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Featuring Nailed It SAVIAD Spring Fair Nail Appliers
Featuring Romance Couture Gia Dress for SAVIAD Spring Fair
Featuring PosESioN from Morgane Set for SAVIAD Spring Fair
Featuring Chop Zuey True Romance Set
Featuring EMO-tions Tariel Hair
Featuring KMADD/Moda Betty Jane Ballet Flats
Featuring [no. 7] Circus Boop Makeup from Skin Fair
1. WoW Lashes
2. BlackLace Rainbow Eyeshadow
3. SLink: Elegant 1
4. KMADD/Moda: Mesh Eyes
5. Kyxe Skins & Shapes: Alabaster Skintone
Featuring New Yorker cartoonists Matt Diffee, David Sipress, Zach Kanin and David Borchart. Hosted by David Rees.
We're rounding up cartoonists, putting them into teams and letting them battle it out the only way cartoonists know how to battle—by drawing cartoons! The format is simple: The audience provides the topics and the cartoonists let it rip. It's like Iron Chef, but the secret ingredient is punch lines instead of asparagus. Cartoonists don't often perform in public without the benefit of their usual crutches: a comfortable desk, oodles of time, bathtubs full of whiskey. So this is a rare opportunity.
Featured in the Albury Delightfully Deco 9 July to 9 October 2011 at the Albury Art Gallery and LibraryMuseum
This must-see blockbuster exhibition opening in July will showcase Albury's embrace of Art Deco in the 1920s and 1930s.
Albury, Delightfully Deco focuses on regional Australia's experience of the hedonistic Jazz Age, with its Hollywood movies, cocktail bars, luxury ocean liners and futuristic skyscrapers.
Featuring iconic objects lent by local collectors alongside museum-quality works from major private collections in Melbourne and Sydney, it encompasses art, fashion, household items and much more.
Featuring Festival Authors & Local Storytellers Presented in partnership with carte blanche, this live storytelling event returns to Wordfest with a fresh batch of true stories told off the cuff. This year’s theme covers everything from seemingly-harmless white lies to bold-faced fabrications: — Patrick Gale on how coming out can have a snowball effect. — Juan Pablo Villalobos on keeping a car accident from his own parents. — Cathy Ostlere on the secret of her brother’s disappearance. — Dale Lee Kwong on keeping secrets from yourself. — Cassy Wellburn on years of pen pal lies that came back to haunt her.... Hosted by Maria Schamis Turner
Following last weeks brief mention of mine and Mortens trip to Brest for Crimes of Minds, another feature focussing on my Nicole Geisha:
Cans festival featured
Alexone - (Paris), Charles Dada - (UK/ Brighton), Astekz - (UK), Conor Harrington - (Ireland), Vopstars - Solo1, Stylo, Mear, Dane (UK/London), What Collective - Richt, 45rpm (UK/ Bristol), Daz, Rarekind - (UK/Brighton), Deadbeat Donny - (UK/London), Dreph - (UK/Manchester), Elph - (UK/Scotland), Inkie - (UK/London), Lucy McLauchlan - (UK/Birmingham), Kuildoosh, Paris, Eco, Mudwig (UK), LTN crew - Milo, Tracos, Waleska and Maionaise - (Brazil), Pinky - (UK/Brighton), Elk - (UK/London), ATG Crew - (UK/London), Ikonoklast Crew - Juice 126, Roughe, Part2ism, Chu & System - (UK/London/Birmingham), Will Barras - (UK/London), Xenz - (UK/London), Probly, Cable Street - (UK), Skum - (Barcelona), Mr Kern - (Bordeaux), Pablo Fiasco - (UK/London), Cept - (UK/London), Mac1 - (UK/Birmingham), Busk - (UK/London), Word To Mother - (UK/London), Sweetoof - (UK), Shok-1 - (UK), The Krah - (Greece), Zeus - (UK), Wildeye - (UK), Ace-K - (Japan), Copyright - (UK), MauMau - (UK), Gee Vaucher - (UK), Vhils - (Portugal), David Walker - (UK), Phil Ashcroft - (UK), Zombie, Cosa, Bosh - (UK, Ireland), Shannon - (Australia), Loras, 461, Pyromaniacs, KD - (Poland), Kaione - (UK), Skire - (UK), Penny - (UK), Ronzo - (UK), Tizer, Dep, Hium - (Portugal).
