Dr. Pyckle and Mr. Pryde

Dr. Pyckle and Mr. Pryde, it might have been Italy but it wasn't

Dr. Pyckle and Mr. Pryde

I’ve always been weary of the genre mix of comedy and horror, but that is probably because of my dislike of the Scream franchise.

Yesterday, I find this[1] intertitle and I thought it was hilarious.

A word on intertitles

Since silent films had no synchronized sound for dialogue, onscreen intertitles were used to narrate story points, present key dialogue and sometimes even comment on the action for the cinema audience. The title writer became a key professional in silent film and was often separate from the scenario writer who created the story. Intertitles (or titles as they were generally called at the time) often became graphic elements themselves, featuring illustrations or abstract decorations that commented on the action of the film or enhanced its atmosphere.

In the silent film era, films were as much a literary as a filmic medium. I’m quite sure you could ‘watch’ the film by reading the intertitles.

Coming back to Dr. Pyckle and Mr. Pryde, I find the humour in sentences such as “England in the 19th century was not all that it might have been — It might have been Italy but wasn’t,” and “We squirm under the tumult of Good and Evil ever — warring within us, yet were Science to separate them, Bad would flourish. Crime run riot — even Saxophone players would be tolerated,”[3] quite refreshing for 1925, when this film was released. We sometimes think that Monty Python started this kind of absurd humor, but clearly that is a mistake. To my knowledge the earliest modern instance of this kind of humor is Alfred Jarry‘s Ubu Roi, and going further back in the history of derision there is Rabelais and even before that there is the Facetiae by Poggio.

Dr. Pyckle and Mr. Pryde is World Cinema Classic #73.

P. S. Another fave intertitle is this one[2] from Caligari, used to dramatic effect in that film.

Dr. Pyckle and Mr. Pryde

The time is short, you die at dawn

Dr. Pyckle and Mr. Pryde, it might have been Italy but it wasn't

Introducing Moviedrome

Alex Cox was responsible for a substantial part of my 1980s and 1990s film education with his show Moviedrome on BBC television.

That, I wrote a year ago, when I found  the Laura Gemser interview from the Alex Cox documentary “A Hard Look”

Last week, I find the very first introduction of the very first broadcast of the cult television programme on cult films.

[Youtube=http://www.youtube.com/watch?v=K8IGJjukTzc]

Moviedrome (first broadcast, May 8th, 1988)

The first film was The Wicker Man. To my knowledge, the transcripts of the introductions by Cox were not published. I do suggest that any serious film student would “read” them from start to finish. I wish I could.

Update:

Maybe there is a way to find the missing texts. Cox has just published an autobiography so it seems.

Has anyone read this?


X Films: True Confessions of a Radical Filmmaker (2008) [Amazon.com]

[FR] [DE] [UK]

I am the Dying Gaul

The Dying Gaul

I am the Dying Gaul

This is my death scene, I was not given a deathbed. I do not represent the most famous death scene. I am outdeathed by Jesus Christ who died on the cross and Jean-Paul Marat , both after me.

I seem to have been born in a culture of death, yet I was not given any last words. This fascination with death in Western culture. Why? Why so pervasive?

Why did Jane write A Death-Scene?

So I knew that he was dying-
Stooped, and raised his languid head;
Felt no breath, and heard no sighing,
So I knew that he was dead.

Why this fasicnation with crime scenes?

Why did Andy Warhol produce The Death and Disaster paintings?

And why is every sensationalist  corner of video-libraries around the world filled with copies of Faces of Death?

[Youtube=http://www.youtube.com/watch?v=Q5GDcs8i2ng&]

Bonnie and Clyde

Why do we enjoy the slow motion death of Bonnie and Clyde and countles other movie death scenes?

Aristotle, had I known him, would have answered me:

Objects which in themselves we view with pain, we delight to contemplate when reproduced with minute fidelity: such as the forms of the most ignoble animals and of dead bodies.Aristotle via the Poetics.

RIP Forrest J. Ackerman (1916 – 2008)

Famous Monsters Of Filmland by modern_fred

Famous Monsters of Filmland

Forrest J Ackerman (November 24, 1916December 4, 2008) was an American collector of science fiction books and movie memorabilia and a science fiction fan. Ackerman was influential to the wider cultural acceptance of science fiction as a literary, art and film genre. To a general audience, Ackerman is best remembered as the editor-writer of the magazine Famous Monsters of Filmland, as the producer of Vampirella, and as literary agent.

