Barbie has gone to The Birds

by Kimberly Lindbergs | November 23, 2008

Categories | Rants & Raves, Pinky Violence, Alfred Hitchcock

This might be old news to some, but it’s new news to me. I just discovered Mattel released a Tippi Hedren as Melanie Daniels in The Birds (1963) Barbie doll in October complete with attacking birds and a mini reproduction of her fabulous green dress suit. The Birds terrified me when I first saw it as a child and I don’t suspect that a lot of little girls will be asking for a Melanie Daniels’ Barbie this Christmas, but it’s definitely on my holiday wish list!

I really wish Mattel would hire me to help them design other film-themed Barbies. I’m sure I’m not the only person in the world who wants a Meiko Kaji as Sasori doll.

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Paracinema #4

by Kimberly Lindbergs | November 21, 2008

Categories | News, Alfred Hitchcock

The new issue of Paracinema Magazine has just become available and it’s a doozy! It contains a terrific indepth study of Hitchcock’s Vertigo as well as pieces on Takashi Miike’s Ichi The Killer, Melvin Van Peebles’ Sweet Sweetback’s Baadasssss Song and Jacques Tourneur’s The Leopard Man. There are also lengthy articles on the films of Gaspar Noe and a look at Skate Cinema: From Memory Screen to Gummo. I was especially impressed with Seth Watter’s piece on Eastern European Cinema and Its Discontents: Nazism and the Aesthetic of Excess since it’s an area I’m deeply interested in and horror fans like myself should enjoy James McCormick’s history of the rise and fall of Nunsploitation films.

I’m especially grateful that the magazine decided to highlight Cinebeats in its ongoing Dawn of the Blog column. They were very generous with their praise and I can’t thank them enough. From the magazine:

The focus of Cinebeats is not just on the films themselves , but also on the icons that brought them to life. From Lucio Fulci to Ann-Margret, Kimberly’s coverage of the people who made the “platinum age” great is expansive. No one genre is focused on and nothing is ignored. The posts are informative and often touching as Lindbergs unpologetically infuses her memories and personal attachments into her film writings.”

They know how to make a girl blush!

When I first started Cinebeats there weren’t many bloggers writing about ’60s and ’70s era films and those that did often took a tongue-in-cheek approach to reviewing genre movies. A lot has changed in the last 3 years, but I’m really happy that I decided to start blogging since it has helped me focus on my writing more and I’ve met some terrific people in the process. I never expected that Cinebeats would be mentioned in a magazine featuring a cover image of one of my favorite directors, but I’d be a liar if I said that it didn’t make my day. As a matter of fact, it made my week!

If you’re interested in picking up a copy of the new issue of Paracinema Magazine you can purchase it from select retailers or order it directly online. For more information please visit the official Paracinema Magazine site.

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A few thoughts about Anthony Perkins

by Kimberly Lindbergs | September 19, 2008

Categories | Actors, American Cinema, Alfred Hitchcock, Anthony Perkins

I’ve had the late great actor Anthony Perkins on my mind a lot lately. September 12th marked the 16th anniversary of his death and whenever September 11th rolls around I’m reminded of Perkins’ wife Berry Berenson (and the mother of his two sons, Oz and Elvis Perkins) who was killed when the plane she was on hit the World Trade Center. Thanks to an unfortunate twist of fate or terribly bad luck, Perkins and his family will always be linked to 9/11 in my mind.

Earlier this year I stumbled across some albums the actor recorded in the late ’50s and I’ve been listening to Anthony Perkins croon love songs to me all summer long. I had no idea that Perkins had a singing career before he became an actor and it has been fun discovering this aspect of his career.

Perkins’ recording career began in 1956 after he sang “A Little Love Goes a Long, Long Way” during a Goodyear TV Playhouse production of Joey. Executives at Epic Records were impressed with Perkins’ vocal abilities and they offered him a recording contract, which led Perkins to record a self-titled album for Epic in 1957 under the name Tony Perkins. Afterward he recorded two albums for RCA called From My Heart (1958) and On a Rainy Afternoon (1958). When his role in William Wyler’s film Friendly Persuasion (1956) began receiving a lot of praise Perkins decided to pursue his acting career more seriously and he never recorded another album.

