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 Mr. D'A|;1111111111, 1111- m1cvn1h 111Ic
should he THE ENCHANTED COTTAGE
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TAGE 11.15 11-.1d1- 51111111-11 .11 1111- Panluges
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TERRY WITMER
Bux 835, M1l\'_~lmr\Z. PA 16851!

ORIENTAL FANTASY
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OF HNTASY FILM
ANIMATION
byMc1rk Wolf
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DERFUL WORLD OF THE BROTHERS GRIMM. Thrriv |)\.I]I|)l*I.~‘ \\'c1*1~ I111! 1111])‘ .u1i111;1I1-(I, Inn ;|I.~'11
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iii lli\'XX‘
l‘l1Xll|l\I.~ll(' lli<' 4‘iIl\l|)1i|\|‘lll l'l4‘li\l'|i\.\ i'l\.|l\L{|‘
i-i-Liiii-ii.-iiip ll'KIlXl ll'>lIIi\' in ii-.inii~. .iiiii iiii- in.iiii-
.inii ('Ii\ll\ll‘l‘-Ill-Ill!‘ .ii-i- K|\'>'lQll\ ll in .|llKI\\' .\Ul'lI
[l'l'\'(llll\l iif iiiiivi-iiii-iil. 'l'i'.i\'i-llim: iii.ili\~.~ .||‘l‘ .il-
iiin.~i \‘Xl‘lLl.“4|\‘\‘l\' |ll'l!|lUl'|'(l III .ni l1]llH'.ll |H‘llll\‘l‘.
\\‘llll(' .-i.iiii- iii.iiii».~ I‘.lll i-i- l‘Iil\>ll'U|'lI'(| Ill |\\l|I\\‘l‘-
iiu.- w>|\~_<
on.» i'IiI!\|liIiIl l|'(’l\ll|([\Xl' hi!‘ .~i.iii.- |X\.llll'|lIl>|i1\‘
l'l‘|llill‘l‘1X\<'|\l ('lI\]lllI\>' iiii- lill\‘|l\_\ ill .i l\\.|llI' .|l‘ll.~l
.|li!l .iii .|l'| l.ll |l\I.lL1l' illlllliillllill slilliil. 'i"iii- |il'llli-\!‘v\'
l'iilll|RIlll'lll§~ Ill llll‘ .ii-i-i.il l|Il.|£l' Jlllllbllllill 5|-lliil
.lX‘\‘ .i |)l‘iIi‘\'>§ .iiiiiii.iiiiiii l'illH\ ixi. _~ii|ipiii-i i'||lUllllI>
liir ilii- i'.ll\\l'X‘.| i-.ii'i'i.iui-. .i viiiiii-i»I iiiiii. l|ii- .iii|-
lllilllllll |'ulIl|)I1\llI(l. .i _~])\'i'li|l.l4'l'l-ll ll\\-l\Zl-|i|'Hl\'il-
II!‘ \lI\(l\'|'l\l'illl\. .iiii| .i lXL'lllll\iI .~i.~ii-in ii»i~ i|n- lllkl>
llllllillllill -.i ]\.|ll\ll'll (\'l_\. 4-\ ]Il'l1l|'.\> .|X\Il!l.|l|Iili
I‘i\X\i¢'l‘.l |.\ l'(|\||]1|I\'(l \\'Illl .i ship-llliilliili |\lIIlI>I', .i
\'.ii'i.iIil<~ _\llUlll‘l'. .iiiil i> illlll‘ Iii .i<-ii~|ii .\llliLl\' Ill‘
(|liUlIll' Ii-.iii_~ iii llllll fiiiiniiii- ii-.iii.~ .ll'\' ll?!’ --pi-r.i»
llllllh l‘.|ll('ll "Iii-|i.ii'k" \\'l\ll‘lI \\'lll hi- (|l.\l’iL\.~l'(| |.i-
\('|‘l. Sin-ii .i i-.iiiii-i-.i li.i.~ -i |nl~-i-iiiii !‘l'\_'I.\lX‘.llIIYll
.-\ l'll'.|l' .lI‘4l>A\I l‘l'l LN |]l.|\'l'(l <ii-i-i- iii(~i~i-iidi-ii-
SUI‘ l1-ii.~i'.~ iii llll‘ piiiiil iil llii- lIvi’\1,\l'{| |iii.iL:\- >l“d is
ll(‘l¢l iii |il.i<-i- l)\' i'i-uisliziliiiii pi-i'_-li.ii".~. Tllt‘ priv-
]\'('l\'(l |lil>|£\' i-.iii |\I1\h' iii- >l'l'I\ llll'lIlli'_ll uni i'l'l. .inu
.iiii»i- ii l\.l:i ll\'\‘ll (ll'i'|l|l‘ll ii-ii.ii l|il'l\l \l\\‘ ]i;\Ill'!l
l‘l\‘lH\'Ill .\l\.|ll iniii-, iiio iiiiiiily Sl(|ll('ll iii.iiii~ -iriisl
ll('ll'l'1lI|l\l':~ l\l> iii.iiii- liiws liy lii1li!l\' ll‘-IPXIIC i|i(~ir
l‘iI|ll|iL\1l'illlI1|lKill llll‘ i'\‘l. TlH' -l('\Uill |)lll|l\llI\l --I Hit‘
i~i-i i~.iii |\I|\\‘ l.lkl' pi.ii»i-_ i-iiiii-i- ll“ i1ii- .iiiiin.iiiiiii
.\l.|l\(l i-i-iiipi-iiiiil lVl' i-l.~i-wiii-ri- iii ilii~ lllillll iiilliiw-
iii»; llii l‘l||llliIUl‘.|l|Hll.\ -.i lliv |)l"l'\‘li|\J.\l_\‘ lri\i‘[‘d
iii.iiii- lllhks. T|ii- |!l.|ll(' .\ll|$\ i-.iii i-i-ii-r l|i|(‘k iii
ll\\ |!X'|>|i'i‘\t‘ll iiii.n;i- \\‘lll'I\l'\'l'I‘ iii- (l|‘.\|l'l'_\ lH'l‘.\U_\l‘
iiii ])Y'{'-hil\‘F k\‘l']\ iiii- l'l'l in |)l'l‘l|'l’( .ilii;iiiiii»iii.
pi-i-\-i-iiiiiii; ii ii-i-iii l'l\.lllLZllHL il.~ .iIi-i».i<|v \'§l.|l)ll>ll-
MI i-iiiiI|uui'.iliiiii.~. Thi- p.||Iill‘(l l'l\‘H\l‘l\l.\ iiius! be
<--.i..i--in-i-i---~i. \'-\l""'lilll\ if ili--i Iil-WI mi“ -~"i<'
|\|il'llii|l iii ihi- |]l\lil<iill'.l|>llll' \‘ll‘|Hl'l\l. illlil iiiu.~i ox-
iiiini ]ll'ii|]l‘l' .\ll.|(lI|‘.\'|lil1.l|\(l|ll'I'>|)\'\‘lX\’l' |l\Ii|'(l4'l‘\lI
ill‘llll'\'l' .i i-i~.iii.~iii- l!i.ll‘l'l-l‘.Zl' \\'illill\l' ])liIilIvi!l'~l|3lI—
H’ i»Ii-iiii-iii.
Oiii-i- iiii- p.iiiiii-ii I'l'l I_\ l'ii|l\|)l(‘l['(l. ii I5 !'lllX!.ll_\'
.llllX|‘(l ll\'l‘X‘ llll‘ l‘lil\(ll‘l\.\’('l‘ l(-iisos, \lii- |}l'Ii]\'I'llIl‘
i.~ lUl‘ll\'(l iiii, ;iiii| iin- l‘|>|]\|l|U|\d is lllU1Illl\-lli‘l| ii»

-1- Iniaiie l'l‘|1lJ('l‘|‘|ll'I\l ii-i-iiiiiqui-.~ .ii-e usualli (‘£ll‘-

rlcd Ulll iii J \\‘('ll-(‘(‘|lll])|)['{l |1l"Ul("3Sli1I\lllllll‘ll i-i-
[EH5 iiinmiiiiry U5llli1 pr(‘i‘i5ml'\ lv|)ll(‘;\l nni-ii-i-S,
Tiivsu ii-ciiiiiqiics iill runsisi in ciiiicr Slillll‘ I¥l'
ll\'l‘ll|I\)1l\iilll[‘ wurk. A slaitir niuiin is iiiic WllIl‘ll
obsruros ll 5l£llli\I\lll")' )'KJI‘llUn Ul ll i~.iiiii-r.i iii-u.i-
live Su l\!\U\l![‘I‘ (‘l(‘7ii[\ril (‘J11 lit‘ iianm lu Hit’ lll\l‘X-
posed area, A slulir‘ niaiie has rnnipunoiii (-10-
menl." wliirh du mil l‘l1ilI1|1§‘ in their rt-‘lilliiirmliiii
from lrzime lu ll"1\l'I\9. Fur 9X;\I|\plP, L\ slziiir
mziiie niighi l‘lII1$i>‘l iii Sllll-' réill huildinus ii.
which llio [up 5\l|l'I(‘S ziiid sky l\£l\'[‘ l)l‘(‘l! .id(|i-(L
Tiio airiiiiii in such ii Sl‘(‘Il(‘ K‘Ul'll|7IlSI\(‘d usiiii: si.ii-
ic i'li&ll\t'5 niusi he (‘unlined wiiiiin Hl‘ purl 1lllll\'
mallc ur ihc ullwr. ll is niil ])O5SIl)l(‘ liir us, i.ik-
iniz an cxaniplt‘ lrum MYSTERIOUS ISLAND‘ ll!
wulrh ihc hiinic—m;ide olevailor ZlS('EI‘|d the (‘lllll‘(‘
dlsinnrc ll! iiiv (‘1l\‘l‘ uniranco ul Gr;iniii- iiiiuso.
becziusv ihc I‘|\LlI‘l"|(‘d eloniciiis are sliiiir .iiid
n-mild iiiii poi-niii 5Ul'l\ an lhll‘lmZP\9Iil Ill llN’ll‘
ire-Is. All {l(‘lllII\ iiiusl (Like plairv within J vi'(-ll
deiiiiea .\'|)L\(‘l‘ SKI lhill ll1(‘l'l‘ is I\ll\'l\IlllllIIII lIlll\l'
i
mill! llI1€'. U19 $l‘pilI'1lllU!\ pi-iiii l)(‘!W(‘(‘ ll\l' IWII
I
.<;. hH‘I1l, iviiii-ii iii.-iiri-.- iiiiii ]l1‘t‘('l>lKi|\ ii-iiiiiii .i llIl-
\'l'-l|\l‘l' iii Ii|ll' l\'l\-|lIIiu.\ill\&l\l\ Ill .iii ll\i‘l\. .|I\Kl Uh-
ii_.iii- IL';ilUl'('§ ll l'l'll\‘X \'ll'\I\'llll1 .\).~'l\'lH1\I\l‘l l‘lilii-
§(‘lI|)(' l.iiiipiiini.~i- (iiir .i pi~iii-i-.~.~ i-.ilii-ii "i-iiii-i_<-iqi-
mu" Iii Iii- l|lHl‘\lh'h4‘(| Liiiii-1, Tiw li-rm .|l'X‘|.|l i|ii-
Jill‘ _~iiii|ii_\ l'l‘ll'l'.\ in .iiiy iiiiiii-ii iiii.iL»i-’ii?ii'iT-iii“:
|!l'I1](‘l‘\l'il \l\l'IiUL'li llll' .iii- in 5lIlI\l' ]Iliil\l iii .\|).ll'6'.
\\'iii-ii \I§l‘ll iii X‘(‘ll‘|‘[‘l\l'\‘ [0 llll‘ .|l\Hil\lli|1 si.iiiii ii
iiii\.iii.~ llll‘ ll'i‘llIlll"|\-ll‘ iii |ii"ii;(\<-liiii; .i Iiliiii-(1 iiii.iui-
iii .\il11\l'\'IiIl(l\‘1l$('l‘ ll'l\§('§lI\‘\‘l‘ \\'lll('lli|l‘l'l~l\\'\'l'l>
1'.ll\ iii- pi.ii-i-ii iiir 5l|IlLlll.lll('lIUS l‘li|Il|)<Ih'lll' i-iii~i-i.-
|lllII|I1L‘l'il|7l\\ iii llir .ii'!vi'iirk .|l\(||lX'iI|l'1‘ll'd llI\-lL!l'-
Ti» |7l'il(lUl‘\' si.iiii- i-isuiil piiiiiiii;i-.ipiiii- l'lll‘l'l.\’
i-ii ihi- llllllllllllll siuml. ]1l’('\'lIi\lhl)' l'X|)l!>l'll .iiii1
|1l'lll'l'SS('(l liinl.ipi' (i'<iliii- iir liliirk Lint! wliilrl is
lliZld(‘(l llllh iiiu spi-i~i:ii prii;i-<-iiii- iinii. Tiii- |)l'lI-
jcrliir is liwzilcd l)(‘lU\\' .iiid in llic sidr iil ihi- .ini-
iii.iiinii Flllllplillllil Llllll is oli-i-ii-ii-.ill_v iiiii-i-ii-i~ki-d
V\'l\l1lll\' zmiiiiiiliiiii l'lll'\l(‘l'1l. The ]'1l’Ujl'l'l('(1lll‘-ll
sirikos J irimi-silvci-ed niii-riir dircriinp ii
ihriiugli iwii riiridenser lenses whivli lotus lliv
lm€l|l€. .iiir-ixiiiinu-iy B"xl0" in size. Ill J plrll
jllsl L\l)\'l' iii» lenses.
li\ill('ll ll\l‘ iiiii-ii.~ii_\ iii lllllll |7l'\'bt‘l\l in lll(‘ |7l'IY]l'('l-
\'(l |II\.|ijl'. Thu _|X'lV\'IvX‘l(, l)('llliL H))i\(|Ul', ims HUI
.|ll<i\\' ll\i' l).|l'ki1i‘i|\JIi(l llll-lL!\' ii I'li\'l'l‘§ in r(‘l'lil‘dll—
.~i-ii iniin iiii- l‘.lI\ll‘l'Rl ni-i:.iiii-i-. iwiii-i~, lli(' .ii-i i-el
is sell |ii.|lliiii:. ll lhr l\‘(‘ll7lll‘lllI1 sii (|(~.~'irl-s, ‘.ii'i-
Wiifk i~.in i»i- X'l']1l.ll'l'(l iiy .i i~ni~i-iiiiiy |)|‘('|);lfl’d
plililli viii-i-iii. Tl1\'|)llIilll IIIUSI l\ll'('l my .-=i.iii¢ird=i
iii I'('.\llSl‘|1 llllll ;iro l‘('(||.l|l‘(‘K‘l i-I nil i-iiiiipiisiic
wiirk. S||n'|[‘ ail \l\(' iiiiii'(- ealrikini; visual vlli-i'l:i in
2001: A SPACE ODYSSEY V\‘l‘|‘(' i\l‘l\|('\'l‘[l usiiii:
|llllilYi I'll!-HUIS l‘.|ll\l‘l‘ iii;in iiii- i-usii-iii.ir_i- \hl‘(‘(‘-
diiii(‘n.~=iiiii.|l iiiiidi-l.~.
A Slilll(' iii.i\ii- i~.iii lii- pi-niiiii-i<i H11 [HIS .|(‘l'Illl
iiiiliuc S)'Sll‘l\l in .iiiiiiIii-r wiiix l|L\ll'.|(ll1l p.iiiiiini:
llI(' i'\-l Wllll Z\l'l\\'4lI'k in In‘ i'iini|iiisill*d iii Illl‘ |ihii-
iiii;r;ipiiii~ iin.ii:i-, iiii- llhllll‘ .irii.-i ]).l|l\l.~ llllV$(‘
iirvzis ii! llio vol \\‘l\l1'll will l)l' l‘\'|ll.ll‘\'(l li_\ .i new
(‘ll‘m(-ril, millll‘ |>l.irk. DIH1‘ iiii.< iiiniiv l\.l§ lI(‘(‘I1
|)l‘(‘|)1ll'('(|, AI l‘llUl\l('l‘-lHilll(‘ is iii.i(lL- iivliirli isilic
l'\£‘\11\ll\'(‘ (ll iiie |1\ilH(', Hill i.~, lili|<'l£i|l’l‘-lSlII\ll\€'
llllll‘ Il|I|l\'ill’ vllnir lill ilii- riiuiili-r iiiaillc. and
\'lL'.ll' -lI'(‘ll5 H11 ll\l' Hill!!!‘ ;ippi-.ii- lVl.|l'k ii the
('\lUIl\(‘I' llhllll‘. L(‘l US Rl.\SUI'|ll' wv .ii-i» |1l'H(|\-\l‘|I‘||! J

I1
 TOP: TIN.‘ people and huurh In MYSTERIOUS IS-
LAND were Itlmed l>|i Iuriltiun. and llie \'uIC:lnu (ll
miniature) was Illmed separately and iiieh n|‘|tll‘;\I—
I)’ added tu tho II\'l- Clvtlurl IoulL\l!t'. This Shul ruuld
h;\\‘('I)EGIl |'1I"l)dl.\(‘ElIIIII)I-|1i.\(‘I€. WIIII IUI ;.\(‘l‘I;lI iih-
Llgc Clnlniiltlull illld, uslniz Irlilit |)rujm'\Iun. ul‘
any nunilier ul other ways. The niuitn lliic can be
IU\‘L\lCd IuIIuwiIl[,! Ill!‘ l‘\ll‘\‘9 III the jllllllll‘ iirhwih:
MIDDLE: One ul the |i.lIs:l Wllutl niininturv S-I\Il‘('l"§
Iruni Rn)‘ I’IJl'ryhnus[‘n'5 EARTH VS. TIIE FLY-
ING SAUCERS nllzlcks :l B-29. Thv I!-29 is rmir
projorted Inotzlgn. Whvn [tic suurcr U595 IIS l‘-l\'
il;Z£lIIlSI thv pllllk‘. Ioutuizr ill ll burning B-I7 was
sllI)stltLlIP\‘I. and the 5;llll'E‘r ilI’\II'll2Ill‘KI III §\1l‘II 1|
W3)‘ as In |Il'0S(!I\l thl‘ PIIe('t UItI1L‘ (‘!"-III IIl|\'l*l‘IIILI
{lI"U\ll'\d its Iilllllltl, II;\lII‘l)L \'i(‘IIlI\. (PI\1|tuL'ul1I‘-
tcsy II.l)' Hni-ryhuuwn) BOTTOM: Fruni BLACK
SCORPION. ;l Very I‘IlI'[‘ ('IH$l'\l|1 III III(‘ i1I;ln\ $)lill-
er Iound |l\ lilo undvrurlmlld l'L\\'(‘I‘lI in lIl0 Illni.
Ttlc model, um‘ ul three, wits tII'It1IlI.lII_\' I‘lIII-
siriimu by Willis o‘urii-h IUI‘ iliv ">)!llIrr-|lit"
T‘
5l‘I3I‘l(‘ in ICING KONG.
,_,',\:f..‘. 7 .
ll
In;_L.\ -' bl“ - nintrh the 1|(‘lIlJl! ii! ttl Iizlrkiiruuntl >'i'oli(~. The
A '
M’
‘..;
"’-' ‘AI
I2
\‘ISll;lI runllllnlng Ll mlnlzlturc volcano whlrh Is
Imlrtilng Inrttl tuxir smoke, spewing strmlnis OI
lI\uI\lL‘I'\ IL\\';l, and iiiiiiiigiiii; In i-iher sin-h \lIII1I.‘llIII\)'
pursults. WIIII ;l lire IICIIUII ritliit uI ITIIIIIII‘ tlllmilns
l‘\II\I‘|Itl hi~-iiiiiii UI1 1| Il(‘£IL‘I\ IIEIUW ii, as In Ray
I'I:l|‘r_\'Il;lll.~i1'n'>‘ MYSTERIOUS ISLAND.
Tlw niallc lochnli-ialli Ilns carefully prlintnd 1|
t‘('l SH II1&\l €\'(‘t')'ll1IIl}!£\t1l|\'('1\ K‘I3I"IllII\ Plllt Uh the
Ii\'0 2l('IIllI1 Elomvnt is I‘|ILlSI(Pd Irulll the (‘;\nlerAl's
I\I‘L!lllI\'l‘- Oll tllv rst run, lII(‘ Iivv zlrliull |2Il‘II\t‘f\l
Ilals been thrczidcd lhruuizh the undvrncntti ]!I"lljl‘(‘I
ur Illld Iillllvd Irilnl ;lI)u\'L\. Altvr llie lI\'\‘ zlrllllll
Iootutzl‘ has In-on §ur('c5sIuII)' l‘(’(‘l)l‘dl‘(I. ttlt’ ncil;l—
ll\'1- is ruwuulld I1;l('k tii the stzlrtlnp pulnt uI llll‘
§l'l'tI&‘. ltic \'\llL‘iII\li IllllIi\\1(‘ is lllrt-‘{\d(‘d II1l\I ihe
\-lI\(‘I(‘rI\(‘;\lII |1l‘ll]l‘t‘lht‘. LIIKI ll t‘Ul1I’lIl‘|‘—l’tIi\Il(‘ is
illilrd lI\'l‘t' IIII‘ l'|ltId(‘IISl‘l‘ I(‘n>‘l'.~‘. On thc SP('lIIId
rull. II\l' n1'g.lli\'(‘ I'(‘t'lIl'(I5 tho \'uIr;ln|l duini: its
thing. TI1l‘ I'I\IIIIillllt"l‘ nlllsl I\il\'C I)\‘l‘I1 Iilmcd wlth
IIIIIIIP wurk III nllnd. .\‘li1ISIll|)I'l‘\’[‘III Sninkr: II'0I\!
l‘I‘lIh'.\'IlIl1lIIl‘,II\;lIl(' IIIIP--II ii did. it Wlltlld 5Il'\\|1I)'
IIIS-l]1|)l*‘.It‘, i-miiiiw -I \‘l‘I‘_\‘ IlI\5ilII5I;ll‘Ilit‘)' IltI|)l‘l'$
suiii iii II\(‘ minds III Illl‘ \‘I(‘\\‘(‘l"5~ Tiic :11-sirv d
i-hiiipi-.<_iih i.~ the iiii._ii l'A‘.\lJIl, him Ihr ii.~.i- (II the
;l(‘l‘|LlI llillltll.‘ 1lIIII'\I£lIIlIl\ Sllllld is imly lI|I(‘ UI SI.‘\’
erul lI|)lIl';lI ll'l'I\lII(|\1[‘S that ('ll\.lIlIIIll\'I‘IIl't'll\1§G d
In ('I"(‘llIl" thv iIIllSIon (in MYSTERIOUS ISLAND.
the i\('I\lilI |)I‘l!l‘(‘SS llrd was |)I”OI)l\IlI)' tli-|);ll‘ k
prinliiiiz. lii l)(‘ dis('us.<l'tl I1II(‘l‘I.
II in the rnursv ill rlll-‘rts work. Ll airriptwrltv r
\‘£lII$ Ill!‘ II I\llI‘(I(‘ IPI ILIIIZII‘ sl‘I(‘rliI1'_\‘tllIry LI tlllllll
niuiiii I)l'i|5l with l'l”£ll'kIIIIl! groan I;l>‘l'l‘-Iikc llcuni s
(J24 ill Rzly I‘I;lI'\‘)'l\L\U$(‘lI'.~i FIRST MEN IN THE
MOON), ur it lll'i'l>nws ilci"cs.=;lr)' lnr lII(‘ U.S.S.
Ellti.-l‘pl‘iSt> In |iI.\st SUHIE ulilricntlly Klillunli \\’:lr-
stilp with philsors ilnd phlrlinl turp(‘dii.~; (J5 in STAR
TREK). or it is liei'Ps$;li"y lu in\‘uI\*(' Mirkiry
Muusv ill smiic vi-ry illlinizltcd ('llI'\\‘('t‘51\IItII1 Willi
his rrc.ltu|', Wall Dislicv, then :ll'l‘i;lI in\.|i:l' wnrk
ls llic ;\ns\A'('r In the ellcrts l\‘\"tinii‘i;\n's prnlllvni.
.i=oi -I )P.1I't!i., .i :0!‘
F nr 1'" i iw ~ arc
.' ll I Il!IiL'd vc-I:
_ i - "
pr:-p.m-d wiiii-ii iirc 1ll1Il1\I(‘(I iii |)l'l!\lt"E§SIul'\ ii»
|)l‘lI\‘(-‘SS is quilt‘ .\‘IIIIII1|t' ll! |7I‘1'|I£|I‘ll\l1 IIIO I\UIIH‘I‘-
OHS |1;llI1ll'(I l'L'lS Iilr .i ('lIfIlm1\. Tlic IIiI('I(lL|‘Ulll'\d
li~;iiiii;- is |1l‘U](‘l‘I(‘!I IIII IIIL‘ .IlIIIlIllII4lII slzlnd, iiiv
|}l‘(‘\‘I¢IU!~I)' (Il‘1l\K‘II l‘(‘I is ]!l‘.\l‘l‘d iii l‘(‘|1I5ll“1IlIlllll|\‘-
(‘I‘ the Il'l\>'1'S, iltld ttll' l'Ul1l|)uSII(‘ Sl'(‘l!0 l‘t‘l‘2lI(‘KI is
|!I‘|llIUt!t"II|)IIl‘lI, him this |)l‘Ul‘(‘S§ I'HI\IlI‘|\I(‘5 Il'iIII\l‘
Iiy IFZIIIID lllllll Ill? 0tIIIl‘L‘ S(‘l'lI!‘ is ('iIlI\])It'Il‘(I.
Sl‘PlI?$ III this lt&t|lIl‘(‘ ii» IIIIISI l'lIl'l'II\‘(‘ WI1l't\
t‘lllIlI)I\'(I wiih ,\‘lltI\(‘ |)\'l'lIIl‘(‘I\I\ll‘ (‘Il(‘l‘I ahriiw live
.\l‘tIUII IIIIHIIIIII On lIll' .~i-i MIR S|)H1‘l€ l\l|‘l\5 .II1KI
Iirvs his ]!I\.l§l‘l‘ ill .i i-i-i-iihii» \\'|ll('I\ KIl\l‘I.~' hchlnrl
‘ .i l'U('I( . Zltid Iiis Vi'l‘.l])\i|l IiI;|~'I§ . iiw i-hi-i< Ill hits.
'rhi- |‘lll'I( IRIS II(‘(‘II ]II'l'\'llvUSI\' ])I'l']l.l|‘0(I Ill!‘ iii l‘X-
|‘|I\l§I1|II, him WIIUII iiw ;lI\lltl2lIl'd Wllfk is _I(IKIl'lI I;\l-
er, ilic I"(‘Sl|IlllIi,1 IIIUSIHII is quite \'lilI\'II\I'II1. Iii
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THE GIANT KILLER: iii \\'AII or THE WORLDS
and BATTLE IN OUTER SPACE. :lliin\;ll9d :lrI-
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TREK. THE INVADERS. THE OUTER LIMITS.
VOYAGE TO THE BOTTOM OF THE SEA, illld
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l‘|‘(‘1l\[‘ tho riirk Iiir|n;l\illn>' ill Lost V:lIIi:)'. and
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11.1-1-11 111- 11.11 11:11-11-

H1111 11'P111*h is I11 I10 |x1i11l1>d (pt-rI1.1|1s .1tIdi|1u lI1(- |1.1u>'l-I1 111 IT CAMIL‘ FROM IIENEATH THE SEA.
ll11- 1-111111'r.1 is 111111" r1-\1*11u|1d .1111! 1111- 111;1s11-1' p11_~<1- EARTII VS. TIIE FLYING SAUFHRS. 20 MILLION
lnps 111 l111|l1l1nu.~' 111‘ .~\|'111-111|'1*> 111 .1 .<1'0|11-I 111 l1\'1- 1'1-1111111-(1, .111d1111|h1- s1-1-1>m|ru11.
n111UI(‘(I 1111 1111' 1;l.1s.~ 11! lh1- I111'1‘u1"11\1111l1-uscl 11111| .1ll ll11-1-111'- MILES TO EARTH and MYSTERIOUS ISLANDI11
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FROM BE-
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111
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.1111! V.-\I1LEY OF
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A closeup look at some oi‘ the animated scenes
lront "The Zanti Mists" episode OI lht! TV series
OUTER LIMITS. The models were constructed by
Wah Chang iol‘ Projects Unlintlted. and animated
hv Al Hantm. The mlsllis are alien criminals in
the itirni ui weird hunian-like insects. who 05-
rape from their penal ship when it lands in the
American desert. The models were believable
and the animation work excellent. which niade this
one oi the more enjoyable OUTER LIMITS shows.
positive are tiptit-ally printed onto high-contrast
hlitck and white stock yielding a travelling niatts
which has the clear silhouette oi the actor per-
itii-niing against ll liiack background. A counter
matte. a black sllliuuette ui the actor periornilng
in a clear iield. can lie step printed from this
matte. Using the precision niattes and counter
mattes created in the aiio\'e manner. the itmtage
oi the aettir pcriurming in ii-nnt oi the blue screen
can now he 'contpt»sited to whatever iiacitgrnund
srene is desired. using the optical printcr and the
techniques described previously.
SUI“? prulialilc uses Iii blue screen color sep—
oration work in animation tilms would include:
Sinllitd walking in ironi oi Sokurah‘s ilame breath-
lng dragon. Milgtlg, and later liringing his beloved
Parisa hark by the sarne route. in 7TH VOYAGE
OF SINBAD. T0 achieve a fairly close Interaction
between the two components. Harryhausen studied
the tit-e action iontage. and then manipulated the
animation model dragon so that its actions would
appear to cause the reactions oi the actors. The
technique oi Iilue screen was also probably used
in the scene where the iirst Cyclops hegins to
roast Haruia on a spit o\'er a hot iireplace in an-
ticipation oiawarni meal. it was also used In
WHEN DINOSAURS RULED THE EARTH.
ln 7FACES OF DR. LAO the ntodel oithe sea
nionster breaks out ni Dr. Lao's tent. As it wan-
ders oil the flapping tent seen in the background is
real, the sequence oi the model and the real tent
having been matted together. The Scene oi the
monster passing in iront oi Dr. Lao and his young
companion is another matte shot. The shrinking
oi the creature in the rainstorm. hack into a
small iish is yet another travelling matte. in this
case. the camera was tracked away irom the
models used on the animation stage, and when this
iooiage was niatted to the background tnutagethe
conipositc created the illusion oi the creature
shrinking. There were numerous models substi-
tuted out-the this process to make morphological
changes that would make the transiurntation ap—
pear smooth and realistic. The growth eiiet-t
could have been at‘t‘tIm|I|ished with a travelling
matte and the reverse oi the almve process. or
else the niodvls‘ could have been moved (‘loser lu
the camera while they were being animated. in
any case. the wooden animation stage on which the
models were manipulated is apparent in the
shrinking segment.
There are exitniples oi travelling ntatte in
countless other prnduclitmei. including ONE MlL-
LION YEARS B.C. iespcrlitll)‘ during the Earth-
quake sequence. where huge ruck iormations iut
up through the t-ar|h'>i crust, and people make
their way around thcnil. JACK THE GIANT Kll.-
LER (the enlargement oi Corntoran in the prin—
cess' bedroom and the ntetanttirphttsis (ii Pendra-
gun into tlie liitrpyl. and JASON AND THE ARGO-
NAUTS (closeups ui Jason and Medea on the Ar—
go and in several parts til the skeleton sworci-
light Sequence).
Poor niatte work with the hlue screen riilttr
scparatioti process will riatitlll in it slight lllut‘
halo around the actor. Bluc ruloratitin in the t'uS-
tuming must lie avtiidi.-d or else the background
will hectinie \'isil)lt*. living $90“ through the actor
(shades oi the lnvisilile Mani). The prtvct-s.~‘ can
he used inr lilitck and white as well as color t:t-
lccts phnttn_-raptn-.
There are other t‘4llIir matte prticesst-ti in-
cludittg the Color Diiii.'t"ent'P system. tltc init'a-
red process, the ultra-violet process. and the
sodium vapor process. Tht- color diiierence s)'s—
teni places the actor in irttnt oi Ll iilue liackground
ctvitsistilitt oi 1| screen tlluiitinillvd irtim the rear
(tht- >it'l't‘Pt\ has traces oi green which are e\'cn-
ttiaiiy l‘l’m0\'t!d Iluring t'tIl'ii|)t»>‘ite priltltng Hi the
color internegzitivcl. This |n~tn~ess iitakcs use oi
tht‘ iarl that wtiett lvlttck and white scp.tt‘ttti|>n p0s-
itives are step printed l|‘iiill the color ntastL‘r n€g-
alive the red and green iillered prints will render
g
‘
%
‘*'
‘
1,’‘,
ABOVE: Jim Daniorth animates a portion oi the
Plesiosaurus sequence. What will be the back-
ground portion oi the finished scene can be seen
hackprojected behind him where he can reier tn it
while manipulating the model. Behind the model
is blue-hacltlngior composite niatte work.
4———=~-ii———-—-~i€-———
the blue screen backing black. while the black and
white blue iiltered separation positive records it
as clear. A lab positive is prepared from the blue
separation print which is a clear silhouette oi the
actor periurmlng in a black field. The three sep-
aratlon prints must be color-corrected during
printing. This system cannot reproduce any vio-
lets or l'lt'h hines, while it can record realistical-
ly such transparent and semi—transparent objects
as glass, smoke. water. etc.
The inira-red. ultra~\'iulet. and Sodium vapor
techniques make use oi multi-iilni matte pro-
cesses. which produce the matte during the photo-
gt-nphy Di the live action negative. They utilize
special cameras that have a heani splitter located
behind the lens. The splitter divides the light en-
tering the optics so that two identical Images oi
the Scene being iilnted are passed to two dliicrent
iilm stucks. One oi the stocks is color nr pan-
chromatic black and white which photographs the
action, while the travelling matte oi the actor is
produced on a specially selected eontpaxtion iilni
stock. The photography til the live itctinn and the
production oi the travelling matte is simultane-
tins. The reason threw systems work is that they
make use iii diiierent wa\'cletlgths ui light. one
particular wavelength (or group oi wavelengths)
illuminate the periorming actor. and another il-
luiiiinates the tint-itgrnnnd screen. For Cxaniple.
the sntiitirn vapor process (used hy Peter Ellen-
sltair. Hitniiltun Luslte and Eustace L)‘ct'tt in Walt
Di5l\e)"s MARY POPPINS -tnd THE LOVE BUG) is
executed on a sound stage which is equipped with
a brilliant yellow $t‘r(‘L'n. which tht‘ actors pet‘-
iurtn in iront til. The screen is llt by monochrom-
atic (containing only UIIG wavelength) yellow light
ll‘\|ni ordinary sttdlurn vapor lamps. The actors
are lit by lamps which have n itldyntium coating to
lllter monochromatic yellow irom the light ialling
on the actors. Eastman Type 525i color stock is
used in the illmtng, being insensitive tu mono-
chromatic yellow. while the camera is outfitted
\\‘lt|t two iiltcrs iur the two iilm Stocks. a mono-
chtatntatic yellow lilter in the aperture leading lu
the iilni stock which will prollure the travelling
matte. and it didymiuni iilter in the aperture lead-
ing to the iilm stuck which will record the live
action nerierntanre. me to an interierenre-iiitq
pellicle iunclilming in conjunctitin with the beam

