Friday, February 07, 2025

Fridays With Hitchcock: Hitch Techniques by Jeffrey Michael Bays

Years ago "Hitchcock Whisperer" Jeffrey Michael Bays contacted me about being one of the "talking heads" in his new series HITCH 20, looking at Hitch's 20 TV episodes that he directed both for his own show and a couple of others.

Though the last batch of episodes are being held up by rights issues (these are the episodes Hitch directed for other shows - which have fallen through the cracks), Jeffrey has gone on to write a book on Hitchcock techniques for Indie Filmmmmakers and made a feature film and kept creating cool stuff on YouTube...

Like this:



So check out his Hitchcock book and all of his other cool stuff!

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, February 06, 2025

THRILLER Thursday: Parasite Mansion

Best Of THRILLER: Parasite Mansion.

Next week another new entry! A Robert Bloch story!

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



Season: 1, Episode: 30.
Airdate: April 25, 1961

Director: Herschel Daugherty
Writer: Donald Sanford, based on a story by Mary Elizabeth Counselman.
Cast: Jeanette Nolan, Pippa Scott, James Griffith, Tommy Nolan and Beverly Washburn.
Music: Morton Stevens
Cinematography: John Russell
Producer: William Frye



Boris Karloff’s Introduction: “Hospitality. Good old Southern hospitality. That’s what I like about the South. This is a room in Parasite Mansion, the name of our story tonight and the home of the Harrads. A fanily plagued for generations with a horrible curse. Parasite Mansion is a terrible place to visit, but obviously an excellent place in which to die. Featured in our story tonight are Jeannette Nolan, James Griffith, Beverly Washburn, Tommy Nolan, and Pippa Scott. One of these poor unfortunates is doomed to die before your eyes. Oh, oh! Don’t try to guess, you might be right and spoil all the fun.”

Synopsis: A stormy night somewhere in the backwoods of Louisiana. Marcia Hunter (Pippa Scott) takes a wrong turn after encountering a detour when the main highway is closed for construction... and sees a rambling old house through the pouring rain. Maybe an old plantation house. She drives towards it... and someone begins shooting at her! Marcia spins the steering wheel, hits a tree and crashes her car... hitting her head against the steering wheel and blacking out.

From the house, Victor Harrod (James Griffith) and Granny (Jeannette Nolan) brave the rain to investigate. Victor says they need to keep that rifle out of Rennie’s hands, he keeps doing stuff like this.



Marcia wakes up in an ancient bed in the old house... wearing only her underwear. What happened? Just as she works up the nerve to get out of bed and get her clothes on the other side of the room, perpetually drunk Victor and Granny enter the room and she gets back under the covers. Marcia wants to leave, Victor says that’s not possible. No phone to call for help (nearest phone is ten miles as the crow flies through the swamp), and it’s going to take a couple of days for Victor to fix her car so that it runs. Plus, she needs her rest, Victor had to put five stitches in her head. Marcia says, so you’re a doctor? Victor answers, “Not a doctor. We gotta learn to do our own doctoring out here.” Marcia pleads to leave: she was headed home to her parent’s in Shreveport... but Granny has gone through her purse, and read her mail, and knows that she’s actually headed to New Orleans to meet a man. They have completely violated her privacy. Victor tells her to just get her rest and they leave.

Marcia waits until night, puts on her clothes, and sneaks out... noticing a door at the top of the stairs with a massive padlock (what could be inside there that they need to lock it in?) on her way down to the front door... but once outside, Rennie (Tommy Nolan) starts shooting at her! Yelling that “She’s one those folks who took ma!” Victor wrestles the gun away from Rennie and Granny grabs her, “You can’t leave here alive!”



Marcia wakes up in the bed again. She tells Victor she doesn’t blame Rennie, she understands that the authorities came and took his mother to an asylum and he’s afraid he’ll be taken as well. Granny comes in with food, mentions the house’s dark secrets. “The Dark Fear”. When they leave, Victor locks Marcia in the room.

Marcia tries to find a way out... the windows are boarded up, door locked... but she notices a door frame behind the wardrobe. Pulling the wardrobe back (no shortage of cobwebs) she opens the door... into more webs and darkness. Grabbing the lantern, she finds a staircase and climbs up to a room... where a frightened teenaged girl Lolly (Beverly Washburn) is hidden. Lolly’s room is behind that padlocked door upstairs. Weird drawings on the walls of the room. Lolly says “You’re here to take me away!” Marcia calms her, says she’s a friend, offers Lolly her broach... and suddenly the broach levitates and flies across the room on its own! Lolly screams, her arm has suddenly begun bleeding. Granny is at the doorway, says now you’ve seen the whole family, time to go back to your room.



Back in the room, Granny asks if he has any last requests? Marcia tries to bribe Granny with her engagement ring, Granny says she’ll get that one way or the other anyway...

Downstairs Victor wants to let her leave, Granny says “She saw!” Now she can never leave. Victor tells her they will *all* have dinner in the dining room tonight. Marcia and Lolly and Rennie.

Marcia finds the door unlocked, goes downstairs, tells Victor that what Lolly has is stigmata, and he has read about it. Victor says he has, too... shows her a wall of books on stigmata. None of them have the answers. “We’re afraid of *it*: the thing that threw your broach, the thing that scratched Lolly.” For the past couple of generations the Harrod family has been cursed by *it*. Do you know what a poltergeist is? “An invisible parasite that attaches to people... it has attached itself to every woman in the Harrod family for the past three generations. Granny says you get used to it, like lice and other crawling things.



A tense dinner. Marcia notices that there is an extra place setting at the table. That’s for the poltergeist, she’s told. Wham! Lolly’s cup jumps off the table and begins striking the little girl in the head again and again! Granny laughs. The cup beats Lolly’s face and she begins bleeding... she runs away! Everyone is scared except Granny. Marcia says poltergeist or not, she’s going to destroy it and get the hell out of here!

When Marcia goes back to her room, Granny tells Victor they have to kill her. If she messes with the poltergeist, it’s just going to take it out on the whole family. They can kill her, put her in her car, and dump it in the swamp.

Marcia sleeps as the secret door opens and Rennie comes into the room with a knife. He creeps to the side of her bed and gets ready to stab her... but can’t. Granny whispers “Kill her! Kill her!” from the secret doorway. Granny takes the knife from Rennie to kill Marcia herself. Marcia wakes up, fights Granny for the knife, knocks it out of her hands... but Granny makes the knife levitate! The knife zips across the room into Granny’s hand! *Granny* is telekenetic! The family curse began when Granny married into the family and moved into the house. Granny has made everyone think that it’s a poltergeist haunting the Harrod women, when it was her all along! Victor comes in, hears all of this, wrestles with Granny... but Granny is more powerful! Except they have knocked over the oil lamp, and it ignites Granny’s dress, setting her on fire! She runs out of the house in flames and dies in a burning heap in the swamp.