All of Anthony Perkins’ albums have an obvious jazz influence. His first record was produced and arranged by West Coast jazz legend Marty Paich who’s better known for his work with artists such as Ella Fitzgerald, Buddy Rich, Shorty Rogers and Mel Tormé. Perkins’ smooth vocal stylings make a lot of old standards like “Better Luck Next Time” and “Swinging on a Star” sound fresh and new to me. There’s even a hint of Chet Baker’s influence in some of his recordings. I think the actor has a really lovely singing voice and I’m not surprised that he had a hit single in 1957 with the song “Moon-Light Swim.”

I’ve upload a couple of my favorite tracks from Perkins’ 1958 record From My Heart for anyone who might be interested in giving them a listen:
- Swinging on a Star
- This is My Lucky Day
- The Careless Years

I first heard of Anthony Perkins after coming across pictures of him in various film books when I was a kid. My grandmother had a wonderful coffee table book called The Illustrated Encyclopedia of the World’s Great Movie Stars and Their Films from 1900 to Present Day (which was 1978 or 79) and it had a listing for Anthony Perkins along with a photograph of him as Norman Bates in Alfred Hitchcock’s Psycho. In the book’s brief write-up about Perkins it mentioned that the actor had lost his father when he was a child and that caught my eye at the time since I had lost my own father early in life as well.

After reading about Psycho I really wanted to see the film and I can clearly remember lots of arguments I had with my mother every time Psycho was about to play on television. As I’ve mentioned before, my parents allowed me to watch anything when I was growing up so I was exposed to a lot of movies before most kids my age but the only film that was off limits in my house was Alfred Hitchcock’s Psycho. My mother had first seen Psycho in 1960 when it debuted and she was just a teenager at the time. The movie absolutely terrified her. For months afterward she refused to take a shower or a bath unless my grandfather would stand by the bathroom door and protect her from a possible knife attack by Norman Bates. My mom decided she didn’t like horror films after seeing Psycho and she refused to watch them but somehow she ended up married to my father who was obsessed with horror movies and enjoyed reading Famous Monsters in Filmland while he was assembling monster model kits. This occasionally made things complicated at home since I inherited my dad’s taste in films. When he died my mother didn’t try to interfere with my viewing habits. She knew that some of my fondest memories of my dad were of watching horror films with him and she respected that, but Hitchcock’s Psycho remained off-limits for years. Even after my mother and grandparents took me to Universal Studios and we visited the infamous Psycho house there, I was still forbidden from watching the movie. Making the film taboo only made me want to see it more and I began to get slightly obsessed with Anthony Perkins.

The first Perkins film I can remember seeing was the bittersweet romantic drama Goodbye Again (1961), where a young Anthony Perkins tries to seduce a much older but still lovely Ingrid Bergman. I was completely taken with Perkin’s melancholy performance in that film and I can remember weeping for a good hour when the movie ended with Perkins stumbling into the streets trying to reconcile his broken heart. After seeing him in Goodbye Again I came across Desire Under the Elms (1958) playing on TV one afternoon. In Desire Under the Elms Perkins’ gets to romance the beautiful Sophia Loren and even though my memories of the film are a little fuzzy, I can still remember a very sexy Anthony Perkins spending most of the movie shirtless and sweaty. He wasn’t a typical romantic leading man and I think that’s why I found him so appealing.

I was attracted to Perkins’ dark good looks and I’ve always had a thing for tall lanky actors like James Stewart and Gregory Peck. Perkins’ awkwardness seemed reminiscent of countless adolescent boys I’d known so he was familiar and yet somehow alien. There was something incredibly charming about Perkins’ self-conscious behavior that made him very alluring to me. Unlike many other awkward adolescent boys, Perkins seemed more sensitive than most and often painfully aware of the world around him. He also appeared to be wound-up tight and ready to burst at any moment, but I was drawn to that edgy aspect of his personality. In retrospect, I think Perkins’ personal struggles with his sexuality encouraged him to be extremely introspective and that came across to audiences when he was on screen.

