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#Patrick Magee
sacredwhores · 1 day
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Stanley Kubrick - Barry Lyndon (1975)
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pedroam-bang · 1 year
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Barry Lyndon (1975)
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weirdlookindog · 8 months
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The Fiend (1972)
AKA Beware of the Brethren, Beware My Brethren
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ozu-teapot · 6 months
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Blood Bath | Jack Hill / Stephanie Rothman | 1966
Lori Saunders, and an uncredited Patrick Magee
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closetofcuriosities · 17 days
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A Clockwork Orange - 1971 - Dir. Stanley Kubrick
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edwordsmyth · 9 months
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The Birthday Party, William Friedkin (1968)
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crumbargento · 1 year
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A Clockwork Orange - Stanley Kubrick - 1971 - UK/USA
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suspiria76 · 1 year
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THE BLACK CAT
Italy
1981
Directed by Lucio Fulci
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fourorfivemovements · 11 months
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Films Watched in 2023:
52.  Les Sœurs Brontë/The Brontë Sisters (1979) - Dir. André Téchiné
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orangeutopiabyronnie · 6 months
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weirdlookindog · 11 months
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And Now the Screaming Starts! (1973)
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movie--posters · 1 year
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closetofcuriosities · 2 months
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A Clockwork Orange - 1971 - Dir. Stanley Kubrick
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The Masque of the Red Death
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Roger Corman’s early films often achieved a kind of dime-store surrealism, mainly because his low budgets required him to recycle shots from other films and even within the same film (see the chase scene in his neglected NOT OF THIS EARTH from 1957). With the larger budgets accorded his Poe adaptations, he started moving in the direction of genuine surrealism, which reached its apotheosis in THE MASQUE OF THE RED DEATH (1964, Criterion through month’s end). Shooting in England gave him access to British film subsidies, which increased his budget, and sets from the recently completed BECKETT (1964), redressed by Daniel Haller to make this one of the most sumptuous of Corman’s films. The screenplay by Charles Beaumont and R. Wright Campbell pads Poe’s slender story by making Prince Prospero (Vincent Price) a satanist with a jealous mistress (Hazel Court) and a yen to corrupt innocent peasant girl Jane Asher. The film also has a subplot based on Poe’s “Hop-Frog,” with court jester Skip Martin (a really marvelous actor) seeking revenge when courtier Patrick Magee mistreats Martin’s girlfriend. There are flaws. Asher’s innocence is nowhere near as charismatic as Price’s corruption, and the then 17-year-old actress doesn’t know what to make of pious lines that thud in the midst of Price and Court’s more acerbic dialog. She’s the Christian turd in their Satanic punchbowl. And the costumer should have paid attention to the number of times Price forbids his guests to wear red to the big masquerade at the end. It doesn’t make a lot of sense for him to be upset at the mysterious figure wearing red (John Westbrook, though it’s rumored his lines were dubbed by Christopher Lee) when you can see three or four partyers around him in the same color. But Price wisely underplays his lines (because Magee is doing enough acting for two, even though he presumably only got one paycheck), and it’s worth the price of admission just to hear the way he says “Christian.” There are two eerie dream scenes, and the climactic masque, with dancers in slow motion surrounding Price, is a surrealistic delight. Some may complain that the ending cribs too obviously from Ingmar Bergman, but I find the image of the Red Death playing cards with a little girl more of an homage. Corman’s film may not be as iconic as the Bergman, but it sure is entertaining.
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