Vampirella magazine (France, 01/1970), published by Publicness
image sourced here.

Most of us have a passing interest in horror. In his Ways of Hearing book presentation, David Toop revealed that he discovered the Price, Corman and Poe-connection (the connection between 19th century literary horror to 20th century cinematic horror) via Famous Monsters of Filmland.

Bernini @410

Gian Lorenzo Bernini @410

Persephone by Bernini

Pushing against Pluto’s face Proserpina‘s hand creases his skin,

Persephone by Bernini detail

while his fingers sink into the flesh of his victim.

Giovanni Lorenzo Bernini (December 7, 1598 – November 28, 1680) was a Italian sculptor and architect of 17th century Rome, best-known for his marble sculptures the Ecstasy of St Theresa[1] and the Beata Ludovica Albertoni[2].

Update: The Rape of Proserpina, the Ecstasy of St Theresa[1] and the Beata Ludovica Albertoni[2] are Icons of erotic art #35, 36  and 37.

Life is a gift

Famous last words

Let me tell you about life

Mother with child by Joos van Cleve

Life is

Joos van Cleve Flower (detail)

A gift

Virgin Mary by Joos van CleveMaster of the Death of the Virgin (usually identified with Joos van Cleve),

But it takes a lot of tending and pruning

Lucrezia by Joos_van_Cleve

Sometimes to the point of exasperation

Last Supper by Joos van Cleve

And always consider

The Death of Marat by Jacques-Louis David (1793)

That death is not the end.

Baldassare Castiglione @530

The Book of the Courtier (1528) – Baldassare Castiglione

Baldassare Castiglione (1478 – 1529) was an Italian diplomat and author, best-known for his book on etiquette, The Book of the Courtier, which came to play a role in the 20th century aesthetics of cool* by having defined the concept of sprezzatura, “a certain nonchalance, so as to conceal all art and make whatever one does or says appear to be without effort and almost without any thought about it”. To this day, the Book of the Courtier remains the definitive account of Renaissance court life.

La Cortegiana by Aretino

The Works of Aretino by Samuel Putnam, illustrations by Franz von Bayros

Pietro Aretino‘s (1492 – 1556) La cortigiana is a parody of The Book of the Courtier. Like in so many of Aretino’s books, it gives center stage to a woman rather than a man (courtier is the male form of cortigiana, cortigiana entered French as courtesan and was later appropriated by the English language).

From a Jahsonic point of view La cortigiana deserves just as much attention as The Book of the Courtier.

Le notti peccaminose di Pietro l'Aretino

Le notti peccaminose di Pietro l’Aretino

La cortigiana focuses on the romantic and erotic aspects of Renaissance life, a sensibility explored in the 1970s in the Italian film genre decamerotico, a subgenre of the commedia erotica all’italiana. Notable in this respect is Pasolini’s Trilogy of Life (The Decameron, The Canterbury Tales and Arabian Nights); but more so with regards to Aretino the Italian film Le notti peccaminose di Pietro l’Aretino[1], starring Adriana Asti and Elena Veronese.

While researching La cortegiana, I came across this sublime photo [2] of a female with an hourglass shaped body.

Cool Rules: Anatomy of an Attitude (2000) – Dick Pountain, David Robins [Amazon.com] [FR] [DE] [UK]

*”The aesthetics of cool were most successfully documented” in Cool Rules: Anatomy of an Attitude. –Sholem Stein

RIP Jim Cawthorn (1929 – 2008)

RIP Jim Cawthorn (19292008) (via John Coulthart [1])

The Metal Monster (1962) by Jim Cawthorn, 1929–2008 by you.

The Metal Monster (1962) by Jim Cawthorn

Jim Cawthorn (19292008) was a British illustrator, comics artist and fantasy historian. Cawthorn was the first illustrator employed by Savoy Books in the early 1980s. Cawthorn was Michael Moorcock’s illustrator of choice for many years and was involved with the Moorcock-edited run of New Worlds right from the start with his cover illustrating J. G. Ballard’s “Equinox” story. He also provided reviews for New Worlds, and edited Fantasy: The 100 Best Books[1] with Moorcock.