When I finally had the opportunity to see Anthony Perkins in his infamous role as Norman Bates I was floored. Watching Perkins transform from a guy who I’d like to date into a psychotic killer for the first time was mind-blowing. All the anger I had directed at my mother for not allowing me to see Psycho early on melted away. I felt incredibly lucky that I had been given the opportunity to become familiar with Perkins as a romantic leading man first. I think this helped me appreciate his performance as Norman Bates even more. Psycho not only lived up to my high expectations, it exceeded them. It is a classic film with a well-earned reputation, but without Anthony Perkins’ unforgettable performance as Norman Bates, I’m not sure that the film would still maintain its power to shock audiences some 50 years after it was made. Hitchcock clearly saw that deliciously dark and edgy element in Perkins’ on-screen persona and the director fully exploited it in Psycho. Unfortunately for Perkins he would never be able to shake off the role of Norman Bates. For better or worse, Anthony Perkins never regained the trust of the movie-going public again and audiences would forever view him with a suspicious eye.

This October Universal Studios will be issuing a Special 2-Disc Edition of Psycho on DVD just in time for Halloween and Cinefantastique recently published an interview that Perkins did about his role in the film that you can read online. It’s an interesting read if you’re a fan of the actor and the film.

Over the weekend I’m going to revisit one of my favorite and often overlooked Anthony Perkins’ films so you can expect to see another post about Perkins soon. I finally finished the piece a year later: The Fool Killer (1965)

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Brian G. Hutton’s Night Watch (1973)

by Kimberly Lindbergs | March 10, 2008

Categories | Movie Reviews, Horror, Elizabeth Taylor, Alfred Hitchcock, Thrillers, Laurence Harvey

By 1973 Elizabeth Taylor and Richard Burton’s nine year marriage was coming to an end and both actors wanted to focus on their individual careers. Night Watch (1973) features one of Elizabeth Taylor’s few solo performances as an actress while she was married to Burton and it’s one of my favorite Taylor films from the 70s’ for multiple reasons. First and foremost, it’s a thriller and I love a good creepy thriller with an unexpected twist ending. The film also stars the gorgeous Laurence Harvey who had previously appeared with Taylor in the Oscar winning melodrama Butterfield 8 (1960) and I enjoy watching Taylor and Harvey together. Not only do they provide some incredible eye-candy, but they also have an interesting chemistry on screen. Taylor delivers one of her most unusual and unexpected performances in Night Watch that clearly mocks some of her previous roles, while playing smartly with audience expectations. And lastly, Night Watch evokes many of my favorite Alfred Hitchcock films.

The film was based on a play by Lucille Fletcher who made a name for herself writing suspenseful radio plays in the early forties such as The Hitch-Hiker (1941), which was originally performed by Orson Welles and The Campbell Playhouse and later turned into an episode of The Twilight Zone, as well as Sorry, Wrong Number (1946), which became an Oscar nominated film in 1947 directed by Anatole Litvak. Lucille Fletcher was married to the great film composer Bernard Herrmann, who also got his start working with Welles on classic films like Citizen Kane (1941) and The Magnificent Ambersons (1942) before he made an even bigger name for himself composing scores for popular Alfred Hitchcock thrillers like Vertigo (1958), North by Northwest (1959) and Psycho (1960). Although Lucille Fletcher and Bernard Herrmann divorced in 1948, it’s impossible to watch Night Watch and not be reminded of many of Hitchcock’s best films. The script seems to borrow a bit from Suspicion (1941), Dial M for Murder (1954), Rear Window (1954) and Psycho (1960), while combing elements of Fletcher’s earlier plays.

Top: Elizabeth Taylor watches a murder take place
Middle: Taylor dreams of hospital morgues
Bottom: The corpse of Linda Hayden gets her kill face on*

In Night Watch Elizabeth Taylor stars as a wealthy but reclusive woman called Ellen Wheller who suspects that her current husband John (Laurence Harvey) and her best friend Sarah (Billie Whitelaw) are having an affair behind her back. Things take an odd turn one dark and stormy night when Taylor peers through a window and much like James Stewart in Rear Window, she thinks she’s seen a murder take place in an old abandoned house next door. Since she’s prone to hysteria Ellen ’s husband doesn’t believe her, but he reluctantly calls the police anyway. When the police finally arrive and search the old house they find no evidence that a murder has taken place there. Ellen suspects that her neighbor (Robert Lang) might be involved and remains convinced that she’s seen a horrendous crime occur. Taylor’s character is also plagued by terrible nightmares involving her first husband (Kevin Colson) who was killed in a car crash that happened while he was fooling around in his car with a pretty young woman (Linda Hayden). Ellen’s nightmares and paranoia about her husband’s infidelity cause her a lot of anxiety. And as the film progresses she tries to numb her emotional pain and strange visions with alcohol and pills that are often administrated by her husband and good friend. Are horrible crimes taking place in the old abandoned house next door or are they just a figment of Elizabeth Taylor’s disturbed mind? Is Laurence Harvey trying to kill Taylor or drive her mad and take control of her fortune? The surprising answers to these questions are unveiled in the film’s shocking climax!