Marcia asks Victor if their poltergeist ever acted up when Granny wasn’t around? The poltergeist is gone, the family curse is lifted... it was Granny.



Review: Nice creepy entry. They must have used a ton of cobwebs to dress this set! The cobwebs on the secret door are particularly cool because they stretch when the wardrobe is pulled away from the door. Though this was made before wires could be digitally removed, the effects are really good! You can’t see the wires at all, and the cup and broach and knife move convincingly.

One of the great things is how the story evolves. At first we think the “curse” is insanity, then it’s a poltergeist phenomena in teenage Lolly, and it finally becomes evil Granny who is secretly causing all of this dark fear in the family so that she can control them. It is a house of secrets, and when one secret is revealed it just creates another. The mysteries drive the story, with Marcia thinking that family insanity is the secret only to discover Lolly locked away, only to discover the poltergeist activity. But even that isn’t the secret, and she keeps digging until she finds out. Just when you think you know what’s going on, another secret door opens and you realize you are still in the dark.

I really wanted to read this story before writing this entry due to Granny’s line about the lice and crawly things, which are parasites like the poltergeist. I was wondering if there was more about that in the story... but the book is out of print, and my local library branch didn’t have a copy. They could get it for me, but not by “press time”... so I will have the answer to that whenever all of these entries add up to an ebook.



I know that this was one of Stephen King’s favorite TV shows, and since one of the elements of this episode is a teenage girl who seems to have telekinetic powers which includes knives shooting across a room, I wonder if this was an inspiration for his novel CARRIE?

The spooky old mansion will return in a few episode in Stephen King’s favorite episode, PIGEONS FROM HELL... but next week we have a fun episode starring Edward Andrews who did three episodes of THRILLER and specialized in whimsical malevolence. You know his face from every TV show ever made plus movies like GREMLINS. He is the adult image of mischief!

Bill

Buy The DVD!

Wednesday, February 05, 2025

Scene Of The Week: GOODFELLAS

If you've read Secrets Of Action Screenwriting you know that one of my favorite writing tools is *Magnification*, which I learned in Dan Arnold’s acting class in High School. The basic idea is to make something normal sized and make it much bigger. Stakes and conflict and emotions are all raised. Something average becomes something larger than life... large enough to fill that big screen. This works with concepts, emotions, and understanding the emotions of your characters.

This scene also deals with *Tension* - which is unresolved conflict. To create tension you must have a conflict... and the conflict needs to be ongoing and active and not solved. Once you resolve the conflict, you remove the tension. If you allow the audience to forget the conflict, you remove the tension. On Fridays when I do the Hitchcock entries, there are a couple on tension and suspense and “poking the tiger” to keep the audience aware that there is an existing conflict. If you don’t poke the tiger the conflict dissipates and you lose all of the tension.

Buy the dvd

So here is a scene that uses both elements, and it’s one of my favorite scenes. From GOODFELLAS (1990) written by Nicholas Pileggi, based on his true crime book. Directed by Martin Scorsese, and it’s like his 15th feature film. He’s one of my favorite directors, never really had a hit like his fellow “Hollywood Brats” but is always doing great work. Ages ago, when I was fresh out of high school, I sent him a letter asking if he’d read one of my screenplays... and he said yes! I sent some crappy early screenplay and got a great letter back from the head of his production company telling me to stick with it, etc. The polite brush off - but the guy never had to be polite in the first place. That script was ANYONE CAN LOSE and a friend asked me about it a couple of days ago - it’s one of those scripts with some great scenes but the story doesn’t work well. People remember it and wonder if I ever figured out how to fix it. Nope. But, back to GOODFELLAS...

Henry Hill is a small time crook way out on the fringe of organized crime, who wants to move up. So he looks to make some new friends who are equally ambitious and see if they can team up to move up the mob ladder... and become the new generation of organized crime. Now here’s the thing - this is kind of like a job interview, and the people you are interviewing you may be armed and may have just killed someone five minutes ago.

So let’s use our magnification tool. Remember those times in your past you were hanging out with someone who you wanted to impress... and *didn’t* want to offend? Might have been a job interview or a first date or meeting your romantic partner’s best friend or some other situation where you were hanging out with someone important and didn’t want to screw it up. Now, because we are all human, we have probably all screwed up in this situation at least once. I am socially inept and have some for of social tourettes that kicks in when I'm with people I need to impress - so that I always say the completely wrong thing. I get nervous and probably try too hard and end up saying something stupid. Because of that, I work hard *not* to do that when I meet people or hang out with people that I want to impress, which makes me even more nervous... But you’ve probably blown it a couple of times, right? Now we’re going to take that anxiety and that mistake and *Magnify* it. We’re going to raise the stakes and emotions and turn that first meeting into a life or death situation. You are hanging out with a guy who kills people. You don’t want to say the wrong thing in this situation, you don’t want to accidentally offend him...



Funny how?

Great scene, and see how they keep “poking the tiger” to keep that tension alive?

This is a great example of how to take a “throw away scene” and make it so entertaining that we’re talking about it 25 years later... but it also helps us identify with Henry (Ray Liotta) and is the perfect introduction to Tommy (Joe Pesci).

While we’re on Joe Pesci - he won an Oscar for this performance, and his speech was: "This is an honor and privilege, thank you," because he didn’t think he was going to win and had no planned acceptance speech. Pesci as been in a bunch of great films, and is always great in lesser films. Would you believe his first time on screen was in HEY LET’S TWIST (1961) because he was a Rock & Roll guitar player for the featured band The Starliters... and even recorded a Rock & Roll solo album as a singer: “Little Joe Sure Can Sing”! He was a childhood friend of Frankie Valli, and was instrumental in the formation of The Four Seasons (he’s even a character in JERSEY BOYS!). So the whole Rock & Roll career, then a new career as an actor that leads to an Oscar win and another nomination plus a bunch of memorable films.

( Joe Pesci plays guitar in a band on The Lucy Show (1966) - Carol Burnett co-stars.) Magnification and Tension work hand-in-hand in this scene, but they can work separately as well in scenes. Tension is a great scene tool, and when I get around to doing the Scenes Blue Book there will be a whole chapter on tension techniques.

The comments section is open for discussion of the scene.

- Bill

Tuesday, February 04, 2025

Trailer Tuesday: With A Friend Like Harry (2000)

Thanksgiving is when we get together with people we hardly know and pretend to have a good time...