Check out
The Cocoa Butter Club Halloween Show 2020 at Shoreditch Town Hall London by Sadie Sinner the Song Bird Featuring Exquisite Hula Hoop Cabaret Showgirls
Still 8"x10"Bride of Frankenstein. Full Feature. www.veoh.com/watch/v68308074se9ajHpk
Universal Pictures followed up their highly successful Frankenstien with what has to be one of the best sequels out of Hollywood. James Whale's Bride of Frankenstein (BoF) had many factors contributing to its success. For some of those, see the Notes section below. It is a bigger, richer tale. Two key cast members reprised their roles. Colin Clive again played the obsessed and tormented Henry Frankenstein. Boris Karloff again played the monster. Other lesser characters were picked up by new faces. A couple of new characters were added. To some, BoF surpasses the original. Few sequels get such acclaim.
Synopsis
The film opens on a suitably dark and stormy night in the early 1800s. Mary Shelley, Percy Shelley and Lord Byron sit around a fire talking of Mary's story. Was that how it ended? No. Mary tells what happened next. (cross fade to burning windmill). The crowds filter on home. Maria's father insists on seeing the body of the monster, so goes into the smoking rubble. He falls into the water filled cellar. The monster is there too, much alive. He drowns Hans. The monster emerges. The crowd took Henry back to his family castle, thinking he was dead, but he moves his hand. He's Alive! He swears to never dabble in man-making again. Just then, a sketchy former classmate arrives. Dr. Pretoreous heard of Henry's work and wants him to partner, to make a perfect man. Henry goes to Pretorious' lab to see his work. Six glass jars, each with a miniature person inside. A queen, a king, a bishop, a devil, a ballerina and a mermaid. Pretorious makes them from raw materials, not dead body parts, but can only make smaller things. He wants Henry to make a full-sized body again. Pretorious would supply the brain. Meanwhile, the monster roams the woods. A shepherdess sees him, screams and falls in a river. The monster rescues her, but hunters heard her screams and shoots the Monster in the arm. A new mob combs the woods finally capturing the monster. They haul him into town and chain him in a jail cell. Stronger than his chains, the monster escapes and rampages around the village awhile before fleeing into the woods again. Tired, hurt and hungry, the monster comes to the shack of an old blind hermit. The hermit befriends the monster, eventually teaching him to talk. Hunters find the monster in the shack, so he flees again. Yet another mob chases him through the woods. The monster goes down into a crypt to hide. There, he sees Pretorious and henchmen stealing body parts (bones). When henchmen leave, Pretorious entertains the monster and suggests Henry should build him a woman, a mate. The monster likes that idea. Pretorious tells Henry it's time to start building. Henry refuses. Pretorious has the monster kidnap Elizabeth and take her to a cave. Her ransom is to build the new woman. Henry, under duress, starts working in the old tower again. They have the "bride" done and exposed to dramatic sparks. She's Alive! When the monster comes in to meet his bride, she screams and runs from him. Enraged that even his own kind rejects him, the monster rampages around the lab. This lab is equipped with a self-destruct lever, (for some reason). The monster starts to pull it. He tells Henry to get away with Elizabeth (now free). "You go. You live." He pulls the lever and the tower blows up dramatically, crumbling to rubble. Henry and Elizabeth embrace on an adjacent hilltop. The End.
Much of Henry's prior electro-biology technology is reused. The equipment is ramped up a bit, though. Henry uses two 3-winged kites (ala Ben Franklin) to gather lightening. Pretorious' process is more akin to alchemy, and in that way similar to the "science" used in Edison's 1910 version.
The plot in BoF is an expansion on elements in Mary's original novel. In her story, the monster demands that Victor create a mate for him. In BoF, it was Pretorious who pushes the idea. The scene with the hermit befriending the monster is a good parallel to the DeLacy family whom Mary's monster lived with for awhile, there learning to talk, etc.
BoF is such a close sequel, it is more like the second part of a single story. It picks up immediately where the first film left off. After all the action, things return to pretty much where they started. A notable exclusion is Henry's father, the old baron. Suddenly, even though it is the "same night", the old baron is gone and Henry is "now" the baron. Despite all the action, BoF ends as it began. Henry and Elizabeth survive and want to put all the nastiness behind them. The monster is, again, presumed to have died in a dramatic architectural collapse.
Superior Sequel -- Where most sequels falter is that they try to do the same thing as the original, with just a little variation. It is as if the writers or producers don't dare tamper with "success". James Whale was bold. He continued the story in the same time line. He kept the 2 main characters. They start out as they left off, but change (grow) during the film. Whale introduces a key antagonist and some potent sub-plots. The 1931 film was spartan and a bit claustrophobic, with two worlds -- one sane, one unstable. This befit the birth of the creature. BoF is a wider tale, with more characters and much more going on. This is befitting the monster's growth into personhood. BoF is clearly not just a retread, Frankenstein II.