Warning - before you keep reading I suggest stopping here unless you’re familiar with the film because there are spoilers ahead and being aware of the film’s important plot twists before you have the opportunity to see Night Watch can definitely ruin the effectiveness of the film!

On the surface, the plot of Night Watch appears to be similar to many “women-in-peril” thrillers, but just when you assume you know the direction the film is taking, Night Watch explodes in a bloody finale that’s sure to leave a few viewers shocked. Instead of playing the typical female victim prone to hysteria, Elizabeth Taylor’s charactor turns out to be a cold and calculating murderess who brutally kills her philandering husband and best friend before gracefully exiting the film in grand style.

Top: Elizabeth Taylor and Laurence Harvey
Bottom: Robert Lang and Billie Whitelaw

Night Watch was directed by the American director Brian G. Hutton whose other films include Where Eagles Dare (1968) with Richard Burton and Clint Eastwood, as well as Zee and Co. (1972) which also featured Elizabeth Taylor along with Michael Caine, Susannah York and Margaret Leighton (who was once married to Lawrence Harvey). In Night Watch, the director was able to create a suspenseful atmosphere and maintain it throughout the course of the film. Since the story takes place in London with a mostly British cast, the film is reminiscent of other great British thrillers released during the same period. The film also contains closeup shots of gloved hands and large kitchen knives that were commonly seen in numerous giallo films at the time. Hutton’s directing skills are really on display during Taylor’s extremely eerie and effective nightmare sequences, which are creatively shot with the help of the Oscar winning British cinematographer Billy Williams. The director manages to include some interesting visual clues that suggest that Elizabeth Taylor is controlling the events unfolding in the film. Taylor’s constantly seen playing with a puzzle and trying to fit the pieces together while the audience is left in the dark tripping over multiple red-herrings.

The Italian designer Valentino made all of Taylor’s outfits for the film and frankly I just get a big kick out seeing Taylor playing a crazy, hard-drinking, pill-popping woman wearing fabulous purple robes designed by Valentino. She also gets to wear some low-key Valentino tailored fashions in the film as well. Elizabeth Taylor was no longer the slender young woman seen in her earlier roles, but she still looks terrific in Night Watch and manages to make the most of her role. Her performance is surprisingly nuanced and probably somewhat inspired by Anthony Perkins turn as Norman Bates in Hitchcock’s Psycho. Even the murders she commits in the film are slightly reminiscent of the way Bates killed his victims, but I’ve rarely seen an actor have so much fun pretending to slit throats. During the frantic murder scene at the end of the film Taylor looks utterly maniacal and plain frightening as she slashes her way through her costars.

None of the other actors in the film besides Laurence Harvey, Billie Whitelaw and Robert Lang get more than a few minutes of screen time, which is a shame. I really like the British actress Linda Hayden who’s appeared in some great British horror films and she’s wonderfully creepy in Night Watch, but she has no dialogue in the film and if you blink you just might miss her.

Elizabeth Taylor and Laurence Harvey become friends on the set of Butterfield 8 and remained close until his untimely death. Both actors were heavy drinkers and their careers were in decline when they decided to team up again and make Night Watch in late 1972. Taylor and Harvey ended up having such a terrific time on the set of the film together that they started making plans to co-star in another thriller in the near future, but unfortunately it never happened. Harvey was diagnosed with cancer during the making of Night Watch and it’s assumed that he was in considerable pain during filming. His performance here is rather low-key and seems to suggest that he wasn’t feeling his best, but he’s still very believable as Taylor’s neglectful husband. Sadly, Laurence Harvey died just three months after Night Watch was released.

Top: Taylor channeling the spirit of Anthony Perkins as Norman Bates
Middle: Billie Whitelaw suffers the same fate as Janet Leigh in Psycho
Bottom: Comparison shot of Janet Leigh from Psycho

Night Watch is currently only available as a poor quality pan and scan video at the moment and I’d really like to see Brian G. Hutton’s film get restored and released on DVD since it should definitely hold appeal for Elizabeth Taylor fans and anyone who enjoys unusual Hitchcock inspired thrillers. I’ve heard rumors that a PAL Region 2 DVD of Night Watch might be released later this year, but I haven’t been able to confirm it anywhere. If anyone else happens to know anything about the rumored PAL Region 2 DVD release of Night Watch, please let me know!