A FRIEND LIKE HARRY (2000)

Directed by: Dominik Moll.
Written by: Dominik Moll and Gilles Marchand.
Starring: Laurent Lucas, Sergi López, Mathilde Seigner, Sophie Guillemin.
Cinematography by: Matthieu Poirot-Delpech.
Music by: David Whitaker.




After seeing THE GUEST I was reminded of this French film, and decided to pop WITH A FRIEND LIKE HARRY into the machine and watch it again. I had seen it in the cinema, bought the DVD... and it sat on my shelf in the shrink wrap ever since. The odd thing about those silly French folks is that while America seems to shun most thrillers, the French love them. One of my favorite Don Westlake non series novels, THE AX, is about the economic downturn in the USA and a mid level management guy who realizes there are a couple dozen guys applying for the same jobs that he is... everyone is out of work! Then he decides the only way to land a job is to eliminate the competition, and becomes a serial killer of downsized mid level executives. Great *American* story... but no studio in America seemed to want it, so it was made in France by none other than Oscar Winning director Costa Gavras... with French actors speaking French. Hey, things were tough all over. But why do great American thrillers end up being made in France?

HARRY is an original screenplay by Gilles Marchand and the director Dominik Moll, but it’s the kind of story that Patricia Highsmith (STRANGERS ON A TRAIN) might have written.



I'm sure we all have had someone come up to us, call us by name, talk about some shared experience... and we don't know who the hell they are. We have forgotten them, but they have not forgotten us. They were nothing in our lives, but we were everything to them. Okay, that scene happens in a highway rest stop men's room at the opening of HARRY... do you want to be recognized while you are peeing? Do you want to shake some stranger’s hand, or worse: hug them?

Michael* (Laurent Lucas) and his wife Claire (Mathilde Seigner) and their three little girls (one a perpetually crying baby) have been taking a road trip to the ramshackle country house a couple hours past the retirement community where his overbearing parents live. They have a beat up old station wagon without air conditioning... and France is in the middle of a heat wave. The kids are miserable, and so are Michael and Claire. They stop at the gas station to change the baby’s diaper and use the facilities... never thinking that Michael might run into some one he knows.

Or, pretends to remember.

It seems that Michael and Harry (Sergi López) went to high school together years ago, and Harry claims that Michael collided with him on the soccer field once and broke Harry’s front tooth. Michael remembers none of this. Harry claims they were friends way back in high school because they had so much in common, but now one is a struggling teacher with a wife and his three little (always screaming) kids and the other has inherited his father's fortune after he and his mother died in that tragic accident and drives a Mercedes sports car with a hottie named “Plum” (Sophie Guillemin) in the passenger seat. Michael has a life full of problems... and Harry believes in solving problems... permanently. Harry would like to buy dinner for Michael and his family, but Michael says he needs to get to the country house before nightfall so his kids can get to sleep at their bedtimes. Harry says he has some bottles of wine in the trunk, why not follow them to the country house and have a glass or two with them? Have you ever had someone invite themselves into your life and you just didn’t have the balls to tell them “no”?

It just keeps getting worse!

This is a great set up for a thriller because it has happened to all of us, and opens our life to potential peril when we allow some sinister stranger into our home... our lives... our family.

Basically Harry and Plum move in, sleeping in the best bedroom (because Michael wants to impress him). And Harry begins helping the struggling teacher. When the stationwagon breaks down, Harry buys them a brand new SUV. Michael tries to turn down the gift, but Harry explains ever since his parents died he has had more money than he could ever spend, so why not help out an old friend?

Because they missed a planned stop at the retirement community so that Michael’s overbearing parents could see their grand kids, his father calls and *insists* that they drive over. Michael tries to dissuade them, his father really shouldn’t be driving at night, and ends up agreeing to drive out in the new SUV and pick them up, then deliver them back to the retirement community afterwards.

When he gets there, you understand why Michael keeps his distance from his father and mother, and does not accept any gifts from them... those gifts come with *many* strings attached. His father is a manipulative ahole, a retired dentist who *insists* on giving Michael a dental exam and teeth cleaning in the spare room where he has all of his old dental equipment! This is one of those brilliant absurdist thriller scenes which help the audience feel ill at ease as they suppress their laughter at how silly (but creepy) the scene is. One of the great things about this story is that they keep finding odd things that you can relate to... that person who recognizes you but you do not recognize them, this scene where the overbearing father offers something you do not want, but you can’t really decline without hurting his feelings, and later scenes where Michael and hottie Plum meet in the bathroom and have a strangely erotic moment... it’s filled with uncomfortable scenes that just get weirder and weirder!

Michael mentions Harry, and his father remembers him! In fact, his father tells the same story about how Michael *irresponsibly* ran into Harry on the soccer field and broke his tooth and Michael’s father had to repair it for free... always cleaning up after his screw up son...

When Harry meets Michael’s parents, he realizes that they are what is holding his old friend back. They seem to go out of their way to belittle him, they offer him help (but in such a way that Michael would be forever in their debt if he accepted), and they won’t just help him financially without a bunch of strings and lectures and shaming. Harry realizes that Michael would be better off if his parents had the same sort of tragic accident that befell Harry’s parents... and makes it so! He calls Michael’s parents and says it is an emergency, they must drive out to the country house... then Harry steals a delivery van and runs them off the road, killing them.

Eventually things come to the point that Michael realizes all of his recent good fortune is due to Harry’s help... and that he has become an accomplice to Harry’s crimes. Can he let this man continue to kill people... even if it means that Michael gets everything he secretly desires? Or should he stop Harry before it’s too late?



WITH A FRIEND LIKE HARRY is a great thriller with the genre’s required humorous absurdity. Like STRANGERS ON A TRAIN’s rocky relationship between two men, one who may secretly love the other, HARRY takes us deeper and deeper down the rabbit hole until helping him bury a body just seems normal. An average man’s life suddenly spins out of control and he must step up to set it right... can he do that?

A couple of years ago they announced a US remake which would be directed by Kimberly Peirce with a script by Wentworth Miller, but according to a Variety story, she is no longer attached... which is too bad. After seeing Miller penned STOKER I would have lost Miller and kept Peirce. Though you can't judge a screenplay by its movie, I always worry a little about actors who write. Actors sometimes have a tunnel vision about *their* craft which results in a screenplay with good scenes that often don't add up to a story. STOKER's big problem was the script. We’ll see what happens if they ever make it.

Bill

* I've used the American spelling instead of "Michel" to avoid confusion.

Friday, January 31, 2025

Hitchcock: Content vs. Technique

Here's another bit of advice from Hitchcock while I get some writing done...



