There's something about seventies horror that reminds me of live theatre, actually. The sets and costumes are often cheap, and when it comes to period pieces, more 'inspired by' than accurate; the makeup is big and visible; even when the effects are really good, the blood is usually unnaturally red. The acting tends toward the broad and stagey.
And yet, it's also clear that realism is not the goal. Rather, the movie works to draw you in to a unified fiction, to get you to share in its nightmare. The best seventies horror I've seen has a dreamlike, Vaseline-lensed quality, a sense that it doesn't matter whether or not everything that happens in the movie is likely or even possible in real life. We've stepped outside of real life into a self-contained bubble with its own logic and its own sense, a dark fairy tale where the corpses of young girls might transmute into hares or eternally hungry floating heads, or the night of All Hallows might summon a stalking, unkillable masked evil from the past, or a ballet studio might be entirely controlled by witches. Even the lowest-budget, most exploitative Hammer flicks don't escape the touch of that dreaminess, that velvety, enfolding unreality. The movie suggests a world, and we, if we are wise, gladly succumb to the power of that suggestion.
edit of that one american psycho picture that's been living in my head rent-free for months
hi sorry s'cuse me but were NONE OF YOU GOING TO TELL ME ABOUT BLACK BOOKS OF HOURS???
LOOK AT THIS MAGNIFICENT GOTH-ASS SHIT
EGADDDDDDD
THE IRON-COPPER SOLUTION USED TO DYE THE PAGES WAS SO CORROSIVE THAT THERE ARE VERY FEW SURVIVING EXAMPLES
THESE BOOKS WERE LITERALLY TOO METAL TO LIVE
i can't
Phantom of the Paradise Out of Touch THURSDAY
completely enamoured with this thread
Carrie is such a good tragedy cause. It was already too late from the beginning. Even if the love was there. That teacher? She fucking loved that girl. The girl who had her bf take Carrie to prom? Sure she was a dick at first but she really did wanna help. Even the bf seemed to really enjoy himself.
But it doesn’t matter cause the problem is at home. Carries mother is insanely abusive and manipulative towards her, keeping her unaware, childish and afraid. The teachers and principals are aware of this, but as of the 70s and Carrie almost being an adult they didn’t do anything. And that’s the tragedy.
If someone stepped in before, took her away from her mother, had her live a normal life without the Christian guilt, this wouldn’t have happened.
It’s her mother, after all, who tells her they will all laugh at her.
Even when they weren’t. Save for a few, the laughing Carrie hears is a hallucination. Everyone seems quite awestruck and sad. They were happy for her for a moment. Everything was okay for a moment.
But it wasn’t enough. The love was there but it was too late. Carrie is long past her breaking point. The girl she wanted to be, was so desperate to be, has already had her light snuffed out by her mother. Carrie White the monster burned with her mother that night, but Carrie White the girl died on that stage.
just gonna plug this fan restoration here - dr. saperstein restores a lot of original footage and uncensors those ugly bird mattes throughout the film, which were edited in last-minute to conceal any trace of the "Swan Song" label (of which Death Records is a subsidiary), as the copyright for Swan Song Records was nabbed by Led Zeppelin a mere five months before the film's release.
The restoration itself has some video editing/color grading issues but they're not too hard to get past
you can read more about the whole debacle here
phantom of the paradise for free on the internet archive my love
Phantom of the paradise songs as album covers part 3 !!
Klaatu was a Canadian rock group formed in 1973. They named themselves after an ambassador, Klaatu, from an extraterrestrial confederation who visits Earth with his companion robot Gort in the film The Day the Earth Stood Still. In Canada, the band is remembered for several hits, including "California Jam" (1974), "Calling Occupants of Interplanetary Craft" (1976) and "Knee Deep in Love" (1980). Internationally, the group's pop-influenced style of progressive rock has led to them being known as the "Canadian Beatles".
In 1977, a rumour started that Klaatu's 1976 debut studio album 3:47 EST could actually be a release by a secretly reunited Beatles recording under a pseudonym. These rumours were fueled by a number of factors, including the fact that their album was released by Capitol Records (also the Beatles' label in North America), the lack of artist and producer credits or photographs in the album packaging, Klaatu's avoidance of public performances, and the fact that the group's vocal and musical style was reminiscent of the Beatles. Capitol Records tried to make as much of the rumours as possible, by issuing ambiguously worded statements that failed to make the band's identity entirely clear.
Hope is Klaatu's second studio album and their first concept album. Released in September 1977, it won a Juno Award for Best Engineered Album and a Canadian Music Critics award for Best Album that same year. The album follows the loose concept of space travelers visiting a distant planet. An alternate version of Hope was released in 2005 as part of the group's Sun Set collection of rarities. The alternate version on Sun Set includes the complete contributions of the London Symphony Orchestra, which had largely been removed from the original version. Hope was remastered and re-issued in 2012 by the band's members, and was released on the band's independent record label Klaatunes.
"We're Off You Know" received a total of 67,3% yes votes!