Thursday, April 03, 2025

THRILLER Thursday: Dark Legacy

Dark Legacy



The spider web fills the screen, it's Boris Karloff's THRILLER!



Season: 1, Episode: 35.
Airdate: May 30, 1961

Director: John Brahm.
Writer: John Tomerlin.
Cast: Harry Townes, Ilka Windish, Henry Silva, Ned Glass.
Music: Jerry Goldsmith.
Cinematography: John Warren.
Producer: William Frye.



Boris Karloff’s Introduction: “A gloomy place, a library; filled with forgotten knowledge, undisturbed passion, suspended lives and deaths, sufferings and ecstacy. Many histories are written in all of these books, including an interesting record of the man who opened them. For what could we not discover ig we but knew what ones had amused, interested, or obsessed him? Suppose the owner of all these, a dying man, should choose just one book as his gift to the living? What sort of a book would it be? Well, that of course would depend upon the man himself. If he’s a very good man he might leave a very good book. A very evil man? Well his gift might be called a dark legacy. Our players tonight are: Harry Townes, Ilka Windish, Richard Hale, Doris Lloyd, and Henry Silva as Toby Wolfe. Each of these distinguished persons is fated to find out it isn’t the gift that counts... it’s the spirit behind it.”

Synopsis: The fog breaks and we see a massive country estate in the darkness. Inside, three people sit on opposite sides of the huge great room waiting... as an ancient Butler (Milton Parsons) comes down the stairway carrying a silver platter. He tells the three that the Master Of The House has asked them to write their names on the pieces of parchment on the platter to aid him in his decision for inheritance. Each signs the parchment with an ancient quill pen: monocled Cousin Lars Eisenhart (Richard Hale), elderly Cousin Edith Pringle (Doris Lloyd), and mid 30s Nephew Mario Asparos (Harry Townes) each sign and then return to their corners of the great room. They are distant relatives in competition for the inheritance. This is a family of Illusionists, and each of the three makes a living doing magic shows in night clubs around the world... and the inheritance is the old Master’s amazing magic act. How did he do those tricks? The Butler carries the silver platter upstairs and we follow him into the Master’s bedroom...



Which is filled with occult materials. The ancient Master, Radan Asparos (also Harry Townes completely unrecognizable) takes the three pieces of parchment and places them in a huge book, then casts a spell asking the Prince Of Darkness to choose his successor in cursed sorcery. Hey, the three relatives downstairs think they’re getting *money*! Or maybe the secrets of magic *tricks*! Smoke and flames and lightening and wind and two pieces of parchment burn while one flutters in the wind and returns to the huge book: Nephew Mario’s will inherit. Old Radan then climbs into his coffin, closes the lid, and dies!

In the city, at the crappy Nocturne Club, Mario Asparos is headlining as a Illusionist... and failing. The Club Owner Vince (Ned Glass) tells him he’s fired by the end of the week if he doesn’t come up with a new routine that fills the house. His assistant & wife Monika (Ilka Windish) is worried... the pay sucks here, but they can’t live without the money. In the dressing room is old friend Toby Wolfe (Henry Silva) an Illusionist turned “medical hypnotist” just back from Europe. Mario gets a phone call: they are reading Uncle Radan’s will tonight, he needs to get to the mansion. Toby offers to drive him.



At the mansion, Cousin Lars and Cousin Edith are waiting. Lars is a slight of hand Illusionist as well, and is doing coin tricks while he waits. Cousin Lars knows Toby... and wonders why the lawyer is late. Probably caught in the storm. The lawyer Pinchot (BATMAN’s Alan Napier) arrives and reads the will... boring money division stuff, and finally what they have all been waiting for: the secrets of his magic act. But that isn’t part of the will. The magic act seems to have died with the old man. His library has been willed to a university, except for one book... and the recipient will know who they are when they receive it. The phone rings on this dark and stormy night, call for Mario from his wife.

Monika is frightened. The storm has knocked out the lights in their house and the windows keep blowing open... and then this ancient book popped up on the desk. Maybe someone broke in and put it there? She wants Mario to return immediately.



Mario returns home and checks the doors and windows: all locked. No way someone could have broken in. The lights are back on, now, and it seems less frightening but Monika is still freaked. Where did the book come from? Hey, the old man was a Master Magician, this was just some kind of trick. Maybe there’s more about the trick in the book? Mario and Toby look at the book... and there are no magic tricks! Just some mumbo jumbo about spells and stuff. Toby heads home.

Monika thinks they may be able to sell the book and make a couple of bucks. They have an argument, Monika never liked Uncle Radan. He may have been the world’s greatest Illusionist, but he freaked her out... and the book freaks out their dog (who won’t come into the room when the book is there). Monika goes to bed and Mario continues to thumb through the old book... thinking it might be fun to try a spell. It’s all just nonsense, right?

Smoke comes out of the fireplace and washes over the dog... who falls over dead! Mario incants, “Princes of darkness, I welcome you!”

THREE WEEKS LATER: His magic act is held over at the Nocturne Club and *sold out*! The grand finale of the act: Monika stands on the other side of a pane of glass and Mario fires a gun through the glass and Monika catches the bullet in her teeth! Then he passes the bullet through the audience so they can see that it’s real.



After the performance Club Owner Vince (Ned Glass) wants to renew their contract but Mario refuses... they’re opening in Vegas next week. Mario has become full of himself and kind of a dick. Monika calls Toby, she’s worried. Toby stops by the club, and Mario becomes jealous (Monika used to be Toby’s assistant)... Toby thinks Mario’s new tricks are the result of finding a code that turned that silly spell book into the source of all of old Radan’s magic tricks. Toby is fascinated by the magic bullet trick, and wants to know what Radan’s secret trick was, because this is a *dangerous* trick and there are magicians who have gone through several assistants and still never pulled it off. The trick is done with mirrors and cotton batting and a bullet hidden in the assistant’s mouth, but even with a light load the bullet fired from the gun can accidentally kill the assistant. Mario tells Toby it isn’t a trick: Monika catches the real bullet in her teeth. “It isn’t a trick! Nothing I do anymore is a trick!” Mario didn’t find some code for the old book, he found the real secret of Radan’s powers... the mystery of the ages! Toby doesn’t believe in magic: it’s all tricks to him, and even this is a trick. Mario has tricked himself into believing that the book contains magical spells, but it’s just mumbo jumbo. Toby thinks Mario has been lucky so far, but someday he’s going to kill Monika. Mario says he can prove that it’s magic...



At the house, Mario is going to put on an exhibition for Monika and Toby. Mario has remodeled his study into a sorcery room (he’s obviously lost his mind) and puts on a wizard’s robes, preparing to call out the demon who grants him power. Once again, he accuses Toby and Monika of having an affair. They think he’s paranoid. He does his incantations and the smoke comes from the fire place and the demon Astroth appears! Toby yells from Mario to destroy the book, but Mario tells Astroth to take Toby and Monika. Toby grabs the book and throws it into the fireplace. The book bursts into flames. The demon comes after Mario...

When the smoke clears, Mario is dead on the floor...

Toby wonders if there was a demon in the first place? What if it was a form of hypnosis? What if Mario’s belief made Toby and Monika believe they saw the demon? It was never magic, just a trick?

Was it?



Review: Horror stories probably have their roots in Fairy Tales. I know that seems like a crazy statement, but Fairy Tales were usually magical stories with a point, often a cautionary tale... and that’s a subgenre of horror as well: The Cautionary Tale. This is one of them. All of these relatives wish they had the secret to the old man’s magic, but they should be careful what they wish for! The old man was an Illusionist who took a walk on the dark side and became a sorcerer... and the World’s Greatest Magician. Now his relatives want to know those secrets... or do they? Though this story is spooky and deals with demons, there are no real scares here... more a cautionary tale where a man trades his financial descent for a moral descent.

