Author: unkle lancifer
Vote Kindertrauma!
Only a couple days left to vote for Kindertrauma as Best Blog of 2011 in the RONDO HATTON AWARDS! If elected, we promise no homework, candy for lunch and the Principal's decapitated head skewered on the flag pole! Plus free pogs! Easy, super fun to fill out ballots can be found HERE!
Painting By Numbers: 40 Paintings, 40 Nights (Confessions of a Convention Vendor)
Something I can always look forward to is the Monster-Mania convention that visits my neck of the woods a couple of times a year. I'm not big on crowds because I'm always half sure they'll pull a DAY OF THE LOCUSTS routine at any minute but seeing so much horror memorabilia in one place at one time is worth putting my phobias on hold. One of my favorite venders has always been this guy who does original acrylic paintings based on iconic horror imagery. I've always dug looking through his work and appreciating the one of the kind expressive quality of his creations. There's invariably plenty new and he even makes sure to do work inspired by whoever might be appearing at that particular convention. Little did I know until recently that the artist in question PHILIP MERTZ had contributed some excellent traumafessions to Kindertrauma under the name Grimpressions on several occasions. This was too cool to be true but it also made a lot a sense because Grimpression's posts here at KT were just as clever and one of a kind as his artwork.
So at this last Monster-Mania instead of just loitering around his table I finally got to meet PHILIP aka Grimpressions and his lovely wife JAMIE. They were both really cool and easy to talk to and my favorite kind of horror fans; enthusiastic and down to Earth. I came away with two new pals, a FUNHOUSE painting (which now hangs center stage in Kindertrauma Manor) and this great documentary that PHILIP and his wife put together. The doc is called PAINTING BY NUMBERS: 40 PAINTINGS, 40 NIGHTS (CONFESSIONS OF A HORROR CONVENTION VENDOR) and it shows Grimpressions in his natural habitat creating art with special guest appearances by his son Sabian and cat Toxi and a score by Lawrence M. Fischer. I can't help but be incredibly impressed watching PHILIP's paintings come together starting as simple brush strokes and ending as works of art. If you're a horror fan or even just a fan of the painting process you'll probably feel the same way. I posted a few select images below but jump over to PHILIP's Facebook Page HERE to view more of his work and stay up do date with his activities. Also PHILIP is eligible for a Rondo Hatton Award for his work so why not support the arts by casting a vote for him HERE!
Fright (1971)
A bunch of years ago I remember having a used DVD copy of FRIGHT in my hands all ready to buy when a friend I was with pulled one of those, "Oh, I've seen that" sourpuss, "Meh" routines. Dummy me dropped it from my purchase pile. I suppose my pal had a point; FRIGHT is nothing extraordinary but certainly this person should have known me well enough to realize that a babysitter, an old dark house and an escaped maniac would be more than enough to warrant a viewing. So what if I'd seen this song and dance before? Familiarity may breed contempt for others but for me, it breeds contentment. Plus, I now realize that FRIGHT predates the films that drove the concept into the ground. That's gotta count for something. If that friend knew me at all they would have said, "It's from the early seventies-you'll love it!" but looking back I believe the only real information I was meant to take away was that so-and-so had seen this film before me. Big whoop. Here's an oversized stuff animal prize.
FRIGHT is of its time and may frustrate modern viewers especially those who expect characters to act as they (theoretically) would and get incensed when they don't do the exact smartest thing in every possible situation. Our babysitter Amanda (SUSAN GEORGE) does some seriously boneheaded things in FRIGHT and she cries and screeches a lot too. If the film was made today, I'm sure she'd be depicted in a much stronger, more valiant way but I'm going to give her some leeway as she's just a kid and a maniac is trying to kill her. Why not scream and cry? Is there a better time for such a response? Oh yeah and her boyfriend kicks the bucket right in front of her face! That might upset a person.
I know I'm an apologist but critiquing a character's response to a violent situation, to me, is sort of like a friend telling you they've been mugged and you're like, "Did you punch them in the face? Did you grab the gun away? Why not, what's wrong with you?" Everything is easy from the sidelines and everybody thinks they're boss until they're not. Truth is, you really don't know until it happens to you. When real fear comes a knocking all bets are off, the world is upside down and a truckload of kooky chemicals are poured into your brain. You might have a hard time remembering your own name let alone be expected to suddenly morph into an expert at guerilla warfare. Amanda's not alone in the questionable decision making department either. Nearly every character here, including the police, reacts in ways that are unbelievable by today's standards. In the end though, all the reactions present are more likely then say, Bigfoot so if I can believe in Bigfoot, I can believe in this. He's out there!
All in all, I'd say FRIGHT is very much worth hurdling over its hokey chasms. If you blur your eyes to a few glitches it's a beautifully shot, cleverly edited, atmospheric suspense film that must have had some kind of influence on HALLOWEEN. Whether the resemblance is coincidental or not, I'd say it plays like a precursor to that film even more so than the often-sited BLACK CHRISTMAS does. Although not gory or gruesome, the potential for something truly horrific to occur is intensely strong in certain scenes. The child in peril business is particularly off-putting and something I'm sure you'd be unlikely to see attempted today. The little tyke in this, TARA COLLINSON, is actually the director's son, which makes the situations he's thrown into a little bit easier to condone. There's a bushel of hammy dialogue on hand but the performances are uniformly above par. IAN BANNON as the escaped lunatic nearly goes over the top but there's something convincing about his wild scattered energy too.
