754 bytes) Nigel Lovell
 
 
 
An attempt to portray the poem by Henry Lawson in terms of 1960s Sydney, (bearing in mind that the poem was written in 1888 and should be interpreted in that context). Prod Co: Australian Broadcasting Commission (ABC). Prod: K. L. Porteous. Dir: Douglas White. Narrator: NIGEL LOVELL. 12 mins. ALC
 
 
•THE ADVENTURES OF
 
 THE TERRIBLE TEN
 
 (aka TEN TOWN):
 
 Ep: THE JOLLY SWAGMAN
 
 
   (1962)
 
 
Gary Gray  Ken Goodlet
 
 
ADVISORY: Contains TIME TRAVEL!
 
A summer's day in Ten Town, an autonomous rural collective of precocious 1960s Aussie kids. Young Gary (GARY GRAY) is feeling dejected and neglected by his friends, and decides to go for a walk. He comes across a billabong in the bush and meets a swagman (Ken Goodlet). Suddenly he is transported back in time to the 1860s. With his record player in hand, and with the help of the song WALTZING MATILDA (A. B. -"BANJO" - PATTERSON), the swaggy's life is changed. Prod Co: Pacific Film Productions. Prod: Roger Mirams (THE MAGIC BOOMERANG; ADVENTURES OF THE SEASPRAY). Dir: David Baker (THE GREAT McCARTHY, 1975). Cast: GARY GRAY, Ken Goodlet. 13 mins. ALC
 
PLUS:
 
A quick Victoria Bitter TV commercial from the 1960s, voiceover by the great JOHN MELLION!
 
 Johnny ( - Where's the tinnie? ) 
 
 
VB was introduced in the mid 1960s with an innovative television advertising campaign featuring an orchestral score, images of working-class Australians at work and play, and a voice-over by notable Aussie actor JOHN MELLION. The campaign is still used to this day.
 
"You can get it rollin’, you can get it goalin’, you can get it feedin’ a fire. A hard earned thirst needs a big cold beer, and the best cold beer is Vic – Vic Bitter.
It can come at any time, dishin’ up chow, or showin’ ‘em how, shearin' a sheep or milkin' a cow. Matter of fact I got it now. Vic Bitter."
 
followed by:
 
•THREE IN ONE
   (1957)
 
A trilogy of stories on the theme of mateship.

- JOE WILSON'S MATES, set in the 1890s, is based on the HENRY LAWSON short story. (Cast: Edmund Allison, Reg Lye, Alexander Archdale, Charles Tasman, Don McNiven, Jerold Wells).

- THE LOAD OF WOOD, set in a country town during the 1930s Depression, is based on a story by FRANK HARDY. (Cast: Jack Levy, LEONARD TEALE, Ossie Wenban, John Armstrong, Jim Doone, Ted Smith).
 
 LEONARD TEALE

 
- THE CITY, based on an original screenplay by RALPH PETERSON (Bottomley - YES, WHAT?) is a love story set in contemporary Sydney. (Cast: Joan Landor, Brian Vicary, Betty Lucas, GORDON GLENWRIGHT (CLASS OF '74/'75), Ken Wayne, Stuart Ginn).
 
 
 Pat Martin and Joan Landor in THE CITY
 
GORDON GLENWRIGHT
 
 
The three stories are linked by introductory comments from JOHN McCALLUM, who also narrates them.
 
Prod Co: Australian Tradition Films. Prod: Cecil Holmes. Dir: Cecil Holmes. Wr: Rex Rienits (JOE WILSON'S MATES, THE LOAD OF WOOD); RALPH PETERSON (THE CITY). Phot: Ross Wood. Ed: A William Copland. Mus: Raymond Hanson. Commentator: JOHN McCALLUM. 88 mins. ALC
 
 
Minor programme changes may occur due to unforseen circumstances.
Feature runs last; shorts order may vary from listing.
 
* Acknowledging  ACMI Inc. & ScreenSound Australia ;) *
 
************ ********* ********* *********
 
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!
 
************ ********* ********* *********
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!
 
************ ********* ********* *********
 
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).
 
************ ********* ********* *********
To exit the mailing list,
or for general correspondence,
dispatch to:

http://movies.groups.yahoo.com/group/splodgefilms/
 
714 NICHOLSON STREET
(CNR. NICHOLSON & SCOTCHMER STREETS),
NORTH FITZROY.
PHONE 04 25 74 28 01
************ ********* ********* *********

Send instant messages to your online friends http://au.messenger.yahoo.com


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#116 From: Splodgy Splodgeburger® <splodgeburger@...>
Date: Thu Mar 1, 2007 7:48 am
Subject: SPLODGE! NOTES: THIS Monday MARCH (05/03/07) <<< DOOMED TO REPEAT IT!!! • I WAS A COMMUNIST FOR THE FBI (1951), •FILM WORK (1981), •I WAS A COMMUNIST FOR THE FBI (1951) 		splodgeburger
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DOOMED TO REPEAT IT!!! • I WAS A COMMUNIST FOR THE FBI (1951),
•FILM WORK (1981), • I WAS A COMMUNIST FOR THE FBI (1951)
 
TONIGHT: STRICTLY MEMBERS-ONLY
 
* MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT, 'THO *

DETAILS BELOW

************ ********* ********* *********
SPLODGE! NOTES:
1st. Mon. in MARCH (05/03/07)
splodgeburger@...
 
ON THE FIRST MONDAY OF EVERY MONTH
(except JANUARYs!)
 

a community FilmEdSoc project,
WE CONTROL  THE CONTENT
 
************ ********* ********* *********
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
splodgeburger@ yahoo.com
 
************ ********* ********* *********
1st.  Quartile
 
MARCH
AD 2007
 
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
 
TONIGHT! -
 
DOOMED TO
REPEAT IT!!!
 
•FILM WORK
(1981)
 
 
Norma Disher, Jock and John Hughes
 
 
 
                       Norma Disher
 
 
 
     Jock Levy,              Keith Gow
 
 
FILM WORK raises a number of interesting issues concerning film, history and politics. During the height of the Cold War the Waterside Workers' Federation Film Unit produced eleven films for several trade unions on political and industrial issues. Independent film-makers worked with them to develop a critical dialogue from one generation of concerned film-makers onto another.
 
The film looks at sequences from four of the films ( PENSIONS FOR VETERANS, THE HUNGRY MILES, NOVEMBER VICTORY and HEWERS OF COAL ), and contains interviews with Keith Gow, Norma Disher and Jock Levy. [ Alternative title: UNION MADE ]. Dir: John Hughes. Prod: John Hughes.  Participants: Norma Disher Jock Levy, Keith Gow. Prod Co: Waterside Workers' Federation of Australia Film Unit. Phot: Margot Nash, Glenys Page. Ed: John Whitteron, Chris Warner, Viv Caroll. Prod Des: Phillip Bull. Mus: Andrew Duffield. Anim: Lisa Parrish, Ray Argall. Graphics: Merryl (Merryn?) Gates. Archival stills: Ian Cosier. Research: Brett Levy. Research: Ray Argall. Sound: John Whitteron. Sound editor: Tony Stevens. Asst. Editor: Viv Carroll. Cast: Jock Levy, Norma Disher, Keith Gow. 44 mins. ALC
 
followed by:
 
•I WAS A COMMUNIST FOR THE F.B.I.
   (1951)
 
 
 
 
 
 
"It's all here! Every breathless moment of the F.B.I.'s most relentless counter-attack!"
 
" I had to sell out my own girl - so would you! I was under the toughest orders a guy could get! I stood by and watched my brother slugged... I started a riot that ran red with terror... I learned every dirty rule in their book - and had to use them - because I was a communist -  but I WAS A COMMUNIST FOR THE F.B.I. "
 
All the world may be a stage, but for Matt Cvetic and Herb Philbrick, real-life, volunteer undercover agents for Hoover's FBI throughout most of the 'forties, the courtroom was the venue that catapulted them into the glamorous world of show-biz.
 
F.B.I. mole Cvetic had infiltrated the Socialist-heavy Unions of Pittsburgh, Pennsylvania, while Philbrick had used his uncanny intelligence to penetrate Red cells in Boston. When the two of them testified independently in 1949 - helping to convict several top Party members of conspiracy to overthrow the U.S. government [under the Smith Act] - their fortunes were as good as made.
 
Cvetic, a hard-drinking lout, who reportedly once thrashed his sister-in-law badly enough to hospitalize her, sold his first-person account to THE SATURDAY EVENING POST, which serialized his heroics as I POSED AS A COMMUNIST FOR THE FBI (written with the help of Pete Martin). A radio series followed, with DANA ANDREWS as the undercover agent.
Then, in 1951, Warner Brothers' Jack L.Warner (RED NIGHTMARE, aka THE COMMIES ARE COMING, THE COMMIES ARE COMING, 1962), paid Cvetic $12,500.00 for the film rights, with Frank Lovejoy portraying the man who (it is suggested) single-handedly brought the Communist Party to its knees.
 
Incredibly, I WAS A COMMUNIST FOR THE F.B.I. was nominated for an Academy Award™ as the best documentary of the year!
 
(In case you may have missed the point, we hasten to add that the current wave of political insanity, fear-mongering and hysteria being orchestrated by the global forces of reaction, is a well-worn social-control technique in the furtherance of consolidated world domination. Don't let it happen again!
 
Remember, "representative democracy" is not true democracy. Now the Bastards are talking about outlawing light-bulbs in favour of narrow-spectrum fluros, for Pete's sake! If they DO it, expect massive rises in the rates of CANCER and MENTAL ILLNESS - both resulting from broad-spectrum light deprivation, already well-advanced through the "Sun-aversion" campaigns of the last few decades! Not inclined to toe the line? Watch out, you might just suddenly be "disappeared" for "light-bulb terrorism"! - Wouldn't it be ironic if you wound up in Camp X-ray!)
 
Prod Co: Warner Brothers Pictures. Prod: Bryan Foy. Dir: Gordon Douglas. Scr: Crane Wilbur. Phot: Edwin DuPar. Ed: Folmar Blangsted. Cast: Frank Lovejoy, Dorothy Hart, Philip Carey, James Milligan, Richard Webb. 83 mins. NFVLS
 
Minor programme changes may occur due to unforseen circumstances.
Feature runs last; shorts order may vary from listing.
 
* Acknowledging  ACMI Inc. & ScreenSound Australia ;) *
 
************ ********* ********* *********
 
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!
 
************ ********* ********* *********
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!
 
************ ********* ********* *********
 
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).
 
************ ********* ********* *********
To exit the mailing list,
or for general correspondence,
dispatch to:

http://movies.groups.yahoo.com/group/splodgefilms/
 
714 NICHOLSON STREET
(CNR. NICHOLSON & SCOTCHMER STREETS),
NORTH FITZROY.
PHONE 04 25 74 28 01
************ ********* ********* *********
 
 

Send instant messages to your online friends http://au.messenger.yahoo.com


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#115 From: Splodgy Splodgeburger® <splodgeburger@...>
Date: Wed Jan 31, 2007 3:41 pm
Subject: SPLODGE! SCREENING: FEBRUARY (05/02/07) <<< BOTTOMED OUT!!! •A MIDSUMMER NIGHT'S DREAM (1935 )?= 		splodgeburger
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BOTTOMED OUT!!! •A MIDSUMMER NIGHT'S DREAM (1935)
       TONIGHT: STRICTLY MEMBERS-ONLY
   * MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT, 'THO *
                            DETAILS BELOW                
 
*********************************************************
             SPLODGE! NOTES: 1st. Mon. in FEBRUARY (05/02/07)

                      splodgeburger@...
 
                ON THE FIRST MONDAY OF EVERY MONTH
 
                            "SPLODGE!"
 
                  a community FilmEdSoc project,
                WE CONTROL  THE CONTENT
 
*********************************************************
      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
                      splodgeburger@...
 
     Note: If you'd prefer to receive our "low-kilobyte", no-pics,
              no-strings, no-attachments mailing list,
             just give us a "hoy" here at splodgeburger!
 
*********************************************************
                           1st.  Quartile
 
                           FEBRUARY
                            AD 2007
 
                          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
 
                               TONIGHT! -
 
              BOTTOMED OUT!!!
                                    (Tonight's feature occupies the entire programme.)
 
•A MIDSUMMER NIGHT'S DREAM

(1935)
 

  

 
Anita Louise as Titania and James Cagney as Bottom in A Midsummer Night's Dream, as shot by William Dieterle in 1935.

Yes! Splodge! is back for 2007!
Curses, you may think, and, yes, it IS a curse, of sorts! More work for us, more fun for YOU!
 
This year, we head off with something a little unusual -  it is both a "seasonal" selection, and - uncharacteristically - classy for we (usually) low-art types. Now, normally, had we wanted to run through the humans-transforming-into-animals routine, we'd have headed straight for THE ISLAND OF LOST SOULS (1933)("Paging Dr. Moreau... "), or one of the freakier, mythological Sword & Sandal flicks, but - just to keep you all slightly confused - we've run to the Bard, by way of Warner Bros. instead. You can thank your lucky stars it ain't LA BELLE ET LA BÊTE (1945) again.
 
Ow, all right, we confess - the real reason we want to have a look at this prehistoric production is to check out the thespian efforts of a juvenile KENNETH ANGER, in the role of the Changeling Prince! (I kid you not!)
 
A MIDSUMMER NIGHT'S DREAM (1935) is an intriguing mix of art and kitsch, of European sensibility - Max Reinhardt's overall conception and design - and a Hollywood studio's pursuit of prestige through the popularization of a great work.
The production design, photography, special effects, music and choreography are impressive and often combine to memorably magical effect. We especially liked all the sparkling!
 
The all-star cast is more, er, contentious, although there is general, if not universal agreement about the success of the comic parts - JAMES CAGNEY as Bottom, JOE E. BROWN as Flute, MICKEY ROONEY as Puck, Hugh Herbert as Snout - and VICTOR JORY - looking as if he had just stepped out of Wagnerian opera - or STAR WARS - as the saturnine Oberon. (We would have sworn from the giggling that was ED WYNN in the part of Ninny's Wall, but nope, the book insists it is the wonderful ARTHUR TREACHER!)
 
Now, in case you are a little short on the plot for this fantastic fantasy, here's a quick refresher (make sure you have some aspirin handy, 'tho!) - Theseus, Duke of Athens, is going to marry Hyppolyta, Queen of the Amazons. Demetrius is engaged to Hermia, but Hermia loves Lysander, and Helena loves Demetrius. Meanwhile, Oberon and Titania, from the Kingdom of the Fairies have been having a slight quarrel as to whether or not the boy Titania is raising will join Titania's band or Oberon's, so Oberon tries to get him from her with the use of a little magic. But they're not alone in that forest. Lysander and Hermina have planned a rendezvous there, Helena and Demetrius are there, too, as well asa band of actors - who are practicing a play for the ongoing wedding of Theseus and Hippolyta. Due to some misunderstandings by Puck, the whole thing becomes a little bit confused...
 
Prod Co: Warner Bros Pictures.  Prod: Max Reinhardt. Dir: Max Reinhardt, William Dieterle. Scr: Charles Kenyon, Mary McCall Jr. Phot: Hal Mohr ; Art Des: Anton Grot. Ed:Ralph Dawson. Mus: ERICH WOLFGANG KORNGOLD.  Cast: JAMES CAGNEY, JOE E. BROWN, DICK POWELL, MICKEY ROONEY, VICTOR JORY, OLIVIA DE HAVILAND, ARTHUR TREACHER, KENNETH ANGER. 
117 mins. NFVLS

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          Minor programme changes may occur due to unforseen
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        Feature runs last; shorts order may vary from listing.
 
                    * Acknowledging  ACMI Inc. & ScreenSound Australia ;) *
 
************ ********* ********* ********* ********* *********
 
       ADMISSION IS RESTRICTED TO  MEMBERS FOR THIS PROGRAMME

         
          THIS IS A FILM SOCIETY SCREENING OPEN TO MEMBERS
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#114 From: Splodgy Splodgeburger® <splodgeburger@...>
Date: Wed Nov 29, 2006 3:48 pm
Subject: SPLODGE! NOTES: THIS Monday NOVEMBER (04/12/06) <<< A BIT MORE O' THIS 'N' THAT!!! •EUREKA STOCKADE (1949), •FUN RADIO! (1964), •SEARCH FOR THE GOLDEN BOOMERANG (1985), •DOLLAR BILL (19 65), •EUREKA STOCKADE (1949), 		splodgeburger
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A BIT MORE O' THIS 'N' THAT!!! •X: THE MAN WITH X-RAY EYES (1963), •THE SWIMMER (1968), •WHO'S ON FIRST? (1945), • HISTORY OF THE WORLD IN THREE MINUTES FLAT (1980), • FLOATING FREE (1977), • A-DUCKING THEY DID GO (1939), • POWERS OF TEN: A FILM DEALING WITH THE RELATIVE SIZE OF THINGS IN THE UNIVERSE AND THE EFFECT OF ADDING ANOTHER ZERO (1978), • X: THE MAN WITH X-RAY EYES (1963)
       TONIGHT: STRICTLY MEMBERS-ONLY
   * MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT, 'THO *
                            DETAILS BELOW                
 
*********************************************************
             SPLODGE! NOTES: 1st. Mon. in DECEMBER (04/12/06)

                      splodgeburger@...
 
                ON THE FIRST MONDAY OF EVERY MONTH
 
                            "SPLODGE!"
 
                  a community FilmEdSoc project,
                WE CONTROL  THE CONTENT
 
*********************************************************
      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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              no-strings, no-attachments mailing list,
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*********************************************************
                           4th.  Quartile
 
                           DECEMBER
                             AD  2006
 
                          Monday 04th
 
             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
 
                               TONIGHT! -
 
    A BIT MORE O' THIS 'N' THAT!!!
 
"Quickie Theatre" returns!
with

•THE SWIMMER [ excerpt ]

(1968)
 

  


Neddy Merrill has been away for most of the Summer. He reappears at a friend's pool. As they talk, someone notices that there are pools spanning the entire valley. He decided to jog from pool to pool to swim the whole valley. As he stops in each pool his interactions tell his life story. Merrill is clearly driven by inner forces. His friends are baffled by his determination to complete this quest, "swimming home", which we immediately intuitively understand. His passion is monumental, as are his oblivion and decades of neglect of those he holds most dear. His odyssey leads from love and power to despair and ruin.
Frank Perry's screen adaptation of the achingly sad John Cheever short story gets the tone of Cheever's story just right. There have been countless strong and powerful films made around the theme of suburban loneliness, and this movie belongs to that genre. There's something so poignant about the idea that someone can exist in a world that's manufactured for the sole purpose of providing its inhabitants with luxury, pleasure and convenience, and still be miserable. You'd think people would have gotten the point by now, and figured out that privilege, wealth and materialism have virtually nothing to do with ultimate happiness, but if our own consumerist culture is any indication, they haven't.
What helps "The Swimmer" to stand out from other similarly-themed films is the way the story is told. It's only through the reactions of others that we begin to sense what's wrong with Burt Lancaster's character. To us, he looks the picture of middle-aged robustness and health. Lancaster became a much better actor as he aged, and he gives a wonderful performance here, as his bravado and macho virility (the strutting and preening of a man on top of the world) slowly dissolves into a lost insecurity, until the film's final devastating moments leave him as forlorn as a baby. Prod Coys: Columbia Pictures Corporation; Horizon Pictures. Dirs: Frank Perry; Sydney Pollack (uncredited). Prod Roger Lewis, Frank Perry. Wr: John Cheever (story), Eleanor Perry  (scr). Music by MARVIN HAMLISCH.  Phot: David L. Quaid. Cast: BURT LANCASTER. I WHO AM, WHO AM I? 17 mins. ALC

plus

•WHO'S ON FIRST?

(1945)

 
 
 
One of the most famous baseball comedy routines ever enacted was this humourous exchange between BUD ABBOTT and LOU COSTELLO. The skit was originally done on the radio live (each & every time) until the legendary duo later included it on THE NAUGHTY NINETIES compilation.

The general premise behind the exchange has Costello, a peanut vendor named Sebastian Dinwiddle, talking to Abbott who is Dexter Broadhurt, the manager of the mythical St. Louis Wolves. However, before Costello can get behind the plate, Abbott wants to make sure he knows everyone's name on the team. Oooh boy! Prod. Co: Universal 8 (Castle Films). Cast: BUD ABBOTT and LOU COSTELLO. 8 mins. RM

and

• HISTORY OF THE WORLD IN THREE MINUTES FLAT

(1980)

This charming little short film reconstructs the history of the world as an ever rising building -- generation after generation building on top of each other, with notable moments standing out (at one point during the Dark Ages section a man in a turban says "praise be to Allah! I've invented the Zero!" "What?" "Nothing, nothing." and then rolling on instantly.) It's clearly a product of the Cold War era -- it ends with a musroom cloud exploding at the very top - but not before everybody joins hand in a global "circle dance"! Multi-award nominated and winning cartoon History of the World in Three Minutes Flat. 1981 Academy Awards, USA: Oscar "Best Short Film, Animated" (Nominated); 1981 Berlin International Film Festival: Golden Berlin Bear "Best Short Film" (Won); Interfilm Awards: Otto Dibelius Film Award Forum of New Cinema; 1981 Genie Awards: Genie Best Theatrical Short (Nominated); 1980 Ottawa International Animation Festival: OIAF Award Films Shorter Than 3 Minutes (Won). Dir: Michael Mills. 4 mins. ALC

 

• FLOATING FREE

(1977)

This short documentary actually feels more like a music video. The event is the 1977 World Frisbee Championships, and the venue is the Rose Bowl in Pasadena, California. The film moves from event to event, showcasing Ultimate, Guts, Human Freestyle, and finally, the Frisbee Dogs. The first Frisbee dog was Ashley Whippet, who was such an accomplished Frisbee catcher that he was invited to appear at the 1974 World Frisbee Championships, (which had previously only been for humans only!) The music is very cool, appropriate and well selected. Prod: Jerry Butts. 11 mins. ALC
 

• A-DUCKING THEY DID GO

(1939)

 
 
 
After unsuccessfully stealing a watermelon, Stooges Moe, Larry and Curly get jobs as salesmen for the Canvas Back Duck Club and end up selling phony memberships to the Mayor and the entire Police Department. When they discover that there are no ducks at the Duck Club, Curly steals a flock of domesticated ducks but it turns out the ducks belong to local farmer and the boys leave in a hail of buckshot. Prod Co: Columbia Pictures Corporation. Prod: Jules White. Dir: Del Lord. Wr: Andrew Bennison. Phot: LUCIEN BALLARD. Ed: Charles Nelson. Cast: CURLY HOWARD, LARRY FINE, MOE HOWARD, Lynton Brent (Blackie), Wheaton Chambers ((Doyle), Vernon Dent (Vegetarian in hallway), William Irving (Cop hit by melon), Bud Jamison (Police Chief), Cy Schindell (Fruit vendor), Victor Travers (Club member). 17 mins. NFVLS
 

• POWERS OF TEN:

A FILM DEALING WITH THE RELATIVE SIZE OF THINGS IN THE UNIVERSE AND THE EFFECT OF ADDING ANOTHER ZERO

(1978)

 
 
 
An entirely new colour production of Charles and Ray Eamse's "A ROUGH SKETCH FOR A PROPOSED FILM DEALING WITH THE POWERS OF TEN AND THE RELATIVE SIZE OF THINGS IN THE UNIVERSE" (1968). Probably the best known of the Eames Films, Powers of Ten refines and extends the journey of its predecessor by presenting it in color and in great scientific detail. Starting at a one meter square image of a picnic, the camera moves 10 times further away every 10 seconds, reaching to the edge of the universe; then the journey is reversed, going 10 times closer each ten seconds, ultimately reaching the interior of an atom.  With an image, a narration and a distance register, it gives a clue to the relative size of things. Filmmakers: Alex Funke, Michael Wiener, Ron Rozzelle. Music: ELMER BERNSTEIN. Narrator: Philip Morrison. 8 mins. ALC
 

and featuring:

• X: THE MAN WITH X-RAY EYES

(1963),
 
    
 
Ray Milland plays Dr. James Xavier, a world-renowned scientist experimenting with human eyesight. He devises a drug, that when applied to the eyes, enables the user to see beyond the normal realm of our sight (ultraviolet rays etc.) it also gives the user the power to see through objects. Xavier tests this drug on himself, when his funding is cut off. As he continues to test the drug on himself, Xavier begins to see, not only through walls and clothes, but through the very fabric of reality! Milland is absolutely top-notch as the boosted boffin, and we also have the higest regard for the film's musical score, provided by the legendary LES BAXTER!
Prod Coys: Alta Vista Productions, American International Pictures (AIP). Prod: Samuel Z. Arkoff (e.p), James H. Nicholson (e.p.), Bartlett A. Carre (assoc p), Roger Corman. Dir: Roger Corman. Wr: Robert Dillon, Ray Russell (story). Mus: LES BAXTER. Phot: Floyd Crosby. Ed: Anthony Carras. Special Effects: Butler-Glouner Inc. Cast: RAY MILLAND, Diana Van der Vlis, HAROLD J. STONE, JOHN HOYT, DON RICKLES, MORRIS ANKRUM, DICK MILLER. 79 mins. NFVLS
 
Note: If you'd like to join our "low-kilobyte", no-attachment
Splodge!-lite mailing-list, just give us a "'hoy" here at
splodgeburger!
 
          Minor programme changes may occur due to unforseen
                          circumstances.
        Feature runs last; shorts order may vary from listing.
 
                    * Acknowledging  ACMI Inc. & ScreenSound Australia ;) *
 
************ ********* ********* ********* ********* *********
 
       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*!
 
************ ********* ********* ********* ********* *********
              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!
 
************ ********* ********* ********* ********* *********
 
        For e-mail notification, spam your Subscribe-Request to:
                splodgefilms-subscribe@yahoogroups.com
 
                              or visit:
 
 
             or register* via snail-mail  (address below).
 
************ ********* ********* ********* ********* *********
    To exit the manual mailing list, or for general correspondence,
                               dispatch to:

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...................... http://splodge.homestead.com/ .................
 
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                    NORTH FITZROY. PHONE 04 25 74 28 01

LOCATION MAP:
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#113 From: Splodgy Splodgeburger® <splodgeburger@...>
Date: Sat Nov 4, 2006 3:11 pm
Subject: SPLODGE! NOTES: THIS Monday NOVEMBER (06/11/06) <<< AUSSIES, MAKE TROUBLE!!! •EUREKA STOCKADE (1949), •FUN RADIO! (1964), •SEARCH FOR THE GOLDEN BOOMERANG (1985), •DOLLAR BILL (19 65), •EUREKA STOCKADE (1949), 		splodgeburger
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AUSSIES, MAKE TROUBLE!!! •EUREKA STOCKADE (1949), •FUN RADIO! (1964), •SEARCH FOR THE GOLDEN BOOMERANG (1985), •DOLLAR BILL (1965), •EUREKA STOCKADE (1949)
       TONIGHT: STRICTLY MEMBERS-ONLY
   * MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT, 'THO *
                            DETAILS BELOW                
 
*********************************************************
             SPLODGE! NOTES: 1st. Mon. in NOVEMBER (06/11/06)

                      splodgeburger@...
 
                ON THE FIRST MONDAY OF EVERY MONTH
 
                            "SPLODGE!"
 
                  a community FilmEdSoc project,
                WE CONTROL  THE CONTENT
 
*********************************************************
      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
                      splodgeburger@...
 
     Note: If you'd prefer to receive our "low-kilobyte", no-pics,
              no-strings, no-attachments mailing list,
             just give us a "hoy" here at splodgeburger!
 
*********************************************************
                           4th.  Quartile
 
                           NOVEMBER
                             AD  2006
 
                          Monday 06th
 
             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
 
                               TONIGHT! -
 
    AUSSIES, MAKE TROUBLE!!!
 
Splodge! feels that we Aussies are losing that old larriken spirit and are not making nearly enough trouble any more, both locally as well as on the global stage. In fact, we can't recall a more compliant, obsequious and, well, generally "aspirational" bunch of wackers if we tried. Thus, we have programmed that classic Aussie riot flick:
•EUREKA STOCKADE
(1949),
 
 
 

 
The third Ealing Films production in Australia was carefully researched by director Harry Watt, working with Rex Rienits and a small team of historians, and is distinguished by its reconstruction of the Ballarat gold-fields (on location near Singleton, NSW ), well-staged action and a strong supporting cast, notably including the great Australian radio performer REX ("WACA") DAWE - Professor Percy Pym, from the classic Australian radio comedy series YES, WHAT?
 
In 1854, the government instigated moves designed to drive the gold-miners from Eureka Hill gold-fields. The miners showed their opposition to the move by revolting. The leader of the miners' revolt against the colonial authorities, Peter Lalor - played by CHIPS RAFFERTY - is presented as a man of doubts and principles, rather than as the charismatic rebel leader of legend.
 
Prod Co: Ealing Studios. Dir: Harry Watt. Prod: Michael Balcon. Ed: Leslie Norman. Wr: Harry Watt, Walter Greenwood. Phot: George Heath. Mus: John Greenwood. Assoc Prod: Leslie Norman. Additional scenes: RALPH SMART. Research: Rex Rienits. Art Dir: Charles Woolveridge. Costumes: Dahl Collings. Prod Exec: Eric Williams. Unit Manag: Ronald Whelan. Asst Dir: Alex Cann. Snd Ed: Mary Habberfield. 2nd Unit Dir: Julian Spiro. Cast: CHIPS RAFFERTY, Jene Barrett, Jack Lambert, Gordon Jackson, Petar Illing, Ralph Trumen, John Fernside, Grant Taylor, PETER FINCH, Kevin Brennan, John Fegan, Al Thomas, Ronald Whelan, Dorothy Alison, Reg Wykeham, Betty Ross, John Wiltshire, Nigel Lovell, Charles Tasman, Mary Ward, John Cazabon, Nicky Yardley, Paul Delmar, Leigh O'Malley, Alex Cann, Jean Blue, Marshall Crosby, REX ("WACA") DAWE, Andrina Watton, Reg Lye. 102 mins. ALC
 
preceded by:
 
•DOLLAR BILL

(1965)
 


  A cartoon illustrating the reasons for changing to decimal currency, and showing each new coin and its value.  Prod. Co: Australian Commonwealth Film Unit. 4 mins. RM

plus
 
•THE SEARCH FOR THE GOLDEN BOOMERANG
(1985) 
 
An innocent radio fantasy, given the Dennis Potter treatment, counterpoints the neurotic undercurrents of post-WW@ Australian society. Prod. Co: Swinburne Institute of Technology. Film and Television Dept. Cast: JOHN FLAUS. 26:43 mins. ALC

 
and
 
•FUN RADIO!
(1964)
 
A casual glance at the Australian summer weekend. A troupe of pop singers is greeted at the airport by a large crowd. In the suburbs people are seen at their homes. Life in Melbourne is seen as a great religious festival, complete with rituals, taboos and minor deities.  Prod/Dir: Nigel Buesst. Cast: (voice) ALAN (DR. FUN) LUNN  (-THE DADDIO OF THE RADDIO), here with passport intact! 9.45 mins. ALC
 
Note: If you'd like to join our "low-kilobyte", no-attachment
Splodge!-lite mailing-list, just give us a "'hoy" here at
splodgeburger!
 