I think it’s interesting that the story focuses on the differences between “Illusions” and “Magic”... the difference between tricks and spells. From the audience’s point of view it may all seem the same, from the performers point of view one is a carefully practiced skill and the other is the work of demons or spirits or things from another world.



Harry Townes was one of those working actors you’ve seen on a million TV shows, usually playing doctors or lawyers or professors. When I looked him up on IMDB I expected him to be British or maybe Canadian ... but he was born and died in Alabama. Probably in that last generation of classically trained actors before Method came into vogue. And his work here is amazing, I did not know he played old Radan until the closing credits. He moves like an old man, and has that old person mouth thing going. All of his mannerisms are old, and his hands tremble convincingly. This is a journeyman actor, not a star, just the guy who usually plays that educated person role who may be in a scene or two... and he gives a brilliant performance both as the old man and as his young nephew. But his IMDB lists Westerns and Good Old Boys and just about every kind of character role imaginable. Somewhere, we lost most of the actors like this. Now instead of an actor who can play *any* character, we have actors who can only play *one* character, and when they need a guy to play the Good Old Boy they hire the guy who always plays that role. No actual acting required!



Henry Silva was probably a “get” for this episode, he’s done a bunch of Westerns and the original OCEAN’S ELEVEN just before this... and would really break through the next year in MANCHURIAN CANDIDATE. Because of his skull like face which probably landed him all of those villain roles, it’s easy to forget that he’s also a great *actor*, and here he’s often stuck with exposition and manages to make it feel like natural conversation.

The special effects are amazing for a TV episode. I’m still trying to figure out how they did the slip of paper going from the fireplace to zipping back to the spell book and sliding between the pages. I suspect this was shot in reverse and in slow motion with the slip of paper between the pages of the book and then blown by a directional fan out of the book towards the fireplace. Shooting in reverse is a great old school FX trick! My friend Paul Kyriazi has a scene in a film where a man falls into the street and a car hits the brakes, front wheel coming to a stop *as it touches the man’s head*! It was just shot in reverse, with the car backing away from the man’s head, then they added the sound effect of skidding tires.



There is a great rack focus shot here where we see the bullet hole in the glass and then change focus *through the glass* to Monika snapping her head up with the bullet in her teeth. It appears as if we have actually *seen* her catch the bullet in her teeth, but it's just another no budget special effect with the rack focus making us think we are seeing the bullet.

The appearance of Astroth is also pretty good considering the budget and schedule. The room is filled with smoke and then a pair of eyes are superimposed over the smoke so that it appears as if the smoke itself grows eyes. For a cheap effect, it’s pretty scary. I’m sure they put some effort into casting the eyes.



This story also links bad weather to the supernatural, with thunder and lightning coming on cue. When Mario gestures, thunder and lightning answers. Talk about a cheap effect! But it completely works! He is *summoning* thunder and lightning! These are the kinds of effects you can still do for $1.98 in a low budget film, but few seem to take advantage of them.

Last but totally not least: another amazing Jerry Goldsmith score! He was working on THRILLER and TWILIGHT ZONE simultaneously at this time, and the next year would be his film break out with LONELY ARE THE BRAVE. His score here sets a spooky tone and really adds to every single scene. I wish all of these TV scores were available, because these great composers were at the top of their games and cranking out a new score every week (or maybe twice a week if they were working on two shows). This was a golden age for TV music.

Next week, Stephen King’s favorite episode... and what he believes is one of the most frightening hours of television ever made!

Bill



Speaking of old libraries with rare books with potentially spooky pasts, Fangoria Magazine’s British correspondent Philip Nutman passed away a year and a half ago, and his extensive library of horror books, film books, autographed comic books, and many other curios has just been placed on sale (yesterday!). Since this week’s THRILLER episode was about the terrors which might be found in the library of a book collector who has passed away, I thought some of you might be interested in these rare books and collectables from Philip Nutman’s Estate, being sold through Burnt Biscuit Books:

* The Philip Nutman Collection On Ebay.

* The Philip Nutman Collection At Amazon.

Buy The DVD!

Wednesday, April 02, 2025

Film Courage Plus: Take This Job And Shove It!

FILM COURAGE did a series of interviews with me at the end of 2014, and then again at the end of 2015, around 36 segments total. That's almost a year's worth of material! So why not add a new craft article and make it a weekly blog entry? All I have to do is write that new article, right?

Take This Job And Shove It:

What’s interesting to me about this clip is that the first question is about when you should quit your day job, but evolved into a story about my early career... and the troubled path TREACHEROUS took to get to the screen. What do they have in common? I had no idea at the time of the interview, but looking back on it I’ve realized that the TREACHEROUS story is a perfect example of how being a professional screenwriter is often not a dependable source of income. That’s one of the problems with any creative occupation - no regular paychecks.

Screenwriting is freelance - which means that you are the boss. Which means that you pay yourself. Which means that you need to find the jobs so that you can pay yourself. You will be an independent businessperson. Though you may fantasize about an Agent or Manager handling the business side, that is only a fantasy. Most of the deals you get will come from your hard work... and they will get their 10%. You are the only one who cares about your career, so you will need to get out there and find jobs.

One of the questions that new writers frequently ask is: when should I move to Los Angeles?

I thought for the longest time that I wouldn’t have to move to Los Angeles at all. My first script deal, back when I was 21 years old, was writing a comedy martial arts film NINJA BUSTERS for a guy from my hometown community college and it was made in Oakland, CA - the nearest big city to where I grew up - and even starred the World Champion Oakland Raiders. Cool! I believed that I could have a career in my hometown, and NINJA BUSTERS was the first in a three script deal with the guy who produced and directed it, Paul Kyriazi. Paul had made a few successful kung fu movies for the drive in circuit and set up a company that would make more drive in films. After writing NINJA BUSTERS I wrote the next two scripts... and then NINJA BUSTERS hit some financial snags and there would not be two more films. The weird part was that there was enough publicity surrounding the film that I found a couple more local jobs - one of the producers on NINJA BUSTERS had an idea for a movie, and a real estate guy my girlfriend at the time knew had a bunch of vacant properties he thought we could use as film locations. So even after NINJA BUSTERS hit a snag, there were two more deals to be had in the Oakland area. And then there was nothing. I was the big fish in the small pond and had eaten up all of the fish food. I spent ten years working in a warehouse...

And during that time I optioned a script to a company in Beverly Hills and eventually sold another script to a company at Paramount... and that is when I moved.

Looking back on it: I wish I had moved right after NINJA BUSTERS hit the snag, because I could have forklift jousted in Los Angeles as easily as I did in my home town. I was working for Safeway Grocery, and they had stores and warehouses in Los Angeles. Could have easily moved here much earlier instead of driving down once a year for American Film Market. One of the benefits of living in Los Angeles is that you bump into people in line at the grocery store and can easily go to a bunch of meetings. I had an agent for a while still living in my home town and had no idea how terrible he was until I optioned that script to the producer in Beverly Hills and saw his 8x8 windowless office above a motorcycle repair shop in the slums. I would have been a lot more proactive had I known that he was doing nothing for me. I was probably the oldest dude to sell a script to Roger Corman - and had I moved to Los Angeles earlier I probably would have written a stack of scripts for him in my 20s!

WHEN TO MOVE?

One of the questions people often ask is when they should move to Los Angeles - before they make their first sale or after? That’s a very good question and everything depends on what you have established where you live now. I moved after my first sale and once I got here wished I had moved earlier - all of those Corman scripts I could have written. All of those connections I could have made. And I probably never would have signed with that terrible agent!

But it is likely that you will move here at some point.

Los Angeles is where the business is located. All of the studios are here, all of the production companies are here, all of those meetings you will need to go to are here. Though there are other places in the USA where films are frequently produced and you can make connections there, those films are made by companies in Los Angeles. New York doesn’t seem to be doing much these days - Miramax is closed and most of the New York City companies dried up when the indie film business evolved into guys and gals in their backyards with digital cameras a decade ago.

