Posts Tagged 1960s

Cat Demon Blues

We’re celebrating Halloween early on TC.

KURONEKO

kuroKuroneko is a film that feels older than it is. Shot in 1968, five years after Shindo’s more famous horror movie Onibaba, Kuroneko hearkens back to the more humanistic period pieces and sword-fighting films of the 1950s. Kuroneko is also one of my favorite films. And not just because it has cat demon ladies in it. Though, really, cat demon ladies should be an enormous draw for anyone. Cat demon ladies and ghost cats have been around long before Ju-On / The Grudge or even before Utagawa Kuniyoshi illustrated a sweet party of a lady, two cats dancing with handkerchiefs on their heads and a giant cat monster interrupted by some guy in 1835.

 

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Keith Allison is the chief Bacchanologist at Teleport City.

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While I was Busy Cutting Off Faces

quelle_horreur2

OK, running more than a little bit late for the “Quelle horreur!” round table, but…well…some French excuse. I don’t know. Anyway, I’ve finally pulled my act together and completed my entry.

Eyes Without a Face/Les yeux sans visage

feat“With a few exceptions scattered throughout the past hundred years or so of feature filmmaking, the French never really embraced the horror film. Instead, the French response was cinema fantastique. Certainly it had elements of horror, sometimes more overt than others, but more traditionally recognizable characteristics of horror were mixed into a dreamy mist that also included romance, science fiction, mystery, and melodrama all spun with a disregard for logical narrative structure and progression in favor of a dreamlike (or nightmare) quality. Of the many films that make up the body of cinema fantastique, few have developed an enduring reputation, good and bad, quite like that of Georges Franju’s Les yeux sans visage, aka Eyes without a Face.

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Keith Allison is the chief Bacchanologist at Teleport City.

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Mad Science and Martian Maidens

Mad Science and Martian Maidens:
The Science Fiction Adventures of Aleksey Tolstoy

aelita1Aleksey Nikolayevich Tolstoy was Russia’s less internationally known Tolstoy. While the one was writing thousand-page tomes about sad people losing things (pretty sure that’s the plot of most Leo Tolstoy books) that would be forced upon generation after generation, the other Tolstoy was writing slick science fiction adventures like Aelita (1923, adapted into a movie a year later), Engineer Garin (1924), and Count Cagliostro, which American high school students did not get to read, since there was no time left after plodding through Anna Karenina — in which absolutely no one travels to Mars, builds a death ray, or practices alchemy. Both Aelita and Engineer Garin were adapted into films, the first during the silent era, and the second during the heyday of the swingin’ sixties.

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Keith Allison is the chief Bacchanologist at Teleport City.

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