VIDEODROME

Dark Side of the Rainbow

2011-04-07T11:17:00.000-07:00

Dark Side of the Rainbow (also known as Dark Side of Oz or The Wizard of Floyd) refers to the pairing of the 1973 Pink Floyd music album The Dark Side of the Moon with the visual portion of the 1939 film The Wizard of Oz. This produces moments where the film and the album appear to correspond with each other. The title of the music video-like experience comes from a combination of the album title and the film's song "Over the Rainbow". Band members and others involved in the making of the album state that any relationship between the two works of art is merely a coincidence.

In August 1995, the Fort Wayne Journal Gazette published the first mainstream media article about the "synchronicity", citing alt.music.pink-floyd. Soon afterward, several fans began creating websites in which they touted the experience and tried to comprehensively catalogue the corresponding moments. A second wave of awareness began in April 1997 when Boston radio DJ George Taylor Morris discussed Dark Side of the Rainbow on the air, leading to further mainstream media articles and a segment on MTV news.

In July 2000, the cable channel Turner Classic Movies aired a version of Oz with the Dark Side album as an alternate soundtrack. Turner Entertainment has owned the rights to the film since 1986.

Fans have compiled more than one hundred moments of perceived interplay between the film and album, including further links that occur if the album is repeated through the entire film. Examples include music changes at dramatic moments, and thematic alignment such as the scarecrow dance during "Brain Damage". This synergy effect has been described as an example of synchronicity, defined by the psychologist Carl Jung as a phenomenon in which coincidental events "seem related but are not explained by conventional mechanisms of causality."Detractors argue that the phenomenon is the result of the mind's tendency to think it recognizes patterns amid disorder by discarding data that do not fit. Psychologists refer to this tendency as apophenia. Under this theory, a Dark Side of the Rainbow enthusiast will focus on matching moments while ignoring the greater number of instances where the film and the album do not correspond. Another theory suggests the correspondence may have been assisted by the synaesthetic effects of narcotics taken by those who then chose to enjoy the album and the film together (that is to say, the only reason they think the two match is because they're under the influence of drugs).

Download links: 1 2 3 4 5 6 7 8 or TORRENT

Brothers Quay

2011-03-15T09:34:00.001-07:00

Opera

2011-03-15T09:31:00.001-07:00

Street of Crocodiles (1987)

2011-03-15T09:05:00.000-07:00

Street of Crocodiles is a 21-minute-long stop-motion animation short subject directed and produced by the Brothers Quay and released in 1986.

The Street of Crocodiles was originally a short novel written by Bruno Schulz, from a story collection published under that title in English translation. Rather than literally representing the childhood memoirs of Schulz, the animators used the story's mood and psychological undertones as inspiration for their own creation.

A man closes up a lecture hall; he reaches into a box and snips the string holding a gaunt puppet. Released, the puppet warily explores the darkened rooms about him. The desolate ambiance and haunting musical score convey a sense of isolation and futility, forcing the viewer into immediate identification with the mute protagonist as he explores a realm of mechanical realities and manufactured pleasures. As the protagonist tries to conform, or is forced into assimilation, the film slowly reveals how unfulfilling the surroundings actually are. Life and vitality are gradually stripped away to reveal the passionless cycle of existence.

Although heavily metaphorical, the piece also exemplifies the experimental and curious nature of the Quays' work. Rather than examining the potential symbolism of such props as screws, dust, string, and wind-up monkeys, many shots seem to focus on the movements and inherent characteristics of the materials. Like most of their films, the Brothers Quay employ a more musically-grounded structure in place of a straight-forward literal narrative in Street of Crocodiles.

Download links: 1 2 3

Dym (2007) Aka Smoke

2011-03-11T11:50:00.000-08:00

Grzegorz Cisiecki’s 2007 short film DYM is a surreal, ambiguous 7 minutes of experimental and ambitious cinematography. Interpret as you will, with no dialogue to help us along, it is left to our own imagination to decipher. Flitting from one beautiful scene to the next, there is no doubt huge talent behind DYM. With a startling musical score and superb lighting, this short is a masterpiece of creativity.

The story of the person who became the captive of surrealistic madness.
Film by Grzegorz Cisiecki
Photography: Dawid Rymar
Editing: Cecylia Pacura, Grzegorz Cisiecki
Original score: Rashid Brocca, Aleksandr Poroch
Cast: Marta Szumiel, Grzegorz Golaszewski, Oriana Soika, Bartlomej Nowosielski
PWSFTViT, Poland, 2008

Pink Floyd - More (1969)

2011-03-06T07:36:00.001-08:00

Soundtrack from the Film More is the first full-length soundtrack album by the English rock band Pink Floyd, released on 27 July 1969. The film More was made in Luxembourg in 1969 and was directed by Barbet Schroeder. In it, two songs can be heard that were not included on the album: "Seabirds", and "Hollywood". The album actually comprises the other music used in the film, sometimes in a completely different form.[citation needed]

The original American edition shortened the title to just More. This was the last of three Pink Floyd albums to be released in the United States by the Tower Records division of Capitol Records. The 1973 US re-issue was released on Harvest Records. Although the CD edition restores the original United Kingdom title in all countries, it is represented differently on the spine (Music from the Film More) and label (Soundtrack to the Film More).

More contains some acoustic folk ballads, a genre that appeared sparsely on later works. It also contains a couple of hard rock songs ("The Nile Song", "Ibiza Bar"), as well as several instrumental tracks, featuring their experimental (or avant-garde) approach.

This is Pink Floyd's first full album without founding member Syd Barrett, who was ousted from the group in early 1968 during the recording of their previous album, A Saucerful of Secrets. It is also the first album to be produced by Pink Floyd without assistance from Norman Smith and was recorded at Pye Studios, Marble Arch, London and engineered by Brian Humphries.

Artist: Pink Floyd
Title Of Album: More
Year Of Release: 1969 /1987, 1st U.K. issue/
Label: EMI
Genre: Progressive Rock | Psychedelic rock
Format: FLAC (image+.cue+.log+Covers)
Quality: Lossless
Total Time: 45:01 min
Total Size: 214 mb

Tracklist
---------
01. Cirrus Minor
02. The Nile Song
03. Crying Song
04. Up The Khyber
05. Green Is The Colour
06. Cymbaline
07. Party Sequence
08. Main Theme
09. Ibiza Bar
10. More Blues
11. Quicksilver
12. A Spanish Piece
13. Dramatic Theme

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More (1969)

2011-03-06T07:28:00.000-08:00

More is an english language film directed by Barbet Schroeder, released in 1969. Starring Mimsy Farmer and Klaus Grünberg, it deals with heroin addiction on the island of Ibiza. It features a soundtrack written and performed by Pink Floyd, released as the album Soundtrack from the Film More.

A German student, Stefan, who has finished his studies, decides to have an adventure, get out of his conservative skin and to burn his bridges. After hitch-hiking to Paris, he commits burglary to get money and meets a free-spirited American girl, Estelle, following her to Ibiza. He discovers she is in trouble with a man named Dr. Wolf. Stefan saves Estelle from Dr. Wolf only to find she does not really want to be saved, and she introduces him to heroin (referred to by the old street name, "horse") which she has stolen from Dr. Wolf. The inevitable spiral into drug abuse and denial leads him down a dark road.

This story is modeled on the myth of Daedalus and Icarus with Estelle as the Sun.

The French film Censorship Board in 1969 insisted that some of the dialog be censored around the 81 minute mark before the film could be released. In the film, as the couple mix up a hallucinogenic concoction in the kitchen, the ingredients "benzedrine" and "banana peel" are deleted from the audio track. On the DVD, the words have been re-added as subtitles.

Most of the movie was shot on the island of Ibiza. The castle of Ibiza, which dominates the harbour and the town, is the scene for the final act. The location of Stefan's death, a tunnel near the castle, has since become a place of pilgrimage for addicts.

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Ballet mécanique (1924)

2011-03-03T11:19:00.000-08:00

Ballet Mécanique was a project by the American composer George Antheil and the filmmaker/artist Fernand Léger. Although the film was intended to use Antheil's score as a soundtrack, the two parts were not brought together until the 1990s. As a composition, Ballet Mécanique is Antheil's best known and most enduring work. It remains famous for its radical style and instrumentation as well as its storied history.

In concert performance, the "ballet" is not a show of human dancers but of mechanical instruments. Among these, player pianos, airplane propellers, and electric bells stand prominently onstage, moving as machines do, and providing the visual side of the ballet. As the bizarre instrumentation may suggest, this was no ordinary piece of music. It was loud and percussive –- a medley of noises, much as the Italian Futurists envisioned new music of the 20th century. To explore a fascinating artifact of modernist music like Ballet Mécanique, it is worth understanding its history and also its musical qualities.

In its original release, the film's French title was "Charlot présente le ballet mécanique" (as seen on the original print), referring to showman André Charlot, who financed this film's French distribution. In France, Charlie Chaplin's Little Tramp character was also known as Charlot; the combination of the producer's name and Chaplin's screen image, represented by a Cubist-style paper puppet, is only the first of many visual puns in the film -- a seeming display of the film's sheer visual modernity, as intended by its creators from the get-go.

Download links: Part 1 Part 2 or watch

Rabbit's Moon (1950)

2011-03-03T10:55:00.000-08:00

Rabbit’s Moon is an avant-garde short film created by American filmmaker Kenneth Anger. Originally filmed in 1950, Anger only finished and released it in 1972, before re-releasing it in a second edition with a new soundtrack and other alterations in 1979.

Filmed under a blue filter and set within a wooded glade during the night, the plot revolves around a clown, Pierrot, who longs for the moon, in which lives a rabbit (a concept found in both Japanese and Aztec mythology) and his futile attempts to jump up and catch it. Subsequently another clown, Harlequin appears, and teases Pierrot, showing him Columbina, with whom he appears to fall in love.

