Joseph Zito Double Tonight (Tues) @ The Cinefamily

Posted by Mr. Chadwick, September 22, 2009 01:00am | Post a Comment
The Infamous director Joseph  Zito is hosting a double feature of two of his best films tonight! Many people know him from directing Chuck Norris in the legendary films Missing In Action & Invasion USA, but he also turned out some really tough grindhouse stuff. I put his Bloodrage up there with Forced Entry, but that's just the kind of guy I am. Sorry kiddies, I'm not showing clips from either of those classicks. However, The Prowler is up there on the greatest slasher films of all time list, and Friday the 13th: The Final Chapter is often cited as the best in that series, so fans of the genre need to make the effort to get down to the Silent Movie Theatre tonight! Having just watched Lawrence Tierney strut his stuff in Born To Kill (1947), I'm very curious to see The Prowler again, as I had no idea who he was back in the 90's when I saw it on bootleg VHS.

The Prowler


Friday The 13th: The Final Chapter Trailer

Invasion USA Trailer

A menacing Lawrence Tierney in Born To Kill

Guiding Light 1937 – 2009

Posted by Whitmore, September 21, 2009 08:45pm | Post a Comment

The longest-running drama in US broadcast history, Guiding Light, has wrapped it up after 15,762 episodes and an incredible 72-year run. This past Friday, September 18th CBS aired the final episode. Because of its high production costs and falling ratings, it was decided last April to pull the plug. Though there was a huge outcry over the decision, viewership over the last year was still down to about 40 percent of the audience it captured a decade ago. CBS plans to replace the soap opera on October 5 with yet another, newer version of Let's Make a Deal, hosted by Wayne Brady. That sounds like a winning idea!
According to what I heard by the water cooler this afternoon, the daytime Soap icon went out big and tearful, with most of the characters gathering for the perfect picnic on the perfect day. Meanwhile back in the town of Springfield, in front of the old light house, the incessantly on-again-off-again romance between Reva and Josh met Fate one more time, one last time, where finally, once again, they reconfirmed their love for each other. This time -- it was best of times, music filled the air tenderly as a beautifully slow moving, gauzy camera shot gazed over the lovers driving off into the sunset in Josh's pick-up truck, no doubt destined for bliss and wedding bells and living happily ever after in the foggy Neverland of cancellation.
Some fans complained the ending was rushed. Other fans are still in denial, thinking this must be an elaborate and misplaced April Fools joke, a publicity stunt. Some are saying CBS is crazy, out of their minds, that CBS and their collective heads are up their collective asses, and though it’s great Reva and Josh are finally together again, what about Jeffery, nobody mentioned Jeffrey, what happened, is he still alive, where’s Jeffrey?
Nonetheless, millions of devout fans are having to bid adieu to those wonderfully dysfunctional Spaulding and the Lewis families and the seemingly infinite number of marriages, scandals, divorces, affairs, remarriages, re-divorces, the missing, the found, the dead, the back-from-the-dead, little white lies, big bad lies, secrets, shames, gossip, cheats and scoundrels, lusty scoundrels and cheats, the innocent, love gone bad, gone mad, temptations, taboos, mind boggling miracles and mind bending seductions, steamy and sexy story lines heating up kitchen tables and kaffeeklatsches across this star spangled land of ours where old and young hearts skip beats in odd polyrhythmic patterns.
Created during the Depression, The Guiding Light debuted January 25, 1937 as a 15-minute program on NBC radio. It was the original soap opera; being owned by Procter & Gamble, most advertisements spotlighted P&G’s line of products like Ivory, Tide, Mr. Clean, Cascade, Zest and Crest toothpaste. The Guiding Light first moved to the CBS radio in 1947 and later premiered on the same television network on June 30, 1952. No American Television show has come this close to spanning the entire history of the medium.
So as we fade to black, stay tuned for the award winning drama The Edge of Night, next over most of these CBS stations. This program was recorded.”

New 12" Electronic Releases at Amoeba Hollywood - 09/25/09

Posted by Oliver / Matt / Jordan, September 21, 2009 01:10pm | Post a Comment

New Electro/Techno 12"s Coming This Weekend:

Itamar Sagi

"SELIO" is an uplifting and punching slab of techno, with a really fat beat and ITAMAR's trademark chord stabs. On the flip is "SERIES 1," a paced down and trippy number. Very atmospheric in the mood, but with a bouncy groove.


Raw synth line & chord driven dub techno house (?) by the mysterious MOD.CIVIL project (ORNAMENTS). If you like that dark, dubby sound (LEVON VINCENT, FACHWERK, MIKE DEHNART), this is totally for you. Also includes an "acapella" GHOST tool, perfect for building the tension.    


Posted by Billyjam, September 21, 2009 08:20am | Post a Comment

As with all projects he undertakes, the ever-creative Prince Paul did an amazing job on the above short movie which was "written, produced, arranged, scored & hustled" by the producer. He first came to fame prince paul a prince among thievesin the 80's / early 90's as a member of Stetsasonic, and a producer for both 3rd Bass' debut and most notably De La Soul's debut, plus their two subsequent albums. Since then he has collaborated with a myriad of artists, including Dan the Automator on the concept project The Handsome Boy Modeling School.

The film clip above was all part of the high concept album of the same name which tells the story of an aspiring young emcee named Tariq who has to get money to record his demo tape before a meeting with RZA of the Wu-Tang Clan. The tale unfolds as Tariq and his friend True (played by rapper Big Sha) hustle drugs and encounter a police ambush, incarceration, and a deadly showdown.

Prince Among Thieves (the artist's second solo record) didn't get nearly the level of attention it deserved when it came out ten years ago. It features Kool Keith, Del La Soul, Big Daddy Kane, Chubb Rock, Sadat X, Xzibit, Everlast, and others, and is well worth seeking out on CD, vinyl, VHS or DVD.