Ernest Thesiger plays Dr. Pretorious, who is a Mephistopheles-like character. This lends a very Faustian flavor to the saga. When Pretorius is showing off his miniature people, he shows off his miniature bishop, the voice of morality. Then he shows his fourth. "This one is the very devil. There is a certain resemblance to me, don't you think? Or do I flatter myself?"
In a broadening of the monster character from the first movie, the monster learns to speak. Granted, they're rudimentary sentences. "Friend…Good." But, even with just a few words, a deep range of the monster's thoughts and desires become known. It is said that Boris Karloff objected, at first, to having "his" monster speak. But he did and it made the monster much more "human" and sympathetic.
Consider how the screenwriters and Whale made the monster an allegory of Jesus. Note these parallels. He did not have the usual mom-dad-birth, but has a creator. He was befriended by the poor, but rejected by the better-off. Some of the visuals are too obvious to ignore. He was hung on a pole (half a cross). Watch the scene where they're hammering in the chain rings in the jail. This is a strong parallel to the nailing of Christ's hands. Then, note at the end of the film, the monster acts noticeably out-of-character for a horror film monster. Instead, he (again) parallel's Christ, in that he voluntarily gives up his own life to save someone else, and to wipe away that person's "sins" and the devilish power of temptation over them. All this Christ-parallel is a very curious inclusion, but it clearly adds depth to the BoF story.
BoF exacerbates the name confusion over who is "Frankenstein" -- the man or the monster. When the female creature is unveiled, Pretorious declares, "Behold, the bride of Frankenstein." Most people take that to mean the bride of the monster. Yet, it could still mean the "bride" that Henry created. The poster adds another layer of ambiguity, by suggesting that the monster ("frankenstein") might chose either Elizabeth or the new woman as his bride. (The monster does kidnap Elizabeth at one point -- the primeval bride-selection method). Yet, Elizabeth is also the bride of Henry. More ambiguity!
James Whale made his sequel much more complex by weaving in occasional comic moments. Some of it verges on camp, as with most of the scenes with Minnie (Henry's old biddy house keeper). Even the monster drinking and smoking, saying lines like "Smoke… Good." were designed to get a laugh. Some humor was more subtle, such as Pretorious saying that each vice, wine, cigars, etc. were "his only weakness." Happily, the humor and camp did not overtake the deeper plot. This early bit of comic relief, though, does open the door for later films like Abbott and Costello Meet Frankenstein.
BoF is another classic that should be seen. Perhaps the best way is to watch the 1931 film and BoF as a double feature. Much of what "worked" in the original is still in the sequel, but BoF adds new, vibrant material. Whale weaves a complex, yet not confusing, plot and paces it very quickly. Bride of Frankenstein is a movie milestone that even all old movie fans should experience.
Cleethorpes Town Sportsman Dinner - 9th November 2012 - Featuring Alan Buckley, John McDermott, Dave Moore, John Frazer, Tommy Watson, Gary Childs, Gary Croft At Stamford Club Cleethorpes, Linden Homes Club and Comedian Jimmy Carroll
Text taken from the information board beneath the sculpture:
"Mazda started European motorsport in the late 1960s to prove and promote its rotary engine in the tough environment of endurance racing. Mazda rotary engine cars have won 100 IMSA races; GTU victory in the Daytona 24-hour race; IMSA manufacturer and driver titles; the Spa 24-hour race; five class victories at Le Mans; two British Touring Car titles; and most famously, Le Mans in 1991 with the 787B, the only Japanese manufacturer to have won Le Mans and the only rotary to win the world's most demanding race.
In the United States more people race Mazda cars or Mazda engine vehicles on any given weekend than any other marque.
The sculpture represents Mazda's Kodo design philosophy of strength, beauty and tension found in the instantaneous movement of living things and the simplicity that reflects Japanese aesthetics. Gerry Judah's interpretation of Kodo is a beautiful an simple form that expresses tension, lightness and movement that belies the complexity of the structure.
The two cars are the 1991 Le Mans winning 787B and the Mazda LM55 Vision Gran Turismo car, previously a virtual car designed for the GT6 game, Mazda built this car specifically for the Goodwood central feature."
Goodwood Festival of Speed 2015
P1060322
The Thing from Another World 1951
Watch the skies, everywhere! Keep looking. Keep watching the skies!