-> ‘
splitter, unly mUul‘l\l'unl;|\il‘ §'l'lllIW (lrom me
bilrkgruund $('r1'0n) is printed ull lhl: lllllllc slurk.
Whllv lhe II?ill‘l\ S|7lIIl(‘|‘ solids lllv \\'.l\‘uli'lll:lh_s lm
llle rlnrs llv {I10 rulur rlPu;lll\‘v, Thu .ll)senl~1- HI
lllu|lll(‘ll|‘u!|l:llll' )'('lllI\\‘ ll lhc llIl‘t*l1l‘lI\lll and ;ll‘-
ms duos HUI l‘2l\.l§l' RI l‘UI\ll" ll’lIl)1ll;U1l‘l' Ill‘ lalully
esh lunes. A slnp 1-lull.“-l l‘H\lI1l('l' lnzllle is nmdo
Irom the malllc rulls luld lhu Inrnlzruurld and l!Lll‘I(~
[ZI‘ULlIIdIll|llll|1(‘£II‘[‘ l"um|)lI$lI[‘d m illl uplil';\l pr|nl-
url Th? ulhcr lL‘l‘l\l\lqUl‘S Jrv Iunllzlrllt-nlillly lhv
s;lnll'. Eiwvpl llllll lllc i|lIl‘1\-rvd and UlIl‘L|—\‘lHl('l
prllcrsses yleld ll nlallle lA'llll‘l1 is Slll-\llt'l‘ lhnn llw
(‘Url‘('sp<mdlhlZ l"I.‘Lll |mL\ll9>' l’8l'lll’(It‘(IlIllll\(* lll&lS-
lrf I1('l:.|ll\’(-, and nlusl be unlurlzt-d lllruulill ll|III'
lul prmlim; prlnr m rumpnsile wnrk.
In Ill!‘ days I11-Illrv colur wnrk W45 llw Ill"dPl‘ HI
llm my, .l l)l1\(‘k and while mlllle 5)-slum was dz-~
\'lsI:d I2)‘ C. Dudlzv Dmnllll; and I‘l‘Illll‘(l In‘ Rwy
Pumerny (whu dld the visual vllvrls Illl‘ llw SlI(‘l\I
TEN COMMANDMENTSI. A produiun l';llnl'r:l
was ll|LIdE'd m l)l—|1:|(‘k, mu: slrlp III Iilm llcillg ll
l)l01ll"l\!~d ma ural'\l!P dyvd nlustcr pnsilivc ul the
bzlrkniruund IlluIZ\}Z9‘ while me ulller slrlp was fl
pilIll'hrlll'l\;lli(‘ negmll-l~. Tho i|l‘lul" |')L'l'Ill|'I‘ll[‘d in
Irulll III :1 sl-mm illumlnalcd Wllll hluv lllllll, while
Min: llluminllld by llI"£Llll1(‘-IIIIl'l'l'd Lln“ISA Tllr
light rt-Ilorlinl: mm [ho blue srrcun snrved m
|1rinllhcb;|('k|.:ruund 5ll1|\ATlllI1lllt‘lXlll5l(*l‘|lISiIl\'t‘
in I)!-pllrk -ml» the lu-|1;lli\‘(' slurk, llul -my m
the area Wll(‘l‘(‘ llIl‘1\(‘IUI' did not )7r(‘\'E7\l lhu lllzhl
Irunl l'El'hill|,! lhu Cllmvru. The llrlurs inlallzc was
lrrlnslerréd lu lllc I\El1;lIl\'(‘ ll)‘ (lle orunlzu llplll
Wlllfll passes lllrullllhlh€llll'll(‘llCdil1ldl1)’l'K1 l1l;|s—
ler puslllve Wilhnul prihlll: nw l'\‘l;|Sl9l‘ ]1<JSlll\'(‘
nnlu tho negallve. The 1|l"I0l' served as his uwn
mllllv. IIOPIIUSE he ubsrured purlluns nl lhe lI|\.I9
lxlrkgruund [rum prlnllng lhe maslcr posllive lllll
the n91:;lll\'u, whilv (I10 ur;u|[!E lilzlll lransmilléd
his leulurcs pcrlerll)‘. Sc\'cr.ll ul the lmhlnd Ill?
scones ilrllrlcs which wore pll|Jll5l\l‘d about lhé
special elk-cls in KING KONG (including Modern
Mlzrhllllirs Invénlluns April I933) Show lllus-
lrrllillvls ul lllis system lmlng used lu (‘l)IIll)IlI9
Konl: with b;\{‘k[1!‘\IllI\l1s oi ms prehislorlr domain.
Mus! ill lhc visullls in l>~l;\mmer's l"(‘C¢I‘ll WHEN
DINOSAURS RULED THE EARTH were 2l(‘l'll9\’8d
using lrI|\'('Ilin;: mnlles, cunlbined wllh magnll‘i-
cenl matte p;llI‘l(ln;!S and hrlllianl mudellulnr :lni-
millon. The Jim Dlnfurth PIIH15 wurk IS d9Ii-
nillnly snrne ul the lineal I'\'c over 5001!. l:sp€(‘iill-
ly llll: halrhing uI the llally dlnosuur, U19 plL'slKl-
Bilurlls, ilnd thv l‘l\2lSYI\USL\\-l|‘\X5 fuulilge (EDP; OI
Wlllrll was dune by David Allen wh0 W35 also rE-
spunsible lur purliuns ul IP10l);l|1)'-plilyS<Wi!l\-Vl(‘-
lnrlll Velrl P0013119).
Comblnaliuns ul ellerl: lechnlqlles made puss-
lble the complex vlsuals. In parts of the pIr:slo-
x ‘-w
l ._. ._
-.‘>- D»
,2 " _ 1
_J
'-LT
,, -» w-“
7'1‘
b1 -1‘
~¢_
.. 4'4-_ .-7-...‘‘ .
suurus 5L‘ql.l('l'l*‘ ml» \'l5\l2|l \\'.l$ l'll|I\)II§4‘LI --l .llll-
mllllun modéll rl';lr §1'I‘(‘l'lI, ll'.l\'l'lllnl; IlII‘(‘L!I'lll.lI\d
I'l\ZlIl9 Iilrlllrsl. llnd I|I1lfllllll‘Kl LI‘.‘UrSA Al llnws
the beach lI1l‘])ll‘Sll|.\’1\Ul"|-IS \\‘.llk(‘d on was .| p.ll|\l-
ed runlpunnl lnilllrd lllllll um .~u'vnv. "rm lilllnl
l‘l‘ZlI)S were ]Il"lbdl-l('l'd u|1lll’.lll_\’ lll1(*l'l‘ l)l'lIll1 l-my
one l'|‘&llI mum-l l.l5l'd), as wm-n llle l1|.|Ill In-vs m
H;lrr)'huusL‘n's MYSTERIDUS ISLAND. PL'l"l\il|)S
me IIHISI l'on\'in('im1 vvrl in\'ul\'inl: llw \'l'&ll)5 wzls
Ill? scone in whirh lmr All lhc Ileeinli l'.l\'\‘nl(-n ls
knurked duwn and his l‘t‘Ili'l‘IIlllI and lllr l'r.lll'sl'-lll
be seen in tlw lldowuu-r |)lKlI l)(‘5ld(-' nu-m, )!l'u|)-
lmly llllillll Ill m;\ll‘)\ II\l'll‘ .ll‘lll)II$. In shnrl.
Dillllurlh mu» llS(' "1 ]II‘;ll‘Il(‘-|ll_\‘ cvcry I<nnvl'l1 Hp-
liml lel-Iuuquu .l\‘Jlli|llIl‘. unll mo slmjlgl-l‘illl: \'lS-
u;\l reslllls l'L*f|(‘l'l his ‘-DrlmIS]‘)-A
Pm|>.ll1ly lhr nlllsl (IlIIIl'l.llI Inrnl ll» 1|lll|l\.lI('
(‘lI11\‘lIl(‘llZl)' un Ill!‘ $l‘l'\'('l'\ I5 lllt‘ Il\.lI\IJl\ Inrm, \'(-l
it ls uni‘ III lllv lnusl 1-ssunllzll inl:|'(‘dlc|ll.~’ lvl l'll.lll_\'
LlllIli|l0(I St";-nvs V~'l\('l‘(' lYlllI\lllI(' lnl(~l".lrllu|l lu'—
lWl'(‘l\ me Ilninlillinn II\lKIl‘I -lI1(.I£l(‘l\r|‘ (ll*Ill~lI\d$ an."
ms Jlllnlllliln stand-in Ill‘ USUII. Mll$\ -.1 \m- lI\'l'I‘-
whelminl: loclinlg UI dl‘|1lll. HI dl§l;ll\l'l'. \\';ls ;ll--
l'Ul‘npll5l‘lC‘d m KING KONG bv using ;- livr .ll'lur
up 1., ll M-mm pllllll zlnd lholl -lllllinlz .m illlln\L|lEd
I‘llll1lillUl'(‘ uI him whlrh would Plllllllllll‘ lu mure
inll-lh1'dcnsl=]unl:||:. Fur 9!(iHll]'1ll', Bruvc Cillllll‘
lhv alrlur. walks mm me ]UlIl:l(', nlnvinl: llIW&lrd5
whore lhe dvlculcd ullusuurus l.|)'l1l1-'£'dlI1l1lIlll\L'
dlSl;ll‘ll'9. Ho walks behind a (‘lump III \'&'l!(‘l1|liul'\
and Erure Cubul, (ll? Jninulliun mudel. l‘UlIII\l(‘S
lhc trek. When the enrupvd I)l'Ul'\lUSLl\ll‘\-I5 (‘buses
D(\nllLIm's (‘FEW onln land, and one Ufllllrlllflill
wrulrh l‘Ill'll|JS Ll tree ll) vsrape, all lhv nlcn are
ilnirllzlleil. The gures ul my wiy and Brll.‘
Czlbul are anlnlutcd as lh€)' dl'Sl‘[‘I'l(I lllv vine [rum
I(nr\|,!'s rlilup rave. BLACK SCORPION IS quite
imprL‘ssi\'€ in ils use ol Jnlnlillnd people. ralulzlll
and disn\cml!€rEd. In [ho lliilnl pinrrsrs ul Ill? Lini-
maled models. There ll.l\'e been zlnlmzlled Jvlllrs
in nearly all aninmlinn lms Lind some in ulhcrs
inrluding DESTINATION MOON 1mdIT‘S A MAD.
MAD WORLD (models runslrurted I1)‘ Dunlnrlh
and Delllldlll. wlm me prupcr rno\*l=mt'nls. Slll|1—
mp and lighting. mus! ol me animated people have
beéll surccsslul and ll;l\'E greatly nnhunréd the
reallsm of the animated srenes they were in. An—
imilted people have been p;\l'Ill‘\-\|;ll"I)' well dune in
MYSTERIOUS ISLAND, Bl-ACKSCORPION, VAL-
LEY OF GWANGI and Z0 MILLION MILES TO
EARTH.
A camera lcrhniquv (hill ls eXp€l'l1llIyl2II(\('li\'P
in Jnimllliun Illms is (ht: use DI the unimillilm
camera lu zoom in on u model ur to lullow il by
lllllnll. |Ji\!\llll'\[Z. lrilrklngl ur ulllcr raméril mu\'0-
menls. Animation rumeru has lncreilsi the Huld-
lly ul mninluliun scenes and enhanced lhe believa-
\.- ..,
L,‘ ._ .,_ _
.__ .
-
;
.,ffl‘ "
"I
-
' ~ 0 °~\'
ABOVE: Thu rulllplclcd \'i.\’Lllll HI lllv >-u-m- IIUIIIIZ
LE E? E
Iillllvd All ll.!(A Tllr Pl('>iIlI$llUl'U5 nmdol, (Ill: nludnl
hul, Llllillllf.‘Il|l‘l'|jl‘|l\1I\(lllUSlII\il\'\'1lll In-vn mulled
llllll ll\[' li\'1'- .ll-lilm (nul.ll:\- uslllll llluu-|1;ll'I(lnl:
l‘llIll|XISl\(' ))l\lllll11l‘1\))l\)' ll‘l'llllll|Ut‘5. (sum CllUl‘—
my HI -Illll I.)l|l\I1ll‘Il\I
~
l)llll_\‘ HI \n-- \‘IIl'l‘lS lll KING KONG. MIGHTY .lol-:
YOUNG, MYSTERIOUS ISLAND And BLACK
SCORPION lu lllllll(' Ll low, T|l(- l.lll\-l' I5 lhv pro-
dul-nun Ivllll-lflllll lln- nmsl l-xu-|l.~m- usv HI ;\ni-
\l|I|llII(‘Zll!l\'l‘.l )'\'\l|Illl' l‘('l('.l.\'L*(l.
l>rml.ll~lly .| ll'l‘llllll|Ul' llSl'lI in the Illmlnz HI
puppol lllms. -ll\llll-lllllll l-.lmor.l l-.m nnly be oxe-
ruled \A'l1E‘I\ lllr l';llnl'r;l 15 llluullll-d ml Ll slllw m0-
nun‘ \1l'1|l'('[I, p.ln .lml nll hlnld whu-ll IS 1-nlirely
Ir(\(' lrnm \'|lll"ilIl\lIL TI\l- ¢'.|m(-ril And pull l‘ll‘lld are
|\llI\H'lI('(I |ll\ A. dull)’ \\'llll‘ll runs un .| ll‘-lvk. The
1'-ll'I'l2ll1(' IIIUSI Ill‘ llllll' ln ll‘il\'('I‘§(' II\l' di>l.|I1l"r: ul
lhc lralrk _~:l|ll><|lhl)'. ur.l1(-rky.lnd Wlllllll)‘ (‘;lrn(\r:|
shut Will Tvillll.
Thr L'lll'll[‘I‘2\nlll\'l‘llll'IllS r('qllll‘A'(I ;lrv prv:-d(~-
l('r1llilI9(I mu rllurls url: .~l-1 up Slllllill ll\(- Iurus
l'Jr\ he kvpl sharp ilrld ('ll'JI‘ durirll: ml-ll n-xu'u-
lmll. Rulers with Small l'Llllln';l\iu|l$ llrv used to
ml-l< UII my }'ll\i|S||1§! III my ('i|7l‘lEl‘;l dl|“'" my lrilrk
Jd, as with mild!-‘I lninllllllm, ml|\'l'lllt'l\I llL'l:ln5
slowly. :i|)€('dS up lu (ho d(*$lI‘I.‘(1 rm, and llwn
Slulls in um» sillllt‘ munncrlupre'>1-r\‘I.-lllv natural
IZIW5 ul lI‘|(‘I'lIZl and nlumnnllllll Wllirll mus! uuvern
:lll real nmllnn, Zuunl and lm'u.~& l'h:ln|,:cs ("an IJE
|)ErIlll"l'Il(‘(I m.\ll\l;lll)' or Llllllllll£llll'1|ll_V. Tl: run-
smm I-.'Xl'lll|ll1;|I\(‘l lnlzlpinlllivv um-1,, me use ol
Allllnlilled l‘i!l7\[‘l'l| n\u\'9menls I515 um (u 1 pru-
durlilm as lhu use ul r9Jr _\‘('r‘n, lll'llI'I\lllEd 56! ur
ummau-a people.
TO BE CONTINUED
I wish lu cxlcnd my (hunks lu (he In||nw-
mg peuple lnr their lll\'1|l\.l2\l)ll' (‘|K||')(‘l‘;l-
(inn in lhv prvpuralilln III nus series of
;\l"li(‘IE5I David Alln. Huwllrd A. Andor-
sun‘ Douglas Beswlrk. Wuh Minl: Chung,
Gary E. Crandcll, Marvel Dnluzldu, M.J.
DEW-Britlilln, Ern9§l D. F1II‘lI1U, Jr. ,
Jim G&lI'I‘lSUl'\, Nurrls Gruscr, -Iim Hur-
mun, Ray Hzlrryhzlusen. Dlln &' Mikn
MEIFIII, Hortense Srhnrr, Charles H.
Srhnevr. ROIJEH Wvlwr, Lnu Wilder, and
Fay Wray.
Mark Wull
 FLE ‘

Somethin
mire of th1
1

1\.~ 1111- 11.1-11.1 111111 111.111 .111111> ..1111 1

1111111111111 111-1-111-,1 >1.-1111111111-111111->111~-

L11<1- .11 .111 .1111-11 |11.111111, 111-, .11-1-k111i. 111-
11.1 .11111 1111-1111.11-_ 1.11111» .1 111111 1.111-.1111,
"A11, 11.-111. 1111-111-'_~ 1.1111111. 1.11 11111 111.111-
H...
r1111 1111-1-1 .11~. 111111111 >11-.111-111~1111111-.~
11. 111- 111111111 1-11 1111.~ |11..1111 111.1111111-111,<1
1-..111111.111111 11. -111 1.11-111 1-..111111 ".»11..111 ‘
.lll‘."
11'.~ .111 111 1111- 11.-.1 1;1-..111111,11.111111~-
11111 11.15511 1;nR|1o.\; 1.. 1.1- 1-1-1...~1.11
1-.11-11 1111.~ 1.111. "r111.~ _~111.11 .11111 .~1\ 1.111-
1.1.~1 111111 .»..1111.1111~111-1-111..111.1~11.1111.-111-
(UH '.\‘llh l|\\- l1A\l.~I Ill .|IlllX\>H|11|1 h1|\-
111.1111-,~ -.1111.-11 1111 111111'. 11.1-1.11.1-. M111.-
1.11»111, 1.1111 _<11,1.1- 11,.11111.111..11. \\1111
1-1»11.~1.1-_~111|1 .11111 1-.1111111.~ 111.1111-.1111 1-1-11.
>1.1111l\ 111 1111- 1111111111111 1.1 ".1l111~.~1 11-
1-1-11111111; 11.1.1111.-1-1-1 n111 n~.-.1
.11111111111-.11-11 111-11111 11-11 1111- 1111111111.1_~

1111;111 1111- 1111, ..1111-.1.-111.11>11 11111111 11111-1--

|1!.1111-1.11-) _.1111-1-.

14>
1111-
1|
111111
Xl\\'~\|'1'111’1~
1.1111 ~
“Y
111.111» 1111111-
Il\~|I||II'.~.~
;11'1_~ 111.~1

|l.A>
11111111~1-11111.- 111.1111-1 11111.1-.11-11.11 111.1111.
111~..1.-__\..1- 1;--111..11 1111.111-11 11_1 .1..1111

1»1..1-1. 11.1111-.11.-.11
111..1-..111»1- ...-11.1- -.111...

111.~ 1,111. .11-1-11 111 \\1111:~1 \vu111.11s1~n1.-

uur; ..1111 .11'1.|1"s 1-.u»:.~"An 1111.111: .1111-
.1-\1..1111.1 1,1-1.1111111 11-.11-111.11 __. 11-1111>1> .11
1111- |11.1111»1.11<111111 11..-.1.» 111,111.11 11111 1-..1..~1
1.1 111.» 1.1.1.1111 1. 1.. ~..111.~ 1.1 11.111 P.1.~~_
1.1111 11111.1," 11.11 1111 11.-1 >111. .11111-11-1

1111..-.1 1..11.11- 1111- 111,11 ..1111 11.111 1-11-11...-

11..11 11.1-111111 1.. .1 $11 11-1.111. 11111111 1111

|11..1111 1'-.1-1.--. .-1~ .111 1-1-111-..__.11111111111-

. .»1..~ 1111111 1111111. 1..1~11T1-1-.\1..11.1 111.111.-

1.1.-1.1.11 ~1.11,~ .1111 111.-111 111~11..111111.111

11.11-.11 ||JH' 111 ~.11111. .1111| .111;11111111'~11-1111
n1-. 11.111 .11-1-1;.-11. .111 111 ..1_1-1.1-111.111
111,11 1111 1-1.11-111 11.111. 1.. 1.. ~..~..11. 111.11
111 1111-1.1.11. 1111 11.111111111111111 1.. 1111-
|11.11111 11.11-11...
'r11..~. 1111-1 1-1111-1111111-. 111 1111 111->1
..111111.1111111 .~11|111-11. 1- 1111111-11 111 11111

11.1.1111, 1|1.- --1-11..1111- 1.111 ..1111 111111.111-

1111.1-1.1Il P1111~..1.11-11\ -.1111. 11\ 111111111111-
1..1111- 111111 1-11.111 11.111->1-11111 .111-1-11.1111»
1111- 11-11.11111.-11111 111111 11---1111111.~11.11.»111>1
11.111111. 11.->11, 1111- .1Il-.-\1111r11-.111 >11.11-1-

.1111 11.111, ~11111-.~,_1-.-11 11-1111111111, ..1-1-1-

1:111|1.-1-..1- \v.1111. 111.1111.1.»11- 11111.1111>1 111111

1-1111-1 .11 1111 111111111; 111111 x1-1111, 111-.111

..1 1111 111.111.1111 111.111-1-111-1.111111 1-\111.1z..11

s11-11.-.~ 1.111111 11111-11111 1111- 1111111111 .11 1111-

.~|11-1-1.11 1111111>1111'1;1~.1111111 11111111111111.111-

1.1111...~1 .~..111-1 r1_1.s11 1~.n111>n.\'. n1~.

14!! .1111-k..11'.~ 1-11.111.41.11 1,11-11 11111,1111111-.1-
‘M41 1..1111111.11111,11 11111111 1.~ .1 111111- 1111.11111.~.

11.11.1111-1.1111111111111111.. ..1111.\11111-

111.1111111111111.< 1111111111-111,11-1 1.11111..1111-

11...111111; 1111. 11111 1~1.-11.11111~-1111.11111»-
1111-1 111 1111 111-11111. 11.111111111.111 .1 1'I.1.~.~
]1|.1l1- lh1'11\|:!1 \\)111")1 1l1|- ll--4111111 1|(\'A|1l
I11 l1l111|Kl. Hu!|\11|' !1.|.~ 1| 111.11 (I11 ~1<\»
111.111..11..11 1.111-1 111.11 111 1111111111111 .1 1'11‘
1.1111111. 1.. 1.1.~11 11.1111 11_11.11111...-111111-.11.
1.~111.11 1111~~1|1I1-' "
 \
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'

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1 N‘ W ’

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\ V

v‘. 00*
__i ._ Q ..'I
 AN INTERVIEW CONDUCTED
BY
D LE
WINOGURA
I'.1 111111111-. 111' 111.111. 11:-1 11i-.-1.111111- 11.111 \\‘1111-- .11.1~ 111- .1111 11-1. 111 11111111111-I1 gnglyze, work, and digest the material and ulti-
mmy ,,,.1,,e 3, a m,,,.,.pl_ a,,d,1m\,,"|de,e,_
1

.1111. -.1111. 1111.111 .1.-1 1‘:. .. 11- . .1 1-1111-. -111.-11.11- 111 -.11 11 111 11 111111~1
-11
1

.1. -1 .
-1
. 1..1
' 1’ 1 -
11.1.1.1
" ' Paul Wenditos. Basically Ias a director must.
mine how l‘m going to treat the picture.
1.1 -I1=11'111
. 11 11.11 .1111 11111. "111" =11 have some kind oi concept. about the material. \\1..1111. 111111.1. 111111111.-111 .11.1..1.11111.1111
l I“-I‘-\1‘1‘é"1>=' I-'*1"'1-1'
' -“ "1 ‘"1 »"'- I“-"1 some interpretation, some mcaningfulness that 11.111111 1111=1~ .1111i 11111 -11..1I.1 1~1
1111
I

1.1111111111111111111--11
1

‘ strikes me as pertinent, important, and proi‘ound- Most critics are remarkably insensitive to vi-
I"
‘ 1 - 1 - - '1 - '1

"'11 ‘ I ' 1‘ ‘ 1115 II‘ *1 1'111- ‘WI’-"1 ly moving. Once l get fixed on a subject, onan sual and dramatic expression. symbolic under-
11111111..
. 1.1 111 1.
' - approach. the next problem uf course is to com- tones, and conceptual overtones. They like to fol-
'I1~ =1'1 11111111 1 1 11 1'11 =1=1111'11111~ ~\111I1~ municate that to an audience, to touch them, to 11- low =1 story, get involved with people that they
' "1'1 ‘ 1 ‘ 1 1'“ 1'1I" "1'11'1‘ I‘ I1‘ I“ II" '1‘ luminate their own lives by involving them with like. to see attractive people.
t 111‘ *1 I'1 "- I11'-‘I1 "'1 1-11111 >'111111:iti-1-:~..1I11l the experience oi what's happening on the screen, 11~1'1I.1 .111 .1.11I1111.
\
1

l1 I1 11' I1 1111 11
111111
~~ 1111-'1~ I111 '11 to make them share in the experience and to Yes. lust like audiences. they want to he en-
11111- .1 .1 s1 1: ;';1 ..11~ 1'~ 11111111111. I1I"1* hopefully communicate the concept to them on a tertained.
1111 1 \'1i1111 1111 "17. - 1 level that is possibly deeper than lust the plot. \\11.11 11-1 .1 .111111.1.1 111 .1.11 111.1111-11~I11111.111|1
II'\ '1 I1‘-“=1 1' l=»11'-111 »1'11I 1'1-I11 I11 111' 1* '-1*' Getting them tothink in terms of symbols, oi nu- ..1I.11 11111.-11111.-11111.1-s11'
11111 1 111 1I11t11 11
_’ 1' 1.1
1- 1I1- llll
H ances, rather than in scientifically demonstra-
111.
Only with the cameraman. The rest are lust
Ill\
1
1 1

W 11\1111111\1111.~ ‘~ \I-I I1 “"1 \KI\11 tive data. there to service the actors and myself but the
llll \. ilil. iI\ \ lili \i'\'
1

i‘1Il'~.l. II III Ill II H. I‘! I \>l IIH. .\\iIi1'iI.\ll .'..i- '11"- |i'.I1I1 cameraman and I work yqry g|u§|g]y [qgthgf be-
1-.1111\1-1 1111 111.111\1 1\1-1 I -
1111 111 '- 111-11111
- - ‘-
.1 -
...111 - '1
.1 - '-
~11.11 111.111 -
1111.
’- '»
.11' cause we - re trying to createavisual mood _

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1
Another director other than Robert Wise, who
probably chose not to give it anything else, may
ANGEL BABY is one of my favorite pictures,
because l hada theme. l replaced another direct-
11 ‘ I ' ‘I I '1\-\II - IIII have found something else in it. and it could have or on it. Hubert Cornfield, and l came down and
' I\3'\'1'* been a memorable picture. whereas now it's just found the company in utter chaos. Everybody was
a very good commercial piece of material with thoroughly demoralized. and l had to come in and
l'~11:111 11 1111111.1 - I-11111 . I J .\ 1'11 1 I some fascination. picli up all the loose pieces. and performed an act
111~ : 1- 11:1 1 111- 11111:111/1111111..11111~1.1~ 1.1- l can't stress that enough by the way. it sone of therapy ntore or less. lha/d avery strong ap-
=I'1 \'111' -111 "-11 1* "1I'1I1 I11‘rI ""1 of the major functions and contributions of the di- proach to the material which made it all very
‘I I"' "'1"' rector on any project, to give it a quality oi his
‘ I»*'1'11‘
' fill)
I'
|l\ili "I1|II\l
1! 1* III-1‘ 11 *1 1'\I1'-111I'
1
111 -
1111‘1 1 1
\1111It 11 own feeling, his own uniqueness, and attitudes a-
simple, but allowed everyone to get a common
grasp on the material. The concept oi course was
I II‘ II ‘IIII ‘*1 '\I'I I'I I 1'11I I'I ‘ I>'I""- I‘I I"I’I3 bout the material. That determines the style oi the corruption of innocence, at the core and very
"\'-'-
1.’
*1 » »1"1I"' 1' '1‘11"' “'1 ‘I '1 “I11 "s "1" - the picture. how the picture is told and. in thc ii- fundamental to the picture, and everybody immed-
1I 1 1 1 1 1 1 I1
- Ital analysis. to touch an audience in a very spc -
>
lately sparked to that theme. that concept, and it
ll: :1 111 1 11 - .. 11 .
eial way, beyond the plot. story, and actors. Not gave them strength that immediately resurrected
even un an intellectual level. On an emotional one. the whole project. it since has become a cult pic-
11-'1T~~|lli I" I11 I ‘1|1 I-‘or example, ten different dircctors could ture, and it's strange because the original re-
have taken Tl-IE ANDROMEDA STRAIN and made lease company tried to merchandise it as a com-
|'1'- --1111 11\.-11 \1. \|‘£:I I1.|1'111II\'1.Y\ interesting tilms out of all oi them. liall the di- bination of Bible and sex. like a mini-Delviiiie
I-\I' \‘-l 1‘» I I '1‘ IIIII -‘111 rectors were functioning properly, you could have picture. it was a disaster. so they dumped it on
gotten ten different films llased on the same tl0- television where the kids sau it, and demanded t0
1-1'1‘1__11|||.l I vel. each of them could have been equally good, see it in their schools anti New York repertory
I.\1 I "1 '1 I‘11lIl‘-'I but they all would have heen different becausi.‘ theatre. The film found its own level in spite of
I‘-\1 1'1 I 111 1111 1'11!‘ '11 ~i .\ they would have been filtered through the con- the unbelievable insensitivity of the exploiters of
sciotsness of a different human being. Conse- the film.
1111111--1-11 -11-1 11111 111 11111-\-1. q.,¢m|,._ ygu 1-@111.-1 11;“-11 y,;,d1e,, ¢,,z11,,,,_ "M51. 11... 11.11. .111. 1....1.. . ..11..11.-.1.1-1111.1111111111
ing, and astonishing pictures, each one based on 1111.1' 11111 1

I 11-I -- \~.11| I 1‘ '11 t the same novel. About two seconds. ile only shot for a couple
'1II'1I I 1-111 ‘ '5.‘-.\'» \ll \\ This is my point- -if you don't just shoot the of days, and there was nothing l could use.
screenplay. you niust filter it through your con- 11-.11-1.11 1.1 .\\'11.I I I:."1I1\_ 111 1111-1- .1111. 11111-1-
1111.--1'II\11I11.111~ 111I'11.\1I sciousness. and makeavery strong attempt todo 111111~1=.11 1 1111.1 1

just that. Evidently, Mr. Wise didn't do that--and l-‘ACE OF A FUGITIVE. a western with Fred
I “ ' -— I‘ III"-"-'1 "1 I I‘ it came out very dry. very cold--and functioned MacMurray and James Colturn. it was a very suc-
as a technician virtually. cessful picture.
11.. ..1.' '.>1-1 1111 -11111111111 11.1.-|1.|\ |»..-.1 1111111 .11.. .1 -1-.11 _-11111. 1.1 t1. 1.11.111. 111.1.111.1.1..,.11- 1111.1.\-
\I
1

1
1 .1~. 1111 11111-.1111.-1 Yes. of course. lhave vast experience in film \"1I1l1'~' :1 1 ‘

and l'n1 pretty much in command of the whole col- Yes, I did.
I 1' '——'I1 I I I"I'»1>' or spectrum of devices and tools at the disposal \\1;1 1- 111. -111-111i.» 11
11 - 1111 1111 1.1.11 11.1 11

of the film-maker. lt's very easy to become raz- 1111 1 1

111111--1 '1\‘.11'. 11111 1 11I'|111|1.,\ zle—dazzle and a technical virtuoso with camera Not really. l had a basic difference with the
and impose your style 1111 the material. Often you producers about the whole 1-11111-1-111 1111t11- 5111.111. X
|‘.".'l-- lllli MI l"'i\!1' '.\ \| I/' dt! fall back On that virtuosity when you hill’!-‘ J wanted [CI have more philosophical Conflict, and
Script that is totally empty and devoid Of any they treated it as a variation uh the gnod guy-bad
:1";--1|!1 1111.-1~\I11\ quality or dimension, and then you say. "Well. guy. "B" western theme with amliushes, guns.
l'm going to dazzle them with style." and that‘s and shoot—outs lust like a western. l think the
11 11. 1111 1- 1 I 11" 11 11 1:1. 1 11 1 1 -. superficially imposing style on shalihy material. show lost all philosophical dimension. assuming
1111111 . 1 1 11 . 11111-1 111 111— But when you itave interesting material. with that the invaders were black and the earthlings
1.11111~1..1 some depth and complexity, you look for a style are white with nu common ground for any kind of
11 - 1
. ..1 -1.-- 11 111-. =1. 11 1 11 - 1- that 111111 emerge out oi the picture, depending on dialog between them. The material degenerated
1.111 1 .1 1 11 1 - 111111 1
1:'11 1:- what your concept is. l don't have a style thatl Into a cheap melodrama for television.
111111. 111 1 1
-1 1 - 111111 1. \111111 11- arbitrarily impose on pictures but. because of my \\111 111111 .111. 1111~11t1 - 11..11 -.111 11111 I1i:1.
i.1=.1 11 -1 11;: .1 11111-11 1 111 I11 11 11.1 111- training and experience. l have the ability to per- .-11111111'1.11 1

I - 11 - .111 1 11111 1111 11 1 11 11.1 ~1 11 1~ 11 . form in any style that is necessary or demanded Yes. a couple. One l did with Suzanne Pleshetfe
1.1111 111111111 :11 11 ~ 1 1- - 1~11i. . by the material. What i try to d0 IS very carefully Where she was a mlltatiutl and it was found t.hat

21
Films like THE MEPHISTO
WALTZ and FEAR NO EVIL
demand a kind of stylization
that is a release from
conventional forms. . .

she w:|5 able to generate hllmiln leelinp, speedie-

Zllly she was lIllll|1|!, lll love, Illld this el-rlollllll up-
set her, she didn't know where it came lrum.
Consequently, she [ell in love with Ru)‘ Thinn9§'
character, lllln was Willing ID llelp llllll diseover
Zlnd reveal who the invadt-rs Were, and ihe was
killed by them [or talking lucl murh. l duI1't re-
lllelllber the title. lt was UIIL‘ oi the early UHGS, ii
very good show.
ll vnu h.lz1 \'uur V\'.|\‘, wlllll wluld yuur .t|)]‘ll'l\,ll'lI
[ll THE lN\'r\DER5 lI.l\'t' llw.-l\'.’
l would lllll-e [ZUIIB wml a Sliilety I‘|l\l(‘l\ ulder
lhilli our nwn, more intellectual lorre, and who
lllllllsallus lll years llllll hid sll smllllr K‘0I‘i[l"0Ill€l-
liu D11 their |Jli.\!\€ll Mid realized lhill there wlls
nu possibility ul Ilnnther war because it would re-
sult in all their destruction. So war ronsequently
was bread out ul thenl, Vl0lEl'\(‘9 was broad out ul
them. New;-rthel9s5l lt was II dierent kind nl Vl-
0l8I‘|(‘(‘, :1 phllu50phi:;\l lllla llilellettuill rulurllllu-
tion and tensiml, and--do it thilt way. I think U
they were treated as human beings with Zlll the
dlvc-rsily, rnlurs, and dimensions ul individuals,
they (‘Quid h:|\'e hild J limitless series oi stories.
ll cuuld h;\\'e been bizarre, interesting, unusual.
(‘\'l?Y)'lt1i1\$! l think nle series |'l|;‘ld prmnise ml»,
but was never delivered because eventually it be-
(‘;\l‘ll9 llI1Ultl€l' \‘lll"i1llllII‘| of 1 cups-and-robbers
picture.
\\'|len \'llu llltl FEAR NO l'l\'lL, wlut wlls yllur
l‘|ll\l‘|‘|Il lll ll'.' DI! \'(IU llllllk \'I|U.ll’lll1'\‘\‘(l\\'l\.ll yllll
5\'l uul lur 1'

Well, with mrltcrlul like that, it's very hard to

establish 1 rnneept. The uni)‘ cum-epl fur me was
tu make il lls lmlievzllrle as possible su that an au-
diEI\(‘9 Putlld l)elit'\'€ that this is possibly tl‘\l€, all
nuke an Il\ldl(‘lll‘(‘ [eel the limits ul their own im-
ilginatiun, ul their uwn run\prEh9nsil1|lit)' 5u thlll
p0S5ll)l)' they l‘Il.l'l'l l(I\(N~‘ the lull (‘Xl(‘Il\ lll the ros-
lll‘ lul’l’9S UII mirth. By ll"(‘illlIl|1 "ll-' llllll so roul-
l5ti(‘;.\ll)' Lind Illllkltlll the L\UdlEnI‘€' sllsprlla its dis-
l)(‘ll(‘l. _\'llLl I1lIld(‘ th(‘n\ &l(‘l‘9|)l ll-lllll was tiJ|!peiIl[1
us )'XI55llll)' lrull‘, Lld t1|)|)9lUll)' \\'l)|.lll1 (JPOII up
their l'l‘lll'id>’ tu .l kind ill reality thul trkllmrended
their l-vl-ll 5t‘l'l,\'llI‘)' l||)|7>ll'L\lL\S- We \\'(‘l inlu :l ros~
llllr ltlnd lll 2\Will'l'(‘SS Ill llle ll\I'(‘e>, l)9)'UI‘id our
mrn ahilil} tn 501- lt, smell lt, und tuueh ll. There
ls Ll way (ll iel-ling: Lld lU'\UWl\'\|1 thiII§£S nllll ls ex-
ll-5EIl5ut‘)'. l nllllll we J(‘ll|(‘\'Ed thtll very sur-
ressfullyl
T!\(~ 4'h.|l'.ll‘l\‘l’ I-I llll‘ l:l1'l m FEAR NO EVIL
w.ls llllldr u»l~\ $_\'l\l]).|lll1‘llI‘. ll.\|l]1p1l_~l|'l.ll|l P.lui.l
in THE MEPl>llSTO WALT].
She was :\ victim, So was Paula. But Paula
llrlll llllhllnli l);lK‘k, While the mill-r girl was l\'\
K‘<lf\h'l;1\ KL\}Z(‘l’ Ul belllg d(‘5ll"U)'9d, {Hid )'l)\ll also
felt Slll‘ was lll llllllgrr.
nll \'|lU in-l lll.ll lI>|Lll' ls .|lY§Ill\.\\4‘lf{ L'>St'llll.|l lll
\‘|lUl' lllll'l.\"
I u helleve ln rl;\rily. l l1(‘llC‘\’C‘ in IL\l(lIl|1 it
l‘le:.u" \A'lthullt blaring ll audience With (‘l;.\rll)'. but
I dU like nlrlll (ll KIIUW wlllll's glllllg Oil. l don’!
like them iur J mumenl l(l he bewildered l)er:\u5e
llik‘ fl\Ull‘t llllll l‘lLl|))1Et‘lS, their (‘lll|Xlll\lt‘ ll’\\'Ul\'(‘-
ITl(‘l"l\ Mid ullenllllll sp.lll ls sllllllered and every-
lhlnls l5 lllsl. Allylhlnll mm interferes winl tl'\|L‘
Shuring (ll EXpCl"|(‘K‘L’ is lu l)(‘ L\\'Uldl.‘d.
Rlll u-ll.ll .llll-lll _\'l|I!ll‘ l-l-lll.lrl<s lh.ll TH!-I .\lE-
PHISTO W.-\LT'l ls 4| ill-wildvrllllz |llrturv"
ll i5. and l think lh:lt's um? III the liln\'s weak-
HOSSCS. lll the lll'll1lJl \'l’i’Slllh, l)[‘llll"(‘ the e\.\l5l
;Ill ltlllse lllls Ul rlllrlly WEFE l)l'Ul.Il!ll\ lllll. lalll llll-
luft\.lt‘lL\l[‘l)' lhl‘ l‘XplJI‘li.\llUIIS W010.‘ SH llllrllll; ;\I\d,
lll the llhll 2LI\2!l)'SlS, hull‘ (‘llll yllll Pxplll some-
lhin|.! that lb he-yund e!qll;An;|tiun'.' The him de-
[I!JI'\dS sl-lllmllllll ll‘U\ llll lllll1lrlll~l-, lIvll'\l\'\l(, (U
use tllell‘ llllllllllllllilllll l(I }1l\‘(‘ sllllll-lrllrlll (ll them-
5(‘|\'(‘5l Ii lrlrl.-'rl= bl Wllllllll lllllll lll;ll_ llll» llllll
ll~llll'lIT‘lill((' ll": hllflll‘ llllplll-1.
HIM‘ ll-lllllll _l---ll .\l\5\A'|‘l" ll\l>>l' \\'llll I|l!l\]ll.|lll Ill
\'llur vXll‘uln\', llllrlllusl é§l\’l1L.l\llll\'.'
l lllllrl see l\(JW\h(‘)'(‘§l|1lI?(‘J\lS0ll\L‘ style [hill
was in THE MEPHISTO WALTZ I5 not the same.
style that W45 in HAWAII FIVE-0. The only (‘um-
 |
-L an-_— _

k
\

-~ -_ K12
"‘ -v.

