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Night of the Comet (Thom Eberhardt, 1984)
Sep
20
cereal
“Hey! If you're going to throw those guns away, can I have one?”
– Sarah
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The Gruesome Twosome (Herschell Gordon Lewis, 1967)
Sep
14
chicken
Teenage girls at a pajama party, dance, munch on the Colonel's chicken, and read the March 27, 1967 newspaper. DP: Roy Collodi.
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The Black Cat (Harold Hoffman, 1966)
Sep
9
A sad blonde (Robyn Baker) with her perfectly coiffed head on her perfectly set table. DP: Walter Schenk.
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Night of the Cobra Woman [Movini's Venom] (Andrew Meyer, 1972)
Sep
7
cereal
A blonde, mud-covered, boyish woman with shoulder-length dead hair (Joy Bang) in a grey kitchen eats Cheerios straight from the box. One of her shoes is on the kitchen counter. DP: Nonong Rasca.
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Die Sage vom alten Hirten Xeudi und seinem Freund Reiman [The Legend of the Old Shepherd Xeudi and His Friend Reimann] (Hans-Jakob Siber, 1973)
Sep
3
potatoes
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Altered States (Ken Russell, 1980)
May
18
tea
An almost monochrome man and woman in Edwardian costumes sit at a round table under a parasol. The couple looks out over a field with bright orange poppies. The flowers are filmed through a fisheye lens and appear to be on a grassy green planet.. DP: Jordan Cronenweth.
“She's still crazy about him. He's still crazy.”
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The Shout (Jerzy Skolimowski, 1978)
May
1
mutton
Charles Crossley (Alan Bates) in Anthony Fielding's (John Hurt) kitchen. Despite being the outsider here, Crossley's presence takes central stage. DP: Mike Molloy.
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Devil Doll (Lindsay Shonteff, 1964)
Mar
15
sandwiches
A large knife amongst rather minuscule triangular tea sandwiches. A miniature wooden barrel holding toothpicks is right there for your sandwich stabbing convenience. DP: Gerald Gibbs.
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3615 code Père Noël [Deadly Games / Dial Code Santa Claus] (René Manzor, 1989)
Dec
4
Santa's List Day
A man in a grey overcoat and yellow scarf at a public Minitel terminal. On the display the code 3615 and an 8-bit illustration of Santa Claus carrying his bag with presents. The sack holds a smaller Minitel device with the text PERE NOEL. DP: Michel Gaffier.
Aah France… Land of old wine, old cheese, old art, and Internet access in the early 80s. Prestige project of Président Giscard, France was determined to take a technological leap. Any French man, woman and child could borrow a Minitel – a PC-like videotex device – from the national telecommunications services. For those without landline there were numerous public terminals throughout the land. The machine gave the people access to a phonebook (convenient!), the news (smart!), same-day delivery shopping(!) and sexting (ooh la la!). All these services were accessible via a code starting with 3615 followed by a string of letters. Dial 3615 ULLA to text with a sexy lady – some telecom employee pretending to be one – and 3615 PERE NOEL for Santa Claus. The real one, of course.
9 year old whizkid Thomas (Alain Lalanne aka Alain Musy) is dead set on proving that Santa is real and not some weirdo looking for a gullible kid to play with. A trap is set, and the boy waits.
“You know Mum, I don't have to write to Santa anymore. There's an easier way, through Minitel.”
– Thomas
3615 code Père Noël is definitely not your cutesy little Christmas romp. The violence is not cartoonish, the bandit is more Manson than moist. The boy's disillusionment in the adults around him is a perfect mirror of “Santa's” lonely attempts to communicate and be accepted. However, Thomas' mom didn't lie about one thing; that seeing Santa on Christmas Eve turns you into an ogre. Or an adult, as the grownups call it.
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The Unknown (Tod Browning, 1927)
Dec
3
Let's Hug Day
Target girl Nanon (Joan Crawford) hugs her circus partner, Alonzo (Lon Chaney) the knife thrower. Her tight embrace may reveal his secret. DP: Merritt B. Gerstad.
“Men! The beasts! God would show wisdom if he took the hands from all of them!”
– Nanon Zanzi
As mighty as Alonzo may be, the incomparable Lon Chaney owes much to armless violinist and knife thrower “Judge” Paul Desmuke. Story goes that Desmuke taught Chaney his knife act in two months. More probable is that some of the more impressive close-up scenes show the Judge's, not Chaney's, feet.
Like Alonzo, The Unknown has lost some flesh. Until 1968, only mangled bootlegs were available; a complete print was considered non-existent. Five years later, news broke about film reels of unknown origin labelled inconnu – [the] unknown, somewhere in the bowels of the Cinémathèque Française.
Some 14 minutes, outlining the Armless' background, are still missing. Do check your attic.