If you’d like to see more images from the film please see my Night Watch Flickr Gallery.

* Note: The term “kill face” was borrowed from Arbogast on Film.

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Experience Rod Serling for Free!

by Kimberly Lindbergs | February 29, 2008

Categories | Horror, Television, Science Fiction, Alfred Hitchcock

I’m currently busy writing about some of my favorite Post-1966 Elizabeth Taylor films, but I wanted to share some fantastic news I stumbled across while I was roaming around online.

Two of my favorite television shows from the ‘60s and ‘70s are Rod Serling’s The Twilight Zone (1959-64) and Night Gallery (1970-73). CBS and NBC recently launched two new sub-sites called CBS Classics and NBC’s Way Back Wednesdays where you can view episodes of these classic horror/science fiction shows free online at anytime. CBS has made many episodes of The Twilight Zone available, as well as episodes of the original Star Trek (1966-69) and Hawaii Five-O (1968-80) and every Wednesday NBC is making an episode of Rod Serling’s Night Gallery available, along with episodes of other popular shows such as The Alfred Hitchcock Hour (1962-65), the original Battlestar Galactica (1978-79) and Emergency (1972-79).

If you’re somehow unfamiliar with Rod Serling’s The Twilight Zone and Night Gallery this is a great opportunity to see episodes of these classic television programs. Both shows featured gifted actors often giving some of their best performances and they were written and directed by some of television’s greatest talents, including Rod Serling himself. Many episodes of The Twilight Zone and Night Gallery still give me the creeps and they’re guaranteed to give new viewers a nightmare or two. If you’re already familiar with these critically acclaimed shows you can now become reacquainted with them free of charge. For more information please check out the links I’ve posted below:

- The Twilight Zone at CBS - TV Classics
- Rod Serling’s Night Gallery at NBC’s Way Back Wednesdays
- The Rod Serling Memorial Foundation - Official Site

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Scream… and Die! (1973)

by Kimberly Lindbergs | January 11, 2008

Categories | Movie Reviews, Horror, Giallo, Spanish Cinema, Alfred Hitchcock, Thrillers

Despite its somewhat misleading title, Scream… and Die! (1973) this interesting film directed by José Ramón Larraz is well worth a look if you enjoy unusual European thrillers. Larraz is a talented Spanish director who’s mostly known by American film audiences as the man behind the erotic horror film Vampyres (1974) and only a few of his other films are easily accessible on DVD and video in the U.S. His 1973 feature Scream… and Die! has been available on video since the ‘80s, but it was recently released by Jef films on DVD.

Larraz’s films tend to generate strong reactions from their detractors and fans. The director enjoys playing with genre expectations and the eroticism and violence in his movies can be explicit, but if you’re willing to give Larraz the benefit of the doubt and go into his films without any preconceptions, you might be surprised by what you find there. One of Larraz’s strong points is his ability to mix complex and adult story elements into his horror films that can also be enjoyed simply for their entertainment value. His early movies like Scream… and Die! are also extremely stylish and creatively shot, especially when you factor in the low budget he was usually working with. Larraz was definitely one of the most interesting directors to come out of Spain in the seventies. His film Symptoms was nominated for a Golden Palm at Cannes in 1974 and he has many fans now thanks to books that celebrate his work like Pete Tombs and Cathal Tohill ’s Immoral Tales: European Sex & Horror Movies 1956-1984 (1995), but even among Larraz’ fans Scream… and Die! is often considered one of the director’s lesser films.

Scream… and Die! features the beautiful British actress Andrea Allan as an aspiring model named Valerie who’s dating a rather seedy fellow named Terry (Alex Leppard). One foggy night Valerie finds herself alone with Terry in the English countryside when he decides to loot an old estate hidden away deep in the woods. The couple finds more than they bargained for after the home’s owner unexpectedly arrives at the house with a female guest. Valerie and Terry slip inside a closet and from their hiding place they watch a strange sexual encounter unfold between the homeowner and a woman that suddenly turns deadly. After witnessing the brutal murder of the woman, Valerie flees the crime scene and runs out of the house. When she realizes she’s being chased by the killer she stumbles into the woods and finally finds herself in an old junkyard where she hides in an abandoned car until morning comes. Once the sun rises Valerie hitches a ride back into town without Terry.