1
Q

.4’
'1

,.'§
7
-_ K--
--.-
-.__

>i_

-I

Paul Welnikos direct ~ luluu n|~~u m ‘L

u *4 an from the Hmshed mm, hum tlu \ \

//
~ mm llquence. Page Oppoum. T31. I1.“ Lu \\_\
zu H Ahmlnwn theatre of thy Mu.~i|' ('r|\u~r in

_ -
DIM‘!
rruw
um
Lon Angeles, “'1-llrlklrs (lin-I-!.~ mm-
peuph ln the scene um um-.~» |n..(»-- mm
\0l' rst concert. A_1lr1ill_v: A .~< rm Ix.-m
'§
FEAR N0 Em’ now ln l\'ndl|'.mu|| thrn\1'_'l\ M(.~\

~
~ .1 din (back 0 1- um-r.|) z||<<*\|~~\-~ nu-
ucrul uh his guqsls, \\'»1n-m n\-<|.-_\\'||m-
' (sunning), Br.ul:$|>xw..m. .\n<| rm-|-1.|| 0'0,"-
nor (.<mr mmmn) win» nu\\‘ |!l.l_\'S .-\r<"l\n' un-

'
kor (III
- ‘ .- ALI . N THE F.-\M!L\'.
1

395$; P-l\J1\\'(‘l1 _, .-1.“- Glvnn l-u|ll_m<l\\r1!-

vr—prudur|-|' Dll\'](l mm. |)<vsxllL' with .| |m|\1.\luru
r(\plir.l U! rm-m-11u.<.-n lnl|\(‘])rnl|\1(‘l|HX\(vf nno
THERHOOD or ‘rm: m:u., \\~|m-n \\'.|s [1X‘A‘s(>r\ln'd
\
lo Ford “pm rllnrlllslun nl U113 Hlnling.

'§ ,. 23
f V,‘

4
 ln< I“ ||I11I'I-<lu'|\l Ill m\ I|lIl\.~ |:- .I !~\|\>\-ml Im|\‘|'-
|\I|'lIl. l nllv I|k|- |u-\'.'\-|u|~|v1. Ywu <|:- [.Ill I|\ l|\‘.\' \\'|lh
A llllll lll".'ll‘l' l\|'|| .|I\\| Ilxvrv Il\.Il'> l'lll'4 I|\'\'_ .\|Id
u-».~.~ rm :'I|I|l\' II! um‘ I '.\|-\|lslII'I >4; m.n'_~ -.|-_
‘.|..u.~ .~I\'||/.|I1~llI|1<»\||'h_ |I\.n'_~ ]il_\l .l "ml."
l'|l|y\.~ l|k\ Tllli Ml-Il"lll5T() \\'.-\LTZ .lllll Fl-I.'\l'l
1
NO EVIL ‘|l-'(lAIl.(1 .| l-(mil Ml .~l_\l|1..Il|n|\ \ll.ll |.~ .I
‘ I‘!-ll‘.I.~\ (|'~m r’~||\1-I\ln||\.|l InrII\>.

‘fl->. ll\.|l \\.I- \:-rs _~lr.||ul|I ll\1I\I\'ll. T!\.|I '.\'.l.~

In» .I|\[II‘v|.Iv'lI -.1 11...: |ll\‘l’|' |~| mm I'I.|l.

Y~.~. l Llu.

I In .. \\-..\. II ».\..~ \»m|1..|-. |,,»| u ‘Arlll -.\-..» |».--

\'~|\\l l'lDSEl\l.\llY'5 D.-\l'\\'. .|r|'.~~ l!|.|I \\'\-1':-I\'I :-\‘-
vn \l\IILlI'_lll .|l. ll|‘||‘ \\| u.ul \l|':-.|m~, _~-Iul l|'.u\.~-
In "_ .u\\l n\u<-)\ nwrv |1II,lI'l'I' m.|I1r|.~l. YIIl|ll.l\1‘
I-- ||I‘.‘I-III .1 nu-'.\ Iqml <-I 1-|.IIu\_ 2--||n|IlI|lI:' >1 r.m:r
.|ml 1l|Ill>I|.Il. M.|\|v| n _~lu:k mu .| huh‘ ml um.
Ihllvh, lull l LlII||I'\ Il\\I\l< ~w-. l llIII\l-I \l \u\I '-u-x'|-
]I|'I']Il'X'l\' ~u--I.--(I III!-I [luv <1-|\\-‘nu 1»! Ilw |vmu|-|»_
rh- 'lI II '-\‘.|> '.\v-ll-l\I~\-Il.

\\.»II. 1: |.~ .\I4 k. Mr: .1" Ll1l>l\'-\ll.|l |I.I|\|I\'lI> .n

nw ~»mI_ n as >1: k. l\lI qu.-_-u\-n .|l--Im n. I llunk .m

.|\|<|\n-n|'<- |.~ lw\\'|l(lz'r|'tl In (llAI‘ 1-I\\l||I\I. ll\|'\ Ll|1|I'|
km-W \\‘lI.\I lu lu ln".'| . ll<‘|':- |> .\ :||‘l \\'l\|\ Ll\'lIlI< r-
AIl“l‘ k|ll_~ l\<‘x'>|\lI .~~- .~I1<\ \.m lI\' *.\'III\ 1!u- \l<‘\Il .4-
;;.uI\. l\'_~ '.'|-r\ (l1|".u(h-I\\. l\ll.II‘|‘1' |n'l\I|\'n\x* .u\\l.
nv -.~I :\!lll'l'II’.IlI .I\I(ll\'l\4|-5 \\'|ll| llI\'|I' |lI|I'l1.II\Il‘.Il
“lIl]I|ll ..| v-»--II II|I(l mu. mm nu: ‘.'l'I'\ m|n- nu |'-
.|p|\|'u'.| .4 HI‘ ...-. III. .

\\'.- lI<I]>A' an.“ In.-,\ knn\\‘ |||.n. I Ihmk |-.-..|.1.- ..|-.-

.\l\m'l;(1l h\ '.\'luI .~n<< mu Hm! llu-\ |.m In .-\m-
nw II\.n l~|l‘l, In >11 nu (ll'll‘l'll\ll\>ll|4IX\ llI|-|'x- I-.
\|l\|m,|l\-l\ =I|».~m-Y. K"-'|l 1|“-I-uuh < ul.

Y1->_ ll\.II \\.|> Ihr mu-m .I|I llu-I-u\:I\ llh- |I||'U||‘\-4

M Irll .m .|\IIlIL'lII‘l' um In» |> r|.|1l_\
llI I'<.|ll'|
l\Il|I|N‘|lIlI:I. u ..,InI| |,.‘ Iln .lln'I'I'.|lI|-II .4 .| <I|>.»...~.~u
mum.

'l'||.|I'.~ I‘lII|Il.

Yv-\_ n \\.|- |v.|I'I Ill nv. .||q»r.v.|\»n. >3.n\< .\| nw

|»\hI1|v:' \ll'\l“4rly|\l um .-.\m.,.:. 111.“:-. | '-\.l.~
.~ll'l'-llll‘ In ~I|II.-Il.I\| .I\IIl\I‘l\I‘l‘ I||>|"I|.~.\I|I|I. |v.Il h‘~
.'1m.m.|m\,; w<l'l.lll\ .~--- Ill .~_ m--\ .1. >1.-..\.'-I ||1-- ~_|-
.I|IIlIl'» ~! m.|| mull I-pl, I‘-r \l\.~l.l|lI'l', .|llI'I' ,\>-I-\'.~
\l1.|IlI, l ~!\~‘\-II l‘.llll<l ‘\.\|\\h|'||v->_ -~rw-\II\Ll I|I|'
l l\I\\l_\v l\ll‘I\IlIL Mn .I|l Iln llL'lll>. .Ix\\Ipl.I'.||1:w-IIIIII
_

I I|n\ _~|»\m| III !II'I' I'HI|II\. n ‘-\'A> .. lH'III|lIllll ?i4'I‘l\lH

|1.n m.. ‘null-I4 . 1- - Ill \|

I-~. Um! .~ I1I;»- .| \\|]H |‘ll.ll\I|'.Il Ill‘ll‘4’ll'.l _\|~|-\4

TI \< Juli“ |\-- ul: mun ll nun nu \l\I |\I|.-. |llI'l'v'\|>|'\'
Il'.k.4~III1lIlI4.l‘~|4l'YII.IIII]Il. l-'l‘..\H Nil l-'\'lL \\‘.I,~
|‘|l Ilu I\II|>IllI l~~L|n~ |n_ l|\II nu-: |\u¢.mus'm
\\ \l 'l"/ \.I~ .I\l.l!I‘ Ilu III Iv yl.n|' l|1|'I|v.~:-l\|-_\ In
l‘.IIIl.I'~ ‘..._,w-H.

In l'l ||'|\\Ih-ll, lI'v>lll.'.I1l|lI.l1

1.
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Ilml
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.

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Hnw -\ \1\llv| |» wyvl1
V|:I'I‘I. lvn
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n.. Hll nw

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l|I|- -IlI\l \.\1|y~- -Inn l'lI<v\ II! .I|»1|wu I\\Hl‘l‘ In.‘

|IIm'~ .\,nm' 4l\ 1-v!I. I \-Iv |I..n n.->I'|' \w|'I\|.~
I--I» l|l\1>\.II“_ (<-|\_]\l.1I|1l",uIl.|'_\ -1|~mv- ~|.|I\-»I\.
.IlIll !.~1 In-I-1~ II.ll.<lIll\l<I]I>lI‘-\l1.Ill|I‘ll\I All Jlll -I
:6‘
1‘-I mi-I, In ‘In \\ !‘lLl I ]>|'l".I\Ill~l‘. .|- .\I'l'IlI|‘4l.
:\l II ' I: I.L|!['. .|I\lu|v\ ~ llll |1.II\\l. ll In uh |»'.| I‘\-
E1 I
.._
IP.uL.' ll. H I-Illwwn .| lllv i'II m-Ir: .u'|'\ |vI.|l-Iv .u\\l
ml

l|I\|l<| - In lII\\I'I ~'.|\;[n|Yl1| In. 'l'h|' >1‘: In

1‘ ’.\'- I'v- .~

|.|l.rII ~-.|| |~..<».1~- m- |IIIIIl.lI |- ~.\'..~.I||-,m|\-1 m.- .

:~1.|| :- II‘ m. ml r.. ml .- |».\m|. l*l|I|vI|I.IIII\‘1\|~I\

n~| llI\I\\.II‘|l'. »,.,.|- I‘ mjw ll\H1ll'l\. TI\< -.\-..-. KIWI
{]‘4\K. v.,W.\.\1\ 2- II II; l‘Il\'\ 111.“ I..|~.- I|\|.|I\-
- _‘~I

III‘ IIIIIII h\, Lnw III.|lII'I\, LII'\\'-\llI_ .|||<l \l\|I.||nh .~.

‘K

24 .3!
Z.-':"
L
 - = luv‘ l '
Yes. on-n ll wo dun‘! say ll. llhmk the audi-
(~n1'(‘ has m knuw, tn syrn|mlhiz£>. lu understand
why 5hl"s rnurllmz nn= n-ny hv duos.
H,‘ .- l: -. 4ln‘]ll‘1l]|y\
l
ll"!
l wuuld l\.1\'1- lzunc bark lu lhu nnvvl, and \\*ril—
ten 1| lulnlly dillnrcnl 5l'I'lp\. I hind nulhlm: lu du
with lhv develnpnnvnl ul lhv srrlpl. ll s\-.1; 1 very
dull ndzlplillllm.
2-
Yrs. bul
Y'lv!~r,,ll-ll.
l~\'cn 5-; me ;lanpl.mnn was relnli\-oly
weak.
H ‘l .» ll‘! r.lll'H!.~l~\.\'\l,'1'7.
I lhink ms n rather duzzllmi, \'l'l'_\’ interesting
plrlurel It lakes n spvriul kind ul audivnrv lu give
llsrll up u» 1:, ln gel boynnm lhc |lurmI\l Anlorirzm
ril|!;\l'1l_\' [ur skepticism and nrnnnmisnl. Yuu
muSl 5usp0nd dish!-ll(-l very early. sinre il (1l‘JlS
with suul lrzlnsmiurzlllnll. nv("ru|zhillu, wllrhrrillt.
\l‘l(‘[1Llll'\ll‘.|ll)‘ |l\dLl(‘Ed dl’t‘lll’l\S, :|ll hardly wilhin
me ralnlzr ul ;\|1_\'|rL"'5 nurnlzll ¢'xpcricnr€-5. ll wns

-l
;\ln\u$l insurn\uunl.|hl(' sulljovl I\lLl\l[‘l" and, lo
hrlnp ll ull as well J5 W1‘ did, llhlnk was :\ll J-
(‘llll‘\'t'I\‘lL‘(. I (Punk W0 :\ll did uur hcsl with im-
l‘|l(‘Il5(‘l)' dillirull nullcrllll.
. I -~ ;~ :~ ' » l|’.‘\l'l-lF-
‘J1’, lH[ I§'(!|!|lll—
=~~=
.
l

'»I vw
4

llll , ,

"-~~.l~l~vn-
- ‘I1 »_ "\l\I'll' ~v

. ,\ .,. ‘l , .

The |);\|';1|\ul.l 1-l rm» vh.lrn<-lur, lhv llllumpl lu

l'l||lH.‘ In Llrip wnn .\ s|md<>w)' lnrrr lhul duos nr
dncs nu! PXISK. (|u\'.s |1c|\(-r.|l(\ .1 rrrlahl kind nl
sillnlalrily. yrs. BROTIIERNOOD OF THE BELL
i.~' nu! :1 ru;|]is\i<‘ slury, |l'5 .|n :lll(-;:uril'.|l unc. ll
denls wllh m.m's mind. ln.~. lIl.l|)llll)' In dislurl.
lwlsl, and m\'(‘nl rmlily.-. ln lhzu rvspvrl. lherv IS
n 5lmilZ\l‘il)' Ill It-vling and lun(-,l1ul in n ll|(|ruu;:h-
1_\- limso; w.|_\', nnly in the scnse nnn n dozlls wilh
zlhorzlliulls ul Um mind. and nul Um nrrult and lilo
supcrnzllursll. ll's nn Lllll.-nlpl lu drill Wllh n larger
ur lralnscl-lldl-nl rczllilyl m-nlny I»! me nund as

.
Oppusvd \u 1| sensur)‘ rczlllly, 5|! lhcrc is n (‘('l'-

~
ll"\'
l:|ill kind U1 |'ul;\liunshlp,
4* ~= 7 ll‘.lL§."vV'v\l
l\§"|'
Y(-5. than was J \’£‘l'_\‘ W(‘ll>\A'l‘lllL‘!‘l L'hnr:\l'll-.'r,
and you \\'€r(' uhlv lu idelllily wnlh him bcrausr he
was 1-lnsvr lu e\'1'r_\'un(\‘s rllnuv ul 1-X]!&'rl(‘nC£',
Wm-'\'(' all Ind similar lvllmzs in uur ll\‘('S. ul
hmm: plrked un. hurassvd. and I Mink lh;\l pen-
eruu-d urml Llppcill.
-
|v":~:’
. l . -.n -:1 r\..n.

Nu. nnd I d<|n‘| think ynu n1-ml .-ynlpnlhnliv

)3eu]'1l(‘ lur mass audlnnros. Yuu vuuld haw 1| lus-
rlnalim: slur)‘ ul nn ullplt-nszlnl. uvll nun. Only in
popular llllh‘. ;|udi(\m*(->1 nun In gnwilh ¢nnm~-
lers lhlll they rurv .|l)uu\. ln l('l'lll§ ul ;|(‘slh('lil'5.
ll\;|l':4 nu Sll('('l‘ p..np_»~l-nl-x.
I pvrsnnully nnnaln suml-llum: h(-ll(-r wht-rc 1
l‘ilI\ lcol slmln l'ump;|.~.\llrll, ulldvrrilllndlnpz. and n
lculim: ul nnnmn n. knnw nna l'L|l'L' .llnnn|n-npln
muro. l didn't lhink P.|ul.| \\'.l.\ uns)'n\)11\lhl'll1". l
liked her, nnd shc n-n.< lv.|sll'.|ll)' luvvly nnd sym-
p.ll|\(-lir. Inn llw |‘ll'|v(|lll‘l'l"S rul.~ Lll'5ll"U\'[‘(| nun.
Il‘s mm ul me l\;lz;lrd.~ Hr Uw. m‘1‘up.|l|n|l.
.. n \~Y .
.»
.>_,._.. l
. .

Tln-y nu m-nl wnn n |'l‘.|lil_\‘ nnn is In-ynnn

m;u\'.~ l'.||).|l‘|l\' \u km-w .\n(l \u sou. S|T\l‘l' my
wllulr .||xpl'u;|(‘h ln llrl ,5 ln l'l‘|'.ll|' Iur .lll .nnm~nl-n
.| .~'|\.lro(| A-xpc*ri('m"v, LlIl(| lu |lll.l§\l'.ll(' .1 lilllu In!
--l l><l\u\\'l(-(I110 .lhnul lh(*IIl:~L'l\'(‘5. Ill xh-.|li|\\; \\‘llh
|n¢.u-rl-. .~1-nu-ucrull m.m-rnll, I <lnn‘l h.m- lh.|l
.~.|ll5l;lrliull nl hcimz .|Illl* In ch-.11 u-mun lln- nur-
Tn-ll rilmzc nl |\um.m l'x|7rl‘l('|\rv. rill dczlllluz wlth
:1 ‘Til'k. .|n mm-r\.u|uncm, .ln:l ll|.|l's nll ll lam
he.
l ram’! pull .m .nmi¢-n|-l- nulsillv |\'.< l‘ilIllI\~ul ox-
|)('rl1-llrr ll \|l('§"l"l' -\ll‘L'.|(l§' .\l><\-pllml. nu. .1 vary
Sl'l'|1|\J.\'|ll'lllll(‘lIl, |l||\A' an ln.un- lh.ll kmrl nl lll;lll'r—
nu luurh (~\‘1-ryl>ud_\' lll n ml-.||\i|lc(ul \\'.|_\‘. 1-nnm 1

rczlvh nu-m m .~-nnu prirnz-\-.ll. .ll.|\'l.~liz* wnv. l\ul

l du|I'l (hulk .|l\_\'lmd_\' |<n..n;~ 1n.n- [41 Lip n. ln un-
lmnl -l|\lll)'5l5. Hm |:t'|ll‘1-|1|U_-l lw mu-|~l.unn\cnl.
pure .m(| .~impl(-. .~un\l- kmd nl llllllalll-vn ln llll
_\‘nu uul ul yuur uwn. n;ll'l'I|\\‘ urqm-i|n¢-null lmuu~
unns.
‘ ‘..'»‘ .""l7‘l1\
Nu dillvrtnl lhzlll .|n\'ll\|m: 1-lsv. Yuu lr_\' lu
1
\
_ ...in dealing with bizarre,
semi~0ccult material. .I'm dealing .

with a trick, an entertainment,

and that’s all it can be...| don't
really prefer fantastic
material.
mrikl" ll J5 iisyfhulutzirllly i-etii as pU5Ell)lC, l'|llll(E
theiii use their \l\\' iniaginatiuns, experiences,
and nuurusvs. GE! them thoroughly. fully‘ deeply
I!l'\$Zl"llSS|;‘d ind l\'\\'ul\'(‘d Ill it 5U they're mi: QC!-
ln‘ hill tut:|ll\' lJ('l\-l\'lIl}!.
\\'ltttii \Itl| l\.l\‘l' All t-rliii-t-i.iI it-iii-i-pt, .|> tit lllr
l'\li|L'llli\'l\l i-liit-..iiiii itii-itt.ii:i in FF.-\n NO EVIL.
dti vttu ll.l‘-'l' .iitt ti.it-iii lJl.ll' ll\\'ll\lr .|t'l'4l|H-
pllilllllij ll '

Ytiu shuut with editmi: iti mind. Edituritil (‘un-

rupt lb -Ill EXl£'I‘l5iu|'\ iii tho dirt-t~ttii-'5 concept, and
the luirillntoitt tit it.
or tiii- ll'il'l‘l‘ tiiiii.~. )it~*.\' ‘~A'<illll’l vi-ii i.'l'IiLl|t llli-lll
in ti-t-tit.~ ill ‘.\ll.|l \4ilJ l|‘IL'(l (IV .ll‘lllL".'l‘ .lllll lll|\\' ~.\--ii
_ttt~i .H l\ll"tI4l th.it '
I was verv sut't't-aslul with Llll til \l1[‘lI\. ilnd
lelt (her were till very surve-sslult l r‘tiuldn't rank
them, th(~y'ri* .ill dilh-rent, and l loll great satis-
lill‘llllI‘l with all iii them.
\'- ti .|l‘-\.l'».~ iliKl \'ii\tt' l|liti.- ~.\'|ll\ -ti tiiiit'|i lt-ll tii
.\.|\. t_ tht. ittt--ttti--itii"
Nut r9.1lly_l just don't llkl‘ the neatly wrapped-
tip kind ill §ltlX‘\'.
r\ll\\li>| i-.-i~i t'I'llll ttr ltlm iiiiti Iit(l.|\ l-\lk> ti-
littui ’lll‘l"'.'l.\liIll lL'4‘l'.li|l[\li E>|itr|_ill\' iii THE
MEl‘lllST(‘i \V.»\LT'1', llll‘ 4‘Xll'I\>l'»’l ti~i~ ll‘ i'l1I_\\‘U]\>
lt-.id.~ llititi iii lit»l|<-t-r lh.tl i\'_~ ]'.i>t l|ki- .i tt: liliti.
All |ll\‘l'l‘l'il‘l‘ ‘-\‘1II‘ll\l~'.~’:€. Tit.ii'.~ l|\>~.i|\l i.-ii‘i it '
TU (‘l\"t‘l\' tiit- use Ill ll1l‘l'l(|§P>Ll|)IS l'ldlL'UlHll§.
It's Stupid iiiu ldllilll‘. The)" Aft‘ l)(‘lIl\! l'lil\\'l"11lllIY1'
;|ll_\' Ull])t‘l'l'(‘|!l|\'&' Jill‘ l1il.\ll\' iiii.iw.iri- iii H110 ltl the
must titiwerlul Sl|\\1l[‘ hitils ti dirl't‘lui' has, Wl'\I(‘ll
IS mt» p<i\\‘9I‘ Ul the l‘lIiS\‘-U11.
TliPl‘t' is iiii surh lhiiiit J5 "lel(~\'isiun (oth-
iiiqut." Th.it'> tlw lllԤl Iii\'lh we must destriiy
mitt hiiii~. Th- iiiily thint; tii.it l[‘l(‘\'|SIliI\ has J5 A‘
let'|’\iiitiut- is lIi\dll(‘SS. ur thv tiil.il lat-k til tech-
I‘l|q\l('l But. lI(‘lll'\'l' it tIl' |\i|l_ thorn IS lI\lIl'(‘ ini-
JL’l|1illl\'l'>|llIlrllY\C izitiiin iiii iii |\‘l[‘\'lSlltll lh.iiitht-re
tt~ ‘.fl lt-.ili-in-_\, l"('l.|!|\'l‘l\‘ spt-.ikiniL. llnlttrluiutelyi
\'l'l'j-' .-tit-it h‘lL~\'l§||tll Wlll l\('(‘lIII\\' \'lh\-L\l l‘-\(‘llti, Ll
‘ llll .il itilkiiiti. .iiid tii l‘l‘t'i|\L' ll\\' illii>iiiii iil teiiipti,
thl‘_\"ll ]7lrli.' |)\>Ilt_ i-i.-.~i- Llp, lid! lll\'\ h.i\i- |\lI i-i-.it
iiitit-t-mi-tit Ill‘ lll'll.\\‘HII‘. Cli|lS(‘([U\‘|l!l_\'. l'l(I$\‘—U|1.\
Jl'l' Uxlttl i|\(ll>l'l'||'tIll'\.lll‘l\' i»t- llltllti-ll1lll.|li\‘t' pm-
iiiii-i»r.~ .|Il(‘l t-iiititrs. P.--.,it.» \\'ll4| l‘t‘|lll'XL(‘ tl\l' mm
ith th.it l)L\>l§ .ll'\‘ iii.~t ltitikiiii: I-tr \ilIl_\Ullli\llllill[‘ll
ll‘l‘l1It|l‘Z\l Jlld .l(‘:~ll\L‘lil‘ t'\'.l_\ti|l> ti. ,ii.~iiti- iiim
per.~iiti.il l('[‘lllIL'S tilxiut iht- Vll-ll'.ll'l|'t‘t\.
ll ‘till ll.|(l .i t-ht-i--.-. '-Htillkl viii |ll‘l‘ll'l' lll ‘.\'tl‘l-I
t ill ll.t l.iiil.i.~lii' t_- l'.l I‘
Ni». I lllik‘ l)ll.|l'I‘(‘, .~’l|‘.\l\\I1‘ iiiiiiuriiii. l'llIlI1l'-
F('$$.|I‘ll\' l.ll\\-\5\|(‘. i'tii .i llull‘ liiiri-ti with n;itut--
;ili.<tit- <tr.ihi.i. l'iii ltvikini: It-r ll\llllI$ that .ir(-
If-ltl5l‘t-rltll-nl, 9-'lX]1(‘ri'l‘(|t'|ll. tit» l'l'-ll t.<_<@hi-t- tit ,, .
rmlllll’ t‘.|lll(‘l‘ ll\.ll\ ti-hit l.\ |i.\lHl§il)l)' 5\1l‘lt\(‘(‘
rmlitt-. l dtitt‘t l'I‘Jll_\' ]it‘Ull'l‘ l.l|il.l5ll(‘ n\ill(‘l'llll.
(‘\'[‘1illlII\-lllll it --tit-i~.~ l|ll' Clll‘l'l‘llIl' .i |tl§ll'\'l'llIll.\ H17-
piii-tuiiiiy ll) .\lll!“' iitr, \\‘l\lt‘ll i h.i\-i~ l)t‘('I\ iztiiity (ll
in l1l_\'dJ_\', wiwii _\ltLl lli\\‘(‘ mi lIllll\'l'lJl. it'.~ ll very
sti-iiiti; ll'X‘|l|)lJ\lIi|l.
Tiiiiti; -.~ii_ ii.iiii.

Al hilt. §\'t'ltt'§ lritm THE Ml’-IPHISTO WALTZ, di-

rertvd lI\‘ Piiul ltit" Quiiiii l\t.irlin Priidu<"—
\Vt~|it1kii_~
thins .uitt 20th ('t~|ilui')' Ftix I‘E‘l('1\5(‘ lAI§l i't'.ir.
TOP: Pziulti cl-ll'k.\’lIll l-l.|l'(]Lll'lll!L' Bisscl. ('L‘I1\\‘l'l
lA'(‘Z1r> .i r.ilht'r LIFIIII \*X|1I‘('.~SIlIll Jlllitiullli DLlI1l'-l
Ely [Curt -l\1l"lZl'I\>) .ittd his dill-|l1l1l(‘l‘, RHXLIIIIH‘ D4»-
LIl|tl'I'\ rn.irii.ir.i P.|l‘l'llllSl Ll|i]7\'-If ii. lIt'H'_\'ll\l1(ti
nuke .i sut*t"u>'.~; til P>|uli|Ԥb(l\]l|q\1l'- MIDDLE: Al-
iiii.iii;ii Mylb Cli|l'k>'Iil\ l.-\l~|ll Aldlil l> .i tiiit-ti pi-
anist whii ll.l.\‘ t.ikeii up |tlUSI(‘i|l ]li\1l‘illlSI\‘l. lilII\\‘&|
vlrluttsti D.l1lI‘.|l'i Eli" (Curl -lurpt-nsl liiids hr lizis J
siipt-ri~ pm ill ll.||i(lS. BOTTOM: it_\ii-=- ttiii-i<.~-in
lAl.ui .-\ld.il .iiid Ritx.ii\iu- Dt-L.ii\|'i-_\' (l1.ii‘li.ir.i P.\r—
kll‘l$l put tht- tiitiil 5])!!! tit lll\l\' tlll (III P:iiil.i Ci.ii-i<-
wits l-llll'l‘|L|(‘ll|l\' Bi>.~‘l'll l(Il'\‘l\|'.|(l tn .i l\1l‘ll\(‘l"-
Jl’lK‘(‘ ltl titt-tr plt-t HY dti .l\\.l) Wllll hi-i~. In Eurtipo.
the (ilm is l'(‘L‘(‘l\'l!lL' -Ill llll’ t'i'ilii‘.ll .\i't‘l:iit\\ lliid
puiilic .iitont1.iitt-i- th.it it (llll iiiit uvt iii tht‘ Utiitozi
Stairs. 5‘:
1'

i
 1‘

"A mad animal. Man's a mad animal.“--Peter appropriate context such as BILLION DOLLAR
Weiss, MARAT/SADE. BRAIN. In Li work such as woman nt LOVE.
No niincing words. Ken Russell‘s THE DEVILS Russell's anarchistic personality and technique
' - - - - is a mastcrsiece and one of the greatest motion games totally defeated the graceful qualities of
...Ollt:‘l’lSiV€ In 3 POSIUVG pictures (‘\‘Ol‘. It is also one til the mtlsi tl\0rin|gh— o. H. Lawrence. and the result was predictably
. ly offensive. repulsive. nauseous. and powerful confused and disjointed. without any redeeming
597155 - - i|S5;lLlll5 ttfi |'naIi'5 iiin-iniaiiiiy to malt and himself sense l flow, tempo. or subtlety.
in cinema history. In Aldous Huxley's book. TIE Devils of l..oudun.
THE DEVILS A Warner Bros Picture. 8/7l. In Cinema of madness and insanity is an apt way and in John Whiting‘s play adaptation. no Devils.
Panavlsiun and Tet'hnit‘oltir. I09 minutes. Prti- til de:it'ril1ing Russell's method, and he applies ll R0550“ has found the perfect outlet for venting
diiced by Robert II. Solo and Kcn Russell. Direct- here with a force and intensity that vomits itself his distorted vision. Based on true events in the
ed and 5t't"lpl4*d by Ken Russell. Based on the play unbridled by convention. It exudes his personality year I634. in France. it graphically depicts the
"The Devils" by John Whiting and the book The with such relentless. uncompromising impact that religious hypocrisy and moral indignation that
Devils Q Loudg by Aldous Huxley. Directorw the film is bound to be the most praised and spawned the belief in spirits. demons. and the de-
phoiugraphy. David Watkin. Sets designed by Der- damned achievement of Russell's career. Either. vii. With so much emotional restraint taught and
ck Jarnian. Art director, Robert Cartwright. one will hate. loathe. and deplore its living guts, exercised at the time. the explosion of immorality
Film editor. Michael Bradsell. Choreographer. or love it to absolute distraction. No middle— and decadence. even in the sacred confines of the
Terry Gilbert. Continuity. Ann Skinner. Unit ground or indifferent stand can be taken with a church. was inevitable. Pent-up. unreleased e-
manager. Graham Ford. Set dresser. Ian Whit- film like TIIE DEVILS. motions. unleashed under the pretense of the in-
taker. Assoriiite producer. Roy Baird. Music Only those who can look beyond moral preju- fluence of witchcraft. brought about a series of
composed .ind runduclcd by Peter MaxwellDavies. dice. and see into Russell's fully. brilliantly a- depraved orgies and spectacles. deltling the holy
Perfttrtiied by "The Fires of Lnttdoti.” Period mu- chieved Vision of mankind Will appreciate the ground ul the Catholic Ciitlrll and all that it Stood
sic arranged and conducted by David Munrow. mastery with which he realizes his ends. No weak for at the time. Russell conveys this sickness and
Periiirniell by The Early Music Consort of Lon- wills. hearts. or stomachs should see it. only mental deterioration with unparallelled vividness
don. Costumes designed by Shirley Russell. Pro- those who can view cinema with an involvement in and explicit candor; nuns stripping themselves
ducliolt manager. Neville C. Tltontpsun. Chief emotional experience. an objectivity of form in naked and having intercourse with strangers: the
Makeup. Charles Parker. Chief hairdresser, Ra- relation to content. and a basic maturity of mind howling. jeering mob watching the lurid circus oi
mun Gow. Assistant director. Ted Morley. should even be permitted inside the theatre. bachhanalia: and the accompanying ignorance of
Russell was not at home with the complex the ruling class to stop it and the profiteers from
Sister -leanne . . . .. . . .. Vanessa Redgrave Freudian intelleclualization and subtle sexuality taking advantage of the ignorance and immorality
Father Grandicr .. . . . . .. Oliver Reed of Lawrence's WOMEN IN LOVE. His blatantly of the masses.
Baron dc Laubardemont Dudley Sutton operatic vision amt audacious tecluiique was not Never before had l seriously considered the
lbert Max Adrian merely unsuitable. it was o|)lt|st';\lil'l|.Z. prctenti— possibility of Russell being a genius. but THE
Madeleine . . . , ,_ , , , , , . , , ,,
_ _ _ _ _ <;¢-.,.,,.;. ,|.,..¢5 nus. and unm--.ii-nliiy boring both to Lawrence and oi-:vii.s must be the work ni one. howe\'t2r insane.
Mignon .. . Murray Mt'l\‘in Russell. In spite of the lilm‘s basic ugliness. it is a very
Father Barre . .. Michael Guthard THE MUSIC LOVERS was infinitely more a- moral film. By depicting the other. blacker side
Philippe . . . . .. . . . . . .. . . . . . Georgina |l.ilc- datitable to his unique methods of expression. his of human nature. the film is abstraetly pro-reIi-
Adam .. .. . .. . .. . . . Brian Murphey grandiose cinematic efforts. and his feelings on gious, not against it as so many will obviously
Cardinal Richelieu .. . . .. .. Ciiristuphcr Logue man's persecution. It was a near-masterpiece of conclude. In viewing man's vulnerability and past
Louis XIII . . . . . . . . . . . . . . . . . Graham Arniitiige siylm.-d biography. using Tsciiaikovsky‘s opulent mistakes comes the illumination of a better. wis-
Trincant . . John Woodvine music in splendid contrast with the insane gran- er future. and THE DEVILS is shocking only be-
Rangier .. . . . . . . . . . . . . . . . . . . . .. Andrew Faulds deur of his lite. but in-cause it came more uneoni- cause it forces the spectator to come to gripswlth
Legrand . . . . . . . . . . . . . . . . . . ., Kenneth Cn|le_v iortably close to l'tussell‘s persona than the rcla- this and to understand the means in which he may
Sister Judith , , _ _ .tui-iiih p;|.<i§ lively more comforting aesthetic distance ofWO- correct them. But the film offers no easy solu-
Sister Catherine . . .. . . . . . . .. Catherine Willmer MEN IN LOVE. the critics summarily blasted it. tion. it is a plea for sanity. understanding. love.
An earlier work of his. BILLION DOLLAR and trust in a world that, even today, possesses
BRAIN. is probably more satisfying and ingc-ni— ignorance and hypocrisy.
Above. scenes from THE DEVILS. Ken Russcll‘s ously made than any of the other Michael Caine— THE DEVILS is not offensive in the same sense
iilm in release from Warner Bros. Left: Sister Harry Palmer films. or any of the -lames Bond as Tony Richardson's THE LOVED ONE. Michael
.leanne (Vanessa Redgrave) has sensual fantasies epics for that matter. It was a funny. mad carhi- S;u'ne‘s MYRA BRECKINRIDGE, or Cammell and
about Father Grandier (Oliver Reed). Here and val of a spy satire. experimenting with suspense Roeg's PERFORMANCE. These works were ol-
Middle she imagines him as Christ. bloody from techniques like all get out. and climaxing in a fensl\'e not because of their subject matter. or
the cross and walking on the water. ght: Grand- magnificently outrageous parody of the ice battle even their peculiar. distasteful personalities. but
ier (Oliver Reed) and Madeleine (Gemma Jones) in Eisenstein's ALEXANDER NEVSKY. Russell because there was no strong binding of style nr
stand beside a plague pit. Along with his photo- played with the possibilities of the cinema like a content, no maturity of form, and no positive
grapher. David Watitin. Russell has visually cap- child with a new toy. and it was an amusing. thnr- sense of direction. In other words. they were of-
tured a dark age of man that was truly pitch black uughly amiable endeavor. But playing with the fenslve because everything was badly done. and
with awesonic. meticulous detail. medium can only go so far, even when used in an vaguely perceived to begin with. Russell's wogit