The 1972 version features a soundtrack made up of a series of pop songs; "There’s A Moon Out Tonight" by The Capris, "Oh, What a Night" by The Dells, "Bye Bye Baby" by Mary Wells, "I Only Have Eyes For You" by The Flamingos and "Tears On My Pillow" by The El Dorados. The 1979 version, which is speeded up, instead features the song "It Came in the Night" by the band A Raincoat played on a loop.

The movie is credited by the electronic music act Rabbit in the Moon as the inspiration for their name.

Download links: Part 1 Part 2

Arthur Burns

2011-02-22T06:30:00.000-08:00

Love. Love is the key. Love and family. For what are night and day, the sun, the moon, the stars without love, and those you love around you? What could be more hollow than to die alone, unloved?

Badi (1983)

2011-02-22T05:34:00.000-08:00

This film is presented in original Turkish language and has no subtitles. There is not a copy of this film available with subtitles anywhere. This is the only way to get it. Besides, you hardly need subtitles to figure out what is going on. Badi (aka Turkish E.T.) Director: Zafer Par Starring: Cengiz Sayhan, Tolga Sonmez, Orhan Cagman, Tuncer Sevi, Ani Ippekkaya Language: Turkish/ No Subtitles Ratio: Full Screen Originally titled "Badi", this film pretty much follows the story of the American version of "E.T." The Turkish translation of the extra-terrestrial is very comical but loveable, (looking like at times a strange claymation creation from another planet and other scenes a grown person in brown pajamas with a potato sack head.) The kids aren't afraid of E.T., though. Instead of being hidden away at the house of the little boy that finds him for most of the movie where it can get loaded on beer and dress up in drag, this E.T. is rather quick to get out in public. In one scene, E.T. just strolls right into the little boy's classroom for all to see. Upon seeing it, the classroom teacher has a heart attack and slumps over at his desk. Using his alien detector, a nice old man finds E.T. out in the middle of nowhere, sick. He brings the creature back home to the little boy and they throw it in bed. Not long after, a crowd of people gather outside of the home, some offering their prayers to the creature while others are threatened by him. Healing rather quickly, E.T. levitates himself, the little boy and a select group of kids on a bike, basket contraption where they fly over Turkey, evading an impending hassling by the police and they touch down in a forest where a spaceship awaits to take the creature home. The little Turkish actors are very impressive, in fact, much more so than the former cast in terms of emotional levels of acting in the scenes. This is a heartwarming, funny and original take on a classic "American" alien.

Download links: 1 2 3 4 5

Belladonna of Sadness (1973)

2011-02-13T15:58:00.000-08:00

Kanashimi no Belladonna also known as "The Tragedy of Belladonna" is an art house animation feature animated film produced in 1973 by Mushi Production. Directed and co-written by Eiichi Yamamoto and inspired by Jules Michelet's non-fiction book Satanism and Witchcraft, it is the third and final film in the Animerama trilogy and the only one to be neither written nor directed by Osamu Tezuka (he left Mushi Production during the film's early stages to concentrate on his comics and his conceptual-stage contribution is uncredited).

It was unusual on several counts: First off, it was an X-rated erotic Fantasia-esque feature length animation produced by by Mushi Production. Mushi Pro is the studio responsible for classic childrens fare like Astroboy and Kimba the White Lion. It’s easy to make the case that Osamu Tezuka, the company’s founder, should be regarded as the Walt Disney of Japan. In fact, it was Tezuka’s wide-eyed way of drawing characters that influenced Anime profoundly. Although Tezuka had already stepped down from the company three years earlier, it’s still not easy to imagine Disney producing soft porn cartoons just a few years after Uncle Walt’s passing…

Based kinda/sorta/somewhat on the Joan D’Arc story, Belladonna of Sadness also incorporates vampires and orgies into her tale (?!?!). Butterflies that take flight in the shape of a vagina and other things. As I have never seen a copy with English subtitles, it is rather difficult for me to say exactly what is going on in Belladonna of Sadness, although I can report that that Kuni Fukai’s stunning visuals (reminiscent of the work of Gustav Klimt and Aubrey Beardsley) are quite incredible eye candy and unlike anything else I’ve seen.

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The Proposition OST

2011-02-13T15:50:00.000-08:00

The Proposition is a soundtrack recorded by Nick Cave in collaboration with Warren Ellis, and was produced for the film The Proposition, released in October 2005.

This album is instrumentally focused, and is a departure from Cave's band-oriented compositions. All tracks are directly reproduced from the musical interludes in the film, and feature little alteration from the film score. Many songs on the album are slow-tempo and ballad-like, and the violin work of Warren Ellis becomes the central voice of the album for much of the time. Cave's unusual vocal performances on the "Rider" trilogy of songs brings a particularly haunting and uneasy tone to the album.

Nick Cave & Warren Ellis
Released: 13 Mar 2006
Tracklist:

01. Happy Land
02. The The Proposition, Pt. 1
03. Road to Banyon
04. Down to the Valley
05. Moan Thing
06. The The Rider, Pt. 1
07. Martha's Dream
08. Gun Thing
09. Queenie's Suite
10. The The Rider, Pt. 2
11. The The Proposition, Pt. 2
12. Sad Violin Thing
13. The The Rider, Pt. 3
14. The The Proposition, Pt. 3
15. The The Rider Song
16. Clean Hands, Dirty Hands

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Tetsuo: The Bullet Man (2009)

2011-02-01T03:53:00.000-08:00

The last few years Tsukamoto has been experiencing a slight decline towards (relatively) more commercial cinema. His latest (Nightmare Detective 2) is the ultimate proof of this change of style. Some might have you believe this new Tetsuo film is continuing the downward spiral, I clearly saw a completely different film. Tsukamoto returns back to his optima forma and delivers a film filled with more insanity than his age would ever betray.

You'll be hard-pressed to find a positive Tetsuo: The Bullet Man online. And while most negative feedback is definitely grounded, it seems to be missing the point entirely. This third Tetsuo film is in every way more of a sequel to the first film, somewhat ignoring the style and direction of the second one. It's in part an update of Tsuka's first Tetsuo film, but also somewhat of a rehash. I can only guess of course, but I'm not sure everyone was hoping to see the limitations of the first Tetsuo resurface after 20 years.

The Bullet Man was produced by an American company, somewhat explaining the switch to an American male lead (English dialogues included). Luckily these English dialogues makes sense within setting of the film (American boy living in Tokyo) and Tsukamoto is not pulling a Miike here. Still, I admit I too would've preferred an all-Japanese cast and native Japanese language track. The English feels awkward and static and even though it's probably how Tsuka wanted it to be, as someone who doesn't speak Japanese it would've been less of a hurdle if the film had been written in Japanese.

There's also a bit more background story to the Tetsuo saga. Many have faulted the additional story elements and complained the film is less vague and open than the first Tetsuo. This is definitely the case (though there really isn't that much extra plot to work through) but hardly something to worry about. Tetsuo was never about interpretation or a good story in the first place. The additional information here isn't really adding anything but it's not as if it's terribly in the way of the rest of the film either. Tetsuo is about dudes turning into metal and that's what you'll be getting.

Visually there's a big change between the gritty black and white of the first film and the moody, colored digital look of this third installment. It's a good thing Tsukamoto has had some prior experience with digital filming which is definitely paying off now. Everything looks lush, atmospheric yet gritty and smoky, only in a different way. The visual effects are spot on too, the same goes for Tetsuo's transformation designs. I really don't understand the bad press here. It's not as if the first Tetsuo didn't look as if he was made from anything other than paper mache. The third Tetsuo doesn't quite look like he's made from iron (which would make him quite expressionless by the way), but I didn't really see the rubber either. In the end, he just looked pretty bad-ass, which is all that mattered.

As for the editing, Tsukamoto still has it. Hyperactive, frantic, insane yet controlled and razor sharp. It masks some of the technical imperfections and heightens the atmosphere and pacing, making the action scenes all the more brutal. It also works wonderfully well with Chu Ichikawa (the man's back!) his soundtrack. Lovely metallic sounds, crunchy effects and pounding industrial tracks. A shame I couldn't see this film in theaters, I'm sure it would've sounded even better.

As for the acting, Tsukamoto's typical Kaijyu Theatre-style is back once again. It might clash a little with the American actors (we might be used to frantically screaming Japanese men by now, it still looks a little strange if an American does it) but overall the acting isn't even all that bad. Bossick does a pretty job, comparing him to Taguchi would be a little unfair though. The rest of the cast is not bad either, with the nice addition of Tsukamoto himself picking up the role of bad guy once again.

Tetsuo 3 is a pretty short film (80 minutes tops) but considering the frantic visual style and pounding soundtrack that's not necessarily a bad thing. There is no filler, no needless drama, any explaining that needed to be in here is short and to the point. In an ideal world another 10 minutes could've been cut to erase some of the obsolete story elements, but they never really interfere with the important parts: audiovisual transformation mayhem.

So while negative feedback on the dialogues and script is hard to contradict, it doesn't really differ all that much from the original Tetsuo. A film with a pretty long list of defects, all of them eclipsed by the uniqueness and positive points the film is bearing. Tsukamoto's third film is just like that. It's an audiovisual assault that knows little to no equal, staying close to the spirit of the original. As a fan of everything the first Tetsuo represents (still one of my top 10 films), I simply loved this sequel.

Usually negative feedback lowers people's expectations (which is a good thing), in this case many potential viewers seemed to dismiss this film completely without even giving it a fair chance. Don't be one of these people. Tetsuo: The Bullet Man is a worthy sequel to Tsukamoto's first feature film. It bears the same charm and defects as the first Tetsuo and some very minor extra glitches, but the core is still there. An assault to the senses in pretty much every way possible. So make sure to make up your own mind, just don't expect a true "upgrade" (ie a film influenced by 20 years of modern film making).

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Fallen Art

2010-12-16T06:15:00.000-08:00

In an old forgotten military base far from civilization, a group of deranged military officers nurture their insanity.