—Ned “Scotty” Scott
www.popscreen.com/v/7aMWr/The-Thing-from-Another-World Full Feature
www.youtube.com/v/T5xcVxkTZzM Trailer
This is one of the major classics of 50s sci fi movies. Released in April of 1951, it was the first full-length film to feature a flying saucer from outer space, which carried a hostile alien. The budget and the effects are typical B-grade stuff, but the acting and pacing are well above the usual B levels. Kenneth Toby and Margaret Sheriden star. James Arness (more known for his westerns) plays The Thing.
Howard Hawks' early foray into the science fiction genre took advantage of the anti-communist feelings of the time to help enhance the horror elements of the story. McCarthyism and the Korean War added fuel to the notion of Americans stalked by a force which was single of mind and "devoid of morality." But in the end, it is American soldiers and scientists who triumph over the evil force - or the monster in the case of this film. Even today, this is considered one of the best of the genre.
Film review by Jeff Flugel. June 2013
There's not a lot new or particularly insightful I can offer when it comes to discussing the seminal sci-fi flick, The Thing from Another World that hasn't been written about ad naseum elsewhere. One of the most famous and influential of all 1950s creature features, it kicked off more than a decade of alien invasion and bug-eyed monster movie mayhem, inspired a host of future filmmakers (one of whom, John Carpenter, would go on to direct his own version of the story in 1982), and remains one of the best-written and engaging films of its kind.
Loosely (and I do mean loosely) adapted from John W. Campbell's novella, "Who Goes There?," The Thing is legendary director Howard Hawks' lone foray into the science fiction/ horror genres, but it fits comfortably into his filmography, featuring as it does Hawks' favorite themes: a group of tough professionals doing their job with ease, good-humored banter and practiced finesse; a bit of romance with a gutsy dame who can easily hold her own with the boys; and lots of overlapping, razor-sharp dialogue. Featuring a script by Charles Lederer and an uncredited Ben Hecht, The Thing is easily the most spryly written and funniest of all 50s monster movies. In fact, it's this sharpness in the scripting, and the extremely likeable ensemble cast of characters, rather than the now-familiar story and somewhat unimaginative monster design, that makes the film still feel fresh and modern to this day.
There's likely few people out there reading this who don't know the story of The Thing like the back of their hand, but here goes...When an unidentified aircraft crashes close to a remote research station near the North Pole, Captain Pat Hendry (Kenneth Tobey, in the role of his career) and his squad are dispatched there to investigate. Dr. Carrington (Robert Cornthwaite) heads the scientific contingent there, and he informs Hendry that he thinks the downed craft is possibly "not of this earth." A joint team of soldiers and scientists head out to the crash site and find an actual, honest-to-goodness flying saucer lying buried under the ice.
The spaceship is destroyed while the men try to melt the ice around it with thermite bombs, but they find a lone, 8-foot-tall extraterrestrial occupant frozen nearby and bring the body back to the outpost in a block of ice. Dr. Carrington and his crew of eggheads want to study the thing, but Hendry is adamant that it should be kept as is until he gets word from his superior in Anchorage, General Fogerty. It wouldn't be a monster movie without something going pear-shaped, of course, and before you know it, a careless mistake results in the creature being thawed out of his iceberg coffin and going on a bit of a rampage, taking out a number of sled dogs and a few unsuspecting scientists along the way. The rest of the film details the tense battle between the surviving humans and the coldly intelligent, remorseless alien invader, which seems virtually unkillable, impregnable to cold, bullets and fire...
The set-up for the film, and how everything eventually plays out, might seem overly familiarly nowadays, but in 1951, this was cutting-edge stuff, at least in cinemas. The Thing plays as a veritable blueprint of how to make a compelling "alien monster-on-the-loose" movie. Howard Hawks not being particularly well-versed, or even interested in, science fiction per se likely worked to its benefit, as he ended up making, as he so often did in his other films, what is first-and-foremost a well-oiled entertainment, rather than simply a genre exercise.
Typical of a Hawks film, The Thing is meticulously designed, composed and shot, but in such a way as to appear offhand. Hawks almost never went in for showy camera angles or flashy effects. His technique was nearly invisible; he just got on with telling the story, in the most straightforward, unfussy way. But this easy, seemingly effortless style was very carefully considered, by a shrewd and knowing mind. As Bill Warren, author of one of the best (and certainly most encyclopedic) books about 1950s sci-fi filmmaking, Keep Watching the Skies, notes in his detailed analysis of the film:
As most good movies do, The Thing works in two areas: sight and sound. The locale is a cramped, tunnel-like base; the men are confined within, the Thing can move freely outdoors in the cold. Compositions are often crowded, with more people in the shot than seems comfortable, reinforcing the idea of confinement After the Thing escapes, only the alien itself is seen standing and moving alone.