          Minor programme changes may occur due to unforseen
                          circumstances.
        Feature runs last; shorts order may vary from listing.
 
                    * Acknowledging  ACMI Inc. & ScreenSound Australia ;) *
 
************ ********* ********* ********* ********* *********
 
       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*!
 
************ ********* ********* ********* ********* *********
              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!
 
************ ********* ********* ********* ********* *********
 
        For e-mail notification, spam your Subscribe-Request to:
                splodgefilms-subscribe@yahoogroups.com
 
                              or visit:
 
 
             or register* via snail-mail  (address below).
 
************ ********* ********* ********* ********* *********
    To exit the manual mailing list, or for general correspondence,
                               dispatch to:

                         splodgeburger@...
 
...................... http://splodge.homestead.com/ .................
 
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                    NORTH FITZROY. PHONE 04 25 74 28 01

LOCATION MAP:
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ACCESS BY #96 TRAM (TRAM-STOP #21, SECTION 7):
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#112 From: Splodgy Splodgeburger® <splodgeburger@...>
Date: Wed Sep 27, 2006 5:37 pm
Subject: SPLODGE! NOTES: THIS Monday OCTOBER (02/10/06) <<< WAYYYY OUT WEST!!! •THE BROTHERS O'TOOLE (1973), •DUDLEY DO-RIGHT OF THE MOUN TIES: FORECLOSING MORTGAGES (1962), •BLAZE GLO RY (1969), •BRANDED: CALL TO GLORY, PT. 1 (1966), •THE BROTHERS O'TOOLE (1973) 		splodgeburger
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WAYYYY OUT WEST!!! •THE BROTHERS O'TOOLE (1973), •DUDLEY DO-RIGHT OF THE MOUNTIES: FORECLOSING MORTGAGES (1962), •BLAZE GLORY (1969), •BRANDED: CALL TO GLORY, PT. 1 (1966), •THE BROTHERS O'TOOLE (1973)
       TONIGHT: STRICTLY MEMBERS-ONLY
   * MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT, 'THO *
                            DETAILS BELOW                
 
*********************************************************
             SPLODGE! NOTES: 1st. Mon. in OCTOBER (02/10/06)

                      splodgeburger@...
 
                ON THE FIRST MONDAY OF EVERY MONTH
 
                            "SPLODGE!"
 
                  a community FilmEdSoc project,
                WE CONTROL  THE CONTENT
 
*********************************************************
      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
                      splodgeburger@...
 
     Note: If you'd prefer to receive our "low-kilobyte", no-pics,
              no-strings, no-attachments mailing list,
             just give us a "hoy" here at splodgeburger!
 
*********************************************************
                           4th.  Quartile
 
                           OCTOBER
                             AD  2006
 
                          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
 
                               TONIGHT! -
 
    WAYYYY OUT WEST!!!
 
 
•DUDLEY DO-RIGHT OF THE MOUNTIES:
FORECLOSING MORTGAGES
(1962),
 
 


Dudley Do-Right tries to pay Snidely Whiplash before the villain forecloses on the Mountie post.Prod Co: Jay Ward Productions. Prod: JAY WARD, BILL SCOTT, PONSONBY BRITT, O.B.E. Dir: Gerard Baldwin, Frank Braxton, Pete Burness, Sal Faillace, Paul Harvey, Jim Hiltz, Bill Hurtz, Lew Keller, Ted Parmelee, Gerry Ray, Dun Roman, Bob Schleh, George Singer, Ernie Terrazas, John Walker, Rudy Zamora.Anim: Bob Bachman, Howard Baldwin, Herman Cohen, Phil Duncan, Bob Goe, Fred Madison, Bob Maxfield, Gary Mooney, Barrie Nelson, Jack Schnerk, Rod Scribner, Alan Zaslove.Wr: George Atkins, Al Burns, Jim Critchfield, Chris Hayward, Chris Jenkyns, Jim MacGeorge, John Marshall, PAUL MAZURSKY, Jack Mendelsohn, Bill Scott, Larry Tucker, Lloyd Turner. Cast:  DUDLEY DO-RIGHT, NELL FENWICK, INSPECTOR FENWICK, SNIDELY WHIPLASH. 4 mins. RM

•BLAZE GLORY
(1969)
 
This animated (pixillated, via the magic of stop-motion photography, to be exact) delight is a satire of the Old West, replete with stock characters, cliched dialogue and the final showdown at High Noon. A stagecoach is robbed by the villain, the heroine is abducted and Blaze Glory eventually recovers both the lady and the money. Everyone appears to ride "invisible" horses and the hero is an intrepid champion of justice and purity in this zany send-up of Hollywood horse-operas. Think MONTY PYTHON AND THE HOLY GRAIL meet John Ford's STAGECOACH and CHICKEN RUN and BLAZING SADDLES. All in ten minutes. The amazing thing about this movie, is how precisely thought out and original the concept is. The actual technique is good, but because the actors sometimes move around a bit, you can tell it's not stills. What a totally wacky concept. The best thing about the movie, is Blaze Glory's ten-gallon Stetson hat combined with the heroine's fluttering eyelashes. Because it's all a spoof, these features are totally over-the top exaggerations. (Producers Chuck Menville and Len Janson were stalwarts of the old Filmation cartoon firm.) Listen closely for the voice of TED (ADDAMS FAMILY) CASSIDY! Prod. Len Janson, Chuck Menville, Pete Vanlaw. Dir. Len Janson, Chuck Menville. Wr. Len Janson, Bob Kurtz, Chuck Menville. Mus: Randy Van Horne. Phot: Richard Eisman. Cast: Chuck Menville (Blaze Glory), Genadee Cook (Annabelle Twitterheart/Voices), Len Janson (The Pug-Nosed Kid), James Bryan (Stage Driver), TED CASSIDY (Voices), Ken Champin (The Indian),  Tony Krizan (Henchman), Hawley Lawrence (Banker), Robert Alan Miller (Voices) Paul Sykes (Henchman), John Tucker (The Parson), Ron Whittaker (Stage Guard). Runtime: 11 mins. RM

plus
 
•BRANDED: CALL TO GLORY, PT. 1
(1966)
 
 

 
In this Western series, Jason McCord, the only survivor of the Battle of Bitter Creek, is court-martialed and kicked out of the Army because of his alleged cowardice. Rather than demean the good name of the Army commander who was actually to blame for the massacre, McCord travels the Old West trying to restore his good name and reputation. (Season 2, Episode 24). Created by LARRY COHEN. Mus: Sidney Cutner, DOMINIC FRONTIERE, Robert Van Eps. Cast: CHUCK CONNORS (Jason McCord), David Brian (Gregory Hazin), Kathie Browne (Jennie Galvin), William Bryant (President Ulysses S. Grant), James Hurst (Lieutenant Cable), Jacquelyn Hyde (Libby Custer), ROBERT LANSING (General George Custer), Felix Locher (Sitting Bull), Gary New (Young Hawk), MICHAEL PATE (Crazy Horse), John Pickard (General Phil Sheridan), Richard Tatro (Lieutenant Douglas Briggs), LEE VAN CLEEF (Charlie Yates), H.M. Wynant (Lionel MacAllister). 30 mins. RM
 
and
featuring:
 
•THE BROTHERS O'TOOLE
 
(1973),
 
 
 
A pair of slick drifters ride into a sleepy mining town in Colorado not realizing there is a $30 million bonanza in the mine beneath the town. The unexpected windfall has a unique effect on the townspeople.
The Old West has never been funnier than when these ne'er-do-wells turn a sleepy mining town upside-down in their search for quick riches.
This Western comedy involves a convoluted plot about searching for gold and rescuing fair damsels. Don't look for any depth or hidden meanings in this one!

Veteran character actor Richard Erdman warms the director's chair for THE BROTHERS O'TOOLE. This barely-released western spoof stars John Astin and Steve Carlson as the con-artist title-characters, at large in 1890 Colorado. The comedy centres around a gold hunt. HANS CONRIED provides some of the film's brightest moments as a bombastic, slovenly politician. Erdman himself plays a small role, sharing screen-time with such reliables as Jesse White, Pat Carroll, LEE MERIWEATHER and Allyn Joslyn.
Michael O'Toole: "I have, in my time, visited three political conventions, four sessions of congress, and two homes for the criminally insane. I have known army generals, steam doctors, vegetarians, prohibitionists, and a female suffragette. But never, even in an Orangeman's Day parade, have I seen such pure and stainless brainlessness as I now behold in you. The Almighty, in His infinite wisdom and mercy, has given the worm enough sense to turn with, and the barnacle can grasp whatever happens to be standing by. But you are equipped with a mental capacity smaller than you were born with. Here we are, benighted in the middle of a nowhere named Molly-Be-Damn - a dreary little rookery, Timothy, a squalid sty, a festering pustule on the face of the western slope. Bless the town and bless the people! Look at them - the rabble of this cantankerous community! Knaves and fools, louts and lardheads, the least of all God's creatures, without enough push to pick the fleas off each other, abiding in putrefaction and inertia, curled up comfy in it like hogs in a mud hole! And while I, of all people, fret and sweat for a way to pull these Simple Simons out of the bog, you stand around making flatulent noises for the titillation of the vulgar mob. And while he's bubbling himself, what are you doing, you pusillanimous pack of popcorn pickers? You clattered clutch of clucks? The town dilapidating around you, coasting downhill in a handcart to Hell while you stand about gaping for flies and going patty-cake with your hands!
Mayor: There now! Now just one minute you!
Michael O'Toole: All right, all right, all right! Fine! Keep it, and treasure it the way it is! For when all this trash has collapsed into one pile, and the howling wilderness has claimed its own again, I want you hicks to be happy, belching and spitting, laughing and singing, swinging from tree to tree, with your friend Soapy Sam here, the Uriah Heep of the hookworm belt, standing around below waiting to steal anything that falls to the ground. If a nut should drop and fall - leave it lying there. It's probably my little brother Timothy.
Sheriff: Is that all?
[O'Toole throws up his hands]
Sheriff: [Crowd applauds]
Sheriff: By acclamation - the winner of the cussin' contest - Michael O'Toole!
Prod:  Dennis Clappier, Paul Fieberg, Charles E. Sellier Jr. Dir: Richard Erdman. Wr:  Marion Hargrove, Tim Kelly.  Mus: Don Piestrup. Phot: Allen Daviau. Ed: Bud Molin. Prod Des: Michael Devine. Cast: JOHN ASTIN (Michael O'Toole/Desperate Ambrose Littleberry), Pat Carroll (Callie Burdyne), HANS CONRIED (Polonius Vandergeit), Richard Erdman (Judge Quincey P. Trumball), Allyn Joslyn (Sheriff Ed Hatfield), Richard Jury (Harmon P. Lovejoy), LEE MERIWETHER (Mrs. Paloma Littleberry), Jesse White (Mayor), Steve Carlson (Timothy O'Toole), Miranda Barry (Bonnie Lou MacCalanahan), Francelle Fuller (Prudence Burdyne), Ted Claassen (Gurnie Burdyne), Harlan Knudson (Dexter the Banker), Leon Inge (Hard Rock), Jacques Hampton (Attorney), Charlie Dell Jackson (as Charles Dell), Vern Porter (Happy), Noomis Jones (Tyler), Leland Murray (Forty Rod), Ed Mullancy (Poppa MacClanahan), William Oakley (Carson), Gary Tessler (Lubie),  The Rufus Krisp Ensemble (Themselves). 95 mins. RM
 
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#111 From: Splodgy Splodgeburger® <splodgeburger@...>
Date: Wed Aug 30, 2006 3:26 pm
Subject: SPLODGE! NOTES: THIS Monday SEPTEMBER (04/09/06) <<< PAID IN BLOOD!!! •REVENGE OF THE MERCENARIES (1963), •ONE FROGGY EVENING (1955), •SECRET SQUIRREL: THE NOT SO IDLE IDOL (1966), •CONFIDENTIAL FILE: LYSERGIC ACID (1955), •REVENGE OF THE MERCENARIES (1963) 		splodgeburger
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PAID IN BLOOD!!! •REVENGE OF THE MERCENARIES (1963), •ONE FROGGY EVENING (1955), •SECRET SQUIRREL: THE NOT SO IDLE IDOL (1966), •CONFIDENTIAL FILE: LYSERGIC ACID (1955), •REVENGE OF THE MERCENARIES (1963)
       TONIGHT: STRICTLY MEMBERS-ONLY
   * MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT, 'THO *
                            DETAILS BELOW                
 
**********************************************************************
             SPLODGE! NOTES: 1st. Mon. in SEPTEMBER (04/09/06)

                      splodgeburger@...
 
                ON THE FIRST MONDAY OF EVERY MONTH
 
                            "SPLODGE!"
 
                  a community FilmEdSoc project,
                WE CONTROL  THE CONTENT
 
**********************************************************************
      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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              no-strings, no-attachments mailing list,
             just give us a "hoy" here at splodgeburger!
 
**********************************************************************
                           4th.  Quartile
 
                          SEPTEMBER
                             AD  2006
 
                          Monday 04th
 
             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
 
                               TONIGHT! -
 
    PAID IN BLOOD!!!
 
 
*ONE FROGGY EVENING
 
(1955)
 
 


"Hello ma baby, hello ma honey, hello ma ragtime gal..." A workman finds a SINGING FROG in the cornerstone of an old building being demolished. But when he tries to cash in on his discovery, he finds the frog will sing only for him, and just croak for the talent agent and the audience in the theatre that he's spent his life savings on renting. Terrence Monck .... Michigan J. Frog (singing voice), Michael Maltese (story), Directed by CHUCK JONES. 7 min. RM

•CONFIDENTIAL FILE:
LYSERGIC ACID
 
(1955)
 

 
I don't know exactly what it is about hosting a current affairs tv programme that causes the host to resemble a crook or a thug, but here is living proof: an episode of CONFIDENTIAL FILE, a series presented by Paul Coates. Confidential File was a TV series that ran from 1953 - 1958. Within the format, very 60 minutesey, Mr Coates would present his own opinions and grill some poor souls related to the subject in hand - tonight's episode Lysergic Acid! if you have any doubts at all about the parlous state of modern medicine, you simply have to refer back to it's past lineage and bygone quackery! All in all, an interesting subject, but Mr. Coates personality does get on the nerves. Totally hilarious! Just wait until we get around to running the episode where he gets stuck into the insideous menace of COMIC BOOKS! Prod Co: KTTV. Dir: Irwin Kirshner. Running Time: 25 mins.  RM

plus
 
•NOT-SO-IDLE IDOL
 
(1966)
 

 
What an agent, what a squirrel
He's got the country in a whirl.
What's his name?
Shhh...Secret Squirrel.
He's got tricks, up his sleeve,
Most bad guys, won't believe.
A bullet-proof coat, a cannon hat,
A machine gun cane with a rat tat tat tat tat.

Fights foreign spies
His disguise,
Takes him many places,
He's a squirrel of many faces,
Who's that? (Ugh!)
Who's that? (Hoot, man!)
Who's that? (Olè!)
Shhh...Secret Squirrel.
 
The Secret Squirrel cartoon series was a parody of the once-popular "spy" genre, with most of the episodes' elements satirizing the James Bond films.
Secret Squirrel served as a lisping squirrel secret agent (his designation was "Agent 000"), taking orders from his superior "Double-Q", who had the distinct vocal inflections of ERIC BLORE! Secret was assisted in his adventures by fez-wearing side-kick Morocco Mole, a mole who in many ways resembled PETER LORRE's performance as Ugarte in Casablanca. Morocco was voiced by the great PAUL FREES. The pair fought crime and evil enemy agents using cunning and a variety of spy gadgets, including a machine gun cane, a collection of guns kept inside Secret's coat, and a variety of devices concealed in his hat (which he almost never removed). This episode features the memorable guest-villian YELLOW PINKIE, who, as near as I can figure, sounds somewhat like SYDNEY GREENSTREET (but about that, I'm just not quite sure)! Prod. Co: Hanna-Barbera Studios. Prod: William Hanna, Joseph Barbera. Dir: William Hanna, Joseph Barbera. Wr: Warren Foster, Mike Maltese, Dalton Sandifer. Anim: Ray Abrams, Ed Barge, Bob Bemiller, Oliver E. Callahan, Emil Carle, Hugh Fraser, George Germannetti, George Goepper, Anatole Kirsanoff, Hicks Lokey, Kenneth Muse, George Nicholas, Don Schloat, Larry Silverman, Ralph Somerville, John Sparey. Voice Art: MEL BLANC. Characters: Secret Squirrel, Morocco Mole, Chief, Yellow Pinkie. Running Time: 6 mins.  RM
 
and
featuring:
 
•REVENGE OF THE MERCENARIES
 
(1963)
 
This time, Splodge! ressurrects another Eric Theatre medieval buckler-swasher- an excellent ‘60s Italian costume adventure, starring Gustavo Rojo as Captain Fortune, a leader of a band of soldiers for hire, out to stop a vicious German (played by Mario Petri) bent on murdering the Pope! Non-stop action, and, hey, also starring fabulous Scream Queen, Barbara Steele, on (black) sabbatical in Italia!  Dubbed, in English.
 
 
A WALTER MANLEY ENTERPRISES presentation. Prod Co: Taurisano Film. Prod: Gianni Li Castri Papé. Dir: Sergio Grieco. Soggetto: Fabio De Agostini, Stipe Delic, Sergio Grieco. Adaptn &Scr: Aldo Segri (Sergio Grieco), Fabio De Agostini, Stipe Delic. Phot: Guglielmo Mancori (AIC). Scenografie: Oscar D'Amico. Mus: Carlo Savina. Ed. Enzo Alfonsi. Prod Mangr: Lelo Luzi. Cast: Mario Petri, Gustavo Rojo, BARBARA STEELE, Fred Williams, Nando Angelini, Andrea Aureli, Relja Basic, Pasquale Basile, Lilly Darelli, Fedele Gentile, José Gregorin, Vladimir Krstlulovic, Drago Mitrovic, Liliana Palazio, Milan Ruikavine, Andrea Scotti (CSC), Niksa Stefanini, Susan Terry, Leopoldo Valentini. Distr: Regionale, Imperial Cine. Running Time: 88 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
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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. & ScreenSound Australia ;) *
 
**********************************************************************
 
       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*!
 
**********************************************************************
              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!
 
**********************************************************************
 
        For e-mail notification, spam your Subscribe-Request to:
                splodgefilms-subscribe@yahoogroups.com
 
                              or visit:
 
 
             or register* via snail-mail  (address below).
 
**********************************************************************
    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:
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ACCESS BY #96 TRAM (TRAM-STOP #21, SECTION 7):
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#110 From: Splodgy Splodgeburger® <splodgeburger@...>
Date: Wed Aug 2, 2006 6:01 pm
Subject: SPLODGE! NOTES: 1st. Mon. AUGUST (07/08/06) <<< FAIRYTALE THEATRE!!! •THE PIED PIPER OF HAMELIN (1957), •THE PIED PIPER OF HAMELIN (1957), •JOURNEY TO THE CENTER OF THE EARTH (1967), •THE QUEEN OF HEARTS (1934), •THE PIED PIPER OF HAMELIN (1957) 		splodgeburger
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FAIRYTALE THEATRE!!! •THE PIED PIPER OF HAMELIN (1957), •THE PIED PIPER OF HAMELIN (1957), •JOURNEY TO THE CENTER OF THE EARTH (1967), •THE QUEEN OF HEARTS (1934), •THE PIED PIPER OF HAMELIN (1957)
       TONIGHT: STRICTLY MEMBERS-ONLY
   * MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT, 'THO *
                            DETAILS BELOW                
 
**********************************************************************
             SPLODGE! NOTES: 1st. Mon. in AUGUST (07/08/06)

                      splodgeburger@...
 
                ON THE FIRST MONDAY OF EVERY MONTH
 
                            "SPLODGE!"
 
                  a community FilmEdSoc project,
                WE CONTROL  THE CONTENT
 
**********************************************************************
      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
                      splodgeburger@...
 
     Note: If you'd prefer to receive our "low-kilobyte", no-pics,
              no-strings, no-attachments mailing list,
             just give us a "hoy" here at splodgeburger!
 
**********************************************************************
                           3rd.  Quartile
 
                             AUGUST
                             AD  2006
 
                          Monday 07th
 
             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
 
                               TONIGHT! -
 
 FAIRYTALE THEATRE!!!
 
 
•THE QUEEN OF HEARTS (1934)
 
 

 

The famous old nursery rhyme is set to swingy music. Happy, smiling "hearts" leap off their playing cards and bake dessert for the King in a gorgeous 1930s Art Deco kitchen. The premise climaxes with an all-in food-fight between the Hearts, Joker, King, Queen and nasty Knave.
Prod: UB IWERKS (Celebrity Productions Inc.), PAT POWERS. Dir: UB IWERKS. SHAMUS CULHANE, AL EUGSTER. Mus: CARL W. STALLING.
6 mins. RM

plus
 
•JOURNEY TO THE CENTER OF THE EARTH  (1967)
 
 
 
A fantastic episode from the ripping series from FILMATION ASSOCIATES, the kindly folk who also brought us other such similarly visually dynamic animated programmes as STAR TREK and BATMAN! This episode, OCEAN OF DESTRUCTION, is one to see for the lush color print alone. Don't mind the plot, just… watch... the… pretty colours! (Listen closely for the voice of Mary Tyler Moore Show funny-man TED KNIGHT, voicing the dual roles of Professor Oliver Lindenbrook and Count Saccnusson!) (Very) loosely based on the novel by JULES VERNE. Prod: Lou Scheimer, Norm Prescott. 30 mins.  RM
 
and
                                     featuring:
 
•THE PIED PIPER
OF HAMELYN
(1957)
 
At the next Splodge! - proving what good taste in cinema he has - is one of Irving’s favourite children’s films, THE PIED PIPER OF HAMELIN!
In truth, THIS is a timeless film, but also, in particular, one especially for our own time - with a moral lesson to teach our despicable rulers, and those who would have us believe that we owe our neighbour nothing; that competition is everything; that status, “aspiration” to the money-economy, wealth and cunning are the highest virtues.

When the flood-stricken, refugee folk of Hamelout town, represented by their Mayor, are shown cold comfort by the materialistic, "reason"-ruled politicians of nearby Hamelin, a plague of rats - also fleeing the rising waters – see their way clear - without the need for such a formal entreaty - to make themselves at home amidst the mean-hearted, status-obsessed Hamelinites.
Into this troubled community enters The Pied (ie. multicoloured) Piper, both an agent of change, as well as the “Avenging Angel”.
 
 
The flood acts like a kind of “engine” to the parable – it is the cause of the need for the Hamelouts to seek out their neighbour’s help, the denial of which - highlighting the callousness of Hamelin  - is also the very instrument which warrants the chastising curse.
Pied Piper: “As a rule / I refrain from calling any man a fool. Heed me now. / I'll wait until yon clock strikes the hour. / Don't let me go away / Without my pay!”
It’s clear that the moral imperative of the story demands that the Piper’s bargain will be dishonoured. This is not just a simple story about four-legged vermin eradication. The Piper is not primarily on scene to deliver the town from its more recent rodent taint, but, firstly, to force the issue of its longer-standing resident Rats, the grown-ups. (The citizenry of Hamelin is certainly held culpable, for they tolerate their corrupt leaders and follow them in their directives, and, thus, it is understandable that they suffer the permanent forfeit of their children for allowing their representative to swindle the Piper. It is, in general, overlooked that the children of Hamelin never do return from the enchanted land within the mountain – when children do appear, at the close of the film, they are the children from Hamelout! This is one of the creepiest elements in the tale, largely contributing to the longstanding psychic perturbations it produces – whatever did happen to those children from Hamelin?? Only one of the kids is "spared" - the disabled boy, Truson's friend, Paul, who cannot keep up with all the other children, and, agonisingly, misses out on the delights of the "Other World".  There is no way to shirk paying the Piper. The penalty for doing so will always be remembered as a bitter one for those who remain, long after the Piper himself has gone.) Not surprising really, considering the other standard horrors of the Grimm-type fairytale genre.
THE PIED PIPER OF HAMELIN is certainly an unusual, yet beguiling children's fantasy, a winning hybrid of Hollywood musical and operetta, combining its haunting instrumental score with bouncy, canny lyrics by Irving Taylor and Hal Stanley. UNQUESTIONABLY, the best number in the whole film is the rollickingly delicious "Prestige", in which a haunting Grieg melody is yoked to some hilarious, cynical lyrics as CLAUDE RAINS - inebriated by power, and drink – revels in the secret of his Machiavellian technique.
The film is loosely based on ROBERT BROWNING’s version of the Pied Piper story ( - the dialogue is even in rhyming couplets! - though not taken from the poem) a German folk tale, first documented by the Brothers Grimm.
VAN JOHNSON is solid as the leading man, Trueson, friend to the children, and conscience to the town - but he also makes a great, albeit vaguely sinister Pied Piper - half Satan, half saviour. (And, of course, how can we at Splodge! let it pass without commenting that this is the role that provided the basis for Van’s “special guest villian” in the Batman tv series, THE MINSTREL! ( - eps: BARBEQUED BATMAN, and THE MINSTREL’S SHAKEDOWN – both 1966)!!
 
 
CLAUDE RAINS, late in his career - and looking a little baggy around the eyes - is ideal as the devious Mayor - affable, self-assured, charismatic, yet still as evil, brow-beating,  and child-hating a tyrant and corrupt despot as you could imagine - without scaring the kids too much.
 
 
LORI NELSON is super as the Princess Mara – we remember her fondly as MAMIE VAN DOREN’s sister in UNTAMED YOUTH (1957)!
 
 
The beloved DOODLES WEAVER ( - yup, SIGOURNEY WEAVER's uncle, and mainstay of SPIKE JONES’ band!!)  is just great as the Mayor's First Counselor, as is STANLEY ADAMS (below) - familiar face in myriad TV series, and such films as BREAKFAST AT TIFFANY'S (1961) and NORTH BY NORTHWEST (1959), as the Second Counselor.
 
 
(WEAVER and ADAMS, together, carry off a delightful Laurel and Hardy pastiche throughout.) JIM BACKUS, moonlighting from MR. MAGOO cartoons, gives us an early glimpse of Thurston Howell, the 3rd, as "the King's traveling emissary" - a jaded, gleefully amoral fop who doesn't mind getting sloshed on free wine, and whiling away the hours with the local floosies.
 
 
Try as he might to be heinous throughout, Backus can't help lapsing into lovable Magoo as his role progresses.
 
 
“Special Guest Star” KAY STARR ( - popular RCA recording artist of the day), underscoring the immensity of the town’s tragic loss, sings a moving hymn to her lost son, John.
 

The strong cast, along with Grieg's haunting music ( - especially for the ridding of the rats, set to that implacable, obsessive-compulsive "IN THE HALL OF THE MOUNTAIN KING" – watch out for this scene - those mouses are ANIMATED! ) help to make up for any possible filmic shortcomings.
 
 
The rich colour and the obvious studio sets add greatly to the dreamlike charm. Although entirely stage-bound, it's a lively, attractive, and colourful production - comparable to an MGM musical. And, as I alluded previously, there is some enjoyable, classy F/X work - from a handsome matte painting of Hamelin town, to those spooky animated rats, to a fleeting, mouth-watering glimpse of the Piper's playland for the abducted children!
 
 
Watch out, too, for these moments of high drama - after the Piper warns the townspeople that they will regret the day they ripped him off, the bell-ringing automatons on the clock tower droop over, apparently drained of life! Later, an enraged mother grabs the Mayor's pendant in a symbolic removal of power; the Mayor looks at her with seething hate, and seems ready to attack her, but suddenly bows his head in abrupt self-awareness and shame. Time has not been kind to the movie genre of children's musical fantasy, and this film is seen by philistines as a casualty which dates badly, but WE think THE PIED PIPER OF HAMELIN is ONE OF THE GREATEST MOTION PICTURE PRODUCTIONS OF ALL TIME!!! Old-fashioned it may be, but THE PIED PIPER OF HAMELIN still has the power to cast a spell, for the young or those who are young at heart.
 
 
Prod Co: Starstan Music Corporation. Prod: Hal Stanley. Dir: Bretaigne Windust. Wr: Irving Taylor and Hal Stanley (Book and Lyrics), ROBERT BROWNING (poem). Mus: EDVARD GRIEG. Phot: William E. Synder. Production Design: Arthur Lonergan. Casting: Lynn Stalmaster (uncredited). Wardrobe: Monty M. Berman (as "Berman"). Special Photographic Effects: Jack Rabin, Louis DeWitt, Irving Block. Choreog: Ward Ellis. Cast: VAN JOHNSON (Truson/The Pied Piper), CLAUDE RAINS (The Mayor), LORI NELSON (The Princess Mara), JIM BACKUS (The King's Emissary), KAY STARR (John's Mother), DOODLES WEAVER (First Counselor, uncredited), STANLEY ADAMS (Second Counselor, uncredited), OLIVER BLAKE(leading citizen, uncredited) , RENE KROPER (Paul, uncredited), CARL BENTON REID (The Mayor Of Hamelout, uncredited). 89 mins. RM
 
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#109 From: Splodgy Splodgeburger® <splodgeburger@...>
Date: Wed Jun 28, 2006 6:19 pm
Subject: SPLODGE! NOTES: 1st. Mon. JULY (03/07/06) <<< THEMELESS [2]!!! •BEACH BLANKET BINGO (1965), •THE MANY LOVES OF DOBIE GILLIS: THE LONG ARM OF THE LAW (1960), •CAVE MAN (1934), •BEACH BLANKET BINGO (1965) 		splodgeburger
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THEMELESS [2]!!! •BEACH BLANKET BINGO (1965), •THE MANY LOVES OF DOBIE GILLIS: THE LONG ARM OF THE LAW (1960), •CAVE MAN (1934), •BEACH BLANKET BINGO (1965)
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                           3rd. Quartile
 
                              JULY
                            AD 2006
 
                          Monday 03rd
 
             Registration:    7.30    -      8.00 pm

             Screening: >>>>> 8.00  (*EIGHT*!!!!)  pm <<<<<
 
                   TONIGHT: STRICTLY MEMBERS-ONLY
          MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT

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                               TONIGHT! -
 
        THEMELESS   [2]
 
 
•CAVE MAN (1934)
 
 
 
 
 
[ABOVE]: Animator Berny Wolf holds up the original model sheet he did with Grim Natwick for the 1934 Willie Whopper cartoon The Cave Man. (The model sheet can be seen in Shamus Culhane's autobiography TALKING ANIMALS AND OTHER PEOPLE).
 