I have friends who live out of town and come here a couple of times a year for a couple of weeks to do wall-to-wall meetings so that they can maintain their career out of town. The rest they do by phone or Skype. That is a possibility, especially if you have a family and a house and a life set up elsewhere.

If you are single? Why not be single here? Yeah, it’s so expensive you’ll probably be living in some terrible apartment with room mates, but when you are single and young it’s an adventure! And there are places you can live within driving distance of Los Angeles that are affordable if you are looking for a house and no roommates.

If you have a good job in your hometown, that can be an issue... but do they have a branch office or store or whatever in Los Angeles? Can you transfer? Keep the good job, just do it in Los Angeles? If not, then you might want to keep the good job. One of the problems with trying to re-establish yourself in a new city is that all of the “ground work” takes time. I got my job at Safeway Grocery because I bumped into a store manager at a business we both frequented, and his son knew my brother. That sort of thing is a lot more difficult when your brother lives in your hometown and that store manager’s son lives in Los Angeles. So if you have a good job, you may want to move after the sale... or not at all.

You don’t want to get into a position where you are stressed about money and can’t write. That defeats the purpose!

WHEN I QUIT MY JOB

After selling COURTING DEATH - a series of flights to Los Angeles - I put in my 2 weeks notice, and I think I ended up working even longer. I was a good employee. And that’s a factor that some people miss - if you are a crappy employee at your day job, how do you think you’ll do when you are the boss of your own one person company and have to make deadlines and show up to meetings on time and all of the other things you may have hated about the day job? I was always a hard working employee, always the guy who would take an extra shift if need be, always the guy that the other employees got along with. Always on time. All of the things that make you a good employee at your day job are the same factors that will make you successful as a screenwriter. If you are not the very best employee at your day job, the person they can trust to show up on time and get the work done without mistakes, you will never be ready to quit your day job and write full time... because how will you (as boss) get you (as employee) to do better? You have already proven yourself a terrible employee - why would you hire yourself? I was the great employee then, and a pretty good employee now. So when I quit my day job, they threw a big party for me.

I moved to Los Angeles to begin this adventure in screenwriting... which is still going! I haven't had to fire myself yet!

Good luck and keep writing!

- Bill



Tuesday, April 01, 2025

Trailer Tuesday: EDDIE PRESLEY (1992)

Mentioned on Monday Night's double bill of the late Jeff Burr's films...

EDDIE PRESLEY (1992)

Directed by: Jeff Burr
Written by: Duane Whitaker
Starring: Duane Whitaker, Clu Gulager, Roscoe Lee Browne, Danny Roebuck, Quentin Tarantino, Lawrence Tierney, Tim Thomerson, Rusty Cundiff, Bruce Campbell, a million others.

A few years back the Egyptian Cinema did a double bill of indies written by my friend Duane, who I may be having coffee with as you read this. You know Duane as the Pawnshop Owner from PULP FICTION, but he's one of those guys who pops up in a bunch of movies playing redneck blue collar guys. EDDIE PRESLEY looked great on the big screen. I think I had seen it once before in the cinema, some others times on video. To me, what is strange about the film is that it's based on Duane's one man stage show... but that's only the last third of the film - about 40 minutes of screen time. I think the hour of material Duane wrote to more-or-less pad it out is more entertaining than the play material - the padding is the kind of stuff that is Duane's artistic sweet spot: he's the Robert Altman or PT Anderson of broken Hollywood dreams. Hmm, maybe some background...



Duane’s one man show was about this Elvis impersonator whose performance goes wrong and ends up having a complete nervous breakdown on stage and tells his life story and sings a couple of songs. It’s this crazy, funny monologue. Well, my friend Jeff, who directed the movie, had just gone through absolute hell on TEXAS CHAINSAW MASSACRE 3 - New Line had micro-managed the film, wanted him to tone the horror way down so that they could get a more favorable rating and play to a wider audience, then took the film away from him in editing and the film they released bombed because it was wimpy and the horror was tame. The CHAINSAW movies are about a guy with a chainsaw who chainsaws people - you can’t exactly make the PG-13 version of that and have it work. So Jeff was pissed off at the studio system and wanted to make his own movie his own way... and Duane, who had played a role in TCM3 had this one man show, and Jeff saw it and thought they could expand it into a feature. Because this was an indie film, they found the money completely outside the system - private investors. They made the film and it was released on video by a really small distrib (which also released John Lee Hancock’s first film) and that was basically that. Oh, the big coup for EDDIE PRESLEY was that it was the first movie bought by The Sundance Channel.

The 60 minutes that is not Eddie Presley on stage having a complete breakdown are about the days leading up to that performance, plus some great flashbacks in black & white to Eddie’s life before he ended up in Hollywood. Eddie lives in his van parked on the street in Hollywood - inside the van is a shrine to his past, when he used to make a living touring small-to-medium venues as Eddie Presley. He picks up his messages on a pay phone and works as a security guard at night. The Back Door Club is the location for the end of the film, the Van is a location, the Security Job is another location, and there’s also the Greasy Spoon Diner - that’s about it for locations.

In the Security Guard story thread, Ted Raimi is one of the other guards, and Lawrence Tierney is the hardass supervisor with a photo album of sleeping guard Poloroids. Willard Pugh plays another security guard and there's a nervous female security guard (Harri James) who has a major crush on Eddie. Raimi and Pugh and James’ characters and Eddie are best friends - and they would do anything to see him succeed. When he finally gets his gig at the Back Door Club, they take the night off from work so they can see him... and pull some favors from friends and friends-of-friends to get him a cut-rate limo to take him to the gig.

In order to stay awake on these night shifts so that he doesn’t get fired, Eddie fills his thermos at a greasy spoon cafe filled with Hollywood losers of all types... plus his girlfriend works there as a waitress. She’ll fill the thermos if the boss isn’t looking, and maybe get him a free breakfast. She wants to actually go out on a real date - but Eddie’s always broke. She’s a wanna-be actress, but has had no luck so far landing a role in anything. These characters in the Diner Thread are Duane’s forte - the struggling artists who litter the streets of Hollywood trying to hang onto their dreams but knowing that they are only dreams... and the reality is that they're a waitress. When Eddie’s not in the diner, there’s a skanky female porn star trying to make the moves on his waitress with promises of leading roles in adult entertainment... is a part a part? Will she do porn?




The other diner regulars are a colorful group, from the toll-taker guy who requires a cigarette from everyone who passes by his seat at the counter, to my favorite character in the film - Clu Gulager's sleazy agent. Hair badly dyed jet black, he tells prospective clients (all gals fresh off the bus) that he has major connections and can make them into stars... and when the pay phone on the wall behind him rings, he answers it with his talent agency name. I've had this agent!

The last thread are the Flashbacks in beautiful black & white of Eddie’s pre-Hollywood life in Texas, with Joe Estevez as his strict father and Barbara Patrick (Robert’s wife) as his soon-to-be-ex-wife. Eddie was a successful pizza store owner (take out only) who sells his business to live his dream of being an Elvis impersonator. Father thinks he’s an idiot, wife divorces him and takes the kid... and Eddie and his band go out of the road. Jeff’s cuts from present to past and back are great - match cut stuff with a character from the present drinking a cup of coffee to one in the past drinking a cup of coffee. There is a great flow to the story which makes it seem less episodic. Because the black and white stuff was shot later, Jeff would end a scene with some action that could be duplicated months later when Duane had lost a bunch of weight and looked like a younger version of himself. Eventually the flashbacks get darker and darker (in tone, not lighting) and Eddie flips out in a burger joint and ends up sent to an insane asylum, where the guards include Quentin Tarantino (before he was famous) and Bruce Campbell and director Rusty Cundiff.