3|]

--4
Q fuses words and actions to solid. concrete imag-
ery,unlike the aesthetic lmbecility oi these iilms.
zit totally worthless achievements. THE DEVIIS
assaults the mind with intelligence and honesty.
but iilms like these assault the intelligence by
their tlagrant dishonesty and mindless scnslbili—
ties.
Russell’:-= film is offensive in a positive sense
oi the word because it presents a world oi vio—
lence. cruelty. ttarbarlsrn, and debauchery with
straightforward, deeply Intrinsic significance. it
is not sacrillgious ill lite obvious sense tor, as in
l
the iilms oi Luis Bunuel iTRlSTANA, THE EX—
t tort exhibited by those who pasted it together out
TERMINATING ANGEL. THE MILKY WAY), Rus-
sell is not against religion or God as such, but in
wiut nlan has made oi God and religion, in the
mockely anti hypocrisy he has adopted towards
thenl.
1'he world as an nsyluni. poisoned with its own
traudulence and lies. was often compellingly e-
voked in Peter Brook‘s film of Peter Weiss’ play.
MARNDSADE. and disturbingly rendered in FE-
LLlNl SATYRICON not only as asylum. but as
hell on earth. Both these tllrns had the potential
of lteconttng offensive in tile negative sense. l)ut
i
l their nlalters possessed the strength oi a consis~
tent personal vision and a positive balance oi
l morality that t'l0\'.ttetl ll1t‘tI\ ;|l)t|\'(‘ the surface
'1 slime to frequently brillillllt heights. But THE
DEVILS surpasses any antt all such achievenlellts.
however superb.
Perhaps the closest relative to THE DEVILS is
Arthur Miller's play. The Crucible. an interest-
ing. yet curiously i-otnnit-T l?tl<FwIrrn, superficial
piece of nlelodr.lma. its allegory of witchcraft e-
qllalling rnass hysteria and illtiividual paranoia is
relatively nlild t‘tIItt|1ttt'l'(l wiln Whiting's play.
Miller‘s work was written in reaction to the Mc-
Carthy CUl'lilittll'ti§It\ trials, and its theme oi guilt
hy association is uncomfortably close to that oi
THE DEVILS. But Whiting saw a much more dia-
holical. realistic. intense. and t-oniplcx meaning
than Miller's shallow pretenses. and Russell has
utilized Whitlng's work with most of its multi-
facets intact.
Russell's lilm is theatre oi the Pinenlit as well
as cinema of the theatre. Like Miller. his thcat-
ricality is alive and flamboyant. bristling with
violent hunlan outburst. but never tot: theatrical
itl become ludicrous and intuit‘. as Miller so often
is
Oliver Reed'$ p('rlOt'ntitnt‘e its the nlait oi God
who realizes his own wrongs untter the pressure
ul greater tvrong is one of the greatest ever on
film. liis purity of love for one innocent. lovely
girl gives the lilm its iew gently idyllic moments.
tn these scenes. Reed contrasts the man's t'har-
acter so definitively that one views the ntan‘s
"5-J
earlier sarcasm of God as nlerc self-deceit. one
for which he is later gruesomely punished. tits
intensely powerful performance is never once too
theatrical or consciously cinematic. but aivvays in
control, in close l‘UIt]tlIIt"iitltt with the director's
vision as he always is.
AS the huncllbclvked Holy Sister whose inhibited
lust. lealousy, and insanity leads the priest. by
her accusations oi witchcraft. to his ttcatll. Van—
essa Redgrave gives a performance alnlost as su—
periur as her Isadora Duncan portrayal. The
deathlike calnt that leads her to predictable mad-
ness has been evoked by Miss Redgrave with a-
stounding inward pereeptlolt and artistic t‘on-
science.
Never strong enough to become enlbarrassingiy
obvious. and ne\'er tllo undel-played to become
non sequiturs. all the performers breathe a con-
viction ta vitality and violence into each oi their
characters that surpasses most ensenlllle playing
in any iilnl.
Along with his photographer. David Walkin,
Russell has visually captured a dark age of man
that was truly pitch black witil a\t‘t"sulll(‘. tlleiit'u-
lous detail. Ont‘ can almost taste the filth and d|—
sense. physically and nlentally. of the era. Even
tile ltlt'al'h-White bricks oi the convent cXu(i(‘a
coldness that hides .t creeping horror. sickness.
and death.
in his infamous book. [lg MiC_fi?§§ Cinema.
Andrew Sarris states. "ln cinema. as in all art.
tillly those who risk the ridiculous have it realshut
at the .~iublimc." in essellce. one might say that
"rns DEVILS is ridiculous. but Russell has boldly
taken that rtskand has fashionetia film of unsur-
passed power tilat reaches an abstract suhlimity
more affecting and disturbing than any iilnlmade
recently or previously. As true as the events de-
picted in the lllnl are. most people will reject
them as ridiculous. just as easily as most people
reject anything that is true. Truth does nllt always
equal l»7to(§,‘or vice versa.
Unfortunately. tile filnl has been given the
prestige tceatlnent in advertising. .-\ few nerds of
caution are printed in fancy. ever—so-proper
style. emphasizing thl‘ tact that the lilnl is n0t for
everybody. Large. i)ttld-l;it'[‘ type would llemuch
more appropriate that this rather polite method,
enlphasizing the discretion that lite individual
must use before dccitlitlg to see the lilm.
The "X" rating is too mild lor it lilnt its tutally
honest as this one, and i don't think tllat any rat-
ing could ptoisillly lit a unique case such asthis.
THE DEVILS is it itlnl totally unto itsell. Love it
or despise it. it makes no difference. One is hard-
Iy likely to ever iorget it. even if one badly wants
lo.
Dale Winogura
HORROR OF THE
BLOOD MONSTERS
HORROR OF THE BLOOD MONSTERS An inde-
pendent international Picture. t0/10. in Color by
Movlelab. B5 minutes. Produced and directed by
Al Adamson. Executive producers, Charles Mc-
Cullen and Zoe Phillips. Production consultant,
Samual M. Sherman. Associate producer, Ewing
Brown. Second unit direction, George Joseph.
Production facilities, Tamaraw Studios. Screen-
play by Sue McNair. Music by Mike Velarde. Di-
rectors oi photography, William Szigmond and
William G. Trniano. Film editor, Peter Perry.
Special effects by David L. Hewitt.
Dr. Rynnlng....................lohnCarl-adine
Col.Manning......................Robertbix
Valerie........... . ...........VickiVolante
Lian Malian
Willy...................
.
.........loeyBenson
Jennifer Bishop
Bl-yce.................. .......|3rucePowers
Boi)Scott........................FredMeyers
The advertisement tor HORROR OF THE
BLOOD MONSTERS features Lt fascinating as-
sortnlent oi beasts ally horror lltlii would be happy
to meet--at a safe ltistattce. There are drawings
of the hideous Claw Creatures, the fearsome Bat
Denlons. the unusually striking Snake Men, and in
a bid for normalcy. no doubt, the familiar Human
Vampires! Promises, prurnlsesli
While some manifestations of all these crea-
tures do appear in the filnl (mostly courtesy oi an
old caveman feature ironl abroad), their presen-
tation usually draws nlure outright chuckles than
gasps oi fright fronl the audience. The Snake Men.
for instance, are a hairy bunch of Neanderthals
who have what appear tu be wiggly worms growing
out of their lelt shoulders, the better to bite their
enemies during hand-to-hand combat. The Bat
Demons are midgets outtitted with umbrella-like
wings and supported by wires. And so on.
What is actually interesting about a very nlinor
muliun picture like this onl‘ iS the itnluunt olef-
oi bits and pieces tli other horror and outer-space
films. The connecting tissue is a wobbly frame-
work story dealing with the invasion of Earth by a
colony of space vampires. A spaceship is soon
dispatched to the "Spectrum" Galaxy to locate the
origins of tn» vampires. thus signalling the use of
rocket footage from solllc forgotten Russian lunar
epic. The space travellers. headed by a craggy
John Carradine. finally arrive on the Earth-like
planet to discover a "Lost World" of monsters
and prehistoric people.
The monsters are culled lront a seemingly an-
cit-nt silent where the ntlniatures are almost in-
ert. (For variety there area few shots ofa live-
l)’ lizard, and most eyecatvhing oi all, it full-siz-
ed cloth elephant which is operated by shalt)‘ man-
powerll. The planet's inhabitant.~i. including the
half-human Claw Creatures who constantly ter-
rorize the good Cave Dwellers. are front it lea-
ture which (W0 suspect) was lllmed in the Philip-
pines with local talent. This is integrated into the
lilm by having Carradint-‘s men rescue a lone
Cave Girl who then proceeds to tell the story of
her people. (No one nluch notices that she only
vaguely resembles the girl in ow iilm-wlthln—a-
lilm. yet this could be termeda rllinur imperfec-
tion in a nlovie given over to larger ones. includ-
ing a new (sic) photographic process, "Spectrum
x." which consists ui such revolutionary tech-
niques as tinting the screen blue, yellow, red and
green.)
HORROR OF THE BLOOD MONSTERS occas-
ionally returns to Earth. where the vanlpire in-
vasion is dealt with no more. but the leader of
Mission Control. a colonel played by Robert Dix,
abandons his post lrum time tu time to experi-
ment with his elltlre stall (Vicki vUl;\lIll‘l in It
nearby bedroom . With electronic .*ilil'lli.Ili\tul‘S
strapped to their heads. they nlakt‘ lo\‘l- and muse
about sex in the good old days.
The really heavy thinking, however, occurs ut1
the Spectrunl Planet, where one astronaut finally
turns to another and remarks. "You know. this
has been a sad trip. " 'Tis true. 'tis true.
Robert L. Jerome
3|
WILLY WONKA & ~\i__

THE .-:94
CHOCOLATE
FACTORY
...a pure, sometimes irresistable
delight...
8;
WILLY WONKA & THE CHOCOLATE FACTORY
A Paramount Pirture. 7/'71. In Terhnli'iilurT l0O
minutes. Pl"Udtl<‘Ed liy mutt: t.. wiilper and Stan
Mtirgulies. Directed tiy ivlel stiinrt. Srreenplay liy
Roald Daiil based UH his tIDOk _churlie and th_g
ciuietitste Fartnry. Dirertor 0i}1itLitui!l'1\|1it§', Ar-
thur lbhetsun. Art direriur. Harper Goii. Lyrivs
_
____,,- . ’

n
and ntiisir tly Leslie Brirusse and Anthony Now-
l9)‘. Miisiral >‘\1pe|'\'l5in, Walter Srharl. Ch0i'e-
ography liy Huward JEHre)'T Frudurtluti manager, Rigid: Gene Wilder and J£Il'k Alliertson lend t'hi|d-
Pia Arntila. stiund. Karsten ullrlrh. Spet'lalel- ren tin :1 rnriiiirul tthir tlirinieh wiinlt-.i".s~ Candy
ierts. |.ATt|:aii R. Frazee. Fzirturv in :l scene trtint P;iruniuunl's WILLY

Willy Wuiika . T . T . T . . . T . . Gene Wilder

. . .

Jark Alhertsuii
WONKA & THE CHOCOLATE FACTORY.
~——-in — —i- —— THE NIGHT DIGGER
Pirture. 7|. in Metrurulur. IOU ntinutt-s. A
5/
A Mt-irii-Gttldwyn-Mtiyer
Grandpa -Itie . . . . . . . . .
Yuuiitzstrlret Film Prtidurtiiitt. Prudurvd liy Alan
'
T T

Charlie . . . . . . . . . . . . Peter Ostruni Lit'|it'ti! as stttnething ui ti Greek rtvurlls. interpretn

tn. ciniriney and Ntirrintn s. Powell. Dirertnd tiy
T T . T

Auinistiis cliiiip . ....lvitrhiir-1 Hitlltter int: siinie iii the iii-thin Oltl‘ sees. These srenes
mrs. Gluup ursiits Rt-it shiive the niedtrine d0\\'it I01! hard even when the Alastair Reid. si-rernnliiy ll)‘ Rmild Duhl based Uh
Denise mi-tters-in ntetiiiings at‘? iI1>‘l2II1t;\IiPAtll5l)' undvfsttiiid hy the the nnrei tieit t_ii 5 _T‘:_Ct_l_li_ttt1 Tree hv Jiiy cini-teyT
vtiilet |]E;|tlI‘('}ZC\l'dE .
Exerl|ti\‘i:' produrer, willikltlt 0. Harlltwh. Mtlilt‘
Mr. Ue;\u|‘(‘|1;lt‘\‘1E . Leiinsrii stiihe ])t'E\‘iuu5 tll‘lllJttS.
ciile laiit Stuart |,:i\'es the narrative iieiinite paring (‘0|‘tt|)U56'd zitid t'undiicted hy Bernard Herrniann.
V9l'\l(‘;I Salt .. Julie Dawn
Mr. Salt .. tiny Kinnear lllld pi.\l'Pli$€_ his sltttiuth, \ll‘l\-tlt(‘rDd i-isiist style Sllltl lt;\l‘muIlt(‘ll. Tommy Reilly. slllu \'iii|a d‘A-
rniiiir. niiseriniry Green. ntrei-tiir Mi ]lltU\ll|1l"Lt])|i)',
Mike Teeuee
MrsT Tee\'ee
Paris Theninieii
Denny
nnhuni-es the lniht tiintusy tiiirti tit tiuriier Gu"'$
ririniui-tiiin iteshtn. criihe unii ll‘;li'ktt'\t1 shuts are Alex Thiinisiiii. B. s. c. Art dirertiir, iitnthiiny '
used with slur)‘ iunvtltin and impart. sit subtle in Pratt. Prtidlirtiiin ntanatzvr. .luhn Oldkiiuw. As-
tart that tine tiarely iiutires them. Sistant director. Mivhzivl Dryhurst. Camera up-
As in nitisl Splendid exziniples iii ('hildrt'n'S
movies. adults Seem tu entity them just its ntueh ElIeetti'l= t'untrTist lletween the rtiuilh, n;itiir:il— erzitur. Mike l-‘tax. Sttuiid rt.-vtirdists, Ilrizin Mar-
as they dti. Maybe the true test ill films like THE istle use tit riiltir in the ilrst halt. Lind the slirk. shall and Gerry l"lllftt|1hl't‘]i‘§-
\VlZARD OF OZ and the Saiiu version ui THIEF liriight, .ind Slil'l\l‘lil"tt('$ dazzling 1l|))'lll(‘Zl\llIf\ ui it
inside Wtinka‘s izirtiiry wtiiidt-rland. hriiiu til mind M.iu|';i . . . . . . . . . . . . . . T. . . . . . PLllI‘li‘l.\ Nt-til
OF BAGDAD is the universality tind liItl&'|€'S5l\l‘5§
T T

sinillzii‘ terhnitiuv llt THE WIZARD OF OZ with Muthvr . Pamela Briiwii

tit theme and ext'i‘iitiunT ll this is sit, then WILLY
. . . . . . . .
:i T T T

its l)lll(‘k-Llttd-\\'ltlll' tiegilinintz. and lTitt'r t-tilttrtul Billy . . . . . . . . . . . . . . . Nit"htilTis Cl.iy

WONKA AND THE CHOCOLATE FACTORY whully
T T T

deserves a lung lite with (‘hlldf€I‘i Tind adi|lie;;ilikeT ll"T\It§illlll\ intu lzlntasy. Mrs. Mi‘Muriri-)' . T . T . . . . . -It-all Andt'rT\‘tm
Withttul t-xt*e|)titln. the eiitirv vast is delilihttul. Mi‘. Bultiiii . . . . . . . . Graliatit Crilwden
It's :i wunderiul tllni. tull iii lim. t'|i:iriii. ntiiuir. T . T T

Gene wilder |)l;|)'S \\'niii<Ti unlike ;!|\)'\htI\i1 dime hi Mrs. Piil.iin.»< . . Yiiiillhl .inyi-i-
5\lrprist'sT st-ntinn-ntulity. .iiiti titinniinty. .. Peter Sullis
ret'ent iilnis. with just titt- I‘lL!lll ltl\ll‘ll iii Sltidt‘ Rtwt-t-i-nd Pt-luiitx
Like lust year's SCROOGE. it's niit ll p9i"SUt\;tl .. . . .. Britzit r-ii-syth
rtiniii-hiutity, i-ynn-iii tltti‘l('i"lHt\iI‘ttl, It‘iil\ll‘l‘-iii-[Llt'l ni.<trii~t Nurse
auteur piere. 4|!‘ Lilt LtItil!l\‘L\l(‘tll|)' in-iieiith ntirtruit
.

extertttt-, and iit't~.t.~'inii;il sint'erit_\' ;iti(| Vi'.tl'l'lll|l. Di‘. “lllllI\Slll\ . . .. Sebastian Breaks
tit 5Ul‘l('l\' and intiividuals. WILLY WDNKA dues niTiii-.i PTtirit'k
\\'h.it t-Tin till(‘ siiy. hi» is .|l)SIil\-ll|T‘l\' illill-llii‘. hl.ii-y wiun.iti- .
make §\1tl(‘I‘ttl‘ttt$ .itniiit petlple. lllld it dtit-:4 llL|\'[' Jetlliy Mi'Cr:it"ken
some t-harat-it-r Z|ftllJl\'illl'ttt‘[‘, but it's Till sui:;ir- Antiinu .ill the 5|)ll'I\(il(i rhild zirttirs, tine stands Fairntwilti . . . . . T . T . .

tiut—-Juliv DLIWH Ctilr .ts thv sptiiled Vt*t‘iit*.i Stilt. Drink Cll'l"k . . . . . . . . . . . . . . . . . . l\rui"t~ Myles
ruated just entitigh til ntTikt~ it t~ti§i' Lind \)|t'Ll2iLIt'tl tn
T T T T

swallow. But lltl‘l'l‘ is tt['\'l'l' ttlti murh T~=wL-etness Bcint: the iildt-st rhild llt\'tI\iIl't‘ til tht: t';\st makes
and liiiht. with at [Ow u|'Tittl> iii t'_\'ntt'isiit ht-re Lind it set-nt l‘1tli\('l’ uiiltilr tti siiiizle her tiut tl\'t~|', say. F;itiiili.irit)' hurts ltiiald D.ihl's THE NIGHT
Peter Ostruni's li.itui'.illy hctzuiling Chtlrllt-. tiiil l DIGGER. .i siliry whirh l‘til\llllllS at S\H'iil('l‘ l'l',\'l‘IIl-
thc-re tu lizilaiire thr nie-.~'s.it1t-. Lllld the st-ntinte‘n-
helieve hi-r tu he the liest tlt spite ill it. She is lilT1ni't~ tn Emlyn \\'illi:tni's lWli‘£‘-|tlItll'd NIGHT
tality is kept dtiwn tn ti hare minimum, and tint)‘ MUST FAITLT Here aitzliili is the aged. t)'r.i|init"al
when net‘esslir)' is it ust-d. niut'h nittre than the i'ti|i\'entiiiiial. typed I‘|ll|\‘ll‘
"Dally lTeRiiy" lirzit. liiit an enliitiimzilly l'tt|1l|)l(‘X nldt-r \\'tiln:inT li\'lnu iii it ri-nitite Enltlisli hunie
Roald D’Tih|"s ('hildi‘eii‘s hunk vlassit‘. Charlie
individual with RI !t\i.iltittl¢i(' iii .\'ll'1\I‘it1(‘T\1lt|)i‘(‘¢ilL‘lli- with ii )‘UUllt1(‘l‘, shins-ti-rish W4II‘|tllI‘l \!'lt4it‘|l slit: re-
sin: t_t5 mlqghli Qt-tnry. has been T*ii'ri|1tiT‘d|l_\’
hlv tittitives and lieh;i\'iiir.~’T When she lireliks tntti tzzirds as her Sl'I‘\'JI1l, t'iini|i;i|iinn :iitd dTiui1htt-r.
hlm with (‘tire and tittiii-sly. hut quilt-' ditlerent iii
spevitirs tiiun ttit- iirit<tn.ilT Tl\l'l‘ltJ1\}Z(‘tlill|il' ts
nutiiitiit tii start l'sll§ll\t1 l\r|\'IIt' utiiiut, and it's;tp-
propriute sinre llllllt ch.irlii~ and willy are t1t\'\'tl
siiinist t-quill tllt])lIl”lTillt‘L' in the stnry.
the Stitl. "l wtinl it Niiu~." she does 54! with
tiiui;h. it\l'iim|)‘.\l‘;lllli' style and [iIi(‘SSt'T l l\U])[‘,
ltlld t'X]X‘('l. lit see tl L!rL‘i|t deal niure Mi her in the
tiitiire.
ntiii-e iir it-ss iii tltill iirrit-i-T I“l\l tht-ir musty.

4
nehnyi
~77
silly
'7'
(Ntl'l\lilL\§ chiyl l‘1t)X‘5 .ina l'llltt‘d(‘rS
-»— '4 747
Leslie tirit-tisse Anthiiny Newle_\' have h'is—i-it-tinis Llltd tht-n l)\ll"ll'5 them iii tho |i:tth iii Lt
A rtintest [0 till-ll’ wiinitu'T~T t-shay nit-tiii~y is the -.inii
iii ninriinriute simple rhsrrn rtisti lit-int: inii-ea. The iiini Wits iirh_-in.iliy tiihe
sprlnpliiiard Ui the plttt. with nniy tire pulden l‘UI‘il[XTlS(‘d Slings JII
l"(‘l|T‘a$&'d lll'tdi.‘r the niiire llttrillililttl tiili- THE
tickets hidden in the litlllllilt iii wtinh.-i rand)‘ liars ltlid dl‘lit‘Llt‘)'. and ii riiiiplr hi thetii, "niin't cry.
thrtiiiithnut the Wtifld in siuniiy the winners. This chiirlie" llltd Miss cnli-'s nuniht-r. ill‘? ]tl5\ !ttIl|:- norm BUILDER.
introduction lakes up ahuut halt the iil|il's runmni: l1liit‘Pt'tl. As in must iii Hrirusst-'s tiest Wiirk
tirne. liut it's kept at Ti tiuht pure, spiirkl-‘d tiy (DOCTOR i>0uTTtT£. SCROOGE). there is 1|
some rlever, piiinled U|)SL‘t’\‘Z-\Uu|'tS un ni;tn‘s iui-itiit iistt-nlTttitin_ prctt-nsiiin. tinti exressiveness
greed, inhuninniiy. and hypt>i'rlsy. Est-h ht the thiit is retreshint: and (‘\it‘|tple\lT‘l)' iuitiiritl. hlliril
five winninii rhiiiiren serve as representatives iii l'l'tlit‘S r<iiiiplTitn Llliutll B!‘lt'tl§5("S i-nniniisitti-ns,
\‘ai‘l0us rhildhuud quirks. brought abtiui by their vallini: it Muzak. st:ileT Tind itirut-tizilile. When
parent's irresptinsiliility. There is the iieriieiusi |)l‘ii]!l(‘ iiet users tu sut‘h iilnietl i'IlIll|Xi§['t‘S J5 cil-
etiterT the eternal t1Ul1l-l‘l'l(‘iA'l‘t", the sptiilcd lJl'lIl, lit-rt tt- Suilivitn. Rodgers and HTlt‘il!l\l‘l"Sl[‘l. and
the lPlE\'i5t\Il\ Ireak. atid the liinrly. hupeiul litty Lerner Ir Ltiewv, it's viii)‘ lI£lli.tl‘T\l til disniiss Bri-
nanied Charlie-. Wunka l1lHlS(‘li is the snide iiinr- (‘U559 & Newley as pale iliiitatilrs tll\‘lint[1Z|l"l54It't
altst whit sees into vat-h tit their |l\'(‘S, and he tn these men. Bill Brit-us:=r |)\I55(‘S5l'$ Ti simpli-
makes itli etttirt tit prevent the ilt‘$t ttiur t'hari:t-s i-ity iii iurnt. rtn i-usy texture. iiiiii u ntild sensi-
Irorn their ultimate. d(‘5Ei’\‘lnt{, relatively t-tiild tivtty tti l'|\t.l5|l‘ and its it-rnitttii-ti that sets hint ll-
l:itesT part triini siirh dlslingilishrd iierstinue. He is ail
Thuiieh Duhl insists tin their rh-.irurtnrs very originl tr every sense iii the nnra. -.inii it's SKI
struntzly, dirvt-itir Mel Stuart and his t-aisi are dil- easy tit dismiss ti nlan like him tllat li rt-'-e\'.ilua-
tizent at never duint; an)-thing tint eniphattcalty. iiiln iii his work is serinusly in tirder.
There is u i!l‘;t(‘(‘i\ll tTilh'tu5pl'iiT‘!'(‘ ill stiiitrrs sty|is- Stan Miirinilles iinii nin-iii wiilpt-r have pt‘i|dUl'-
tie eieieilry. with nittmenis iii ptii;!naii<‘_\' handled ed :i prulialile rlnssit‘ 0i t'|i|ldr\-n'T~' iilm. and line
do tit-lii~-Titeiy illtd lit\'in|.!l)' "till tine is hiiiyeii i-ery hiipes that they will take tiitl iith~-.int;iun iii it. wit.-
deeply by theniT LY WONKA ti THE CHOCOLATE FACTORY is it
There are times when points |)(‘(‘l>tt\9 0\'(‘I'-l.'l1l' pire, siinietimes tt‘l'l"Sl5lil)llL‘, deliatit. and one ui
phasized. ESP9t‘lilll)' in the "Otimp;i— Lt.iiinl|1;\" the Itnest tilnis tit its kind in f¢‘t'PIlt years.
Stings sunl: tiy ii ilfllklp Oi 0r;\lti!E-itl(‘Bd midgets. Dale Wlniltlurl
4

32
Ll Z"! L.‘-T
, ">-41
‘qg
n-
*‘ 1"
' 1, - -I-is-vi
‘<14
F‘ 1'
.., <'i
F;-Jr.
-.v
V ’»~ - so acute that tine ntarcels at
in ;
' 5"
‘ -»~s...:" 1-}
;
9 _ '33’ 6 true ambiguity is in making siniple things cum-
-_-l
‘H ~-.»__-
r ,;_. * ‘
\l' 24"-‘_~
. ll
.
_"f .4‘
.
. sion so instinctively lirganle that one iinds it dil-
Middle: Nicholas Clay as Dilly. the ynuntz. Psyrh-
upathir killer in Ruald D:thl's THE NIGHT DlG-
4 GER. now in release irtiiit MGM. Dahi also did
the st'ri|it itlr WILLY WONKA it" THE CHOCO-
mm-M-~‘t%
LATE FACTORY. reviewed at left.
' Federico Fellini's ultimate
sinntier world t"timl‘S a young nuin Klitl aunties tnr
. ttie ptltillitlrt of gardener Llllti 1at'k—oi-zill-works.
at ilrst the elderly lady is rharmed liy the
yutitti. t"tin\'l|tt'iTtt1 liei-sell tie is no niere iiuarder
but a distiutt relative, and the younger woman. at
first suspivitlus and resenliul, suon grows iond Oi
the stranger whose childish ways llrlng out her
Q long supressed feelings for the upptislte sex.
Neither. oi rourse. suspects he is the travel-
ing killer Whtl roams the countryside OI1 his nin-
torcycle raping and murdering attractive young
women. later concealing their bodies iorever by
cievcrly iiurying thent itt the path of a new road
being paved.
At this point in the story, THE NIGHT DIGCEH
begins to develop a sad. gripping personality oi
its own, shunning the likely suspense oi two help-
less women threatened by 2| madman in their
htvusehold. Instead. Dahl opts iur a |!ervel"Sl*
fairy tale. with the demanding older woman as the
blind tvgre who lias |m|)l'iSttIit'(i her young ward
until the day it Frinre arrives. Unfortunately. this
handsome print-e is hintseli under aeurse--M19.
inridenially. whirh is triggered hy a liand oi iear-
sunte gypst-y wtnnen-lnii tie is at least aiiie tn re-
lease the woman ironi eternal llllndage iieirlre he
nteets ltis tale.
The principle players are uniiorntly excellent
under Alastair Reid's Syntpathetlr dirertlon. Pa-
tricia Neal, as the luster-daughter who, at 35.
loults 50. expertly ratrhes the frustration at the
heart oi the rule: the little curses iA'liit‘l\ greet
small disappointments, the little smiles at what
might have been ii she had been allowed to esrape
her servitude with a iurriier lover. When she at
T last senses what her new ltlve is vapahle til doing,
and decides tu change her personality to attract
hint. she turns what might have been a pitiful nio-
ntent into a heroic one.
As the tiritnipntcttt blind woman. who squeezes
and twists gossip like a lemon peel in tea. Pamela
Brown eiiortlessly adds another gold star tu a ea-
reer which has always been distinguished by ster-
“L ling performances too often unappreciatcd.
Nicholas Clay. a newt-onier who ltmks like a
‘ cross between Ryan D'Neal and Michael York.
handles the diiiieult rule tii the demented ntur-
. derer with a dunll) rharni Whirh negates some Iii
t l the brutality oi his deeds. Neither Dahl nor Reid
shirks from showing the Iiorrttr and unpleasant-
ness involved in the young man‘s sexual assaults.
which make cla_v'.~i sueresstul llid itir s_\'m|Iath)'
and understanding all the more remarkable.
AS in the iiest Hitt"ht'tit"k, there is an under-
current of humor during the opening half oi THE
NlGilT DIGGER, and Dahl's dialogue operates at
a pungent level. The movie is also hiessed with
one of those strange. haliefantiliar ntusiral
scores by Bernard Herrntann. who alternates his
ominous. PSYCHO—lik9 vhurds with ;\ plaintive
harm0nit'a thenle.
THE NlGHT DIGGER, despite its place in tite-
night-holds-terror genre, is actually a love story.
I lnitiine drapped with rrepe and tilackleaiher.
Robert L. Jerome
'
Fantasy IS the quest of
‘ all Fellini‘s in-rlt In nuist audiences. Though his
masterpiece‘ "
THE CLDWNS Filnt Corpura-
A Levitt-Pit~kman
tiun Release. 6/‘ll.
in Technicolor. BU minutes.
An RM-O.R.T.F.. Bavaria Film and Cnmpagnia
Leone Cineniatographiva Coproduetion. Produced
by Eliu St-ardamaglia and Ugo Guerra. Directed
by Federiro Fellini. Srreenplay by Federico Fell~
ini and Bernardino Zapponi. Music by Nlnu Rota.
Dirertur oi pnutogt-aptly. Dario oi Palma. Cos-
tumes, Danilo Donati. Editor. Ruggertt Mastroi-
anni. Assistant director. Maurizio Me-in. Produc-
tion manager, Lamhertu Pippin. Prtiduetitin set‘-
retary, Norma Giacchern. Assistant to the direc-
tor, Liliana lletti. Set deeoratnr, R9n7.tlGronehi.
Camera operator, Blasro Giurattl. Makeup, Rino
Cartmni (0rlane). Hairdresser. Paolo Franees-
('l\t. Assistant to the editor, Adriana Olasiti.
The Clowns. . . . . . . . . . .
Billi. St'0tt|. Fanfulla. Rizzo, Pisloni, Furia,
Reder, Valenlini. H Ctilumiiaiunt, Merli, l Mar~
tana. Maggitl. Sllarril. Carini. Terzu. Vingelli.
Funiagalli, Zerlilnati. Janlgru, Maunsell, Pe\'er-
ello. Sorrentinu. Valdvniaro, Bevilacqua.
The "rt-uune...... . . . . . . . . .
Maya Morin. Lina Alberti. Alvara
|1arinti.
The French Clowns. . . . .
. .. . . Alex, Bariti, Pere Luriot.
And With. . . . . . . . . .
Pierre Etaix. Annie Frateiiini. Gustav Fratellinl,
Baptiste. Tristran Renly. Liana. Rinaldo. Nando,
. . . .
Oriel.
The Animal Trainer . . . . . . . . . . Franrtl Migliorini
and Anita Ekilerg
Fantasy is the quest of Federico Fellini's ulti-
ntate masterpiece, THE CLOWNS. Cirrus.
clowns. magic, all these are the primary ele-
nients Iii the search, and it is all its sublimely
simple. and inherently anlliivalent, as the title.
in the opening scenes, we view Fellini's t‘hild-
hood and his initiation into the circus world. His
iright and disturbance with clowns and their inane
gags is eommunicated to the viewer with such
powerlui olijeetivity that one is actually plared in
his vision.
Then, we see a variety oi elu\v|t—likP character
types fruni his childhood, transformed iniu a ver-
ilable circus oi pathetic humanity. Perhaps it is
in identiiying the fantasy vluwns with the real
clowns of his youth that prevented Fellini irum
discovering the joy and pleasure of the cirrus.
it is on this point that the iiint renters. Felli-
ni's seareh ior the magir he never found. in a
series oi telllngiy randid interviews with retired
rireus clowns. and occasional visits tu today's
dwindling rirt-as-es, one views the death oi a
dreamworld with an aura ut tragedy and sadness
mgmt A scene from Federico Fellini's THE
CLOWNS. n0\\' in release irunt The Le\'itl-Pit'lt-
man Film Corporation. Fellini's frequent refer»
ences to the circus symtit-lizing fantasy and real-
ity in his previous vvlirks is lirtnlgilt tn a peak in
his newest iilnl.
rellini‘t= uni-anny tn-
stinct in unveiling it all.
it all culminates in a blitzing riot oi etiltir,
slapstick. rhase. and fireworks that i)riI'\i.!S the
death til fantasy to the point Iii tragedy that is not
completely tragic, a farve that is truly sad, and a
sadness that is genuinely triumphant. Fellini‘s
plex. and complex things simple. How he achieves
this is in the mastery oi It ltlrnt in Whirh there is
no equal, a handling oi technique and personal vi-
ficult. indeed impossible, to analyze the reasons
ior his elusive persona.
I‘
F e ill nt' t‘ttni)ltit'5 d tic u nienar)
t ' rea'li<.nt with
purposeiul rinematir struvture and. after it wllile.
the distinctions lietween fantasy and reality lie-
rumes a iiiur. in fact, one is never rontpletely
certain oi Whether or nut some svenes l\Z.t\'l.' been
shot spontaneously. or lieen given several hours
°"°""'5“'-
THE CLOWNS may be th(- must tlt‘t‘l'55iillL' iii
earlier, neo-realist works, wntrs Stilt-IK. lVl-
TELLONI, and LA STRADA wt-re relatively nitire
comprehensible than the moral aiistrartllins Ul
snriai decay in LA DOLCE VITA and FELLINI
SATYRICON. and the exprt-.~'slon oi artisttt‘ agony
in 8 l/Z and TOBY DAMMIT (the only lirilllant
segment in the Pile anthology. SPIRITS or THE
DEAD, which included a passable segnlent by
Louis Malle and an absolutely terrilile une liy Ru-
ger Vadim). THE CLOWNS is Fellini's first truly
austere. eunsis-tent. i-uninrettensive. iieautliul,
and moving elnematic at-t-ontplisitmettt. Even for
those who despiiit‘ Fellini‘s Work, and some do,
THE CLOWNS should be it l'l'\‘l'l1liltltt for tiiem.
Fellini's irequent relt-rences in the circus
symbolizing fantasy and reality ill LA STHADA,
and occasionally ill 8 l/2. and the t~irt-us-like at-
I‘tl05pl'\(‘t‘(‘ Ui LA iX)LCE VITA, JULIET OF THE
5PlRlTS. TQBBY DAMMIT. and i'$|)f‘t'i£tll)' SA-
TYRICON, have all been lirtrught together tti a
. . . . . . . . . . . . . . . . . . . . . . . . peak in THE CLOWNS that makes it It'itIf't' Mtliying
lli his personality than the niagniiiet-till)‘ lilatent
decadence oi most Di his previous Wtlrk.
Tile |1rlilil(‘nt is, where does Fellini gnironi
here? He has fashioned his ultimate t'rl'alinn. attd
now he may be faced with Guido's existential pre-
eliianieni in a l/'2. Whether or not lt(' will meet.
. . . . . . . .. or even surpass. the challenges remains to l)(‘
Vitali. Gas- seen.
THE CLOWNS is .l true work of genius. and
Fellini‘s total \'ln!tir‘.|tion as J serious artist and
. . . . . . . . . . . . . . . . . . . . , . . .l man iii gt‘Il\liIi(‘l)' unique |Il‘t'5lItt1ll vision. it is
Ludo. Mats. Nlhi the greatest illlii so iiii‘ this year, next to Vis-
t'llnti's DEATH lN VENICE, and greater than any
. . . . . . . . . . . . . . . . . . . . . . . iilnt released last year,
Dale Winugura
Federiro Fellini dirertlng THE CLOWNS.
33