I should have bought this movie way back when, as now the price seems to have jumped. Sheez, you'd think that getting to see HONOR (Pussy Galore) BLACKMAN who plays the mom getting her groove on at the local restaurant would be enough for some people! Yep, it could have been better but it deserves more than a shrug too. That, or I just love babysitter vs. maniac movies. In any case, there are worse things in life than hanging with SUSAN GEORGE in a dark mansion for an hour and a half, even if she is a little screechy.
Traumafession:: Unk on Snuff (1976)
Me and SNUFF aren't friends. I'm going to politely decline the invitation from the trickster in my head that is daring me to watch it again. I suppose that over the years, since the first and only time I saw it, there is a possibility that SNUFF like BLOOD SHACK and TERMINAL ISLAND, transformed from diabolical to adorable but I doubt it. It's not very open-minded of me I guess, but a person has to draw the line somewhere. For those happily not in the know, SNUFF is, if I recall correctly, an inordinately lousy movie with a notorious tacked on ending that pretends to be real way before people were so hung up on things pretending to be real. So I guess that makes SNUFF a trailblazer, a very awful, boring, tasteless and deceitful, trailblazer.
I saw SNUFF back in the early days of video and when I first came across the box, it looked like fine stuff to me. I still do very much enjoy the artwork on the cover and as I recall, it came off hip and modern at the time. SNUFF was actually made back in 1976 and I encountered it on VHS around 1982. That six-year difference doesn't seem like much now but it was to me back then, and the distance between the grainy hippie movie I got and the slick eighties flick I expected was drastic. Just look at the guy with the maniacal face on the cover- he's wearing, for all intents and purposes, an Izod! Izods were big at the time! The 3-D letters being slashed apart, the geyser of blood contrasting with the tightening ropes, the crimson nail polish, the blasting lights, the screaming lady in the background (who I now realize also appears in the artwork for DEMONOID), all conspires to suggest an animated, wild, exuberant time which SNUFF is not.
If there's anything more gratifying in life than renting a pile of tapes and watching them with like-minded people into the wee hours, I still do not know what it is. I was around 14 and I had a friend staying over and we had a pile of rented horror movies. One of them was SNUFF and as it was the most anticipated, it was saved for last. I knew something was afoul as soon as the film began. I tried to stay with it but it was impossible. Nothing was going on and people were just running around in a jungle with no purpose. My head began to wobble and sway and and soon I was asleep. SNUFF had nothing on glorious slumber. Sometime later my friend jostled me awake. I had to see what was happening! We rewound the last moments and watched aghast as an actress was ambushed by a film crew who recorded her murder cinema verite-style and then waved around her entrails. It was gross but not gross enough to keep me from going back to snoozetown. I never at any time wondered if anything in the film actually happened.
Sometime later I was on a bus coming back from the mall reading the latest FANGORIA magazine. In the letters section somebody was complaining about the atrocity of SNUFF and how disgusting it was that it included a real killing. My stomach dropped and I felt nauseous. Had I inadvertently watched a woman being killed? That poor actress! Here I was supporting her victimization with my rental money! Why don't the police arrest the culprits? They should not rent this movie to people! Why, I do believe there's something morally questionable about killing people to make entertainment! I don't like the idea of censorship but perhaps this movie should be banned! I don't know when or how I came back to my senses but I eventually did. No, they do not rent snuff movies at the mall and yes, the police might intervene if they did. The funny thing is, that one angry letter in FANGORIA convinced me of the film's authenticity even after the film itself had failed on every level imaginable to do so. All I needed was an outraged voice and I began to see the same exact phantoms that they did. I sold my own perception to the wind in a heartbeat in exchange for nonsense wrapped in misguided righteousness. So I guess I did learn something from SNUFF, but that doesn't mean I'd ever want to watch it again.
Name That Trauma :: Reader Janet H. on Disco Halloween Paintings
I have a memory of a movie that, I have to admit, I'm not even sure if it is a scary movie or not, because I didn't see the actual movie. But it was striking and has stuck with me. I figured some of your readers who have seen so many horror movies can help me out on this one, if it exists. It was either the beginning or end of the movie, when they show "starring" etc., but I do believe it was the beginning.
Probably an '80s or '90s movie. They showed a close up/ pan of a painting/art work that was rather "folksy" in nature, I remember a lot of haystacks and perhaps Halloween themed houses/children. And then there was the music, I think it was "I'm Your Boogie Man" by Kc and the Sunshine Band. Or maybe some other song by them. Then the movie started and I had to go. The art work creeped me, especially with the disco song with it, I thought what is coming next? I have looked up the obvious Boogie Man movies on YouTube that I could find, but no luck with that. Can anyone end this mystery for me? Was it all a dream brought on by copious amounts of candy, bringing back memories of Fall, Halloween, and my brother's hatred of Disco… Disco Sucks!
— Janet H.
UNK SEZ: Janet, I'm happy to tell you that the fates have sent you to the correct place! I know that movie well, it's a pet fave that I've seen several times. That is the opening credit sequence to THE LAST SUPPER, a black comedy from 1995 about a group of liberals who decide murder might not be so bad provided you select the right victim. I too was very struck by those paintings, I think they're beautiful and unlike your brother, I even like the disco music! Check out the beginning of the YouTube clip below and thanks for the spot on description!