While paying a visit to the Natural History Museum, braggart Willie Whopper tells a tall tale situating himself in the Stone Age, swinging on vines like Tarzan and vanquishing a dinosaur to save Mary, his girl. Possibly one of the greatest features of  the animated cartoons of the 1930s is the use of novelty jazz accompaniment on the soundtracks, and Ub Iwerks’ cartoons were particularly notable for this. CAVE MAN’s musical soundtrack is composed of Victor recordings featuring Bennie Moten and His Orchestra, with solos by BILL (soon to be COUNT) BASIE, "Lips" Page, Ben Webster, and others. The illusion of depth in animation was first achieved by the Fleischer brothers using table-top animation in Poor Cinderella, with Betty Boop, in 1934. But in the same year, Ub Iwerks used his own multiplane system in The Cave Man, with Willie Whopper. The more elaborate Disney multiplane system was a comparative late-comer, first employed in The Old Mill, 1937. Prod Co: Celebrity Productions, Inc. Prod: Ub Iwerks, Pat Powers. Dir: Ub Iwerks. Anim: Bert Gillett (as Grim Natwick), Berny Wolf. Orig Mus: Carl W. Stalling. Distr: Metro-Goldwyn-Mayer. 6 mins. RM
 
 
 
•THE MANY LOVES OF DOBIE GILLIS:
THE LONG ARM OF THE LAW (1960),
 
 
 
 
 
Dobie gets into trouble with "The Long Arm of the Law" when his new girlfriend's fat cop father takes a disliking to him. Dir: Guy Scarpitta. Wr: Lee Karson, Joel Kane. Cast: DWAYNE HICKMAN as Dobie Gillis, BOB DENVER as Maynard G. Krebs, FRANK FAYLEN as Herbert T. Gillis, Florida Friebus as Winifred 'Winnie' Gillis. Guest Stars: Richard Reeves (above left), Jane Wald. 25 mins. RM

and featuring:
 
•BEACH BLANKET BINGO
(1965)
 
 
 
 
  
 
 
BEACH BLANKET BINGO
Gorr-bless American International Pictures! Between surfing, partying and some great ‘60s pop from THE HONDELLS, FRANKIE AVALON and the gang find time to enter a SKY-DIVING competition, meet a mermaid and rescue a girl singer from the clutches of camp villian Eric Von Zipper’s comic bikies, The Rats!
Various sub-plots include beautiful girl singer Sugar Kane (Linda Evans!!!), being kidnapped by Eric von Zipper (HARVEY LEMBECK), and the gang trying to save her; a mermaid Lorelei (MARTA KRISTEN), falling for Bonehead (Jody McCrea), and Annette proving to Frankie that girls can skydive as well as boys. It's fast, funny, very colorful, very campy, and also has PAUL LYNDE (hilarious), and comic-genius DON RICKLES (trust me!). Beyond the parachutery, the film actually extends some of the supporting characters beyond the limited schtick they had previously been given. von Zipper is given tonnes more screen time - and even gets his own musical number for the first time!
This is NOT ONLY the ultimate beach flick but also the essential ‘60s teen-scene movie. Even though the plot is hilarious in its zanyness, the cast is wonderfully silly. And WHAT a cast it is: Frankie and Annette establish that this is a genuine teen-beach romp, HARVEY LEMBECK (Eric Von Zipper) is a riot as the
Johnny-Strabler-wannabe who worships "Marlo Branden", while DON RICKLES and PAUL LYNDE provide two different forms of acid insult humour. Poor BUSTER KEATON, however, to be honest, is a tragedy. The greatest silent film star from the US is reduced to playing a dirty old man. Musical numbers, faked surfing and parachuting shots, sand, salty air - it's a treasure chest from a seemingly "innocent" bygone era.
Watch out for exotic beauty LINDA EVANS in one of her earliest movie appearances in all of her "break-through"-dom, as Sugar Kane, the starlet being represented by PAUL LYNDE. I think this movie was even pre-BIG VALLEY, let alone DYNASTY. LINDA even sings, so DYNASTY fans should definitely give it a peek, if for no other reason than for morbid curiosity.
"Beach Blanket Bingo" also features talented singer Donna Loren in a bit part as herself.
Actually, the musical fare is top-notch. Talented singer, in a bit part as herself, Donna Loren’s IT ONLY HURTS WHEN I CRY is damn’ beautiful, and Annette Funicello's I'LL NEVER CHANGE HIM is – frankly – SUPER! The great LES BAXTER actually had a hand in the songs and their arrangements, in addition to his usual scoring duties.
BEACH BLANKET BINGO is full of quirky touches ( - like Annette's face turning green just before jumping out of a plane for her first sky-dive, or a kidnapped LINDA EVANS about to be buzz-sawn in half, a la THE PERILS OF PAULINE).
The mermaid sub-plot featuring a ravishingly-sweet MARTA KRISTEN (LOST IN SPACE) wowing Jody McCrea (Bonehead) is the best part of the picture, and there's just enough slapstick and visual gags to keep it bubbling.
Besides the blatant jokes which one might expect, there are also subtler gags scattered liberally throughout this film which make this film one which will have you rolling in laughter if you are paying close attention. A lot more complex film than conventional wisdom gives it credit, given the premise.
For instance, early on Eric Von Zipper and The Rats do a number in which - not once, but twice - Von Zipper's lyric runs "I am my ideal!" This develops in the scene that spills into the running gag ( - or is it a ‘leitmotif’? - ) of Von Zipper calling Sugar Kane his 'idol' - referenced in earlier comments - ). Then, in the very next scene, as Von Zipper and the Rats enter the nightclub, he says "Stand aside everyone, I take large steps!" Both of these are direct quotes from A FUNNY THING HAPPENED ON THE WAY TO THE FORUM, which had opened a little over a year earlier on Broadway! Late in Act One of FORUM, Miles Gloriosus (Ron Holgate), a Roman soldier, announces his entrance by shouting, from offstage: "Stand aside everyone, I take large steps!", which cues the music for his song, which includes the lyric "I am my ideal!" Is William Asher paying homage to STEVEN SONDHEIM and Burt Shevelove (who wrote the book for FORUM)? Is it an inside joke? Or is it just plain old-fashioned plagiarism?
Another interesting question: Is this where William Asher first saw/met PAUL LYNDE? Were the seeds for Uncle Arthur (who would appear a couple of years later on BEWITCHED) planted in the sand of BEACH BLANKET BINGO??
This was the fourth official entry in AIP’s "Beach Party" series (having both Frankie Avalon and Annette Funicello in the cast), and shows the series at full steam, knowing exactly what works and how to play all the pieces. The score is perfect early-‘60s pop (with everyone singing in full reverb), and the various comedians are allowed to play off their strengths.
By this point, the series was beginning to look for new areas to explore (having already dealt with surfing, water skiing, body building, et c. in earlier entries), so that's why this "beach" film seems to be so focused on sky diving. In fact, the shift away from the beach scene to the hippie scene in the late ‘60s would spell the end of the series only a year or so later. It marked the beginning of the end. When BBB was released, little did anyone know that this would be the penultimate appearances for both Frankie Avalon and Annette Funicello, and that within a year the whole "Beach Party" genre would be finished. So this film can be seen as the last gasp before the ‘waves died down’.
Memorable Quotes from BEACH BLANKET BINGO (1965):
  • Eric Von Zipper: I come here to tell you that these beach bums is bums.
  • South Dakota Slim: Leave it to ol' Slim. I got ideas... and they're all vile, baby.
  • Eric Von Zipper: Stand aside, everyone. I take large steps.
  • Eric Von Zipper: Why me? Why me all the time?
  • Eric Von Zipper: I am my ideal. But YOU are my idol.
  • Eric Von Zipper: Eric Von Zipper adores you. And when Eric Von Zipper adores somebody, they stay adored.
  • Eric Von Zipper: Please, do not destroy my mood. Tonight, I even like you.
  • Bullets: [sarcasticly] Oh, perfect. I'll save the next dance for you.
  • Eric Von Zipper: I lead.
  • Bullets: I didn't catch your name boy. Frankie: I didn't throw it. Bullets: That's pretty tacky.
  • Frankie: I didn't want us to have a language barrier.
  • Bonehead: Lorelei, do you know about the Birds and the Bees? Lorelei: No. Bonehead: Well, I better get out of here or you're going to find out.
  • Frankie: You know something? A kiss is worth more than a thousand words. Dee Dee: Then why don't you stop talking?
  • Bullets: Come along now and let's, uh, get out of these loose clothes and slip into something tight.
  • Frankie: [as the Rat Pack carry Von Zipper away] So long, Mouseketeers! [Annette Funicello as Dee Dee is standing next to him]
  • Puss: [as Sugar Kane is tied to the sawmill log] This isn't very nice. Boots: Yeah, I think it's kinda mean!
Prod Co: Alta Vista Productions, American International Pictures (AIP). Prod: Samuel Z. Arkoff, Anthony Carras, James H. Nicholson. Dir: William Asher. Wr: William Asher, Leo Townsend. Orig Mus: LES BAXTER. Roger Christian (songs), Jerry Styner (songs), Gary Usher (songs), THE HONDELLS (band). Phot: Floyd Crosby. Other crew: Presenters: SAMUEL Z. ARKOFF, JAMES H. NICHOLSON. Cast: FRANKIE AVALON (Frankie), ANNETTE FUNICELLO (Dee Dee), Deborah Walley (Bonnie Graham), HARVEY LEMBECK (Eric Von Zipper), John Ashley (Steve Gordon), Jody McCrea (Bonehead), Donna Loren (Donna), MARTA KRISTEN (Lorelei), LINDA EVANS (Sugar Kane), Timothy Carey (South Dakota Slim), DON RICKLES (Big Drop), PAUL LYNDE (Bullets), Donna Michelle (Animal), Michael Nader (Butch), Patti Chandler (Patti), BUSTER KEATON (Himself), Earl Wilson (Earl Wilson), Bobbi Shaw (Bobbi), BRIAN WILSON (Beach boy). 98 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
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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. & ScreenSound Australia ;) *
 
**********************************************************************
 
       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*!
 
**********************************************************************
              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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                    NORTH FITZROY. PHONE 04 25 74 28 01

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#108 From: Splodgy Splodgeburger® <splodgeburger@...>
Date: Wed May 31, 2006 1:34 pm
Subject: SPLODGE! NOTES: 1st. Mon. JUNE (05/06/06) <<< DON'T MENTION THE WAR!!! •ALL THIS AND WORLD WAR II (1977), •GILLIGAN'S ISLAND: SO SORRY, MY ISLAND NOW (1965), •ALL THIS AND WORLD WAR II (1977) 		splodgeburger
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DON'T MENTION THE WAR!!! •ALL THIS AND WORLD WAR II (1977), •GILLIGAN'S ISLAND: SO SORRY, MY ISLAND NOW (1965), •ALL THIS AND WORLD WAR II (1977)
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                      splodgeburger@...
 
                ON THE FIRST MONDAY OF EVERY MONTH
 
                            "SPLODGE!"
 
                  a community FilmEdSoc project,
                WE CONTROL  THE CONTENT
 
**********************************************************************
      Unusual films of discernment, still presented in convivial
                          surroundings!
 
             ALL PRESENTED ON GROOVY 16 MILLIMETRE FILM!
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         714 NICHOLSON (CNR. SCOTCHMER) STREET, NORTH FITZROY
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                           2nd. Quartile
 
                              JUNE
                            AD 2006
 
                           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
 
                               TONIGHT! -
 
      DON'T MENTION
           THE WAR!!!
 
 
 
•GILLIGAN'S ISLAND: SO SORRY, MY ISLAND NOW (1965),
 
 
 
The Castaways are captured by a Japanese sailor who thinks that WWII never ended, and it is left up to Gilligan to save them.
The second, and probably most frequent guest star on G.I. was the great VITO SCOTTI, an actor's actor, whose credits “must be as big as the LA phone book”, says BOB DENVER.
As a character actor, VITO was always in demand, because he could literally play any part, making each character totally unrecognizable from the other. 25 mins. RM

and featuring:
 
ALL
THIS
AND
WORLD
WAR II
(1976),
 
 
 
 
We're mighty proud to be presenting this rare, lost '70s classic - never been released on video, dvd, laserdisc, or even on zooetrope. But, having slipped Rupert Murdoch a vast amount of unmarked bills, a nice print has turned up on 16mm film, so, once again, Splodge! saves The Universe. Or so we like to think.
From what we can gauge, if you love this film, you LUUUV it, and if you hate it, you reallly HAYTTTTE it. However, we love it, and we're banking you will too. Miss this, and, we wager, it'll be the dumbest thing you've ever done in your life!
After seeing AT&WWII, never again will you be able to sit through a viewing of THE WORLD AT WAR (no matter how fruity Olivier's narration is).
Often unjustly characterised as "truly weird", "bizarre" et c, et c, one is led to wonder what exactly is wrong with so many people that they cannot see the beauty in a chronological history of the Second World War, using documentary footage, interspersed with excerpts - many quite hilarious, others quite moving - from old Hollywood war movies, all set to covers of Beatles songs, performed by a galaxy of '70s pop stars, with the London Symphony Orchestra and the London Philharmonic thrown in for good measure. Ah, ya gotta love the seventh decade of the Twentieth Century!
Directed by Susan Winslow, who, previously, in 1975, had produced for Phillipe Mora BROTHER CAN YOU SPARE A DIME - a marriage of '30s newsreel and mostly-Warner-Bros movie footage to gramophone songs of the period - a bit like PENNIES FROM HEAVEN, but as a narrative and narration-free 'jigsaw puzzle' of depression-era imagery. 
(Winslow later co-produced - along with George Stevens Jr - the superb documentary GEORGE STEVENS: A FILMMAKERS JOURNEY (1984). Stevens, incidentally, was a commissioned officer who recorded some key moments in the Second World War, some on colour film-stock,  including  D-Day, the Allied march through Paris, and the opening of the camp at Dachau.
Soundtrack artists include:
AMBROSIA, ELTON JOHN, THE BEE GEES, LEO SAYER, BRIAN FERRY, ROY WOOD, KEITH MOON, ROD STEWART, LEO SAYER, DAVID ESSEX, JEFF LYNNE, LYNSEY DE PAUL, RICHARD COCCIANTE, THE FOUR SEASONS, HELEN REDDY, FRANKIE LAINE, THE BROTHERS JOHNSON, STATUS QUO, HENRY GROSS, PETER GABRIEL, FRANKIE VALLI, TINA TURNER, WIL MALONE & LOU REIZNER.
88 mins. FUJI LPP. RM
 
Note: If you'd like to join our "low-kilobyte", no-attachment
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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. & ScreenSound Australia ;) *
 
**********************************************************************
 
       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*!
 
**********************************************************************
              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!
 
**********************************************************************
 
        For e-mail notification, spam your Subscribe-Request to:
                splodgefilms-subscribe@yahoogroups.com
 
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                    NORTH FITZROY. PHONE 04 25 74 28 01

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ACCESS BY #96 TRAM (TRAM-STOP #21, SECTION 7):
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#107 From: Splodgy Splodgeburger® <splodgeburger@...>
Date: Wed Apr 26, 2006 4:45 pm
Subject: SPLODGE! NOTES: 1st. Mon. MAY (01/05/06) <<< NO THEME TONIGHT!!! •THE DEVIL'S MAN (1967), •ASTRO BOY: THE MYSTERIOUS CAT (1963), •WHERE THERE'S SMOKE (1970), •THE DEVIL'S MAN (1967) 		splodgeburger
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NO THEME TONIGHT!!! •THE DEVIL'S MAN (1967), •ASTRO BOY: THE MYSTERIOUS CAT (1963), •WHERE THERE'S SMOKE (1970), •THE DEVIL'S MAN (1967)
       TONIGHT: STRICTLY MEMBERS-ONLY
   * MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT, 'THO *
                            DETAILS BELOW                
 
**********************************************************************
             SPLODGE! NOTES: 1st. Mon. in MAY(01/05/06)

                      splodgeburger@...
 
                ON THE FIRST MONDAY OF EVERY MONTH
 
                            "SPLODGE!"
 
                  a community FilmEdSoc project,
                WE CONTROL  THE CONTENT
 
**********************************************************************
      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
                      splodgeburger@...
 
     Note: If you'd prefer to receive our "low-kilobyte", no-pics,
              no-strings, no-attachments mailing list,
             just give us a "hoy" here at splodgeburger!
 
**********************************************************************
                           2nd. Quartile
 
                              MAY
                             AD 2006
 
                           Monday 01st
 
             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
 
                               TONIGHT! -
 
 NO THEME TONIGHT!!!
 
 
 
•ASTRO BOY: THE MYSTERIOUS CAT (1963)
 
 

 

Yes, it's an episode from the original 'Sixies ASTROBOY series, (not the crappy 'Eighties series), conceptualised and directed by Osamu Tezuka! This episode has a distinctly enviromentalist theme, involving a mysterious cat and a long-lost professor. But what you really don't want to miss are the opening and closing credits sequences!
Did you know? - Due to his talents with this series, Tezuka was offered a job as a production designer on 2001: A SPACE ODYSSEY (1968) by (execrable) director Stanley Kubrick. However, he (wisely) declined.
 
Prod Co: Tezuka Productions. Prod: Osamu Tezuka. Anim Studio: Mushi Productions. Dist: NBC Films (USA). Wr: Osamu Tezuka, Noriyuki Honma, Masaki Tsuji, Kenichi Takahashi. Dir: Osamu Tezuka, Gisaburo Sugii, Daisaku Sakamoto, Eiichi Yamamoto, Osamu Dazki, Yoshiyuki Tomino, Minoru Okazaki, Fusahito Nagaki. Anim: Daisaku Sakamoto. Cast: Astro Boy, Astro Girl, Dr. Elefun.
25 mins. RM
 
plus
 
•WHERE THERE'S SMOKE (1970)
 
 
A compilation of satirical anti-smoking clips.
Animated clips include:
ARTIFICIAL LUNG: A youngster is encouraged to smoke because by the time he grows up, portable artificial lungs will probably be available.
CHEAT: People who are tempted to cheat the government out of taxes are advised to quit smoking.
DYNAMITE: When he cannot find a match, a worker explodes when using a fuse to light his cigarette.
FIRING SQUAD: A man facing a firing squad boasts that despite smoking, he anticipates being in good health for the rest of his life.
FRINGE BENEFITS: Benefits of smoking include extracting information from spies, damaging furniture and providing work for the medical profession.
FUNERAL: A clever way to kill an enemy is to offer him a cigarette every time you see him.
HERO: A man who works and plays hard may be a hero but a smoker is a slave.
LOVER: By the time a man reaches a woman whose very long cigarette he has lit, she has aged dramatically—"the longer you smoke, the shorter life gets."
SUICIDE: Smoking is recommended as an efficient way to commit suicide.
VOLCANO: A voice bragging about having always smoked turns out to belong to an erupting volcano.
Live-action clips include:
CARMEN: An opera singer prepares for the starring role in Carmen as she smokes but collapses in a coughing fit when she starts to sing.
COFFEE HOUSE: Exasperated by the number of people smoking around her, a woman in a cafe clears the premises by putting on a gas mask and petting a skunk.
COUGH DANCE: A smoking couple cough as they dance until they can dance no longer.
PARTY: The hostess offers cigarettes to her guests of whom the healthy-looking decline and the haggard-looking accept.
VAMPIRE: A vampire collapses after biting a chain smoking woman.
 Prod: Robert Verrall. Prod Co: National Film Board of Canada. 12 mins. ALC

and featuring:
 
•THE DEVIL'S MAN (1967)
 
 
 
 
Don’t let nobody tell you this is a Superargo/Argoman film – ‘coz it ain’t!
In the 1960s, there were so many "diabolic/diabolique" films made in Europe that the messy consequence is just, well, diabolical! Especially when the director has several films released in different languages, under various titles, some of which are "diabolical", some of which are not. Thus, Paolo Bianchini ( - also responsible for a couple of the titles in the famous DJANGO series - )’s SUPERMAN EL DIABOLICAL (SP) becomes confused with the ‘80s French video release of THE DEVIL’S MAN under the title LE DIABOLIQUE. And so it goes. Anyway, beware!
 
We are in Sci-Fi EuroSpy territory tonight – a curious conjunction of genres, and this one takes its time in clueing you in as to what is what - bizarre, nonsensical, masked super-criminal fun from Italy. Once again, we tippy-toe into the wonderful realm of cinema that some characterize as "so-bad-it’s-good" territory, but that we are quite content to acknowledge as "so-good-it’s-GREAT!", ‘tho, I must say, it occasionally grazes through  the ol' "unintentionally hilarious" zone ( – check my comment about one Watt resistors, below - )! All I can say is, I just wish Hal Todd were still around to present this one after midnight on the telly, interrupting it with ads that ran for three-quarters of an hour for DEL MONTE SUITS and GOLDEN CASKET JEWELLERS. THE DEVIL'S MAN should be watched late at night, in some sort of inebriated state ( - I think we can help you there! - ) You won't believe it in the morning though!
 
One-time Western star, GUY MADISON, plays Mike Harway, a secret agent posing as a journalist for a science magazine in Italy. Mike is investigating the disappearance – a possible kidnapping - of a prominent medical scientist and surgeon, Professor Becker, when he crosses paths with the Professor’s gorgeous (natch!) daughter, Christine (LUISA BARRATO), who has also started searching for her father’s whereabouts. Together, the couple traces the missing scientist to a secret organisation’s futuristic hi-tech laboratory, concealed in the abandoned fortress of of El Faium, in the North African desert!
 
The professor has been abducted by a demented "devil" of a man (as he is known to the local black-robed bedouins, the Tuareg) - Devilman, a silver wrestling-masked super-criminal, who is forcing the scientist to conduct brain surgery experiments on human guinea-pigs, preparatory to the realization of his master-plan – the substitution of his ‘regular’ Super-criminal brain with an artificial, super Super-criminal model ( - studded with one-Watt resistors! - ), intended to be vastly superior, and to make him omniscient!
 
As Mike and Christine travel through the desert region and are nearing the facility, they are captured and transported into Devilman’s lair. Becker is there, but he has been brain-washed, and Devilman orders him to conduct a brain-transplant experiment on Christine!
Kun, Devilman’s assistant, gets a case of the jitters, and arranges for Mike to escape, on condition that the journalist returns with reinforcements. Mike manages to make his way back to the Tuareg tribe, and convinces them to help him. The incredible climax has an army of Moors riding to the rescue! And while the warring Tuareg meet in furious combat with Devilman’s security forces, Mike does the usual James Bond-type job of blowing up the joint and dispatching the villian on the sharp end of his own hideous apparatus.
 
Genre: Action + Sci-Fi + Thriller (Fantascienza). AKA: DEVILMAN STORY / DEVILMAN, LE DIABOLIQUE (FR) / DEVILMAN: EL HOMBRE DEMONIO (SP). Dubbed, in English. Prod: Gabriele Crisanti. Dir: Paul Maxwell (Paolo Bianchini). Wr: Paul Maxwell, (Paolo Bianchini), Max Caret. Mus: Rob Rowelter. Phot: Al Worley. Ed: Angel Coli (Otello Colangeli). Production Sup: Frank Campi. Dialogue and Post-Synchronisation: Gene Luotto. Production Coys: LION INTERNATIONAL s.p.a; S.E.C. [Società Europea Cinematografica]. Distribution: ITALNORD - ITALCID. Mus: Musical editions "Nea-polis" s.r.l. Cast: Guy Madison, Liz Barrett (Luisa Baratto), Alan Collins (Luciano Pigozzi), Lawrence Michal, Bill Vanders, Diana Lorys (Yasmin). 87 mins. AGFA LPP. RM
 
Note: If you'd like to join our "low-kilobyte", no-attachment
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. & ScreenSound Australia ;) *
 
**********************************************************************
 
       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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                                         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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#106 From: Splodgy Splodgeburger® <splodgeburger@...>
Date: Wed Mar 29, 2006 4:48 pm
Subject: SPLODGE! NOTES: 1st. Mon. APRIL (03/04/06) <<< ARGGH!!! •BUD ABBOTT & LOU COSTELLO MEET FRANKENSTEIN (1948), •BATMAN: THE PENGUIN DECLINES (1967), •MAN MADE MONSTER(1941), •BUD ABBOTT & LOU COSTELLO MEET FRANKENSTEIN (1948) 		splodgeburger
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ARGGH!!! •BUD ABBOTT & LOU COSTELLO MEET FRANKENSTEIN (1948), •BATMAN: THE PENGUIN DECLINES (1967), •MAN MADE MONSTER(1941), •BUD ABBOTT & LOU COSTELLO MEET FRANKENSTEIN (1948)
       TONIGHT: STRICTLY MEMBERS-ONLY
   * MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT, 'THO *
                            DETAILS BELOW                
 
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             SPLODGE! NOTES: 1st. Mon. in APRIL(03/04/06)

                      splodgeburger@...
 
                ON THE FIRST MONDAY OF EVERY MONTH
 
                            "SPLODGE!"
 
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                           1st. Quartile
 
                              APRIL
                             AD 2006
 
                           Monday 03rd
 
             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
 
                               TONIGHT! -
 
              ARGGH!!
 
 
 
•BATMAN: THE PENGUIN DECLINES (1967)
 
 
Part of a series of episodes in the classic 'Sixties hit TV show, centred on crimes conducted in a collaboration between The Joker and Penguin under the theme of the signs of the Zodiac.
In the previous exciting episode, back at his GHQ after a daring heist of 2 rare fish (Pisces!!) that were on exhibit at The Gotham City Park Fountain, The Joker captures The Caped Crusader and Boy Wonder in a huge net. The Dynamic Duo, along with Venus, The Joker's moll (TERRY MOORE), whom he has also not long before taken prisoner when she turned from her evil ways to assist the good guys, are all quickly chained in a shallow pool, and are about to become the main course of a Giant Clam. The Joker departs to commit his next crime, while the clam tries to swallow Robin!!!! Whereupon we rejoin the story…
[SPOILERS FOLLOW!!!]
Using every ounce of his superhuman Bat-strength, Batman bursts free of his chains, rushes over to the clam and pries it open long enough to rescue Robin from the maw of the menacing mollusk! Freeing Venus, the trio make their escape, while The Joker, needing more assistance with his remaining two Zodiac Crimes, has his flunkies Uranus and Mars smuggle The Penguin out of prison in a prison laundry truck (by way of Operation Laundry Bag!). Using a concoction of his own insidious creation, The Joker turns the entire Gotham City water supply (Aquarius The Water-Bearer!) into Joker-jelly (concentrated strawberry gelatin which resembles strawberry jelly, but tastes like strawberry axle grease!), and then demands $10 million to change it back!
Meanwhile, The Penguin, claiming he has reformed, tries to woo Venus (who's staying at Bruce Wayne's swanky midtown apartment) into asking Batman to let her visit The Batcave, so she can remove Penguin's criminal record from The BatComputer for him. The Dynamic Duo fly out to the JokerJelly-infested Gotham City Reservoir by Batcopter and restore the water supply with the trusty aid of a Special Exploding Batarang and The Portable BatLab. Returning to the city, Batman and Robin pay a visit to Venus, who, having fallen for The Penguin's fib about going straight, convinces Batman into giving her a tour of The Batcave.
Hoping to make Batman the goat (Capricorn!!!), Penguin, Joker, and henchmen Mercury, Mars, Saturn, Neptune and Uranus secretly stow away in The Batmobile's trunk. The Dynamic Duo return to The Batcave with Venus in tow (having doused her with BatGas, naturally!), and there the crooks pop right out, ready to do-away with Batman and Robin, and convert The Batcave into the headquarters of Gotham City's criminals!
But The Caped Crusader stops them by activating his newly designed Batspectrograph Criminal Analyzer, which recorded Joker and Penguin's bone structure, metabolism rate, molecular blood structure, retina patterns, and other invaluable scientific data (he knew of their hiding in the trunk all along, and so he brought them both to The Batcave in order to utilize The Analyzer, which only works at close range and is too large to move). The Penguin tries to liquidate The Duo with his deadly Umbrella Gun, but The Batprobe Negative Ion Attractor, which Batman strategically installed in The Batmobile's trunk, depleted its power source during the time they were inside.
After a fierce fight, the whole gang is captured and ready to be delivered to prison. Later at Wayne Manor, Dick Grayson cringes as he learns from Aunt Harriet that the main course for dinner is clam chowder, but his guardian Bruce assures him it's his chance to get even! Howard Hughes' former girlfriend Terry Moore plays Venus. Watch out for ROB REINER as a delivery boy! Episode 73 first aired on 18 January 1967. Prod. Co. Prod Co: Greenway/Twentieth Century Fox Television. Prod: Howie Horwitz ; Dir: Oscar Rudolph. Wr: Stephen Kandel (story), Stanford Sherman. Phot: Howard Schwartz. Mus: NELSON RIDDLE. Ed: Frank O'Neil ; Theme Mus: NEAL HEFTI. Cast: ADAM WEST (Bruce N. Wayne/Batman), Madge Blake (Aunt Harriet Cooper, BURT WARD (Richard "Dick" Grayson/Robin, The Boy Wonder), ALAN NAPIER (Alfred Pennyworth), STAFFORD REPP (Chief O'Hara), WILLIAM DOZIER (the narrator), David Lewis (Warden Crichton), Byron Keith (Mayor Linseed), NEIL HAMILTON (Commissioner James W. Gordon). All Guest Stars: BURGESS MEREDITH (The Penguin), CESAR ROMERO (The Joker), Charles Picerni (Uranus) , Terry Moore (Venus), Hal Baylor (Mercury), Joe Di Reda (Mars), Eddie Saenz (Saturn), Dick Crockett (Neptune), Louis Cordova (Salesman), Vincent Barbi (Truck Driver), ROB REINER(Delivery Boy). 25 mins. NFVLS
 
plus
Quickie Theatre
RETURNS! -
with
 
•MAN MADE MONSTER(1941)
 
  
 
You WILL believe a whole feature film can be crunched into 10 minutes when you see this digest version of a great rare classic. ( A crime to do this, we know, but, unless anyone wants to buy us the whole film, this is all you deserve, and it's all you get! )
 
"INCREASE THE VOLTAGE, IGOR!"
 