THE REINCARN/\TE A Tll\\'er Pt"lrdltt‘ilUtlS H1“
lease. l97l. in Color. A Mcridian Films Ltd.
l>rn<iii.-ti.-ii. wriiii-n niiil |)l‘lI(iU('t'd by Seeleg Les-
ter. i)it't‘t‘l4'd by oiin llnlilaiii-. Music lii- Milan
Kynlllcka. DiI‘(‘t'iHt' of pilntog|‘.t)lh_\'. Nilrnian C.
Allttl c.s.c. Fllln ctlitilr, Gcorgc Appleby cit. L‘.
Art director, H.l|‘r_\‘ Maxlicld. Production ciln5ul-
tant, Wally Gcnilenlan I‘. s. c. Optical effects.
Film T('cltnlqui;‘ Ltd. "Ni-Onc Ever Dies" sung by
Mary Siitiliions, lyrics by Harriet llerlistein,
E\'(‘l't'l Jiiliiin
Di|\'i[l Paint: . .
Rilthit' Monies . ,
Bcrrynllill . .
Stedley , . .. . . , . . .
l\nii .i.inie.-.t..ii
Gene . . . . . . . . .. . . . .
Ormsby , . . . . . . . . l l . . . . . . . . . . . . . . .
A A
lt'flist iilw-butigct horror filnis in till‘ niitdt'rni$-
tic \'t‘ltl l fltt(i llll)l‘]l|'l'l1‘tttltit.iS, illid(‘t‘Cli‘\'t‘lti])e'd,
sclf-ttitiultlitlt: burcs, and films like NIGHT OF
THE LfVlNG DEAD. COUNT YORGA. VAMPIRE,
SCREAM AND S(_'Ri'-I.-\M AG/UN, SIMON, KING OF
THE WITCHES, THE DUN\\'lCH HORROR. and
£QL'i.\i0x are .iii in ttils i-.iieg.n--.-. Maybe lniiiget
is i-lose to .iii .iiisiiluti~ ii\'t’(*.\'Sil)'ltttlll‘ttt:‘$iliEtit‘
qii.ilit_v ni this Li\'llt'l' >tl\t'l' Lltlill ltItrt'tit' requires
less t'tIltl|lt"ltIiii$l' .iI\ti .i (llt'l't't liiiu \U the iniiiitl
ihfltlitlil ciiiisisii-til. i-iii-t~ii\-i- i~iii|iloi-iticiii oi flltltit‘
tt*t'llni<|ut-s ill i'~-llttct'\iutt with thc filnl-tl\.tker's
|)t'r:itiilalit_\' .il'tli iiis itt\'lIi\‘£‘tltl'tll ii-iili tilt‘ tli.lit‘t'i.il.
Of i-iiit|'st-. l\‘.\'$ t'iltIl|)I‘llll\l5lf\t1 llt('L|IiS ntilrc
nlnllt-_\‘. .lnt| t~x.lt*tiiudc rcquircs either plcnti‘ uf
iinani-i.il ltilt‘l(ii\L1 or t't‘IIitlt‘i<t|lll(' sli~.iiiis -ii i-ri-;i-
it\'l' lliL!('illlIl\ .iiitt tort-sight wit the tlirei-liii-‘s he-
hall. Oni\' onc rt-cent flint to my mint! ll-is even
coltir rliisc to .li'lilt-vlllg sonic (‘t>ltSi.\‘ll-‘tit')' and ef-
fcctuiti .ttnln.~]lht'rt* lit this genre, and tt is titled
THE fil'IlY\'(‘ARN.-\TE. f)tin'l nilsuliticrstalld, it is
not .t good ftinl, t‘\‘l'il though it might ho good of
34
Above Leit: Director Peter Watkins (holding tlie
script) during the [tinting of THE GLADIATORS
in Sweden. His film is now in release to Ameri
can audiences through New Line Cinema Corp.
siiiiiw Left: A scene from oiin Haldane's THE
lu:ni"c.\m~wrt:. a moodily effective little film Of
the occult fronl Canada. nnvt‘ in release from
Tower Productions.
its kind. Taken as an entity, it i5 only halt-suc-
cessful which. considering its immediate compe-
tttton. is high praise indeed.
There have been some niaimiflcent low-budget
hurror and science fiction lilms in the past, like
THE THING. INVASION OF THE BODY 5NATCH-
ERS. and VILLAGE OF THE DAMNED, but they
did have sufficient funds to take the time to do
tiiings correctly, as well as having directors iii
exceptional talent. But now, talent in this Held is
mostly stale and arid, and only an occasional
work like THE REINCARNATE comes along to re-
mind one that some life can still be found in a dy-
ing genre. An occasional Hammer production like
THE DEVIL'S BRIDE re-affirms the thesis that
tine little hurrur films can still be made, but even
that had a substantial budget to carry it through,
and Terence Fisher's crafty technical virtuosity
as well.
The financial problems tlf THE REINCARNATE
are clearly in evidence. but all to its advantage.
Must uf the set-ups may be fast and eruntlnlical.
but dirertur Dun Haldane displays a frini grasp un
the concept even when the material falls apart.
which it frequently does. in fact. Sci;-lei; Lester's
screenplay is the iilnl's worst attribute, with dia-
luguc so over-prosaic. pseudu- intellectual, and
needlessly expository that it becomes tiresome
and sumctimos lttdicrus. As fur the sequence Of
events, Lester has written the plainest, must un-
der-developed, and one-dimensional tiurrur iilm
possible under the circumstances.
its premise uf life being eternal has been han-
‘ \ died in ii cold, surprisingly unintaglnitivo manner.
3. ~ A titan who is about to die strikes up anacquain-
1 ' lance with a yuung, strupglitig sculptor. and in-
f0l'nlS niiii llf the lU1UiA'lL‘Clg(‘ iii tiis t‘ur|iiI‘t|.! death.
A ~ Tu keep his mind forever in the world, he pleads
witlt the young artist to takc part in It reincarna-
|iUI’t ritual that will preserve it. it's a very sinl-
pie stury. with a iiriei siilipiiit involving a young,
virginal girl who is to be sacrificed in both sex
and life as part uf lhc ritual.
The stury is fabricated uni)‘ in the slightest
way llecaust.‘ its ntaitlr prcuccupatiun is with
lengthy. iirnliii-alent lthiluriuphical tiisriissiiins Uf
life and iieatli, and plenty iii intrinsic syniiiiillr
referent-es tu the eternity Of life. flut the literal
aspect uf the filnt is a vuid, a shell in which very
little ever occurs‘. and littlc uf which is either
genuinely in\'ui\'ing or exciting.
if nut for the filful directorial inspirations tlf
Don Haldane. the film could have been a lost
cause. Mtist of his itpplicatiuns of ("inertia tcrh-
.tack Creley nique are fui'it‘tit1t'tal. exacting, and E\'t)(‘Ilti\'l‘ Uf a
.. Jay Reynolds ieeilng fut‘ tiie 1ltttitlS]!lt(‘rit‘ inieiisity ui itie l)-tSit'
Trtlti) Yniing S\.il)]Et‘t niattri-. He handles the riiniaeilr ritiial
.. . . Hugh Webster scene with assurance uf instinct, utilizing di§-
. . . Gene Tyllurn solves at first that sets the tune perfectly. and
. ...Tt-‘i't")' Tweed riirrying it ttiriiiigii ii-itli taste and sincerity.
. . . . Rex Hagoii iialdane |mrft|rnts Hume |'(!i'l\tlt"kZll!lt‘ bits of 0d-
Colin Fox tting in the film. especially in the scene where the
)'tli.iIlt! girl's virginity liernnies endangered early
in thc film. He cuts tronl her bo)'frlt:nd':i Seduc—
ilttli to .i black (‘iii i-iinning down ttie street. the
ll‘l'tl|l\r building inrrcastngly fast, until ii crasiles
through .t window, lethally sending Lt glass splint—
l.'r inttl the lmy‘s llcck. lt‘s 1| terrifying, disturb-
int: munlelii, skillfully executed.
Jack creley. as ttie elderly titan, is the uni)‘
t‘tlI15iSli€l1ll)' 1|lltliil'lil!lC' perioriiier in the cast,
vi-nlle tiie tltlil‘t‘ 1It‘tUrS sii-iiggle vainly li\IJil\§l tlin-
ing of tlti\‘(‘llt‘\'..iiilt‘ itl5i|)idil)'. linn-erei~. Haldane
uses his actors quite wt-ll. rreatilig siiiiie ieeliiig
for the mood |It>5Slllilill95 inherent In the thctiic,
lltlt l‘\'l‘ll he i~;in‘i lI\'l'Pt'tlIl\E tiie St‘t'l]!l entirely.
Made ill (_'.in.lda,TlfE REfN(.'ARN.-\TE l.\'l)0tt(‘r
than nmst Amcrlcan hHl‘t‘tir filnls. it's‘ fairly good
because is S\1t‘t'l't‘d$ iii iI\'(‘l‘('0l‘tlltlt! itsliiiiilatiiins
at liIti(‘5, and iliiii‘s eiiiiiigii fur the iiiiinieni in this
i1Cttt'(‘. Hut tilt‘ film L‘lillS with a deadly sting called
"Nil One Ever Dies" anti, t'nlt$td£‘t‘itig sutltc nf the
filnfs other bad elements, it IS the nlust tcrrtblc
atrocity cilntnlitted in it.
Dltlc \\r'inugur;t
'
L
“symbolically represents the
tens of thousands of you
rg
people sacrificed year after year.
THE GLADIATORS (GLADIATORERNA) A New
Line Cinema Release. 1971. ln Eastmancolor. 90
minutes. A Sandrews Film Bl Teatcr AB Produc-
tion. Produced by Goran Lindgren. Executive pro-
ducer. Bo Junsson. Directed by Peter Watkins.
Screenplay by Peter Watkins and Nicholas Gos-
ling. Director oi photography. Peter Suschitzky.
sniind, Tage stnliiirg. Art iiireeuir, William Bro-
die. Editor, Lars iiagstroni, Music by Gustav
Mahler, Third Symphony, First Movement. Film-
ed at Malsaker and Karsata, Sweden.
Officers: Arthur Penteiow. Kenneth Lo, Frederic
Danner, Bjorn Franzen. I3-Team: Jeremy Child.
Erich Stering, Richard Friday, Terry Whitnlore.
C-Team: Michael Cheuk, Pik—Sen Lin, Taras Lee,
Louis Chcng.
Cassandra, according to Homer in lh_e lliiatl.
had .t special piit which was also her special
curse. The daughter of the rulers uf the besieged
Troy, she had the power tu accurately iurteil the
iulurc. but because she had spurned the love oi
Apollo. he punished her by seeing to it that no one
would ever believe her prophecies.
Srtmething of the Cassandra syndrome appears
to be operating in the career oi Peter Watkins,
the young llritish fiintmaker whose major works-
from CULLODEN tu THE GLADIATORS--exhibit
a seriousness, a dedication and a crusading spirit
which merit the widest possible exposure in
theatres around the world.
Not unexpectedly, Watkins’ special gifts for
dramatically illuminating man‘s stupidity and
in-astiality. where war and an unusual sort oi fu-
turistit‘ peace are concerned, tias not gained tiini
the audience he deserves. For instance, Watkins'
flint fur the BBC. CULLODEN. treats historical
warfare with a feeling for the poor participants
we can lle\'(‘r |70rce|\‘e watching 5|-It'll inflated "cp-
irs“ as CROMWELL and WATERLOO, but there
is littlc doubt that the average iiimizoer, in his
quest fur entertainment, prefers the pageantry
and punt]! ui an outsized studio fabrication tothc
liUi"i‘Ul‘$ Watkins niaites so \‘i\'id in tits uoi-iinieni-
ary-like apprnarii iutlit.‘ 5\ll!jt‘t'l.
THE WAR GAME, the Watkins film which dc-
sorvcdly l‘£'ct‘i\'cd the Academy Award in 1965 fur
its documentary excellence, examined the grim
after-effects uf an aiutnic hulilcaust. Now. turning
from "the war gili'i\k‘" tn "the peace game," the
dirt;-ctor-sceniirist views the equally grim future
in THE GLADIATORS.
Acctlrtling in ills \'lSi\||'t, it wiiiiia nut be tll‘ti|S-
iiai, 5tI|‘|l€ years hence (say 1994) iii pick iiptne
New v-ii-it Tinies "rv listing and read: "izniiiy it-ai-'
Watch ccark utlils frum China and the West tear
cach other to bits‘. Thrill tu shrewd real generals
.is ttieir siriitegy is |1rUgr1ttl'tt'til'dit\|UthCfiii'l\U\l5
Swedish Gantc Computer. This week's Game
Number Z56 promises to bl" it bluody battle of he-
i-lies and rowiirns. Enjoy it live and in ctilur Uli
the Wtlrld Wide telciariilln network. Brought tu you
l))‘ seiiignini spiiglit-iii ciiiiiiiiini-, Milan."
Thus the young gladiati»r<rit>ldlei's oi varluus
natiuns are periodically brought tugcthcr in fight
real battles fur the llcncfil uf the TV cameras. it
is tile Wt-st versus lhc Cuttlttlunist Far East. with
ttie lietlrills tlf the il.\titiiiS tl\\'tll\’l‘d i~.iinili- ii-iiieii-
int: the ]lrtI(‘t't‘dlltil$ and sipping reireshiiients
fl'tltll -.i s.iie iiistani-i-.
,\s tltt.‘ \\‘estern ftlrt't‘$ are S)'Slt‘tii-iiit'.llly t't1t
down by the Chinese. with unly .i ciiiipie iii titti-
mcnts here and therl‘ r(\st'|'\'t'd fut‘ cunllilcrcial
ltit9rrt|])ti0IlS. a parallel Sl.tlI'_\' iiniiiltis as -.i yining
French radical. Ll niltl—cuttlbalant incnlbcr ilf the
Allied team. tries to reach thc Cumputcr ruiini tu
destroy the machine, but ii-onically, ill‘ is not t‘t>I\-
sidei-ed a threat by the weary. iiiipiissivc Swedes
whit upernte lilt‘ giant t'titii|)ie:(. They can assimi-
late his hatred for the existing order, and use it
to benefit the System. The thrcat lies ill the
young British suldit.-r who finds hinlsclf drawn t9
a Chinese girl, captured during a brief battle, and
.
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35
 NIGHT OF DARK SHADOWS
NIGHT OF DARK Sl“l:\K)\\'S A Ml"lrll-Guldw\'n-
Mayor Rl=lP1\.~’9. El 7|. In Mt-ll'llcn|llr. 97 rlllnulcs.
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phnluilrziphy, Ri('h;ir|.1 Slillrv. A.S.C. :\>is<ii'i:llv
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Cunu-ru l|p(‘l‘ill\il‘, Rnnzlld Laulurv. S-lund. .Il-iln
Bnlz 1ll\dAlG!'ill‘IIll§lllJ. Arllilll
by Alex Slnvcns.
Quenlln/Charles Culllils ..
Anizeliqun . . . . . . . . . . . . . .
Trait)‘ Collins . . . . . , , . . .
Crlull Drake . .
Alex J(‘1\kln.< 1 . . .
Claire -lvnkins
Gerard Styles . . . ..
Llillr-1 Cnlliila‘ . . ..
GZl|]l'|9lCU||lI1$ . ('l\ri5li||ill0l‘ P(‘lIlllI(‘l€
Reverend Slml-k . .. . . . . .. Tilllyor Dzlvill
Silfilli Cllsllv .. . . . . . . . , . . . . .
Mrs. Cnsilc .. .. . .. Cl.lrlssl- Bl.il*kl>uri\
NIGHT OF DARK Sll:\DO\\'S. Dun Curli§' .~=l'-
qul-1 lll HOUSE OF DARK SHADOWS. is ;i l'\‘|iX(‘Kl
llug. in ilinsl rl's|x\l'ls llll‘ sequel is as lzmld, -lr
iwller, lilll ln l‘l‘l'lJ1I\ >ll‘(‘;\S, il l1\ll_\’ .\‘hlil'l ill llll‘
slulldurds l'_\'l-lll|lHl\l'Kl iii llIS hrsl lilnl.
SIIi('l‘ NIGHT OF DARK SHADOWS lllis 1| slur)‘
lllll‘ Vi'llll‘l\ lrlis Ilill l1lkl‘l\ lrilill llil' TV S(‘l'l[‘S, llw
l"h.lr.l('lrl's Z\l‘l' llle-illilivll l!ilII‘l‘ (‘ll‘1ll'l_\' lhun lllvy
Wl'l'(' ill HOUSE OF DARK SIl:\DO\\'S. Till‘ only
9Xl'l'|lllUf\ IS Gi-|'.ii'd s\ll\‘S, C.|rlull;i'.~' lw|1h¢-W.
wllu is illll ldl‘I1lllli'd .is .~<ul'|\ ill ll1(' film. Silivv lhv
illlll is nu! dl-pl-lldl-ll! lln llw TV S1'l‘ll'JS lllr l>1i<'k-
grlllllld. il IS ll‘>5 (‘4|l\l\l§ll'\l1 I0 I'llllI-\‘l(*\\‘l'l‘.\' ui
DARK SllADO\\v'S lll.lllw.is lllv lll‘>l Hllil.
llllllkv il'§ |ll‘(‘(|(‘1'\'SSlII‘, \l\l' lll‘\A' lllli\l\l'i!li\$4iI1
Ii lilglllllnlr. /\rl|.~l QuviillllL'vll||ls;ln(|lii> lil‘l(.l\'
Tr:\l*_i' ll.|\'l‘ l|\l1A'l'lll'd ('nllinvl'llllzl. Tllt-ir ilm-l-list
friends Alcx .|l\d Cl.i|r\~ -l.|rl<.~’|I|\ hli\'l- l!\H\‘l‘!l nnlu
the e-.-ull--. Tm-re IS \'\'(‘I'l .l lill\1_\’|‘kl'l'pl‘l‘. C.lriullll
Driike. In lnllk livr lllilllgs. E\'i>rylllilll; llmks
rosy, llul ihls nlulld lllll;l|'i|1il\l-.\.~l.~ Milli! lirukcn.
Slim-lly -.lill~r ll\['ll‘ ;lrril-.ll, Qul-lllill 5('l'5 .l liudv
hanging in .l lr1~vuul.~'idl- lhl- \\‘l|Kl4I\\‘I and llm Ilrsl
Iliizlll Oil-rm-. hr is lrllulllod by lfllh i'l'|\\l|l')' nll1hl—
i'l\ili'i‘5 Ill LI Illn imam mlmpl--ll h_\' .l l\Ul‘S(‘\.|I\
who lonks likr Quvlllin.
Thus? ;l|‘v lullnwi-d |l_\' lllrcu l\Il|l‘l' \'l$lHllS lll
pus! (‘\‘(‘Y\l§-—;l [I-lIll‘l‘lll (llr .~\|li1\~llqu\-Cllllills, l'un-
durli-d ll)’ lllv Illllll Quvilllll S-|\\' \l'.llIi|)l(‘(‘l iii Ills
drvlinlt ;i sl'l'nL' ill l\I1|1(‘ll([\1l' .i|lrl (.‘ll;irlvs Cullllls
llli.!l'lh(‘|' in his ;|rllsl‘s sludln iusl lloluru Glillrlvl
ll\l'|‘l\\1$ll£li1d.l|l\d (_‘l\;irll'.~i' lIl'lIlll(‘l'l liursls in: and
ii s|ll.ill girl \\'Ll\l'l\i|\i: /\I1|!(‘llqL\(‘|lL‘lI1lillliilfd.
\\'lll|1Il‘\=lhe-$1-|n-ll|)ll*'f Dam Curlis ll.is l:i\'l'|l us
G[‘Ur[1(‘ lhlcir n1\n\L‘5;\ndlilll€ elsv. lll‘]!lL\)‘.\‘l||\ll\1l‘ l'l1l'|—
.lrl dil-cl-lur, usiiy, nlllkinlg us wmldl-r wily Qul-illill l.~ hl'l‘ll\E
and (‘(II1dl.l|‘l(-‘d lhvsl‘ lllllI|,L$. Yri lhl-so srnncs i\l"l' unl\' :i prnludv
llil\l‘9|'|Ei" ll-‘I‘i‘lli‘.
Q1I.‘l'\lif\'$i visillli SKKITI lllkt‘ .l (li"l‘l'l'I1l lllrll.
loading us lu (mo (ll U10 nlusl L-Hl'l'li\'l' 5l‘l'f\t‘$ in
illc mm. This limo il is l'I\Hl‘(‘ l|\L\I\ ]\J.\’l .l \‘l.\lHlI.
illr Qul-nlin l>(‘l'lIl(‘S p.lrl ill ll. |)l&'n(lllilJ |).\$l 1\I\(|
SI‘€I\l‘.~i l‘lNll‘K1lI\ll\(‘l1 )!rF.~‘l'i\l. Aljvliquv, mm ll‘ um liiusl |I1I\\‘('i‘lUl
izllusls t‘\'('f l llilulil 2\ 5K‘l'l‘(‘I\. rzills illm ll. lilo
siudiu in \lI(‘ IUWOI‘ wllirh Clizirlcs lizid ust-rl ziiid
. .. . David Selby Qlcnlill is nllw usiniz. Qmnlln llnd :\ll|1('lll[L\L'1\l‘('
. 4 . Llirli Pnrkiir clllllrliriliiz vrht-‘ll Gl*r‘_\rd. Wlllllll QLl(‘lllll\ §\'l'§ .is
. . . Kull‘ Jllcksuli C|ill)l‘ICl, Anizeliqul-'24 lHl'II\l‘I' llI\'\'l'. llursls in. ill
. ...Gl";l)'SllI\ Hilll ll ]l‘i|liiu§ ml-v. 1'm~_l~ Iiizhl $ll\'1lL'l'l)'. \I\'l'l'&‘l(lI1E\h('
-lllhn KL\l'l£‘n siudill and llllllllllllll duwll lhr .~=\.ill'.~=. Th(-|'(- 15
Nllm-y Darrell SIIIIIL‘ \'(-ry dell l‘C|illl\\!. l'Ul\lllL1 lriml llit‘ Ill.|Sl(‘l'
Jzimc Slurnl sllnl ill Quvnlin and Gl'|':|l'dll|1ll\lni1. in Qui-|ll|ll‘.~'
. Dizlllzl Milluy pnilll nl \'ll'\l‘. Hl'l‘lI\E lllll G(\l'.ii'll liui G.ihl'lL-I.
Qlmlllll l.~ Pllllllll Crrllrd Wl\('I\ l\\§ Wlli‘. Ti‘;il‘\'.
.ill(*i1i|)l5l\l Sl‘|)lll'.llt‘ lill-m. S1-mill; Ilvr .15 ('il;lri--.-‘
Ml>I\l(‘.l R|l‘l\ wilr. L;i\lr.l. Qiivlliill liviilii ‘ll rliukv Ill-r.
Tlli-rr is J i1ll'l* &1l'l'.i|\ll|k\- l|u.|lll\' ll» lllis S\'-
q\l(‘Il('l', l‘l‘\'.ll('d ll) -I lU7.Lllll'h.\ .l|'lIUl\l|lll\' l'dL'4'§
.llui ll\(' lllfl l|l.ll il IS \'t‘|'_\' \‘lll'l‘ll\'I'l\' kl']Il .-ll--lll.
Tll(‘l‘l' .lri- illl .\’lillI\(l> ill Iililillilli ~l|lll i-.l_\lil|lu. ll is
I li\'(lI vl-Ill-ll llll'I'|' ls "ll ,||I§\\'\‘l'. .~l\l- rlnln-.~ llllli llw
Hill unlll Tl-.ll-v‘.~ \'|Ill‘(* lH'l'Jl€5 llll'li\]i'_ll lu Qlll-mill
lillld l4>(li(‘1|\1d|\>r\l‘l'l um llll' .\]!l'll lb lll'lIl>€t‘|\.
D.lil Curlls ll.i.~' (|l‘|1l'l\(|l‘ll l“4~> Illl l:l'.i|iliil' Ill-|'—
rur wllll NXGHT OF DARK Sl|1\DO\\’S. l~l|llll_~ll\l:
|n.~<lv.lzi ll1l‘|'\‘.llP
.l l\illll(l Ill l\'I'l'|I|' ll\l'l\\1l1l\ .<l‘l'Ill'.\'
Qlollllll H\ll\'(‘5‘l'llY1I\‘l§llll\5.l|i(|l\l\Zlll-
--i ll'll.\'|Hi\.
I‘|\llI‘l'.\ in lllixlurc nl rtulllly 1|Il(| \'|.~'ll-li.~. in |l.ll'-
Ll
ll.il |)ll.~'sos>'lu|l, lilld llllll lull ]I|l$>'l'.\hlli ll)" llil-
siliril ill llis .Illl'(‘.\’llIl‘ Cll;li‘ll~s. lil lN‘l\\'l'l‘Il. \\'l' l\l'\'
L‘l\‘l‘|l rm-Lixlill: S1'('|l[‘5--1\l('X .ill(i ('l.nl'l* li.i\'i|\l_
llirllu-r wllh Qll(‘IIl1I\-Illll Tlxli-y, Ql'll\ll1.l|lll4lll'.l|')'
WllllflilLll'H\lI1Klll\('l|' 1-.<l;ilL~_ Qli--illill ill lll.~ slulllll
paillliilil. Tlu~.~‘l* S(‘l'\'(‘ (ll l\l.ikc ll\l- llvxl srl-iic ill
llnrrur zill llw II\Hl'l' l('l'l'|l\'lIlL1. ('i|l'li.~‘ ;ll.~'u
(‘l'P€|l€5 L\ lzrmil :lv.ll of l'UI‘lll5il_\', SlI\l'l' l\\' X5 \\'('ll
iiilu lhc hllll lwllirv hr [ills iii lllv lil.lilk.~ l|‘ll Il_\
Q.ll‘li\\I!'.\ \'lSlIIliS.
Qul-nlln llIlill|\‘ dc|ll.illri.~' .|l\ l'x|il.lll.llllll\ lrlllll
(".|rlll\l:\. ll was Sll\' \\*Ilu l'\‘l'UlI\|I\|'|\(l4‘(l |ll~ \l$l' ll\l'
luwcr sludill {llr his |1£\lll|lI1|!, zilltl ii \\'.l.~ Hl\\' whu
l‘(‘l\1l‘['d AT\[!l‘ll(‘|U(".\ ]Xll‘ll'Llll in ll.~ |!llll‘(' l\l\(‘I‘
Qivnllll l\Lll|1Il‘(l(‘I‘('(|l(sl‘l'lI\lI\'lll. QUl'I1liI\l§ sllrr
llllil sllc knllws \|ll'|‘ llun Slit‘ S.l_\5. And lids
rllllll. Cgirlnllii udlllll.~ lilul sllv I5 \l\l- l‘('Il\(‘1lI‘L\—
liuil lll llic |l\lll' lzirl Qivlllill s.lw—Slli'.l Cdlll‘, \l\l'
hll\l5(‘l((‘(‘]l(‘l“'.\’ (|.i\ll;lill-r wllll l|\‘('ll lll Cnllillwlllld lil
H310. We see u l'|lI$l‘-l|)l --l cllrll-ll.l'.< l;l4'(‘ 5U]ll'i‘-
inl|Ml>‘\'d Il\'l'l' S:ir;l's as wt‘ )\l\.il‘ In-l" .~’lllr\', Ill-\'—
I-rvnd Sll".ll‘k, lllo ill.lll W0 l~.||'lil'i' .<.|vl' il'.ill\pllld,
l'lm\'i|li-rs Gzlllrlul lllzit his wi((- .-\l\l;l~lil1ul- n\USl
hull}: ll: .| lrilrll. L.iur.i. ('l\.ll'l|-.~&' will‘. is l'l'1Ll.lll)
d&‘ll'l'1llIl\(‘(|llI $1-0 lll'l' ll.lili:. liul llIl' \'(-ry (|\"['l‘('l
rclislllls. li(‘l'.lllsl- (‘ll.il‘l\~> is lii llI\'l' \\'illi ll\'l‘. u-
illrr l\|\lll'l|(|lh' is ll-lllllll, .~lll- L'l\'l-.~' S.lr.i .l nol'k-
l.\(‘l‘, )Ii‘uI1il$il\|1 illlll S.ii'.i \\‘lll I\l'\'l'l‘ lni'|:i:l Ill-r.
Willi ll\i:- um-.~ ll .\lll'l\( ]Il'Hl\!l.\l' lll-ll S.ii'.i'.- lun-
Ill!‘ ll('l‘ will km-|) ,\lll¢--liq.» .ll.\-l-. lill .~.lll- I‘-ll\
llllw (‘lmrll-.~’ .ll:.llll. NlI\l‘ Sllr.l'.< hll-l~ lhl.\ ll4'l'|\ rl--
l|\l'.|l‘|\.ill*Kl ill (‘.ll'll|ll.|. .il\ll (‘l\.||'ll-5 h.l> ll(‘l‘I\ ro-
|l\|'L|l'|\-ll\‘Kl ill QUl'l\llll. l‘,-um l\l'l'4' Illl ll l_<pr¢-lly
llll\‘lli\l.\ Vi'll.ll \\'lll l\-lP|"'"- 1"" ll \- MI" lI\=\r\'~‘1~“>
lull ill \\'.lll'll llI\\A‘ Dlm Cul'll> ll.ll\(|ll'.\ ll. N:-w illi-
mm ])ll'|(.\ \]]I§|)1‘l'(|,
P.l.~l lbw 5l.lL!l' Ill 5t'\'llIiZ \'l.\llI|lb, (Jul-llllll l.~
II\Il\'ll\l1 III\!\'.ll'K| |kI§S\'.\'5llIIl. Hi‘ ~-lm».- lu "rl-.ll-y l--
:lpl-ll»l:l1.l- lur llll'II\\'llli1l\L'l‘HUl Ill lll\' .~luz|lue.ll-il-
l'l'. Ill llw lllldlllc lvl ll\l' Si'(‘I\L'. ll\(‘l'l' is ;l sullllr
l'li.i|ll:l': hr is l\II lIlI\lI(‘l' Qul-llllil llul (_'l\lll'll'.~. lllid
HlI4‘\' JLL-ll" ll'\-;l\.\ Trail‘); i'uul:l\l_\'.
1\llLZl‘llf1lN' lull l-.ll"lll-l- .\ll\'l'|\]7l('(l ill kill :\ll~\ III‘
.\‘4'lll'(' mm --ll, Willi llw l'Hll.\[l.~‘l‘ (ll .- lZl'|'I'|IllI|U.\\'
rnlll \ll\Kll'l' \i'llll'|\ hr v\‘li.~ slziiitlliili. N:-w l|i.il I\ll'\
il.l.~ (||.\‘l'lI\'l'l'4'(l .l p.mllllll; l-i Qul-lllln'.< lull-l-.<lllr
.iilll Pius sl-I-ii llll' i'i-l\llil'k.ihll- ri-si-lilI|l.l|\l'l-_ ll|- |.-
dl'\l~l'lilii\|-ll lll lllzil-iv Qlil-lliill l4‘Ll\'\' (_'i-lllilwlll-ll.
1\l\iZ|'llI[U\' \l'lL'S .l liilIl‘\' (lll'l‘\'| .|llLll'|i ll! Slilp HIS
ll\l('l'l\'l‘\'l\l'l'. Lllllkllll llIlI|'\‘ iliw .l iillllsl ll\.|ll .-lll-
|i.l.~' pr:-\'luusl_v_ .~lil~ (ll|:|l.- illln lllv li\‘l|li1 l'I>1|lll
\A‘ll\'l'A‘ /\lrx has Lilli-ll .l.~ll-l-11. Sllr Iluvl-i'l~ l|\'l'l'
mm, ll‘.|l\hllIl‘lI1llii1 l\l'l'.\\‘ll ||\lI| ll liiisl ml ('l\-
h’lH‘Ii\l(l|Iii1 llll\\. l'i.lll-l- -l\\'-lkl'|l.\ .llul r;lll.~l him ll-
li\'i|lL§ FIIIIIII .ii\(| is’ l.ll‘I'(| Willi .l .~l~l»m- I)‘ l|\4'l'|'(|ilIll'
l\lIl‘l'l!l‘. l-\l\»x IS mwl--lml ill .\ |ikll.\-|llIlL' lilliwlllli
lll|.~l. l'l.lll'i-'.~ .~'l-rl-.llll llll'I\(l,\ \\‘|l|\ ll llilill-|llll'l\(‘d
l\lIli- Ill i\in.~|l', .\ll(l lllll'(' .ll:.lil\ I\l\l',l‘l|(|Ul"h ])l‘('ri-
l-ll--l- l-n-.|ll-.~ .l (|\'ll(ll)' .~lll-lll-l-. l'I.lll-l- Ill-Ill-li1l'H lll
l\Ii‘l\ lll\ .\ llillil, lIl‘l'.llilI\i1 :|ll~ .-|l--ll.
Q\l\"lili l> livl-llililllu I'll.lrll-s llllll'l' lri-qul-llll)‘
.|IlLl (|l'l'|)l\. lll- IIYIW lllIl|L\, .l> dill ('ll.il*ll~.~. Hr .i\- Q
lI‘|\i])lh lll ill-llwli Tl'.u')'. $l'l‘l|llZ l\l'l' .ls I4“u|-z.‘ and
I.ill.~ l-ill_\ lll-r.lu_~~- All-N .|l\l| (‘l.|il-l- l'l'.\l'Ul' lwr in
ll\t'|ill'KI1l lllHl'. G<'l‘.ll‘(| ll'll~> HI kill ,\ll~x |l\' ruli-
liiiil; llllil nil lllv rulill. Qllrlillll, lIl1I'|‘ lIllIl'l' Illin-
svll. llulils (l('l'.lI'¢‘l Hll .l |l.|rl'l|\\' hm! l>l‘|l||Ll‘ Jllil is
.~=l';|i'rl-ll lw G1-l';ll'l|'.- klIll('- -('l|l'l'['(l ull llw i'|l0(>k.
J5 (‘|l.ll~l1-.~> unis, ll l.~ Tl-.ll-_v “'llll kills (‘-l~l~.lni, D)‘
ilusllillli llllil llll lllr hi-ldlzl-.
<'.lrl..ll.l l.~ ll\|' illll_\' lI|\Y' ll-ll In kl'i'|i1\|liZ4'lll|ll|"5
spirll ;ill\'l-. Alvx, (‘l.l|l"l-, Qlll-illlll .m(i Tl'.ll‘\'
.~\~;lri-ll CIIllll\\\'lKl(l‘ willl QU\‘Il\llI .ul(i Tl'.ll’\' l.lkl|ll:
lllr llI\\'l'|' l'l-ulnils .ind All-x .\llK| Clzlirr llir U|I])l*l‘.
;\hi1L'l|(]\ll' ll'.l|L\ TI‘-li'\' lll .l .~l--r.ll:l- Flllllll .llld .lr-
lurks: in |ll~r cllnlcily $|l\'lll‘l'. All-x li|l(l> L'.irlu!l.l
ll“ lhl' rmri, liul lwfurr l\l- l'.i|\ l'l-.ll~ll lll'l' Alli‘ is
lxlllui In ll\'1‘ ¢|(';||l\ ilv .-\lliI('ll(|\-ll‘. ('.|l'lH\l.| i.~ lll-.ld.
I\I\}1(‘ll(|llL' IS puliu, Tl‘Z\('\' l.~ OK. Qui-illlil l> Illin-
.~l-ll. All is rlulil Willi lhv \l'll|'l(| Or lh ll'.' Dun
Curiis <-l-uld nul lll.<.lpp.-llll us wlnl -I |i.l|l]i_\‘(*|\(|l|\\Z.
Hr .\’(‘lI(l.\' QU\‘|\llI\ ll.|l’k illlu ('lllll|lwllnl1 NIH‘ List
limo, in prm-ldl~ us willl .l l'llllll|li.[ clldlilg.
Alvx is rclll-\'vll lll.ll ll\(' wlllllv llillll: l.~ I-\'(~r.