At home Valerie is left to contemplate the situation that she’s found herself when she suddenly realizes the killer has returned Terry’s car and parked it outside her flat. Inside the car is Valerie’s modeling portfolio, which is missing a photo. It’s clear that the killer not only knows who Valerie is, but he also knows where she lives and he’s apparently stalking her. Unfortunately for Valerie she was never able to get a good look at the killer so his identity is a mystery. After consulting with friends about the horrible situation she’s found herself in, they tell her not to worry and warn her to be weary of going to the police since she could also be charged with a crime. They’re convinced that Terry must be involved in the bizarre events somehow and they offer to take Valerie back to the house where the murder took place, but in a strange turn of events she’s unable to locate it again. Like a bizarre dream, the killer and the crime scene seem to have vanished into thin air leaving Valerie confused and troubled.

The story takes another odd turn when Valerie meets a charming young man named Paul (Karl Lanchbury) selling Japanese-style Noh masks he designed at the photography studio where she works. Paul immediately takes an interest in Valerie and she’s instantly drawn to him as well. They quickly start up a romantic relationship, which seems to bother Paul’s Aunt who he lives and works with. As the film progresses it becomes clear that Paul and his Aunt are involved in a troubling, incestuous relationship and the masks they make together seem to hide a deeper mystery.

In the meantime an unusual bearded man has moved into the first-floor flat of Valerie’s building. He’s a pigeon keeper and the birds he cares for are keeping Valerie awake at night and affecting her dreams. When Valerie’s roommate returns from a trip to Europe and is suddenly murdered, Valerie can no longer temper her fears and she’s forced to deal with the police and tell them everything that has happened. Her bohemian friends, the photographer she models for, the young mask maker and the pigeon keeper all become possible suspects, but most viewers will immediately know who the killer is.

Scream and Die! has many elements of classic gialli films such as a killer who wears black leather gloves and multiple red herrings, but I don’t think the director was very interested in the mystery aspects of his film. José Ramón Larraz’s approach to the material seems to confuse audiences who expect Scream and Die! to be a typical European thriller. Instead, Larraz offers observant audiences plenty of visual and verbal clues as to who the murderer is early on in the movie. Larraz has never seemed to care much for straightforward narratives so there’s no reason to expect typical storytelling here. It’s obvious the director is much more intent on exploring various themes about voyeurism and identity with Scream… and Die! instead of offering up simple thrills.

The film is filled with many telling visual motifs, including countless shots of people peering through windows and cameras that bring to mind Hitchcock’s Rear Window (1954). As a model, Valerie is constantly the subject of voyeurism from the photographer who takes her photos, the audience who watches her primp and pose and finally the director himself. Larraz clearly enjoys photographing his star and his camera spends a lot of time focused on her. As we watch her undress, take baths and simply drink a cup of coffee in her flat, it’s almost impossible to not feel like a “peeping Tom” yourself while watching the film. Like Rear Window, an obvious streak of paranoia also runs through Scream… and Die!. Early in the film Valerie questions if she really witnessed a murder and as the film progresses she becomes more and more weary of everyone around her.

Many critics complain about the nudity in Lazrraz’s films and Scream… and Die! does contain nudity, but I personally don’t find it gratuitous at all. As I mentioned above, Larraz’s camera clearly enjoys photographing the film’s female star Andrea Allan, but her casual nudity in the movie is never very explicit and the mildly graphic sex scene in the film is more disturbing than erotic in my opinion. The scene in question has gotten a somewhat notorious reputation over the years when it’s mentioned in various horror books and publications and has even been called “Larraz’s most explicit sojourn into sordid sexual depths.” It involves the charming young mask maker Paul and his much older Aunt in a passionate, but deeply troubling sexual encounter. As I mentioned above, it’s clear that they’re relationship is incestuous and the sex scene perfectly conveys the domineering sexual power that Paul’s’ Aunt has over him.