- Bill






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, January 30, 2025

Thriller Thursday: THE PURPLE ROOM

The Purple Room

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



Season: 1, Episode: 7.
Airdate: 10/25/60


Director: Douglas Heyes
Writer: Douglas Heyes
Cast: Rip Torn, Richard Anderson, Patricia Barry.
Music: Pete Rugolo
Cinematography: Bud Thackery




Boris Karloff’s Introduction: “Don’t be alarmed. The woman who just screamed is perfectly quiet now, as sure as my name is Boris Karloff. You see, she’s been dead for nearly a hundred years. Her bed is empty, and whatever it was that seemed to frighten her so is gone. *Seems* to be. But I can tell you this much: that bed won’t be empty much longer and other screams will soon be heard. Whose? Perhaps yours. Or those who will join us here: Mr. Rip Torn, Miss Patricia Barry, Mr. Richard Anderson, and... Well, it seems the rest of our cast can not be raised. They’re dead, you know. Spend a night with us in the Purple Room, if you dare! Let me assure you my friends, this is a thriller!”

Synopsis: Born skeptic Duncan (an impossibly young Rip Torn... who you know as the gruff boss from MEN IN BLACK) has just inherited an old house in Baton Rouge which has been in the family for years... and is supposedly haunted. Duncan doesn’t care, the house is on valuable property some big company wants to buy so he figures he’ll flip it and make a fortune. Nice plan, but the will requires him to live in the house for one year before he can sell it... and stay in the house one full night along with the other heir... his cousin Oliver (Richard Anderson from SIX MILLION DOLLAR MAN) and his wife Rachel (Patricia Barry). If he can not spend the full night in the haunted house his cousin Oliver gets it. So there’s a bit of a competition involved: who can stay the whole night in the house, Duncan or Oliver? Since Duncan believes in money but not ghosts, he sees no possibility of losing.



Oliver, Rachel and Duncan drive to the house, in a remote area near a swamp... heck, it’s the PSYCHO house on the Universal backlot along with the swamp from the film... the art of using existing sets. They enter the house, which has no electricity and no phone and hasn’t been lived in for decades. Candles do little to illuminate the house. It’s spooky as heck. They climb the stairway to the bedrooms, and Oliver dares Duncan to sleep in the Purple Room... where all of the deaths have taken place including that most recent one 100 years ago. Duncan isn’t afraid of no ghosts, so he takes the room, even after Oliver relates the legend of the room...

A hundred years ago Captain Jeremy Ransom and his wife of only seven days were alone in the house on honeymoon, when they heard strange sounds from downstairs. Ransom gave his gun to his new bride for protection and then went downstairs to investigate. After more strange noises, the new bride hears footsteps coming up the stairs... a strange shuffling and dragging that was *not* her husband. As the thing came closer and closer to her in the darkness, she fired the gun again and again... killing her own husband... who had been stabbed by a burglar downstairs and was staggering upstairs for help. Then she went mad and spent the rest of her life in an asylum.

Oliver smiles: “This place is all yours... and everything it contains.”



In the middle of the night Duncan hears strange noises from downstairs and wakes up. After he lights the candle, it blows out... and all kinds of weird things begin happening in the Purple Room. Things move all by themselves. Duncan believes it’s Oliver and his wife trying to scare him, they’ve just rigged the room ahead of time. When things keep happening and he sees a picture on the wall move, he pulls the picture away... and there is just the wall behind it. The *solid* wall. WTF? He hears more noises downstairs, grabs his gun and heads downstairs.

Where something lurks in the shadows.

A knife flies at him, sticking into the floor.

The thing in the shadows moans and starts shuffling towards him. It’s Ransom’s ghost! Face rotted, knife sticking from its bloody chest. Dragging its leg as it gets closer and closer and closer to him. Duncan fires his pistol at it again and again and again... and the things keeps coming towards him!



Closer and closer and closer!

Duncan screams, clutches his chest and falls to the floor.

The rotting corpse walks right up to him... and pulls off his mask, it’s Oliver. Rachel comes out of the shadows and checks his pulse... he’s *dead*. Not part of the plan at all! They were just supposed to scare him enough that he left the house, not *kill him*. Change of plans. They carry his body out to the car, drive down the road to the swamp and drive the car off the road into the swamp, put Duncan behind the wheel, and walk back to the house. Now they can claim that Duncan got scared in the middle of the night and ran... and Oliver and Rachel had not a thing to do with his death.

Back at the house they clean up and remove all of the planted tricks and devices to scare Duncan... and then go to bed in the Purple Room. It *is* the master bedroom in *their* new house, after all. But in the middle of the night they hear strange noises from downstairs. A prowler? Oliver grabs Duncan’s gun, pours out the expended blank shells and loads it with *real* shells, then starts out of the Purple Room. But Rachel is frightened, so Oliver gives her the gun and goes downstairs to confront the prowler.



In the dark and spooky house, Oliver tries not to be afraid... but some *thing* is creeping up the stairs towards him, dragging its leg just like the Captain Ransom legend. When the thing gets closer, closer, CLOSER Oliver stumbles and falls down the stairs... the thing continues up the stairs... to the Purple Room!

Rachel is terrified as the thing opens the bedroom door and stumbles inside. She fires the gun, again and again until it clicks dry. Killing the thing. She carries the candle to the thing... and it’s *Duncan*. Not a fatal heart attack after all, he was unconscious and weak... And she has shot him six times. She goes downstairs and finds Oliver, shook up but okay. Tells him that she has shot Duncan... and that’s when the police come after finding the abandoned car and hearing the shots. Oliver and Rachel are headed to prison.

Review: Not only do we get the PSYCHO house and swamp, we get a great Weird Tales type story! After last week’s talky crime drama, the show finally seems to get on track with an episode that fulfills the promise of the series’ name. My favorite episodes of the show are thrillers filled with nail biting suspense and the Weird Tales stories that creep into horror (though usually with a twist). I want to be on the edge of my seat or scared to death, and my favorite episodes deliver on this. Though nothing from THRILLER can ever beat the Hitchcock UNLOCKED WINDOW episode for sheer terror, some get pretty close.



This one is just okay. Not enough Haunted House stuff to build our terror before Duncan comes face to face with dead Captain Ransom downstairs, it needed several more “gags” up in the Purple Room when Duncan wakes up. Since Oliver and Rachel have had plenty of time to rig the room, you’d thing they would have come up with at least as many things as in THE HOUSE ON HAUNTED HILL. I’m guessing somewhere along the line the writer/director feared there wasn’t enough time to show *how* Oliver managed to do anything really weird after Duncan supposedly drops dead. But I think the audience would have gone with it, since we went with the blown out candle gag and the moving painting with a solid wall behind it. He should have gone whole hog and had all kinds of weird stuff happening in the Purple Room. Remember, this was made at a time when film special effects where often done with thread and smoke and mirrors. The audience would accept any crazy thing happening in the room, because they really had to do it for the episode. If the writer/director thought the audience might have questioned a bunch of weird stuff, all he had to do is have Oliver say he apprenticed under a magician when he was a kid or something.

