HarryLong

>One report I read said the girl was off camera and recording as Annie spoke the lines, but another report said that Hitchcock used the ?loop? method and recorded the girl?s English voice later and edited it into the film. I'm pretty sure it was the former: that another woman off-camera but on-mike spoke the lines that Ondra mouthed. This was very early in the sound period for Britain (hell, wasn't Hitch's film THE first British talkie?) & I don't think the looping technology (or even dubbing of any kind) had been perfected.

>PS Notice thread locks recently? They're Voltron's specialty, apparently.

>In any case, this is the first un-nailed crucifiction I've ever seen. Nor encountered the term Entr'acte... You need to get out more.

Seeing as how the film carefully detailed Christ's pumishment but none of his message, I think this film can only be described as Torture Porn for the faithful.

>?well, you don?t like my movies because you only want to see Disney animation.? Yeah he doesn't seem to grasp that some people don't like his films just because they don't like his films, not because they prefer Disney animation. I did like the work from his MIGHTY MOUSE stint, but I find his features rather simplistically written & cliched.

Olives in apricot brandy??????? Gaaaaaaaaaaaaag!

There seems to be little rhyme or reason at Universal (or so many other companies for that matter). Both UNINVITED and ISLAND were out on VHS (in fact my DVDR of UNINVITED is from the pre-record) and ISLAND, at least, is one of the most-wanted Golden-Age, Pre-Code horrors. But the Big U just drags its feet on issuing it. Now, I'm not under any illusion that it will sell better than the Ultimate Directors Cut Edition of whatever the latest Adam Sandler time-waster is ... old movies are difinitely a niche market, but it's a pretty large one. And of course the classic horror market is a niche within that niche. But ISLAND and I dare say THE UNIVITED are well-liked even by classic film lovers who are not necessarily horror fans. My guess is that releases of them would do well & if the Paramount Horrors were "boxed" in the same cheap manner as Universal's Hammer and Lugosi and Inner Sanctum sets (good lord! Inner Sanctum titles get released before ISLAND or UNINVITED!), they'd show a profit. Universal should look toward the sales of things like the Fox Horror sets and watch how their own Pre-Code set goes. Heaven knows if they will, though.

>I remember being very surprised at how handsome Victor Jory was in the picture Must be the makeup or lighting or something. I recently watched the serial THE GREEN ARCHER, which was made thesame year as GWTW & Jory is the hero. He looks perfectly acceptable.

Very ticked off that I forgot this was on & so neglected to record it. Dieterle really is one of the more interesting that directors that, it seems, no one ever thinks of. I've been dubbing as many of his films as I can from TCM toward doing my own re-evaluation. Maybe now that Borzage has been rediscovered, Dieterle will be next. He deserves it.

Universal ought to be horsewhipped for not releasing a whole slew of great Paramount titles. What about ISLAND OF LOST SOULS and THE MONSTER AND THE GIRL, for instance? Why not a set like they (finally) did with their Hammer holdings ...

Having the characters ruminate philosophically from time to time seems like an effort by the screenwriter (Wolf Mankowitz) to make it more than just a horror film. In fact his disdain for the genre just permeates the script & pretty much sinks it.

Any idea which ending CREEPS will have? Or will it include both?

Also hard pressed to pick just one. FIRST MEN IN THE MOON probably has the best script, courtesy of Nigel Kneale & the best cast (no clunky third-rate actors here) & the animation sequences are well-integrated into the film (too many RH films feel like they're marking time until the next Dynamation sequence), but there aren't many of them. Great score by Laurie (THE AVENGERS) Johnson. JASON probably has the most impressive technical work (all those skeletons & that multi-headed Hydra must have been a **** to create) and mostly a good cast. It has one of my favorite dialogue exhanges from any movie, where Zeus and Hera discuss how mankind will outgrow their need for the gods, who will then cease to exist. Zeus asks her, "You know this and yet you stay with me?" Great Bernard Herrmann score. But 7THVOYAGE OF SINBAD has the coolest creatures & a kick-**** score by Herrmann. It brings out the teenager in me.

>Tom Conway, Paul Dubov, Victor Varconi, and Dick Foran watch their careers sink. Oh, like these guys actually had careers befor this picture ...

Only underwater zombies from the 1950s is ZOMBIES OF MORA TAU (I think I've spelled that right). But the bit about Nazis sounds more like SHOCK WAVES (a terrific little chiller).

They homosocial community may not have bandied it about publicly, the the term "gay" was code dating at least back to Oscar Wilde's time. Cary certainly would have known it & no doubt Hawks & his writers were hep to it.

>Funny thing is, that's not the ending I remember. Yeah, that's not the one I was taught in ninth grade, either. But Dickens did write several endings in an attempt to find a satisfactory one ...

>gained so much meaning in recent years< Maybe to the wider public, but it meant exactly the same thing back then.

>the message underneath it all is anti curiosity< One thing that has diminished my ability to appreciate this film as I got older is that it was made by a group of people who all moved away from home to seek (& found) their fortunes in Hollywood & they're all telling us to stay put in our own back yard ... Hmmmn ....

What a horrible thing to wish on even Ingrid Pitt. But take a look ay any picture of Ann Coulter ... Now take a look at a picture of The Giant Mantis ... I'm just sayin': Has anyone ever seen them in the same place at the same time?

Well, it'll make them look, I suppose ...

>>Her husband was having an affair with an axe?<< It sounded more interesting when he was having the affair with a jackhammer -- it's the romantic in me, I guess.

>>Whit Bissell, who apparently was in every film ever made<< Only in the 1950s. He took over harry Davenport's contract ...

And there's not enough meat on Ann Coulter's bones ...

>>Woody, of course, was originally discussing the location of the Louvre, which may have wandered all over Europe, depending on whatever girl Woody was trying to win.<< I have no idea why, but when I read that, I flashed on Edgar Ulmer's BLUEBEARD where the Eiffel Tower is visible in the background of every single exterior scene or any interior with a window. >>I think "overwork" is probably it, although I read in an article somewhere, possibly Filmfax or Scarlet Street or Cult Movies (can't recall) that the change of locale from New England to the bayous for THE MUMMY's CURSE was done intentionally<< I'm a long-time reader of (& sometime contributor) to FF & SS, I suspect it might've been in CULT MOVIES...