The last third of the film at the Back Door Club is filled with some great characters - the late great Roscoe Lee Brown plays the club owner, Tim Thomerson does a great cameo as an angry comedian, stand up comic Puppy Thomas is the world’s worst ventriloquist, and practically stealing the show is Danny Roebuck as Eddie’s warm up act - the world’s most unlucky magician: when he tries to pull the rabbit out of his hat, it bites him and he bleeds all over the place for the rest of his performance... which includes him accidentally catching fire and unable to put himself out. Then Eddie gets up on stage, everything goes wrong, and he has his big break down right in front of us.

Though that ending was the whole reason they made the film, I really like the parts of the film that come before that. You get a real feel for people on the fringes in Hollywood, the hopefuls without hope...

The film is available on DVD at Netflix, I have no idea if it's on their streaming service or not. Made for pocket change, a nice little labor of love. Bill

Friday, March 28, 2025

Fridays With Hitchcock: Hitch On Editing

Hitch explains his Three Editing Techniques in this interview, using his favorite film SHADOW OF A DOUBT as his example.



In addition to camera angle, framing and composition, movement, and lighting - the juxtaposition of images (editing) is a critical part of telling a story on film. All of these shots need to cut together, and be cut together in a way that helps to tell the story. Kuleshov's experiment shows that editing images together can create emotions in the audience that aren't actually in the images. One of the things that I look at in EXPERIMENTS IN TERROR are how editing can tell the story, and in Hitch's ROPE experiment without editing, the specific angle and framing and movements of the camera have to take over when you don't have editing. DePalma's split screen work allows the audience to do the editing by looking back and forth between two side-by-side images.

The juxtaposition of images is important!

Of course, I have my own books focusing on Hitchcock...

HITCHCOCK: MASTERING SUSPENSE


LEARN SUSPENSE FROM THE MASTER!

Alfred Hitchcock, who directed 52 movies, was known as the “Master Of Suspense”; but what exactly is suspense and how can *we* master it? How does suspense work? How can *we* create “Hitchcockian” suspense scenes in our screenplays, novels, stories and films?

This book uses seventeen of Hitchcock’s films to show the difference between suspense and surprise, how to use “focus objects” to create suspense, the 20 iconic suspense scenes and situations, how plot twists work, using secrets for suspense, how to use Dread (the cousin of suspense) in horror stories, and dozens of other amazing storytelling lessons. From classics like “Strangers On A Train” and “The Birds” and “Vertigo” and “To Catch A Thief” to older films from the British period like “The 39 Steps” and “The Man Who Knew Too Much” to his hits from the silent era like “The Lodger” (about Jack The Ripper), we’ll look at all of the techniques to create suspense!

Films Included: NOTORIOUS, SABOTAGE, STRANGERS ON A TRAIN, THE 39 STEPS, REBECCA, TO CATCH A THIEF, FRENZY, FOREIGN CORRESPONDENT, THE LODGER, THE BIRDS, TORN CURTAIN, SABOTEUR, VERTIGO, THE MAN WHO KNEW TOO MUCH (1934), THE MAN WHO KNEW TOO MUCH (1955), SUSPICION, and NUMBER SEVENTEEN. 17 Great Films!

Only 125,000 words!

Price: $5.99

Click here for more info!

OTHER COUNTRIES:


UK Folks Click Here.

German Folks Click Here.

French Folks Click Here.

Espania Folks Click Here.

Canadian Folks Click Here.

And....

HITCHCOCK: EXPERIMENTS IN TERROR






USA Readers click here for more info!

HITCHCOCK DID IT FIRST!

We all know that Alfred Hitchcock was the Master Of Suspense, but did you know he was the most *experimental* filmmaker in history?

Contained Thrillers like “Buried”? Serial Protagonists like “Place Beyond The Pines”? Multiple Connecting Stories like “Pulp Fiction”? Same Story Multiple Times like “Run, Lola, Run”? This book focuses on 18 of Hitchcock’s 52 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock’s *silent* films! We’ll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.

Films Examined: “Rear Window”, “Psycho”, “Family Plot”, “Topaz”, “Rope”, “The Wrong Man”, “Easy Virtue”, “Lifeboat”, “Bon Voyage”, “Aventure Malgache”, “Elstree Calling”, “Dial M for Murder”, “Stage Fright”, “Champagne”, “Spellbound”, “I Confess”, and “The Trouble with Harry”, with glances at “Vertigo” and several others.

Professional screenwriter William C. Martell takes you into the world of The Master Of Suspense and shows you the daring experiments that changed cinema. Over 77,000 words.

UK Folks Click Here.

German Folks Click Here.

French Folks Click Here.

Espania Folks Click Here.

Canadian Folks Click Here.

Thursday, March 27, 2025

THRILLER Thursday: THE HUNGRY GLASS

The Hungry Glass

The spider web fills the screen, it's Boris Karloff's THRILLER!



Season: 1, Episode: 16.
Airdate: January 3, 1961


Director: Douglas Heyes
Writer: Douglas Heyes based on the story by Robert Bloch.
Cast: William Shatner, Russell Johnson, Donna Dixon, Joanna Heyes, Elizabeth Allen.
Music: Jerry Goldsmith.
Cinematography: Lionel Linden.
Producer: William Frye.




Boris Karloff’s Introduction: “A beautiful young face in the mirror, a pitiful old face at the door. Could they have been one and the same? Some people say that mirrors never lie. Others say that they do: they lie, they cheat, they kill. Some say that every time you look in one you see death at work. But most of us see only what we want to see. And perhaps it’s better not to see too deeply into the darkness behind our mirrors? For there live things beyond our imagination, as sure as my name is Boris Karloff. But if you’re skeptical, stay with me and watch “The Hungry Glass” with those others who doubted. William Shatner, Joanna Heyes, Russell Johnson, and Elizabeth Allen. Oh, you’ll be perfectly safe, that is, if you turn your own mirrors to the wall... and make sure that your television screen casts no reflection.”

Synopsis: Have you ever looked into a mirror and thought you saw someone or something behind you, but when you turned there was nothing there?

This is one of those episodes from THRILLER that people often remember, and I like it better than Stephen King’s favorite PIGEONS FROM HELL. Oh, but the story...



It opens a hundred years ago with a beautiful young woman, Laura Bellman (Donna Dixon from BEVERLY HILLBILLIES), looking at herself in one ornate wall mirror after another... dozens of them! Every inch of the wall is covered with a mirror! There is an insistent knock at the door, and she goes to answer it; but the person who opens the door is a shriveled up old woman dressed exactly as that beautiful young woman. On the other side of the threshold are Laura’s sailor nephew who has a hook for a hand and a doctor... Laura hasn’t left the house and her mirrors in months. She says: “Go away! Leave me alone, can’t you? Leave me alone, with my mirrors.”

Present day: Gil Thraser (Shatner!) is a photographer who has finally gotten his Korean War post traumatic stress disorder under control, married a model who is probably close to her pull date Marcia (Joanna Heyes) and bought the Bellman House in Maine. A rambling old fixer upper on the edge of a rocky cliff overlooking the Atlantic about 2 miles from town. They are escaping the city, and hope to turn this place into their dream house. Their belongings have been sent ahead to the house by a moving company and they are waiting in the town’s little general store for the real estate agent to arrive with the keys. A storm is raging outside... and a group of old farts are sitting by the store’s old wood burning stove, staying warm and playing checkers. When Gil tells the Store Owner that they just bought the Bellman House, the old farts joke about how the house comes with unwanted guests, and lots of people who lived there died there as well, and there isn’t a single mirror in the whole place because of, you know...



That’s when real estate agent Adam Talmadge (Russell Johnson, The Professor!) arrives and tells them his wife Liz (Elizabeth Allen) is waiting in the station wagon and he’ll drive them out to the house. But first they need to buy some light bulbs... none in the house. The Store Owner says bulbs won’t matter, there’s no power. Adam says he had the power company turn it on... the Store Owner says the storm turned it back off again. They buy bulbs anyway, and make sure they have candles and batteries for the flash lights as well.