The *direction* is also not doing much to ramp up the suspense and dread. Lots of great moving camera shots, but makes the mistake of not showing the POV of the protagonist, which is where all of the suspense and dread resides. I don't understand how there can be directors out there who don't get this, but in my blog entry on THE THING prequel I noted that was the big problem with the film... and used an example of how to do it right from DIABOLIQUE. Other THRILLER episodes have some great direction that really adds suspense and dread. Ida Lupino directed a bunch of episodes and hers are awesome. That woman knew what to do with a camera! Most of the creepy stuff here is done by keeping things bathed in shadows, and that *does* work a little.



The best thing about the episode is the great twist where Oliver and Rachel’s attempt to fool Duncan into believing the Captain Ransom ghost haunts the house mostly backfires... but then they replicate the legend without thinking when they hear the noises downstairs. Oliver gives her the gun the same way Ransom gave his bride the gun a hundred years earlier. Love the irony! That’s what we expect from a Weird Tales type story, the scheme bites the schemers on the ass!

Weird Tales this week, edge of the seat thriller next week!

Bill

Buy The DVD!

Wednesday, January 29, 2025

Compulsive Kindness

Yesterday was my late Mother's birthday, so this seems like a good time to rerun this...



When I was a little kid, my mother would always get compliments from other people on how well behaved my brother and sister and I were. When we were in public we never raised our voices, let alone ran around and roughhoused. We stood in a straight line. We didn’t touch things that were not ours. We might fight like cats and dogs at home, but in public we never pushed each other or hit each other or even raised our voices. My parents raised us well and lead by example. We did unto others as we would have them do unto us. None of this had anything to do with religion or threats of being whipped with a belt - it was just good behavior. When we were out in public, we had a code of conduct to follow.

Back then I believe most kids had a code of conduct to follow when they were out in public. I know our friends the Holloway kids did... though I don’t remember them standing in a straight line - that may have just been something my mom came up with. Though some kids were little hellions, most behaved when in public. That’s what was expected of kids at the time. We always said “please” and “thank you” and “excuse me” and “may I be excused” when we had finished dinner. We had to ask permission before doing anything unusual - and if all of this sounds like we were some sort of Stepford Kids, nothing could be farther from the truth. We built forts and dug fox holes to play army and often played in the forbidden creek behind the house if mom was busy doing something and we didn’t think we’d get caught. We were normal kids, who had some manners and did unto others...

The mind set of doing unto others and considering other people has stuck with me into adulthood. So has saying “please” and “thank you”. When I’m working in a coffee shop and they put my drink on the counter, I always say “thank you” even if I am across the room plugging in the laptop. It’s only polite. And this got me thinking about all of the things that I do that are traces of those childhood lessons in being polite.

1) I always say “please” and “thank you” and “you’re welcome”.

2) I always try to have a genuine smile for people. I hate those plastered on fake smiles, and I have been guilty of wearing them every now and then. When I smile at people, 99% of the time I mean it. I also try to be positive - and trust people and be nice to people as my default. I know people who start out suspicious and angry, I don't want to be one of those people.

3) I clean up after myself - I always try to leave things where and as I found them. If I am in the grocery store and decide not to buy something in my cart, I take it back to the shelf where I found it and even face it and make it look pretty - because that's probably what it looked like when I grabbed it. If it didn't look like that? I'm leaving the world in better shape than I found it. That's the goal whether it's a grocery store or an interaction with a stranger.

4) When I’m at a stop light, I always look *both* ways before turning right or pulling out. I also look both ways before crossing a street - or doing just about anything. Always good to know what's around you - instead of not caring.

5) Probably because I’m often on a bicycle, I stop my car behind the limit line, not in the middle of the cross walk. You know, that extra foot doesn’t get me there any faster. When I'm driving, I go with the flow of traffic - rather than race to the next stop light. Oddly, I get there the same time as the car that races through traffic.

6) When squeezing past someone or crossing in front of their sight line or any number of other things, I say either “excuse me” or “pardon me”. Since many people in Los Angeles speak Spanish as their primary language, I usually say “pardon me” because I think it is easier for everyone to understand. I don’t say “pardon me” for me, I say it to be polite to others.

7) I park within the lines, and as straight as possible. This means it may take me an extra minute to position my car - but that makes it easier for people parked on either side to open their doors and pull their cars out of their parking spot.

8) When I am paying at a cash register, I make sure my money is faced when I hand it to the clerk. When I worked retail I had to face my money at the end of the day, so I know what a pain it is to get a wad of messy money. It takes a second to put all of the bills face up and rightside up before handing it to the clerk.

9) I look before moving. If I’m going to take a step to the side or a step back, I look at the spot where I’m moving to *before* moving so that I don’t step on anyone. Saves me from having someone else's coffee on my clothes.

10) I am patient. Okay, not always - never at the post office - but I try to be patient most of the time. Whether I’m in a rush or not will not change how fast things happen or how fast other people move. Better to just take it easy.

11) By the time I get to the front of the line, I am completely ready to order. I know exactly what I want, and the answer to any of the normal question I might be asked (“Soup or salad?” “Do you want fries with that?” “Room for cream?”) I don’t want to waste the time of the people behind the counter or the people behind me because I am not prepared. By the time I stand in line, I know exactly what I want.

12) When I am walking on the sidewalk, I walk on the right side (or the left side) - never in the center. If the people in front of me are walking on the left side, I walk on the left side... so I'm not creating a maze for people walking towards me. Everyone moving in the same direction should be walking on the same side of the sidewalk. I want to make it easy for people behind me to pass me, and people coming in the opposite direction to get around me. It's interesting that about a third of the people I see when I am walking somewhere also walk on the side of the sidewalk... they had mothers, too!

13) When I step off and escalator or through a door I continue to walk several steps to make sure I am not blocking people behind me. I usually keep walking and survey my surroundings to see where I want to go, rather than stop and look around. That way I’m not holding up traffic. I really don't understand why you would come to a complete stop at the bottom or top of the escalator... you are blocking those behind you.

14) When I am next in a check out line, I have money in my hand as well as a selection of change, so that nobody has to wait for me to dig into my pocket to find that nickle. I’m *prepared* to pay for my purchases. Oh, and because I’m strange, I often add up my items in my mind and figure in tax and have a pretty good estimate of what the total is going to be. I’m usually within a dollar either way, and that helps me know what kind of bills I should have in my hand when I get to the checkstand.

