Sunday, 20 May 2012

Because of Eve


We begin with Bob and Sally, who are engaged to be married, going to their doctor. He reveals two shocking facts: Bob was previously treated for VD. Sally had previously been pregnant. These revelations lead to accusations and recriminations from the couple. Fortunately the doctor is able to make them see sense through showing two educational newsreels.

Bob’s is about syphilis and gonorrhoea, identifying the symptoms of the diseases and their consequences if left unchecked. Meaning we get some documentary shots of diseased genitals, infants born with congenital syphilis and the like. Interestingly this footage is intercut with flashbacks to how Bob became infected, via a prostitute that his friend brought back to their lodgings prior to his leaving for the army.

Sally’s is somewhat tamer and places a greater emphasis upon her own back story: She was with a guy who unwittingly impregnated her before he also leaving for the army, where he was killed in combat.

The surprise coincidence is, of course, that the third party in both narratives is the same person, leading to the couple’s reconciliation.

Following this, which takes around a third of the running time, the subsequent narrative splits into three. First there is more documentary material explaining pregnancy. Then there is a newly recorded colour segment in which David Friedman recites the speech that internationally renowned expert ‘Mr Alexander Leeds’ would give, extolling the audience to buy the ‘invaluable’ yet priced at $1 volumes ‘Father and Son’ and ‘Mother and Daughter’. Friedman performed this task in real life while working with established exploitationeers of the time.

Finally there is birth of a baby footage, both normal and caesarean.

Throughout there’s an emphasis upon voice-over rather than synchronised sound. This was obviously due to economics, as also evinced by the straightforward, no-nonsense approach taken by the filmmakers.

Away from its shockumentary value Because of Eve is worth looking at for what it inadvertently says about US society at the time: In addressing where to get treatment for VD two alternatives are identified: The regular doctor, if one can afford this, or a public health clinic. There is no commentary or critique on this dichotomy. In a similar manner the discussion of illegitimacy seems to endorse carrying the foetus to term and then having the infant adopted, largely avoiding discussion of contraception and abortion. This was perhaps why the Catholic Legion of Decency did not condemn the film, as might have been expected.


Tuesday, 15 May 2012

Fact and Fiction

One important aspect of Harry Grey's The Hoods, the inspiration for Leone's Once Upon a Time in America, is how fact and fiction merge within it. Given this, it was interesting to read a description of how two real-life gangsters, Lepke and Shapiro, met and elements of similarity with Noodles and Max in Leone's film; in Grey's book the two are already friends, whereas in Leone's film they are rivals when they first meet:

"Lepke took to stealing pushcarts, and one day, he tried to rob a pushcart that was already being robbed by another street tough named Jacob “Gurrah” Shapiro. The two became fast friends, and started a relationship that would last the rest of their natural lives.

Lepke and Shapiro teamed up, and became a menace to the downtown pushcart owners. They
tried to climb the ladder to bigger scores, but in 1918, Lepke was caught robbing a downtown loft, and as a result, he was sent to Sing Sing Prison for a five-year stretch.

Lepke's time in prison was the equivalent to a college education for criminals. When Lepke, at the age of 25, was released in 1923, he was now a hardened thug, with the knowledge to make it big in a life of crime.  Lepke teamed up again with his old pal Shapiro, and they decided they could make a mint selling “protection,” to bakeries all throughout New York City." -- Joe Bruno Mobsters, Gangs and Other Creeps


Monday, 14 May 2012

Paul Willemen - RIP

One of my favourite film studies academics, Paul Willemen, has died. While I never met him, I did work briefly with his wife and discussed Jesus Franco with her; Paul was one of the few film academics to admit to a liking for bad cinema:

"I get many cinephiliac pleasures not only from some of the recognised masters but also from watching the films of Terence Fisher, Koji Wakamatsu, Jose Mojica Marins, 1950s and 60 German Edgar Wallace and Mabuse films or even downright sleaze movies like those of Jesus Franco" - Looks and Frictions, p. 256

Sunday, 6 May 2012

Lucio Fulci bobblehead

Saw this on Antonella Fulci's facebook page a couple of days ago: A Lucio Fulci bobblehead.

Available from Cult Collectibles, who also do a Jill from The Beyond with alternate normal and shot heads, and various others for Rudy Ray Moore's Dolemite and the original Black Devil Doll.

Unfortunately they're only available in the US, so think I will have to get my sister to get one and post it on / bring it over next time she visits ;-)

Friday, 27 April 2012

We're Back...

Well, things have been quiet here for the past few months. The main reason for this is that I've been finishing writing up my PhD thesis, on Deleuzean Hybridity in the films of Leone and Argento. I'll be submitting it on Monday and so should then be in a position to start writing and reviewing again :-)

Prior to that I was working on an article on Italian Gothic and Giallo. If the abstract sounds of interest to you send me your email and I'll send you the PDF:

Italian horror cinema is commonly divided into two periods and genres. An initial classical Gothic period spanned the years from 1956 to 1966 and was followed by a modern giallo (thriller) period from 1970 to 1982. Whilst accepting this broad distinction, this paper seeks to add nuance by considering the hybrid elements of three key films by three of the most important directors working in the giallo and horror area, namely Riccardo Freda with I Vampiri (1956), Mario Bava with The Girl Who Knew too Much (1963) and Dario Argento with Deep Red (1975). Drawing in particular upon Nöel Carroll’s idea of “fearing fictions”, I contend that Freda’s film, the first Italian horror movie since the silent era, is notable for being a distinctively modern vampire film; that Bava’s film, a foundational giallo, may be seen as having a palimpsest in Jane Austen’s Gothic parody Northanger Abbey; and that Argento’s film, while often taken as the paradigmatic giallo, has supernatural horror elements that push it in the direction of the Gothic.

Thursday, 5 April 2012

Laughable article in the Daily Heil

Psychology Professor Craig Jackson on media violence - writing in the Daily Heil

His article includes this little gem:
One of the most infamous examples was the torture and murder of James Bulger in 1993. For his killers, Jon Venables and Robert Thompson, were said to be enthusiasts of the macabre horror film Child’s Play 3 about the murderous doll Chucky who comes to life.
What he fails to mention, of course, is that there is no evidence that Venables and Thompson ever saw Child's Play 3; that this was just an unsubstantiated claim made by the sensationalist gutter press such as the very newspaper his article appears in.

I hope Martin Barker chimes in and tears this guy a new one...