In the car, Gil asks Adam if there are vampires in the house or something? Because of the lack of mirrors? Adam explains that you take an old house where there have been a couple of accidental deaths and the locals come up with all kinds of spooky legends. Ghosts and such. None of it is real, it just gives the people in the small town something to talk about.

When they get to the house, all of there stuff is packing crates in the entry area... to be unpacked later. Adam and Liz come in with them, because they have a little house warming gift... a chilled bottle of champagne and 4 glasses. Adam has got a fire going in the fireplace, too. The living room has an *amazing* view of the ocean. Adam pours the champagne while Marcia looks out the window, and when she turns her back to the window to say something... Liz SCREAMS! Adam drops the champagne bottle, breaking it and slicing open his palm. Liz says there was a man standing outside the window, reaching for Marcia! A man with a hook for a hand! Gil runs to the window and looks out: sheer cliff all the way down to the ocean, no place for a man to stand. Must have just been some freak reflection from the fireplace, right? Adam picks the glass out of his hand... a freak accident... like the glass shards were trying to attack him. As Adam and Liz leave, Gil closes the door and sees the reflection of an old woman in the stairway window... beckoning him.

The next morning, Marcia is putting on make up using her travel mirror when she sees a man’s reflection! It’s Gil, who cut himself shaving when she snuck up on him and he saw her reflection in *his* travel mirror. So they’re even, right? Except Marcia says she hasn’t left this room. They have a great discussion/argument about whether the old house was a good investment or a bad one. They decide either way, they’re kind of stuck with it so might as well make the best of it. That’s when the power comes back on, and all of the new light bulbs turn the spooky old house into... well, less spooky. Gil says he’s going to take a bunch of pictures of the house as it is now to give them something to compare with after they fix it up.



When Gil is developing those photos, he sees a strange image reflected in one of the windows: a little girl. Is it a double exposure? Meanwhile, Marcia pokes around the attic and finds that it’s full of old furniture and things... a gold mine in antiques! She spots a door hidden behind some things with a huge padlock on it. What could be inside? Using a rusty knife from the attic junk she unscrews the hasp and has to put some muscle into getting the door open. On the other side, a storage room filled with dozens of antique mirrors! For a moment she’s blinded by her flashlight reflection... Meanwhile, Gil decides *not* to show the photo of the little girl’s reflection to Marcia (in a great piece of visual storytelling). Then goes looking for her, finds her in the attic. Marcia shows him a couple of antiques that might pay for the whole danged house... it was a great decision the buy this place. Gil asks if she might have used his camera to take a picture of a little girl, she says no. Then she shows him to weird room full of locked away mirrors and asks him to bring one down so that she can get ready for the dinner they’re going to host for the Adam & Liz. When Marcia leaves, Gil looks into one of mirrors and sees an old woman beckoning him... screams and faints!

Gil is afraid that his post traumatic stress has returned, and next he’ll be seeing all of dead people from Korea again. Marcia tells him to just calm down, it was just his imagination playing tricks on him. They have company coming for dinner and they both need to get ready. But Gil worries that he’s losing his mind. Again.



After they have finished dinner with Liz and Adam, Marcia offers to give Liz a house tour and Gil and Adam stay behind... so that Gil can ask about the reason the townspeople might think this place is haunted. Adam doesn’t want to spread silly rumors, but Gil pushes it... and Adam relates the Legend Of Bellman House.

And what a legend! Basically, everyone who has ever lived in the house has been killed by accidents involving mirrors or windows. As Adam explains death by death, including a sailor with a hook for a hand that was Mrs. Bellman’s nephew, we realize that no one has ever gotten out of this place alive. That’s when Gil tells him about the strange double exposure, and they go down to his basement darkroom. Gil shows Adam the photo... and Adam identifies the little girl as a kid who fell off the cliff to her death when the sun’s reflection in the house’s window blinded her. So, not a double exposure... a ghost reflected in the window. Now *Adam* believes the house may actually be haunted, and Gil knows he’s not crazy.

That’s when Liz interrupts them (lots of good jumps in this episode in addition to all of the creepy suspense), to bum some cigarettes. When Gil asks where Marcia is, she says Marcia was showing her the odd storeroom full of mirrors. Then they hear Marcia SCREAMING! Both men bolt up the stairs, Adam stopping to tell Liz *not* to follow them up to the attic. When Gil gets to the mirror room, he sees all of the dead people from the legend PULLING Marcia into a mirror. She screams for Gil to help her. Gil grabs an old fire poker from the attic and hits the mirror again and again until it shatters. When Adam comes in, Gil says they have taken Marcia into the mirror... but Adam points to the floor, where Marcia lies dead... beaten to death by the fire poker!



Adam and Liz try to calm and console Gil... who keeps trying to convince both of them that he saw dead people in the mirror grabbing Marcia and pulling her inside the glass. That he’s not losing his mind, it’s the mirrors! The windows! Any glass that reflects! The police will never believe him, even though it’s true!

Then Gil sees Marcia reflected in the huge living room window, and runs to embrace her... crashing through the window and falling all the way down that rocky cliff to splat on the rocks below, as the waves crash over him. Liz faints, and Adam carries her out of the house, seeing the reflection of Marcia and Gil beckoning to him from the staircase window!



Review: Wow! This episode really delivers. It’s spooky, has some great scares, is wall to wall dread (a great job of building with small spooky stuff), and is *witty* and filled with great dialogue. In fact, if you took away everything else but the dialogue, this would still be a great episode. People don’t just say things, they say it in the most amusing way possible. After Adam drops the champagne bottle and slices open his palm, he says “At least I christened the carpet”. This crackling dialogue makes the episode fun, and adds to the dread... we’re having such a great time when something scary happens it ends up twice as scary! I haven’t read the short story in a couple of decades, but Bloch is an incredibly witty writer who loves to make you smile just before he makes you scream. All of this great dialogue may have been his, or maybe the writer/director used Bloch’s tone as a guide and went with it. I don’t think there’s a bad line in the entire episode.

Director Heyes was responsible for the previous best episode, THE PURPLE ROOM, and here he makes sure every inch of that attic makes you want to get the hell out of there. When Marcia is poking around the antiques, you are waiting for something to jump out and grab her! The basement dark room is also spooky. This is a *great* haunted house story. It’s also *packed* with story... there isn’t a dull *second* in this episode, when they aren’t being scared by the windows and mirrors they are having relationship issues caused by the house or Gil is having a breakdown caused by the house. It’s almost like a feature film squeezed into an hour of TV. Never a dull moment, and the great thing about mirrors and windows and reflections is that they’re *everywhere*! When they walk past a window, you worry!



The cast is *great*, with Shatner gearing up for his TWILIGHT ZONE episode 2 years after this. He does a great job in the quiet moments, as well as going full Shatner in some of the more dramatic scenes. Russell Johnson is a charming real estate guy, completely making you forget that he was the Professor on GILLIGAN’S ISLAND. He not only gets laughs delivering the quips, he give you chills telling the legend. Joanna Heyes is the director’s hottie wife, and does a great job holding her own opposite scene stealer Shatner. Elizabeth Allen probably has the least interesting role in the episode, but screams like a pro and does a great job playing “the wife”. Donna Dixon who was Ellie May on BEVERLY HILLBILLIES is eye candy in her brief role as the reflection of Mrs. Bellman in the mirror.

Aside from the witty dialogue and great pacing, this script has some great visual storytelling (like when Gil wordlessly decides not to show the picture to Marcia) and some awesome exposition hiding... we know the house is 2 miles from the nearest neighbor because of a line about having to walk down to warn them if Liz plans on screaming again. The big chunk of exposition that comes with the Legend Of Bellman House, is a great little ghost story with twists and thrills... so you don’t notice it’s exposition... it’s a campfire story. Great writing, acting, direction...

The creepy thing about this episode is that after watching it, you start seeing things in *your* mirrors... or maybe it’s just my imagination?

Bill

Buy The DVD!