Big Dan McCormick (Dynamo Dan, The Electric Man) survives a bus accident that is hit with electricity, only to end up being the guinea pig for two scientists - one, a good man who wants to investigate McCormick's immunity to electrical currents for the benefit of mankind, and the other, who wants to make McCormick the prototype of his super-human, electric-men army which only he is able to control.
LON CHANEY Jr, in his first horror film for Universal Pictures, puts in a fine job, doing another variation of Lenny from OF MICE AND MEN (1939), full of pathos,  being the simple, unfortunate man who is tricked and coerced by the evil scientist. The evil guy is played with relish and finesse than none other than Lionel Atwill. Atwill plays the man with a degree of enlightened insanity. Lionel Atwill played evil scientists better than anyone else for my money. He enunciates his words with delicacy while all the time looking through those snake-like eyes. The special effects and direction in this one are pretty good and the film is very enjoyable. Inexplicably, it is one of the least-known Universal Horror pics, but amongst those who have seen it, one of the most fondly remembered. Chaney and the director, George Waggner subsequently reunited for their breakthrough screamer, THE WOLF MAN, in 1941.
 Directed by George Waggner; Produced by Jack Bernhard; Screenplay by Joseph West (George Waggner); Special Effects by John P. Fulton; Make Up by Jack P. Pierce; Music by Hans J. Salter & Charles Previn. From "The Electric Man" by Harry J. Essex, Sid Schwartz & Len Golas. Starring Lionel Atwill, Lon Chaney Jnr., Anne Nagel, Frank Albertson. 10 mins. RM

and featuring:
 
•BUD ABBOTT & LOU COSTELLO MEET FRANKENSTEIN (1948)
 
 
Chick Young (Bud Abbott) and Wilbur Grey (Lou Costello) are two baggage clerks at a Florida train station, who receive a strange shipment for the local horror museum, of the remains of Count Dracula (BELA LUGOSI) and Frankenstein (Glenn Strange). Far from dead, these monsters, plus a few other co-horts, lead / pursue these hapless clerks on a wild chase, giving them a scary adventure, on this "comedy-horror ride."
This "fabulous farce"of a screenplay, by Robert Lees, Frederic Rinaldo, and John Grant, is considered not only the best Abbott and Costello classic comedy, but also one of the finest mixes of horror and humour ever created. The laughs and thrills come "a mile a minute," as Bud and Lou attempt to keep one step ahead of the movie's most memorable monsters, from the animated opening credits to the clever closing gag, featuring the voice of VINCENT PRICE, as "The Invisible Man."
The monsters offer a scary contrast to the comic duo, Bud and Lou. BELA LUGOSI recreates his original scary role as Dracula, Glenn Strange does a good job as the ailing Frankenstein, and LON CHANEY, JR. breathes life into the character of the cursed Wolfman.
 
 
Dracula, who wants to save the life of his friend, Frankenstein, comes up with a plan; he creates a female vampire to lure Bud to the island, so Bud's simple brain can be transplanted to Frankenstein. Luckily, Lou and friends are hot on the trail, and the resulting chase on and off the island becomes: Dracula vs. Frankenstein, Frankenstein vs. The Wolfman, and Abbot and Costello vs. them all, in this "unbeatable combination of excitement and hilarity."
 
The best film starring the comic duo keeps their repetitive routines to a minimum and pits them against a bevy of monsters played relatively straight: Count Dracula (Lugosi's return to the role after 17 years), a tortured Wolfman, Frankenstein's monster, a mad woman doctor (intent on transplanting Costello's brain) and the voice of VINCENT PRICE as the Invisible Man. Prod Co: Universal International. Prod: Robert Arthur. Dir: Charles T. Barton. WR: Robert Lees, Frederic I. Rinaldo, John Grant. Phot: Charles van Enger. Ed: Frank Gross. Cast: BUD ABBOTT, LOU COSTELLO, LON CHANEY JR., BELA LUGOSI, GLENN STRANGE, Lenore Aubert. 93 mins. NFVLS.
 
Note: If you'd like to join our "low-kilobyte", no-attachment
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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. & ScreenSound Australia ;) *
 
**********************************************************************
 
       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*!
 
**********************************************************************
              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!
 
**********************************************************************
 
        For e-mail notification, spam your Subscribe-Request to:
                splodgefilms-subscribe@yahoogroups.com
 
                              or visit:
 
 
             or register* via snail-mail  (address below).
 
**********************************************************************
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                               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):
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#104 From: Splodgy Splodgeburger® <splodgeburger@...>
Date: Wed Mar 1, 2006 6:34 pm
Subject: SPLODGE! NOTES: 1st. Mon. MARCH (06/03/06) <<< YOU... WILL... OBEY!!! •THE TERMINAL MAN (1974), •OBEDIENCE (1965), •THE TERMINAL MAN (1974) 		splodgeburger
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YOU... WILL... OBEY!!! •THE TERMINAL MAN (1974), •OBEDIENCE (1965), •THE TERMINAL MAN (1974)
       TONIGHT: STRICTLY MEMBERS-ONLY
   * MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT, 'THO *
                            DETAILS BELOW                
 
**********************************************************************
             SPLODGE! NOTES: 1st. Mon. in MARCH(06/03/06)

                      splodgeburger@...
 
                ON THE FIRST MONDAY OF EVERY MONTH
 
                            "SPLODGE!"
 
                  a community FilmEdSoc project,
                WE CONTROL  THE CONTENT
 
**********************************************************************
      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
                      splodgeburger@...
 
     Note: If you'd prefer to receive our "low-kilobyte", no-pics,
              no-strings, no-attachments mailing list,
             just give us a "hoy" here at splodgeburger!
 
**********************************************************************
                           1st. Quartile
 
                             MARCH
                             AD 2006
 
                           Monday 06th
 
             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
 
                               TONIGHT! -
 
   YOU... WILL... OBEY!!!
 
 
 
•OBEDIENCE (1965),
 
 
Documents probably one of the most important social psychological experiments ever designed, aside from that other one by Phillip Zimbardo, which was depicted in the feature film DAS EXPERIMENT (2001)!
 
This is the documentary film made of the infamous 1962 Yale University experiment conducted by Dr. Stanley Milgram ( - possibly more famous for coining the term "6 degrees of separation" -); the basis of the feature film OBEDIENCE (2000), and the Rod Dickinson reenactment film, THE MILGRAM RE-ENACTMENT (2002) -  in which male volunteers were required to administer (what appeared to be) increasingly painful jolts of electricity to other supposed-volunteers who had given wrong answers to test questions!
 
OBEDIENCE records DR STANLEY MILGRAM's experiments at Yale University on obedience to authority: an attempt to determine how a person reacts when asked to carry out orders that conflict with their conscience!
 
SUBJECTS ARE SHOWN ADMINISTERING (BOGUS) ELECTRIC SHOCKS TO ANOTHER PERSON - AN ACTOR - AS PENALTIES FOR MISTAKES IN LEARNING! The punishments escalate to a degree which can only be described as... shocking! Prods: STANLEY MILGRAM. Dir. Chris Johnson. 44 mins. ALC
 
and featuring:
 
•THE TERMINAL MAN (1974),
 
 
WARNING! - Contains spoilers!
After surviving an automobile accident which killed his wife and children, computer scientist Harry Benson (GEORGE SEGAL) falls prone to a (fictional) illness - diagnosed as "para-epilepsy" (?!?) - where seizures trigger episodes of ultra-violence. He is admitted to hospital to undergo a radical experimental procedure, where electrodes are implanted in the brain so as to produce tiny electric shocks to neutralize the seizures whenever they occur.
 
But after Benson's girlfriend, Angela (JILL CLAYBURGH) [ - I'M DANCING AS FAST AS I CAN, 1982], helps him give the hospital the slip, it becomes clear that - instead of forestalling the seizures - Harry's brain has learnt to enjoy the computer-chip stimulation, and is increasingly inducing the seizures in search of the stimulant-reward. Caught in this spiralling nightmare,  the poor guy is driven to wreak a trail of mayhem, leaving violence and murder all over the streets of LA. Whoops!
 
He savagely murders Angela, then wanders into a church and kills a priest. His psychiatrist, Dr. Janet Ross (JOAN HACKETT), stabs him with a kitchen knife when he starts to attack her, and he continues to wander, wounded, bleeding, in a maze of confusion, until he reaches Forest Lawn cemetery. By then, totally at the end of his rope, he stumbles into an open grave, just as the scheduled funeral is approaching - and is shot from a patrolling helicopter.
 
JUST SHOOT ME
 
Novelist, and later filmmaker, Michael Crichton inhabited a thematic niche that was peculiar to the 1970s. The films made by, and adapted from Crichton's works during the 1970s and early 1980s - THE ANDROMEDA STRAIN (1971), WESTWORLD (1973), COMA (1978), LOOKER (1981), RUNAWAY (1984), and tonight's offering, THE TERMINAL MAN (1974), all inhabit a place that belonged very much to the principal anxieties of the SF GENRE of the 1970s.
 
Crichton's star rose to ascendancy when SF cinema, very much in the shadow of 2001: A SPACE ODYSSEY (1968), was obsessed with the dehumanizing effects of rampant technolog-ism, and, here, Crichton's pessimistic and obsessive fears on this theme, found a peculiarly welcome place.
 
Crichton's career seemed to burn out somewhat in the mid-1980s, when STAR WARS (1977), and CLOSE ENCOUNTERS OF THE THIRD KIND (1977), transformed SF's universe into one of childlike innocence, replacing the previous template of cold sterility. The likes of LOOKER and RUNAWAY died at the box-office, and Crichton returned to scribbling, until he was suddenly given a second shot at the limelight with JURASSIC PARK (1993), whereupon a host of adaptations of his works - RISING SUN (1993), DISCLOSURE (1994), SPHERE (1998), further took up the themes of "science running amok", either that or the Hell-bent failings within complex business systems.
 
In most of the above-listed Crichton films, either he, or the director attached, adopted a singular look -  of the white, clinical antisepsis that seems to wholly alienate the humans within the frame.
 
In THE TERMINAL MAN, British director, Mike Hodges (GET CARTER 1971) does so, similarly, with a deliberate effect that becomes quite chilling. The operation, where the surgeons are decked out in what seem like space-suits and diving gear, could almost be taking place in a far-flung future. Hodges even stacks the dehumanization to the extent of having all the doctors in the film either played with a superciliousness, or a cool aloofness - while Harry Benson, their helpless pawn, is allowed to display the only warm and human character in the whole film ( - if you don't count - as you don't - the "good" psychiatrist, Dr. Ross, who, even so, still wields the knife, although just not a surgical one).
 
Shooting interior scenes for the first time in a studio, Hodges decided that science fiction demanded a stylized visual approach, and he filmed the unforgettably chilling, forty-five minute operation sequence in subtly desaturated colour. The directorial choices by Hodges nearly rival Kubrick's 2001 in the coldness department, but there is a power to the picture, as we see an orderly, antiseptic world turned into a blood-spattered nightmare of science-gone-amok.
 
In a theatre of ghost-white walls and glistening, silver-white instruments, surgeon, assistants, nurses, and disapproving psychiatrist, Dr. Ross, all wear long white gowns. With the operating-team also wearing elaborate headgear and masks, like a group of aliens, and monitors recording progress like spaceship controls, the effect borders on the surreal. It is, almost, more of an art-film - again, think Kubrick, and, say, the influence of CLOCKWORK ORANGE (1971), than a sci-fi thriller ( - right down to the ultra-weird choice of scoring the whole affair to BACH's GOLDBERG VARIATIONS).
 
There is one quite unnerving shot with power-drills and wires being inserted into Harry's head, where Hodges then pulls back and has one of the doctors address a question to the patient. One suddenly realizes Harry is still conscious while all this brain-pan invading is going on.
 
However, possibly the eeriest scene in the film is the one where Dr. Ross sits interviewing Harry, while behind a mirrored-window, technicians activate the various implant nodes, inducing tastes, bladder-relief signals, childhood memories, and triggering Harry to "come on" to Ross - a scene that is disturbing in its implication that all human behaviour can be reduced to a series of electrical impulses.
 
It's the most bitter of all of Hodges' ironic endings - as Benson had always feared the potential of science to manipulate human life, and, ultimately, extinguish it.
Today, with Western Medicine overly-dependent on technology - antibiotics, as well as surgery, not to mention the ball-busting, high-energy invasive imaging and diagnostic technology, THE TERMINAL MAN seems dismayingly topical. But, although powerful and disturbing in 1974, with SEGAL's subtly despairing portrait of a man descending to terminal loneliness, it was almost unanimously lynched by reviewers ("tedious", "dreary" etc), and died at the box-office, and it's reputation has never really recovered, even given the benefit of the longer-term view.
 
Hodges's other genre films are the script for DAMIEN: OMEN II (1978) - which he was originally set to direct; the FLASH GORDON (1980) remake; the genre-parody, MORONS FROM OUTER SPACE (1985); the superbly underrated clairvoyance thriller, BLACK RAINBOW (1989), and the recent cult hit CROUPIER (2000).
 
By the way, Michael Crichton did NOT write the screenplay for this film; Mike Hodges did. Maybe that’s why the ending of the movie is drastically different from the book. Check it out some time.

Prod Co: Warner Bros. Prod. Mike Hodges. Dir. Mike Hodges. Wr: Mike Hodges (scr), Michael Crichton (novel).  Phot: Richard H. Kline. Mus: Goldberg Variation 25, Played by Glenn Gould, Art Direction - Fred Harpman. Cast: GEORGE SEGAL (Harry Benson), JOAN HACKETT (Dr Janet Ross), Richard A. Dysart (Dr John Ellis), Donald Moffatt (Dr Alfred McPherson), Michael C. Gwynne (Dr Robert Morris), JILL CLAYBURGH (Angela Black), and James B. Sikking "Hill Street Blues" (Ralph Friedman). 107 min. RM
 
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#102 From: Splodgy Splodgeburger® <splodgeburger@...>
Date: Thu Feb 2, 2006 1:57 pm
Subject: SPLODGE! NOTES: 1st. Mon. FEBRUARY (06/02/06) <<< LOVELY!!! •LOVE ME TONIGHT (1932), •HARRY ROY's FLOOR SHOW (1952), •CHOOSING YOUR MARRIAGE PARTNER (1952), •PIERRE (1975), •FOR SCENTIMENTAL REASONS (1949), •OLD MOTHER HUBBARD (1935), •DARLING, DO YOU YOU LOVE ME? (1968), •LOVE ME TONIGHT (1932) 		splodgeburger
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LOVELY!!! •LOVE ME TONIGHT (1932), •HARRY ROY's FLOOR SHOW (1952),  •CHOOSING YOUR MARRIAGE PARTNER (1952), •PIERRE (1975), •FOR SCENTIMENTAL REASONS (1949), •OLD MOTHER HUBBARD (1935), •DARLING, DO YOU YOU LOVE ME? (1968),  •LOVE ME TONIGHT (1932)
       TONIGHT: STRICTLY MEMBERS-ONLY
   * MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT, 'THO *
                            DETAILS BELOW                
 
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             SPLODGE! NOTES: 1st. Mon. in FEBRUARY(06/02/06)

                      splodgeburger@...
 
                ON THE FIRST MONDAY OF EVERY MONTH
 
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      Unusual films of discernment, still presented in convivial
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                           1st. Quartile
 
                           FEBRUARY
                              AD  2006
 
                           Monday 06th
 
             Registration:    7.30    -      8.00 pm

             Screening: >>>>> 8.00  (*EIGHT*!!!!)  pm <<<<<
 
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          MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT

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                               TONIGHT! -
 
             LOVELY!!!    
 
 
 
•HARRY ROY's FLOOR SHOW (1952),
 
Harry Roy performs a love song in a Cabaret Night Club, featuring a dance sequence influenced by BUSBY BERKELEY routines. Unidentified tune, two female dancers and another unidentified tune, two male dancers, one in black-face. Soundies. Prod: RCM Productions, Inc. Starring: Harry Roy's Line of Nimble Nifties, and Harry Roy's Popular Orchestra. 7 mins. ALC
 
•CHOOSING YOUR MARRIAGE PARTNER (1952),
Joe is trying to decide which of two young women would make the better wife!?! Several important factors in selecting a marriage partner are illustrated; emotional maturity, family background, harmony of personality, philosophy of life and common interests. Prod: Coronet Instructional Films.13 mins. ALC
 
•PIERRE (1975),
 
 
An all-too-long-absent Splodge! favourite, concerning Pierre, the little boy who just don't care! The song is performed by the stoopendously great Carol King! And the cartoon itself - an excerpt from a longer film, "REALLY ROSIE" - is DIRECTED by Maurice Sendak (WHERE THE WILD THINGS ARE), and adapted from his Nutshell Kids stories, this one, in full title being PIERRE: A CAUTIONARY TALE, IN FIVE CHAPTERS AND A PROLOGUE. Acquaint yourself with the whole (sorry) saga here. 6 mins. ALC
 
•FOR SCENTIMENTAL REASONS (1949), 
 
For Scent-imental Reasons 
After PEPE LE PEW breaks into a perfume shop, the owner sends in a convenient female cat to remove the mal-d'amour-fou skonk. Winner of the 1949 Academy Award™ for best animated short. Prod Co: Warner Brothers Pictures. Credits: Dir:  CHUCK JONES. Wr: Michael Maltese. Anim: Ben Washam, Lloyd Vaughan, Ken Harris, Phil Monroe. 7 mins. NFVLS
 
•OLD MOTHER HUBBARD (1935),
 
I love bad celebrity caricatures, and if you want a bad celebrity caricature, Celebrity Pictures was the studio that could DELIVER! Yes, here's one of my favourite UB IWERKS cartoons, the inspiringly uplifting ("Cheer up - be a regularrrrr guyyyyyy!") OLD MOTHER HUBBARD. Natch, it's a take on the old poem about OMH and her dog, but turns it on its proverbial ear, making it strangely musical (or musically strange, if you prefer). Prod. Co. Celebrity Pictures. Dir/Anim: UB IWERKS. 6 mins. RM
 
•DARLING, DO YOU YOU LOVE ME? (1968),
 
 
                               Robert Whitaker                                The Good Doctor
Anti-romance comic opera from the freak margins of expat flower power. Bolshie brainiac & then-time fatal femme GERMAINE GREER is maybe type-cast in her role as unrelenting banshee harridan. Driving herself into a frenzy, demanding that her lover (Alister Burke) declare his affections, then pursues and assaults him with cries of "Darling, do you love me?" until he expires under her stranglehold. Sourced from MARTIN SHARP's OZ magazine strip of the same name. Lensed by OZ magazine co-founder and famous BEATLES photographer, BOB WHITAKER. 4 mins. ALC (note: iSOSceles, and others).
 
                          AND FEATURING:
 
•LOVE ME TONIGHT (1932),
 
While most directors in Hollywood were still attempting to adapt proscenium stage productions to movie musicals, Rouben Mamoulian was pioneering a fluid form of film operetta that has rarely been matched.
 
LOVE ME TONIGHT reprises Ernst Lubitsch’s previous pairing of French actor MAURICE CHEVALIER with singer-dancer JEANETTE MACDONALD - THE LOVE PARADE (1929) - in a romantic musical comedy in which Mamoulian’s innovative techniques revitalize a familiar storyline.
 
Poseur Chevalier, cast as the "best tailor in Paris", is out to collect a debt from a deadbeat Vicomte (CHARLIE RUGGLES), but carries off an aristocratic masquerade long enough to hotly pursue princess MacDonald - all to rapturous RODGERS and HART melodies, energetically rendered to catch the ear of the haughty royal.
 
The young director ROUBEN MAMOULIAN worked closely with songwriters RODGERS and HART, who were known for their clever and risqué lyrics. With its naughty jokes and double entendres, sex and seduction (a favoured MAMOULIAN theme) is the focus of the film. When the film was re-released in 1949, the Production Code Administration forced Paramount to remove some suggestive dialogue and lyrics; unfortunately, none of the excised scenes are known to have survived!
 
LOVE ME TONIGHT is MAMOULIAN's masterpiece, a magical film that unfolds like a beautifully choreographed dance. It is also the film that is noted for the first use of the zoom lens in cinema.
 
If you asked "noted authorities," critics, film writers, and just plain musical nuts to agree on the ultimate musical, LOVE ME TONIGHT will top nearly every list. They might prefer a Judy Garland vehicle, adore a BUSBY BERKELEY spectacular, sway to memories of Fred and Ginger, or become misty-eyed over a MacDonald-Eddy operetta, but it is LOVE ME TONIGHT that all musicals are measured to and from, like some kind of international film musical dateline. Unlike every other film hit, LOVE ME TONIGHT has no imitators because, well, it is inimitable.
 
Stage director Ruben MAMOULIAN had created a classic with his first film, APPLAUSE (1929), with HELEN MORGAN. He had done only two films since, CITY STREETS and DR. JEKYLL AND MR. HYDE, both in 1931. The latter won an Oscar
™ for Fredric March. Over the years, MAMOULIAN's stage successes included both Porgy (the drama) and PORGY AND BESS (the GERSHWIN opera), Marco Millions, OKLAHOMA! and CAROUSEL.
 
LOVE ME TONIGHT offers a top-notch cast and a superb original score by RODGERS and HART, each song advancing the story line. It represents the fusion of centuries of stage artistry and artifice with the unique infant, film. Like nearly every classic, its whole is greater than the sum of its parts. The characters are actually caricatures, two-dimensional representations of the stock stage personalities of operetta, yet the human qualities they mirror are so strong that we must identify with each of them. And, talk about funny, if you enjoy hilariousness (hilarity just doesn't seem to convey it), then you have to see this film.
 
The princess in the tower is a pathetic remnant of aristocracy, doomed never again to marry because there is no one left who is her social equal. (Compare this to the situation of predominantly female European royal houses after World War I, who could find no princes for their eligible daughters.) The commoner is a hard-working tailor, poor because the aristocracy cannot pay its bills (social unrest, Bolshevism, unionism - all forces of the 1930s). The three witches, or fairy godmothers of legend, are the maiden aunties in the tower, providing a Greek chorus of comment and response to the action. Add to this the irascible uncle, the booby suitor, the playboy comedian, and the nymphomaniac comedienne, all stock characters.
 
All these elements were brought together under the direction of a man with the strength of steel and the lightness of a flower, and called LOVE ME TONIGHT. Based on a play by Leopold Marchand and Paul Armont. Prod Co: Paramount Pictures. Prod/Dir: ROUBEN MAMOULIAN. Scr: Samuel Hoffenstein, Waldemar Young, George Marion, Jr. Phot: Victor Milner. Mus/Lyr: RICHARD RODGERSand LORENZ HART. Costm. Des: EDITH HEAD (uncredited). Starring: MAURICE CHEVALIER, Jeanette MacDonald, CHARLIE RUGGLES, Charles Butterworth, MYRNA LOY, C. AUBREY SMITH, GEORGE 'GABBY' HAYES. 89 mins. NFVLS

Note: If you'd like to join our "low-kilobyte", no-attachment
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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. & ScreenSound Australia ;) *
 
**********************************************************************
 
       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,
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          Generally Socially-Oppressed:    $6.00
      *annual and half-yearly memberships available on request
 
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#100 From: Splodgy Splodgeburger® <splodgeburger@...>
Date: Thu Dec 1, 2005 3:38 am
Subject: SPLODGE! NOTES: 1st. Mon. DECEMBER (05/12/05) <<< ALL MOD AND POP!!! •TONITE LET'S ALL MAKE LOVE IN LONDON (1967), •FANFARE SHORTS (c. 1965), •OPUS: NEW DIRECTIONS IN ART & DESIGN (1967), •THE SIXTIES (1970), •ANATOMY OF VIOLENCE (1967), •TONITE LET'S ALL MAKE LOVE IN LONDON (1967) 		splodgeburger
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ALL MOD AND POP!!! •TONITE LET'S ALL MAKE LOVE IN LONDON (1967), •FANFARE SHORTS (c. 1965),  •OPUS: NEW DIRECTIONS IN ART & DESIGN  (1967), •THE SIXTIES (1970), •ANATOMY OF VIOLENCE (1967), •TONITE LET'S ALL MAKE LOVE IN LONDON (1967)
        TONIGHT: STRICTLY MEMBERS-ONLY
   * MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT, 'THO *
                            DETAILS BELOW                
 
**********************************************************************
             SPLODGE! NOTES: 1st. Mon. DECEMBER (05/12/05)

                      splodgeburger@...
 
                ON THE FIRST MONDAY OF EVERY MONTH
 
                            "SPLODGE!"
 
                  a community FilmEdSoc project,
                WE CONTROL  THE CONTENT
 
**********************************************************************
      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
                      splodgeburger@...
 
     Note: If you'd prefer to receive our "low-kilobyte", no-pics,
              no-strings, no-attachments mailing list,
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**********************************************************************
                           4th.  Quartile
 
                           DECEMBER
                              AD  2005
 
                           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
 
                               TONIGHT! -
 
   ALL MOD AND POP!!!
 
•FANFARE SHORTS (c. 1965),
A showreel anthology of animated advertisements and public service films from the early to mid 1960's. Zippy and sophisticated animation at the service of commerce and public education. These cartoons provide a facinating insight into the social and cultural mores of '60s Australia. 9 mins. ALC
 
•OPUS: NEW DIRECTIONS IN ART & DESIGN  (1967),
Miniröcke in den Swinging Sixties
Miniröcke machten Mary Quant bekannt und wohlhabend.
Somewhat akin to TONITE LET'S ALL MAKE LOVE IN LONDON (1967), "A mod mosaic of the work of contemporary British artists, architects, composers, designers, sculptors & actors. Includes, besides sculpture, architecture & theatre, youth fashions, action painting, modern jewelry, ballet. Background sound ranges from musical to cacophonous!" (from the "Educational Film Locator"). It's beautiful to eye and ear alike; Tristram Cary provides some electronic audio, (he's got soundtracking credits on the earliest Dr Whos); Peter Brooks filming Marat/Sade. An impressionistic survey of the arts in Britain ranging from sculptors and painters at work to a display of Mary Quant fashions and vistas of modern architecture. The theatre is represented by excerpts from three plays staged by the Royal Shakespeare Company and there is a sequence from a new ballet by Sir Frederick Ashton. Some of the work of Henry Moore is seen as well as paintings by Francis Bacon. Includes a brief appearance by a very young Googie Withers. Plus a whole bunch else! A hoot. Prod Co: British Information Services. Prod: James Archibald. Dir: Don Levy. 29 mins. ALC
 
•THE SIXTIES (1970),
Kennedy on Berlin
Charles Braverman presents a collage of the events and personalities of the 1960s, both political and social. Including Brother Jack at the Berlin Wall, Martin Luther King on racism, some Vietnam demonstrations and, of course, The Beatles. Dir: Charles Braverman. 15 mins. ALC
 
•ANATOMY OF VIOLENCE (1967),
Amerikans are the global experts on violence, and here's four freaks-of-the-first-order to prove it! Allen Ginsberg (before he completely fried his brain with a popular chemical of the day), Paul Goodman (very cool cat, anarchist egghead), Herbert Marcuse (post-Wilhelm Reich egghead) and popular favourite, Black Panthers co-founder, Stokely Charmicheal!

This is the celluloid documentation of RD Laing's Dialectics of Violence Conference of 1967. Sculptors & actors. Includes - besides sculpture - architecture & theatre, youth fashions, action painting, modern jewelry, ballet. Background sound ranges from musical to cacophonous! ( - from the "Educational Film Locator"). This film presents several speeches on the relationship of violence to social reform. The speakers who took part in a Congress on the Dialectics of Liberation, held in London and sponsored by the Institute of Phenomenological Studies include: Allen Ginsberg (poet), Paul Goodman (editor of "Liberation" magazine), Herbert Marcuse (Professor of Philosophy, University of California) and Stokely Carmichael (former Chairman Student Non-violent Co-ordinating Committee), and others. Following the speeches, two social scientists evaluated the conference.  Prod Co: National Education Television Science. Prod/Dir: Peter Davis. 28 mins. ALC
 
(Shorts notes excerpts: acknowledgement Jim Knox)
 
                          AND FEATURING:
•TONITE LET'S ALL MAKE LOVE IN LONDON (1967), 
 Peter Whitehead's "pop concerto for film", which features the music of Pink Floyd, examines various aspects of Swinging London "of the sixties". Interviews include VANESSA REDGRAVE, MICK JAGGER, JULIE CHRISTIE, MICHAEL CAINE and painter DAVID HOCKNEY.
This 1967 documentary of the London scene in the swingingbv'60s is a visual treat for Mod enthusiasts everywhere. Featuring a Who'sWho of the scene, TONITE LET'S ALL MAKE LOVE IN LONDON is a visual patchwork of '60s culture, seen through the eyes of the people leading it. MICK JAGGER, MICHAEL CAINE, VANESSA REDGRAVE, LEE MARVIN, EDNA O'BRIEN, ALLEN GINSBERG, and JULIE CHRISTIE are all here, alongside counter-culture artists and other musicians who helped shape their generation, and future ones to come.
Most of the musical content comes in the form of extremely rare concert footage and inside-studio recording sessions, while other segments include candid interviews, strange political demonstration footage, and even a segment on the radical art of body painting! Yes, politics and sex are on the palette here as the psychedelic soundtrack from a very young Pink Floyd, swirls and pushes the film on towards the climax of it's brisk 70 minute running time.
Languishing in distribution-limbo for too long, TONITE LET'S ALL MAKE LOVE IN LONDON is a fitting testimonial to the changing times in the mid-60's and one that should be able to live on in the years to come for the young and old to look back on and enjoy.
Prod Co: Lorrimer Films Ltd. Producer, director, photograher, editor, Peter Whitehead. 69 mins. NFVLS.

Note: If you'd like to join our "low-kilobyte", no-attachment
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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. & ScreenSound Australia ;) *
 
**********************************************************************
 
       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*!
 
**********************************************************************
              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!
 
**********************************************************************
 
        For e-mail notification, spam your Subscribe-Request to:
                splodgefilms-subscribe@yahoogroups.com
 
                              or visit:
 
 
             or register* via snail-mail  (address below).
 
**********************************************************************
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                               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):
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#98 From: Splodgy Splodgeburger® <splodgeburger@...>
Date: Thu Nov 3, 2005 12:39 pm
Subject: SPLODGE! NOTES: 1st. Mon. NOVEMBER (07/11/05) <<< GIDDAP HOSS!!! •STAGECOACH (1939), • MOVIES ARE ADVENTURE (1949), •BLAZE GLORY (1 968), •SONG OF THE PRAIRIE (1951), • STAGEC OACH (1939) 		splodgeburger
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GIDDAP HOSS!!! •STAGECOACH (1939), •MOVIES ARE ADVENTURE (1949), •BLAZE GLORY (1968), •SONG OF THE PRAIRIE (1951), •STAGECOACH (1939)
Once every Seven years (and -thus - only once ever before in recorded history) a magical thing happens due to the precesssion of de planets an' all. Or, rather, to be precise, this thing DOESN'T happen.
It is (or isn't) that the November SPLODGE! doesn't fall on the eve of the Melbourne Cup!
So whadda we do for the November programme but go and schedule a night of horse pitchas! Brilliant! - That's using reverse scykology for ya!

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             SPLODGE! NOTES: 1st. Mon. NOVEMBER (07/11/05)

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                           4th.  Quartile
 
                           NOVEMBER
                              AD  2005
 
                           Monday 07th
 
             Registration:    7.30    -      8.00 pm

             Screening: >>>>> 8.00  (*EIGHT*!!!!)  pm <<<<<
 
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 GIDDAP HOSS!!!