For more info: http://www.fallen-art.com/

Just Dropped in

2010-10-12T06:17:00.000-07:00

Full Metal Monkeys

2010-09-21T06:46:00.000-07:00

Alice's Restaurant (1969)

2010-09-16T06:15:00.000-07:00

Alice's Restaurant is a american film adapted from a song by Arlo Guthrie. The song is Guthrie's most famous work, a talking blues based on a true story that began on Thanksgiving Day 1965. The movie reproduces the events of the song, in addition to other scenes.

The movie is directed and co-written by Arthur Penn and stars Guthrie as himself, Pat Quinn as Alice Brock and James Broderick as Ray Brock, with the real Alice Brock making a cameo appearance. In the scene where Ray and friends are installing insulation, she is wearing a brown turtleneck top and has her hair pulled into a ponytail. In the Thanksgiving dinner scene, she is wearing a bright pink blouse. In the wedding scene, she is wearing a Western-style dress.

Stockbridge police chief William Obanhein ("Officer Obie") played himself in the film version, explaining to Newsweek magazine that making himself look like a fool was preferable to having somebody else make him look like a fool.

The film also features the first credited film appearance of character actor M. Emmet Walsh, playing the Group W sergeant. (Walsh had previously appeared as an uncredited extra in Midnight Cowboy, released three months prior.) The film also features cameo appearances by American folksingers/songwriters Lee Hays (playing a reverend at an evangelical meeting) and Pete Seeger (playing himself).

The movie version of "Alice's Restaurant" was released on August 19, 1969, a few days after Guthrie appeared at the Woodstock Festival.

Download links: 01 02 03 04 05 06 07 08 09 10 11 12

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Crni !!!

2010-08-26T14:32:00.000-07:00

Lutz Mommartz: Weg zum Nachbarn (1968)

2010-07-05T10:35:00.000-07:00

..... a ten minute Opus, which commentates Mommartz in such a way: "a girl communicates with the spectator." More indeed does not happen: .... but the it desireful face gives the viewer a hint, that this is not obligation exercise, but love. Mommartz is among the German film producers the purist. His scenes concentrate on the basic elements of movement and peace, of strain and slackening. He forces the spectator with the suggestiv power of repeated banality into the rhythm of its cinematic action.

(Thomas Schröder Die Welt 12.10.68)

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Vincent (1982)

2010-07-05T10:19:00.000-07:00

Vincent is a stop-motion short film written, designed and directed by Tim Burton and Rick Heinrichs. At approximately six minutes in length, there is currently no individual release of the film. It can be found on the Special Edition and Collector's Edition DVDs of The Nightmare Before Christmas as a bonus feature and on the Cinema16 DVD American Short Films.

The film is narrated by actor Vincent Price, a life-long idol and inspiration for Burton. From this relationship, Price would go on to appear in Burton's Edward Scissorhands. Vincent Price later said that the film was "the most gratifying thing that ever happened. It was immortality — better than a star on Hollywood Boulevard."

Vincent is the story of a young boy, Vincent Malloy, who pretends to be like the actor Vincent Price (who narrates the film). He is obsessed with the tales of Edgar Allan Poe, and it is his detachment from reality when reading them that leads to his delusions that he is in fact a tortured artist, deprived of the woman he loves, mirroring certain parts of Poe's "The Raven". The film ends with Vincent being tortured by the goings-on of his make-believe world, quoting "The Raven" as he falls to the floor in frailty, believing himself to be dead.

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Apocalypse Now OST

2010-06-17T10:42:00.000-07:00

"Saigon. Shit, I'm still only in Saigon." So begins Francis Ford Coppola's epic journey down the rivers of the Vietnam War into a world paralysed by rationalised insanity and ritual murder. The horror of this alternate reality is scrutinised on this collection, which contains not only the film's score, written by the director and his father, but also a hefty portion of the original dialogue and sound design of the film. And frankly, the most chilling and absorbing part of the film is Captain Willard's weary yet brilliantly evocative narration on the absurd, plus Colonel Kurtz's free-associated meditations on death, snails crawling across straight razors and more death. While Coppola's score is less over-the-top than the dialogue, it still makes the listener shiver. Much of the music is akin to a Vangelis score with added spleen: vicious, shimmering washes of synthesiser with notes waiting to cave inward like a circus big-top tent on fire, as in the bedlam of "Do Lung Bridge". Toss in The Doors' violent hedonism on "The End", tribal war drumming and a word or two from both Wagner and Flash Cadillac and you have your own audio journey into the heart of darkness. To paraphrase Martin Sheen's Willard: it's a choice mission, and once it is over, you'll never want another.

Disc 1
01. - The End
02. - Saigon
03. - The End Part 2
04. - Terminate
05. - The Delta
06. - P.B.R.
07. - Dossier
08. - Colonel Kilgore
09. - Orange Light
10. - The Ride Of The Valkyries
11. - Napalm In The Morning
12. - Pre-Tiger
13. - Dossier #II
14. - Susie Q
15. - Dossier #III
16. - 75 Klicks
17. - The Nung River

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Disc 2
01. - Do Lung Bridge
02. - Letters From Home
03. - Clean's Death
04. - Chief's Death, Strange Voyage
05. - Strange Voyage
06. - Kurtz' Compound
07. - Willard's Capture
08. - Errand Boy
09. - Chef's Head
10. - The Hollow Men
11. - Horror
12. - Even The Jungle Wanted Him Dead
13. - The End

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She's got the power to heal you, never fear!

2010-06-17T10:37:00.000-07:00

Hush

2010-06-05T08:09:00.000-07:00

La bête (1975)

2010-06-05T07:14:00.000-07:00

La Bête is the most notorious work from controversial Polish filmmaker Walerian Borowczyk, who came to fame as an animator in the 1960s, but who ended up directing tacky softcore porn films in the 1980s (including the utterly diabolical Emmanuelle 5). Before his sorry decline into mediocrity, Borowczyk established himself as the master of a new brand of surreal eroticism, where pornography meets fine art to create a unique and utterly bizarre cinematic experience.

La Bête is perhaps the prime example of this. It combines anti-bourgeois black comedy (very reminiscent of the work of French film director Luis Buñuel) with camp gothic horror and softcore porn. The result ought to be a pretentious, unwatchable mess, but it isn’t. Although it is far from being a great work of cinema, La Bête has an indefinable quality of artistic flair about it, constantly surprising its audience with its originality and daring. It is also probably the most explicit depiction of female sexuality in cinema, something which will either delight or shock anyone watching the film.

The film’s pièce de résistance is a flashback sequence which offers a pornographic re-working of the Beauty and the Beast tale. Here, a man in an unconvincing bear costume chases a beautiful young maiden through a sunny glade before confronting her with a comic phallus of truly monstrous proportions. With its overly explicit depiction of male and female orgasm, perhaps in the worst possible taste, this sequence ends up appearing far more like a cheap comical sketch than a serious piece of erotica. Like most of this film, it really only works if it is seen from a comic perspective. This is not a film about the horror of bestiality – it is much more about the grotesque absurdity of human sexuality.

Not surprisingly, the film suffered at the hand of the censors for its graphic depiction of sex when it was distributed outside of France. In the UK the film was subjected to substantial cuts, and was soon banned. The film was only released uncut 25 years after its initial release in France. Even today, the film is still able to surprise its audience with its daring and sometimes disturbing portrayal of female sexuality.

Download links: 1 2 3 4 5 6 7 8
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R.I.P. Dennis Hopper

2010-05-30T04:18:00.001-07:00

More at Sunglasses After Dark

Mickey Mouse Song

2010-05-28T09:13:00.000-07:00

Thomas Jerome Newton

2010-04-24T09:15:00.000-07:00

The Man Who Fell to Earth (1976)

2010-04-24T08:52:00.000-07:00

The Man Who Fell to Earth is a British science fiction film directed by Nicolas Roeg, based on the 1963 novel of the same name by Walter Tevis, about an extraterrestrial who crash lands on Earth seeking a way to ship water to his planet, which is suffering from a severe drought. The film maintains a strong cult following for its use of surreal imagery and its performances by David Bowie (in his first starring film role), Candy Clark, and Hollywood veteran Rip Torn. The same novel was later remade as a less-successful 1987 television adaptation.

Thomas Jerome Newton (David Bowie) is a humanoid alien who comes to Earth from a distant planet seeking a way to bring water back to his home planet, Anthea, which is experiencing a terrible drought.

Newton uses the advanced technology of his home planet to patent many inventions on Earth, and rises to incredible wealth as the head of a technology-based conglomerate, World Enterprises Corporation, aided by leading patent attorney Oliver V. Farnsworth (Buck Henry). Secretly, this wealth is needed to construct his own space vehicle program in order to ship water back to his planet...

Download links: 1 2 3 4 5 6 7 8

Audition (1999)

2010-04-13T14:36:00.000-07:00

Ōdishon is a japanese horror film directed by Takashi Miike and starring Ryo Ishibashi and Eihi Shiina. It is based on a Ryu Murakami novel of the same title. Over the years, the film has developed a cult following.

Shigeharu Aoyama, a middle-aged widower who lost his wife to an illness seven years prior, is urged by his 17-year-old son, Shigehiko, to begin dating women again. Shigehiko is somewhat doubtful of his father's love life, but plans to move out when he finishes school and does not want his father to be alone. Aoyama's friend and colleague, Yoshikawa, a film producer, devises a plan to hold a mock-audition, in which young, beautiful women would audition for the "part" of Aoyama's new wife, under the impression that they are auditioning for a new film, but actually so Aoyama can marry one of the finalist contestants...

Download links: 1 2 3 4 5 6 7 8

Baraka (1992)

2010-04-13T12:01:00.000-07:00

Baraka is a Todd-AO (70 mm) non-narrative film directed by Ron Fricke.

The film is often compared to Koyaanisqatsi, the first of the Qatsi films by Godfrey Reggio of which Fricke was cinematographer. Baraka's subject matter has some similarities—including footage of various landscapes, churches, ruins, religious ceremonies, and cities thrumming with life, filmed using time-lapse photography in order to capture the great pulse of humanity as it flocks and swarms in daily activity. The film also features a number of long tracking shots through various settings, including one through former German concentration camps at Auschwitz and Tuol Sleng (in Cambodia) turned into museums honoring their victims: over photos of the people involved, past skulls stacked in a room, to a spread of bones. In addition to making comparisons between natural and technological phenomena, such as in Koyaanisqatsi, Baraka searches for a universal cultural perspective: for instance, following a shot of an elaborate tattoo on a bathing Japanese yakuza mobster with one of Native Australian tribal paint.