This feeling of a cold, hostile environment outside the base is constantly reinforced throughout the film, and a real tension mounts when, towards the climax, the highly intelligent Thing, itself immune to the subzero arctic conditions, turns off the compound's heating, knowing the humans inside will quickly die without it. (The freaky, otherworldly theremin-flavored music by Dimitri Tiomkin adds a lot to the eerie atmosphere here.)
As groundbreaking and well-structured as the plot of The Thing was (and is), what makes the film play so well today is the great script and the interaction of a bunch of seasoned character actors, who toss off both exposition and pithy bon mots in such a low-key, believable manner. This is a truly ensemble movie, and the fact that it doesn't feature any big name stars really adds to the overall effect; no one really hogs all the limelight or gets the lion's share of good lines. Hawks was a director who usually worked with the biggest names in the business, but, much as in the earlier Air Force, he was equally at home working with a cast of rock-solid character actors.
All this talk of Howard Hawks as director, when it's actually Christian Nyby who is credited with the job, has long been a source of speculation with fans of the film. Todd McCarthy, in his bio Howard Hawks: The Grey Fox of Hollywood, seems to clear the issue up once and for all (though really, after viewing enough Hawks films, the results speak for themselves):
The perennial question surrounding The Thing From Another World has always been, Who actually directed it, Christian Nyby or Howard Hawks? The sum of participants' responses make the answer quite clear. Putting it most bluntly, (associate producer) Ed Lasker said "Chris Nyby didn't direct a thing. One day Howard was late and Chris said,'Why don't we get started? I know what the shot should be.' And I said, 'No, Chris, I think we'll wait until Howard gets here." Ken Tobey testified, "Chris Nyby directed one scene. Howard Hawks was there, but he let Chris direct one scene. We all rushed into a room, eight or ten of us, and we practically knocked each other over. No one knew what to do." Dewey Martin, Robert Cornthwaite and Richard Keinen all agreed that Hawks was the director, and Bill Self said, "Chris Nyby was a very nice, decent fellow, but he wasn't Howard Hawks."
Nyby had been Hawks' editor on a number of films, and Hawks apparently decided to help his collaborator establish a name for himself by allowing him directorial credit on the film. This seemingly altruistic gesture didn't mean that Hawks wasn't involved in virtually every aspect of the making of the film, however, and ultimately, The Thing did little for Nyby's directing career, at least on the big screen (he did go on to a long and busy career directing for numerous television programs, however.)
Bill Self was told at the time that Hawks didn't take directing credit on The Thing because it was planned as a low-budget film, one in which RKO didn't have much confidence. But, as critics have been saying ever since it was released, The Thing is a Howard Hawks film in everything but name. The opening scene of various members of the team bantering is so distilled as to be a virtual parody of Hawksian overlapping dialogue. Even more than Only Angels Have Wings, the picture presents a pristine example of a group operating resourcefully in a hermetically sealed environment in which everything in the outside world represents a grave threat. (3)
In addition to all the masculine camaraderie and spooky goings-on, one of the best aspects of The Thing is the fun, charming little tease of a romance between Capt. Hendry and Nikki (top-billed Margaret Sheridan). Nikki works as Prof. Carrington's assistant and is not merely the requisite "babe" in the film. True to the Hawksian norm, she's no pushover when it comes to trading insults with the men, nor a shrinking violet when up to her neck in perilous situations. Unlike most actresses in 50s monster movies, she doesn't utter a single scream in The Thing
and in fact, it's her practical suggestion which gives Bob, Hendry's ever-resourceful crew chief (Dewey Martin), the notion of how to finally kill the monster. Lederer and Hecht's screenplay hints at the backstory to Nikki and Pat's relationship in humorous and oblique ways, and their flirtation amidst all the chaos adds sparkle to the film but never gets in the way of the pace of the story. One nice little throwaway exchange near the finale encapsulates their verbal give-and-take, as Nikki playfully pokes the temporarily-befuddled Hendry, as his men scurry about, setting Bob's plan in motion.
Nikki: Looks as if the situation's well in hand.
Hendry: I've given all the orders I'm gonna give.
Nikki: If I thought that were true, I'd ask you to marry me.