Paul is played wonderfully by the talented British actor Karl Lanchbury who was a regular in some of Larraz’s early films including Whirlpool (1970), Deviation (1971) and Vampyres (1974). He’s really terrific in Scream… and Die! but he isn’t given enough to do in the film, even though he makes the most of his limited screen time. I wish the director had used Karl Lanchbury more, but Larraz always appeared more interested in his female stars and the male actors in his films are often given secondary roles. Andrea Allan is also very good as Valerie, but she’s a little too reserved at times and doesn’t always seem fully committed to her role.

The film credits make it easy for audiences to assume that Scream… and Die! is a British production, but the movie was actually a Spanish/British co-production. Larraz shot most of the film in Britain, but some of it was also shot in Spain. The director seemed to really enjoy making films in England and many of his best movies make great use of the British countryside and isolated country estates, which lends them a gothic atmosphere.

The script for Scream… and Die! was written by Derek Ford who often worked with the talented horror director Robert Hartford-Davis in the sixties. Ford was also a director in his own right and he made many British sexploitation films in the seventies before and after working on Scream… and Die! This film is definitely different from Ford’s other work and I’m sure that Larraz must have been involved in the writing as well as the direction of the film. One aspect of Scream… and Die! that I really enjoy is the creepy soundtrack by composer Terry Warr, which adds considerable depth and an eerie mood to the film. Warr had worked with Derek Ford before on some sex comedies, but surprisingly this seems to be the first and last time he ever composed music for a horror film.

I wish I could recommend the new Jef DVD of Scream… and Die! but it appears to be a copy of the old video transfer. The film is extremely dark and it’s hard to make out what’s happening sometimes, which can be a little confusing. Hopefully a company like Severin will release Scream… and Die! on DVD in the future. I would love to see a restored widescreen print of the movie made available.

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Seven Nights of Hitchcock

by Kimberly Lindbergs | September 18, 2007

Categories | News, Rants & Raves, Directors, Alfred Hitchcock, Thrillers

Alfred Hitchcock on the set of Frenzy, 1971

I only have access to what we call “Standard Basic Cable” TV in the San Francisco Bay Area so I don’t watch a lot of television because there isn’t a lot to watch. The only semi-24-movie channel I get is AMC and this week they’re offering viewers a spectacular Seven Nights of Hitchcock. Since Hitch is one of my favorite directors I couldn’t be happier. I’ve decided to try and spend my evenings this week getting re-acquainted with a lot of his films since many of my favorites are included in the great line-up AMC has scheduled.

Last night I watched The Birds and Rope again. I’ve seen both films countless times but I never get tired of them. The suspense Hitchcock conjures up in Rope is just unbearable at times and the script has an incredible rhythm that I always find really mesmerizing. It’s the perfect example of “less can be more” when it comes to great filmmaking. John Dall, Farley Granger and James Stewart are all really terrific and together they seem to make up some kind of perfect unholy trinity that always astonishes me. Rope also has one of my all-time favorite Hitchcock film endings. I always get chills when Stewart turns his back to the camera and red lights flicker and fill up the small apartment as sirens are heard in the distance.

As for The Birds, I love the ambiguous story and the way it plays out. Tippi Hedren is terrific in it and I’ve always thought she was an underrated actress. Like most of Hitchcock’s films, Rope and The Birds are both loaded with sexual innuendos and an uneasy eroticism that really appeals to me.

Publicity shots from The Birds (1963) and Psycho (1960)

Hopefully I’ll find the time to write-up a few more thoughts on some of his films in the future, but in the meantime here’s a list of my personal Top 15 Favorite Hitchcock Films. I was only going to post a Top 5, but Hitch deserved better than a measly Top 5 so I’m sharing my Top 15 Hitchcock Films instead (the numerical order isn’t significant).

1. Shadow of a Doubt (1943)
2. Rope (1948)
3. Psycho (1960)
4. Spellbound (1945)
5. The Birds (1963)
6. Vertigo (1958)
7. Rebecca (1940)
8. Marnie (1964)
9. North by Northwest (1959)
10. Strangers on a Train (1951)
11. Dial M for Murder (1954)
12. Frenzy (1972)
13. Foreign Correspondent (1940)
14. The Man Who Knew Too Much (1934)
15. The Trouble with Harry (1955)

Honorable Mention (aka - bonus title!): Rear Window (1954)

Is anyone else enjoying AMC’s Seven Nights of Hitchcock as much as I am? Feel free to share your own list of Top 5 or Top 15 Favorite Hitchcock films below if you’re so inclined.

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