The movie was filmed at 152 locations in 24 countries: Argentina, Australia, Brazil, Cambodia, China, Ecuador, Egypt, France, Hong Kong, India, Indonesia, Iran, Israel, Italy, Japan, Kenya, Kuwait, Nepal, Poland, Saudi Arabia, Tanzania, Thailand, Turkey, and the United States. It contains no dialogue. Instead of a story or plot, the film uses themes to present new perspectives and evoke emotion purely through cinema. The film was the first in over twenty years to be photographed in the 70mm Todd-AO format.

The title Baraka is a word that means blessing in Arabic. The score by Michael Stearns and featuring music by Dead Can Dance, L. Subramaniam, Ciro Hurtado, Inkuyo, Brother and David Hykes, is noticeably different from the minimalist one provided by Philip Glass for Koyaanisqatsi. The film was produced by Mark Magidson, who also produced and directed the film Toward the Within, a live concert performance by Dead Can Dance. A sequel to Baraka, Samsara, is planned to be released in 2010.

Download links: 1 2 3 4 5 6 7

Lizard Woman

2010-04-03T06:40:00.001-07:00

Psy Trance Hallucination

2010-04-03T06:19:00.000-07:00

Altered States (1980)

2010-04-03T06:09:00.000-07:00

Altered States is a science fiction film adaptation of a novel by the same name by playwright and screenwriter Paddy Chayefsky. It was the only novel that Chayefsky ever wrote, as well as his final film. Both the novel and the film are based on John C. Lilly's sensory deprivation research conducted in isolation tanks under the influence of psychoactive drugs like ketamine and LSD.

The film was directed by Ken Russell and starred William Hurt in his screen debut. It also starred Blair Brown (as Emily Jessup), Charles Haid and Bob Balaban. It additionally featured the film debut of Drew Barrymore. The film score was composed by classical composer John Corigliano (with Christopher Keene conducting) and was nominated for an Academy Award. The film also received an Oscar nomination for Sound, losing to The Empire Strikes Back.

Download links: 1 2 3 4 5 6 7 8

The Creature

2010-03-25T12:57:00.001-07:00

Carter Burwell – The Hudsucker Proxy (1994)

2010-03-09T11:10:00.000-08:00

Unfairly dissed at the time of its release (1994), The Hudsucker Proxy has gained many supporters over the years but still, in my opinion, has much re-appraising to go through. One aspect of the Coens’ return to screwball comedy that barely anybody mentions is its score. That’s a shame because it is grand and majestic with a compelling compassion for the characters even at their most pathetic. Reportedly loosely based on the “Adagio” and “Phrygia” movements of the ballet Spartacus by Aram Khachaturian, the music swells with proper punctuation throughout Tim Robbins’ crazy climb up the corporate ladder. A few perfect-for-period Duke Ellington numbers make the cut too but the icing on the Coens’ cake musically is the cameo by Peter Gallagher as fictitious crooner Vic Tenneta who briefly steals one nightclub scene with his rendition of “Memories Are Made Of This”.

01. Prologue
02. Norville Suite
03. Waring’s Descent
04. The Hud Sleeps
05. Light Lunch
06. The Wheel Turns
07. The Hula Hoop
08. Useful
09. Walk of Shame
10. Blue Letter
11. A Long Way Down
12. The Chase
13. Norville’s End
14. Epilogue
15. Norville’s Reprise

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Teaser:Tetsuo - The Bullet Man (2009)

2010-03-07T08:05:00.000-08:00

Plot: The life of an ordinary American businessman living in Tokyo with his Japanese wife (Akiko Monou) and a three-year-old son changes forever after a sudden tragedy. His extreme anger turns his body metallic to fight at a ultra-fast speed against a mysterious evil in the dynamically-changing city of Tokyo.

Download links: Soon... this year (i hope)

The Wicked City

2010-02-27T05:45:00.001-08:00

Chappaqua (1966)

2010-02-26T14:09:00.000-08:00

Chappaqua is a cult film written, directed by and starring Conrad Rooks. It is based on Rooks' experiences with drug addiction. It includes cameo appearances by a host of famous names of the 1960s: author William S. Burroughs, guru Swami Satchidananda, beat poets Allen Ginsberg and Moondog, and Ravi Shankar, who co-wrote the score with Philip Glass. Rooks had commissioned jazz artist Ornette Coleman to compose music for the film, but his score, which has become known as the Chappaqua Suite was ultimately not used. Coleman too makes a cameo appearance in the film.

The film briefly depicts its namesake, Chappaqua, New York, a sleepy hamlet in Westchester County, in a few minutes of wintry panoramas. The hamlet is an overt symbol of drug-free, suburban childhood innocence, and is also one of the film's many nods to Native American culture. The northern Westchester area had been heavily inhabited by Native Americans; the word chappaqua itself derives from the Wappinger (a nation of the Algonquin tribe) word for 'laurel swamp'.

Download links: 1 2 3 4 5 6 7

Bill Lee

2010-02-22T10:37:00.000-08:00

The Man with the Golden Arm OST (1955)

2010-02-22T10:22:00.000-08:00

01. Clark Street (The Hop / Homecoming / Antek's)
02. Zosh
03. Frankie Machine
04. The Fix
05. Molly
06. Breakup (Flight / Louie's / Burlesque)
07. Sunday Morning
08. Desperation
09. Audition
10. The Cure (Withdraw / Cold / Morning)
11. Finale
12. Wild and Crazy
13. Exotica
14. Smooth
15. Just A Little Jazz
16. Nightcap
17. Return Of The Man

Download: 1 2

Psychedelic Jazz sequence

2010-02-21T10:41:00.000-08:00

Reefer Madness (1936)

2010-02-19T09:30:00.000-08:00

Reefer Madness (aka Tell Your Children) is american exploitation film revolving around the tragic events that ensue when high school students are lured by pushers to try "marihuana": a hit and run accident, manslaughter, suicide, rape, and descent into madness all ensue. The film was directed by Louis Gasnier and starred a cast composed of mostly unknown bit actors. It was originally financed by a church group and made under the title Tell Your Children.

The film was intended to be shown to parents as a morality tale attempting to teach them about the dangers of cannabis use. However, soon after the film was shot, it was purchased by producer Dwain Esper, who re-cut the film for distribution on the exploitation film circuit. The film did not gain an audience until it was rediscovered in the 1970s and gained new life as a piece of unintentional comedy among cannabis smokers. Today, it is in the public domain in the United States and is considered a cult film.

Download links: 1 2 3 4 5
Pass: Turdy@ars

Motoring !!!

2010-02-09T07:38:00.000-08:00

Repost: Brazil (1985) HDTV

2010-02-04T12:14:00.000-08:00

Release: Brazil.HDTV.720p.x264.AC3-5.1-DiC.mkv
Video: 1280 x 720, x264, 23.976 fps, ~4377 kbps
Audio: English AC3 5.1 @384 kbps
Size: 4.37 GB (4480.949 MB)
Duration: 02:11:28

INFO

http://rapidshare.com/files/63400647/brazil.part01.rar
http://rapidshare.com/files/63400879/brazil.part02.rar
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http://rapidshare.com/files/63400379/brazil.sfv

Pass: HDVideo.3xforum.ro
Sample

The Bottled Fools

2010-01-26T10:51:00.001-08:00

Hellevator: The Bottled Fools (2004)

2010-01-26T10:42:00.000-08:00

Gusha no Bindume is a japanese film written and directed by Hiroki Yamaguchi. In a dystopian future humanity has been forced underground. Settlements are stacked very deep, all of which are connected by transport elevators. One day a girl named Luchino hides in one of these elevators to escape the authorities when she is caught smoking. Unfortunately she does this at a time when a separate group of security forces are using the elevator to transport two extremely dangerous criminals. Suddenly an explosion cripples the elevator and the eclectic group of passengers which are now mixed in with two murderers are forced to fight for their survival in any way they can.

Download links: 1 2 3 4 5 6 7 8 or torrent

The Elephant Man (1980)

2010-01-13T16:14:00.000-08:00

The Elephant Man is a drama film based on the story of Joseph Merrick (called John Merrick in the film), a severely deformed man in 19th century London. The film was directed by David Lynch. The screenplay was adapted by Lynch, Christopher De Vore, and Eric Bergren from the books The Elephant Man and Other Reminiscences (1923) by Sir Frederick Treves and The Elephant Man: A Study in Human Dignity by Ashley Montagu. It was shot in black-and-white. Between the surreal dystopia of Eraserhead and the artistic immobility of Dune, and before critics labeled him as the auteur of Weird America with permanent marker, David Lynch directed this strange but true story set in London, England during the late 1800’s. Being one of only two films of his to be based on fact it is far less of a personal work than those generated by the director himself. Despite his sensibilities being contained in a more formal framework his unique aural and visual style (like the sound of blowing wind or the peculiar emphasis of the industrial machinery of the period)clearly comes across, although it’s a far cry from the narrative conundrums that comprise Eraserhead, Lost Highway, or Mulholland Dr.

The Elephant Man was recognized as a critical and commercial success, and received eight Academy Award nominations, including Best Picture in 1981.

Download links: 1 2 3 4 5 6 7 8

or

http://rapidshare.com/files/326901508/2812_TEM.part01.rar
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Blood Sucking Freaks

2009-12-14T17:03:00.001-08:00

Hausu (1977)

2009-12-14T16:21:00.000-08:00

House is a japanese film directed by Nobuhiko Obayashi. The film was the feature-length directing debut for Obayashi, who based the film on an idea from his 7-year-old daughter. Before House, Obaysashi primarily directed television commercials (one of his earlier projects was a series of commercials for "Mandom" cologne featuring American actor Charles Bronson), which is reflected to a certain extent in the glossy directorial style of House.