Wednesday, March 26, 2025

Film Courage Plus: Writing On Deadline

FILM COURAGE did a series of interviews with me at the end of 2014, and then again at the end of 2015... and that's 36 (or more) segments total. That's almost a year's worth of material! So why not add a new craft article and make it a weekly blog entry? All I have to do is write that new article, right?

Screenwriting means working on a deadline... sometimes an insane deadline:



I know you don’t want to hear this, but most spec scripts (screenplays written to sell) are never sold... they are “job applications” for paid writing assignments. You know, adapting some comic book or novel or board game or toy or whatever into a movie script. The *job* of writing. And like every job, there are deadlines.

Writers like to fantasize about quitting the day job and just sitting at home in their Pjs writing whenever the inspiration strikes. Being an artist. But reality is completely different - for a professional writer, writing becomes their day job and they have all of those things they hated from the old day job. Idiot bosses? Yeah, there are producers I’ve worked for who make my old day job bosses look like geniuses. Catty co-workers who blame you for their mistakes? You will encounter those, too - true story: on one of my films for a cable network the director came up with a scene that was so expensive it would bust the budget. I told him there was no way the producer would keep this scene in the script, because it not only served no story purpose it would cost as much as every other scene in the script combined. I suspected it was just some power play on the part of the director - to see how far he could push the producer, to see if he could get his way - but I told him I didn’t want to write the scene. He insisted. I wrote the scene. The next story meeting, the producer turned to me and said he was surprised that I would write a scene like that into the script; didn’t I know this was a cable film not a summer blockbuster? Before I could say it was the director’s idea, that director turned to the producer and said, “I told Bill it was a budget buster, but he didn’t listen and wrote it anyway.” And you thought your day job was bad! But the other thing from your day job you will have to deal with are deadlines. You can’t just write when inspiration strikes, you have to write to get things finished on time.

And the closer the project gets to production, the more those deadlines become etched in stone.

One of the production companies I wrote HBO World Premiere Movies for was Royal Oaks (no longer with us) and they were a factory for cable movies. At one point they were making 36 movies a year for a variety of cable networks. That was in the mid-1990s when every new start up network had their own movies, and when established networks like USA Network had 48 original movies a year. Add in Lifetime and all of the rest and there was this insane need for MOWs, and Royal Oaks supplied a chunk of them. Oh, and they also made movies for Studio’s Home Entertainment Divisions (direct to video). There was a “big board” on the wall that showed all of the projects and where they were at on the road from idea to finished film delivered to the network or studio. 36 films with 36 deadlines. And within each large deadline (delivery) were smaller deadlines - like the treatment and each draft of the screenplay. As I’ve said before, on a movie for HBO like STEEL SHARKS before I even pitched the story there was an airdate. A time slot at HBO that the movie would fill. If I didn’t get the screenplay finished in time, they wouldn’t finish making the movie in time... and HBO would be showing a test pattern or something on March 26th at 9pm.

You may not want to think of making movies as if it’s a factory, but at a production company or a studio that’s exactly what it is. They make movies as a consumer product just like some other company makes shoes... in fact, there was a point in time where a shoe company owned a studio! If you think that big studios don’t have big boards like Royal Oaks did, tell me - what are the release dates for the next ten Marvel movies? How about the next five STAR WARS movies? Okay, how about the next three FAST & FURIOUS movies? All of those deadlines! Most of those projects don’t have screenplays or writers or even story ideas! But they already have deadlines. That’s the film business! It is a business!

So you will need to get used to working on a deadline.

“Amateurs sit and wait for inspiration, the rest of us just get up and go to work,” Stephen King

“If you wait for inspiration to write; you’re not a writer, you’re a waiter,” Dan Poynter


LAZY WRITERS!


I have self imposed deadlines on my spec screenplays, and try to treat them as if they were any other (real world) deadline. The reason why is that without a deadline I wouldn’t get anything done... I have to be my own boss and crack the whip on myself. Just as my protagonists wouldn’t be rushing to disarm a bomb if that big red LED cliche timer was set for five years from now, I wouldn’t have any real reason to finish a script if there was no deadline and my natural laziness would take over. And I am naturally lazy. I think most of us are. Our default mode is - check out Facebook and then maybe get lost reading articles on something you find mildly interesting and then maybe watch a little TV and then... hey, time for bed! I can do nothing like a pro! But a pro writer needs to write - so I have deadlines and page quotas and write as if it’s my job, because it *is* my job.

And even if it is not your job now, you *want* it to be your job, right?

That means you will need to be able to write quality material on a deadline.

There are folks on message boards who think being forced to write on a deadline results in bad writing. They are probably not going to make it as a professional. Actually, they *could* make it as a professional if they quit fighting the idea of deadlines and just accept that is part of the job and they’ll have to learn how to incorporate deadlines into their writing. People always fight against what they fear - they proclaim that “X is the downfall of creativity!” because they know they are not good at X and they fear X so they want to avoid doing X at all costs. Hey, the world isn’t going to bend to you, you will have to bend to the world. You will have to grow and learn and figure out how to deal with X like everyone else has. Just the way things are. In real life there are deadlines, and fighting against the idea of deadlines is not going to make them vanish. There are still those big boards at production companies and studios listing the release dates for movies that have yet to be written, and when you land one of those jobs you will have to make the deadline no matter what Douglas Adams may have said.

TWO METHODS


There are two methods to make deadlines - Slow & Steady and Holy Crap This Is Due Tomorrow! You know these two methods from when you were in school and had homework. Slow & Steady is the recommended method - what your mom and teachers told you to do - and what I will tell you is the best way to do things. Not that you will listen... but it makes me feel better to know that I’ve told you.

Slow & Steady: In another of the Film Courage segments I talk about How To Be Productive (Even If You Have A Life) and talk about how I managed to write 3 screenplays a year while working a day job (and having a life) by writing one good page a day. Just one. Because those single pages add up to 3 screenplays by the end of the year. Once I “went pro” I used the same method, just upped the number of pages per day to 5. Five pages a day is a screenplay in a month. Yeah - a first draft, but still a screenplay. And that will result in you making almost every deadline you will encounter as a professional screenwriter. In the BREAKING IN Blue Book we look at assignments and deadlines, and how you will often “stack” assignments (take more than one job, because you never know if anyone will ever hire you again) and being able to do a draft in a month will cover you even if you stack a couple of assignments. You will make your deadlines. Slow & Steady wins the race.

The other method - the one your mom and teachers warned you about - is Holy Crap This Is Due Tomorrow! and you know how that works when you pulled those all nighters after procrastinating for a couple of weeks and not doing your homework. You didn’t use the Slow & Steady method, so the only thing left is to just drink a whole pot of coffee or a six pack of Mountain Dews and write the damned thing. There are people who prefer this method to Slow & Steady, but I’m always afraid I’m going to end up with 30 pages to write and 5 minutes to write it in... and I’m just not that fast. I’m also afraid that I’ll burn out halfway through or that some unforseen event will sidetrack me. Heck, when I stacked a couple of projects with tight deadlines once, I ended up with walking pneumonia afterwards. I’d worked myself into exhaustion. What if that exhaustion and pneumonia had struck when I was only halfway done with the script? I’d have missed the deadline!

One of the things that helps me on tight deadlines is that the Slow & Steady method creates a confidence that the Holy Crap method does not. If I know I can write 5 pages a day, every day, and not suffer burn out... I can adjust that up to 10 pages a day if need be. And I’ve had those crazy deadlines where I needed to turn out 10 great pages a day to make my deadline because there was a Start Shooting date on the big board. I think I talk about some of these deadlines in this Film Courage segment.

