La Ragazza che sapeva troppo (1963)

"Take my advice, miss, and for your own good don't read any more (murder mysteries)." - Dr. Fracchetti

The Girl Who Knew Too Much (US Title: The Evil Eye) is a italian giallo film. Directed by Italian filmmaker Mario Bava, the film stars John Saxon as Dr. Marcello Bassi and Leticia Román as Nora Dralston. The plot revolves around a young woman named Nora, who travels to Rome and witnesses a murder. The police and Dr. Bassi don't believe her since a corpse can't be found. Several more murders tied to a decade-long string of killings of victims chosen in alphabetical order by surname follow. The Girl Who Knew Too Much is considered to be the first giallo film, a film genre with a mixture of thriller, sexploitation and horror conventions. This was Bava's last film shot in Black-and-white.

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Eraserhead (1977)

Eraserhead is an american surrealist-horror film written and directed by David Lynch, and released in 1977. In 1971, Lynch moved to Los Angeles to study for an MFA (Masters of Fine Arts) degree at the AFI Conservatory. At the Conservatory, Lynch began working on his first feature-length film, Eraserhead, using a $10,000 grant from the AFI. The grant did not provide enough money to complete the film and, due to lack of a sufficient budget, Eraserhead was filmed intermittently until its release in 1977. Lynch used money from friends and family, including boyhood friend Jack Fisk, a production designer and the husband of actress Sissy Spacek, and even took a paper route to finish it. The film stars Jack Nance and Charlotte Stewart. Eraserhead polarized and baffled many critics and movie-goers, but has become a cult classic. In 2004, the film was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in the National Film Registry. Lynch has called it a "dream of dark and troubling things" and his "most spiritual movie." Is it a nightmare or an actual view of a post-apocalyptic world? Set in an industrial town in which giant machines are constantly working, spewing smoke, and making noise that is inescapable, Henry Spencer lives in a building that, like all the others, appears to be abandoned. The lights flicker on and off, he has bowls of water in his dresser drawers, and for his only diversion he watches and listens to the Lady in the Radiator sing about finding happiness in heaven. Henry has a girlfriend, Mary X, who has frequent spastic fits. Mary gives birth to Henry’s child, a frightening looking mutant, which leads to the injection of all sorts of sexual imagery into the depressive and chaotic mix.

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The Call of Cthulhu (2005)

The H.P. Lovecraft Historical Society presents its all new silent film of The Call of Cthulhu. The famed story is brought richly to life in the style of a classic 1920s silent movie, with a haunting original symphonic score. Using the "Mythoscope" process — a mix of modern and vintage techniques, the HPLHS has worked to create the most authentic and faithful screen adaptation of a Lovecraft story yet attempted. The Call of Cthulhu is HP Lovecraft's most famous story. It is the only story to feature the celebrated monster Cthulhu and in many ways it encapsulates the ideas that went on to permeated Lovecraft's Cthulhu Mythos. The film follows the story's three-part narrative construction, and it moves from the 1920s to 1908 to the1870s and back, as the story does. The story embodies HPL's nihilistic world view, his cosmic perspective, and his sense that mankind is doomed by its own insignificance. And it's a pretty good globe-trotting adventure story.

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subtitles

Lot in Sodom (1933)

Lot in Sodom is a short silent experimental film, based on the Biblical tale of the city of Sodom and Gomorrah. It was directed by James Sibley Watson and Melville Webber. The movie uses experimental techniques, Avant-Garde imagery and strong allusions to sexuality, especially homosexuality. Opening on a very attractive model of the walled city & then cutting to expressionist sequences capturing the temple mysteries, consisting of homosexual dancers. In a length very overt invocation of a gay orgie, the camera lingers over naked male flesh & clinging bodies in ways that seem improbable for 1933, but this is before the Hayes Code banned homosexuality from the screen. Lot in Sodom (1933) came out in the sound age & we do hear Lot praying & there's a contemporary musical soundtrack. But in the main this is a silent film. When an angel (Lewis Whitbeck) visits Lot (Fredrich Haak) it's spooky as all hell. The coweled angel's unfriendly air doesn't keep a buff bare-chested Sodomite from trying to seduce him in the night near Lot's house. Lot intercedes, offering his daughter instead. Although the Sodomites aren't exactly positive role models, compared to Lot they're not all that bad. He's one scary rat-bastard who seems more upset that the men of Sodom are happy, & he's not, than he is concerned with godly behavior.

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Le Samouraï (1967)

Jean-Pierre Melville (1917-1973) directed thirteen feature films between 1947 and 1972, most of them ranking among the best in postwar French cinema. In particular, his brilliant gangster films Bob le flambeur (1956), Le Doulos (1963), Le Deuxieme souffle (1966), Le Cercle rouge (1970), and especially Le Samourai (1967), with their cool, minimalist noir style are defining instances of the French policier. A great Americanophile, the idiosyncratic Melville, who renamed himself after the writer Herman Melville, used to drive round Paris in the 1960s in a Stetson hat and a huge convertible American car. Le Samourai is the story of Jef Costello (Alain Delon), a Parisian contract killer who realises he is being double crossed by his employers and seeks revenge. The film was highly controversial at its release in 1967. The prestigious Cahiers du cinema dismissed it as ‘just another thriller’ and later preposterously claimed Melville would be better employed making commercials for raincoats – at the same time, more enlightened critics compared him to Picasso in his modernity. Today Le Samourai is, rightly, regarded as one of the greatest French films.

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HWY: An American Pastoral (1969)

This is Jim Morrison's independent film HWY An American Pastoral starring Himself as The Hitch hiker. An extremely rare video that is out of print and very hard to find. This movie is based along the lines of the song Rider on the Storm. This film is very unique and interesting knowing this film is from the mind of Jim Morrison. Just watching the Great legend be himself in the film is awsome. The running time of this video is Approximately 51 minutes. This is very old footage the quality of this film is Great. If you are a Jim Morrison and The Doors fanatic like myself, this video would be much appreciated. Like the man himself, An American Pastoral is complex and mysterious. Morrison hits the road like Kerouac, wandering, searching for meaning.
Morrison’s Mustang Cobra cruises the highways of a forgotten America, the unknown lurking behind every rock edifice and cactus that dots his journey. He’s almost like Caine in Kung-Fu, except the Asian landscape is now America. Jim Morrison is on the spiritual warpath. To see the mind of the poet at work without his bandmates is a rare gift. Jim and The Doors are/were inseperable, but this little magna carta on freedom shows us his solitary genius and glorious madness. The soundtrack is eerie, unsettling, not quite right. But considering the artist at the heart of the film, I’m not surprised. HWY is very special.

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