The Tarantino Solution 2: Inglourious Basterds (2009), A Moral Defense

Posted by Charles Reece, September 20, 2009 11:11pm | Post a Comment
Page 1  (Again, BEWARE SPOILERS!)

I’m waiting for any of the enthusiasts for Inglourious Basterds to come up with some guidance about what grown-up things this movie has to say to us about World War 2 or the Holocaust — or maybe just what it has to say about other movies with the same subject matter. Or, if they think that what Tarantino is saying is adolescent but still deserving of our respect and attention, what that teenage intelligence consists of. Or implies. Or inspires. Or contributes to our culture. -- Jonathan Rosenbaum, again

Certainly, there's a difference between Bonhoeffer taking no pleasure in his decision and the viewer's finding entertainment in Shosanna's, namely that between real world events and their aesthetic use. Since Mendelsohn and Rosenbaum are film critics, I'm guessing they aren't of the "art after Auschwitz is barbaric" persuasion, so their problem is with the film's message, its delivery and reception. The Jewish devised cinematic hell to which the Nazis become condemned might even be seen as tragic if you're sympathetic to their goals. As the administer and representative of the Volk's will, Col. Landa's murdering Shosanna's family sets into motion the wheels of fate that is their (the Nazi's, if not exactly Lando's) destruction. From the Greeks to Shakespeare, tragedies, we should recall, were (and still are) performed for pleasure, or what might be called entertainment. The world of art would be a lot less interesting if it came with the book of answers that Rosenbaum demands of Inglourious Basterds. How about a quote from Vladimir Nabokov?

I presume there exist readers who find titillating the display of mural words in those hopelessly banal and enormous novels which are typed out by the thumbs of tense mediocrities and called "powerful" and "stark" by the reviewing hack. There are gentle souls who would pronounce Lolita meaningless because it does not teach them anything. I am neither a reader nor a writer of didactic fiction, [...] Lolita has no moral in tow. For me a work of fiction exists only insofar as it affords me what I shall bluntly call aesthetic bliss, that is a sense of being somehow, somewhere, connected with other states of being where art [...] is the norm. -- from "On a Book Entitled Lolita"

Now, Rosenbaum is one of our best film critics, not some "reviewing hack," and Tarantino ain't exactly Nabokov, but everything else fits the bill. This former's criticisms, this time around, don't amount to much more than pandering moralism, and the latter, like Nabokov, is more interested in staying true to the story he's telling than whatever it might say about the real world. But this doesn't mean that his story has nothing relevant to say about whatever Rosenbaum is referring to with "our culture." The film isn't mere entertainment, or what some fanboy defense might call "just a movie," but rather a sort of parody in Nabokov's sense when he said, "satire teaches a lesson, parody is a game."

Hitler and Joseph Goebbels were admirers of Fritz Lang's Metropolis, likely hearing echos of their own call for the restoration of a soul to the dehumanizing technocracy of modernity ("the mediator between the brain and hands must be the heart!"). However, humanity, like violence, depends on the details. They didn't see an analogy of the oppressed workers at the bottom of Lang's pseudo-utopia -- who kept it running for the pleasure of the bourgeoisie and rich -- to the Nazis' use of Jewish slave labor in factories like Mittelwork where the V-2 bomb was manufactured. As Col. Landa spells out to the farmer in Chapter 1, the Jews were seen as racially other, not deserving of the moral obligation that obtains to one's neighbors in the ethnic Lebenstraum (living space). For a similar reason, American kids aren't expected to look in abhorrence at singing grapes being used to sell their own execution or anthropomorphic squirrel-operated machinery in The Flintstones. Ignoring such human traits is fine in fantasy, but not when someone tries to supplant the real with the fantastic. And, as Landa argues, the Jews weren't seen even as the equivalent of squirrels (much less the happily working and talking kind), but rats. It's this kind of rationalization that makes the bureaucratization of evil possible.

So when Tarantino parodies the burning in Lang's Nazi-favored film with Shosanna's own version, there's more going on than geeky appropriation. At the moment in Goebbel's Nation's Pride when Pvt. Zoller (the Nazi "Sergeant York") asks, "who wants to send a message to Germany?," Shosanna's image cuts in to answer that she does, commanding Marcel standing behind the screen to set fire to the film stock. The real Shosanna is already dead, killed in the projection booth by the real Zoller as she was showing a bit of compassion for the not-quite-dead wouldbe rapist, having just shot him in the back. The last bit of human compassion having been drilled out her in grieving slow motion (one of the few nods to Enzo Castellari's Inglorious Bastards), the only thing left is a mechanically reproduced image to be shown only once in a particular place, creating an aura of terror for this particular group of "art" lovers.

In Metropolis, it is the mechanical Maria who is put to the stake, having tricked the workers into destroying the machines that would keep the city functioning. I'm not going to summarize the serpentine plot of Lang's film (read it here if you dare), so suffice it to say the means-end utopia was brought down by a robot simulation of one of the oppressed (Maria) that was the bypodruct of the city ruler's faulty/inhumane ratiocinations. (That is, Fredersen, the ruler, gained possession of Hel, the love of the inventor Rotwang, eventually using her up -- she died during childbirth -- which led to Rotwang making the robot as a replacement, but it had its own demonic plans that involved taking the form of Maria.) Thus, Shosanna (and maybe Tarantino) saw the analogy that Goebbels and Hitler didn't. Define another's humanity out of your ratio-moral system and the only interaction left possible is with the robotic husk. Shosanna's moral choice in such an immoral situation was, like Bonhoffer's, to point the demonic reproduction to which she had been reduced back at the Nazis and let it take its course.

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