But in the real world of screenwriting, you will need to know how to use both methods. Because even though Slow & Steady is preferable, you may end up with some insane real world production deadline like I had on GRID RUNNERS when they had to scrap the Act 3 I had written due to a change in location and I had to write a brand new Act 3 *overnight*. There was literally a production crew sleeping while I was writing, and when they woke up in the morning and went to the set to shoot that day’s scenes? Well, I had to have finished writing them, get them to the production office so that they could make copies, and then those copies had to be sent to the set so that they could film them. The closer your project gets to production, the more important making those deadlines becomes! When the project is *in production* missing a deadline means the cast and crew have nothing to do (but are still being paid) and the film may crash and burn as a result. Yes, movies get shut down when the screenwriter misses a deadline. You may cost the production company tens of millions of dollars! Do you think they’re going to hire you again after that? That *anyone* is going to hire you again? So you need to be able to use both the Slow & Steady method and the Holy Crap method as a professional screenwriter, and I really think that using the Slow & Steady helps a lot when you need to do the Holy Crap method. But maybe that’s just me. No one really cares which method you use, as long as you make the deadlines.

Because, like any other job, this one has deadlines. Often hard deadlines where a cast and crew is waiting for you to finish so that they can start. So start training for those deadlines *now*!

Good luck and keep writing!

Oh, and instead of a tip jar... if you liked this why not buy a book over there? Thanks! -->

- Bill



Tuesday, March 25, 2025

Trailer Tuesday: PHANTOM OF THE PARADISE

Directed by: Brian DePalma.
Written by: Brian DePalma, music & lyrics by Paul Williams.
Starring: William Finley, Jessica Harper, Gerrit Graham, Paul Williams.


He sold his soul for rock and roll...

A few years ago Edgar Wright hosted the 40th anniversary of Brian DePalma’s PHANTOM OF THE PARADISE to a sold out crowd in the massive Cinerama Dome in Hollywood. Most of the surviving cast was there, but star William Finley had recently passed away; so this was also a bit of a memorial for him as well. Since PHANTOM is one of my favorite movies, one that I saw in its brief initial run back in 1974, and several times since then... I was in that packed cinema. Wait, you’ve never heard of the film? That’s great! You have something to look forward to!

Buy the border Brian DePalma is one of my favorite directors, and most people know him from BLOW OUT or maybe CARRIE... but those films were made in the middle of his career. He began making odd arthouse films and comedies... and discovered Robert DeNiro (as well as many other actors who would later become famous). His first successful film was an anti (Viet Nam) war comedy starring Robert DeNiro, Gerrit Graham, and Jon Warden called GREETINGS (1968) about three friends who get their draft notices at the same time and each figures out a way to avoid being sent to Viet Nam where they will likely return in a body bag. It’s kind of a series of skits with these three characters that lampoons the time period and the social turmoil in the United States surrounding the war. Jon Warden was the star, with DeNiro and Graham as his sidekicks, and by the end of the film DeNiro is the only one who gets sent to Viet Nam... to return in the sequel HI MOM! (Introducing Charles Durning) which looks at the early 70s, and everything from Organic Food to the Black Power Movement (“Be Black Baby!”).

After a string of successful comedies, they gave DePalma a comedy studio film starring Orson Welles and The Smothers Brothers... which flopped. DePalma went back to indie films and played around with Hitchcock and horror (he had previously done a comedy with Hitchcock overtones called MURDER ALA MOD, starring William Finley... who was a member of his stock company of actors).



His brilliant Hitchcockian horror flick SISTERS was a big hit (I have the Critereon edition) and his next film was going to be called PHANTOM OF THE FILMORE, starring Finley in a mash up of every classic horror movie ever made, plus a satire of the music industry. After writing the script, he approached Paul Williams to write the music figuring he’d start at the top (Williams had written a string of hits at this point) but to his surprise this was *exactly* what Williams was looking for, When you’ve written a string of hit pop songs, you want to try the exact opposite. A rock opera that makes fun of the music biz? Sign him up! Williams also ended up playing the villain, Swan, who has made a little deal with the Devil to look forever young and be incredibly successful. Somewhere along the way, promoter Bill Graham had a lawyer inform them that they couldn’t use the name of his Filmore club, and the film became PHANTOM OF THE PARADISE.

This film came *before* ROCKY HORROR PICTURE SHOW and just about everyone believes it’s better... but it flopped, as did ROCKY HORROR. The difference? ROCKY HORROR’s distrib played it at midnight shows where it became the phenomenon that it is today. PHANTOM was distributed by 20th Century Fox and they didn’t even know what a midnight show was! So everybody was doing the Time Warp Again and nobody remembered PHANTOM. Well, that’s not exactly true. Those who had seen it the first time it came out kept it alive in revival houses where the introduced their friends to the film. I know I dragged friends to it whenever it played in Berkeley. I had the soundtrack on vinyl and played it frequently, and can sing along with every song if required. I also probably know every line of dialogue. Too bad they didn’t do midnight shows back in the day because then *everybody* would know about this film rather than ROCKY HORROR (though we wouldn’t know about Tim Curry, so maybe it’s good things turned out as they did). But what about the story?

Well the story is about a very talented artist who gets ripped off by The Man... something that screenwriters can identify with.

Winslow Leach (William Finley) is a struggling composer working on a rock opera version of Faust who manages to get a gig playing music between shows (when people are leaving the venue, glorified Muzak) for the multi platinum 50's nostalgia band The Juicy Fruits. Mysterious music producer Swan (Paul Williams) who represents the Fruits is about to open a new rock venue and is looking for a new sound... and when he hears Winslow’s music he thinks this may be it. He orders his tubby underling Philbin (the amazing George Memoli, who is also in Scorsese’s MEAN STREETS, ROCKY, Paul Schrader’s BLUE COLLAR and a bunch of other great 70s stuff) to grab the music and ditch Winslow. Buy the border After “submitting his music to Swan” through Philbin and not hearing back, he tries Swan’s office building, where he’s on a “beat up on sight” list, and after recovering tries Swan’s mansion where he discovers a long line of female singers practicing one of his songs. The best of the bunch is the beautiful and talented Phoenix (introducing Jessica Harper) and Winslow learns from her that Swan has stolen his music, claimed it as his own, and is auditioning females singers for the opening of the Paradise Club. Winslow tries to see Swan (by dressing up as a female singer) and gets beaten up and dumped on the street, where a pair of cops plant some heroin in his purse and arrest him.

In Sing Sing Prison (everything in this film is musical) Winslow is volunteered against his will for a medical experiment funded by Swan’s company where they extract every tooth in your mouth and replace it with stainless steel.

Winslow escapes prison, discovers that the Juicy Fruits have recorded an album of his music done 50's style, goes to destroy all of the vinyl record at Swan’s factory... but trips and his head lands in the record press... smashing his face and leaving the offensive album permanently engraved in his skin.

After recovering, Winslow goes to the Paradise Club where the Fruits are rehearsing for opening night (as a new group: the Beach Bums, doing early 60s style music)... and dons a costume and mask from the costume storage room (becoming The Phantom) before planting a bomb that injures the Fruits and stopping them from desecrating his music. Buy the border Winslow is captured by Swan, who locks him away to complete the rock opera for Phoenix to sing... except Swan has no intention of having Phoenix open the club, she’s way too wholesome. And when Winslow has finished his rock opera? Swan walls him into the room faster than you can say Poe’s Cask Of Amontillado.

So Swan has to find a new opening night act for the Paradise in a great *one shot* audition scene that features a dozen music acts so unbelievable that they’re believable... and settles on glam rocker Beef (Gerrit Graham, stealing whatever movie he is cast in). One of the great things about this film, which came up in the panel discussion afterwards, is how well it *predicts* new music trends and even specific bands. It’s kind of like NETWORK in that regard, you see it now and think they are making fun of KISS when they use the Juicy Fruit band members dressed in black with patterns painted on their faces in black and white... but KISS didn’t even exist when this film was made! Though this is a satire of the music business, it’s crazy creations would eventually come true! Buy the border On opening night for the Paradise, Winslow as the Phantom breaks out and threatens Beef, telling him that only Phoenix can sing his songs, and anyone else who tries dies. Beef doesn’t want to go on, Philbin insists... and in the middle of Beef’s CALIGARI style opening number the Phantom zips a neon lightning bolt down at Beef, electrocutes him, and Beef fries on stage... while the audience calls for an encore. Swan has Phoenix go out and sing to calm the crowd... and she’s a massive hit!