Sheridan, a former model signed to a 5-year contract by Hawks, is quite good here, but after The Thing her career never really caught fire and she retired from acting a few years later. The closest thing to a star turn in the film is Kenneth Tobey as Capt. Hendry. Tobey racked up an impressive number of credits throughout his nearly 50-year-long career, generally as gruff, competent military men or similar types, and he was always good value, though it's as Capt. Hendry in The Thing that he truly shines. He consistently humanizes the no-nonsense, take charge man of action Hendry by displaying an easygoing approach to command. Most of Hendry's men call him by his first name, and delight in ribbing him about his budding romance with Nikki, and he responds to all this joshing in kind. When things get hairy, Tobey's Hendry doesn't have to bark his orders; it's clear that, despite the friendly banter, his men hold him in high esteem and leap to do his bidding at a moment's notice.
Many of the other members of the cast, while none of them ever became household names, will likely be recognizable from countless other roles in both film and television. Hawks gave Dewey Martin co-star billing in The Big Sky a few years later. Robert Cornthwaite kept busy for decades on stage and television, as well as in supporting roles in films such as Monkey Business, Kiss Me Deadly and Whatever Happened to Baby Jane? John Dierkes (Dr. Chapman) and Douglas Spencer (Scotty) both had juicy roles in the western classic Shane, as well as many other movies too numerous to name. Sharp-eyed viewers will also recognize Eduard Franz, Paul Frees (he of the famous voice) and Groucho Marx's right-hand man on You Bet Your Life, George Fenneman, in pivotal roles. And of course we mustn't forget 6' 7" James Arness (years before becoming renowned as Marshall Matt Dillon on Gunsmoke) as the hulking Thing.
A quick note on the "remake": John Carpenter's The Thing (1982), a bleak, grisly and brilliant take on the story, was a box-office dud when first released, but has since attained well-deserved status as a modern classic. While most fans seem divided into two camps - those who love the more restrained, old-fashioned thrills of the original, and those who prefer the more visceral, paranoiac Carpenter version - I happen to treasure both films equally and revisit each of them often. The Carpenter version is by far the gutsier, unsettling one, emphasizing as it does the "trust no one," shape-shifting "the alien is one of us" scenario imagined by John W. Campbell, but the Hawks' film is the most fun, with a far more likeable array of characters, working together to defeat an implacable menace. Each has its own clear merits. I wouldn't want to do without either film, and frankly see no need to choose one over the other.
"Every one of you listening to my voice...tell the world. Tell this to everybody, wherever they are: Watch the skies. Everywhere. Keep looking. Keep watching the skies.”
Acting Credits
Margaret Sheridan - Nikki Nicholson
Kenneth Tobey - Captain Patrick Hendrey
Robert Cornthwaite - Professor Carrington
Dewey Martin - Crew Chief
Douglas Spencer - Ned "Scotty" Scott
Eduard Franz - Dr Stern
Robert Nichols - Lieutenant Ken Erickson
William Self - Colonel Barnes
Sally Creighton - Mrs Chapman
John Dierkes - Dr. Chapman
James R. Young - Lieutenant Eddie Dykes
Norbert Schiller - Dr. Laurenz
William Neff - Olson
Allan Ray - Officer
Lee Tung Foo - Cook
Edmund Breon - Dr. Ambrose
George Fenneman - Dr. Redding
Tom Steele - Stuntman
James Arness - The Thing
Billy Curtis - The Thing While Shrinking
Featured Photo for April 11, 2004
Denis Kang vs. Andrey Semenov
M-1 St. Petersburg, Russia
Dec 5th, 2003 Photo by Keith D. Mills
Fire/water feature at the Glenn Hotel in the heart of Downtown Atlanta using my 24" Font O' Fire firepit as a centerpiece. Photo courtesy Brian Sweeney of Sweeney Gardens. Available from www.johntunger.com
If you’re not too tired of reading about me yet, I was interviewed by Kathy Temean for her terrific blog, Writing and Illustrating, which was posted today. Learn a little more about me, my stained glass mosaic illustrations process, and see lots and lots of photos of my art.
Kathy’s blog is such a great resource for published and unpublished authors and illustrators. She posts information she gets from her interactions with editors and agents in the industry and shares thoughts and techniques of other writers and illustrators in the field. I always look forward to her weekly “Illustrator Saturday” posts, and now I am a feature! Check it out and leave a comment if you wish - we’d love to hear from you. Thanks so much, Kathy!! kathytemean.wordpress.com/2015/01/10/illustrator-saturday...
My book is available at www.cbmosaics.com/book
Featuring www.sew-sisters.com Kona Club fat quarter set of melon, school bus, coral & salmon plus snow
www.youtube.com/watch?feature=player_detailpage&v=XFS...