15) If I’m talking on my cell phone in public, I try to use a quiet voice or go outside - I don’t want to bother other people with my conversation... and I kind of like privacy.

16) I try not to kick a man when he’s down. Once I’ve made my point, I back off. Though I’m sure I’ve kept hammering away at somebody a few times on message boards, I usually back off. Also, when someone has a bad day, I don’t make it worse... even if I hate them and my evil side would love to destroy them. It’s not fair.

17) I always go to the restroom or go outside to blow my nose. It’s gross to do it somewhere people are watching or listening... let alone trying to eat a meal.

18) I gauge traffic when I am merging, and pull out in an opening with enough distance between the car in front and in back of me... and at the same speed they are going. I don't stop to merge - that's silly. I don’t want to cause anyone to jamb on their brakes or have to swerve - I want it to be a smooth blend of my car into the stream of traffic.

19) If I am walking with friends on the sidewalk and others approach us in the opposite direction, I step behind or in front of my friend(s) so that we are walking single-file, allowing those walking towards us half of the sidewalk to pass us. This isn’t always easy - I have some friends who don’t get it, and if I fall back, so do they.

20) When I’m wrong, I apologize, and I mean it.

21) My cell phone ringer is either set low or on vibrate - the rest of the world doesn’t have to know my phone is ringing, and I really don’t care if you hear my cool ringtone or not (it’s the Peter Gunn theme - which is used in a bunch of commercials, and I often reach for my phone when it’s just a Chase Bank commercial on TV.)

22) I don’t block other people in an aisle or a store or a walkway or anyplace else - and I try not to stand in front of things other people might want access to. Part of that is just knowing what you want. The time for me to figure out what I want is not when I am holding up others or getting in their way.

23) If I make a mistake more than once, I try to make sure I don’t make it a third time. You are supposed to learn from your mistakes, not keep making them over and over again. Sometimes, if it’s some sort of bad habit, I find some way to punish myself if I keep doing it. I’m too old to have my mom spank me, so sometimes I have to spank myself. Not literally. But I do not reward myself for failure or making mistakes - I take away some pleasure until I stop screwing up.

24) I do not talk on my cell phone when I get to the front of a line - that’s when I need to be focusing on paying or ordering or talking with the person on the other side of the counter. It’s rude to the person behind the counter, it's rude to the person on the phone, and rude to the people standing behind me when I fumble through trying to hold two conversations at once. This is just prioritizing. What am I standing in line at the grocery store to do? Talk on my phone or buy groceries?

25) In the grocery store, I push my cart down the right side of the aisle, and either stay on that right side when grabbing items off the shelves or move far enough away from my cart that I am not blocking both sides of the aisle - one side with my cart and one side with me shopping. I always leave half the aisle empty so that other people with carts can get past me. That just seems like common sense. People need to be able to get past me, right?

26) If I am crossing a street as a pedestrian (or just walking across a parking lot entrance) I look at traffic in all directions - some times it’s easier to wait for one car to pass even though I have the right of way. If I have to wait a minute so that things run smoother for everyone else, no big deal. And if cars are waiting for me to cross the street, I walk *fast* - I don’t take my time when I’m also taking other people’s time. The same thing if I am in my car: sometimes things will move faster if I let the other car go first. My little red sportscar has well over 100,000 miles on it, and I have honked the horn maybe a dozen times. When I am out in the world, it's all about what works best for the world, not what works best for me. Oh, and I always use my turn signal. Always. Even in parking lots. If other drivers know what I am doing, easier for them.

27) I try to be aware of everyone around me and stay out of people’s way. If I’m blocking a bunch of people from getting where they want to go because I’ve got my head in the clouds thinking about something or talking on the phone or whatever - I’m holding up the whole danged world!

28) When I pick a table at a restaurant or a coffee shop, I try not to pick one that would be of better use to someone else - I’m one person, so I don’t take a large table that might be better used by a family or a group, I don’t take a table designed for handicapped access or might be more convenient for an elderly person. Sometimes these are the only tables available, so I have no choice - but I always think about others when I select a table. Why not?

29) If I’m walking in a shopping mall or hallway or sidewalk and need to stop, I move to the side (near the wall) and *then* stop, so that I am not suddenly stopping in front of someone and am out of the way *before* I slow down or stop.

30) I try to help people whenever possible - not because of some sort of karma thing where what goes around will come around back to me (that would be nice, but I’m not sure that’s really how the world works), but just because it usually takes the same amount of effort to help people as to put them down or even ignore them. There are all kinds of people who seem to go out of their way to be mean or dismissive to people - and that’s a lot of work just to be negative. Usually it takes the same amount of work to help people - and that makes the world a little better. I don’t go out of my way looking for people to help, I just help anyone whose path crosses mine. That may be holding the door open for someone with their arms full or answering a question on a message board I visit or helping somebody find something if I know where it is (a street, a business, or even an item in the store). Most of these are silly little things that are part of our day-to-day lives, but my “default setting” is helpful. One of those things I learned from my mom.

By the way, I think one of the reasons why my brother and sister and I were so well behaved in public is that my mom encouraged us to *think about playing* and imagine what we would do when we got home and were allowed to run around in the yard and have fun. Or think about our toys and hobbies (my brother and I would think about Hot Wheels, my sister would think about Barbies - Mattel Toys won either way). Or think about our favorite televison shows or the book we were reading. We would sort of play in our minds... and entertain ourselves. No need to be little hellions in the grocery store. Those good manners, and thinking of others as well as ourselves, have stuck with me from childhood into adulthood.

(This was going to be called "Compusive Manners" but that didn't have the same ring to it.)

Thank you for reading this.

- Bill

Tuesday, January 28, 2025

Trailer Tuesday: THE DEVILS EIGHT (1969)

THE DEVIL'S EIGHT (1969)



Kino-Lorber released a Blue-Ray of this film in August of 2021, so let's take a look at it, shall we?

Directed by: Burt Topper.
Written by: John Millius (THE WIND AND THE LION), Willard Huyck (AMERICAN GRAFFITI), Larry Gordon (48 HOURS), and James Gordon White (THE INCREDIBLE TWO HEADED TRANSPLANT *and* THE THING WITH TWO HEADS).
Starring: Christopher George, Ross Hagen, Fabian, Leslie Parrish, screenwriter Larry Bishop, Robert DoQui, Ron Riflkin (with hair!).
Produced by: Jack W. Cash.
Cinematography by: Richard C. Glouner (PAYDAY).
Music by: Michael Lloyd & Jerry Styner.