In the hands of experimental Japanese filmmaker Nobuhiko Obayashi, the tale of seven “unmarried” young high-school girls who, during a school break, travel to a spooky, remote hilltop house to visit the reclusive, mysterious Aunt of one of their fold only to be consumed one at a time by the Ghost-House/Aunt in increasingly novel ways, is escalated into a spastic, phantasmagorical confetti burst of avant-garde techniques and tonalities. Not a minute goes by without some kind of imaginative and spirited experimental visual manipulation or interjection; from kaleidoscopic color schemes, to frame and time altering collage montage, to wild, high-concept mixed media integration (animation, mattes, props, sets, etc), to mini-movie injections (lovingly parodying/mimicking everything from silent film stylistics, to romantic fantasies to obligatory action scenes). Any and all workings of the film form are here incorporatedly warped; from imagery and editing to music and sound to content and presentation. Even the sketches of characters and their respective performances by the actors are hemmed in time with the overall off-the-wall configuration. (Example: Each girl is intentionally drawn with their stock personalities (the musician, the over-weight eater, the athlete, etc) novelly paraded in gleeful iconic irreverence.) The moods and tones of the film are equally melodic in their own discordant tangential way; seamlessly walking the line between comedy, horror and the deadpan aloof. It all adds up to a whole lot of fun. Where else could you see a girl eaten by a piano, an upright Bear having dinner at a roadside noodle-stand or a man turned into a pile of bananas because he doesn’t like melons? With all its packed in candy-colored confections and novel door prizes, “Hausu” is a cinematic surprise party all in one…just add you.

Download links: 1 2 3 4 5 6 7 8

Vampire Hunter D Soundtrack (1986)

2009-12-14T09:37:00.000-08:00

Tracks List:
01. mamono-tachi no yoru / Night of Demons 4:20
02. D fukkatsu / Resurrection of D 2:09
03. D zetsumei / Death of D 2:48
04. kyuuketsuki Lee hakushaku (toujou) / Earl Lee, the Vampire (Entrance) 4:15
05. kizoku no konrei / Marriage of Nobles 1:31
06. kyuuketsuki Lee hakushaku (shi) / Earl Lee, the Vampire (Death) 7:40
07. D no teema (toujou) / Theme of D (Entrance) 3:39
08. yakusoku (part I) / Promise (part I) 3:07
09. D no teema (Doris no ai) / Theme of D (Doris's Love) 3:22
10. Doris dakkai / Rescuing Doris 5:19
11. D no teema (wakare) / Theme of D (Parting) 3:26
12. yakusoku (part II) / Promise (part II) 3:10

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Pass: his-elevator

Suspiria

2009-12-13T15:21:00.000-08:00

Quest (1983)

2009-12-13T14:53:00.000-08:00

Quest is a visual spectacle written for the screen by Ray Bradbury and directed by Elaine & Saul Bass (yes, that Saul Bass - famous for creating the credit titles for such feature films as Man with the Golden Arm and Walk on the Wild Side) and released in 1983. It's a story of a race of people trapped on a strange planet where lack of sunlight and vegetation has reduced the life span to eight short days. From the children born to this doomed race, one child is selected to dispel the darkness. Following in the footsteps of others who have tried before, he must find and open a vast gate, letting in the "Light" which will bring peace and long life to his people.

Quest 01

Quest 02

There's Only One Sun (2007)

2009-12-13T08:15:00.000-08:00

There's Only One Sun | Wong Kar-Wai
Independent web videos.

Set in a garishly lighted, yet otherwise ambiguous future (better to show off Phillips “ambilight” technology), the film focuses on “006”, a beautiful female agent of “Central Authority: Human Sanitation Division”. She is put on the case of a notorious figure known as “Light”, for whom she must pose as a blind person in order to gain his trust. The charismatic Light has a deep affect on the agent, and tension is derived from that classic spy trope—has 006 gone too deep?

Wong Kar Wai works well with the limitations of the medium while staying within the boundaries of his well-traversed tropes. If ever the auteur theory applied to a filmmaker it is Wong, as each of his films simultaneously draws from, and enriches those which came before. There is Only One Sun is no different, as it treads the familiar territories of love, trust, memory and disconnect that we have seen in films such as 2046 and Ashes of Time. More...

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Evil Dead Trap

2009-12-13T07:40:00.000-08:00

Robot Carnival: Cloud (1987)

2009-12-12T16:31:00.000-08:00

Directed by Mao Lamdo. This short features a robot walking through time, and the evoultion of man. The backdrop is animated with clouds that depicts various events of the universe. Such as the modernization of man, to the self destruction of man. Most the events in the backdrops takes place from Rome to present day society. Eventually the same angel who cries for his imortality, makes him human towards the end.

Insomnia

2009-12-02T13:04:00.001-08:00

Zerkalo

2009-11-24T13:34:00.000-08:00

The Keep OST

2009-10-29T13:43:00.000-07:00

The Keep (1997) is the soundtrack to the movie The Keep (1983) by the German electronic music group Tangerine Dream. A limited run of 150 CDs were sold at a concert by the group in the UK in 1997. Virgin soon announced that the album would be available for general release in early 1998, but legal issues with the film studio stopped the release. In 1999, Tangerine Dream's own record label sold 300 copies of the Millennium Booster album set that included The Keep with a different cover.

01. "Puer Natus Est Nobis"– 3:09
02. "Ancient Powerplant"– 4:28
03. "The Silver Seal"– 3:07
04. "Voices From A Common Land"– 4:06
05. "Arx Allemand"– 4:24
06. "The Night In Romania"– 3:15
07. "Canzone"– 2:51
08. "Sign In The Dark"– 4:19
09. "Weird Village"– 3:23
10. "Love And Destiny"– 3:31
11. "The Challenger's Arrival"– 4:32
12. "Supernatural Accomplice"– 4:07
13. "Parallel Worlds"– 4:29
14. "Truth And Fiction"– 2:52
15. "Wardays Sunrise"– 3:20
16. "Heritage Survival"– 4:13

"Puer Natus Est Nobis" is a Christmas mass composed by Thomas Tallis around 1554 - this track is from the introit "Gloria" and is credited as "Gloria" from the "Mass for Four Voices". This theme appears in the film when the demon saves Eva from the soldiers. "Heritage Survival" and "The Night In Romania" first appeared in several live concerts during the 1982 "Logos" tour, but were not titled as such until the soundtrack release. The tracks appear in the film when Dr Cuza rejects the demon. "Canzone" appears to be an original composition for the film. None of the other tracks were included in the actual film score.

A rerecorded version of "The Challenger's Arrival" was released on the album Tangerine Dream Plays Tangerine Dream in 2006, and in 2007, "Ancient Powerplant" was included in the Ocean Waves Collection, available for download from the Tangerine Dream website.

Download links: Part 1 Part 2 or Part 1 Part 2

There Will Be Blood OST

2009-10-23T05:57:00.000-07:00

It is rare that a movie soundtrack can be taken as a standalone. That is to say it is difficult to take a soundtrack without colouring your opinion with your knowledge of the story or of the movie experience.

But this is a rare beast. Entirely orchestral in its construct, immediately drawing you into the mood and mix of sinister and celebration, this is a soundtrack that takes you on an emotional journey all by itself. However, as the title of the Album intimates that journey is not full of green fields and dancing hobbits. Instead the mood is dark and often malevolent, which gives me to believe that the movie must be about the want of men and what they will do to obtain it.

Very much in the same mould as Michael Nyman soundtracks in the way it influences mood, this is not easy listening, but is very evocative and will take your mind on a journey while stimulating the imagination. Highly recommended !!!

download or download

Ganheddo

2009-10-23T05:51:00.000-07:00

Збогум на 20-от век (1998)

2009-10-22T08:01:00.000-07:00

"Goodbye 20th Century" is a unique, surreal and visionary film that's divided into three parts. The film's three stories take place in the future, past and the end of the twentieth century. Some parts reminded me of El Topo. Imagine, if you will, Road Warrior and Christmas Evil filmed by Kusterica and Jodorowsky. This was the first film I have ever seen from the country of Macedonia, and because of its atmosphere; it takes its viewers to another dimension. The two directors combine elements of mysticism, gypsy folk lore, sci-fi and surrealism for a bleak and bizarre view of the future. The first part of the film takes place in the 2019. A man is to be executed at gunpoint. Even when repeatedly shot at, the man cannot die. He continues to live. We later learn that he was cursed for having sex with a saint. He was impotent and could only get it up for this woman. The curse causes the town's children to die. He is now forced to go on living. A mysterious immortal prophet tells him a way to break the curse. There is also Lynch like elements such as a crazed green haired joker in the film who looks straight out of a batman comic. I know, it sounds strange. The bizarre costumes and abandoned environment is in a cinematic category of its own. The second part of the film takes place in the 1900's, Where we witness the first incestuous marriage and murder to be caught on camera. And finally, the film dives into the present which is New Years Eve, before the year 2000. A man in a Santa suit goes crazy at a funeral, or is it the family who's crazy along with their coke addicted relatives and farting grandmother. This is the chaotic event (not Y2K) that leads the world to a bleak future. This film defies description. "Goodbye 20th Century needs to be released on DVD. The low VHS quality doesn't do it justice. On another note, God can only imagine the horror stories that people could tell about living in war torn Macedonia. So the film may feel irrelevant to some western viewers. If you enjoy the films of Jodorowsky, Arrabal, Zulawski and Kusturica, then "Goodbye 20th Century" is for you. It would make a good triple feature with "The Holy Mountain" and Tekeshi Miike's "Izo" since all films have bizarre mystical imagery. And Remember, The future is as screwed up as the past.