Starring John Agar, Joyce Meadows, Robert Fuller, Thomas Browne Henry, Ken Terrell, Henry Travis, E. Leslie Thomas, Tim Graham, Bill Giorgio. Directed by Nathan Juran.
synopsis
The plot of The Brain from Planet Arous has something to do with a huge floating brain which takes over the body of nuclear scientist Steve March (John Agar) as the first step in its takeover of the earth. Tipping off the fact that March is not himself are his strange eyeballs and his rather violent mood swings. Additionally, the arrogant alien brain occasionally leaves Steve's body to brag about its superiority. Meanwhile, a "policeman brain" from the villain's home planet hides out in the body of March's dog, awaiting the chance to arrest the renegade graymatter.
In many ways, this movie typifies the stereotype of 50s B-scifi. It uses ample stock footage. (in this case, nuclear tests). It uses models suspended by wires. (the two airplanes) And, it has a monster (or alien) which isn't particularly scary looking. The cast has B-movie stalwarts, such as John Agar, Joyce Meadows and Thomas Browne Henry. The premise is stereotypic too. A malicious "advanced" alien wants to take over the earth. The resolution is not as typical. A friendly alien provides the key that saves earth. This, instead of the usual where earth scientists electrocute the monster.
A little bright light settles onto a rocky desert mountain, followed by an explosion. Steve and Dan (nuclear scientists working in a remote desert cabin (?), pick up intermittent radiation bursts. The go out to Mystery Mountain to investigate. In a newly cut cave, they are confronted by an ethereal floating brain with glowing eyes. Steve fires his pistol at it, but it comes on. Steve collapses, as does Dan. The brain settles into Steve's body. Back at the house, Steve's fiancee notices that Steve has changed. He's brash and lecherous. He says Dan ran off to Las Vegas. When alone, the brain creature, named Gor, floats out of Steve. It explains that he plans to rule the earth, choosing Steve as his host body because of his security access. Gor also likes Sally in an unhealthy way. Feeling there must be an explanation for Steve's new odd behavior, Sally and her father drive out to Mystery Mountain. There they find Dan's body, burned by radiation. They also see a floating brain, this one named Vol. Vol explains that he's here to recapture Gor, and escaped criminal from planet Arous. Vol can recapture Gor only when he's outside of Steve, While inside, Steve (and Gor) are invulnerable. Vol opts to inhabit the family dog, George, as a way to often be near Steve/Gor without arousing suspicion. Gor-Steve attends a nuclear bomb test, but usurps the test to demonstrate his mighty power. He makes a blast like an H-bomb. A General tries to shoot Gor-Steve, but is struck dead. Gor-Steve demands that the leaders of the major nations meet him in 10 hours. At that meeting, Gor-Steve explains that all nations will use their industrial resources to build a fleet of ships so he can conquer Arous. Earth would be a vassal planet. Vol, unable to catch Gor exposed, tells Sally about Arous-brain weakness. A fold called the Fissure of Rolando. A blow there would kill Gor. Sally writes a note to this effect, on a page torn from an encyclopedia about brains. Gor comes out of Steve to boast of his plans. Sally, hiding in the next room, screams. This distracts Gor. Steve, in his right mind, reads the note and picks up a handy axe. He chops away at Gor. The brain is dead. Cue badly written "funny" ending. The end.
It's easy for a modern viewer to see BFPA as pure camp, almost self-parody, but they were serious. There is still something intriguing about an all-brain creature (with glowing eyes) which balances himself on a boneless spinal column. Not your typical nemesis.
While less coherent, several Cold War themes weave in and out of BFPA. Gor represents the side of nuclear weapon power that everyone feared. Innocent people (such as on the two planes) killed without warning. Gor's demonstration at the test facility made it inescapable that his power is just like our nukes. Another Cold War anxiety is that an insider could get "turned" by the enemy. Yet another theme is the evil despot who wants to rule the world with an iron fist.
The brain creatures on Arous had "evolved" beyond bodies. The could project power, but all we see them capable of is destruction. Gor needed earthlings for their creative abilities. We could build ships. Apparently Gor could not, on his own. This suggests that Gor was too weak on Arous to dominate without our hands. This is similar to the aliens in It Came From Outer Space ('53) who needed earth bodies and tools to fix their ship.
As a pure intellect who had risen above such savage feelings, Gor was not prepared for power of lust. Once he got to see how desirable a pretty woman is, however, he quickly became obsessed with "experiencing" physical pleasures. Gor, despite his advanced intellect, couldn't manage his libido. This movie clearly presses the audience's "save our women" button.