 

•MOVIES ARE ADVENTURE (1949), 

  

Produced for the Academy of Motion Picture Arts and Sciences® by Universal Pictures, this promotional short involves a typical post-war American family's hallucinatory experiences whilst at the pictures. Also includes George Bancroft in a scene from STAGECOACH (1939); Edna Holland in a scene from CRISS CROSS; TIM HOLT in a scene from STAGECOACH (1939); Verna Kornman as The Mother; STAGECOACH (1939); BURT LANCASTER in a scene from CRISS CROSS; HAROLD LLOYD in a scene from SAFETY LAST; RICHARD LONG in a scene from CRISS CROSS; John McIntire in a scene from An Act of Murder; Meg Randall in a scene from CRISS CROSS; RUDOLPH VALENTINO in a scene from SON OF THE SHEIK; JOHN WAYNE in a scene from STAGECOACH (1939). Dir. Jack Hively. Wr: Grant Leenhouts (adaptation & additional dialogue), Wells Root (story). Featuring: Edmund Cobb as George, The Father (as Eddie Cobb); Warren Farlow as a little boy; Wayne A. Farlow as a little boy (as Wayne Farlow); Frank Ferguson as a man in a crowd; Off-Screen Narrator (uncredited) - Gerald Mohr. 10 mins. ALC

 

•BLAZE GLORY (1968),

Nutty EVIL ROY SLADE (1971) -ish Western parody, with the voice of Ted (ADDAMS FAMILY) Cassidy. 11 mins.  RM

 

•SONG OF THE PRAIRIE (1951), 


Amazing JIRI TRNKA animated puppet drama, in glorious colour, is the verisimilitude of a Hollywood western, replete with such amusing horse-opera stereotypes as the crusty old whisky-swilling stagecoach driver (a la GABBY HAYES), an evil, moustachioed ZACHARY-SCOTT-like villain, innocent heroines and singing heroes! An absolute delight! 15 mins. ALC

 
                          AND FEATURING:

•STAGECOACH (1938),

 

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~ 9PM -

The much-imitated classic which cemented the careers of both JOHN WAYNE and JOHN FORD ( - and the film ORSON WELLES screened repeatedly to study the art of cinema).

 

Under threat of Apache attack, a motley group of travelers in a small New Mexico town (including JOHN CARRADINE and Thomas Mitchell) board the Overland Stage bound for Lordsburg. Along the trail, they pick up the Ringo Kid (WAYNE), an outlaw who has escaped from prison to take revenge on those who destroyed his family and framed him for murder. As their journey progresses, the hypocrisy of the supposedly respectable passengers becomes clear, and it’s the tainted outsiders who display courage and humanity.

A perfect piece of film-making - each scene perfectly measured - the whole enterprise runs like clockwork. 95 mins. ALC

 


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Reply | Forward | Messages in this Topic (1)
#94 From: Splodgy Splodgeburger® <splodgeburger@...>
Date: Thu Sep 29, 2005 10:41 am
Subject: SPLODGE! NOTES: 1st. Mon. OCTOBER (03/10/05) <<< SALOONATICS!!! •JOHNNY GUITAR (1954), •THE GREAT TOY ROBBERY (1963), •RAYGUN'S NIGHTMARE (1982), •JOHNNY GUITAR (1954) 		splodgeburger
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SALOONATICS!!! •JOHNNY GUITAR (1954), •THE GREAT TOY ROBBERY (1963), •RAYGUN'S NIGHTMARE (1982), •JOHNNY GUITAR (1954)

                   YES, IT'S THE SPLODGE!

                            8th Birthday

                                SCREEING!

                    TONIGHT: STRICTLY MEMBERS-ONLY
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             SPLODGE! NOTES: 1st. Mon. OCTOBER (03/10/05)

                      splodgeburger@...
 
                ON THE FIRST MONDAY OF EVERY MONTH
 
                            "SPLODGE!"
 
                  a community FilmEdSoc project,
                WE CONTROL  THE CONTENT
 
**********************************************************************
      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
                      splodgeburger@...
 
     Note: If you'd prefer to receive our "low-kilobyte", no-pics,
              no-strings, no-attachments mailing list,
             just give us a "hoy" here at splodgeburger!
 
**********************************************************************
                           4th.  Quartile
 
                            OCTOBER
                              AD  2005
 
                           Monday 03rd
 
             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
 
                               TONIGHT! -
 
 
              SALOONATICS!!!!

•THE GREAT TOY ROBBERY (1963),

Enormously enjoyable, Avery-esque, freaky/hipster wild west 'toon. - A crazy mix of FLUKEY LUKE and DUDLEY DORIGHT. Prod Co: NFBC. Dir: Jeff Hale. 7 mins. ALC

 

•RAYGUN'S NIGHTMARE (1982),

A  Splodge! favourite, Peter (son of Eli) Wallach's rubber-suited, puppet delerium has President Raygun take on the meanest hombre East of the Pecos: Toyota Godzilla! Prod: David Jablin. Dir: Peter Wallach. 8 mins. ALC

 
                          AND FEATURING:

•JOHNNY GUITAR  (1954),

 

Vienna has built a saloon oustide of town, and she hopes to build her own town once the railroad is put through, but the townsfolk want her gone. When four men hold up a stagecoach and kill a man the town officials, led by Emma Small, come to the saloon to grab four of Vienna's friends, the Dancin' Kid and his men. Vienna stands strong against them, and is aided by the presence of an old acquaintance of hers, Johnny Guitar, who is not what he seems.Vienna has built a saloon oustide of town, and she hopes to build her own town once the railroad is put through, but the townsfolk want her gone. When four men hold up a stagecoach and kill a man the town officials, led by Emma Small, come to the saloon to grab four of Vienna's friends, the Dancin' Kid and his men. Vienna stands strong against them, and is aided by the presence of an old acquaintance of hers, Johnny Guitar, who is not what he seems.

 

When JOAN CRAWFORD arrived in Sedona in fall 1953 to shoot her new movie, JOHNNY GUITAR, she was one of the world's most glamorous stars. By the time she left, she had given her director morning sickness, littered Highways 89A/179 with her co-star's clothes, stolen dialogue written for her leading man - and, much to everyone's surprise - left us with the enduring work of art we celebrate today.

Fifty years ago, a production crew from Hollywood set up in Sedona to begin shooting JOHNNY GUITAR; 44 days later, they carried away the raw footage of a cowboy movie that eventually would be revered as a postwar cinematic masterpiece, a bold reflection on the darkening political storms of 1950s America - but only after first being reviled by critics - and even more vehemently by its own stars - as a garish, talky, incomprehensible mistake.

The story of the JOHNNY GUITAR company's visit to Sedona is as wild and wooly, as colorful and complicated as the movie itself proved to be; the saga of this famously troubled production is a real-life slice of film history with juicy ingredients equal to the most over-the-top movie melodrama: raging divas, jealousy, anxiety, star-struck locals, rejection and, ultimately, redemption.

In the shadow of Coffee Pot Rock in West Sedona (then called Grasshopper Flats), JOHNNY GUITAR's cast and crew assembled to begin work on Oct. 19, 1953. While their next six weeks in town would unfold into a steady stream of dramatic clashes, the project that brought them there was born from a series of business deals that could hardly have been cozier. JOAN CRAWFORD received the western novel by Roy Chanslor, a former newspaperman and "B" movie screenwriter (1943's TARZAN TRIUMPHS), before its May 1953 publication and snapped up the film rights. She later resold the rights to Republic Pictures with the stipulation she would star in the movie. JOHNNY GUITAR was thus delivered to Republic as a package deal by Lew Wasserman, the dictatorial president of MCA, which was then Hollywood's most powerful talent agency. MCA sewed up jobs for clients Crawford, Chanslor, director NICHOLAS RAY and screenwriter Philip Yordan to make the project happen. (MCA would get even mightier by buying Universal Pictures in 1962; Wasserman's personal power eventually would reach all the way to the White House, as he was an instrumental behind-the-scenes force in the political rise of his former client Ronald Reagan.) Naturally, the agency collected a 10% commission at every turn for its efforts.

Crawford was the key to the whole deal. To audiences of the '50s, a movie was only as enticing as its star, and JOHNNY GUITAR had one of the brightest. Today, most people think of Crawford as the notorious "Mommie Dearest," subject of the scandalous tell-all book written by her adopted daughter, Christina, in 1978. The memoir - turned into a campy 1981 film starring FAYE DUNAWAY - chronicled the alleged terrors Crawford's children endured at the hands of a ruthless, alcoholic, child-abusing mother more concerned with her own fading career and love affairs than their well-being and happiness. These revelations (which have been disputed by two of Crawford's other adopted children) now overshadow the achievements of her career, which stretched from 1925 to 1972.

Such skeletons in the closet were inconceivable for moviegoers in a pre-TV era when Crawford was the very definition of a movie star: beautiful, glamorous, sophisticated. In the eyes of her public, she was a goddess; behind the scenes, she had a reputation as a driven, ambitious perfectionist who was incredibly competitive. Paradoxically, she also could be warm and cordial - when she wanted to be.

Like all image-conscious movie queens, then and now, she retained contractual control over how she would be photographed. Before JOHNNY GUITAR's production began, she approved Oscar-winning director of photography Harry Stradling, cinematographer for classics such as EASTER PARADE in 1948 and 1964's MY FAIR LADY, in a contract rider dated Sept. 22, 1953. At the same time, she OK-ed the use of Republic's own overwrought "Trucolor by Consolidated" as his film process, a decision that unwittingly stamped the movie with a surreally stylized oversaturation of color. Combined with its '50s-style art direction, it gives JOHNNY GUITAR an intriguing, uniquely modern-looking "old West." Filmmaker JIM JARMUSCH (director of DEAD MAN, shot in Sedona in 1995) once called JOHNNY GUITAR "the only western that looks like it was shot inside a '50s ski lodge."

The man who called the shots, director NICHOLAS RAY, had just completed seven years under contract to HOWARD HUGHES' RKO Radio Pictures in 1953, and was searching for the creative freedom denied him while working for the eccentric billionaire. Ray had helmed a number of recent RKO hits, including FLYING LEATHERNECKS (1951) with JOHN WAYNE and THE LUSTY MEN (1952) with ROBERT MITCHUM. And Ray would spread his wings soon enough with his signature work, 1955's REBEL WITHOUT A CAUSE, the teen-angst drama that made a legend of James Dean.

Ray, who took no credit for it, co-wrote the JOHNNY GUITAR screenplay with Philip Yordan, whose career now sits under a bit of a cloud. During the McCarthy era, he worked as a "front," putting his name on scripts by writers who had been blacklisted as Communist sympathizers; the basement of his Paris home was often filled with exiled writers working in cubicles, churning out "Yordan" screenplays. Because of this, questions about which films he actually wrote dog his legacy; listed among his credits are 1951's DETECTIVE STORY with Kirk Douglas, and HOUDINI (1953) with Tony Curtis and Janet Leigh.

There seems little doubt, however, that Yordan co-wrote JOHNNY GUITAR. He and Ray discarded novelist Chanslor's draft of the script, which was more of a straightforward cowboy movie. Chanslor would go on to write another western novel with a lead female character, CAT BALLOU, which was made into a movie starring JANE FONDA in 1965.

In their re-write, the duo turned Chanslor's story inside out, coaxing from it an ambiguous study of character, emotional repression and mob mentality wrapped in the holsters of a "B"-movie sagebrush saga. They laboured on the script well into September 1953, and continued to tinker with it even during filming.

At its simplest level, the story is about Vienna (Crawford), a saloon/gambling-hall owner despised by the locals, who plans to build her own town once the railroad comes through. Vienna's lover, an outlaw known as the Dancin' Kid (Scott Brady), previously had spurned Emma (MERCEDES MCCAMBRIDGE), a venomous local cattle rancher. When the Dancin' Kid tries to rob the local bank before fleeing to California, Emma seizes the opportunity to get her revenge on both Vienna and the Kid. Meanwhile, Vienna's old flame, Johnny Guitar (STERLING HAYDEN), returns to protect her from the vengeful townspeople.

Ray assembled a first-class cast in Sedona to bring JOHNNY GUITAR to life: McCambridge, the 1949 Oscar winner as best supporting actress for ALL THE KING'S MEN, perhaps best known today for providing the voice of the demon in THE EXORCIST in 1973; Hayden, tagged "The Beautiful Blond Viking God" by Paramount Pictures' publicity department, who was returning to Sedona for the second of three westerns he would ultimately film here; ERNEST BORGNINE, who would win the Oscar as best actor for MARTY in 1955; character actor JOHN CARRADINE, who would appear in almost 250 movies over half a century; and WARD BOND, longtime member of legendary western director John Ford's repertory company.

Republic Pictures, a small studio known for churning out low-cost westerns, serials and action movies, was probably the last place anyone in Hollywood would have expected to find all this high-powered talent. Republic was formed in 1935 when Herbert J. Yates' Consolidated Film Laboratories merged with Mascot Pictures and Monogram Pictures in an attempt to corner the market for "B" movies. Monogram soon pulled out of the deal, but Republic thrived anyway, quickly establishing itself as king of the low-budget studios.

Headquartered at the old MACK SENNETT Keystone lot in Studio City, Calif. (renamed CBS Studio Center in 1963), Republic specialized in the crowd-pleasers it called "Jubilee Pictures," which were typically shot on a speedy seven-day schedule for an economical $30,000. But Republic also produced the occasional prestige film, which it released as "Premiere Pictures." Budgeted at $1 million and allowed an entire month to shoot, they were meant to give the studio a touch of class. Some of these "Premiere" productions are now considered classics, including ORSON WELLES' MACBETH (1950) and John Ford's THE QUIET MAN (1952). As for JOHNNY GUITAR, it's been reported that studio chief Yates told Yordan his only concern was that Crawford, his high-priced star, the former Queen of MGM, "be happy during filming."

It was during pre-production that it was decided location shooting would take place in Sedona, most likely because Republic already had a permanent western street set at its disposal there, built in 1946 for JOHN WAYNE's ANGEL AND THE BADMAN. The principals moved into the old Cedar Hotel (now the Cedars Resort on 89A), while the rest of the cast and crew bunked at a converted CCC Camp, re-christened the Sedona Lodge, where the King's Ransom Inn now sits, on Hwy 179.

All looked peachy to outsiders at the beginning, judging from a letter written by local resident Ruth Jordan, unearthed at the Sedona Heritage Museum, which provides one contemporary first-person account of how JOAN CRAWFORD handled herself in public during her time here. In Mrs. Jordan's view, Crawford became "a respected and beloved person in the little settlement of Sedona. For nearly a month she lived among us as neighbor and friend, talking with us, allowing her children to play with our local children - thus fitting herself and family into our community life.

"She came early in October so that she might have a few days vacation before starting work on JOHNNY GUITAR. She did not permit a publicity manager to come, for during those days she only wanted to live a normal life - dress in jeans, go to the stores, do her own shopping, pick up the mail, and be friendly with everyone, as is her natural disposition."

Mrs. Jordan described a chance meeting between Crawford and a young local birthday girl. "Here's something to start your bank account," she said, handing the child a folded $20 bill, "but I want to give you something personal, too," she added as she took a small vial of green grass perfume from her purse."

Early in production, unit manager John Grubbs suffered a heart attack and was admitted to Lawrence Memorial Hospital in Cottonwood; Crawford apparently paid the expenses for her own doctor in Hollywood to come to Sedona to check on his condition. But her own blood pressure, and those of most everyone else around her, was soon about to rise.

When filming began, Crawford was the consummate professional; always punctual and cooperative, whether reading dialogue when she wasn't in a scene or taking her place so the crew could set up lighting. In a scene filmed on a frigid Sedona morning, Vienna and Johnny had to escape a pursuing posse by wading in Oak Creek. Rather than using stand-ins, Crawford and Hayden completely submerged themselves under the freezing water. After calling "cut," Ray thanked his stars by giving them each a bottle of brandy and sending them back to the hotel to dry off.

In her letter, Ruth Jordan describes this Oak Creek scene: "While coats were being put around her, several spectators asked for permission to take pictures, which was allowed, even though she was shaking with the cold, and her teeth were chattering. Then, as she struggled up the rocky hill to dry clothes and warmth, one visitor even stopped her and asked for and received her autograph. It is easy to understand why her double, Sylvia LaMarr, has stayed with her eleven years, and thinks the world of Joan Crawford."

But for all the good will Ruth Jordan saw, others stuck around to recount a less wholesome story. The next scene was of McCambridge forcefully addressing a posse; on the third take she gave an impassioned performance that drew loud applause from the director and crew. (Ray later described McCambridge's portrayal of the nasty Emma as the screen equivalent of "sulfuric acid.") Intently watching the proceedings from the top of the hill was a livid, trembling, competitive Crawford, who turned and stalked away. Ray later recalled, "I should have known some hell was going to break loose."

McCambridge was Ray's choice to play Emma, not Crawford's; she preferred BETTE DAVIS, BARBARA STANWYCK or CLAIRE TREVOR for the role. But Republic was already paying Crawford $200,000 - a bankroll that could finance four "Jubilee" westerns - and couldn't justify another big salary.

Tensions between Crawford and McCambridge had been simmering almost since production began. In a curious twist on JOHNNY GUITAR's fictional story, McCambridge had been teasing Crawford because she was married to a former boyfriend of Joan's and took every opportunity to remind her of that fact. At the same time, McCambridge had been infuriated by rumors that Crawford was having an affair with Ray, assuming this would earn her preferential screen treatment; curiously, Joan suspected that Ray was giving Mercedes extra coaching on her role behind her back, giving her co-star a chance to upstage her. It probably didn't help matters that Crawford decreed McCambridge's hair had to be died jet-black to contrast with her own warm russet-brown.

The evening of the Oak Creek incident, Ray found his reeling star (Crawford biographer, Bob Thomas, wrote she had traveled to Sedona with 20 cases of vodka) at a gas station near their hotel, angrily yelling into the payphone. "Goddammit," she shrieked, "I want you to call the limousine service and have a limousine here for me first thing in the morning, get me out of here!" Ray also saw that Crawford had gone into the adjoining cabin at the Cedar where McCambridge was staying, removed her costumes and threw them all over the road. She eventually staggered back to the hotel and Ray quickly retrieved the strewn wardrobe.

The following morning, Ray switched cabins with McCambridge in a bid to separate the two actresses, but it didn't do much to cool down the situation; that afternoon Crawford demanded re-writes on the script, as well as five new scenes to beef up her part. Ray figured that making the changes Crawford had in mind would add about $600,000 to the film's budget; knowing full well that tight-fisted studio boss Herb Yates would hit the roof, Ray sent an urgent plea to Hollywood for help.

Scriptwriter Yordan was in Sedona the next day, having flown to Arizona with Joan's agent on a plane chartered by MCA chief Lew Wasserman. Crawford informed Yordan that Vienna was to be the lead role, and that she had a limousine ready to take her back to Los Angeles if she wasn't accommodated.

Yordan had been ordered by the studio to keep production going, so he agreed to Crawford's demands. Later, he went to Ray to report the outcome, reminding him that Wasserman would not stand for the movie to be canceled. So the script for JOHNNY GUITAR was reworked to soothe Crawford's objections; much of the dialogue originally written for STERLING HAYDEN was given to her character; as a result, Vienna became more aggressive, while the JOHNNY GUITAR character became softer and more ambivalent. The deal cost Republic $220,000 in added expenses.

Ironically, Crawford's power play would account for the film's most remarked upon characteristic: the kinky masculinity of the film's lead female characters and the passivity of its males.

The JOHNNY GUITAR set remained tense. Seeking publicity for the film, studio press agents arranged for a reporter from The Arizona Republic to come to Sedona to interview Crawford. Strict guidelines were set for the article; only Joan's chosen photographer would be allowed to take her picture, and The Republic couldn't run any shots unless she approved them first.

When Maggie Wilson, The Republic's reporter, arrived on the set from Phoenix on the pre-arranged day, Crawford's staff informed the writer that their boss had changed her mind about being interviewed, but would do it the following Tuesday.

Wilson had other plans. Her story ran as scheduled on Oct. 23, under the headline "That Trip Necessary? We Ask After Seeing Joan At Sedona" and was a sarcastic recounting of the star's rude behavior. Wilson never spoke to Joan, so she simply wrote about the "diva" attitude she encountered on the set. "Another trip to Sedona to see Joan on Tuesday is about the most unnecessary thing anyone can think of," she declared.

"So we won't be writing about what a sweet and gracious person The Star really is once you get past that lineup of cigarette-lighter-ers, door-closers, car-drivers, et c., who run interference for her.

"The rest of the cast is simply Sterling (as in Hayden) and untoWard (as in Bond) and they were Up as in set about Joan's Up as in staging."

Crawford was reportedly furious when the article came out, suspecting McCambridge was involved because of the praise lavished on Hayden and Bond. To counter this negative publicity, the studio placed a display ad in the rival Phoenix Gazette on Oct. 27, which said in part:

"We have worked with this great lady [Crawford] in a wide variety of circumstances, in often-times difficult and exhausting situations, at all hours of the day and night, and in all kinds of weather, and we are prepared to testify that if there is a more co-operative, charming, talented, understanding, generous, unspoiled, thoughtful, approachable person in the motion picture business, we have not met him or her."

Meanwhile, the production continued around town. The hidden waterfall entrance to the gang's hideout was shot at a tunnel on 89A, using water diverted from the Jordan farm's irrigation ditch on Oak Creek; the hideout itself was actually in West Sedona, with the two separate locations edited together to look seamless on screen.

Location shooting ended with Vienna's Gambling Hall, which was built close to the south side of the Twin Buttes at Little Horse Park, about four miles from town. Ruth Jordan, who, like most of Sedona's population, was present for that final evening's work, marveled at the scene, writing of "...the awe-inspiring sight of the rugged red butte illuminated by the powerful lights.

"The next hour was a very interesting one for spectators, and a very busy one for Miss Crawford. Once when the story called for a change of costume, she went quickly through the crowd expecting to find her car, but for some reason it wasn't parked in the usual place. She gave a quick glance around, but wasted no time in anger. She even missed a legitimate chance for a tantrum such as we have heard temperamental actresses are supposed to have, but with no ill-feeling, she gathered up that long full skirt with a hand at each side and started running down the trail without the benefit of even a flashlight. As she disappeared down the hill, it looked as though her hairdresser and wardrobe lady were hard put to keep up with her. In nothing flat she was back on the set dressed in a red shirt and blue jeans."

With location work completed, the company of 95 people returned to Hollywood for interior scenes at the studio. Crawford literally moved in when two large dressing room suites were combined to make a deluxe apartment for her; assisted by her personal staff, she slept and took her meals there every night. She also demanded the soundstage be kept freezing cold, despite protests from her coworkers.

"I don't even know what JOHNNY GUITAR was about, and making it was an extremely difficult time for me. I was at war with my then wife in the evenings and with JOAN CRAWFORD in the days. Joan was making hell for everyone on location, plus I was trying to play JOHNNY GUITAR and I can't play guitar and I can't sing." - STERLING HAYDEN, in a 1984 interview.

Crawford's wrath was not limited to McCambridge; she had Hayden's wife, Betty Ann, ejected from the set. Mrs. Hayden was later quoted as saying, "JOAN CRAWFORD hates all women, except those who can help her. If I ever see her again, I'll probably strike her in the face."

Word of the feuding started leaking to the press. According to Crawford biographer Bob Thomas, after LA Daily News writer Erskine Johnson printed an item in his "Hollywood Diary" about the banishment of Mrs. Hayden, he received a late-night telephone call:

"Is this Erskine Johnson?" a woman's voice inquired.

"Yes, it is."

"This is Joan Crawford. You're a shit." She then hung up.

An article in the LA Herald Examiner quoted Crawford as saying of McCambridge: "I wouldn't trust her as far as I could throw a battleship." McCambridge told the Hollywood Reporter's Mike Connelly, "JOAN CRAWFORD is a movie queen. I had never met one before. I know now what I don't want to be."

To what must have been everyone's relief, JOHNNY GUITAR finally completed principal photography in mid-December 1953, after shooting lasting 10 more days than Republic had scheduled.

JOHNNY GUITAR opened on May 27, 1954, to almost universally negative reviews. "It proves [Miss Crawford] should leave saddles and Levis to someone else," declared Variety. Yordan and Ray's script, it added, "becomes so involved with character nuances and neuroses, all wrapped up in dialogue, that [the picture] never has a chance to rear up in the saddle." The Hollywood Reporter described it "one of the most confused and garrulous outdoor films to hit the screen in some time."

Even so, JOHNNY GUITAR did well at the American box office, but was soon forgotten. Not so in France, where the young critics of Cahiers du Cinéma (several of whom would go on to make some of the most honored films as part of the '60s "New Wave") hailed JOHNNY GUITAR as a masterpiece. FRANCOIS TRUFFAUT raved it was "...dream-like, magical, delirious...a Trucolor Western from humble Republic can throb with the passion of l'amour fou or whisper with an evening delicacy." ERIC ROHMER proclaimed, "Ray is the poet of love and violence," and JEAN-LUC GODARD wrote, "there was theatre (GRIFFITH), poetry (MURNAU), painting (ROSSELLINI), dance (EISENSTEIN), music (RENOIR). Henceforward there is cinema. And the cinema is NICHOLAS RAY."

Over the years, American critical opinion of JOHNNY GUITAR has changed its tune. Constantly revived at film festivals, it is studied in film schools, has fan clubs and a loyal international cult following, and is shown regularly in museum programs; a restored print even was given a weeklong theatrical in New York City in 2003.

With the passage of time, the spirit of acrimony in which it was created just adds colour to the film's achievement. Of all the films

made in Sedona, it may be the most revered by film historians.

 

Dir: NICHOLAS RAY. Wr: Roy Chanslor (novel), Philip Yordan (screenplay), NICHOLAS RAY - uncredited. Cast: JOAN CRAWFORD; STERLING HAYDEN;MERCEDES MCCAMBRIDGE; SCOTT BRADY; WARD BOND; ERNEST BORGNINE; JOHN CARRADINE; PAUL FIX; DENNIS HOPPER (UNCREDITED). 110 mins. NFVLS


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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. & ScreenSound Australia ;) *
 
**********************************************************************
 
       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*!
 
**********************************************************************
              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
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                             commence!
 
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#92 From: Splodgy Splodgeburger® <splodgeburger@...>
Date: Thu Sep 1, 2005 2:06 pm
Subject: SPLODGE! NOTES: 1st. Mon. SEPTEMBER (05/09/05) <<< BUGS IN SPACE!!! •STARSHIP TROOP ERS (1997) 		splodgeburger
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BUGS IN SPACE!!! •STARSHIP TROOPERS (1997)

           - FEATURE OCCUPIES ENTIRE PROGRAMME

                    TONIGHT: STRICTLY MEMBERS-ONLY
   * MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT, 'THO *
                            DETAILS BELOW                
 
**********************************************************************
             SPLODGE! NOTES: 1st. Mon. SEPTEMBER (05/09/05)

                      splodgeburger@...
 
                ON THE FIRST MONDAY OF EVERY MONTH
 
                            "SPLODGE!"
 
                  a community FilmEdSoc project,
                      WE CONTROL THE CONTENT
 
**********************************************************************
      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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                           3rd. Quartile
 
                          SEPTEMBER
                              AD  2005
 
                            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
 
                               TONIGHT! -
 
 
                          BUGS IN SPACE!!!

•STARSHIP TROOPERS

  (1997), 129 mins.

 In the first (and finest) RoboCop movie (1987), director Paul Verhoeven combined near-future science fiction with a keen sense of social satire - not to mention enough high-velocity violence to satisfy even the most voracious bloodlust. In Starship Troopers, Verhoeven and RoboCop co-writer Ed Neumeier take inspired cues from ROBERT HEINLEIN's classic sci-fi novel to create a special-effects extravaganza that functions on multiple levels of entertainment.

The film might be called "Melrose Place in Space," with its youthful cast of handsome guys and gorgeous women who look like they've been recruited ( - and in some cases they were - ) from the cast of Beverly Hills 90210. Viewers might focus on the incredible, graphically intense action sequences (definitely not for children) in which heavily armed forces from Earth go to off-world battle against vast hordes of alien "bugs" bent on planetary conquest.

The attacking bugs are marvels of state-of-the-art special-effects technology, and the space battles are nothing short of spectacular. But Starship Troopers is more than a showcase for high-tech hardware and gigantic, flesh-ripping insects. Recalling his childhood in Holland during the Nazi occupation, Verhoeven turns this epic adventure into a scathingly funny satire of fascist propaganda, emphasizing Heinlein's underlying warning against the hazards of military conformity and the sickening realities of war. It's an action-packed joy ride - if that's what you're looking for, but Verhoeven has a provocative agenda that makes Starship Troopers as smart as it is exciting. Dir: Paul Verhoeven. Wr: Robert A. Heinlein (book), Ed Neumeier (screenplay). Mus: Basil Poledouris, Zoë Poledouris. Cast: Casper Van Dien, Dina Meyer, Denise Richards, Jake Busey, Neil Patrick Harris. mins. ALC

     FEATURE OCCUPIES ENTIRE PROGRAMME


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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. & ScreenSound Australia ;) *
 
**********************************************************************
 
       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*!
 
**********************************************************************
              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!
 
**********************************************************************
 
        For e-mail notification, spam your Subscribe-Request to:
                splodgefilms-subscribe@yahoogroups.com
 
                              or visit:
 
 
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    To exit the manual mailing list, or for general correspondence,
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                         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):
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   http://makeashorterlink.com/?S14B31403

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#90 From: Splodgy Splodgeburger® <splodgeburger@...>
Date: Wed Jul 27, 2005 2:44 pm
Subject: SPLODGE! NOTES: 1st. Mon. AUGUST (01/08/05) << < BIG WHEELS KEEP ON ROLLIN'!!! •THE ST RAIGHT STORY (2000), •THE MAD CANADIAN (1 976), •THE TEN TOWN ROCKET CAR (1960 -1963 ), •THE STRAIGHT STORY (2000) 		splodgeburger
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BIG WHEELS KEEP ON ROLLIN'!!! •THE STRAIGHT STORY (2000),  •THE MAD CANADIAN (1976), •THE TEN TOWN ROCKET CAR (1960 -1963), •THE STRAIGHT STORY (2000)
                    TONIGHT: STRICTLY MEMBERS-ONLY
   * MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT, 'THO *
                            DETAILS BELOW                
 
**********************************************************************
             SPLODGE! NOTES: 1st. Mon. AUGUST (01/08/05)

                      splodgeburger@...
 
                ON THE FIRST MONDAY OF EVERY MONTH
 
                            "SPLODGE!"
 
                  a community FilmEdSoc project,
                      WE CONTROL THE CONTENT
 
**********************************************************************
      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
                      splodgeburger@...
 