36
 Srenvs lrum NIGHT OF DARK SHADOWS. HOW lll
release lrom MGM. @i;li_l: Quentin Cullins (Da-
\'ld Srlli_\'), ll \'lL‘llhl Dl pus$t'55iui\|1)' iiii- spirit iii
lllilllilg Ell‘-\¢l;|l\i‘l-'5lI'l’, ClIlll‘ll'S CUllllIS, Willi iiis
ii-ire Tl"I\\‘_\'iKllll‘J;l4‘|($ii). l..9liIl\I\l1(‘lil]\1(‘".<llI'il
:z“;r.::3..,ii::";1';;;..::.!:::;ii:i:::;:;_ii,.Ei*'125::
:iii- IUWOI‘ riiiirii_ .iiiii ilfill) Cl\Clfll'S (mi»ii.i 5l'll))'l.
This S(‘(|Ll(‘l ll) iiir lililllly siii-i~rs.<iiii HOUSE or
DARK SHADOWS dupciids lvss on |,zr;i|ilii<' liHl‘l‘Hl'.
biii slill l'l‘lLllIlS iiii- wiiiiiicriully illlI\lI$|7l\\'l‘l(‘ mid
|ZlUUl‘|\)‘ |lll'1\lllIIlS lilllird .ii lh£\ Li-iiiiiiiirsi l‘5illl[‘ iii
Ni-W Yiirk.
HE had liolim-i-d. nciir llic end, llllll. Qiwiilin llllilhl
lll‘ llw lII\\‘ kviilllil Arii1l'llqU("S lilrll 1|li\'0. Alox
and Cl;iir(- lc.i\'0 iur Ciljh‘ Cod in ilie Liuluniiiliilv.
Qlvnlln and Triiry ign l):ii'k ll? Ciilliiiwiiiid su lhiil
iie Il'|1l)'])ll‘k iiii his Pillllliijs. Tf£ll‘)' |)(‘(‘UIk‘5 iiii-
piillenl whvii hr duos nul return. iind enk-rs llie
huiisr l1(‘I‘$l‘ll. Alli-i‘ SL‘L\l'(‘l\ll\l1 S{‘\'(‘l‘1ll r"Un‘S1
she iinds him in the Air! iziillcry. silliiii: and si:ir-
lng mil Inc \\'i1‘|dlI\A'. She RISKS him \A‘h.il he is diilnp.
Ho ri_-i-s. siiiwi_i~ lll'll))i1li1lliW1ll‘l1S iirr, his lill'l‘ ii
§|ll\lil.lI.‘lll‘ ilililllll (hr l-iruv. llrllllll windiiw. Ho
cimirs l'lllSl'l‘ .iiid i'liisi-r iii Trzivy. and \A‘|\Pll shv
can si.-i‘ his li|l'l' rlmirly she kiiiiws lhu Z|\\‘ll-ll irulh
--he is nu luniwr Quoiiiiii. liul Clnirlcs. And we
EM‘ :\11l1l‘|l!|\l(‘, Ul\l'\.‘ Llijilill .i \\'II!‘|iLlIl iii lll'Sl\. wi-
hold lill ;i l'lHSl'—l.l]14ll Clini*liis' lQll‘\" Jllll l|l(‘ll sec
n ll'l('l_\‘|ll' llll'$5llL!(* l'llli\l'l‘ill|1 1ll'l'US§ lll(' si-i-ccii:
"UPI Tl‘ll‘i_\‘])l' :i .iiiii~_ Ci|lllI\§])i||'l. iii.iiiii-. iiiiii-
iisi wi-i-i<i~iiii C;l.\'Ulllll('§--PlI|)l.llJl‘ ll\l5l);\ll(| iiiiii
wile nii\‘z'lis\.< Cl.iirv iind )\|\‘X -l(-nkins (lied in Lin
Jlllll 1ll'l'|(ll'1\l lill llll‘ llll‘l\|)|kl'. A wiiiii-.<s, LUV
l’lllI|l|!l‘|l'L‘)'5, llllll si.iii- |XIll<'l‘ iii.ii l)l‘l|il'l‘ ll\['
l‘l"JS|l, llw l'.il‘ .~\idd(*iil_\' lillul \\'illi \\'l\ll(' siiiiikv."
D.1\'id Si-l|i_\' l1ilI\Kl|l'h'lll.\' (lllill i'iili' \\'l‘l|, IIS l)<lili
Qimnlin .ind Cliiirll-s Ciillins. Clilirli-s is llll‘ niurv
iI\l(‘K‘l'§llIli.1 Ill lllL' lwli‘ is i.‘\'il i~ii.ii-.ii~ii-rs \JSUllll)'
urn. Klll(‘ -liiliiisnn dines nii'\-I)‘ .l§ lii.~ in-rpl1\xe(|.
and lliuii ll‘l'l"lill‘(l, wile.
Gl'Ll_\'S\>|\l"li1ll iii.iiii-s .i l‘l‘-l|7]l(‘.\l“<l.lIL'\'
iis lhl' SlIl-
islcr c.ii~iiiiiii |')l'1lli(‘.<lii|\ll K.ll‘l(‘|\1lI\(l N;|Ill‘_\' Biii--
roll .ip]w;ii' iis All-x ziiid Cli|ll‘(‘ Jenkins. whii in-
ll'l|llUl‘\* .i sun!‘ olviiioiii iiilii ihn lilni. Lil\.ll‘1.\ Pair—
kl‘! is Aiiizt-liz|uv, .i izhiisl |Illll'(‘ |‘('ill lll1\l\(‘ll‘|t'l‘k‘1ll.
Chrisiiipiii-r PUIIIIIIUR pliii-s CiL|l)l'l(‘l Ciilliiis, and
JJl‘|l(‘S Siiirin is Gvrzird Slili'.~. Quciiliifs l'l\‘Lll liar
Aiiigi-lii|ub'.~' izlii-slly lm-i-. TIi.iyi-r D:i\'id is lhn ll\‘—
purriiiriil Ro\'i~rviid Sii'.ii'k. (Tlir rule iil Siriirk
was llI‘ll1lll1lll)' llll('|l(|\'(l lii ll(‘ D.ii‘k Sh:idii\ii'.<' R0\'-
miiu Tli4$l>(. ])l;l)'l‘!i lI_\' .ii-rry |.iill‘)'. Tlil‘ l't'|)lLll‘l'-
men! iiuis iii.idc ni-vi-ss.ir_i' whvn D.i\'iiiS0lli)' wzis
h05pil2\liZl*(‘l Willi ;\|‘l|I[‘I1(lli‘ili$i dllrlllil llll' lllliiillil
ol his si-1-in-.~i Wllll L2ll‘_\'. ll)‘ lhr liiiiu Svlliy |i.id
l'P\'ll\‘l‘l"L‘(l, Lll('_\' liud iilhvr (‘llIIlll\|\lIIl‘I‘|lS Lind was
nu luniwr il\'ilillll)l(‘ liir llll‘ riilt-'.)
l..l1illil"lll|lZ\l(‘l_\'. ll‘l[' lilni is riiiirrvd in 5i‘\‘l'l"ill
Il25|X‘l‘l$, Tiii- i~.iiiii~i-ii \A‘li|‘k. iiir ll\l' IIIHSI ]l.\l‘l‘ is
9X(‘(‘ll(‘nl. The ])1iil1l—Hl-\‘i(‘\\‘ll'l‘l\lli(|\ll' is \15(‘(l iii-
(tn. di'.ivi'ii1i: lhv \‘l(“\\'L'l' Illll! lliv l(‘l"I'\Il' ul Ciilliii-
wiiiiii. Tll('r(' ilre Sllllll‘ |il*.lUlll\1l|)' (|lZZ)'il1|1 Sllills
Bl llll‘ sriiiiiiri ll‘lll‘|\ Wliirli :\ll{1(‘|iq\-ll‘ is lli|llllk'd.
Bill lhorv is Sllll‘ iinniiyinix l‘i\Il\€l'1l work. lim.
Whvn C;ii'luli:i. Tl‘il(‘\' zind Qucniin Zll'l‘ zisrendiniz
{I 5lLllI‘\\';\)'. we 1ll‘(‘ l1l\‘[‘ll .i vii-w diiwii ihi- Sl.\il‘-
ii-ell--ziiid .lt~ ii lliill'S iiiii dizzying Plllillllll. llI('
r.1nil*i'.iis riii-kl-ll liiirk and inrlli. This riivkini: is
also usvd in Sl‘\'l‘l‘lll nllier 5l'l'I\(‘§ and l)('l‘U|1I(‘5il'-
filtllinc. si-i-i-riii 5('l‘I\(‘S si-i-iii ])il(‘ll1(‘(|,.\'\li‘l\1l§il\i'
nnv in whirli Ali-x \\‘l|I‘l{il‘l‘.\‘ -ll'HUI\(l lliv i!l'[‘(‘llll\r\il§l‘
l0!‘ qiiiw .iii-iiiii- ll('lUl‘(‘ iiii- l‘llllil]!§l* iii lll(' iiiiii.
Biii llll‘ iiiiisi si-riiiiis lilllll lll'$ iii iiii= si-iiriiiu. /\
riimziiiiir ll\l‘l'il(‘ is usi~d .ii iiic l)(*i!lI\lI\il, whi-re ii
ls ilIl€. Bin ii is .ilsn usi-d in st-vvriil $l'l‘lll'5
\‘l\(‘r(‘ ll is i~iiiii-i-iy |li.l|)|l|'lI])l‘I1llPI \\‘l‘|(‘l'L‘ ii l'l\llU(l
iii isiisiiiii is Tl('l'(i(‘l1, ii l’('l;\X(‘§ )'4i\,l. Tiiri-i~ £ll'(‘
sevortil s<*(*nu.\‘ \\'l\(‘l'(‘ llivru sliiiuld lii: iiiusir ziiid
there is iiunv. And ;ill iiiu ulien. lhv niu.~’ii' is u\'-
crly iiiiiii. As li\'(‘I‘-Uflil .is iiii- TV si-rii-.- THUS-Ii‘
IS, ll wuuld slill hzivv l|l‘(‘I\ very l'lll‘('ll\'(‘ if more
Oi il hlld born used.
nui lhus lL\\lllS .iri» ill\l_\' ll Slllllll |!l\l‘l iii &\ vi-i-y
€I\|ll)‘.llll(‘ I1\li\'ll‘ iii.ii iiiii-s ii.ii-i- llilllll .ll‘llll. 1|
well-wriiimi si-ripi illlll :i iii-iiiiiiiiil lll('illlUlliliilI1\l
1 iiii ll‘ Tiii-i-i- IS Zllli llil‘ lLll'l llllll iiii- \A'l>l'll1lIl
IiH‘lIl‘l‘Llll Zlllll i1l‘il>5l5 l"l‘llll}' (lUl'§ vsii iiii~, lld ls
h_\'. .ill iii iliv i‘l\1Il"1ll‘l(‘l‘5 iii DARK SHA-
iK‘l"(‘]ll9d
NWS. Pvrlizips lhis, niurv lhzin I1n_\'lhini; olsv.
wlilrilmivd iii llll‘ $\ll'(‘(‘5$ iil DARK SllAl)O\\'S.
HOUSE. OF DARK SHMEW5.
DARK SHADOWS.
illld NIGHT OF
Kathryn Bushnuin
H M N
‘QC
"'3 nledl re’ uneven
mishimsh of mealv-mouthed
' i '
SO03‘ (onsclousnesi ‘ '
THE OMEGA MAN A w;\l‘HPF Bros Rel:-airiiu 7 71.
ln P.iii.i\'isiiiii .ind Tl'l‘llllll‘lillll". 98 miliull-s. Pru-
iiiii-i-ii by \\'iiiii=r S(‘llZl'l'. Dir9l‘lL‘d by llurlsilllsll.
s(‘l'9l*|)lil_\' by ilnhn \\‘il|i.|ni and .1i>)‘i'u Currinigiiin
liiisnd llll lhc nu\'9l li_\‘ Rirhiird M.llhE5l|. Dlrcrliir
Ul |)l‘|Ull|}1l‘£l)!l\)', R\l$5(‘ll MPH)‘. Edited iii- wiiiiiiiii
Ziviilcr. Music li)‘ Rim Graiiivr. Arl dlricliivn,
Ariliur Luv] zinrl Wullvr M. Siiiiunds. St*l dv('ui'n-
lion. \\'il|l:im L. Kuvhl. Siiulid. Huh Marlin. As-
sislunl llll‘Pl'\<Il‘, Dun-ild Rulicrls.
Neville . .. . Chiirllun Hl-'.~ilnn
Mzillhizis . . . . . . . Aniliuny Z(‘l‘l)(‘
Lisxi . . . . 4 . . . . . Rusiilmd Czisli
Duli-li
ziiriiiry
.
. .
.
..
. . Piiul Liislu
I4 Liiii~iiiii Kil|I;il|'il'l(
I
Rirliio . . . 4 . . . . . . . 4 . . . . . . . . . . . . Erin" LilI\l‘\1\‘llll‘
siiiiii~ Slllril-'5 ill'l‘ |)l‘iil!lll)l_\'
l‘Lll‘SOKl iii lll' iii-i--
sisliilly i-i-iiiiiir iii iiiiiis_ iiiiii- iiiiis |1C‘fS1Sl['i\ll)’
IIlUlll1\ll'd |)_\‘ iiiie lhini: lll‘ .iii<i\lici'. On? sui'li sliiry
is Riflinrd Ml\llil'.s'irI1'S i Alli i._i-pgq. .i siiiiri.
swill. CllSllli"l)ill\! i\ll('l‘-&|lIIlll\$(L|)' i-iiiiii-r. \\‘l\l(‘l\
vrzis ziliiirlivcly ni.idc iiilii llw .-\lP iiliii THE L.-\ST
MAN ON EARTH in I964, ini'pll\' dlI‘l'l'l\‘ll by Sid-
no)‘ Szilkiiw.
NIIW, Ull(‘[‘ Llillll miiii.-siiii's \A'lll‘|( is .lil(‘lI\|)ll‘Ki.
:in(| (hr rcsulis niaiy |)(‘ lair lwllnig liul ihv iilni is
ii l[‘dllIl'l"(', \.lIlP\‘l‘I\ mishliilish iii iiic.ily-iiiiiuilitid
siii-iii (‘ill\_\‘l‘lllUSl\l‘.~'.~" l\t‘ll\'_\‘-ll.|lldl‘ll (‘l\1lI‘i|i'll‘l'lZ£l-
llu. siiiiiiiy d(‘\‘L‘lli))ll‘lll, .iiiii l‘l'l‘;lli(‘ siylv. ll
is lilli-tl THE OMEGA MAN, .ind il In-Lirs very lil-
llv i‘l's('iiilil;iiii'v lu iis suurcv. __,__.,’._-_-s
Tli(‘l‘£' :iri' 5lI|‘ll(' wonderful llllllil in tho lilmi
bui ii ]\l_\‘l diicsii'i iidil up lll aiiyiiiiiii: .i.~i llllld ll
ils pnlonlizil, Tho vurly srmws iii the ll||\l' iiuin,
Sl‘l'I‘|(‘Siriiiii TIIE OMEGA MAN, |l1\$C‘d iiii R|(‘l\llrd
driviiiil 1I\"1Il.||\l| New Yurk's d0s1'i'l('d slrtiels. ro- i/iiiiiii~siiii's i ziig gilyllq, Ill)\\' iii l'(‘l(‘Il$£‘ ll‘0!l\
niilids one iii H;\ri'_i' Rvliiiunu-'.~' vcric Wiindt'rinL!s wiiriirr Brili Lip? iiiviiiiii-rs iii Tlil‘ F1llI\il_\‘ (‘Sip-
in lhr iipninu iiiiinwnls ill THE \\’OllLD, THE iiiri» N(‘\'il|? icii.ii-iiiiii ll('S(l|l\) iii his 1l)Xll'l!l\l‘l'\l.
FLESH. i\Ni) Tlll-I DEVIL. Tl\(‘_\’Zll‘$'lI('1l\1(il\.\ll)" mlllii Rl(‘l1l(‘ ii~:rii~ L1llI(‘ll\’llll') iii-i»iiiiii»s 1| vir-
il('|lil'\’l‘(l sroiii-s. lll0 ll|l\lll1I‘S5 .ii\d
ziwcsimii-l_\' iiiii Ul Tho Fulll)’. WIIIHPF nriis is l|ll?l'\Ip(il'IL!
lIlKllll'li lPl‘l'lIl‘ \'liI1\'l')'('(l Willi siii-ii 2l|)§l|l"lVlI\l1. de- iii km‘ iis Zl|)p('1ll lll l)li|('li .lLllil(‘Y\l‘1.'S.
\'.isl;iiiiii1 ini|i:iri llizil line is |)l‘l‘|)1|l'(‘ll [ur llic bnsl.
Chairlliin llrslun is supcrli in l'\'4ikini; lliis quiiliiy
iii 2|ll[‘l‘lll\l.! sulilurlv. his inlks Willi l\ll’l\Sl'll. his iuiiusly sniuiz srroenplaiy iiiakcs liicrii iiieroly an
siiiplc-liziiidrd inilizil :ii1.iiI1.~'l |i;is\\'-l.ii'¢-ti i1oi'ni 1ll1l1li)'1|l'\('l* l'Jlll\l'l' llillll ii Cliilrullli! (‘\'Ul‘1lllUIl iii
\\‘£ll‘lill"[‘ siii-i-iiiii-s-. 1lllKl lll ]N'l‘SUI\L|l (ll'i\'[‘ {Hid
pllfl‘ 5|)ll‘ilULlll5l\i.
(‘liI1\’l('|llIl\ llllll I5 iiiii lllll (liS$llI\llil|‘ lfill his Dll‘(‘l‘llll‘ Hiiris Sziigill has niinc iii lhv lceliliiz nr
Tiiylur iil PLANET OF THE :\PES.
(‘\llI\]lll.\'§iIII\ llll‘ .\'l|l'|i|l ri-iisi-ii»iii~i- iii l'lllll";\i"iOl'
Aiiis, iiiii-"s ll\l|)(‘S dl'llI1iSli AS llll‘ iiiiii pru- l'l"l2lllIil’\Sl\l|75 lli.il Fl‘-lllkllll J. $l‘l\il"I1l'l‘ dl>i]!l;l)‘l‘d
i1I‘l‘H>'l'§. iii-isiiiii rim-is iiii ii-iiii iiuiiiiiii §Ul‘\'i\'4lf5 sir inlciisl-ly in his PLANET OF THE APES, His
likl' l1ll\lS(‘ll‘ iiirliidiiiiz J r:idi(':il hlzivk uirl who 0-
i-isiiiii S(‘l\$l‘ I5 l‘Lll‘li|\1$l)‘ UlI('(‘r\1llII lld iiiiiy iir-
\'(‘|\l\-l1lll_\' f.ills lnr him‘ lviidini: ;i lL\l.\'l‘l)' il(‘l'|lP\'l'(l |'1lSlllllllll_\' P\'l|l>2(‘S ii qiiiiiiy iii lill‘ .iii<i lullllY\€5S
niiio iii l'lll‘i;ll iiiii-iiiiiiiy. \\'i- dlSi‘l|\'l‘l' iii.ii iiii-
llllll iissiiiii 1ll'|ii(‘\'('5, l'§|X‘l'lilll)’ iii llit‘ iipeiiiiig
]1l.li1\lC i-ii-iiiiis arr :i L1l‘lI\l|) iii l'l‘ll£l1i\|.\‘ i.\illi(‘>' sreni-s.
vailloll Thv F-lllly. :inii—sni'i;il. ~lllll—fIlJll‘l"lll|l§-
Pl\1|llii1|'&l)'1l\(‘l‘ Rl.l.\5i'll Mcilyiii-ips Slllllll Zl-
iii", illlll iinli -huiiiiiii. Thnir S('t'll(‘S iviiuld lm l‘lll(‘\‘(‘ 5llll\(" dlllllillil, piiworiul visual
.\'U'1lI1l1(‘l)'
lil\li1h;ll1l(' ii lhl‘)‘ ii-i~ri=ii‘i ]!l1|)'(‘d wiiii siii-ii ludi- Ill-l1llili(‘S iiiiii, |IiS§l|)l)' ii Illll ii-r iiiiii, iiie iiirii
rriiusly izrim _~i|il('iiiiiil)'. As ll is. illlllll Willizim Wlllllll ll1l\'(‘ l1l'(‘Il zis Hilly \'lSll.lll_Y its il i5 in ils
Illl .iii_i~i-r H. Cill‘!'lll§!iUI1'$ siiiiiiiiiy (‘|)iSiKill'. iii- i'iim'L‘plu:il Mliludos zlnd i'L'.iliz;\liiiii. Chaise and
Zlfllllll S(‘(|U(‘l!\'L‘5 .ii-i- l|ll(‘\'l‘I\l}' |1il('(‘(| and some-
iiiiios iruly 1-iioriii-o.
Anlhiiny Z9l'l)?2lS Ml\lll1l£lS. Fiir [lie Illlll |i.iri. Sllllill ll$(‘.\‘ iiv.~iiiiii‘s lllilqlilt‘
.“iil'l'I\i!lh and |i.issiiiii Ill l‘lIi|r1I(‘ll'I' \'Dr)' wi-ii, iiiii
his liiss ill vunlrul li\'l'l" ll\(‘1l|l‘l('l" iivliirs ls all loo
l‘\'1lll"I1l. Anlhiiiiy Zvrliv X‘[‘l'll£\lIl§ llll(' iil ihv n\uSl
iiiisusi-d iii illl iilni zii-tors. and his riiiiiixiiziiiigly
iiio.iirii~;il. 4l\‘(‘\"lll‘llI‘l|lll ])(‘l‘lllI'l!l2|l'|(‘(‘ {IS Mziiiiiins,
Tli(' F.iiiiii_i~ l('i\(ll'i". is iriiiy i-niiiiirriissiiip. Ho is
;| iii r\‘l'l4ius zirluig Lis ho §lIii\\‘(‘K| iii THE MOLLY
MAGUIRES, liul lhinps likr lhis i|I‘l' lK‘Il(‘2lll\ his
liilonls.
Evrn \\‘lll\ il.~ (‘lll'll['l‘ \'il‘lui-s, ziiid An iii'i";isiiiIi-
Qll ii~iiii- [lll'llW;l\\‘i|)‘, ‘rm-: OMEGA MAN is iiiis iii
lhv iiiusl iiiiliirluiiiill‘ liiilurus iil Sl'll'|ll‘l‘ lirllun in
l'l'l‘['IIl _i~i~;ir.s. srripi. !liI‘(‘(‘lilIIL iiiiii iiiii.-i iii ll\(‘
pl‘l'llll'I]il'l‘S l\l.l|\1|i.Ll' l4iKl('l|Llll*£I |)4i\\'('l'lUl. intrin-
I-llllil l'U|\l‘9||l. .iiiii \\‘lll'll‘l(‘l' 1!!‘ Illil |)(‘U])l(‘ iii LZCI1"
uinc izill-In will l1\1\kI.‘1lI1)'ll\il\}L di-iinilive iii’ nicm-
Ul‘L\lIl(‘ 0Lll iiii .-iiii ljili has yoi iii l\(} semi.
'
Diilc Winugura
37
tilt: A scene trot-n NEXTY. nctw in release tram
Macon Films. Here we see how the screen's new
ireedom has made iiitchcuck‘s provocative and
fascinating eamerawork and editing unnecessary
in a reenactment oi his iantous shower murder.
Middle: Sirttther Martin presides over cabalistic
rites in THE BROTHERHOOD OF SATAN. in re-
lease irom Columbia Pictures. which come across
like meetings oi the local Golden Age Club. Kigm:
Jeremy Fisher (Michael Coleman). the jolly irog i I
' ‘
'3
'
~

‘
'~\

Ls

man irom MGM's TALES OF DEATRIX POTTER.

|
,
.

1
it ‘<1,’
.

‘i.
NEXT! AMaron Films Release. 9/7i. in Color. '

at minutes. Produced by Sergio Martino and An- ,t

tunio Crescenzi. Directed by Luciano Martino. “.1 Z ~ ’
Screenplay by Eduardo M. Brochero and Ernesto ‘. . ‘l t .

Ctastaldl with the collaboration oi Vittorio Caronia '

ironi an original story by Eduardo M. Brochero. try doctor uho secretly oversees a t‘D\L‘II oi
Director oi photography. Emilio Foriscot. Musit witches driven by old age to the point where they
composed by Nora Orlandi and conducted by Paolo
must trade their old bodies ior new ones.
Ormi. Production manager, Fluriano Trenker. The witches need children oi a certain age.

Alberto
Edited by Eugenio Alabiso.
and in securing them ior the ultimate secret cer-
De Mendoza emony they must iirst dispose oi the troublesome
Nell Ward parents. This is cleverly achieved by having the
.iulieWard...... ..
Carol..... . .
. .. ......Edwige Fenech
CrlstinaAiruldi youngstt-r's toys adopt magical powers tor de . I
George . .. . . . . .. George Hilton slruction: thus in the eye-catching opening scene
.. ivan itassimitv a toy tank suddenly becomes its iull-size counter-
Jean . . .
ood
. . . . . . .
part and thoroughly demolishes a car and iamily,
. . . . . . . . .
' '
in the area oi European-made horror movies, ' ' g guys nish last‘ ' ' leaving only a small boy unhurt so he ntay join his
NEXT! clearly belongs ttt the Carroll Baker iriends at the sinister old huuse where the cabal
meets to plot and punish its less dedicated mem-
School oi intperilvd Ladies it‘. g.. TilE SWEET
THE BROTHERHOOD OF SATAN A Columbia bers.
BODY OF DEBORAH, PARANOI.-\l whereby a
Pictures Release. 5/'71. in Technicolor. 92 niin- When some handsome vacationers--a widower
heroine is called upon to express twtt llasic emtt-
tiuns: happiness. which is cliaracterized by a sexy utes. An L.Q. Jones-Alvy Moore Production. Di- (Charles Bateman), his young daughter (Geri Rei-
snlile and alntost always accuntpanies the scenes rected by Bernard McE\'eety. Screenplay by Wil- schi) and his iiancee (Anna Capri)--blunder into
llam Welch irtlnl the original story by Sean Mat'- the southwestern coniniunity heseiged by witch-
oi ;Ii)ti\‘€‘-thf.‘—\\'Lti§t l'tttd|l)'. and ieiir. which is. ui
necesstty. oi the throat-clutching variety anti ttc- Gregor. Director oi phtography, John Arthur craii, they discover thay cannot leave. and ulti-
curs at the thought oi so many mysterious people Murril. Music by Jaime Mendoza-Nava. Edited by mately they take rciugt‘ with the town sheriii (L.
Mar\'in Walawitz. Production design, Ray Doyle. Q. Jones) and his simpleion assistant (Airy
trying to kill or drive her ntad.
Fortunately. the matters oi this largely unor- Moure) in the small tail which makes a iine. con-
iginal stew have not lintited their ntoviegoing (and Don Duncan . . . . . . . . . . . . . . .. Strother Martin lining iortress ior those who must stand nii an at-
borrowingl to the nlure recent works oi Miss Ba- Sherili . .. . .. . . . . . . . . . L. Q. Jones tacit, be it a lynch mob or the terriiying unknown.
. . Charles Batenian Except ior a llriei bit Where the vacationers
ker. so NEXTY actually inctlrpurlitcs ideas iruni Ben . . - . . . . . . . . . . . . . . . .

quite li iew motion pictures. including a shower Nicky . . . .. . . . . .. . . . . . . ..

Anna Capri are attacked by the jittery inhabitants. the town‘s
nlurdcr in the PSYCHO ntttde, it htinticidal maniac Pricst . . . . . . . . . . . . . . . . . Charles Ruliinsun streets appear deserted. adding to the spooky
in the manner (ti THE lllRD WITH THE CRYSTAL Tobey . . . . . . . . . . . . . . . . . . . Al\')' Moore il:i\'or iii William Wt:-it'h's script. There is also a
Kiti . . . . G(‘I'i Reisciti deit t0llt‘h in the introduction oi a young, high-
PLUMAGE. and a surprise-in-tlic-dark straight . . . - . . . . . . . . . . . . . . . . . . . .
minded minister (Charles Robinson) who proves
uut oi WAIT UNTIL DARK. The latter. surpris-
ingly enough, wttrks rather well in its new con- When did Strother Martin iirst go bad? it's a especially ineiiectual in combatting the legions oi
text, and it |1|'u\'ides ti high point in the general question to ponder. Satan. and there is an undercurrent ui dour humor
mutitile tti plot. ti memory serves, this always distinctive in Martin's reaction to his young rival ior the
Edwige Ft-nerh, it buxom brunette who would be character actor initially un\'irilt‘d the tlztrit Side ui souls oi the unconitiiitted.
an asset to a Russ Meyer production, is the iie- his personality as the demented inmate who dttes Eventually there is the race-against-tinte as
deviled hcruine who discovers old-world Vienna his best IO drive Jeiirey Hunter up the asylum the witches Snatch l3at0|tllin':i daughter, tilt? last
is not the city iii her dreanls—-unless une terms Wall in BRAINSTORM. Ht‘ litter was both mean Child needed t i‘tiiikE tht‘ necessary thirteen ior
them nightmares. Unhappily rtiarrtcd to a dull and mlingy in the back-to-b;tt'k Pecktnpah wes- the transiorniatiun ritual, and as they have in
dipltiniat (Alberto D9Mr.‘ntlttz;t). slit‘ has scant 09- terns. THE WILD BUNCH and THE BALLAD DF nearly all the recent horror i'|\tI\'i(‘5 iii note, the
ptirtunity to bcnitratt iter lot sitlce her bitter ex- c.\nt.t-: HOGUE (teaming hint with the equally un- good guys iinish last.
beau (i\':in Rassilnttvi ;ip|191irs everywhere tit sa\'u|*y L. Q. JUIIFS tti it\i"l'tt Li niurtteriills Mutt and THE BROTHERHOOD OF SATAN also tails. to
Jeii duol. a degree, in integrating its wordless horror se-
threaten and nia|'th.intile her. in iirldititm, the city
is in the grip iii ieiir g4'|tet';itc(i lit‘ the unknowli But. iii course. the Struther Martin rule which quences (the march oi tht‘ toys. so tu 5|>(*akl with
must iiimgtvers remember, with good reason, is the more conventional menace oi thc satanic
psycho who goes about .~il.isliing pretty girls to
death. and (sul‘|1risc‘ sut‘pt‘tscYl our l1i.'l‘tiiIi(‘.i|)- i\iS stillill but juicy hit as the pristm rahtp warden meetings, which collie across, dt.'$|)itD tht- dyna-
pt.'ltl‘s ttl be high ttii his list til virtitiis. in COOL HAND LUKE. witli its IIUW-t‘lii55it‘ linu. misni tti the Martin character. as gatherings oi
At it it-t-set |1;irt_\. hliss Fettt't'h meets it siili- "What we have iil‘l‘(‘ is ;i iliiluru ttt t'otiiniunit'att‘." the local Golden Age Club. Nevertheless, direct-
t‘it0us plnybtty tcttu-gr Hilton). the sttrt oi gmtd- Now. in THE BROTHERHOOD or SATAN. or ilernard McEveety. re|inrtud|y~ .t graduate oi
looking, itleal titan whit .innount't's his \'irilit)' by Martin hits his best role since COOL Hr\ND LUKE TV dramas, has iashioned an eerie n\tt\'ie which
never ltuttttntttg his ttiiltll‘-illiltil‘ shirts. Miss and certainly the ttttlsi satanic. as a genial coun- has its iair share oi satisiying moments and looks
Fenccli lalls hard. and iiiltotl sitttittthly returns tar ntttre prttiessional than its medium-sized
the um-t~tn.n. but at |ust this puiltt the attempts nit budget would indicate.
hcr llie llirt'e;i:it' .it .ili .il:irtiilng riitc. iurring her Strtlthcr Miirtitt. Actor Martin dominates the pruceedlngs.
to tlt-t- in Spain. Here tht- st'l‘i|zters attempt to pile whether he is whipping his itillowers itlto a irenzy
twist upon i\\'iSi in order tt. keep ii iew jumps .t- ur truning on the cornball charm as the iolksy
head iii the audit-ni'e, which has .tnt|t'ipaled the
doctor who walks undetected antong his enemies.
ending il‘tttit reel tlltt‘. Batenlan is stalwart as the unwelcomed stranger,
The t-.tst. it-it tn tht- inert-y tti dubbing, looks and Miss Capri goes trout serene to distraught lh
nitice .ttirat-tit-e than it stiutttis. anti in the t-use iii acceptable iashitin.
actor iiilttiti. :| staple oi ltlt-diuni-ilutigct ltalien L. Q. Jones. who produced the iilni with co-
westerns, one c.ttt reatiilv svv how God st-l out to star Alvy Moore, has a rewarding part as the
m-tkc .i hatldstitilc ititlige oi Elliott Guulti and iail- sloppy, t't1i\t‘(‘l‘I\i.‘(i sherlii. willie Moore. in his
ed hhly in instilling His (‘\\‘ creatitln with genuine usual tumbling guise, rah't quite shake the strong
acting ability. t'Oniit' |)iL‘rs'una which has itilltiwed itini irtini his

i i
The soiling iti llils lt:tlit'li-Spanish citproductitin stint in Vitieuland.
also gives the vlcwt-t' pause tht- thought. Stiniehtiw Jones and Moore last appeared together in THE
Vienna lte\'(tr looked more like Ha|‘t'el0n:i, or is it WITCHMAKER (1969), an Pilot-tlve inu--budget
Rttme. or it ntity he that lust like t-ertttirt htirrtir horror iilni which (we believe) they also helped
movie plots, rert.on cut-rate locales are begin- to iinance. ii so, they are independent iilntmakers
ning tn hlur inttl tht- sanlc inrttstinguished blob? who are heading in the right direction. -
Robert L. Jerome Robert L. Jerome