Realizing it will take something really amazing to top a rock star burning alive on stage, Swan decides he will *marry* Phoenix on stage, and then have a sniper kill her dead. That’s entertainment! Now Winslow/Phantom must stop this from happening, even though he knows that the woman he loves has willingly agreed to marry Swan in exchange for stardom. No matter what happens, things will not end happily ever after.

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After the film, the panel spent about an hour talking about the making of the film (in Dallas Texas standing in for New York City) where their production designer Jack Fisk (his first film) had an assistant named Sissy Spacek who would later star in the movie CARRIE for DePalma after starring in some film called BADLANDS. Jack and Sissy married and are still together, and I bumped into them and chatted at some low rent Oscar party that made the mistake of inviting me. Jack and Sissy were not on the panel, but hammy GerritGraham, still hot Jessica Harper, Paul Williams, Juicy Fruits Harold Oblong and Jeffrey Comanor (who was carried onto stage, then got up and jogged around a little), plus the film’s editor Paul Hirsch, who learned how to edit films with DePalma who then introduced him to his Hollywood Brats friends where Lucas hired him to edit STAR WARS and EMPIRE STRIKES BACK and he later edited MISSION IMPOSSIBLE GHOST PROTOCOL and SOURCE CODE and RAY and a zillion other big films, and William Finley’s widow Susan joined the panel later (she’s in the movie as an extra!). The always amazing Edgar Wright moderated. They had all kinds of great stories about making the film, and Williams talked about making this crazy decision to write music which was the opposite of what he was known for while trashing the industry he was a part of.

It was an amazing night, and the film is just as funny as the day it was made. A real gem waiting to be discovered by any of you who haven’t seen it yet. The songs have great pop hooks and subversive lyrics... you’ll be humming them later. Because it’s DePalma it is filled with all kinds of crazy film experiments and homages, including a recreation of the opening scene from TOUCH OF EVIL as a musical number with the Beach Bums band!



The Panel Discussion (someone videoed it!)

Bill

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Thursday, March 20, 2025

Fridays With Hitchcock:
Teresa Wright on SHADOW OF A DOUBT

Teresea Wright talks about SHADOW OF A DOUBT in this interview clip...

You may find this shocking, but SHADOW OF A DOUBT was Wright’s 4th film... and she was the star. She was born in Harlem, parents divorced, bounced around as a kid... but her uncle wasn’t a serial killer, he was a serial person - a professional stage actor, and Wright was interested in trying that as a profession. She worked in various theater companies in New England and then landed a small role in the New York Company for Wilder’s OUR TOWN, as well as understudied for the lead. When the actress playing the lead was whisked off to Hollywood to play the lead in the film version of OUR TOWN, Wright stepped in to play the lead on stage... and was great. That lead to being cast in the Broadway run of LIFE WITH FATHER, and then she was whisked away to Hollywood to be in Hellman’s THE LITTLE FOXES... and was nominated for Best Supporting Actress in her first film! In her next film she played Gary Cooper’s wife in PRIDE OF THE YANKEES, and was nominated for Best Actress! Her next film was MRS. MINIVER... and she WON the Best Supporting Actress Oscar.

So SHADOW being her 4th film isn’t as surprising as her career up until this film. This was Hitchcock’s favorite film, and the combination of small town story and quiet suspense when there’s a potential killer at the dinner table is great. If you haven’t seen this movie, check it out - I would say that it’s unusual for a Hitchcock, film, but Hitchcock was one of the most experimental filmmakers in history, so many of his films were unusual and experimental. Hitch always said that he wanted to take murder fro the dark alleys and bring it back to the typical home and kitchen... and this is a movie that does that.



One of the great things that Hitch does in this film is to compare and contrast the two Charlies.


When we first see Uncle Charles he’s sitting up in bed smoking a cigar, maybe remembering a pleasant experience (which may have included murdering someone). When we first see young Charlie, she is sitting up in bed in the exact same position (though not smoking a cigar), dreaming of having an adventurous experience (though probably not murdering anyone). Both shots are the same composition and have slow dolly ins. Even though whether the camera dollies or not is the director’s job - the writer had to come up with the scenes of both sitting up in bed. Creating that similarity for the director to photograph. Our job is to set up the story and characters so that the director can find the perfect shot(s) to show that these two are very similar people. The writer also decided to give both protagonist and antagonist the same name - which makes the audience automatically look for those similarities between the two. There are many other things Uncle Charles and young Charlie have in common... and this helps us compare the two in order to find their differences.

- Bill



Of course, I have a couple of books about Hitchcock, SPELLBOUND is in the one that is on sale today...

HITCHCOCK: MASTERING SUSPENSE


LEARN SUSPENSE FROM THE MASTER!

Alfred Hitchcock, who directed 52 movies, was known as the “Master Of Suspense”; but what exactly is suspense and how can *we* master it? How does suspense work? How can *we* create “Hitchcockian” suspense scenes in our screenplays, novels, stories and films?

This book uses seventeen of Hitchcock’s films to show the difference between suspense and surprise, how to use “focus objects” to create suspense, the 20 iconic suspense scenes and situations, how plot twists work, using secrets for suspense, how to use Dread (the cousin of suspense) in horror stories, and dozens of other amazing storytelling lessons. From classics like “Strangers On A Train” and “The Birds” and “Vertigo” and “To Catch A Thief” to older films from the British period like “The 39 Steps” and “The Man Who Knew Too Much” to his hits from the silent era like “The Lodger” (about Jack The Ripper), we’ll look at all of the techniques to create suspense!

Films Included: NOTORIOUS, SABOTAGE, STRANGERS ON A TRAIN, THE 39 STEPS, REBECCA, TO CATCH A THIEF, FRENZY, FOREIGN CORRESPONDENT, THE LODGER, THE BIRDS, TORN CURTAIN, SABOTEUR, VERTIGO, THE MAN WHO KNEW TOO MUCH (1934), THE MAN WHO KNEW TOO MUCH (1955), SUSPICION, and NUMBER SEVENTEEN. 17 Great Films!

369 pages packed with information!

Price: $5.99

Click here for more info!

OTHER COUNTRIES:

UK Folks Click Here.

German Folks Click Here.

French Folks Click Here.

Espania Folks Click Here.

Canadian Folks Click Here.

And...




HITCHCOCK: EXPERIMENTS IN TERROR



ON SALE!!! $2 OFF!

Click here for more info!

HITCHCOCK DID IT FIRST!

We all know that Alfred Hitchcock was the Master Of Suspense, but did you know he was the most *experimental* filmmaker in history?

Contained Thrillers like “Buried”? Serial Protagonists like “Place Beyond The Pines”? Multiple Connecting Stories like “Pulp Fiction”? Same Story Multiple Times like “Run, Lola, Run”? This book focuses on 18 of Hitchcock’s 53 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock’s *silent* films! We’ll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.

Films Examined: “Rear Window”, “Psycho”, “Family Plot”, “Topaz”, “Rope”, “The Wrong Man”, “Easy Virtue”, “Lifeboat”, “Bon Voyage”, “Aventure Malgache”, “Elstree Calling”, “Dial M for Murder”, “Stage Fright”, “Champagne”, “Spellbound”, “I Confess”, and “The Trouble with Harry”, with glances at “Vertigo” and several others.

Professional screenwriter William C. Martell takes you into the world of The Master Of Suspense and shows you the daring experiments that changed cinema. Over 77,000 words.

Only $5.99

UK Folks Click Here.

German Folks Click Here.

French Folks Click Here.

Espania Folks Click Here.

Canadian Folks Click Here.

- Bill
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