Gor-Steve tries several times to take the Steve & Sally relationship far beyond proper bounds. Sally is, at first, a little amused at Gor-Steve's suddenly more amorous behavior. When He presses further, however, we can see that there is an understood line of acceptable behaviors and Steve was clearly over it. Note that even in the 50s, when it was supposed to be a man's world, and women submissive, a man did not have a right to do as he pleased, even with someone committed to him.
John Agar, as an actor, never quite seemed to be able to take his roles seriously. Typically, he had a silly smile on his face as if he could never get over the fact that he was acting in a movie. In BFPA, however, the smirk works. Since he was supposed to be possessed by the evil brain-thing, Gor, Agar's usual smirk at least has a reason to be there.
Typically, aliens have been homogeneous -- all good or all bad. Sometimes there have been occasional lone good "aliens" among the generally bad ones, such as Lambda among the Catwomen of the Moon ('53) or Exeter from This Island Earth ('55). Arous is not so simple. It has criminals and apparently some problems with security. Vol, in the role of kindly protector alien comes to apprehend the evil brain.
Bottom line? BFPA is not high art, nor does it aspire to deeper meanings. It is, however, formulaic B-grade sci-fi. As such, it is a good example as a stereotype. A fan of the genre can enjoy it as such. Someone seeking though-provoking drama will come away dissatisfied.
✰ This photo was featured on The Epic Global Showcase here: bit.ly/1X4Nxcg
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Another urban feature that is different in England and USA - and has changed over time.
See Pl 5 William Eggleston: Gas Station, 1966-74
Pl 5 Stephen Shore: Beverly Boulevard and La Brea Avenue, Los Angeles, California, 21 June 1975
time-blog.com/looking_around/2007/05/stephen_shore_its_th...
Pl 7 Peter Brown: Strip Centres, Duncan, Oklahoma, 1986
Ref: Gus_2313
With gloom and doom still churning away out there, thought some golden lips with stars might dispel that. Lips featured on Makeupbee.com and Sugarpill FB page. Yay!
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Featuring Elexus Kang ( IG @ ekangg0418 )
Location: LA88 Nike Missile Site, Chatsworth, CA
Copyright Jovani Carlo Gorospe
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"Baltimore Ravens linebacker Ray Lewis hammers Tampa Bay Buccaneers running back Michael Pittman, who drops the pass."
All Talking All Singing All Drawing! URASAWA Naoki Live in Concert
歌って語って描きまくる！
www.japanhouselondon.uk/whats-on/all-talking-all-singing-...
As part of the opening celebrations for Japan House London’s new exhibition ‘This is MANGA – the Art of URAWASA NAOKI’, join us for a special one-man show featuring multi-talented manga legend URASAWA Naoki. An internationally acclaimed manga artist, Urasawa Naoki is also an active musician who has composed numerous works in the folk rock genre, performing live with his band and releasing two albums to date. His music has been frequently used as theme music for the film and television adaptations of his manga work.
In this live concert Urasawa Naoki treats guests to an inimitable mix of live drawing and talk wrapped up in a dynamic musical performance.
The concert is followed by a drinks reception and exclusive after-hours access to the gallery until 22:00.
Immersing visitors in the iconic Japanese art form of manga, the exhibition ‘This is MANGA: the Art of URASAWA Naoki’ is on display in the Gallery at Japan House from 5 June to 28 July 2019.
About URASAWA Naoki
Born in Tokyo in 1960, Urasawa Naoki made his debut with ‘BETA!!’ in 1983, and has authored many works since, including ‘YAWARA!’, ‘MONSTER’, ‘20th Century Boys’ and ‘BILLY BAT’ (story co-creator: NAGASAKI Takashi) among others. After garnering renewed popularity more recently with ‘MUJIRUSHI’ (‘The Sign of Dreams’) (with the cooperation of Fujio Productions), a collaborative project with the Louvre Museum, Urasawa is currently writing a new series, ‘ASADORA!’ in Big Comic Spirits, a weekly Japanese manga magazine published by Shogakukan. His work is now published in more than 20 countries, with Japanese circulation alone recorded at a total of 127 million copies. Domestically, he has received the Shogakukan Manga Award three times and the Tezuka Osamu Cultural Prize, as well as numerous awards abroad including the Angouleme International Cartoon Festival Intergenerational Award and multiple Eisner Awards for Best U.S. Edition of International Material – Asia category.