38

' ' ' 7+”

 , 1;-
i
VV D arenniplishittg an enintitinai qiiniity sn sninnth
'
The Stfblggie to survive
'
becornes
‘ '
an instinct’ and Uit|matelY 3
T -
de5||'e't0 Control and d0m|nale - quent-es. in his luving rare tit the white rat, Stit--
Sl
TU S Y...
“I Rats may be tine nt the iiinst t‘Uni!|ltItt tears iii
man)‘ individuals, and Daniel Mann's tllm, WiL-
LARD, plays un this tear with such adept virtuus-
ity that t1n9's feelings about the little rndents
just
may lll‘ rtiniirnted. it is an excellent lilm,
Oi the year's ninst pleasant surprises.
and tine
C0nili|nin|,!
horrtir and rumedy with sut-it diverting vat-iatttin
that Hill‘ IS tiiiirtiughiy caught up in its
sinister
spell.
ln reriain ways. it €\‘til(l‘S i'\'tl‘It'1til'i9§
ui two
l‘lilt'iit'tI('l( i1iitSlPl'pl9(‘l‘S, Psvctto and THE
BIRDS. As in PSYCHO, the hern is Lt rnnthei--
dunitnated vuuni; man (here named Willard). whuse
delirate mental iiaianre is upset when his n'tUth9t‘
ities. tn THE amps, the v.-inneei rreatiires
he-
came an extensiun. and tiie inevitable result,
iii
the t'!i:trat'ters' rtxitiess, selfish nature.
LARD, birds are replaced with rats, and
in \\'1L-
initu-
rtiiiiiit_\' and ttniatinisni are iittaert tu the i|tdi\'id-
uais' t'iiC.tt‘l|t‘lE‘t'tSlit‘5.
Unlike THE BIRDS. WILLARD is Ll siury tit
personal revenge. Usinil his ttiiJrOui1lil)' trained
rats, Willard is ttlile tti release his venizeanre tin
peiinie he dislikes, either by tritzht. til‘ iiy 0rder-
int! his pets ltl dt.'5li‘4>\' ll‘i(‘ftl. Otie's synipathy
is
illiA‘a_\'5 with Willztrtl, the Illtttlillliitll
thitt others
unleash tilt hint :tt'tu.tll_Y intlkes the inhumanity
? his arts St.'£‘|ti iustiitt-ti.
The lii'illttllill_\' su.~'taiiit'tt, itit'tit'uluus
Iii
irratltin-
Illr ui THE l3lRDS is \\'h.ii lent It an ittsL‘l"\1ti|l)l&'.
it'ti|ll‘iit‘l|‘;ll)lt‘ htirt'tir quality that .s'h.irplv divided
atitteni-t~ npinitin \\‘tlli 1lltiitJSt equal
trustratitin.
\\'illa|'ti‘s tit-is are all within ratitiliale. nnttiv;i-
titans are all ("it-itr. and tine applauds his
tti.iti|tlt-
val srhetttes with alitiust -is ttiurh relish and
'1 its Willard ieels lli pt't'l|iritiiitt: thetit.
Mann uses
ulee
his IlUt1i(‘tit'[' nit-r-~iirs.-tt-. iiianipllliilinp
Slr2tit!l1l-
iiirn-ai-iiiy and ilIit‘lltilt‘i\‘t'll in lH5 skillful anniii~;i-
ttun til hurrtir and suspt-rise ll‘\‘li|\ll|\l0S. OrdinarI—
iy, surh nia|'i||iul.tttnn tvtiuld lie Zll‘Slli€l.lt'i\ll)' de—
testtilile and .i t'he.ip t‘tl]!-Hill ti-iini reaehini; the
(‘tire Ill his Si.tlt]\'t'l tiiattt't'. But ltlaIi|i's dt'\'it't"s
are nttuntltiztul, .ts well as irresistibly amusing
and d(>l|t"iuusly uutraijeuus.
Fur the ntwsl part. WILLARD is it lightly lii~
zairre i1l.tt'k t'l1l'ii('(|_\', that i1i‘.idu1tll_v l19t'0i'|lFS ninre
dirt‘ and tt':i|;it'. and finally lil;tt'lt iti the extrenit-.
But Mann nt'\'er tilltiws t‘||tited_\' ttr
|'ti(‘ltKil'L\t'i\£i.
itt!iA't‘\'(‘t‘ lilarl-i, ltJ lltl rutittiletvl)’ tii.it
til i-initi~iii.
Even when Willard is shuwn earlv in
the ttlitt,
trainini: his i‘£\lS iii .ill kinds oi rlevt-r amuse-—
nients. nnti talking \\‘llll ttieni just as ihrnnih
tht-_i~
vi'e|'e people, Mann never unre gties ttm tar. sus—
tainini: the eerie vrediliility in tiie sturv thruut:h-
nut.
When the tttni runntntzlv slips lt1lt.tlltlt‘t'ttl', even
then Mann never ialters. never resurtinp
tu :l-
If llrupt shifts in the brisk simpiivity Oi his
style.
ii
‘Vi
that the (‘hiLnt.!(‘ net-er l!E(‘Ot'n(‘S iutl nllll(‘iIl1l€.
Mann moves audience temper with t-lassir t:t-
eility. and he is never dishunest or tlinrhini; in TI-IR.
treating the timieat. tii:htly—written srreenplav.
Even as we t-heer Willard tin in his tasks. tine is
niaiie tsuniple-tel)‘ aware ul the possible t‘tliiSl‘-
l'Cttl‘5, and his harsh. iintair trentnieni Ul the
l)lJt‘lt, buthersunte rat, Ben. um‘ sees that Wll—
lard is eroatini: the sanie relationship predit‘a-
nient that his mother liuilt with hint. The struizillv
tti survive lit.‘l‘Ottil‘5 an ln§ttIit‘l. and uitiniriteiya
desire. to t‘t>ntl‘l and dtintinaie i-iittiiessit-, vi~ith-
tilll |:uilt Ill‘ reniurse. Willard rannul escape his
tiwn trap, and iurther lurks hiniselt in ii_vtrvihi,:
tu tight hack. lie is just as helpless and seltish
anytme else, and hls usint: the rats is nit diilerenl
as
trutii his entpluyer using him ttl vent his lrustr;t- it-rtitint
titltis, and increase his tIi;ItPt’liil iiain itnd |1ersnn-
al satistat-titin. Rats only piisst-ss the instint't
survive iliruutgh e;ttin|.:, where man must destrtiy
iii that is truly quite t-nt-itantinit.
man as tin l'X\l‘ll:iiUl‘i iittiint ln5tittt‘l.
The lilni tillers nu sivlutitins. but prt=:it'nts its
rase Wltlldisturliintt, yet never tll)\'itiUs|ti' lTti|)\tS-
inn lnintediary. Mann niii tinl_\' i-an tell .i slur)‘ like
this with seriuus dediratitiii and int-tiivement. tint
til‘ t'OIt\’l'_\’S the ihtertiul 5lt'l|t'tUt'(‘ .init tii9Jliltit!
with ii t‘l;ll‘il_\' and Sli‘Uii|1 seiise til ])(‘i‘5Hl1.llil§' that
enrit-hes the aiiuhdant i-iiterttiinmeiit t-alties Ill tiie
lm.
llitettse t*4i|t\'it'titi|t in the iilnt is sustaint-ti -ttid
helped alum: luv iiriire D;i\'i.“itlI1'.\‘ stint-rii ])1tt‘lI'ii\'lll
iii tviiitirtt. 0itt- st-es the inni-r lttl‘ll\L‘lll anti ps_\'t'i\- nit,
ttpalhir natiire iii his (‘li;ti‘.tt‘lt'r with l(t‘¢'li )!rt'(‘i-
shin, yet the essential t‘tilt‘ipI\$5iUll .\l\\'1|_\'F riinies
ihruuuh.
Nu rharaeier ill the riini is t‘tIr|i|1l(‘t['l_\' inisyni-
pathetit-, ttl‘ as t‘4Iltit!lt'l(‘l_\‘ t‘tI|ii|LlS.\’iliilZ\l(' as wii-
lard, liut the)‘ are viewt-d as ]!I‘tt]IlI‘, rt-t'tii;niz;ilile_
luniiliar, and .tll ton itutiiali. The tlther t'it.irat'ters thtiugh Guuttwtn and Christiitv l-jdztird and, even
§itZiltllt‘1ll\tl_\' t-iitttrast v\‘iii.irt1 and earh iither_
|ila_\'t-d with .it'uie st-nsittvity and insight
l)_\' S\lt‘li
t'ii.it‘\'eltius ]I&'l'lut‘Iil('i‘§ as Ernest l3tiri.:Ititie, Elsa
l.:t|i"hesivr. anti Slinditt Liirlie. E.it‘h ul their
rules |)<is‘s(‘55 the t'IIi1it|i4IYt trait iii l‘tiit1lltIl'll|l un-
attztrtitiietit, .ill til llit‘|Ii ll\'lt\LZ lli rtmv littlv dream
wtirlris tti t~tt|ti|wns.ttt- int‘ their dre..ir_\'. unt'\'t=ntlul
lives, ]lt5l as rill til us dti, even \\'illartl.
\'iSLiilll)', the ltlrii is Lt stutininu l)l(‘l]!l til slirk,
dark iiiiie Siiiitlilitl anti lll't‘£t)'iTiil t-iirit--taou (lOt‘ttt'.
The intaue is always just i1l‘.titi_\' (‘IitlUi1|ll4l§ll5l£llli
realistir uiirlertuites, anti slurp t'|itiui_'li tti vtiitvt-_\‘ t‘tinsistent")',
.1 setisr til lurelitiding terrtir
and ttiulittiiare i|iieti-
sit)‘.
Easily line til Ma|t|t's liesl. ittimt iulltlled a-
t'hiev('n'ient.~'. WILLARD ts alsll trite til tht- ittii.-st
til rerent liurrtii‘ iilnis. Only \V1'ittlkiis" THE ItlE-
PIIISTO \\'Al.TZ has rt-at'hi-ll a |)it\tii‘it'lt‘ til the art
ttirtit rt-rentlv but. tlitiuuil \\'lLL.~\ltD raltntit lie pressed
t'ttnsitt(-red a |iiastet‘ptt\rt- as \\'t~i\d.ltiis' itlitt is,
Manii h.is lasitilined bl wttrk til lIiUl'i\ with-t‘ t't|t'ii-
tiiL‘rt'lLtl a]!|)(‘Lil and i1r(‘itll'l‘ |)tl|1tilJl" t-ntei-iainnirnt
values. lt will tit: extra4~rtiin;iril_\' well lt|t;ti\t'i.tll_\'.
and t1eser\'iniil_\‘ SH. lttl' it is \\‘(‘ll-t'i‘;\lll'tl,
alwtiys
entgrtissinq. iinnrentiinis. .ind yet lliUUt1iil-|)l‘t|-
vukiniz enuutzli ttt start dist'u.~isiurts. This rtiultl
the hurrtir sleeper ul I971.
lit"
Dale Wintitzura
___.___ __
Fur east and rredli inlurtiiatititt set‘ Rullvrt
Jertiritc's review til \\‘lLl.!\ltI) in Vol. l Nu. 4.
L.
a
PETER . . . POTTER
PETER RABBIT AND TALES OF BEATRIX POT-
TER A Metru—Guldw_vn-Mayer Release. 6/71. In
Teehnietilor. 90 minutes. Produced hy Jtihn Brn-
bourne and Rit-hard Cioudwin tur EM! Film Pro-
ductluns Llntltd. Direeted by Reginald Mills.
Adapted tor the srreen by Rit-hard Goodwin and
Christine Edzard. Choreography by Frederick
Ashton. Music by John Lanehliury. Sets and cus-
Potter
tumes designed by Christine Edzard.
Beatrix Erin Geraghty
Peter Rabbit & Piglintz Bland... Alexander Grant
Mrs. Tlggy-Winkle . . .. . . . Sir Frederlrk Ashton
and Danrers lit the Royal Ballet in association
with the Royal Opera Hutise, Cuvent Garden
Ballet is sin-ti an iii-nnnit-siiy tiieatrirai art
furni that it is eluse tu lti\|XJ5Sll1l9 tu transform
it intti feasible rinentatit‘ turm. But. tilnt-maker
Reginald Mills has dune it in his quite hegulllng
PETER RABBITAND TALES 0 F BEATRXX POT-
Through lung master shuts that never deieat
the t'Ui\\‘it‘llUI‘i tit laI‘ilitS)', with iinly nrrasinnai
1-ditttrial tlnurishes in ;i couple ul hertlr nitinientsi
iirrasiiinai niiih annies tlilll make the L\nlrtiLtl-t‘uS-
ll-tt‘i\(‘t‘l actin-s at-tuully appear stitall at
times:
siiiiiiseti ('tllUI‘ t'tliI\liit\(‘tl with reaiistir hack-
grounds and artitirial ttireurtiunds that gives the
appeuranre Ul uld drziwinizs t'\t\C‘ tu lite: the stitt
pastel hues and t‘itI‘€lL|l dl-‘lililitiil til Christine Ed-
ztirt-rs set and t-tistunie dt-stuns: the sprightly
siniplit'it_\' iii Ft”t't‘l(-i‘it‘l( itsiitnirs riiiirennraiihy;
the Slt‘UI1|1. ni(‘l0ditIUSl_\‘ :i')’Iti]!lttItiit‘(|il1|litfi‘ tit Jiihn
i.nnehiiury's nitisir: and aninizii masks that turn
erstatir praise intti understatement and deiy de-
Mills has runtliilied all the elements ul
lilnt intti ;i unique iilvnd Ill lanlasy and reality that
is net-t-r itiitltlsilttl til“ l‘ililtLll'l‘2ISSlIl|ll)' qiiaint. and
in it riiupie iii silent sequent-es early in the
iiim. we st-t~ Beatrix Putter, the little English
eirl \\'htvs(- sinries these are. inventini: simple
li.\l\lllS_\', aniniai tales ltt esrape her ittl|)t)S§llJl)‘
drab t-.tisti-nrt-. in iiiie ltlti|1dt.ill)' Slltil. i-ei-_i~ inw-
key iiulited, the raiitt-i'.i pulls liat~k as Beatrix is
eatintz siiniier in her iiti: liut-ISO. ii_i- SlIIi|!l_\'. vividly
statini; iter lunlII‘it:55 in this way. it pruves tii he
tl|\l' til the nitist hauntiiti; mtinit-tits in rot-t-nt tilrtis.
ln these liriel t‘iltIlIil‘lIlS, 1| halllitiniglv lu\‘Plji'i1irl
named EriitG('t';ii:hty ill\'['> one til the nitist grate-
\\‘t|l‘(ill‘S§ pi-i-iiiriiinii--t-s this _\’(‘;\I'. As Bea-
li't.‘(, she has tin- nitist expt-essit-e eyes and tea-
lures iii 1Ili_\' yiiiini; Clt'lrl'$s st-en in t‘l't‘(‘I\l years.
tint 4Ill(‘ tint)‘ wishes her tii snt.-tiit. with lurk. she
sittiuld lie tiiit-red larger rules. and dialtru, in the
near lUlLil‘('.
The stiiries i\ltv(' been srripted iiy prniiiit-er
Rirhard
their adaptatittns are tightly explirit and
the traitsittuits lrttlit UI1l' stury tti the next tire in-
delililv snilitith. it is the t'i1t|tt"er.s til the Rtiyal Bal-
let whti l1|‘llltj it all tn simplt-. 0ni:at:i|ti:. rhiltililte
lite. lti a tilnt unique as tlllS, the st'rt~L-|Ipl.t_\' is
aiinust i!tt[)1|SSil)lI‘ tn iiidige tippi-tipri.itt~|v sinn-
the iiltit is alrtitist purely expressed titriluph dalire
and t'inetii;t style.
Direrttir Mills tlest-rves the hulk til the t‘i‘t~rltt,
as dti must dirt-t'ltii'5, int" l1l.\lliltllli\iL iugethet‘ all
the iiii-ersn tarets and 9i'ii|ilt|)‘lIlt1 theiii with taste,
anti t‘t'iii.tt‘lCll)lt' niinreti-iiiiiinsiiess.
Nn rultural stenrii hangs uver the itltii. and
this is
\\'lL1l l'|lill(L‘S it so ultinipusini: and |tleasurtil)le
tu
\'lP\\'.
But the autltent-r tliat t"a|i J[1|)i‘('t'll1l(‘. under-
stand, Lind quttlilialil_\'yudi1e TALES OF BEATRIX
POTTER is very limited. sadly t-nuugh. Only
thtisv tvlitv ran luuk ititti the art ut tiallet as ex-
thrtiutgh the relative lltiiiltllltln ul cine-
ni.i. ur thtise who ran ltnik intti purl‘ t‘l|\('iilil ltirm
as an art til sell t-tqirt-ssiiin, will en]tt_\‘ and ap-
nrnriate tiie tiini. in the i|i.idit'tit‘£‘ l attended, quite
a l‘tLitl\l)('i‘ til kids were restlt-ss and tltlkative dur-
int; it, and stmw adults kc-pt tailing asleep. Pure
iiallet is litrl easv ttt ltl-to lnr man)‘ neiinin, and a
film lll((‘ this ts alstv nlit east‘ ttt like. But. ii one
ran see it un its tiwn, S]!l‘('tZ|liLt‘(‘l it-vel, TALES
OF HEATRIX POTTER will lie revealed and t"(‘("|
tii{niZ(‘d as a t!ttttd E-Xanipll‘ ni its kind and wiii-thy
tila st-let‘t. appreciative rlientelt-.
Dale Wtnuuura
39

' WITTERINC, AND
UNMAN WITTERING AND ZIGO A Falrllnlilulll
Plelllres Relollso. i-ml. lll widesl-leelllllld s.lsl-
IIIJTI Cllllil‘. loo llllllllil-s. A llleliidlls Pl"0dll1'iilIIi.
Prbdlll-edbl-c.lll-lllwieell. llil-el-ll-lilll~.lllllll Mill"
lcellzle. S1‘r(‘(‘I\\!|ll)' by Slllill Rll\'(‘l\l1.l5l'dl>I1lii£‘
pllly by Cllios CUUIIEF. MllSl(‘ I1)‘ Mi('i‘lZI(‘l .1. l.l-ll-ls.
Dll"9l‘l\rl‘ lll p|IUlU\Zl"L\pil)‘, Gvllllrt-y Ul'\S\\'Ul‘ll1. Ari
dlfI.'l‘lilII\, Bill Ml-crlllll. sailed by F(‘|‘|,!\lS Ml‘DllI1-
ell. Pl‘ud\ll'lillI\ lllllllllper. lllil-lldelcllesl.
Jll Ellly D;l\‘ld "9!l\I'liIllll$
needllleslel . ....l)lll.lL1l£l5wlii'\\l'l‘
Car)’ relilliilpllle ..Allilll-ll_l- llllllullll
.. cdl~lllyll sel-lllllre
Sil\’l El)0Il)'
ClUi§lE!‘l'IlU\lll‘| . . Nibllulll "l'I)'9
1'el-llell- . .. .. wlmlllel cllllllllldil
. . . . . Mirhzlrl iinwo
Ullmllll . . . . . . . . . .
I
wiuerllll; Cllllli Ililrrio
UNMAN. WITTERING, AND ZIGO zlnd DEEP
END, ll-lllerl elllllyed briei ild largely llllllel-elded
rlllls dllrilll: (be sllllllller dbl; mlys. 1!l‘(‘ iilllls H1
ll-illell dark i;\l'\\il5!l' llrldel-ellm-ills 1‘i|)|1l(‘lhrl'lPI1-
lngly llonoalh dvl'9|1ii\'o roalislir surlllrrs. lll lmlil
iilnls. lilo all lll? lovoi lll s\.l|lL=r[il'l;li rclllily is ro-
pressed, ellllillliled. prel-llril-llsly 5lrll('lI1l‘PdZ lilo
\ll'ldl'l'l)‘iI'\l: illlll€.\S)' world l‘lll1lI\ll‘|§ (be dl-llllllls Oi
lwlslt-‘d sexllililly. Culllrillulinl: silzllillrzlnlly lll lill‘
douhlo ll-‘vols un Whiril ilolh liinls ll|)['l‘llll‘. lh€
sellinlls pl-lll-lde Llli llppftljlriill ellsllillll illr \ll('lll-
linlzlloiy hnrrilic ovonis vi'llil'h orrur ln lhénlr UN-
MAN. WITTERING. AND ZIGD \ilkl'5 |l|ill'o lllllld
lllo llllm:\l~ul:lio, \\'lI>(i-|1ilf\(‘ll(‘d rllilnls .lnd l'urri-
dur5 ul Ll l)'|1il‘lI||)' siudpy English i1ul"s :il‘il\iui and
lhv lush lelily surrllulllllnl; vliurlll-ysldo: l'l\lll‘P 0lI\-
illlluslv. DEEP END is sol ill 1\ d.lrk. l'l‘unli)llnl;
|1\1lll|l‘l)llllli‘ll|\.l§('illil l.l-lldllll \\‘i'\ll‘il ll>lli(§ slmllpe-
ll- r.ll-.llll~ll. Blillillll\§1\l"l‘ili)UU(lli1ll llllil‘l‘qLlI‘nl--
.l_-4 ll Hillll\.Il‘ili|lill"“$L\l)](‘l'l. lllll\lil‘l]l1\l soxulll lllll-
l.lsii-.~ irl\'ui\'lllL! rllildroll. \\'il|l lllids lll Kllllril'k's
LOLIT.-\ .lnd lll Vlsl'uIll|‘s DE.-\Tll IN VENICE. lll?
lwu films Zliirlllull‘ lll 1\dlIll'$l'1‘Ill$ .l dlslurllinl:
Sl‘X\.|;ll pil\\'l-r. A m;llol'i.li dl"l'l'l'il<'(‘ l)\'l\A'(‘II‘I\ li\('
|llI\i§ Llnd lilrlr llluro illuslrilius illl‘l!l‘\lT$ is iillll
llle ('X1'l']Ilil\l\.ll §(‘X\lilll\)' ill llle lllllls is ll‘1-Zllcli .ls
plll"l‘|)'|il|ll\U|llL1ll‘l|l> ClII1S£‘(|\1(‘|\ll)'.ih(‘lllli iun(‘-
lion |)l‘ll\l1\l‘ll)' (VII ille lel-el lll i.llll;ls-y. .llld iill-
psy<'hllilll1il'.ll prullinlzs lll LOLIT.-\ -llld DEATH IN
VENICE is \‘il‘\\.lilll)' ;llI§l'l\l-
lll UNMAN. WITTERING. AND ZIGO. lll? d(‘—
illlill‘ §(‘Xll£llll_\‘ p;llpli.lll-s I-llldl‘l‘ ell-ills ll-lliell
nlllko lho lllnl slllllolilillig lll il pillild rllusin lll lF.
All lIl['X]!l‘l‘l&'lll‘(‘d lelll-ill-l (Di|\'lli"t'H\l1\lIll1Si is
hirod lll l"(‘|7|Jl'P ill! illslllll-illr llllll died under llly~
Sl?l'lll\-IS olrl'unlSli\rll‘os. The I‘lLI5S czlsulllly i|l-
iurnls hllll lilill li\(‘)' ihl'll\$l=l\'(-s murdred his
pl-edeeessllr. lllillilll)‘ iIl('l't'dUl0ll>'.\l1l‘ new lelll-il-
or |2l'l‘Ul'l\(‘S )1l'Lll1l-l;l||)' elllll~llll~e<l lll ille lfllllll lll ille
blll-s' bllllslllll Clllll. As lle lries lll lhWIll'l his
sludenls. |l(‘ cm-llunlers unlli-ndlill; rosis'lalni‘l=
lrunl an udnllnesll-ullllll delernllncd lll lllnlnlallnu
S8l'Ill)l;\l\l‘l' All urdor by v-‘illlul ilillldnoris 1.\dl$IT\lIl'-
llilee llli lrllill ll wile deiel-lllllled (P\’9T\ il lll'lll'\-
scllluslyl lll \l!id(‘l'I\ilI\P ills sell-inl:ll;e. Tho prl--
5Gl'\li\HllI\ lll 1\ rigidly deionslvr allilllirloslrullilrl
pruvidos Ll nluiod, hlll \hl\rllughl\‘ lllllllllllf, sllllrr
ul Ellllllrill ;lu(llllrll;lrl;lillslll. lull llle i1|ilLll'l‘S lll
ille l'llill"I‘i2\¢!(‘ Il\ll\'l' llle iillll lllill .ll‘(‘1I5 lll Kll‘t‘|ll*l‘
rosimslllrol Soxuillly zlmlllvlllonl. lllo Hollllllilllzs
rharill-(or llliis lll llssori :l dmlllniull rllio nlll lll\l\'
in his nl;ll'l'iai:B hul In illv (‘lZ|S§l'llliI\i1\.\’ woil: lll
lhe vmlllnuinp llllllle lllr l'l|I‘i|l"0l l)(‘Hl\'l'l'I1 il(‘ lllld
his riludonls. his ollnrls lll Pslzlllllsh llrller ;lro
prllpl-essil-ely \\'?Il|(9|'l(‘li, lllllil. lA'l\[‘I\ be llrliles
willl ii\[' sludvnls in ll lgllnlblmg sl-ndil-ale. ho c;l—
pilulillos Jllugélhor in lll:-ir nllsrulo.
iii
UNMAN,
ZIGO & DEEP END
Bi_l1\vlll?l‘lI\L!(C(I|iI1 Hnrrloi. like Piggy lll llolm
or THE FLIES. I5 ll P(‘l‘(‘lil1ll\l ll\.llSllil'l‘. Elly:
Mlkl.‘ (.1llllil MU\lldl‘l‘-Bl‘l|\\'l\i llllles his l-lll-dblleld
L'Ul|IZlI\ll.)l\ llUl'\\l‘ li llle S\l|IWil)'. UNMAN. w11'-
TERING s~ ZIGO llllli DEEP END llrl‘ \'Ui‘l'PIlll)' lll
l-elellse (l-lllll Plfillliulll l>il~lllles.
Al llle mill lll llle lezll-lll-l-'.~' \-lllncrllhillly is his
unsélllod s0X\lillil)'_ lu vl'l'lll'll "19 Sllldl'I\l$ l‘9$|)lII\d
vl-ilh alnlusl |)I'(‘ll'l‘lilll\1l‘.ll illslllilll sloallllllly. HUI
fully rllllsl-luusly. llie lc.ll-hi-r is ;Illl‘Lll‘il'(| l|>i\i5
lm)'.~‘5 in ihc shllwvl‘ ruilm. lllinl: lllnlsvii nlllnloll-
illl-lll-. lle 5(;ll‘[‘5 il1ll‘llll)' lll 5!'\’l'rlll lll nil» slll-
d9l'llS2 |;llEl". Ll (‘l'\l'Il\lllll'l‘ lll llle lll\‘-l\lIl‘\' l)\‘l\\‘l‘l'1\
llle iI‘il('ill'l‘ Jllli lill‘ sllldelll llllelelllil-l» §|IIlllH'l‘.\
ll-ml el-blil~ ililllllllllli Llllli ll1llLll'l\(|l>l ullllslllllll
sell-llssllleli, llll- DU)‘ soonls lll be lllllllillle ills
llepless leeellel-, seellls. ill (lll-i. ill ilo l-llllsl-illlls-
l)'Slil'l\lll£IliI‘l|! lllld llleil (‘Il|(‘\1l;l\ll\l!l)' d;ll'll|)('llll\l!l\IS
ll-lll~llel's S(‘X\.l;\l l‘?SpUI‘|5(‘5. lll ii Illlllillllilrliil
l‘€'L\ll\, (lie l('£|l‘li9l‘ 9\'i5llIIi5 bllllseli lIl‘il\l1 sillp-
pod Lld sol llpllil by his l‘l&l:i§l|l\(ili\l'I1\'.|l‘l‘|(‘dlln
lll(‘ll' 5h<|UldPl‘§ (ilrllllllll ll sillisll-l-. )!l"llIll'\‘lll-llk('
(lll-esi. Alter his llllselllillp lll-elllll. be (lll-s lll se-
lilll-e ills ll-ire. lldllplillp llI\\‘;\!'d lll-l~ .lll LlI\l'i\l||‘1\('-
iel~islil~elll~ lleressil-e :.\lli(\.ld(‘.
Alert IO llleir llleslel-‘s Séxlllll lllLld9(]Lli|(‘)'. nle
boys rurnor his wiio lll ;\ dosorlcti llynlllilslulll.
lllldless as illlllllell |)l'(‘|1{.\l"iI‘l}!i0l'1ll'llUi\l|Sli('$£ll'-
riiioo, lllld lllell dlielllpl (slle esl-llilesl (0 ])l"iI\‘E ill
horlhlll liley ilro sexually sllporlur lo hcr husllzlnd.
ullllll-lllilelely. llle lillll dlles i'\0\ del-elllp ils
l-il-llesl pllssibiliiies; llle llellbllelllelli |(l"UdUl‘E5 ll
I\(‘\\‘ llllllii lA'hil‘i'l llllly Iilrlllllll)‘ spelllls llr lilo
ii|nl'5 pllworilli und di§l\ll'l)I|£ rlenlonl ill .~’exu.li
fantasy. On lilo lhl‘ill(‘r Io\‘|:l. lilo lI\)'Sll‘l‘)' lll lho
(lll-lller ll.-lll-llel-"s deelll is "S4I|\'l'l'l" by llll~ sllleide
llllie lll lllle oi nle sllldeills, .l blly Willi. like Pippy
in LORD OF THE FLIES. i5 il |)l‘l'€I'\liiill llulrlider,
and \\'hu is Klllen rruolly nbllsod ll)‘ ills l'l;ls5-
lll-.lies. ll-l his llllle be I‘(‘\‘l'lll§ lil.li ll ll-.ls llis |)l;l.\'\
lll kill the lcllvhr. lhul hr hupod in l-llllinvorlnll
lile srholllo lll erlrll the rl-.~pel'l lll his follows. Till-'
oiillrl lll the srnrnod lllly lll |)ril\'o his nblsrullllily
l'lml:lins U|)\‘lll\l5 €(‘|IUl‘5 iii lilL'('UI1llll‘l ilir (i<lnll-
nllllre i)(‘l\\'L‘(‘|1 mnsler lld pupils. llul (lie lllly‘s
ro\'Pl:llion ll3;l\‘(‘$ mllrh unoxpllllllodr “-"bu lll‘l'llUI1l.\'
llll~ llle |JU)'S' williileiless ill illllll\\‘ llle slleeesilllll
lll ille ll-ellkesl Ul‘ lllllllllp illelll? nlles-ll‘l lill‘il‘
ro:ldino.~‘.~' lll rolllpijl‘ wilil his |7|.lll l'llllll'.lliil'l lilo
lighl lzrllup suliirionry lilo)‘ i\Ll\'l‘ d9IHl|I\§H'llll‘d ill
l'(‘L!ilI'd lll lhoir \(‘.ll‘ill'l' 1’ Ul\.li)lo in ;lll>'\\‘L-r lilrso
(ilrld sinliluri llu0s\|‘ln51 lilo illlll vllzis \A'llll"L'l1\>
llllllps” puzzled. lDl'I\ll'-d(‘nilIli'l\ll\|1 "wll)"."' Tile
Hill)‘ |1lls.~;ii1lo l'xpl;lyl.lliull illr lilo onnl'lll|l\' lll lhc
lll-l-s' (‘l‘il!ll'5 ls lllili lilU)' 1ll"l‘ llllll\lI'l)' l'\'ilI liko
lilo nlellldrlllllallil';llly~('linl'('i\'Hl Rhilrh Penmilrk.
lhey lift‘ llllli seeds, ('l\ll(|-l\l1lT\SliL‘l'S \\‘hllLIl‘(‘ll-
l‘('d99l'I\Il|)l[‘ lll'l';lu§l‘ llnnlllural. Lliil‘ Mt-i\'illl-'s
Cillulzilrl. li\l')' l‘Xi1ll!il .ln lill\l‘l"(‘I\l (il'pl'.l\'lly H\'l'|'
willrh lilo)‘ arr: pllworloss.
These spel~lll.llilllls_ \\'i1H'|l .\l‘(‘ ])l'II|I\]1lPd|]§' lhl'
[ilnl's linul lllillulos. hJ\'o iilllo ill (iii wllh lilo
.\’0Xll‘e\l i'llll|ild_ill§ll'I\l‘lilS Lllld llllile-llllsllls wllll~ll
ll.ll~e ellllslllllled llle lllllill lilies lll llll- lllllrs l~llll-
lllrls. llnd [his iillul nllllull lll )ll'odolol'nlillod o\'ll
dirvvlly ('0nlr:ldil'l.s' lho illllfs llllolllpls lll .s'\lu—
eesi llle buys‘ Flllldililllll lll-_ .llld l-l-bellllill .l-
Llllllil. L\ rl‘Sll"l\‘li\‘l-' llild lllll-llllelliellell l‘I1\‘ll‘\r|\-
l'llL'I1l. Tho lillll. (llllllly. ls.l llilXl\.ll‘(' llll.llll.lsles
Lll)U\l\ sex and evil--jusl l|S ll is ll llllxlure lll
l:Pr\l'(‘S--lll!‘ nl_\'§lt‘l‘l' lhrillm" .illd llll- l‘li2|I‘1l\'ll'l‘
))\ll"lI‘I‘lli. Ti1ll\.Ii;|\ liloso vzlrillus slrunds ;ll‘oll‘\ nl--
l‘('$.§;.\l‘li)' elllllllldil-lllly. llle ll-ills lll Wi\ll‘i\ ii1l‘§'
rlilllpcle lllr llur .lllenllllll |IlLll‘ rulhl-r li\1\I\ l-lll:-lll-,
Jlld lilo film Ends up rillllrllllirlu llls lll-lll)‘ Ull\'lI!l-
srious and illl-ilnsislonl inlpulsvs .l.~' N5 i)\‘l\‘ilL'UY'
ed prulillzlinisl.
"rile |n;Ii'\i|)Ul£\\i4lY1 lll lllldil-lll-e l‘l‘5|)1l|l.\\'. \\'llll‘i1
ls nvvdd lu suslllill l‘llI1\'ll'llllI\ lllruuuil the \'.lr\'-
im: levois lll lmlil lms, ls ilrlllor lll DEEP END.
Dirovlod wllil lillo rillllrlll ll)‘ -Iorzl‘ Sklllllllllwskl.
llle lllnl 1-lwallzlles wiill sllllll-llllll~s .~1i.ll‘\l|lI\Z llul
1ll=\*er u|lcllll\‘iIll*ing jorks irulll ('llllll-dy lll :ldllll-_~-
(‘9Y1l‘l‘lU(l"Ll|Zl(‘l)l'I\(‘li§l>il€l"|‘lll‘. slllllilllllwslll pl-e-
seills lill‘ lm lrmll llu- dislllrlcll plillll lll new lll
his wildly l'l\Ill;\d]\l5ll‘d l‘PT\il‘lll i'h.lr1ll-lor: lill-Illlll.
‘
_
"
DEEP END A Pilrilnlllulll Pll-luri-.~’ “cll';ls“4 9/71.
lll clllel. aw llllllllil-s. A cllpr--lllll-ill-ll ll‘ ll|.ll.lll
rlllll lceliledllllll Pl'||(lLll'lllIllR. Pl‘lldlll‘(‘(1 lll-
Llrld
l|('lll\l.ll -lt'lil‘ll'. DiI‘\'l‘ll‘l1 ll)‘ <|('l'7-fl’ SkIrllI\llV\'§kl.
EK\‘l'\.lll\'l' ]1l'lKiUl'\‘l', -Yulki n(‘l‘|\lll'K|. §l’l'(‘(‘ll|ll.l)' bl-
ll('l‘Z\' sk--lllll-lll-sill. .l. Gl'\1Illl .lllli B, Sllllkl DI-
l‘l'l'\lll' lll |l|Illl\|;1I'l||)lI_\', Cll.ll‘l)' sll-lllbl-l-el-l. Ori-
llilll lllll.sil- by clll §ll'\'UllS .lllll llll- c.lll. l'\I‘l lll-
l‘('(‘illIl\. Tllli\' Pl';lll .llld MLIX oil. Jr. l~:lllledlll-
B.H'l'H' villle c--slllllles. urs-lll.l sl»ll.sllllle.
slls-.lll ...........-l.ll\('I\$il(‘l" I
Mlko .l..-lllllll I(lll\1l(|l‘l'-nl‘I|\A'I\
Lady clll-lll l>l.lll.l DIIFS
Mi('il.ll'i V|Vl1l['I'
S\A'll\lI‘|lilll1|Ii§ll‘lll'llIl’ K1ll‘i
Til(‘ Fi;ll1l'&‘ l..Chl‘lSll|))i\l‘l' slllldlllld
Niiill‘l\llI Model . . . . . . . . . . . . . . . Luulsv Mzlrllnl
l-:l~il-.l uel-r
Till' B.llils cllsbll-r
l
lll iilcl. is ll 5l'l'll'$ ul \'.irl:lli<rlls nll iho soxu.li
llllllllsies lll ils (‘l'l"ll\\1|)rlIl.l|1lllll§l, .l l-l-lllell-. re-
ill-elll (illlieed Skllllhhi )'Il\.\I\\1 lllllll iipltlldll \\Ul'i(
ll)‘ Jlillll |illlllidel~-l3l-llll»lli Willi is .llll‘1ll‘ll‘d lll .lll
"ulllol' wllnlzul" (-izlllv )\§il(‘l'), his (‘ll-\\‘4Vl‘k('I‘ zll
lilo lllilnulllolllllill‘ iirlln liillilillluso. PUlllll' i)1\lli5
llt‘lIil1 ll l'l\('[‘|iI\}L]Il-ll'('iUl' U11‘s('!(\ll£|l|)'(il*])|‘i\‘('d<-
ilellil-.ll ll‘Fl‘l((ll‘)' \A‘hl‘l"[‘ 5oxl|.ll llllllll.-.y l-llll bu (‘IF
;ll'lod wllil \‘irlu.lil)' illllll lrl-odlllll .llll1 .l|lnllylllll_v--
lhe illl\'. in liw \‘\l\lll(‘l'Jl!lL' |IllSlll4lIl lll zlllollrllllll. is
ll priille llbjel-l lll lilo l-llsl<llllels' i-llll-|.<ll(*S. li. ill
lilo npollill! Sl‘(‘\lllll. lilo lmy is ill tho roroivinl:
olld lll ullll~l"s llllllzllsilas. his nwll llllllzlsll-s .|l‘(-
Slilrli lriL1Ql'l'1-dill‘ lill' l~lllil‘l~ill(~l\ls lll Ills ('ll-vl'lll*k-
l'l'. Tiloir l‘l‘ll\llllY\§iiI]) l'l‘|'.\llS (ho ('(|l!l'd, ll-llullus
l'l\l\il‘l|llLl\IllI\ lll'l\A'A‘L'I\ ll-.ll~lll~r .llld Hllldvlii lll UN-
MAN, WITTERING, AND ZIGO: llkl ll\L' slutivlll.
ille lZll‘l. 51I\L|lZl)' ('X|I\'l'll‘I\l'l'(i, \lllI1l'l‘\'lT\ill\'iiI1ll\l'-
llle. .|li(‘l‘llll\l*l)' |)l‘lliil'|'5 .|I\(l ll-ll-lll-is l.ll-lll-s; llle
illly, llkl' lilo ll-;ll'lli~l'. l_~' illlllllhlllll‘, til-ii-ll.~l-loss.
llllll illr ilillil lllunll-ii l'llL|l'Zll'll'l‘$ lill' il'Ll5ll‘.|ll1IIi lll
llll Lli\l'\‘llllI.('ll llllli \ll\I'l'l|llZllill\' si-xuzll rilllllllulllllll
illdurori Lllllllslos: will-ll ll\(' liliy soils .l lli('-$il(‘
l‘l\l‘l")l|ll|'(l lll1Ul'\' \A‘i\H‘il l‘l'N4'lIiilll‘>' lill- girl. ho
5lt‘lll5 ll llllli l1llt'.\‘ swlnllllllll: (lllldl-i \\'illi "ill'l'."
Tbls llll--ll |)l'l'ill1Lll‘I'_\ llle LLl‘l5l\' illl.lll- lll wllll-ll
\lN' lull‘ iii.lli—i lll'l*l(l(-llllllly klllls llll- (girl whll
illel .ll~e (llll-l~.llll- .lllu syllllllllll-.lll_l»l lll illl- deep _
will lll Ll ul'.ldu.llly—llllllli; pilill. Ollly \Il'll\'l\ lsilr ls ‘
Ill‘-llll l~:lll \ili~ hwy i\l\\'l' .~l~.\ wllil i\l‘l'. Llkl‘ Bl'n\\‘ll-
lnl:'s Plirpll_\‘l'lll'.~' LlI\'('l', llil‘ lluy lls l-llllllnrlllille
llllly Wil(‘|l be l\i\S l‘lIII\]Ill'l\'('lIlill'lIl lll-el~ ills blis-
lress, nllly wiwll 'll- I'll“ 1iolllll~--llilti ]Il'('.\l'!‘\‘\'--
lil('§(‘X\lLll llllllllelll.
Till‘ lllly lll-l-e. li lll\\ lllllllll-ll L'\'ll. ls .ll ll-llsl 51$
(i(‘l‘llI\LZ\‘Kl as lliL' .~l'ilinllilll\'s ln lhl- "l'linl|l.llllun"
Him. lll s\~xu.ll l|l‘\'\'lll])I\l\'i\\ ls .ls lll-lll .lll:l as
d('$ll‘\1l‘ll\'\‘l Tilr iI<I§'.\' lll lllllll (illlls .ll~l- b'(|\.l£||l_\'
l-elllllll- (l-lllll illlfllllll .|(|ll|U.*~l’\‘lll >l'XUlll \'X]1l‘l’l-
l»lll~e, .lllll _\'!*l lil('|l' (ll'\'llliIlIll 0-xisls lIll'l'l'l)’ ZIS ll
l;l\-l-ll~-llll-l-i~ ls llll .llil-lllpl ill l-i(lll-l- llllll.ll psy-
1'll||llIl.Zil'lll l-xpllil~.lllllll. Fri-lll ll.~ llNll\il'l\\ lll
l'lilll‘l\\lllL! rllllli-ll_\ lll ll.~ lllllll |)l\li\lLl‘ llllll |l>'yl'Illl-
.-ls. new END ls ill'1'kl‘ll \\‘lll\ N\‘X\.l.|l lilllel-l-_l~:
illl~ lllly‘s ;lrl~llilll; (|l\‘l' llllll lll\' \k'llil'l‘ lll swllll Wllll
illr l-l1l'dllll;ll-ll lllL\ll'\'I lll|lll‘H\‘l| llrus. ullllllod
]llllll.~. spill;-ll lllllk, (-l..ll. Ulllll-l' ills ll;l\ul'.lll$\ir
l;il-.ldi-. llll- llllll is ;l ll;llll~l -ll .llll-l~ll.lll-ll l-llll~ru-
IIILI .lild lll-il.lll~d. p.llpll.lllill; .lllli l'\ll|lll\1l§i\(‘(i.
.\l-\u.llil\',
R1-ll'.l.~l~d ill-sll.ulll)' il\ lll! \Ill(|\'l'!~illl\(|.||Yl\' lll_s<~-
l‘Ul'l‘ sludlll llilr l-lllllullrllllll lll
l\\'l.\\('(l .<l-\ .llld
i~lllllll~ell is lllll l'Xl\l'll\ bl-ll'\'>i|I'l‘ l|llX>lli[l('\", inliil
lllnlls. nl\1l'k_\'. zlillrlliil-lll. Lllllzlsill‘--ilil-.lll-rl llll lilo
dllfk sido -ll llll- lllllllll-<l\l‘(' L!l'lllll\' l-lllllpl-lllllu
lKil‘$ lll lllwlll-ll-ll lllld \'ll!1\JlI\lII}L lsl-xll.lllly. '
Fllsli-l" Hirsch
l
 ___ ._._i_- --—