     Note: If you'd prefer to receive our "low-kilobyte", no-pics,
              no-strings, no-attachments mailing list,
             just give us a "hoy" here at splodgeburger!
 
**********************************************************************
                           3rd. Quartile
 
                              AUGUST
                              AD  2005
 
                            Monday 01st
 
             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
 
                              TONIGHT! -
 
 
               BIG WHEELS KEEP ON ROLLIN'!!!

•THE MAD CANADIAN (1976),

Better-known as the subject of the NFBC feature-documentary THE DEVIL AT YOUR HEELS (1981), ( - released on VHS video as THE LATE SHOW PRESENTS: THE DEVIL AT YOUR HEELS (1993) - ), daredevil stunt-man Ken Carter rises again in this rare 10 minute quickie, from the Usual Suspects at the NFBC. It’s a tense, tight close-up of stunt-man Ken’s role on the stock-car racing track. At 16 Ken Carter joined Joey Chitwood's "Congress of Canadian Daredevils". At 17, he was with "The International Hell Drivers". Risking life and limb to rocket a car from a ramp over a parked line of cars takes more than the will to make a living. Everything else involved is shown as the camera looks and listens while Carter prepares himself for his act and then makes his wild ride. Prod Co: National Film Board of Canada. Prod: Bill Brind. Dir: Robert Fortier. 10 mins. ALC

•THE TEN TOWN ROCKET CAR (1960 -1963),

Episode from the children's knockabout action adventure series THE ADVENTURES OF THE TERRIBLE TEN. The kids lived as an autonomous collective, without adults, in a settlement called 'Ten Town'.

In this episode, the winner of the Wallaby Creek Cup will win the favour of Lady Poynting, who is being pursued by a number of eligible suitors. To help out Mr. McGlurk, one of their number’s dad, the Terrible Ten build a rocket car. The only possible mix-up is with The Prof’s special rocket-starting fuel, which comes in soft-drink cans! Watch out for the SENNET’S ICE CREAM sign!

Originally aired on Channel 9, when re-aired in 1963 on the ABC, the national broadcaster re-jigged the episodes under the title THE TEN AGAIN. Filmed at Mount Macedon, Victoria. Prod Co: Pacific Film Productions. Prod: Roger Mirams. Dir: David (THE GREAT McCARTHY, 1975) Baker. Cast: Gavan Ellis, GARY GRAY, Susan(ne) Haworth, Lynda Keane, Rhonda Larter, Russell McDonald, Debbie McMillan, Joanna Mirams, David Morgan, Rodney Pearlman, MICHAEL SHMITH, Karen Trott. 12 mins. AAC. 12 mins. ALC

and featuring:

•THE STRAIGHT STORY (2000),

David Lynch comes up with his best movie in years, without a single severed body part or crime of passion.

Oscar™ nominated one-time movie stuntman RICHARD FARNSWORTH (RESURRECTION [1980])'s performance in this whimsical true account of an elderly man's long trek to see his estranged brother, a cross-country journey that he makes riding his own power lawnmower because he no longer can drive a car, is so natural, so emotionally touching that many picked it as the best of 1999.

Alvin, a poor World War II veteran who, when hearing his estranged brother has suffered a stroke, decides to travel across the American mid-West to visit him. Alvin is a reformed alcoholic who feels heavily the guilt of what his alcoholism cost his wife and family.

A magical road movie about human failure and human community, "The Straight Story" sees David Lynch forgo his usually dark and perverse examination of the libido and repression to instead concentrate on a story about human compassion and forgiveness. Lynch's remarkably restrained direction allows the dignity of the story to come through without sliding into sentimentality. In this he his assisted by an excellent production staff that includes cinematographer FREDDIE FRANCIS, production designer Jack Fisk, and editor Mary Sweeney.

In "The Straight Story", Lynch celebrates the rugged individualism of traditional rural American heroes, as represented by Western icon FARNSWORTH, but subversively suggests that this individualism must be tempered by the communal strengths of family, community and friendship. It may be a symptom of the degeneration of such values in contemporary Hollywood that Lynch had to rely on French and English money to finance this gentle and poetic road movie. 
    
Prod. Co: Le Studio Canal / Filmfour / Picture Factory.  Prods: Mary Sweeney, Neal Edelstein. Dir: DAVID LYNCH. Wr. Mary Sweeney, John Roach. Mus. ANGELO BADALAMENTI. Cast: SISSY SPACEK, RICHARD FARNSWORTH, HARRY DEAN STANTON, MAX THE WONDER DOG. 107 mins. ALC


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

 
          Minor programme changes may occur due to unforseen
                          circumstances.
        Feature runs last; shorts order may vary from listing.
 
                    *  Acknowledging  ACMI Inc. & ScreenSound Australia ;) *
 
**********************************************************************
 
       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*!
 
**********************************************************************
              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!
 
**********************************************************************
 
        For e-mail notification, spam your Subscribe-Request to:
                splodgefilms-subscribe@yahoogroups.com
 
                              or visit:
 
 
             or register* via snail-mail  (address below).
 
**********************************************************************
    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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#86 From: Splodgy Splodgeburger® <splodgeburger@...>
Date: Thu Jun 30, 2005 3:57 pm
Subject: SPLODGE! NOTES: 1st. Mon. JULY (04/07/05) <<< THE BODY ELECTRIC!!! •THE IRON GIANT (19 99), •BALLET ROBOTIQUE (1982), •MR KOUMAL INVENTS A ROBOT (1969), •Trailer –THE MYS TERIOUS DR. SATAN (1940), •TRON ( 1983), •T HE IRON GIANT (1999), 		splodgeburger
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THE BODY ELECTRIC!!! •THE IRON GIANT (1999),  •BALLET ROBOTIQUE (1982), •MR KOUMAL INVENTS A ROBOT (1969), •Trailer –THE MYSTERIOUS DR. SATAN (1940), •TRON (1983), •THE IRON GIANT (1999),
 
                    TONIGHT: STRICTLY MEMBERS-ONLY
   * MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT, 'THO *
                            DETAILS BELOW                
 
**********************************************************************
             SPLODGE! NOTES: 1st. Mon. JULY (04/07/05)

                      splodgeburger@...
 
                ON THE FIRST MONDAY OF EVERY MONTH
 
                            "SPLODGE!"
 
                  a community FilmEdSoc project,
                      WE CONTROL THE CONTENT
 
**********************************************************************
      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
                      splodgeburger@...
 
     Note: If you'd prefer to receive our "low-kilobyte", no-pics,
              no-strings, no-attachments mailing list,
             just give us a "hoy" here at splodgeburger!
 
**********************************************************************
                           3rd. Quartile
 
                                 JULY
                              AD 2005
 
                           Monday, 04th.
 
             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
 
                              TONIGHT! -
 
 
                     THE BODY ELECTRIC!!!

•BALLET ROBOTIQUE (1982),

A humorous entertaining look at the use of robots in American industry. Many of the robots movements are set to classical music and they are shown replacing humans in tedious and hazardous tasks. A perennial Splodge! favourite. Music played by the London Royal Philharmonic Orchestra. Prod Co: Pyramid Films. Prod/Dir: Bob Rogers. 8 mins. ALC

•MR KOUMAL INVENTS A ROBOT (1969),

Mr Koumal envisions a simple mechanical device to shine his shoes for him. But the more he works on it, the more complex it becomes, until he eventually creates a huge robot which becomes master instead of servant and forces Mr Koumal to shine its shoes. Prod Co: Kratky Films. Dir: GENE DEITCH. 2 MINS. ALC

 

•Trailer –THE MYSTERIOUS DR. SATAN (1940),

Around 1940, Republic Pictures was negotiating to film a screen-version of SUPERMAN™. A script was partially written, but talks with the copyright owners broke down and the screenplay was quickly adapted to become "The Mysterious Dr. Satan". The Man of Steel was replaced by a human hero - a masked fighter known as The Copperhead. The villain was retained, whilst reporter Lois Lane became reporter Lois Scott. The result was a cracking serial, dominated by a Science Villian to rival those we have running around today, - a marvelous performance by the great EDUARDO CIANNELLI (JOHNNY STACCATO).

The leading man, Robert Wilcox, was a dead loss, but his part came to life when he draped on the hood ("YOUR FATHER WANTED YOU TO HAVE THIS" – I think I’ve heard that somewhere before!), whereapon top stuntman David Sharpe took over for some great action.

This trailer is very well constructed and thrilling. Dr. Satan's "robot" is a bit of a hoot, but the fights are top class. We are recommended to watch "15 Shivering Shuddering Surprising Episodes"! Directed by serial geniuses, WILLIAM WITNEY and JOHN ENGLISH! 3.5 mins. RM

                              Plus Quickie Theatre returns! -

•TRON (1969),

This is an digest version of the feature-length film of the same name. It is a story about a whiz-kid computer programmer trapped inside a computer world where he is pitted against electronic foes. Featuring some very impressive computer-generated animation. Nominated for Best Costume and Best Sound in the 1982 Academy Awards™. Prod Co: Walt Disney Studios. Prod: Donald Kushner. Dir: Steven Lisberger. Cast: Jeff Bridges, DAVID WARNER and Bruce Boxleitner. 23:15 mins. ALC

and featuring:

•THE IRON GIANT (1999),

A loving homage to 'fifties science fiction movies, Brad Bird's animated THE IRON GIANT has a strong sense of that era's unerring innocence mixed with the looming paranoia of the unfamiliar 'other'.

 

Based on the 1968 children's story "THE IRON MAN" by British poet-laureate Ted Hughes, the film's archetypal story of fear and prejudice depicts the unusual friendship between a nine year old boy called Hogarth Hughes (voiced by Eli Marienthal) and a giant robot that mysteriously lands in small town Maine circa 1958. The town's suspicious adults greet the enigmatic visitor with open hostility, pushing the young boy into a protective role with the misunderstood giant. When nosy government agents descend upon the town in search of the robot, Hogarth begins to find hiding the car-eating giant a challenging task. Brad Bird laces this wonderful children's fantasy with a strong political parable about the cold war fear that permeated every aspect of American society and includes a hilarious cartoon version of the now infamous educational film DUCK AND COVER (1951). Prod Co: Warner Bros. Prods: Allison Abbate, Des McAnuff. Dir: Brad Bird. Cast: Jennifer Aniston, Harry Connick JR, Vin Diesel, CLORIS LEACHMAN, John Mahoney, M. Emmet Walsh, Christopher McDonald. 84 mins. ALC


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

 
          Minor programme changes may occur due to unforseen
                          circumstances.
        Feature runs last; shorts order may vary from listing.
 
                    *  Acknowledging  ACMI Inc. & ScreenSound Australia ;) *
 
**********************************************************************
 
       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*!
 
**********************************************************************
              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!
 
**********************************************************************
 
        For e-mail notification, spam your Subscribe-Request to:
                splodgefilms-subscribe@yahoogroups.com
 
                              or visit:
 
 
             or register* via snail-mail  (address below).
 
**********************************************************************
    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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Reply | Forward | Messages in this Topic (1)
#84 From: Splodgy Splodgeburger® <splodgeburger@...>
Date: Wed Jun 1, 2005 3:07 pm
Subject: SPLODGE! NOTES: 1st. Mon. JUNE (06/06/05) <<< THAT'S SHOWBIZ!!! •THE LOVE GODDESSES: A HI STORY OF SEX IN THE CINEMA (1965), •EDITH HEAD (1979), LIFE GOES TO THE MOVIES: THE 'FIFTIES: TELEVISION AND A NEW HOLLYWOOD (197 6), •THE LOVE GODDESSES: A HISTORY OF SEX IN THE CINEMA (1965) 		splodgeburger
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THAT'S SHOWBIZ!!!  •THE LOVE GODDESSES: A HISTORY OF SEX IN THE CINEMA (1965), •EDITH HEAD (1979), LIFE GOES TO THE MOVIES: THE 'FIFTIES: TELEVISION AND A NEW HOLLYWOOD (1976), •THE LOVE GODDESSES: A HISTORY OF SEX IN THE CINEMA (1965)
 
                    TONIGHT: STRICTLY MEMBERS-ONLY
   * MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT, 'THO *
                            DETAILS BELOW                
 
**********************************************************************
             SPLODGE! NOTES: 1st. Mon. JUNE (06/06/05)

                      splodgeburger@...
 
                ON THE FIRST MONDAY OF EVERY MONTH
 
                            "SPLODGE!"
 
                  a community FilmEdSoc project,
                      WE CONTROL THE CONTENT
 
**********************************************************************
      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
                      splodgeburger@...
 
     Note: If you'd prefer to receive our "low-kilobyte", no-pics,
              no-strings, no-attachments mailing list,
             just give us a "hoy" here at splodgeburger!
 
**********************************************************************
                           2nd. Quartile
 
                                 JUNE
                              AD 2005
 
                           Monday, 06th.
 
             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
 
                              TONIGHT! -
 
 
                     THAT'S SHOWBIZ!!!

•LIFE GOES TO THE MOVIES: THE 'FIFTIES: TELEVISION AND A NEW HOLLYWOOD (1976),

Part 4 in the LIFE GOES TO THE MOVIES series looks at the impact of television and the US courts' decisions to separate film-exhibition from production and distribution in Hollywood's film industry during the period up to the 'Seventies. The ‘50s were alternately characterized by the Eisenhower Administration, the nuclear threat, Cold War innuendo of McCarthy hearings, passivity of youth, automobile culture, civil rights activism and the flight to the suburbs. TV brought entertainment into the home and overnight halved weekly attendances at theaters. Hollywood fought back. The battle for audiences produced a new generation of Superstars, a proliferation of technological gimmicks, and a concentration on wide-screen epics and romantic dramas. Shows a series of film clips exemplifying the 1950's preoccupation with romantic love themes. Prod: Time-Life Films. Dir: Mel Stuart. Wr: RICHARD SCHICKEL. Narrated by Liza Minnelli. 28:30 mins. ALC

•EDITH HEAD (1979),

An interview with multi-award winning costume designer EDITH HEAD in which she discusses her career and presents some of the costumes she has designed for Hollywood legends including MAE WEST, JEAN HARLOW, GINGER ROGERS, DOROTHY LAMOUR, PAUL NEWMAN AND ROBERT REDFORD. Prod Co: Blackwood Productions/Sokal-Kerr Productions. Prod/Dir: Christian Blackwood (ROGER CORMAN: HOLLYWOOD'S WILD ANGEL (1977)), Charlotte Kerr. 28 mins. ALC

and featuring:

•THE LOVE GODDESSES: A HISTORY OF SEX IN THE CINEMA (1965),

   

"In a changing world, one thing remains constant. But sometimes the manner in which it is presented differs. And the treatment of sex on the screen has been a reflection of the customs, manners and morals of the times…" - from the introduction to THE LOVE GODDESSES.

Most people would probably prefer to have sex than learn why the Mesopotamians considered adultery to be a form of theft. There is, however, something to be said for "enjoying the ride" and not just for "achieving the destination". Thus, this teasingly demure journey documents amore through the ages with scholarly testimony, well-endowed statues, lascivious stars, and a few cheesy G-rated re-creations. The narration trips through ancient civilization ( - the Greeks didn't castigate people over their sexual orientations) to the early Eastern world ( - Chinese men were obsessed with holding on to their yang), to tribal Africa ( - where woman could take wives).

The story of THE LOVE GODDESSES is itself a history of sex in the movies, beginning with America still in the shadow of the Victorian Era and the movie-heroine bound by the same conventions as any young lady of society.

This brilliant documentary from Paul J. Turell, famous with Splodge! for his spiffing series, THE HISTORY OF THE MOTION PICTURE, chronicles the massive changes in women's sexuality on film, from the beginnings of the motion picture in silent cinema at the turn of the century, to the newfound frankness of the 1960s, with clips of more than 100 of the most beautiful and important actresses to ever have graced the silver screen.

Classic scenes are shown from the early romance, TRUE HEART SUSIE (1919), starring Lillian Gish, to LOVE ME TONIGHT (1932), blending sex and sophistication, starring Jeanette MacDonald ( - pre-Nelson Eddy), and  from Elizabeth Taylor in A PLACE IN THE SUN (1951), plus much, much more. Paramount Pictures’ stars are favoured, but, nevertheless, many of the great ladies of the silver screen are represented, and Turrel refreshingly casts his purview beyond the US, scoping HEDY LAMARR (as Hedwig Keisler), famously nude in ECSTASY (1933) – reputedly one of Adolph Hitler’s personal favourites - and that wanton Lulu - LOUISE BROOKS - also abroad on the Continent. There's even a sizeable chunk of EXPRESSO BONGO (1960), easily one of the most daring (and under-rated) flicks of its day — SYLVIA SYMS a love goddess? You bet!

Produced in 1965, LOVE GODDESSES is a wonderful collage of the manifold varieties of vamps, starlets, love goddesses, girls-next-door and sirens. See THEDA BARA, POLA NEGRI, LILLIAN GISH, GLORIA SWANSON, GRETA GARBO, MARLENE DIETRICH, ELIZABETH TAYLOR, GINGER ROGERS, RITA HAYWORTH, and even the child star SHIRLEY TEMPLE put their own indelible brand of love on the screen. It examines how, over the course of sixty years, women's sexuality has evolved, and played itself out in different arenas of cinema.

   

Our print runs for 77 minutes. However, this film originally ran for 86 minutes. So you can bet that some Percy Quill-type has souvenired some of the choicest scenes. We have run this print previously, and know - for a fact - that the montage of smoking scenes- a compilation of clips of vampish smoking by LOUISE GLAUM, NEGRI et al, is missing. LYA DE PUTTI sensually rolling an unlit cigarette between her lips. SWANSON exhaling in close-up, with smoke streaming unforced from her mouth. DIETRICH smoking provocatively. WEST sporting a holder. STANWYCK smouldering – all absent! PC gone MAD! We can only speculate as to  what else  is denied us in this truncated edition!

Oh yearh, and PERCY FAITH did the soundtrack! Check it out:

  

Windows Media Player Real Media Player
1. The Love Goddesses
ListenPreview Sample ListenPreview Sample
2. Cheesecake
ListenPreview Sample ListenPreview Sample
3. Marilyn
ListenPreview Sample ListenPreview Sample
4. Surrender
ListenPreview Sample ListenPreview Sample
5. The Vamp
ListenPreview Sample ListenPreview Sample

Prod: Gram Ferguson; Saul J. Turell. Theatrical Dist. Paramount Film Service Ltd. Dir: Saul J. Turell. Wr: Gram Ferguson; Saul J. Turell. Mus: PERCY FAITH. Featuring: AGNES AYRES; THEDA BARA; BRIGITTE BARDOT; RICHARD BARTHELMESS; INGRID BERGMAN; CLARA BOW; CLIVE BROOK; LOUISE BROOKS; HORST BUCHHOLZ; MAURICE CHEVALIER; MONTGOMERY CLIFT; CLAUDETTE COLBERT; GARY COOPER; BETTE DAVIS; LYA DE PUTTI; MARLENE DIETRICH; NORMAN FOSTER; CLARK GABLE; GRETA GARBO; LILLIAN GISH; LOUISE GLAUM; BETTY GRABLE; CARY GRANT; JEAN HARLOW; LAURENCE HARVEY; SESSUE HAYAKAWA; RITA HAYWORTH; BRIGITTE HELM; AUDREY HEPBURN; EMIL JANNINGS; RUBY KEELER; ANNETTE KELLERMAN; HEDY LAMARR; DOROTHY LAMOUR; CAROLE LOMBARD; SOPHIA LOREN; MYRNA LOY; JEANETTE MACDONALD; HERBERT MARSHALL; MAE MARSH; ADOLPHE MENJOU; RAY MILLAND; HAYLEY MILLS; MARILYN MONROE; NITA NALDI; POLA NEGRI; GREGORY PECK; DICK POWELL; ESTHER RALSTON; GINGER ROGERS; HEATHER SEARS; SIMONE SIGNORET; BARBARA STANWYCK GLORIA SWANSON; SYLVIA SYMS; ELIZABETH TAYLOR; SHIRLEY TEMPLE; LANA TURNER; RUDOLPH VALENTINOFANNIE WARD; MAE WEST; HENRY WILCOXON. Narrated by Carl King. 77 mins. NFVLS


Note: If you'd like to join our "low-kilobyte", no-attachment
Splodge!-lite mailing-list, just give us a "'hoy" here at
splodgeburger!
 
          Minor programme changes may occur due to unforseen
                          circumstances.
        Feature runs last; shorts order may vary from listing.
 
                    *  Acknowledging  ACMI Inc. & ScreenSound Australia ;) *
 
**********************************************************************
 
       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*!
 
**********************************************************************
              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!
 
**********************************************************************
 
        For e-mail notification, spam your Subscribe-Request to:
                splodgefilms-subscribe@yahoogroups.com
 
                              or visit:
 
 
             or register* via snail-mail  (address below).
 
**********************************************************************
    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):
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-From < Splodge! (ie., TO city):
   http://makeashorterlink.com/?S14B31403

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

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#83 From: Splodgy Splodgeburger® <splodgeburger@...>
Date: Thu Apr 28, 2005 3:10 pm
Subject: SPLODGE! NOTES: 1st. Mon. MAY (02/05/05) <<< THE LUSTY MONTH OF MAY!!! •THE GIRL NEXT DOOR (1999), •INSTANT SEX (1980), •LIFE GOES TO THE MOVIES: THE NEW MORALITY (1977), •THE GIRL NEXT DOOR (1999) 		splodgeburger
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THIS EDITION OF THE SPLODGE! NOTES ALSO CARRIES RECOMMENDATIONS FOR TWO FORTHCOMING EVENTS, WHICH WE HEARTILY ENDORSE:

1.) Super 8 Film Screening at the Cobra!, and

2.) Melbourne Culture Jammers Benefit gig - Saturday May 14th

SCROLL DOWN PAST ALL THE USUAL GUFF TO GET TO SCOPE THE DETAILS ON ALLA THIS OTHER BIZ! - THANKS, SPLODGE!

 

THE LUSTY MONTH OF MAY!!! •THE GIRL NEXT DOOR (1999), •INSTANT SEX (1979), •LIFE GOES TO THE MOVIES: THE NEW MORALITY (1977), •THE GIRL NEXT DOOR (1999)
 
                    TONIGHT: STRICTLY MEMBERS-ONLY
   * MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT, 'THO *
                            DETAILS BELOW                
 
**********************************************************************
             SPLODGE! NOTES: 1st. Mon. MAY (02/05/05)

                      splodgeburger@...
 
                ON THE FIRST MONDAY OF EVERY MONTH
 
                            "SPLODGE!"
 
                  a community FilmEdSoc project,
                      WE CONTROL THE CONTENT
 
**********************************************************************
      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
                      splodgeburger@...
 
     Note: If you'd prefer to receive our "low-kilobyte", no-pics,
              no-strings, no-attachments mailing list,
             just give us a "hoy" here at splodgeburger!
 
**********************************************************************
                           2nd. Quartile
 
                                 MAY
                              AD 2005
 
                           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
 
                              TONIGHT! -
 
 
             THE LUSTY MONTH OF MAY!!!

•LIFE GOES TO THE MOVIES: THE NEW MORALITY (1977),

We take a look at the life and career of MARILYN MONROE, as well as the movies of the ‘Sixties. Their language, sexuality and violence portrayed a new morality, unthinkable a decade earlier. Episode 5 in the series. Prod Co: Time Life Films. Prod: Mel Stuart, RICHARD SCHICKEL. Dir: Mel Stuart. Hosted by Henry Fonda, Shirley MacLaine and Liza Minnelli. 39 mins. ALC

•INSTANT SEX (1979),

A rather lonely man discovers, to his amazement, that his supermarket sells instant sex. He invests in the product with rather adverse results. Featuring: Old Man. Prod Co: Bob Godfrey Films. Dir: Graeme Jackson. Prod: Bob Godfrey. Anim: GRAEME JACKSON, Chris Rayment. Wr: Stephen Penn. Phot: Julian Holdaway, Robert Murray. Music, Peter Shade. Eds: Tony Fish, Peter Hearn. Voices: Bob Godfrey, Imogen Claire. 6 mins.

and featuring:

•THE GIRL NEXT DOOR (1999),

Director Christine Fugate and Stacy Valentine of Indican Pictures' The Girl Next Door
Director Christine Fugate and Stacy Valentine of Indican Pictures' The Girl Next Door - 2000

What does it take to be a porn star? And what does being a porn star do to the psyche? THE GIRL NEXT DOOR shows you (more than you may ever want to know) about the, ahem, glamourous business of the skin trade.

The subject of this humble documentary is Stacy Valentine (nee Stacy Baker), an Oklahoma housewife driven to amateur, soft-core photos by her white-trash husband. As many men soon discover, be careful what you wish for: Stacy loves it so much she flies to Mexico for a Hustler photo-shoot. Then it's on to Hollywood for a career in adult films.

Starring in such films as CAFE FLESH #2 (1992), NEW WAVE HOOKERS #5 (1995), and MY HORNY VALENTINE (1997) just can't be good for a person, (and, my, how that turns out to be true!) Stacy gets round after round of cosmetic surgery, explicitly shown to gruesome effect. Stacy goes to a hypno-therapist to help her feel better about herself. Stacy goes in and out of a relationship with a co-star. Stacy screws a rich Frenchman for the money, then rolls around in hundred dollar bills. All in the pursuit of what appears to be her main goal in life: recognition as a great porn actress.

We see Stacy's heartbreak when she doesn't win Performer of the Year at the (cheesy) Adult Video News Awards. We see her triumph when she wins Best American New Starlet at Cannes. She even calls her mom to tell her the great news.

Speaking openly about the psychological and physical hazards of her career, such as the impact of repeated cosmetic surgery, the threat of sexually transmitted diseases and her inability to sustain a loving, stable relationship, Valentine reveals her own ordinariness and the shallowness of the fantasies about women that drive the industry. Her gregarious personality, desires and all-American upbringing are conveyed with pathos, irony and humour by filmmaker Christine Fugate, who never attempts to justify Valentine's choices by framing them within pro-sex feminist theories of empowerment and subversion.

Fugate's portrait of Stacy, shot over 2 years, is like watching a multi-car wreck that gets longer and longer. She's obviously headed downhill in an eternal spiral, and despite her promise to go into a new career as a makeup artist, it's painfully obvious that it's never going to happen. The Girl Next Door is a rare cautionary tale that every aspiring actress (adult or no) should see. Prod Cos: Cafe Sisters Productions / Berns Brothers Productions. Prods: Eren McGinnis, Adam Berns, Christine Fugate. Dir: Christine Fugate. Mus: Denis M. Hannigan. Ed: Kate Amend, Christine Fugate. Cast: Stacy Valentine. 82 mins. NFVLS

 

Note: If you'd like to join our "low-kilobyte", no-attachment
Splodge!-lite mailing-list, just give us a "'hoy" here at
splodgeburger!
 
          Minor programme changes may occur due to unforseen
                          circumstances.
        Feature runs last; shorts order may vary from listing.
 
                    *  Acknowledging  ACMI Inc. & ScreenSound Australia ;) *
 
**********************************************************************
 
       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*!
 
**********************************************************************
              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!
 
**********************************************************************
 
        For e-mail notification, spam your Subscribe-Request to:
                splodgefilms-subscribe@yahoogroups.com
 
                              or visit:
 
 
             or register* via snail-mail  (address below).
 
**********************************************************************
    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! RECOMMENDS THESE FORTHCOMING EVENTS:
 
The Cobra Bar Presents
 
SSSSSSSSSSSSSSSSSSuper 8
(Don't say it, hiss it)
 
COBRA BAR
Upstairs @ The Tote, 71 Johnston St. Collingwood
 
Sunday, May 1 2005
7.30 pm start (approx.)/Free Entry!
 
Showing on 8mm Film:
 
THE TWILIGHT ZONE: AN OCCURRENCE AT OWL CREEK BRIDGE (1964)
Starring Roger Jacquet, Anne Cornaly, Anker Larsen, Stephane Fey, Jean-Francois Zeller, Pierre Danny and Louis Adelin. Hosted by Rod Serling. Written by Robert Enrico based on the short story by Ambrose Bierce. Directed by Robert Enrico.

A Confederate spy is about to be hanged when suddenly the rope breaks and he makes a spirited attempt to escape...

This stunning episode was not actually an official production of The Twilight Zone, rather a French short film which had gained critical acclaim at the Cannes Film Festival which would be purchased by the producers of The Twilight Zone, insuring the series' fifth season came in under budget. The original slightly longer French version of the film would go on to win an Academy Award for best short film.
 
 
UN CHIEN ADALOU (1929) aka AN ANDALUSIAN DOG
Possibly the most influential short film ever made Luis Bunel and Salvador Dali's Un Chien Andalou wastes no time trying to construct an even peripheral narrative. Just seventeen minutes of masterly, bizarre images and dream-logic. There's something gratifying in the fact that, in Bunuel's first film, Bunuel himself is practically the first thing we see. After he cuts open a woman's eyeball with a straight razor, we see him no more. A fine introduction.

A landmark achievement that prodded the medium forward even as it announced the zenith of the Surrealist movement.
 
 
THE WIZARD OF OZ (1939)
Condensed digest version of this seminal fantasy classic from director Victor Fleming.
 
Click Add to Cart to order
 
PLUS!
Cartoons, Trailers and other surprises!
 
Come along and enjoy a night of fine cinema in a relaxed, friendly and exotic environment....
 
AND
 
Melbourne Culture Jammers Benefit gig - Saturday May  14th MAY
 
Where: Trades Hall, Melbourne.
When: Saturday May 14th, 8PM - 2AM.
Who: Bohjass, Pink Stainless Tail, Old Des Peres, The Seedy Three and
The Adam Simmon's Toy Band! Cool!
How much: only $10!

There'll also be some cool door-prizes, comedians, and - of course - beer :-)

http://www.adbusters.org
http://www.maxcelcat.com/jammers/

Please forward. We now return you to your regularly scheduled program...
 
 


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#81 From: Splodgy Splodgeburger® <splodgeburger@...>
Date: Thu Mar 31, 2005 8:21 am
Subject: SPLODGE! NOTES: 1st. Mon. APRIL (04/04/05) <<< DEVIL TAKE US!!! • NIGHT OF THE DEMON (1958), • SEAHUNT: PRIMA DONNA, • SINBAD JR AND THE MASTER WEAPON, (~1966), • NIGHT OF THE DEMON (1958) 		splodgeburger
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DEVIL TAKE US!!! • NIGHT OF THE DEMON (1958), • SEAHUNT:  PRIMA DONNA, • SINBAD JR AND THE MASTER WEAPON, (~1966),  • NIGHT OF THE DEMON (1958)
 
                    TONIGHT: STRICTLY MEMBERS-ONLY
   * MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT, 'THO *
                            DETAILS BELOW                
 
**********************************************************************
             SPLODGE! NOTES: 1st. Mon. APRIL (04/04/05) 

                      splodgeburger@...
 