You may think that The Asylum Studios created the "mockbuster" movie like THE DAY THE EARTH STOPPED (which means it stood still) and many many others like I AM OMEGA (I AM LEGEND and OMEGA MAN), but coming up with a cheap knock off of a big budget studio film is nothing new in this business, and probably goes back to the silent era. So we are going to kill a couple of birds with the same stone in this entry and look at a B movie knockoff of THE DIRTY DOZEN which also happens to be ground zero for a bunch of screenwriters who would become very famous in five years and a co-star who has been in a couple of movies that I have written, and is one of those charismatic B actors who can take some stupid line that I wrote and deliver it as if it were Shakespeare and make me look good. I saw this film on the big screen at the New Beverly Cinema on a doubke bill with one of my favorite films, THE WIND AND THE LION, a few years back...



THE DEVILS 8 begins with a great opening scene, very much like the opening of 48 HOURS, chain gang somewhere in the South with prisoners doing backbreaking work (though, none of it made much sense - one guys was breaking rocks and another guy was throwing them in a lake! One guy was just sawing boards. But its was all hard work stuff) - then a fight breaks out between prisoners: one of them is our star Christopher George from RAT PATROL. Just like in 48 HOURS, the fight is a way for the prisoners to overpower the guards and escape. George grabs a bunch of prisoners - 8 of them - and says he has an escape route. They run through the woods, coming out at a clearing... where a huge helicopter lands! There are *military guys* with guns in the helicopter! George tells the guys not to worry - this is part of the plan. What plan?

Cool flashback to George and some hottie making out in a car when his carphone rings (when this film was made, that was sci-fi or James Bond) and it’s a mission. George has to stop making out and go to do some spy work. In this case - it’s breaking up a huge moonshine operation run by this GODFATHER-like guy named Burl, played by some fat old guy. Seems that Burl’s organization has Senators and Congressmen and Police and maybe even FBI guys on his payroll. He’s a big fish, and George is supposed to find some way to take him down.

We get out of the flashback in another cool screen-bending dissolve...

STRUCTURE FAILURE




And here’s where we begin to run into trouble. Because DEVILS 8 has some serious structure problems. Because it’s a knock off of THE DIRTY DOZEN, it kind of steals the way that film worked - where about half of the film is training a bunch of anti-authority criminals to become good enough soldiers to complete the mission... and all of the conflicts involved in having a dozen guys with bad attitudes who hate each other living under the same roof. Then, the last half is the mission against the Nazis - and how it goes wrong but they still manage to blow the hell out of the place. Okay, that works for DIRTY DOZEN because the mission is complicated and the guys are a major challenge to train. But in DEVILS, even though the guys are escaped prisoners and have all kinds of conflict with each other - including racial: Henry (Robert DoQui) is pretty much hated by everyone because he’s black - there isn’t a single psycho like Telly Savalas or a real hardcase like John Cassavetes. These 8 convicts may all be lifers, but they are reasonable guys. So the conflict between them is not as intense as it is in DOZEN. Plus, the training is, well, mostly lame. They wrestle. All at once. No one is trained in karate or something, they just all wrestle. They learn to shoot guns, but it’s kind of boring target practice without any tension. They learn to drive crappy cars through a slalom course of cones - wow! Though there are some car wrecks here that really help this section of the film - there aren’t enough crashes and they aren’t very cool and they aren’t *story related*. Just a car crashing in the middle of nowhere.

This half of the movie ends with some crazy stuff - throwing grenades out of cars for no apparent reason. Well, actually, by the end of the film they will have to do this, but in the training camp it makes no sense. And there isn’t any clear set up in this that pays off in that later scene - it’s just a scene where they get to blow up garbage cans with grenades - kind of false action.

They really needed to create conflicts between team members and milk them during the training scenes. This is usually where I bring up the large cast of characters in ALIENS and how we knew each one of them and they were *paired* in the story with the person they had the most conflict with. to keep even the small scenes full of conflict and drama and create arcs for each character... and that doesn't happen here. If they had done that, and then had some *real* hand to hand combat training instead of wrestling and some more interesting target practice (maybe some practice storming a house) and other things that could become very dangerous if your partner wanted to kill or eff you up, the first half of the film would have been entertaining (instead of a slog). Look for the *personal conflicts* in your story and pair up characters!

After their training is over, they go out to somewhere in the South where Burl’s moonshine gang rules the roads.

ROSS HAGEN - THIEF




And here’s the crazy part about this film - the star is Christopher George from RAT PATROL, but the great role in the film - the “lead” in a way - is Ross Hagen playing Frank Davis, ex-moonshine runner and ex-member of Burl’s Gang. Part of this may be Ross acting the hell out of his role, and part of it is that this is the most interesting character in the film once we get to moonshine country. Though Frank was an important character in the training scenes, when we get the ex-gang member back into gang country he becomes the center of the conflict. Ross (who passed away in 2011) was in a couple of films I’ve written, and was one of those actors that can turn the line “How are you?” into two dozen different things - he came to the show with interesting line readings you’d never considered or ever knew existed. He was a great actor for low budget movies because you just hire him and he gives a good performance. He had a bunch of low budget films and a whole bunch of TV guest star stuff on his resume...

But in DEVILS 8 he steals the film from Christopher George.

Steals it from the star.

In order to get him to work against his old gang, George tells him that it wasn’t cops who killed his brother, it was Burl. Now, we don’t know if that’s true or not at that point, and that’s a good technique to use in a script because it turns one moment into several moments. He tells Frank (Ross) that Burl killed his brother, and Frank has to deal with being betrayed by his own gang. Then Frank wonders if George lied to him in order to get him to work against his own gang - and there are some mistrust moments. Once they get to town, Frank discovers that Burl *did* kill his brother, and this confirmation takes us back to Frank feeling betrayed... and then angry... and then grabbing a weapon and going after Burl! Which will blow the whole operation!

George’s plan to take down Burl doesn’t make any sense, but here it is: The 8 are going to hijack whisky shipments until Burl comes to them and makes a deal that they should work together, and show them where the stills are, and tell them who all of the crooked cops and politicians are. Wouldn’t it be easier for Burl to just kill them all? Oddly enough, the plan works...