Download links at Sunglasses After Dark

Cuadecuc, vampir (1970)

2009-10-15T12:04:00.000-07:00

Description: Vampir-Cuadecuc (1970, 75 mins., 35mm) is a dreamlike combination of documentary, narrative, experimental, and essay film styles and is one of the key films of contemporary Spanish cinema. Shot on the set of Jesus Franco’s Italian horror film Count Dracula, and featuring the star of that film, Christopher Lee, Vampir is both a sly political allegory about generalissimo Francisco Franco, a gentle homage to early films about the vampire legend, particularly Dreyer’s Vampyr and Murnau’s Nosferatu, and a work of subtle beauty and great richness.

Review by Jonathan Rosenbaum:
The first word in the title of Pere Portabella's ravishing 1970 underground masterpiece, made in Spain while General Francisco Franco was still in power and shown clandestinely, means both “worm's tail” and the unexposed footage at the end of film reels. The film is a silent black-and-white documentary about the shooting of Jesus Franco's Count Dracula, with Christopher Lee, that becomes much more: the lush, high-contrast cinematography evokes deteriorating prints of Nosferatu and Vampyr, and the extraordinary soundtrack by composer Carles Santos intersperses the sounds of jet planes, drills, syrupy Muzak, and sinister electronic music, all of which ingeniously locate Dracula and our perceptions of him in the contemporary world. Moving back and forth between Franco's film (with Dracula as an implicit stand-in for the generalissimo) and poetic production details, Portabella offers witty reflections on the powerful monopolies of both dictators and commercial cinema. The only words heard are in English, spoken by Lee and written by Bram Stoker.

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Willa Harper

2009-10-07T02:19:00.000-07:00

Sinner Man

2009-10-03T05:42:00.000-07:00

Rabbits

2009-10-03T05:41:00.001-07:00

Inland Empire OST

2009-10-03T05:32:00.000-07:00

Whether you believe "Inland Empire" is a great film filled with mystery, or a meaningless assemblage of unsettling scenes, you can't deny that it has a great soundtrack. Sound design has become so important to Lynch that all of his films since "Lost Highway" feature a constant extra-diegetic sound source of some sort. In "Lost Highway", there were obvious musical selections separated by ominous rumblings and barely audible industrial sounds. Now in IE, the distinction between what is "music" in the traditional sense and what is ambient sound is almost totally blurred. Not all music has melody, and not all ambient sound is without melody - even if only in an abstract sense. While I'm disappointed that Angelo Badalamenti didn't collaborate, Lynch seems to have taken on the task himself with great success.

In many ways, this is an interesting companion to the film. It appears that Lynch created lengthy selections, which he subsequently cut and arranged to work with the editing and flow of the film. Now, we're able to hear them in their entirety, as Lynch originally conceived them. To me, it's a fascinating window into his creative mind.

Beyond Lynch's original material, there are some interesting selections ranging from Beck to Penderecki's intense modernist works. The big disappointment for me was the curious omission of the music from the burlesque club scene. It was a great subversion of sleazy stripper jazz into something atonal, but still groovy.

Finally, many speculate that a lot of the film is explained in the lyrics of "Polish Poem", and this is an easy way to hear it. There do seem to be some answers, but as is typical for Lynch, they're clouded in vague, poetic language and end up raising more questions than they answer.

01. David Lynch - Ghost of Love
02. David Lynch - Rabbits Theme
03. Mantovani - Colors of My Life
04. David Lynch - Woods Variation
05. Dave Brubeck - Three To Get Ready
06. Boguslaw Schaeffer - Klavier Konzert
07. Kroke - The Secrets of the Life Tree
08. Little Eva - The Locomotion
09. David Lynch - Call From the Past
10. Krzysztof Penderecki - Als Jakob Erwachte
11. Witold Lutoslawski and Joey Altruda - Novele
12. Beck - Black Tambourine (film version)
13. David Lynch - Mansion Theme
14. David Lynch - Walkin' on the Sky
15. David Lynch and Marek Zebrowski - Polish Nig
16. David Lynch and Chrysta Bell - Polish Poem
17. Nina Simone - Sinnerman (edit)

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Inland Empire (2006)

2009-10-03T05:15:00.000-07:00

Inland Empire is a surrealistic, psychological thriller film, written and directed by David Lynch. It was his first feature-length film since 2001's Mulholland Drive, and shares many similarities with that film. It premiered in Italy at the Venice Film Festival on September 6, 2006. The feature took two and a half years to complete, and was Lynch's first film to have been shot entirely in standard definition digital video. David Lynch believes that his new film makes sense. In fact, that it makes perfect sense. And not only is he not joking; he’s saying this about the most screwed-up, far-out film he’s made since Eraserhead. It’s a three-hour psychotropic odyssey that throws conventional narrative out of the window. Characters mutate and morph, time zones overlap, and wormholes connect worlds within worlds within worlds. But through it all Lynch maintains an astonishing sense of commitment that almost dares you to keep up: if Mulholland Drive laid down the gauntlet, Inland Empire (Lynch insists the title be capitalised) is the duel that follows, a mystery like nothing you’ve ever seen before...

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CD2: 1 2 3 4 5 6 7

...stunning Laura Dern

The Radiator Song

2009-09-25T10:40:00.000-07:00

The sleeper must awaken...

2009-09-18T12:07:00.001-07:00

Darkened Room (2002)

2009-09-18T07:11:00.000-07:00

Darkened Room is a short 8-minute film directed by David Lynch. It first appeared on Lynch's website, in 2002. It has subsequently been released on the DVD anthology Dynamic:01.

In the first half of the film, a Japanese woman shows us her apartment in Tokyo and muses on the amount of bananas produced worldwide. The woman then tells us that her friend next door is sad. In the second half, a blonde woman (Jordan Ladd) sits on a sofa and cries. Then a brunette woman (Cerina Vincent) enters and says cruel things to her, before threatening to tell her the truth. The film ends with a fade to black.

The film was shot on digital video. In an introduction that appears on the Dynamic:01 DVD, Lynch calls the film "an experiment based on some idea", and says the film "was always some kind of tie in to bananas, information concerning bananas, so we can all learn some things as we enjoy the shows". Then he laughs.

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Jacob's Ladder

2009-09-14T07:52:00.000-07:00

Cat People OST (1982) - Giorgio Moroder

2009-09-11T08:55:00.000-07:00

Perhaps best known for his Oscar-winning "Midnight Express" score and his disco collaborations with Donna Summer, composer Giorgio Moroder's finest work can be heard on "Cat People" (1982). Like the Paul Schrader film it accompanies, Moroder's score remains a masterpiece of mood and atmosphere - featuring David Bowie's excellent title song (subtitled "Putting Out Fire"). It should be noted that Moroder utilized a different recording for the movie, which is equally memorable. Hopefully, the "Cat People" CD will be reissued with additional music from the film soundtrack.

01. Cat People ("Putting Out Fire") 6:46
02. The Autopsy 1:32
03. Irena's Theme 4:22
04. Night Rabbit 2:00
05. Leopard Tree Dream 4:03
06. Paul's Theme (Jogging Chase) 3:54
07. The Myth 5:13
08. To The Bridge 2:52
09. Transformation Seduction 2:46
10. Bring The Prod 1:57

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The Lady From Shanghai

2009-09-04T09:42:00.000-07:00

Обыкновенный фашизм (1965)

2009-09-04T09:07:00.000-07:00

Obyknovennyy fashizm

... aka A Night of Thoughts
... aka Echo of the Jackboot (UK)
... aka Ordinary Fascism
... aka Triumph Over Violence (USA)

Using found footage from East German, Soviet and Polish archives, as well as some amateur photography, this documentary builds a picture of the culture of German Nazism, including some of the films of the Nazi ministry of propaganda. This analysis of fascism, its rise in Germany in the 1930's, culmination in World War II, and present day manifestations, is compiled largely from German news and archival footage. The film is divided into chapters depicting Hitler's early emotional appeal to the German people (mass rallies, Wagnerian torchlight parades, book-burnings, etc.); the conversion of "nice boys" into storm troopers (stressed by scenes of captured German soldiers with pictures of their loved ones juxtaposed with views of their atrocities); Hitler's eventual rise to absolute power (his conquests, policy of mass murder, crimes against the Jews, and the sealing of Mein Kampf in a vault designed to last 1000 years); and his defeat. (Deletions for the U. S. release include material from the final chapter depicting neo-Nazi movements throughout the world today and the training of U. S. Marines in a manner reminiscent of the indoctrination of Hitler's Brownshirts.)

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Subtitles

Mikhail Romm ... Narrator (voice)
Marlene Dietrich ... Herself (archive footage)
Josef Goebbels ... Himself (archive footage)
Hermann Göring ... Himself (archive footage)
Adolf Hitler ... Himself (archive footage)
Joseph Stalin ... Himself (archive footage)
Jûkichi Uno ... Narrator (voice: Japanese version)

Where Is The Fish?

2009-08-30T13:43:00.001-07:00

Shinjuku Incident

2009-08-29T12:03:00.001-07:00

Guinea Pig Reminder

2009-08-29T11:38:00.000-07:00

The Guinea Pig films are a series of 1980's japanese horror films with extremely detailed special effects of gruesome crimes against people. The tapes gained notoriety in Japan during the late 1980s and early 1990s when the first five films of the series were found showcased in the 5,763 videotape collection of japanese serial killer Tsutomu Miyazaki, who reportedly re-enacted scenes from the films as a part of his crimes. Because of the constant controversy surrounding the series, it has now been deemed illegal in Japan to produce any movies with the "Guinea Pig" label. According to Snopes, the films became infamous in the U.S. when in 1991 the actor Charlie Sheen mistook the second film of the series, Flowers of Flesh and Blood for a snuff film and contacted the FBI to report it.

1985 - The Devil's Experiment
1985 - Flower of Flesh and Blood
1986 - He Never Dies
1986 - Devil Woman Doctor
1988 - Mermaid in a Manhole
1988 - Android of Notre Dame
1988 - Slaughter Special Za ginipiggu 7: Zansatsu supeshyaru is the seventh and final movie from the series. It works primarily as a "best of" special, showcasing the most gruesome moments from the first several films.