                ON THE FIRST MONDAY OF EVERY MONTH
 
                            "SPLODGE!"
 
                  a community FilmEdSoc project,

                      WE CONTROL THE CONTENT
 
**********************************************************************
      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
                      splodgeburger@...
 
     Note: If you'd prefer to receive our "low-kilobyte", no-pics,
              no-strings, no-attachments mailing list,
             just give us a "hoy" here at splodgeburger!
 
**********************************************************************
                           2nd. Quartile
 
                              APRIL

                              AD 2005
 
                           Monday, 04th.
 
             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
 
                              TONIGHT! -
 
                         DEVIL TAKE US!!!
 
• SEAHUNT:  PRIMA DONNA
(Special Guest Star: MARI BLANCHARD! - the one in the middle!)
LLOYD BRIDGES, AS MIKE NELSON! A movie company using Mike as an advisor needs his help when a planned torpedo blast traps the star and a Hollywood columnist onboard a sinking ship. And here's a picture of Mike -
 
 
• SINBAD JR AND THE MASTER WEAPON, (~1966),
This show stars the son of the famed sea adventurer, Sinbad, who gains superhuman strength whenever he draws power from his magic belt. He is assisted in his high seas adventures by his first mate Salty, the parrot.

Sinbad Jr. was initially produced for American International Television. Hanna-Barbera took over production from Sam Singer in 1966.

 
 
                                          and featuring:
 
• NIGHT OF THE DEMON (1958),
A stiff-necked debunker squares off against a devil-worshipper who can conjure honest-to-badness demons -- what you don't believe in can still rip your face off.   With a cheesy monster and some overly enthusiastic music cues!  However, it's not enough to completely bring down what is actually a GOOD movie.  It's a well-photographed, atmospheric spooker with good tension and a few surprises - it can even chill you, if you don't mind the rubber-mask monster.  It's a decent flick, and even the flawed parts are fun in their own way. ' love it! Prod Co: Sabre Film Productions/Columbia Pictures. Producer, Hal E. Chester ; director, Jacques Tourneur ; writer, Charles Bennett, Hal E. Chester ; photography, Ted Scaife ; music, Clifton Parker ; production design, Ken Adam. Note: Based on the story 'Casting the Runes' by Montague R. James. This is the American release version with title Curse of the demon.  Cast: Dana Andrews, Peggy Cummins, Niall MacGinnis, Maurice Denham, Athene Seyler, Liam Redmond. 82 mins. NFVLS
 

 

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. & ScreenSound Australia ;) *
 
**********************************************************************
 
       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*!
 
**********************************************************************
              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!
 
**********************************************************************
 
        For e-mail notification, spam your Subscribe-Request to:
                splodgefilms-subscribe@yahoogroups.com
 
                              or visit:
 
 
             or register* via snail-mail  (address below).
 
**********************************************************************
    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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Reply | Forward | Messages in this Topic (1)
#79 From: Splodgy Splodgeburger® <splodgeburger@...>
Date: Wed Mar 2, 2005 7:51 am
Subject: SPLODGE! NOTES: 1st. Mon. MARCH (07/03/05) <<< MINDLESS POSITIVISM!!! •SMILE (1975), •A DREAM COMES TRUE, aka QUEEN FOR A DAY (1949), •SMILE (1975), 		splodgeburger
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•SMILE (1975), •A DREAM COMES TRUE, aka QUEEN FOR A DAY (1949), •SMILE (1975)
 
                    TONIGHT: STRICTLY MEMBERS-ONLY
   * MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT, 'THO *
                            DETAILS BELOW                
 
**********************************************************************
             SPLODGE! NOTES: 1st. Mon. MARCH (07/03/05) 

                      splodgeburger@...
 
                ON THE FIRST MONDAY OF EVERY MONTH
 
                            "SPLODGE!"
 
                  a community FilmEdSoc project,

                      WE CONTROL THE CONTENT
 
**********************************************************************
      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 2005
 
                           Monday, 07th.
 
             Registration:    7.30    -      8.00 pm

             Screening: >>>>> 8.00  (*EIGHT*!!!!)  pm <<<<<
 
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•A DREAM COMES TRUE, aka QUEEN FOR A DAY (1949),
This single-item newsreel (AUSTRALIAN DIARY series) deals with the visit to Australia by American Beauty Queen, Mrs. Evelyn Mortensen of Hollywood and her Randolph Scott look-alike husband. Her trip, as winner of the the Don Lee Broadcasting Company's most popular TV show competition, "Queen For A Day", took in such sights as San Francisco, Hawaii, Fiji, Sydney, Brisbane, the Great Barrier Reef, Hobart, Adelaide and Melbourne. The typical "Australian Diary" series format is played so straight that, with this material, it verges on self-parody. Prod. Co: Australian National Film Board. Prod/Dir: Jack S. Allan (RED MENACE, 1952). 11 mins. ALC
 
                          and featuring:
 

•SMILE (1975),

  
 
   
 
  Movie Poster Image for Smile 

Some aspects of American culture make ideal targets for satirists like the media (Network, 1976) or politics (The Great Dictator, 1940) or even the American family (Lord Love a Duck, 1966). Beauty pageants, on the other hand, seem a little too easy to poke fun at but Michael Ritchie has found the perfect balance of irony and empathy in his 1975 satire, SMILE.
 
Focusing on the annual "Young American Miss" Beauty Pageant in Santa Rosa, California, Ritchie's dark and witty film charts the progress of some 25 teenage contestants over the course of several rehearsal days, culminating in a final evening competition. Among the young hopefuls are Robin "Miss Antelope Valley" Gibson (Joan Prather), who is a little bewildered by the whole ordeal, Doris "Miss Anaheim" Houston (Annette O'Toole), a hardened veteran of such events, and Maria Gonzales (Maria O'Brien), an aggressively competitive contestant whose specialty is the flaming baton. Just as crucial to the narrative are the organizers behind the scenes, particularly "Big Bob" Freelander (Bruce DERN), who owns the town's largest car dealership, and Brenda DiCarlo (BARBARA FELDON), a former Young American Miss herself.
 
Director Ritchie's approach to his subject matter in SMILE follows the same semi-documentary approach that made his other explorations of American culture so convincingly realistic - the world of competitive sports in the ski drama, DOWNHILL RACER (1969), and the creation, packaging and selling of a state senator in THE CANDIDATE (1972). Like both those films, SMILE is more interested in observing how the characters respond to and deal with competition, rather than who wins or loses. While there are plenty of humorous scenes where we do laugh at the contestants - a very bad, off key rendition of "Delta Dawn," an impersonation of Lily Tomlin's Ernestine creation - the director also enlists our sympathies for them through intimate scenes where they reveal their fears and skepticism. In one telling scene, Doris explains her philosophy to Robin, "Boys get money and scholarships for making a lot of touchdowns, right? Why shouldn't a girl get one for being cute and charming?" Robin ponders this for an instant before responding, "Yeah, but maybe boys shouldn't be getting money for making touchdowns." Equally memorable is this opening argument between the judges that sets the tone for the entire film.
1st judge: "Packing a suitcase? What the hell kind of talent is that? I can pack a suitcase."
2nd judge: "It's the only thing she can do without falling off the stage."
3rd judge: "She is cute. I kinda like the nightie joke."
1st judge: "That's exactly the kind of stuff they hate at the finals. They're not looking for sex."
2nd judge: "Everybody's looking for sex."
 
In contrast to the often naive contestants are the jaded adult organizers and sponsors who have experienced their own share of disappointments over the years. The eternally optimistic "Big Bob" admits to his best friend Andy (Nicholas Pryor) in a rare moment of candor, "I just learned a long time ago to accept a little less from life, that's all." Meanwhile, his son, "Little Bob" is sneaking around taking nude snapshots of the teenage contestants to show his school friends. Another subplot involves Andy's slide into alcoholism and dissatisfaction with his perfectionist wife, which reaches a black comedy climax when he puts a gun in his mouth and threatens suicide. His wife's callous remark from the next room, "If you're doing anything to mess up my clean rug...." prompts him to turn the gun on his real problem - a scene that prefigures the dark humor of more contemporary satires like American Beauty (1999).
 
One aspect of SMILE that makes it particularly interesting today is the offbeat casting - choreographer Michael Kidd in a rare film appearance as a celebrity judge, Melanie Griffith and Colleen Camp as competing contestants, and, of course, BRUCE DERNin a surprising change of pace performance from his usual psycho role. Ritchie's use of music - The Beach Boys' "California Girls," Ringo Starr's "You're Sixteen," and NAT KING COLE's "SMILE" - is equally inspired, often commenting on the sequence at hand.
 
In preparing for SMILE, Ritchie mentioned Milos Forman's The Fireman's Ball (1967) as an inspiration but you can also see traces of Preston Sturges's barbed humor in the mix, as well as the model for Christopher Guest's cult comedies (Waiting for Guffman, 1996, Best in Show, 2000), which follow a similar documentary-styled approach.
SMILE was well received by most critics when it opened theatrically but sunk without a trace after a week's run in most major cities. Regardless, the film holds up surprisingly well today and is still worthy of this rave review in The New York Times by Vincent Canby: "...a rollicking satire that misses few of the obvious targets, but without dehumanizing the victims. It's an especially American kind of social comedy in the way that great good humor sometimes is used to reveal unpleasant facts instead of burying them...SMILE, which is Mr. Ritchie's best film to date (better than DOWNHILL RACER (1969) and THE CANDIDATE (1972), questions the quality of our fun, while adding to it."
 
And, yes, there IS a Brian Wilson "connection":  the SMILE soundtrack includes the Beach Boys 'California Girls', - and WHAT A GREAT SOUNDTRACK IT IS! Apart from Nat 'King' Cole singing SMILE (by Charles Chaplin) over the titles, the SMILE soundtrack includes the above, Neal Sedaka's 'You're Sixteen, You're Beautiful and You're Mine ' and much more!
 
Prods: Michael Ritchie, David V. Picker, Marion Dougherty.Dir: Michael Ritchie. Scr: Jerry Belson. Phot: CONRAD L. HALL. Ed: Richard A. Harris. Mus: Charles Chaplin, LeRoy Holmes, Daniel Orsborn, Will Schaefer. Cast: BARBARA FELDON- Brenda DiCarlo, BRUCE DERN- Big Bob Freelander, Michael Kidd- Tommy French, GEOFFREY LEWIS- Wilson Shears, Annette O'Toole- Doria Houston (Miss Anaheim), Maria O'Brien- Maria Gonzales, Nicholas Pryor- Andy DiCarlo, Eric Shea- Little Bob Freelander, Joan Prather- Robin Gibson (Miss Antelope Valley), Colleen Camp- Connie Thompson (Miss Imperial County), Melanie Griffith. 113 mins. RM

 

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#77 From: Splodgy Splodgeburger® <splodgeburger@...>
Date: Sat Feb 5, 2005 1:05 am
Subject: SPLODGE! NOTES: 1st. Mon. JANUARY (07/01/05) <<< !!! •MOST DANGEROUS MAN ALIVE (1961), •KATE AND ANNA MCGARRIGLE: A PORTRAIT (1981), •JAIL BAIT (1937), •MOST DANGEROUS MAN ALIVE (1961) 		splodgeburger
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•MOST DANGEROUS MAN ALIVE (1961), •KATE AND ANNA MCGARRIGLE: A PORTRAIT (1981), •THE GOLD GHOST (1934), •MOST DANGEROUS MAN ALIVE (1961)
 
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             SPLODGE! NOTES: 1st. Mon. JANUARY (07/01/05) 

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                ON THE FIRST MONDAY OF EVERY MONTH
 
                            "SPLODGE!"
 
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                           1st. Quartile
 
                              JANUARY 

                              AD 2005
 
                           Monday, 07th.
 
             Registration:    7.30    -      8.00 pm

             Screening: >>>>> 8.00  (*EIGHT*!!!!)  pm <<<<<
 
                   TONIGHT: STRICTLY MEMBERS-ONLY

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                            TONIGHT! -
 
•KATE AND ANNA MCGARRIGLE: A PORTRAIT (1981),
In honour of their current tour abouts this town, we look back at the kooky '70s folk-rock sisters from Quebec, as they undertake their assault on Carnegie Hall. Includes many of their best toe-tapping hits. Prod Co: National Film Board of Canada. Prod: Derek Lamb. Directed by Caroline Leaf. 28 mins. ALC.
 
•THE GOLD GHOST (1934),
Dumped by his girlfriend, Buster drives west and winds up in a ghost town called Vulture City, where he appoints himself sheriff. Also stars Dorothy Dix, William Worthington and Lloyd Ingraham. Written by Ewart Adamson and Nicholas T. Barrows.  Prod Co: Educational Films Corporation of America.  Prod: E.H. Allen.  Dirs: Buster Keaton, Charles Lamont. 21 mins. ALC 

 and featuring:

 
•MOST DANGEROUS MAN ALIVE (1961),

A gangster framed for murder escapes from the police, and ends up on the site of an explosion of a new nuclear bomb. As a result his body combines with steel to make him unkillable, and he seeks out the men who framed him.
 
Deliberately paced at first, MDMA picks up steam and is a better than your average blend of hoodlums, fast cars, loose women & sci-fi.
Aussie-born actor Ron Randell is believable as a radioactive freak of nature who is bent on re-establishing relationships with his women and setting the record straight with his one time gangster 'friends'. The tough guy treatment of women in MDMA, and Randell's 'romance' with Debra Paget goes beyond the typical 1950s screaming 'scared' teenagers.
 
MDMA is nostalgic fun, boasts some mean looking thugs, like Anthony Caruso, and is reminiscent of films like THE INDESTRUCTABLE MAN (1956) or MAN MADE MONSTER (1941), but packs its own punch as a solid B picture of the 1960s.
 
This two dimensional comic book has enough laffs – and great cars! – to make it fun, but it is pulp. (In this post-Tarantino world, terms like 'pulp' and 'B-movie' have elided into a generalised form of slumming, which is unfortunate, as mere cheapness can result in both the lizard-brain clichés trotted out here or an ingenuity-within-constraints-of-a-low-budget gem like Murder By Contract).
 
Basically, The Most Dangerous Man Alive is an updated Frankenstein, and this is what makes it interesting (there's even an 'Igor' at the controls of the electrical apparatus at one point). The set-up sees hood Eddie Candell (Aussie Ron Randell, in a euphonious döppelganger that seems to have influenced him to change the pronunciation of his own name, which originally rhymed with 'candle') escaping from jail into the desert where a nuclear test morphs him into a 'man of steel'.
The film is framed by the repetition of a line by the ubiquitous boffin-in-a-lab-coat who reminds us to pay homage to 'the laws of nature'. "We have seen the dark side of the moon", he adds, to underline the sense of no going back in post-nuclear America. As the original Frankenstein lamented secular science's ascension after the Death of God, so here the angst is moral. Science in the atomic age has once again out-stripped humankind's calculus of reason and ethics, and is embodied in an indestructible gangster.
 
Or is he? As in the original Frankenstein, Crandell is often portrayed as a sympathy figure, a victim of the science that has created him against his wishes, intent being a crucial determinant in this liberal-humanist universe.
 
Naturally the love of a good woman brokers his inevitable undoing, in what amounts virtually to a tug-of-love between Elaine Stewart's Carla and the agencies of institutional America, which briefly try to salvage the threatening force's inner humanity before accepting that only the National Guard (replete with flamethrowers!) can provide the answer. A pile of dust (pardon the symbolism) is the inevitable result.
 
MDMA actually looks better on the small screen, where its over-lit TV production values belong. Typical of low budget movies, it gets away with more, and there is a surprising abundance of lascivious nightwear from both Paget and Stewart, the flipside of which is an unpleasantly vivid near-rape scene later.
 
At the climax of this, his last film (actually completed in 1958), elderly swashbuckler Allan Dwan throws all discipline to the four winds in a location identical to Border Incident's 'Valley of the Vultures', where the film's genre discipline collapses into a smorgasbord of Western, military and even 'ant movies' that culminates in immolation a la a poor man's White Heat ("you can’t stop me", mumbles Candell/Randell in the flames).
 
Shot in Mexico, Dwan's final film is this mournful story of a gangster (Ron Randell) who gets caught in a cobalt explosion when he's escaping from prison, and who becomes a man of steel. He sets out to revenge himself on all his enemies. With Elaine Stewart and Debra Paget as the women in his life, current and former. As tough as flint, as beautifully engineered as the best of Dwan's films, this is B filmmaking at its best.
 
The script was, in part, written by another Aussie expat, MICHAEL PATE, who occasionally dabbled in screenwriting, and also collaborated on the script for Escape from Fort Bravo (1953).
Is it any wonder then that Wim Wenders, in his 1982 critique of filmmaking, The State of Things, would have a (fictional) film crew in Mexico remaking no less singular a flick than... The Most Dangerous Man Alive?
 
Prod. Benedict Bogeaus. Dir. Allan Dwan. Wr: Phillip Rock (story: The Steel Monster) and MICHAEL PATE (story: The Steel Monster), James Leicester and Phillip Rock. Mus. Louis Forbes. Phot: Carl Carvahal. Ed:Carlo Lodato. Snd: Joe Kavigan (sound editor). Cast: RON RANDELL (Eddie Candell); DEBRA PAGET (Linda Marlow); Elaine Stewart (Carla Angelo); Anthony Caruso (Andy Damon); Gregg Palmer (Lt. Fisher); MORRIS ANKRUM (Capt. Davis); Tudor Owen (Dr. Meeker); Steve Mitchell (Devola); Joel Donte (Franscotti). 82 mins. NFVLS

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          Minor programme changes may occur due to unforseen
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        Feature runs last; shorts order may vary from listing.
 
                    *  Acknowledging  ACMI Inc. & ScreenSound Australia ;) *
 
**********************************************************************
 
       ADMISSION IS RESTRICTED TO  MEMBERS FOR THIS PROGRAMME

         
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#73 From: Splodgy Splodgeburger® <splodgeburger@...>
Date: Fri Dec 3, 2004 4:39 pm
Subject: SPLODGE! NOTES: 1st. Mon. DECEMBER (06/12/04) <<< INFLATOMANIA RISES AGAIN!!! •MASTER OF THE WORLD (1961), •CHALLENGE OVER THE ATLANTIC (1979), •THE BALLOONATIC (1923), •MASTER OF THE WORLD (1961), <<< INFLATOMANIA RISES AGAIN!!! 		splodgeburger
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•MASTER OF THE WORLD (1961), •CHALLENGE OVER THE ATLANTIC (1979), •THE BALLOONATIC (1923), •MASTER OF THE WORLD (1961), <<< INFLATOMANIA RETURNS!!!

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                          surroundings!

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                           4th. Quartile

                              DECEMBER
                              AD  2004

                           Monday, 06th.

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

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                     INFLATOMANIA RISES AGAIN!!!

•CHALLENGE OVER THE ATLANTIC (1979),
In 1979 Ben Abruzzo, Maxie Anderson and Larry Newman flew a hot-air balloon, the Double Eagle II, across the Atlantic from the U.S.A. to France, succeeding where hundreds had failed.The factors that enabled them to succeed are those required to achieve superlative goals in any field. Includes interviews with the men, who discuss their philosophies on setting goals,surmounting challenges, teamwork and superior performance. Prod Co: ABC Sports/Vantage Communications. 15 mins. ALC.


•THE BALLOONATIC (1923),
A discontinuous series of gags begins in an amusement park (where Buster accidentally gets on top of a hot-air balloon) and ends above a waterfall. When he shoots himself out of the sky, he lands near a stream filled with fish. Nearby, a young nature woman is camping. Buster and Phyllis endure a number of outdoor adventures trying to prove to each other their survival skills.


Funny scenes follow, which contain among other things, bears, burning canoes, and waterfalls. Eventually, the warm enmity between Buster and his companion blossoms into romance and, later, the balloon which landed Buster in the wilderness proves useful as their canoe is about go over afore-said waterfall. Cast: BUSTER KEATON, Phyllis Haver. Prod: Metro-Goldwyn-Mayer. Directors, writers: BUSTER KEATON, Eddie Cline. 21 mins. NFVLS.

                              and featuring:

•MASTER OF THE WORLD (1961),

Vincent Price is Master of the World! (By Palaeogothica)

 


Well, perhaps the title of this article is a bit of a hyperbole, but Vincent Price is one of the most well known and beloved celebrities ever to have graced the silver screen. Known primarily for his horror roles, especially in a series of Edgar Allan Poe adaptations and other films for American International Pictures, Price was a true Renaissance man. In fact, horror films comprised less than a third of his total film output! Between films, Price was a noted appreciator of American art and poetry as well as a chef and author of numerous cookbooks (his leather-bound Treasury of Great Recipies is perhaps the ultimate Gothic kitchen item). But with regards to film, Price did comedy, romantic leads and starred in several Science Fiction films, including 1958's original The Fly and Return of the Fly. One of these Sci-Fi films was the Jules Verne adaptation which led to the bombastic title of this article, Master of the World.

In Master, released in 1961, Price starred as Robur, the infamous conquerer of the sky and aeronautic equivalent to Captain Nemo. Opposite Price, Charles Bronson played (barely) U.S. Agent of the Interior John Strock, Henry Hull played balloonist and arms manufacturer Mr. Prudent, Mary Webster played his daughter Dorothy Prudent, and David Frankham played her gentlemanly fiance Philip Evans.

 

The story line is a fusion of several Verne books, including 1886s Robur the Conqueror, 1896s Clipper of the Clouds, and 1904s Master of the World. After a mysterious booming voice sounds over Pennsylvania's Great Eyrie (it was North Carolina in the book) government agent Bronson hires aeronaut Henry Hull to help him investigate. While sailing over the crater in one of his hot air balloons, the investigators are shot down and taken prisoner by the enigmatic Robur (Price) and held captive, 20,000 Leagues style, aboard his futuristic airship the Albatross.

While some careless reviewers have described this film as a thinly disguised, low-rent remake of the earlier Disney movie, most of Master of the World’s similarities to 20,000 Leagues Under the Sea are attributable to Verne himself. Though the great success of Disney’s film undoubtedly helped get this one made, the Robur stories were, in reality, harmless examples of Jules Verne plagiarizing himself late in his career. One scene in particular illustrates what’s wrong with Master of the World. At one point, Charles Bronson and another fellow find themselves dangling precariously beneath the airship on ropes, thousands of feet above the open sea. This ought to have been a thrilling moment (and even as it stands it’s probably the most memorable scene in the film). Inexplicably however, the sequence is played for laughs rather than for thrills. The (somewhat bogus) aerial footage is intercut with the zany antics of ethnic comedian Vito Scotti, bumbling in the kitchen. Now, the 20,000 Leagues approach would have segregated all of the funny business into designated comic relief sequences, and the Around the World methodology would have given the entire picture a light, comic tone, so that the clowning wouldn’t have stuck out so bad. As it is, we end up with a Fireside picture too silly to be taken seriously and too somber to be funny.

The first thing one has to admit is that the plot is heavily influenced by Disney's famous 20,000 Leagues Under the Sea - The United States government sends a group of people to investigate mysterious goings on. They soon become prisioners aboard a mad scientist's amazing craft and confront his insane plan to rid the world of violence through this same craft. In the end, the mad scientist's zeal proves to be his undoing. When compared to 20K, Master of the World has both its hits and its misses.

First the misses: produced by American International and directed by the great B-movie maestro WILLIAM WITNEY (of Republic serials fame!), the cost that went into Master was terribly low. About the only thing that is really worth its weight is the fantastic Albatross flying machine, a design easily the equal of the Nautilus in Disney's production. The sets look cardboard, though this is amusingly explained by a characteristic of the Albatross... The walls look like paper becuse they ARE paper, compressed and glued to a stiff building material to help make the airship lighter.

The Albatross, however, sails across clumsy stock footage vistas. I don't know where they pulled this footage from, but at least they could have checked it out first. London at the height of the Victorian era looks suspiciously like London at the height of a previous female monarch's reign... the Elizabethan era. Blue screen is par for the time, but much of the acting isn't any less flat. The players are all subdued, and Bronson is practically a maniquin. Only Price is able to really affect anything, that is only by the strength of his natural charisma.

So why bother watching this movie? Where this movie gets a hit on 20K is the script. Written by RICHARD MATHESON (The Incredible Shrinking Man, The Omega Man / "I Am Legend", The Devil Rides Out), the story of Master is far more ambiguous and therefore compelling than Disney's counterpart. The Disney story is fairly simple: Nemo is plainly rendered mad by grief, Professor Arronax swings from scientific sympathy to moral outrage, and Ned Land and Conseil are just along for the ride. Master isn't quite so simple.

While the romantic interest and her rather reprehensible arms-dealing blowhard of a father are your average stock characters, their companions are not. Strock is a suspicious character... Beyond his secret machinations which we are privy to but the other characters are not, he still manages to confound the viewer when one thinks more deeply about him. He claims that he is all for Robur's plan to bring peace, but that he merely disagrees with his methods. Is this so? After all, Strock is an agent of the United States government and thus his loyalty is to that government. Strock also tries to galvanize his allies by saying that Robur is a threat to the world... But Robur is not a threat to the world, merely its governments and armies and especially the American government. Is the cardboard Charles Bronson really a master manipulator of all around him? Could Strock be using obfusicating and passionate rhetoric for his own purposes? Would the American government ever do that?! Noooooooooo...

Then there is the fiance, a gentleman's gentleman. He is the idealist who lives by his codes of proper conduct. He is forthwright, two-fisted, polite but steadfast. For a while, at least. Jealousy and the demands of the "real world" see him become unhinged as Strock is stealing his girl and threatening the validity of his ideals. This confusion eventually drives Evans to duplicity and near murderous madness.

Then there is Robur, who is even more conflicted than Evans. His motives and personality are far less discernable than Captain Nemo's... We don't know why Robur has decided to wage war on war. The only clues he gives are his apocalyptic quotes from Scripture, and his cause is imbued with far less certitude. He's obviously sure that he wants to do this - to use the threat of invincible power to force the governments to lay down their arms or else - but he is also quite obviously shaken at the destruction he causes for this mission. When the Albatross launches it first assault on an American naval vessel, the whole crew seems grieved and confused over it.

Over the course of the film, Robur becomes increasingly unglued. He treads a fine line between compassion and cruelty, both in his interactions with his captives and in his mission. He is stern with Strock and company while at the same time polite in the extreme. When they are caught in a plot to escape, Robur punishes Evans and Strock by dangling them on ropes beneath the ship. But after passing through a storm, he remembers the two men and panic-stricken, pulls them back aboard and is profusely appologetic. In his mission, after finally growing cold to the destruction he causes and doing away with even the fig leaf of justification in giving the soldiers time to escape their ships and battlements, he cracks and begins a mad bombing run on helpless soldiers.

The picture painted of Robur is that of a man who desires peace but is driven cynically to the means of war, and is slowly unhinged by becoming exactly like what he hates. It is hard to say how Master was intended by its makers or received by its audiences (it is entirely possible that they alike thought that Robur's desire for disarmament was itself mad and that Strock was the red-blooded hero), but today the films speaks as a negative affirmation of pacifism and non-violence.
Instead of a preachy message from a saint, Robur gives us an example of the futility of violence, showing the madness of trying to end war through war. The use of violence destroys him both spiritually and phsyically... Within he is driven insane by the dueling desires of peace and hate, while in the end his mission becomes a victim of its own use of violence. In his zealousness to destroy, Robur damages his own ship. Meanwhile, the very existance of the armoury helps the captives to sabotage the ship, symbolic of Robur's own turmoil and representative of how even admitting violence as an option plants the seeds of one's own destruction.

In the end, Robur experiences a final moment of clarity... Realizing that his own madness was the cause of his undoing, he finds final solace in Scripture. Not the warnings of apocalypse this time, but the stirring hope of the Prophet Isaiah: "and they shall beat their swords into plowshares, and their spears into pruninghooks: nation shall not lift up sword against nation, neither shall they learn war any more."
Despite its artistic failings, Master of the World is a masterful and meaningful film which anticipates the work of authors like William Gibson and Bruce Sterling who would create the genre of Steampunk by using the imitation of Victorian Scientific Romance to critique modern society. For this reason, it is well worth seeing.

Composer LES BAXTER seems to have realized the difficulties inherent because he did his darnedest to make up for it in the music. Wildly epic in spots, the score nevertheless shifts into a "Victor Young Around the World In 80 Days" voice in many places — hoping, perhaps, to remind us of the more successful blend of whimsy and adventure we responded to there. Yet I think the challenge was a bit too much even for Baxter, and the unevenness of the movie is reflected in the score. Still, it’s a bravura piece of work and it’s probably the most enduring aspect of the film.


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#72 From: Splodgy Splodgeburger® <splodgeburger@...>
Date: Thu Oct 28, 2004 8:37 am
Subject: SPLODGE! NOTES: 1st. Mon. NOVEMBER (01/11/04) <<<HORSING AROUND!!! •A DAY AT THE RACES (1937), •WRONG AGAIN (1929) <<<HORSING AROUND!!! 		splodgeburger
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<<<HORSING AROUND!!!   •A DAY AT THE RACES (1937) •WRONG AGAIN (1929) <<<HORSING AROUND!!!

 

 

Hey! It's Splodge's 7th Birthday programme, and because we have become SOOOOOOOO successful, important and busy over this period of time, this edition of the SplodgeNotes is regrettably somewhat "abbreviated", but we hope to be back to our unsuccessful, unimportant, indolent and verbose selves in time for the December edition! In the meanstwhile, we are sure you will get the gist of it all, being a Cup Eve screening.

 

 

 

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                           4th. Quartile

 

                              OCTOBER

                              AD 2004

 

                           Monday, 04th.

 

             Registration:    7.30    -      8.00 pm

             Screening: >>>>> 8.00  (*EIGHT*!!!!)  pm <<<<<

 

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                        HORSING AROUND!!!

 

•WRONG AGAIN (1929),

 

 

In this comedy with a surrealistic edge, stable-hands Stan and Ollie hear of the famous "Blue Boy" having been stolen, and presume this refers to the horse of that name which is in their stable. Eager to claim the award, they set out to visit the millionaire owner to return the valuable property. When they call at his house, they receive a message to leave "Blue Boy" on the piano. At some stage, the real "Blue Boy" (a painting) is returned, and then destroyed by our duo. Prod Co: Hal Roach Studios. Dir: LEO McCAREY. Phot: GEORGE STEVENS.  Starring: STAN LAUREL, OLIVER HARDY.  20 mins. NFVLS

                              and featuring:

 

•A DAY AT THE RACES (1937),

 

Academy Award nomination for Best Dance Direction

 

Groucho and Chico are working in a sanatorium. We are asked to believe that the Brothers are more interested in saving the sanatorium from bankruptcy than in the racetrack next door.

Groucho, in reality a horse doctor, is hypochondriac Margaret Dumont's personal physician ('Marry me and I'll never look at another horse'). Chico is a loyal employee and his friend Harpo is a jockey.