A couple of scenes later, Frank and George show up at Burl’s place... and guess who the gang boss is sleeping with? Cissy! And Frank has to just take it and not do anything when the man who killed his brother is also sleeping with the woman he loves! That *situation* makes Frank the most important character in the film. On a message board someone asked why we need a character arc, and I said my usual: that I like to think of it as the “emotional conflict” rather than the character arc because it covers more ground. This is a great example of an “emotional conflict” - Frank’s character doesn’t really have much of an arc. Sure, he goes from being a convict to a guy working with the feds, and he becomes more cooperative with George, but his plan is pretty much to kill the guy who killed his brother, and that plan doesn’t change. He wants revenge, he will get revenge. No real arc, there. But he goes through all kinds of emotional hell in this film. He goes back to his home town and is ostracized and has to watch Burl put his fat hands all over the woman he loves and wants to kill the sucker but can’t because it will blow the mission. Compare Ross Hagen’s role of Frank with Christopher George’s cool spy guy who has no emotional conflicts at all, and you wonder why Chris George didn’t demand to play Frank.

Oh, somewhere along here I recognized the fat actor who played Burl... as 1950s pretty boy actor Ralph Meeker (who played Mike Hammer in KISS ME DEADLY) - man, he got fat! One of the reasons I didn't recognize Meeker until late in the film is that he isn't credited in this film until the end. But Meeker went from pretty boy to playing pudgy Southern Cop roles in only a few years. He was a character actor on a million TV shows in the 70s, and retired after the killer pancake movie WITHOUT WARNING. Here he does a great job as the pudgy good old boy moonshiner.

THE OTHER 7






While Ross Hagen is stealing the film from the star, the other guys on the team kill time until the big ending by skinny dipping with hot girls from town and getting into bar room brawls. This stuff all seems like padding - and the big structure problems is that it *is* padding - the film has prison break in scene one and a big action scene at the end and the rest is mostly filler material. Some of it is entertaining filler material, but it kind of slows down the pacing because nothing *important* is happening. This movie gets the cat up the tree and then gets it down, but never throws rocks at it... and makes you realize how important structure is in a screenplay.

One thing I should mention are the characters of the other guys, because they are much better than most low budget exploitation flicks. Singer Fabian is one of the guys, I think the mechanic, and Ron Rifkin is one of the guys - but I have no idea which one because I did not recognize him. Rifkin was in the new version of A STAR IS BORN and on NEW AMSTERDAM (I have never watched that show) and was the evil Sloane on ALIAS (Okay, I have watched that one) and I know him as a middle aged man... and this film was made in 1969 - it was his very first film! I have no idea which one of those young guys was Rifkin. But he may or may not have been the drunk one.... One of the guys has been on the chain gang for a while and the first thing he thinks of when they escape is finding himself a drink. When they hijack Burl’s runners, he swipes some bottles for himself and gets really drunk... and becomes a problem because he’s an alcoholic working undercover as a rum-runner - and keeps getting drunk and screwing up. Except - while searching for something to drink, he spots a truck full of booze and climbs in... and the truck goes to the secret still compound. Now he is not only so drunk he can’t stand, he has the information the team needs for that big action ending.



And we get a big action ending where that throwing hand grenades from a moving car training comes in handy, and most of the 8 die glorious deaths. But the big end action scene is much simpler than the end scene in DIRTY DOZEN and shorter, too. So where DIRTY DOZEN has that big killer action end that is at least a full third of the film, DEVILS 8 has a good action ending but not good enough to make up for the padding that has come before it. Still, they blow up 3 or 4 big stills in towers and wreck any car they have not yet wrecked. The problem is, the action scene isn't fleshed out - it's too simple. Destroy the stills. Okay, they do that and the story is over. What they needed to so is come up with a series of steps and set backs on the way to destroying the stills and Burl's operation. This is why the *writing* is an important part of action scenes - you need to figure out all of the small conflicts and set backs along the way to the big explosion at the end. If you look at the end of 48 HOURS the end action scene is complicated - it begins with the hijacked bus, has a trade for the girl, a big crash and a shoot out and a moment where the regroup and then go to Chinatown for the final action sequence which is made up of several parts - the shoot out at the women's apartment where Billy Bear and Gance were hiding, the shootout with Billy Bear, a chase over Chinatown's rooftops (a maze chase) and finally a high noon shootout between Cates and Gance. All of these steps escalate the final action scene and keep it exciting with twists and turns - we don't just have the big shootout at the women's apartment and it's over, Billy Bear and Gance *escape* (setback) and then Billy Bear and Reggie have a shoot out scene and then we have the chase and then... It's not "they fight", it's a series of scenes and moments. The problem with the action scenes in DEVIL'S 8 is the complete lack of complications and details. For a drive in movie, it needed more action!

I should mention the music - there’s a theme song that’s okay, but the score was just awful. Mike Curb was to blame. It’s kind of SMOKEY & THE BANDIT funny good old boy music, when this film is not a comedy at all. There are scenes where characters are getting *hurt* and this goofy music is playing in the background. It did not work. The theme was fine - one of those ballad things.

THE DEVIL'S 8 is one of those throw away drive in movies they made back in the day, with some great performances and a bunch of screenwriters who would later become famous. Larry Gordon would produce John Millius's DILLINGER in 1973 and then produce Walter Hill's greatest hits. Maybe worth a look, just for the talent that would soon become famous.

- Bill

Writing Screenplays That Sell

Friday, January 24, 2025

The French Hitchcock?



If you've seen INGLORIOUS BASTERDS, the movie playing at Shoshana's cinema that gets bumped for the Hitler Assassination Plan is called LE CORBEAU (THE RAVEN) - she has to take the letters off the marqee. The film was directed by Henri-Georges Clouzot, who is often called the French Hitchcock. Clouzot also directed a couple of my favorite films, WAGES OF FEAR and DIABOLIQUE. He is a great director - knows how to build tension to the breaking point. LE CORBEAU was only his second film, but it still works decades later.

LE CORBEAU is about an alof handsome young doctor in a village hospital who begins to get threatening letters signed by "The Raven". The letters accuse him of having an affair with an older doctor's pretty young wife... and of being an abortionist, who may even have been the one who knocked up all of the women he's accused of aborting. Because he wasn't born in the village, he's seen as an outsider... and when word gets out people believe these rumors.

The old doctor's wife also gets a letter from The Raven... and soon half the village are getting threatening letters accusing them of some rumored activity. The Raven knows *everyone's* secrets! Who can it be? The old cuckold doctor and young doctor basically must work together to find out who is The Raven. And there are some *great* suspects and a really shocking twist end. Actually, a double twist.



Though this is an early film of Clouzot's - not as suspenseful as DIABOLIQUE, it still packs a punch and has some very well drawn characters and it will keep you guessing until the end. The alof doctor is an interesting protagonist because he has a deep dark secret - and we think we know what it is and we are completely wrong. The character is a twist.

If you're curious about French films made during WW2 and during the Nazi Occupation, check this one out. Oh, and look between the lines for a message about living and working in Nazi Occupied France.

- Bill

Of course, I have my own books 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!

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.

Click here for more info!

Bill
eXTReMe Tracker