The Abyss - Alan Silvestri

2009-08-19T12:33:00.000-07:00

01. Main Title
02. Search The Montana
03. The Crane
04. The Manta Ship
05. The Pseudopod
06. The Fight
07. Sub Battle
08. Lindsey Drowns
09. Resurrection
10. Bud’s Big Dive
11. Bud On The Ledge
12. Back On The Air
13. Finale

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Häxan (1922)

2009-08-18T08:19:00.000-07:00

Häxan (English title: The Witches or Witchcraft Through The Ages) is a Swedish/Danish silent film written and directed by Benjamin Christensen. Based partly on Christensen's study of the Malleus Maleficarum, a 15th century German guide for inquisitors, Häxan is a study of how superstition and the misunderstanding of diseases and mental illness could lead to the hysteria of the witch-hunts. The film was made as a documentary but contains dramatized sequences that are comparable to horror films. With Christensen's meticulous recreation of medieval scenes and the lengthy production period, the film was the most expensive Scandinavian silent film ever made, costing nearly two million Swedish krona. Although it won acclaim in Denmark and Sweden, the film was banned in the United States and heavily censored in other countries for what were considered at that time graphic depictions of torture, nudity, and sexual perversion.

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Password: Firecloud

Witchcraft Through the Ages

2009-08-18T08:18:00.001-07:00

The Falls (1980)

2009-08-14T07:27:00.000-07:00

The Falls is a film directed by Peter Greenaway. It was Greenaway's first feature-length film after many years making shorts. It does not have a traditional dramatic narrative; it takes the form of a mock documentary in 92 short parts.

The premise of the film is that the world has been struck by a mysterious incident called the "Violent Unknown Event" or VUE, which has killed many people and left a great many survivors suffering from a common set of symptoms: mysterious ailments (some appearing to be mutations of evolving into a bird-like form), dreaming of water (categorised by form, such as Category 1, Flight, or Category 3, Waves) and becoming obsessed with birds and flight. Many of the survivors have been gifted with new languages. They have also stopped aging, making them immortal (barring disease or injury).

A directory of these survivors has been compiled, and The Falls is presented as a film version of an excerpt from that directory, corresponding to the 92 entries for persons whose surnames begin with the letters FALL-. Not all of the 92 entries correspond to a person - some correspond to deleted entries, cross references and other oddities of the administrative process that has produced the directory. One biography concerns two people - the twin brothers Ipson and Pulat Fallari, who are played (in still photographs) by the Brothers Quay.

In addition to the common VUE symptoms mentioned above, a number of themes run through the film. Among these are references to a number of bureaucratic organisations including the VUE Commission and the Bird Facilities Investments (a parody of the British Film Institute), the history of manned flight from Daedalus with the suggestion that birds may be responsible for the VUE (and that the film may thus be seen as a sequel to Hitchcock's The Birds), complex debates over the location of the epicentre of the VUE, and repeated references to Tulse Luper. Luper is a recurring off-stage character in Greenaway's early films, and would eventually appear on film in the epic series The Tulse Luper Suitcases.

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Stille Nacht I (1988)

2009-08-14T04:37:00.000-07:00

The Quay Brothers made their first foray into the world of the pop promo in 1986, when they were amongst a number of animators who worked on Peter Gabriel's 'Sledgehammer' video (d. Stephen R. Johnson). Although they had mixed feelings about their contribution, 'Sledgehammer' was one of the most influential videos of its era, and opened up new commissioning possibilities. In 1988, the US-based MTV cable television music network asked several animators to create a number of very short pieces that could be played as an 'Art Break' between the music videos that formed the bulk of the station's output. More...

Tomb

2009-08-14T04:30:00.001-07:00

La cabina (1972)

2009-08-12T10:11:00.000-07:00

La cabina ("The Telephone Box") is an Emmy award-winning 1972 film directed by Spanish director Antonio Mercero and written by him and José Luis Garci.

In the 35-minute film, a man becomes trapped in a telephone booth, while passersby seem unable to help him. A truck from the telephone company arrives, loads the booth with its trapped occupant onto a truck, and takes it away. When the truck arrives at its destination, the horrified man finds that he has been offloaded into a large room with many phone booths, each one containing a dead person.

This short surreal Spanish film directed by Antonio Mercero is one of those films that you will never forget. The story is simple. A man (played by José Luis López Vázquez) takes his young son to school. On the way home he sees a telephone box with its door slightly ajar, as if it's a Venus fly trap, waiting to snare its victims. He enters the booth and tries to make a call, but he finds the phone is out of order.

When the man entered, the door closed behind him, he tries to open it, he cannot. He struggles inside and tries everything to get out. He shouts at passers-by, who glare at the poor man. They are helpless, too. Then a fireman gets a sledgehammer, and just has he attempts to hit the glass, a phone company truck appears with four men in it, honking its horn as if to say this man is ours, we have caught him.

They then put the telephone box on the back of the truck with the man still inside. They take him on a journey through the streets. While stopped at traffic lights, the man looks at the side and sees another man trapped in a telephone box on the back of a truck, just like him. The journey reaches its conclusion as the truck enters a huge underground factory complex. Inside the building the terror is revealed, as rows and rows of telephone boxes are lined up, each with a dead person inside; one has strangled himself with the phone cord. The man knows his fate is sealed and panic sets in.

The end shot is of the phone company men cleaning the phone box and putting it back in the same location and opening its door slightly ajar again. I first watched this film when I was about eight years-old and it's always stayed with me. I wouldn't go into a phone box for a while afterwards, in fear of being trapped inside.

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Freaks (1932)

2009-07-31T13:21:00.000-07:00

Freaks is a film about sideshow performers, directed and produced by Tod Browning and released by Metro-Goldwyn-Mayer, with a cast mostly composed of actual carnival performers. The film was based on Tod Robbins' short story "Spurs". Director Browning took the exceptional step of casting real people with deformities as the eponymous sideshow "freaks," rather than using costumes and makeup.

Browning had been a member of a traveling circus in his early years, and much of the film was drawn from his personal experiences. In the film, the physically deformed "freaks" are inherently trusting and honorable people, while the real monsters are two of the "normal" members of the circus who conspire to murder one of the performers to obtain his large inheritance.

In mid-1931, MGM production head Irving Thalberg summoned scenarist Willis Goldbeck to tell him the time had come for the prestige studio to take heed of much-smaller Universal’s success with Tod Browning’s Dracula. Browning had done many silents for MGM, so Thalberg commissioned Goldbeck to write a vehicle for Browning’s comeback, something "even more horrible than Dracula."

Drawing on a Tod Robbins novel called Spurs, Goldbeck created a world even more self-contained than that of Grand Hotel (made the same year) — the warped world of Freaks, the garish world of the circus sideshow, replete with bearded lady, vain acrobats, simpering pinheads, even a hermaphrodite. Thalberg’s reaction to the script was: "Well, I asked for something horrifying."

Freaks was shot in 36 days on the sets still standing from Garbo’s Susan Lenox: Her Fall and Rise. Real freaks were brought to Culver City to populate this bizarre world, but the line between film and reality blurred when the freaks ate their meals in the MGM commissary. Even the most hardened showbiz veterans were "shocked and nauseated." Neither their complaints nor those of studio executives could stop Thalberg from completing the film. Its release was another matter. It received so much bad press and created such ill will that MGM was forced to withdraw it from circulation, suffering a loss of $164,000.

In the UK this film was banned for 30 years after it was first released. It is also still banned in Sweden to this day as well as being listed as banned in Finland and Ireland. It is still technically illegal to show it in some states and cities in the US, although the archaic laws regarding that are no longer enforced. One of the writers, Edgar Allan Woolf, also co-wrote the screenplay for The Wizard of Oz in 1939. The film's original ending showed Hercules singing soprano in Madame Tetrallini's new sideshow due to the fact that he had been castrated by the freaks, but due to intense reactions of disgust on the part of test audiences, this scene was cut from the final release of the film. The on-screen romance between Hans and Frieda was very subdued because the roles were being played by real life brother and sister Harry and Daisy Earles.

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Newt

2009-07-17T13:10:00.001-07:00

Guinea Pig : Devil Woman Doctor (1986)

2009-07-17T12:54:00.000-07:00

Ginî piggu 4: Pîtâ no akuma no joi-san
Devil Woman Doctor is the story about a female doctor who is a transvestite, played by real-life Japanese transvestite Shinnosuke Ikehata. The film takes the form of several 'sketches' in which she treats her patients (often mutilating or killing them in the process). This episode shifted the tone of the series from graphic horror to extremely violent slapstick comedy. A mad doctor displays a selection of her more gruesome case studies. Starting with one family whose heads explode if they get angry and a woman whose heart explodes if she's surprised, the doctor then presents us with a man whose right half wants to kill his left. Other subjects put on display are the effects of going to a sauna if you're a man who sweats blood, the possibilities of romance between woman and zombie, and a game of one- upmanship between hospital patients.

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The Rocketeer

2009-07-03T15:31:00.000-07:00

Neco z Alenky (1988)

2009-06-28T10:08:00.000-07:00

Watch Alice Online
Part 1

Part 2

Alice (Czech: Něco z Alenky) is a Czech surrealist fantasy film by Jan Švankmajer. It retells Lewis Carroll's first 'Alice' book, Alice's Adventures in Wonderland, in Švankmajer's unique style. The film combines live action with stop motion animation. Alice is played by Kristýna Kohoutová, and the English dubbed version features the voice of Camilla Power. The movie is considered a cult movie.

This retelling of the "Alice" story is continually ambiguous about whether or not Alice is in her real world, or when exactly she crosses over to the "Wonderland". Early in the film, Alice appears to be in her bedroom, when a stuffed rabbit display comes to life and breaks out of its cage. Alice follows it up a large, rocky hill and into the drawer of a writing desk. This leads to a cavern where soon after spying the White Rabbit eating sawdust from a bowl with a spoon, she trips and falls through a bucket and seemingly down an elevator. "Wonderland" itself is a strange mix of a household-like areas with very little concern for logical space or size. Its inhabitants tend to be strange mixtures of rubbish and dead animals, such as a bed with bird legs, or a stuffed lizard with glass eyes.