A highlight is an encounter in which Chico systematically fleeces Groucho.

 

The Marx Brothers take their special brand of lunacy to the track in an effort to help  this struggling sanitarium, run by Judy (Maureen O'Sullivan), and stay afloat.

The usual antics ensue including: Groucho pretending to be a famous psychiatrist in order to keep Mrs. Upjohn (Dumont), the hospital’s wealthiest client, happy; Chico scheming to raise money any way he can; and Harpo helping Gil (Jones), Judy’s fiancé, maintain possession of a race horse they’re sure will solve their money woes, if they can just keep the horse away from the local sheriff long enough to enter it in the next big race. While not my favorite of their films, the brothers still manage to put on a fairly entertaining show. A DAY AT THE RACES is at its’ best when they are onscreen together, losing energy and pace when the story focuses on the supporting cast.

 

Clearly these films need a greater purpose driving the brothers’ actions, but frankly I find it just gums up the comedy. O'Sullivan and Jones are attractive and competent, just not what I want to watch. While the bulk of the jokes aren’t as fresh and crisp as in their earlier efforts, the physical comedy is to die for. There are several sequences, the best being the boys “examination” of Margaret Dumont, that are so outrageous you’ll find yourself rolling with laughter. As in all their movies, they finagle out of several tight spots to help their new friends beat the system, find love and gain financial success. They also showoff their musical prowess – Chico on the piano, Harpo on the harp – which is always impressive, but more out of place in this film than some of their others. All in all a solid effort. Not as fun as my favorite, A NIGHT AT THE OPERA, but certainly one that will tickle most viewers, especially if you have the ability to fast forward through the slow, i.e. story, parts.  Prod Co: Metro Goldwyn Mayer. Dir: Sam Wood. Script: Pirosh, George Seaton, George Oppenheimer. Phot: Joseph Ruttenberg. Mus: FRANZ WAXMAN. Ed: Frank E. Hull.  Starring: GROUCHO MARX, CHICO MARX, HARPO MARX, Alan Jones, Maureen O'Sullivan, MARGRET DUMONT. 109 mins. NFVLS

 

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...................... 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

 

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                     IT *MIGHT AS WELL BE FREE*!

 

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              MEMBERSHIP RATES:

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          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!

 

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

 

        For e-mail notification, spam your Subscribe-Request to:

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                    NORTH FITZROY. PHONE 04 25 74 28 01

 

 

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#71 From: Splodgy Splodgeburger® <splodgeburger@...>
Date: Thu Sep 30, 2004 8:51 am
Subject: SPLODGE! NOTES: 1st. Mon. OCTOBER (04/10/04) <<<ELECTION SPECIAL!!! •BANANAS (1971), •RABBIT HOOD (1948), •PSYCHIC PARROT (1977), •THE WAY THE EAGLE SHITS: AN ESSAY BY AL LEVIN (1975), aka: THE WAY...THE EAGLE...SHITS: AN ESSAY BY AL LEVIN, THE WAY...THE EAGLE...(EXPLETIVE DELETED): AN ESSAY BY AL LEVIN, •BANANAS (1971), <<<ELECTION SPECIAL!!! 		splodgeburger
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•RABBIT HOOD (1948), •PSYCHIC PARROT (1977), •THE WAY THE EAGLE SHITS: AN ESSAY BY AL LEVIN (1975), aka: THE WAY...THE EAGLE...SHITS: AN ESSAY BY AL LEVIN; THE WAY...THE EAGLE...(EXPLETIVE DELETED): AN ESSAY BY AL LEVIN, •BANANAS (1971), <<<ELECTION SPECIAL!!!

 

                    TONIGHT: STRICTLY MEMBERS-ONLY

   * MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT, 'THO *

                            DETAILS BELOW                

 

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

 

             SPLODGE! NOTES: 1st. Mon. OCTOBER (04/10/04)

                      splodgeburger@...

 

                ON THE FIRST MONDAY OF EVERY MONTH

 

                            "SPLODGE!"

 

                  a community FilmEdSoc project,

                      WE CONTROL THE CONTENT

 

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

      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

 

                      splodgeburger@...

 

     Note: If you'd prefer to receive our "low-kilobyte", no-pics,

              no-strings, no-attachments mailing list,

             just give us a "hoy" here at splodgeburger!

 

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

                           4th. Quartile

 

                              OCTOBER

                              AD 2004

 

                           Monday, 04th.

 

             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

 

                        ELECTION SPECIAL!!!

           A programme especially calculated to ward off

                any potentially nasty Governments

               which might be lurking on the scene.

 

               Including five  anti-tyranny shorts:

 

•RABBIT HOOD (1948),

While unwittingly trespassing in the royal gardens in search of carrots, BUGS BUNNY runs afoul of the Sheriff of Nottingham, who tries to apprehend him for poaching. The royal grounds are, in fact, amply posted with "No Poaching" signs (one reads "Not even an egg"), but BUGS either didn't see or ignored them. Of course, BUGS sets out to endlessly turn the tables on the hapless sheriff, at one point talking him into building a six-room Tudor home in the middle of the King's gardens. The dueling pair are periodically interrupted by a fat, dopey Little John who proclaims, each time he appears, "Don't you worry never fear, Robin Hood will soon be here". In the end, the merriest of merry men does appear and it's...it's...oh, see it yourself. Bugs goes in disguise as the King, who then knights the Sheriff ("Arise, Sir Loin of Beef..."). Merrie Melodies. Prod Co: Warner Brothers Cartoons. Director, CHARLES M. JONES; animators, Ken Harris, Phil Monroe, Ben Washam, Lloyd Vaughan ; music, CARL STALLING. Voice characterisations, MEL BLANC. Color; Sound; 8 minutes. NFVLS

 

 

 

•MR MONEY (1979),

Hilarious '70s projection of a future that came all too quickly - ATM automation in banking. What happens when you automate the officiousness of mercantile bureaucracy? You get a paternalistic, Totalitarian ATM. Mr. Money is a talking automatic-teller machine with quite a personality - giving each customer what he considers they deserve! Dir: Shevard Goldstein, Prod: Karen O. Lund, Prod Co: M.T.I. Teleprograms. 4 mins. ALC.

 

 

•PSYCHIC PARROT (1977), 

The Psychic Parrot, always unerringly correct, predicts the imminent (Friday, midnight) destruction of planet Earth. The President decides to send a rocket to the moon with a selected group of people on board so that the human race will survive.  Across the globe, all the silvertails panic & jump ship, heading for the Moon (where they belong! Good riddance!). The build-up and drama in the days preceding the final events are dutifully reported by television and received by kooky couple Henrietta (Alix Elias) and Fred (Michael Vale), who await the final moment, and, perhaps, their just desserts. Prod Co: Parrot Productions. Jeffrey Schon; Rhoden Streeter; Prod/Dir: Derek Lamb. 20 mins. ALC.

 

 

 

•THE WAY THE EAGLE SHITS: AN ESSAY BY AL LEVIN (1975),

                 aka:

THE WAY...THE EAGLE...SHITS: AN ESSAY BY AL LEVIN

THE WAY...THE EAGLE...(EXPLETIVE DELETED): AN ESSAY BY AL LEVIN

Brilliantly scathing satirical expozay of the Capitalist ethos & Multinationalism, with magnificent use of found footage. A dynamite film-essay by journalist, Mike Levin. 11 mins. ALC

 

 

 

•GIANTLAND (1933),

MICKEY MOUSE tells a crowd of orphans a version of Jack & the Beanstalk in which he plays the leading role, taking on Rumplewatt - King of the Giants, Prince of the Tyrants. Mickey casts himself as Jack in Jack and the Beanstalk. He starts with the climbing of the beanstalk; after evading the giant a few times, he ends up inside a cheese sandwich, and then in the giant's mouth, where he ultimately grabs onto a pipe and gets pulled out by the giant. In the ensuing chase, Mickey launches a pepper bomb to slow the giant down, then outruns him coming down the beanstalk and sets the stalk on fire. [Not to be confused with Mickey and the Beanstalk - which came in 1947]. A fun cartoon full of action and gags. One prime gag is the giant looking at a newspaper, which says "EXTRA ... GIANTS WIN." There is top quality animation in several scenes - Mickey riding a giant butterfly to the castle after he climbs the beanstalk; Mickey in the giant's mouth - trying to avoid being swallowed, and the giant chasing Mickey and falling, pulling much of the scenery down with him into the huge hole he makes with the fall. Dir: Bert [THREE LITTLE PIGS (1933)] Gillett. Prod: WALT DISNEY. Cast: MARCELLITE GARNER 7 mins. ALC

 

 

                              and featuring:

 

•BANANAS (1971),

 

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Once again, Woody Allen casts himself as a neurotic, unlucky in love, New Yorker, the alter ego this time being Fielding Melish, a products tester (read, human guinea pig) for a large corporation. He meets and falls for a pretty political activist, Nancy, but when she ends their relationship, he heads for San Marcos, a country under fascist rule, that Nancy vehemently protested against. Once there, he becomes embellished in various political plots, as the State, and the rebels, battle for control of the country.

 

Ostensibly, 'Bananas' appears to be screwball, absurdist political satire. There's a wonderful opening sequence in which Howard Cosell presents an episode of Wide World of Sports, live from San Marcos, covering the assassination of the president, paving the way for fascist rule. For a satirical swipe at the media's tendency to trivialise politics by presenting them as entertainment, it's hard to think of a more memorable or effective example. Cosell even attempts to interview the felled President after he's been shot!

 

There's also a priceless gag regarding the CIA sending soldiers to fight on both sides, because 'The American Government is taking no chances.' We also have a rebel leader who, upon commanding his troops to a successful military coup, announces himself as the new dictator and announces the new national language as 'Swedish',  insisting everyone change their underwear on the hour.

 

This is one of Woody Allen's earliest films -which should rank with the all-time greatest comedies. Although it was made back when the trial of The Chicago Seven was still fresh and Tobacco was still advertised on television, Bananas is timeless and still topical: J. Edgar Hoover in drag; the CIA sending US troops to fight on both sides of a revolution because they are afraid of being on the wrong side. One can usually recall a few scenes from a good movie, but Bananas is one of those great movies which one can replay in the mind from beginning to end. (Bananas is neatly bracketed at the beginning and end by Howard Cossell playing himself in bizarre Wide World of Sports coverages.)

 

The movie doesn't really have a point . . . except maybe that maniacal dictators are crazy, dangerous and should be driven from power . .. or maybe that freedom is worth fighting for . . . or maybe that some causes are worth laying down your life for. Obviously, there's relevance in all of that for us, today. Or maybe the whole point of this movie could simply be that Woody Allen knows how to make people laugh. "So long suckers!"

 

Trivia: Woody Allen said he made a conscious decision not to show any blood to maintain the light, farcical tone of the film. Howard Cosell was allowed to improvise most of his part. The rebels' anthem is the same one used in Sleeper (1973). In an interview, Woody Allen was asked why he named the movie "Bananas". His response: "Because there are no bananas in it." The film was originally titled "El Weirdo". Dir: WOODY ALLEN. Wr: WOODY ALLEN, Mickey Rose. Cast: WOODY ALLEN, LOUISE LASSER, CARLOS MONTALBÁN, HOWARD COSELL, ALLEN GARFIELD, DANNY DEVITO (uncredited), SYLVESTER STALLONE (uncredited). MPAA: Rated PG-13 for comic sexuality, including some pin-up nudity, some drug use and crude language. 82 mins. NFVLS

 

 

 

Note: If you'd like to join our "low-kilobyte", no-attachment

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. ;) *

 

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

 

       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*!

 

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

 

              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!

 

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

 

        For e-mail notification, spam your Subscribe-Request to:

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                    NORTH FITZROY. PHONE 04 25 74 28 01

 

 

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

 

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#70 From: Splodgy Splodgeburger® <splodgeburger@...>
Date: Thu Sep 2, 2004 8:32 am
Subject: SPLODGE! NOTES: 1st. Mon. SEPTEMBER (06/09/04) <<< PERCHANCE TO DREAM!!! •DEAD OF NIGHT (1945), •RAYGUN'S NIGHTMARE (1982), •HOW TO SLEEP (1935), •DEAD OF NIGHT (1945), <<< PERCHANCE TO DREAM!!! 		splodgeburger
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•DEAD OF NIGHT (1945), •RAYGUN'S NIGHTMARE (1982), •HOW TO SLEEP (1935), •DEAD OF NIGHT (1945), <<< PERCHANCE TO DREAM!!!
                    TONIGHT: STRICTLY MEMBERS-ONLY
   * MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT, 'THO *
                            DETAILS BELOW                
**********************************************************************
             SPLODGE! NOTES: 1st. Mon. SEPTEMBER (06/09/04)
                      splodgeburger@...
                ON THE FIRST MONDAY OF EVERY MONTH
                            "SPLODGE!"
                  a community FilmEdSoc project,
                      WE CONTROL THE CONTENT
**********************************************************************
      Unusual films of discernment, still presented in convivial
                          surroundings!
             ALL PRESENTED ON GROOVY 16 MILLIMETRE FILM!
                         the back room
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                           3rd. Quartile
                              SEPTEMBER
                              AD  2004
                           Monday, 06th.
             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
                        PERCHANCE TO DREAM!!!
•HOW TO SLEEP (1935),
A lecturer seated at a desk promises an informative film about how to sleep; it's a sequel to and inspired by "How to stay awake," which put his audience to sleep. He plans to examine the causes of sleep, the causes of insomnia, and recent research on sleep, including a time-lapse film of a man changing positions 55 times during an 8-hour rest: why exercise, he asks, when you can sleep like a top? The film instructs one on how to get a drink of water during the night without waking completely, and other useful skills for the insomniac.
This is a delightful little short that packs more laughs into ten minutes than you'll get from some feature-length comedies.
Robert Benchley acts as our affable host/narrator, covering such topics as 1) the causes of sleep, 2) methods of inducing sleep, 3) methods of avoiding sleep, and 4) how to wake up, which, we're informed, "is very important." But this is no dry academic lecture. Our host, who happens to sport the most outlandish pajamas ever designed, helpfully serves as actor as well, demonstrating various positions such as the Supine Curl, the Ventrolateral Sprawl, and the Sleeping-Sitting Standing Crouch. Benchley is aided in his analysis of sleep by some highly amusing animated segments.

HOW TO SLEEP won the (richly deserved) OscarTM for Best Short Subject of 1935, and led to Benchley's series of 'how-to' short comedies for MGM and Paramount, but this one may well be the very best of his output, and is heartily recommended. Prod Co: Metro Goldwyn Mayer. Dir: Nick Grinde. Wr: Robert Benchley (uncredited). Cast: Robert Benchley. 10 mins. NFVLS

•RAYGUN'S NIGHTMARE (1982),
A Splodge! favourite, Peter (son of Eli) Wallach's rubber-suited, puppet delerium has President Raygun take on the meanest hombre East of the Pecos: Toyota Godzilla! Prod: David Jablin. Dir: Peter Wallach. 8 mins. ALC

                              and featuring:
*DEAD OF NIGHT (1945),
"Just room for one more inside, sir."
Talk about wild Deja Vu! One day, middle-aged architect Walter Craig,
(Mervyn Johns), arrives at a country farmhouse that he has been asked
to redesign, but when he gets there, he is surprised to find that the
guests he is introduced to are all subjects from a reoccurring dream
which has been plaguing him, and - although he only has faint memories
of his dream - events seem to be unfolding exactly as in his
nightmare! He explains to the gathering that they have all previously
appeared in his recurring nightmare and each in turn replies by telling
him of similar bizarrre experiences that they've had. Ever present is
a sceptical psychiatrist, Dr. Van Straaten, who cynically attempts to
explain away the supernatural occurrences.
This classic chiller involves a gathering of people who have
experienced dreams which seem to repeat themselves in reality; The
tales involve everything from phantom hearses to haunted mirrors. The
final sequence with Michael Redgrave as a ventriloquist is a knockout.
The movie progresses from great to outstanding as the tales go on and
the twist ending is most enjoyable.
Produced before the war and held up due to a wartime ban on horror
films, Dead of Night is one of the best-made horror anthologies. No
true horror films were made in Britain during the War in compliance
with government censorship, but borderline fantasies that included The
Halfway House (1943) found moderate success. Ealing Studios were
already working on Dead of Night (1945) when peace was announced in
1945. The film is a serious study of the supernatural that captures
all the nuances of the British ghost story with an omnibus of five
tales linked by the nightmare of Walter Craig.
The five set pieces in this classic British horror anthology still
echo throughout today's pop culture - in cable creep-shows, and in
SIMPSONS Halloween Specials, not to mention in the odd feature film.
Nevertheless, the original remains fresh, thanks to the able direction
(by Charles Crichton and Alberto Cavalcanti, among others), the source
material (by the likes of H.G. Wells), and one virtuoso performance by
Michael Redgrave, as a ventriloquist who has begun throwing more than
his voice into his maniacally grinning dummy. The other ghost stories
- especially those involving a mirror that reflects The Past, and the
man whose nightmares are coming true! - are almost as chilling; but
it's the puppet show that still spooks, no matter how many times it's
been ripped off. If the finale seems a little predictable, its only
because its been copied so many times.
Although Ealing studios is best known for producing fine comedies,
Dead of Night is its most sophisticated offering.
Extract: George Perry: "Forever Ealing". © :
Ealing's first post-war film was Dead of Night, one of the best films
ever made about the supernatural. It was the first 'portmanteau' film
made at Ealing, wherein a number of different directors were able to
contribute an individual story without unbalancing the unity.
An architect (Mervyn Johns) arrives at a house party in the country
where a number of other guests are assembled. Immediately he feels a
sense of deja vu, that he has been through it all before. He realises
that a recurrent dream has suddenly come to life, and he knows, but
cannot quite remember, that there is an evil climax. His revelation
provides a talking point for the gathering, and by one the others
relate various supernatural experiences they have heard about, or have
actually witnessed, which are then shown in flashback to provide
several films-within-a-film.
The first story is a simple haunting. During a Christmas party in an
old house, a teenage girl finds a small boy sobbing alone in a room at
the top of a hidden, narrow flight of stairs. He tells of unspeakable
cruelties that are being enacted and she comforts him. Later there is
no trace of him or the room. It seems that she has stepped into the
previous century. This sequence was directed by Cavalcanti, and was
taken from a story by Angus MacPhail.
The next tale, the first official directing credit for Robert Hamer,
came from a chilling story by John V. Baines. It follows the progress
of an engaged couple. The girl (Googie Withers) sees an early
Victorian mirror in an antique shop and buys it for her fiancé. As he
is using it, he suddenly has an impression that the room reflected is
not his own dressing-room. The couple marry, but the husband becomes
sullen and morose, with bursts of sharp temper. The mirror is now
dominating him; in it he sees himself in a large, heavily-furnished
Victorian bedroom with a four-poster bed and a fire in the grate,
though his wife sees only a normal reflection. He goes to a doctor,
who suggests that it is a psychiatric problem, but when the man
becomes violent and jealous his wife goes back to the antique dealer
to find out the provenance of the mirror, and discovers that it came
from a house where in early Victorian times the owner had been
confined to his bedroom after an accident. He had then killed his wife
and himself before the mirror in frustration and madness. After that,
the contents of the house were put away until the present. Returning
to her husband with this knowledge, she is attacked by him before she
can reveal the mirror's secret. As he begins to strangle her, she,
too, sees the hideous room in the mirror. She is able to smash it,
whereupon her husband becomes normal again, unable to recollect what
had happened.
This was followed by a short tale of premonition, directed by Basil
Dearden from a story by E. F. Benson. Recovering in hospital from a
car crash, a man (Anthony Baird) wakes up in the middle of the night
to find that it is broad daylight outside. He looks down and sees a
horse-drawn hearse. The driver looks up at him, nods towards the
coffin and says "Room for one inside." The man gets back into bed,
realises that it is the middle of the night and that he must have been
dreaming, and goes back to sleep. When he is discharged from the
hospital he waits at a bus stop to go home. A loaded vehicle pulls up
and the conductor says to him, "Room for one inside." It is, of
course, the man in the dream. He steps back from the bus stupefied,
the conductor shrugs and rings the bell, and the bus goes off without
him. Suddenly, it is involved in a collision with a truck, goes out of
control and crashes over the parapet of a bridge, falling on to a
railway line and presumably killing all aboard.
Light relief follows with a tall golfing story, a version of a tale by
H. G. Wells, somewhat modified by Charles Crichton, who also directed
the piece. It featured Basil Radford and Naunton Wayne as golf chums
in love with the same girl (Peggy Bryan). They decide that the only
way to solve the problem is to play for her, the loser to commit
suicide. Naunton Wayne drowns himself as a result, and Basil Radford
marries her. But the spectre of his old friend keeps turning up to
ruin the proceedings. It seems that Radford won by cheating and is
therefore not entitled to his prize.
The last of the stories, another directed by Cavalcanti, was to become
the most celebrated. It concerned a ventriloquist (Michael Redgrave)
who is becoming possessed by his dummy, which has a repugnant persona.
The dummy leads its host to degradation, murder, a prison cell and
madness. The possession motif is one that has been revived in the
cinema, and Richard Attenborough's Magic (1979) even used the idea of
an apparently animate dummy inspiring murder.
 
After the stories have been told, the film reaches its climax and in a
bewildering nightmare they all intermingle with bizarre horror
erupting to a point at which the man in the centre of the action
awakes at home in bed. His wife reminds him that he has to go down to
the country about a commission. The film ends with him approaching the
same farmhouse, and meeting the same host that we saw at the
beginning. It is without doubt one of the most satisfying
entertainment's ever offered by Ealing, brilliantly conceived and
wrought by a fusion of creative talent, in the spirit of teamwork and
the cross-fertilisation of ideas for which it was renowned.
<http://www.missinglink.free-online.co.uk/ealing.htm>
(incl. experpts in realaudio format )
To download Free Real Player
<http://huxley.real.com/real/player/player.html?src=011011rpchoice_c2&d>
c=102410231022
Architect Walter Craig, (Mervyn Johns), visits a farmhouse that he has
been asked to redesign, but when he gets there, he is surprised to
find that the guests he is introduced to are all the subjects in his
reoccurring dream and although he only has faint memories of his
dream, events seem to be unfolding exactly as his nightmare.
<http://www.missinglink.free-online.co.uk/deadsnd1.rm>
Intrigued, the visitors relate their own tales of the supernatural.
Hugh, (Anthony Baird), tells of a vision he suffered after a near
fatal race car accident while he was in hospital of a hearse driver,
(Miles Malleson), complete with a horse drawn hearse who announces
that there is "just room for one inside".
<http://www.missinglink.free-online.co.uk/deadsnd2.rm>
Later when he is about to board on a bus, the conductor, (Miles
Malleson), utters the same phrase. The man decides to miss the bus and
watches in horror as it drives away, narrowly misses a lorry and
plummets off the road.
<http://www.missinglink.free-online.co.uk/deadsnd3.rm>
Young Sally O'Hara, (Sally Ann Howes), at the cottage relates that
while at a party when playing hide'n'seek, she wandered into a small
forgotten room at the large house and found a little boy crying in the
darkness. She spends some time with him, but when she returns
downstairs to the party and explains where she was hiding, she is
informed that the child she met was the ghost of Francis Kent who was
murdered by his sister some years ago.
<http://www.missinglink.free-online.co.uk/deadsnd5.rm>
By now Walter Craig is becoming increasingly agitated as he confirms
that the events are unfolding just as he predicted and announces that
he will soon try to murder Dr. Van Straaten, (Frederick Valk), who has
been sceptical of Craig's claims since he arrived.
<http://www.missinglink.free-online.co.uk/deadsnd4.rm>
Joan, (Googie Withers), explains how her husband, Peter, (Ralph
Michael), became possessed by the spirit in an antique mirror that she
bought for him as a birthday present. Slowly Peter becomes a jealous,
homicidal maniac as he observes a much older, Victorian room in the
mirror.
<http://www.missinglink.free-online.co.uk/deadsnd6.rm>
Concerned Joan learns of the mirror's history from the antique dealer,
(Esme Percy), where she purchased it, but when she returns to Peter's
flat he tries to strangle her. In a moment of inspiration, she smashes
the mirror and ends the spell.
In the weaker of the stories two golfing partners, George and Larry,
(Basil Radford & Naunton Wayne), play a round of golf for the love of
Mary, (Peggy Bryan).
<http://www.missinglink.free-online.co.uk/deadsnd8.rm>
Larry loses and drowns himself, but returns to haunt his partner when
he discovers that he had cheated.
Increasingly sceptical of Walter Craig's claim that they are all
living out his dream, Doctor Van Straaten, a psychologist, relates a
past case history that he was unable to solve. His patient was Maxwell
Frere, (Michael Redgrave), a ventriloquist who was slowly becoming the
nasty alter ego presented by his ventriloquist's dummy, Hugo. When
Maxwell mistakenly believes that fellow ventriloquist Sylvester Kee,
(Hartley Power), is trying to steal his dummy, he shoots him and is
arrested.
<http://www.missinglink.free-online.co.uk/deadsnd9.rm>
In prison Hugo completely takes over his personality.
Walter Craig enters a nightmarish world of images from each of the
stories
<http://www.missinglink.free-online.co.uk/deadsnd10.rm>
and then suddenly awakes when he receives a phone call to visit a
farmhouse.
<http://www.missinglink.free-online.co.uk/deadsnd11.rm>
Already unnerved after the experiences of World War II, audiences and
critics alike made the film a success, except in America where it was
released without the "The Golfing Story" and "The Christmas Story".
The absence of the former, the weakest of the quintet, no doubt
created a better paced film, but without the latter it lacked the
necessary humour and charm that aided the growing sense of menace
within the film as a whole. Not only did American audiences see this
at 77 minutes, but many cinema projectionists further weakened the
film's impact by turning up the house lights and drawing the curtains
just as soon as the credits appeared. Of course the last scene is
played out as the credits roll when the full circle of the narrative
is completed.
Unlike most modern horror compendium tales, the framing story
involving Walter Craig is embedded into the narrative and is not just
a device to link the tales.
Also deserving of praise is George Auric's score that is as equally
restrained as the narrative and never intrudes where it isn't needed.
Indeed, the moments of silence are scored with as much forethought and
intensity as the music itself.
The two strongest episodes are "The Haunted Mirror" and
"Ventriloquist's Dummy", both of which take the implied horror
elements one more notch up the scale before reaching the horrendous
climax. The former is a cleverly executed ghost story that creates
just the air of mystery needed. The audience never experiences
anything beyond the strange room in the mirror, but the other worldly
presence is felt through the eyes and mannerisms of Ralph Michael's
superb performance. When we are finally told of the mirror's past by
the antique dealer, it comes as no surprise, but his chilling account
is nevertheless a memorable moment.
<http://www.missinglink.free-online.co.uk/deadsnd7.rm>
Michael Redgrave's virtuoso performance as the neurotic ventriloquist
is also extremely memorable, but this is a story of madness as
ventriloquist Maxwell Frere slowly, but surely becomes completely
insane when he adopts the personality of his dummy Hugo with whom he
is completely at odds with. (John Maguire portrays the ventriloquist's
dummy when it comes to life. He was 25 and only 4 foot high). Although
this episode is frequently praised, and has been copied several times
since including MAGIC (1979) starring Anthony Hopkins, this elaborate
episode fails to invoke quite the same foreboding as "The Haunted
Mirror". The reason lies in the fact that Redgrave's character is
already highly strung and neurotic from the start, so his complete
insanity is not entirely unexpected.
Overall Dead of Night works well due to the juxtpositioning of humour
and terror, elements of which can be found in each of the stories,
even though different directors were responsible for their own
episode. This suggests a strong guiding hand by producer Michael
Balcon who helped bring this experimental idea into full focus.
"At last I can see about me the sort of British film industry I have
dreamed about for twenty-five years."
While Ealing Studios grew during World War II, Balcon had many
adversaries, all of whom he fought against with vigour. Those
technicians who left for Hollywood he called deserters, he attacked
the numerous government departments for their film policy and when J.
Arthur Rank threatened to engulf the whole industry, Balcon fought
hard for the independent producer. Continually he struggled against
the might of the imported films of Hollywood, but in 1947 Michael
Balcon stated "At last I can see about me the sort of British film
industry I have dreamed about for twenty-five years. Our films are
going to the whole world. They are preferred to all others by our own
people. They have got American producers worried. They have got our
Parliament interested in them."
After his Knighthood in 1948, Balcon continued to produce successful
films at Ealing and created a string of comedies that typified a way
of life on these small islands which did not just include an eternal
tea-time or rounded English accents, but also injected the stories
with several anti-establishment concepts as Britain entered a new age
of peace.
Ealing Studios Ltd. left their buildings on January 13th. 1956 when
they were sold to BBC television. Michael Balcon erected a plaque that
read "Here during a quarter of a century many films were made
projecting Britain and the British character."
It is doubtful that we will ever experience the same environment
again.
"The Hearse Driver". Dir: Basil Dearden. From a story by E.F. Benson.
"The Christmas Story". Dir: Alberto Cavalcanti. From a story by Angus
MacPhail.
"The Haunted Mirror". Dir: Robert Hamer. From a story by John V.
Baines.
"The Golfing Story". Dir: Charles Crichton. From a story by H.G.
Wells.
"Ventriloquist's Dummy". Dir: Alberto Cavalcanti. From a story by John
V. Baines.
Prod Co: Ealing Studios. Prod: Michael Balcon; A.Prod: Sidney Cole &
John Croyden; Sc: John V. Baines, Angus MacPhail & T.E.B. Clarke; Ph:
Stan Pavey, DOUGLAS SLOCOMBE, Jack Parker & Harold Julius; Ed: Charles
Hasse; Mu: Tom Shenton & Ernest Taylor; Art: Michael Relph; Sfx:
Lionel Banes & Cliff John Robertson; Mus: GEORGES AURIC. Cast: MERVYN
JOHNS Walter Craig, Renee Gadd: Mrs Craig, Roland Culver: Eliot Foley,
Mary Merrall: Mrs Foley, Frederick Valk: Dr van Straaten, Barbara
Leake Mrs O'Hara, Sally Ann Howes: Sally OHara, Robert Wyndham: Dr
Albury, Anthony Baird: Hugh, Judy Kelly: Joyce, MILES MALLESON: Hearse
Driver/Bus Conductor, GOOGIE WITHERS: Joan, Ralph Michael: Peter, Esme
Percy: Antique Dealer, Basil Radford: George, Nauton Wayne: Larry,
Peggy Bryan: Mary, MICHAEL REDGRAVE: Maxwell Frere, Hartley Power:
Sylvester Kee, Elisabeth Welch: Beulah, Magda Kun: Mitzi, Garry Marsh:
Harry Parker. 103 mins. NFVLS.

Note: If you'd like to join our "low-kilobyte", no-attachment
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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       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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          Generally Socially-Oppressed:    $6.00
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