Some characters from the original Alice's Adventures in Wonderland appear in similar, but Švankmajerian, forms. Such as a wind-up toy rabbit for the March Hare, or a sock with glass eyes for the Caterpillar. Similarly, several sequences from the original story, such as Alice's growing and shrinking via the consumption of unusual food and drink, or the scene in which a crying baby changes into a pig, are portrayed in original forms. For example, when Alice shrinks, she is transformed into a doll which looks fairly similar to her regular self.

The movie also contains a number of original sequences not related to the original novel. In one such sequence, Alice is trapped inside a doll-like shell, after being made to walk into a bowl of milk while in her shrunken form, and is locked in a food closet. The Queen's character is also changed somewhat, in that her execution sentences are carried out, by the White Rabbit with a pair of scissors.

When the movie ends, it is ambiguous whether everything that happened to Alice was indeed real, or if she is still dreaming. She wakes in her room, but then finds that the white rabbit is still missing from his cage, and finds a secret compartment where he keeps his scissors. She ponders whether or not she will cut his head off.
Alice trapped inside a dollhouse after growing too large to escape.

The visuals are often described as grotesque, perverse, or disturbing, but overall not repulsive. Prominent is the stuffed white rabbit, whose chest is constantly leaking so that he has to keep eating sawdust, and various animated skulls and slabs of raw meat products. As mentioned previously, many of the animated characters are made of surprising household objects. There are a number of visual puns. Scissors and knives are also recurring themes. It should also be noted that all dialogue is narrarated in third person by a large mouth.

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Get Carter OST - Roy Budd

2009-06-18T00:48:00.000-07:00

Digitally remastered reissue & the worldwide CD debut of thejazzy soundtrack by noted British film composer Roy Budd to this 1971 British gangster movie starring Michael Caine as ablood-thirsty mob boss out for vengeance after his brother is murdered. 24 tracks, including instrumental versions of 'Getting Nowhere In A Hurry' & 'Hallucinations' added as bonus tracks. The disc comes in a standard jewel case, which comes in a full color slipcase sleeve with an 11' x 15' fullcolor, fold-out replica of a promotional movie poster for the film.

01. Intro
02. Dialogue
03. Main Theme - Carter Takes A Train
04. Dialogue
05. Looking For Someone
06. Dialogue - The Race Track
07. Something On My Mind
08. Dialogue
09. Getting Nowhere In A Hurry
10. Dialogue
11. The Girl In The Car
12. Dialogue
13. Love Is A Four Letter Word
14. Dialogue
15. Livin' Should Be This Way
16. Dialogue
17. Manhunt
18. Dialogue
19. Goodbye Eric!
20. Goodbye Carter!
21. Hallucinations
22. Plaything
23. How About You
24. Getting Nowhere In A Hurry - I

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The Devils (1971)

2009-06-16T05:19:00.000-07:00

This plot is for the non-censored version of the film. Some scenes described below are omitted from other versions.

The Devils is a film directed by Ken Russell starring Oliver Reed and Vanessa Redgrave, and based on the 1952 book The Devils of Loudun by Aldous Huxley and the 1960 play The Devils by John Whiting, also based on Huxley's book. Derek Jarman was responsible for the film's production design. It tells the story of Urbain Grandier, a 17th century French priest executed for witchcraft.

The film's combination of religious themes and imagery combined with violent and sexual content was a test for the British Board of Film Censors that at the time was being pressured by socially conservative interest groups.

In order to earn an "X" certificate, Russell made minor cuts to the more explicit nudity (mainly in the cathedral sequences) and removed some violent detail (notably the crushing of Grandier's legs). However, the biggest cuts were made by the studio itself, prior to submission to the BBFC, removing two scenes in their entirety, notably a two-and-a-half-minute sequence of crazed naked nuns sexually assaulting a statue of Christ and about of half of a latter scene with Sister Jeanne masturbating with the charred tibia of Grandier after self-administering an enema. However, even in its released form, the film was considerably stronger in detail than most films released prior to that point.

Its fate in the United States was even more stringent, with a further set of cuts made to even more of the nudity with some key scenes (including Sister Jeanne's crazed visions, exorcism and the climactic burning) shorn of the more explicit detail.

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Eine Stadt sucht einen Moerder

2009-06-15T13:33:00.001-07:00

M (1931)

2009-06-15T13:16:00.000-07:00

M is a German drama-thriller directed by Fritz Lang and written by Lang and his wife Thea von Harbou. It was Lang's first sound film, although he had directed over a dozen films previously. The film has become a classic which Lang himself considered his finest work. The roots of noir go back to German Expressionism, and there’s no movie that’s more German, Expressionist, or noir than Fritz Lang’s masterful — and finally restored — M (1931). While this story of the pursuit of a child-killer lacks one of the crucial elements of the genre, the femme fatale, the other components of noir are here in force. There’s the dark cityscape, an unstable environment in which children play in the street singing chants about "black bogeymen" and murderers. There’s the paranoid pathology of the individual in the person of the twisted Hans Beckert (Peter Lorre), who courts and kills his young victims for reasons he can’t express or fathom, and a frenzied mob that brings its own brand of justice against him. Many of the classic noirs of the 1940s and later owe a debt to M’s obsessive attention to the details of the manhunt, with the most minute aspects of police procedure rendered. Most important, though, is the sense of doom that colors the film, a fatalism Lang renders through chiaroscuro lighting effects and enormous high-angle shots that suggest a malevolent spiritual presence hovering above the city and guiding its denizens to their doom.

M is supposedly based on the real-life case of serial killer Peter Kürten, the 'Vampire of Düsseldorf', whose crimes took place in the 1920s, not long before the film was made and released, although Lang fervently denied that he drew from this case.

Lorre's character whistles the tune "In the Hall of the Mountain King" from Edvard Grieg's Peer Gynt Suite No. 1. However, Peter Lorre himself could not whistle – it is actually Director Fritz Lang who is heard. The film was one of the first to use a leitmotif, associating "In the Hall of the Mountain King" with the Lorre character. Late in the film, the mere sound of the song lets the audience know that he must be nearby, off-screen. This association of a musical theme with a particular character or situation, a technique borrowed from opera, is now a film staple.

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Rumble Fish OST - Stewart Copeland

2009-06-14T08:08:00.000-07:00

01. Don't Box Me In
02. Tulsa Tango Listen
03. Our Mother Is Alive
04. Party At Someone Else's Place
05. Biff Gets Stomped By Rusty James
06. Brothers On Wheels
07. West Tulsa Story
08. Tulsa Rags
09. Father On The Stairs
10. Hostile Bridge To Benny's
11. Your Mother Is Not Crazy
12. Personal Midget/Cain's Ballroom
13. Motorboy's Fate

Part 1 Part 2 Part 3 or torrent
Pass: juanchito

Spellbound

2009-06-14T04:08:00.000-07:00

Rumble Fish (1983)

2009-06-14T02:36:00.000-07:00

Rumble Fish is a film directed, produced and co-written by Francis Ford Coppola. It is based on the novel Rumble Fish by S.E. Hinton, who also co-wrote the screenplay. The film centers on the relationship between the Motorcycle Boy (Mickey Rourke), a revered former gang leader, and his younger brother, Rusty James (Matt Dillon), who can't live up to his brother's great reputation, nor can his brother live it down.

Coppola wrote the screenplay for the film with Hinton on his days off from shooting The Outsiders. He made the films back-to-back, retaining much of the same cast and crew. The film is notable for its avant-garde style, shot on stark high-contrast black-and-white film, using the spherical cinematographic process with allusions to French New Wave cinema and German Expressionism. Rumble Fish features an experimental score by Stewart Copeland, drummer of the musical group The Police, who used a Musync, a new device at the time.

Rumble Fish was booed when it debuted at the New York Film Festival. It took part in the San Sebastian International Film Festival, where it won the International Critics' Big Award. It went on to gross only $2.5 million domestically, well below its estimated $10 million budget. Most mainstream reviewers reacted negatively to Coppola's film, criticizing its overt style and lack of characterization.

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The Motorcycle Boy's Never Coming Back

Xenogenesis (1978)

2009-06-12T11:08:00.000-07:00

James Cameron student film called Xenogenesis, a 12-minute robot vs. robot low-budget special effects demo ...shot september 11, 1978.

His first film, presented as a part of an ongoing series, might not have any plot to speak of. After a rather nifty opening narration you get about ten minutes worth of battling robots. It's easy to see, that Cameron is a trained special effects maker as the robots and settings look rather good despite of the obvious small budget.

For James Cameron fans Xenogenesis is rather interesting treat and a showcase of where he departed. What is more interesting, is the fact that Cameron hasn't changed much as a storyteller: the themes of Xenogenesis are pretty similar to his more bigger budget movies: tough female character, love ...and how machines can be either a benefit or a threat.

Bound (1996)

2009-06-12T08:17:00.000-07:00

Bound is a neo-noir crime thriller film directed by the Wachowski Brothers. It is about a woman (Jennifer Tilly) who longs to escape her relationship with her mafioso boyfriend (Joe Pantoliano). When she meets the alluring ex-con (Gina Gershon) hired to renovate the next-door apartment, the two women begin an affair and hatch a scheme to steal $2 million of Mafia money.

Bound was the first film directed by the Wachowskis, and they took inspiration from Billy Wilder to tell a noir story filled with sex and violence. Financed by Dino De Laurentiis, the film was made on a tight budget with the help of frugal crewmembers including cinematographer Bill Pope. The directors initially struggled to cast the lesbian characters of Violet and Corky before securing Tilly and Gershon. To choreograph the sex scenes, the directors employed sex educator Susie Bright, who has a bit part in the film.

Bound received positive reviews from film critics who praised the humor and style of the directors as well as the realistic portrayal of a lesbian relationship in a mainstream film. Detractors of the film criticized the excessive violence and superficiality of the plot. The film won several festival awards, mostly at gay and lesbian festivals.

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Dark City Doctor

2009-06-12T07:33:00.001-07:00