OH
{_ iii
Hilrllurl-‘l<%\‘l5. Wllhi Patrick Mar-
nev, Pen-r Cklshlng. Patrick MOWER‘.
Tl'I|5 Illnl In based uI\ Durlors Wear
sl~nl-lnI. lhv sllnllll Raven I\_\'(‘l null
bllanlivvll-l ctlillll Pillrlck Macnce,
nnu HUME slrlklnu |D(‘;\IlUI\ phulogriyhy
lly nl-lllnllnla Dlrkllun wllll phKIlu;1rl|Ih-
ed HORROR HOTEL. HDWEVEP, il ll-lll
plllllnllly Ill» llllle seen. II was set (Dr
lhls )'('lll' lhfllllgh Chev-
|’('|(‘Cl§E 1‘-'lrl|('r
full PINUFES. wnll !|lb59\]\lC'l'\l|)' SO|d
Ullr prUdUl‘l Ill PJl‘;l|,!UI\ ml-nll-l-5. wllll
are nnw dfuppl Hm Ch(‘\'fUI\-pUI‘(‘|‘|Zl8-
SEE NO EVIL A Columbia Rel:-um". Guesl'5 nlhL'r\ll'|SG llrvsuml.‘ lm. and ed pl‘UpE!‘ll9§ Ill relvnse lhl’ U\\' pru-
9l1l. ln ECl§\r|l&lI‘|CnlI|l'. as 1‘|\II‘llllE§.

/
(‘h:LHe_\-'s l'('l(lll\'P|)' slrllllgrr SHIT)‘ dllcllllns. Pillrlck MLH\\"('E |)lZl)'5 J re-
nll-ml-ll by ml-llnl-ll l-"lml-Iler. gull: $1"l\5e and dl‘\'E|llpl'l\9hI '\(‘||l5 In Ell‘\'Cl\E liréd Gl“E€‘k Illillllf Wh LAME an unrav-
Illlll FL\l‘l‘U\A', nllllln sully, Lllllxnyi-. Nl|l‘hll(‘l cllll»l—l-as‘ Ill-Ilpl)‘ SlI‘\l(‘\llI‘Ed Ill-¢- yllllnll §ul"|;|l|l(‘ lll 5(‘il‘L‘h 0! hr
ulll-nllly Alllslln. S|'1'(‘l'I\p|L\)'. lllll neilhvr “|n1vA'0|‘k5uul l-ls: Hilnrte. wnll rlnn lnIll=n nnlm the
vnlnln mEl'|\llX‘|€§ lll w,\l1~ UN'l1L |)Pl‘\'('r!€ lllfll-I(.‘l'!l‘L‘5 lll {I C\l|l In ul-l-ll
DARK “M19! ll\'9l‘ Rlrhurd Fll'i5l‘ht'l"'5
WP" ln lhv 1!-III}! I'll". C)\:|He)"5H|nl lll
dN*|sI\‘vly "W lIEl\l.‘l', Illll llnly ll)‘ l1l=-
\— VI'Ul'5)1lp|'K‘l‘S. unlllnllnalnl;-. excl-pt (or
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E\'(‘Il
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lUI\(‘, Ll blind }!||“| ls lEl‘l"u|‘lZl‘d lly 1 Hlm UH prfhliluflr nlllil qlllln l-nnalllly (‘|imIlL‘llL' mlll-lllp (‘H159 u\'(‘l‘ n Lllnulln
nllll-all-r. Illll H's llll-rn nlnl "IE 5|I‘|Il- lanl-llln Ill-ynl.ln and Zuhrn Llmporll Uni\'9r§ll)'. dll‘E(‘|DI' Rnberl ll=ll-uul-l1
diiplilys U10 nlldlly, llllln male nna IE~
lzlrlly ends. ln .l¢Il1llllln. L‘\'l'l")' 4!Kh£‘l“ I‘l1Ill(', llwllllh, DJ\'ls Cilllul Susi-‘Aln alldlvnrt‘ illllunl
perslm lll llw nllll.=l~ |\Zl5 |)l‘€n kllled. (III!
l-Inlnnnn. .lI\d|J\ll(‘h(.‘l")'
nl Ll Pflhd In m-\I1'5 I-1S‘\'EllJP\E!ll. rllr "rlll- d9ULll'\(‘IL\llUf\ lll lhl: medirrll pro-
E\'(‘l" secs llll- kll|cl"5 I-I90 llnlll Ill!‘ LET'S SCARE JESSICA 10 DEATH A Icsslun Ill llle 1-Ild svms lhr0\l'f\ In
lllnl Alllmt‘. ll Ill I‘l‘(‘llI‘|‘||‘|‘|(‘I\d€d, ll lnl- P€ll‘;\mu|ln\ Rl‘l8.|sC'. 9:11. In cnllll-. as
Hid, -Ind Illlll Flll"I'lI\A"§ l’hlll"Jl‘lEl" is I\IIl!H\(.‘l" l‘ELl5l|I‘l. WIUIULII nny lI;|§|S ln wllnl his gone be-
pklrvd lnln II1Ul"l‘ }1I‘\-IUIIYIK EJ(H"(‘II\l‘§ IlI|\|ll‘Sl PI‘U(1\ll‘l‘ \J\' Charlvs B. Muas Illrl-, Pl'l'[UI'n\;Il'\l"l'S ilrl‘ nllllu. lllll Pel-
lll;ln /lllnl-e_v l’H'p||\ll‘H'5 rcl.|ll\‘bly mild Dale vnnllgllrll Jr. DIf('l'lEd lly llllh HllI\l‘0K‘k. Elly: l»l- C\l5|\lII Ilpp£\AI‘§ Dill)‘ ln Clllulhl‘
lllllllncll-5. Zllhfll ulnlpl-l-l. nnl-llln HE\'m-In. lm-In lll hlsbrie!"z'nm1'n":\p|X‘;lr;lm‘9sl Is Ill-
DIIE

Al HI‘|l('§, F]El§I‘hk'f'5 \\'UI‘k I5 1'x- o'cllnnlll. M;lI‘lL'l11I‘l‘ Cu5l(‘llU. lllnl l-><lll-nslwr

WHAT'S THE MATTER WITH HELEN DlI'('|'ll|l' .I-llln ll.llll-lll-lcs Hrs! lllnl
lTl‘I(‘|)' pllwmlll ln Ill!‘ lll-l~;lsllln.ll USP A Ullllvtl/\I‘lls\§ Rl'|l‘llS(‘. 6.7!, ln clll- .Illlln R. nln-llll
ll||l;l1\d-h(‘l.lIldllr\\'-;lI\L!|l'§hUl§. BU! ll |lt‘lll'§ .l 5\l[X'l\‘|Zll l"l‘§l'|‘|l|)|l\1l('l‘ lll
III’, Iol nllnllll-.~». Pl"lPd\ll'l‘d D)‘ Milrlln n('l‘I!lIhlI\'H THROUGH A cI.l\ss n,\m<-
I5 fll‘\'('l' \'II5|§|(‘l\| l'lILl\[|l lu SUSIIIIH R-l|lhII|llI". Dil‘l'<’lL'd |l_\' CIIFIIS "l\|‘l'lI\\!—
N50" (*nlll"L'l)'. LY, lll HS l‘|l‘|)|l'lillI\ lll my |1\('I1l1ll (|('-
.llll1 lhl'r¢' llrl‘ IIIHFS llln. \\'ilh2 Dllllll‘ l')'I\ll|(|S, Sh:-llvy l(‘I‘lHl';l\llI|1 lll XIS l'Efllr-ll t‘hZ\fll(‘ll'l'.
THE HELLSTROM CHRONICLE A cln-
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ll $lI'.l)‘.\‘ lrulu l|ll' k'(‘ll\l‘lll Lll‘llu|l. .ll-.<nll~.l, .llld lhl' t|El('I‘|lII'1\lil|I\ lll hl‘|' \|ll'§. Pr|lK1\I<'(*d. l|lI'l"l‘lBd llllla pllllln-

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Ml-I F.ll"l"ll\\‘ IS §\.ll‘|l(l$l|1Ll|\' Fl" l'lll('l.l \Il'Jl))h('d lly wllllln CFPEH. wil|lI l.llw-
fll>ll'kl‘lpl-l('l' ,ll Illl- nlnlnl-nl IS
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§|l'lnlll'l| .lllll -l“l‘(‘llrl\1 Il-l- lI|1l'(‘, -llld rihi‘ lll_\- I-llll:-I-.=. Prudl-ll'(‘l' C|11\|'l(‘5 n. MUS:
Inn W3)‘ I-l~ll~l.lll J|‘l|'l‘§5(‘5 JI‘l' [4I1'l'l~d-- I'€‘I\l‘l‘ Prl-l..-llllln.
Il\llk!‘5U\\'|[|l"l'.-|ll'l'd|I'l|IIl(‘H( nlllll-ll-r- -H‘. nnll !||fl‘l'\HI' H~lI\l'(Il'|( llrlll,ll~.llll.lIlll-
0|’ lll-ll-nn--ll. .ll-l~l-llI §rr(>('n ;l.~'>l\:rl- snll~ll<»n-I.ll-l I5 lhv |).15l5 Ill-l-l-.lllll
H|_\'lV1|£l}' l'L‘.l| nnll |llIl'l’||I]l‘ Ill \'UI\|l‘lll‘ 5|-Ill!‘ l‘X]!l‘I'I\'HI'\‘ {ll lh(' |)rUjl'I‘l n-llll-ll |ls]II‘l'.~l‘n\.\\llIl\15;!l‘!‘u§§-ll|‘Pl'dIIHl(‘-
lXll‘Ill§ WHIP]! llll ll-ll $h4l\A'l'.l5(‘ nll-nl lls LZl\‘l'§ \|l<- l'|l-ll"l|l‘l(‘I‘: lmd IPIUII‘ lnll~rl-l~-
plillln l>'ll-l.<l-In-r l»l-rI.llnly l1('5\'l'\'l‘§ lnlll-ll .l> l-lllll.lllll llll-nl. A (‘JSU Ill |)U|nl umll l'll'l'IE 3-nlln, llwlunl l‘X|)H§lHUII.
Slllllf‘ l-l-l-llll ‘III’ lll.ll. lllll lll~ lmdl) f|('t‘d> |ZlHH|l.\’|ll|IH .\'UII‘|(‘ drllnlllllt‘ \'XlI\|lH'. Un- lllld Ilnllnlllul, ll-rilylnll. Ild Rlm.|Zln;!
llll- |l.~\'l"\l|l!I\IH'lll .lllll llr.llll.lIll~ lllIl-ll-
lei D\‘|)|1I(‘ Rt')'|Ill|(|5,\A‘|\u|!lIl'§l]ll'u1\nY |"I‘llJ|l.lH'1_\' llll~ ll-nlll IS d|§lf.ll‘H'd ll-nnl
.I,-ml; THUR‘ ln [his \A‘Hk1]K|-|ll‘ l-Illlll-l. lnlllnl-ry lllnl l.llln.< l-ll ll ml-lll-l> lll-lllln
5Xl_\' Ill l'h.H"-ll‘\('l’ lll.lI nl.lul~
lo HlL- (‘ll1‘('Tlll'lllll\\I ll ||l\'Il‘ l‘|1lll'Llfl('X'5 -llld
MISS Rl*\'I1KI|d>;||1(| 5hl'|lt'_\' wlnll-rs |‘|l_\'>lIf|\ll'. As ln F\'lll|ll'5 THE CLOWNS
LINGTON l>l.l\rl; .lnlI COMPULSION |)l1I‘lf-1_\' n ('lILl|l|(‘ lll )l.|rl'|l'l| I‘|\lllrlIIl§
lhl‘ll‘]1;lUT\H|lL!. \'l‘l'\' lllUl'hi1\l!. ll‘-l|1l'(|\'. lh('dt-lI|ll‘r1|ll~l‘nnI\|s|nr||u'lW€l‘|\I.ll\L|sy
l:rl-.lll->l. IIIIISI $<'lr|I1l'Wll('l‘L‘ .ll|lI\|1 Inn \\'l|_\'. lll G.l|l|1|('
I125 8‘|1L1X'lV§5ll‘|l1 -ll'hl(‘\'l‘- lhrl‘I\lEl\l‘d ll)‘ nn LIIISEEH ilssllllilnl wllll with llllll ll'l(‘k.\’ nnlllllll-l-llr [l|lI\l‘|Il‘hl_'.“~.
and I‘l‘ll|l(_\‘ I5 Ill-lll [£l§l‘||\;lllI\¢1 l|l'ld(‘l1-
1Ill'11\>. |l\I|\l('lI1}£.
l-llll~.~ ln lII>U(l‘ll\(*7‘|I llll-Illl-ll L'l'|§l_\' HPX wlllln "H5 Hill) nnl-n L1|\'l'H lhl‘ Illnl
unln wlllllnllr.l l‘l‘lI‘|Il‘ l‘lI1‘|l\lllI‘(|
HIEII‘ l-l-.<pl»l~lIvl-
I»- Tllllllnll \\'.llllll Gl'l‘l‘Il'> Illnl IS \'l5—
}1I‘l";ll(‘l'|)<I|)\1|llI‘ll|l|11'JIl. ll l'|lI.'2l[X‘5;|l\(|
SUNS. .l L(‘upU]G—l|I\d—Lnl‘|)l1U|ISl'I\l(‘Il('—
lll~l;l-.llll~=l Whil Vlllll have b(‘l‘Il .l \‘l'|‘\'
Ulll|_\' dlllllllhi .lna t|l5l\l|'|lll'\l1 Ill its
Dd lu lilo |m|)rl§nI'\1lll‘I1l. F|l'l‘l|’lLZll'UII1 lH_\'l'iJll‘| l1ll]I]|l‘l|lIlIl1§, H's .l <-llllI_ >ll‘r-
MILLION DOLLAR DUCKA B\l¢‘Il.| Vis- nlu\'Im1 llllnl.ln llrllnln, TIN‘ Illlll lll.ll lll- |Hll5\l‘l"]H4'('l‘. U110 §('l‘§ \';lr|4l\l§
lnl- HIIUWCSI Ill llll- cnlll-ll-lll.l lll l|lL' \"lv\||(| I\;l\’|‘ llnl-ll. still 5|\lI195UlI‘U\lL!hlP\l'
I-\RL'l(‘.|sl‘. 7-7|. lll T\‘l'h|Ill'lIll|l‘. nz Tl\l!l|l‘5, lIll- lndll-ll upen llll 1ll2l|('Hl l'|lI.\‘[‘l-lp.\’ llI ||15l‘l'l$nlI\d|hl'l|' .ll-llvllll-.-=.
mlllU(l‘.~. A \\'.|]l Dl§|ll'_\‘ Prlllllll-lllln. l>l- Inllllrn nllll l-llllIll.=lnn ll: lhv |\Ul'fU|‘ Ila-lfll‘lllI!1l|| I'|Llf.l(‘l('l'1l-llkdnfl Nlls
:(‘hUl|[ rllr Duddlhyl S|Hl’|('_\‘ T(‘l1l|1|l‘§. ll l|'Z\|1|HI1|.Z\. I"hi('H)' lll lht‘ Il\5l‘l|\l\||l’\L!
l'l‘('ll‘£| ll)‘ vllll-l-lll nll-El-my. \\'llI= pllly "('"$lTIllH. ('llL!l|;:lH\Ll_\' |Ill|‘v'l*d |)_\' LAW-
S;lm1\ l)ull\'.ul_ Dmln Jun;-5. Jul‘ Flynn,
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luxuryuIdr1~ssIlll:Hk(-JoannHl1rhIw.|Ild
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|)l'l|ll‘l. . ..l l‘|ll|I\)) wnll l'ZlI\ -l(‘l‘\ll'JH.‘])' slurred z|(‘ll\'(\r_\', hm‘ \'.|n\(\II-llkb Llrc ll\(’\'l(Il])|l‘ Illlr
nl lllv huIl'..\n r.u'l~. D15-
l.l|l HlJI‘|l|H"|‘.\. M155 wlnll-l-5, hu\\'l‘\'('r,
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uuulw Hlu |)\l|J|ll"5 l\' |.l>ll- .. . lmd nuw turn: In |'.I(1|klf(‘|ilIilrIl Iur runllurl. .ml| llll~Il -llltl [l"i|!T\ll*|l ll dl|l'.\. Ilul lll .l In-
Hm ];l\('>| Ill-.lllu-hlld lrllnl ma Dlslwy §l'l‘n\5 In hurn .l llrc Ihzll Ia “H‘|((‘l‘ll}|1 rIl(‘. |n\|I(‘rsuH.|l, Ill-l.l\'ll1-(I m.u\|l('r
Ill Ihl- |]l'l||'L'>S, llwllnll-s .l r;I|mid.Ilc Iur uul. porn-ml 4‘h.ll"l\l‘lI‘l'l7.\‘_\ lllv hvlp-
Slulnr 1| durk Win: |l|)'5 (‘lugs l‘UILl|lHl\L! lhl‘ Iunn) farm. III:Il lrds llw hllll ,l Tl‘I‘|\||H‘|\(‘SS "LII,
\Zllldl‘|l _\'IIlk§. Tlll‘ _\‘\|l'k5. h(VWl‘\'l‘I‘. .lr(‘ |('3$< I‘(||\‘UhIlY“ III -I nlllld lzunv In rlll. In
Dlrrrlur Curlis "llI‘l‘lI\l!\\l, ;| s\_\'|- lur llll Its uniqul‘ (]Il.llllll‘§. rcller it
sum(‘\A‘h;l\ Ivss LZUld('l\. lIullht-4‘.|>l1ll\- puul‘ -Y:-ssIl‘.\ WI" soc‘ iIlIllIK‘|‘I1l Phlldhlld us JlI1|l5l‘])|Il‘ its ll dII<'un\\‘n|;|r)' Inr Pugh
isl llll nlhter Ilrmliiuns (NIGHT TIDE. Iollrs III .\h.ldU\\'§ lmd lll1§(‘(‘I1 nun‘:-s
I'll-ldim! Drum Jurllm and A‘ ruuplv III GAMES), -|Ht‘n||l\§ In l:I\‘c Hll-[llm NIP 5r|m<Il&l.
Eru.l:|\A'.I\' |lI>|)'(\r:. s>I"d‘- Du|ll';\n lmd (‘unlr UIfl'ilZ|l|l‘|ll|'l|1 llh. Ulllllrlunllluly, DIIlI'| |I(‘|
T--n_l- Rl||Il‘I'l.~l) I: l‘I\(‘|‘¢!C'lIl' l\fl\|l(‘[1JlI‘P
IN-I III .| M-1-ll) SUNSET BOULEVARD, l|u-llllll dll('.\ lllll \'l|l(‘Il\ llvll wllhsurh
I‘|l(' \\'!"lYl\\1, l|'> b‘ arm!
lllll Nix §l~l|'§, lmvkilhj lll1l\‘UnlIlll'l£l|)l(‘ In !ilI|\|l]l‘, )'l'l ;l“l‘\‘\lI\|!. |ll|l"l‘UI‘, lllll w.ll-
Illln. llul l('s |:r1-ul In J |lZ\l‘I1I]l"§5, Finn'-
ll\'l*lj.' l|\ lls rluslm! clusu 5l‘(]\.l(‘Yll'l‘l lhr nlldsl lllnlll-nlly lI1|!('l'\llm.\’ n-.ly. nlll ln lnl~ In-
lIll.~_~ Dlllll-nll. .l |)t‘rk\' l'llII1A'dlL'I’\l‘ Whll
u( hurrnr. I1-sn-|I\lllu hugs l4Iv\'.\ lll l|l(- lZl‘lI9v$YIl"S§ III
lrilppvd ln l.lll~lll-- "(Wild .lnlI UI\|n\'ul\'lIl\! su|n¢‘lh|nL:-I:< l('I\>(‘ |‘nI|1\|lY"-ll l|l\'Ill\'('Yl\l'Ill lllln lurlls
I5 .I l’X'l¥.\.\ |ll'\\\'l‘l'Il .Iu.l|\ Dl\\‘Is .|nd DJF t‘J<plH"il nnd |!>lI‘|.l] J5 ;l l-nnlplrn.
In lhl‘ IInlmIkcr. TIN‘ suipcnsl‘ is mI|\|- .l \\'0|| -I‘|IUllll|. WP“ - nlllan lllnl lnlll an
I) Durk. ls l1l‘||ll; $I|'lKIl1\(‘(| fur lllllpl-l" mill. llllll nll shnvk I" lhc lm qullv Fr|.'(lvr|<'k S. Cl.11'kl' llldnlllllo, prnllllll-nll\' (I1-\‘ll§l.|IirI\: (‘X-
.md lllrr things. .|lld Wr wish hr!‘ \\'(-ll. |)l'l"ll‘Ill'l"- Fur .lH Ila gllud lIll(‘Il|llll'I§>
|!1Zlll"I[‘.\' NW rvpurl lIl.|I Miss Ruylllllds
Ruhorl L. -ll-runlu \'nnlnlIs§IuIl(~d tins uIl.|\(r.|L'lI\'(‘ |l:l‘lr;||l ;||ld s|llK'n(Iid l"l'll]|Z>HIHIl, ll dues nu! dI-
THE HLOODSCCKERS A (.'Ilr\'run Il.|l— §kH\‘(‘|' llw |§l'l‘l \\'l|l'ld wllh U\l- glui-
III l\:'r.\\'lI I1)‘ [ll\;ml‘lm: llll‘ |'|l'U]\'l‘| Ill or pI|rVIu‘|"l RI-ll-.l.~0. In (‘ulnr h\‘ MII\'-
[hr llmv III $800,000. lurlllus ('I\l|lU-'v|lL\lH ll lll'4'dl‘(1 sn dl-5|1L-r-
CHE.-\Tl‘RES THE WORLD FORGOT A l\~l.l|I. A Prim-r l\l\*wlI|‘l~Ik-HIIIII-rl ".|l‘\~ .l\l'|).
Cnlunlllnl Rell'.|s(-. T Tl. In T(‘ch!l|rul— Hlllwrl L. -h-rnulu |lIX’(|-|).l\'|.\ Prllduvllun. nlFl'|'\III‘>
RIl|l- D-llo \\'|nu;:ur;l
I-r. 95 nllnulrs. A "-lI‘|I1‘|ll‘I‘ Fllnl Pm-
durlllm. Dlru-Ird by |')In Chnllry, Wllh:
pl‘H'l' Cuslllllu (INK! -mil P.Ilrll'k R|.l('lll‘L' (rich!) In
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Jll BLOOD SUFKERS.
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DINOSAURS RULED THE EARTII. Lind
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[U55 Wllhlll my llllrrl-nnlllll-n'.< l-ln.l- i I
Hull! In hi5 Ins! pr@nl.<llllll- npll~ om:
MILLION YEARS B.C. .Ilnl mnlnl-Ill .~
Work was llll- HM)‘ I‘t‘dP(‘llI'\)l ‘(‘l|I\ll‘\' ln ;l» Is." I < . 8
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FRANKENSTEIN \'S. UR1\('l'L.-\ |.~ 11111 W111-111111 111\'111\|n~ II11 1h_~1-~1\v1'\ 111 11 l1|1,|l1- ll1.11 l111(l> 1111- (11*.1\\1 1111|1111.11l1.1|1,
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.~.11111- 111l1- 1-111-1-1-11111 111 1~1~l1-.1.~1- 11y 1--<|1l1-1---1-.~1»11.1 1-1111-,1111< 1_~1.1111|1111111- .11-.1111-11.11-111-, 11>
1111- -.1-1111 1111111, 1.1k11.~,
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.1 (11-1-111.111-11.1111-11 1-11111-1111111-111.11 .~1.11-~ .1111| l111|11-1-1 S11-1-111.~11111111-1-11 1111- 1972 |11~1-.111 .1111111' 111 1111 1-1-1-1111-1111-1->. $1111».
11111’ M11'11.|vl R1-11111r 11>’ .1 111.111.~<‘11-11- 1'1-l1-.1.~1-. . . H111 1|l111 11.1_~ II1-<11 l1111ll\ 1-1.11.
11111>11r- 111
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I1-.|\\11‘1'§ K.11'111 D11‘ 1111!! ('1‘.111;Il1ll.1n(| Il1.~|11111\x'.\ F1l|11_~. I11-1111 Kl1111\»W.~k_\ 1-.1] I111-.\.~.11',1-.
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..J|u~s|n||1h*|1rn-M-nr\-. Gnmu-nl. D.m-

Iurlh d|‘ll|)l‘I'.l\l‘|Y |1l>|4'\'(||\l>>||1ml-Us m
Yuur lh--uuhls un mcwr or THE
LIVING nun
in _\'uur vdnurlul \A'(‘|‘l‘
,
new |‘N'l">pul‘\i\'(‘§, and a.-ha-\-.-a ,-..|m- WA-ll»l;Akrn and \n-ll-wrlllvn. Slnularly. '~
\;ll'\‘P|\|\l.~‘ IIl.|l4'hIIlK Wllh IIIS ]l\‘l' .|l'\in I \'l1]u)'l'd HI!‘ >l*YI§ill\’l' l!‘Pllll'I\(‘I‘|l 0| A
{uul.n:v. EH-n mm \h.nl, Ins nmllslurs PORTRAIT om!-:.~n~m»:.
sun|(‘h|vv\' 1.».|< nu» ;ll1|||1;|\('d))uppMsIn A hiuhlmhl ‘Ur ml‘ was the lI‘|ll*I\'\l‘\A'
ml-‘ and ll:|rr)'l\;|\|>un's lwusta .|lw.|ys wun Rmllmn Mamnulinn. Bu! me way n '
lunk h'l'ul'|nu§l)' r-ax. Truv, nam--|-nu mils lrurxcdlhlween mn\'|(* ma.-\-§, .|nd
1».-1,; am-1 a~...< rule
.ml‘| .<up¢-m|;- .\|n- M-|mIvul|;|n's nunw was Sn uhs:-urcd m \
nnnud. um wn.- mm rlillm Hm! ll.|rry- nw um amwarm-1.-_ In-M1-ed n unly \
l\:|\l>\~n'> vnrlunsu .m|m:|Hun .-1 mcHT\'
.105 vorun (p1-rfurlmwl when n-» was
|m~.am- IV! the pr.-.m.<r
Gary Dur5l'§ mmm-u- Albert D‘Ag:> Q,
'., I
Dam--I-ms am a-a.- any 1‘-5,» run\'im‘- rrslmu was lnlpurl-mhmddn-st-r\'|.‘d muru -\
mg?
m--p in miml \I\.u n was Ru) lI.|rrj»'-
Imus:-n, -1--I Wtlhs 0'Brwn, \\'l\u am»
man mm paw-_ just 1.» prinl l.\rL:l'r and
|1lnr\'|1huhvs ..r lhc 5(‘l5. I do nu! undcr-
man wnaa rm-. mm mean! by m@"na- u
t \ I '
‘UL ‘
_.'
mam: lhe slunn|m; nlulllrluh sru|\|‘.~. fur nun qualny" nl the sets.
MIGHTY ms \-ouxc. Or, I1-r um l.n:r1‘1~w|\h Mark Stevens‘ Irl\'ur;:|1l|~
nnnlur. ma: Danl~»rlh'.< Pnnxplux rx rl-\'n~'A‘ --r ANDPOMEDA snuuu, nun
-

51'!-ups Inr DINOSAURS, mm (hu|r why mv 5ll|1€l'l‘il|lvU5 rm-h~r1\n<‘1-> 1.,

smrlhm: |u.|(|m: --I l|\'0 .u~liun .\nd vl- "lllfdlnuvru nll-ISM‘ lh.|( mukL-> .| rm wllh '
Iuvls, aw» supvrlur HI‘ 1-\'<'n .|s L--ma as lhv pulrhr“ m ma rulumn Tho Sruru‘!
H-lrr_\'h.|us|-nԤ ualuundlmj nanulmg -,1 Isn't mm whm mas.-= nwdlu, ||_\' dvhm
n--~ vhurvlu ¢~lm|.u< m \',u.1.sv or Hun,1s:|lluImut'!
c\\',\.\1cx'.'
rm.m_»-. I u->1u<¢= m-.< ru|\d0.=l*:-ndlm: LANE no-rn . ,
anuludc luuxnrd nw m-un>lrurhun 0| Dyn-
unmliun Ilhns. Can _\'uU truly say ma:
544 s an sc‘ New \'urk. NY xonza \/\/|nt(1|' I
Dani:-r\n‘.~' )')(Erx>dZl('l)‘| W-I5 CIR)‘ lll‘|l(‘r
"n\I|\|\'.ll1-d." ur less oxpecxed uv ap-
Pm, ,,,, "W ,.,_,u.,,_ "W, |;“,ymu5,,,,~5 SIFIEII ABS 0 OUSSIIIII ADS ° CLISSIFID Al
pl:-ru||ndvv|\ ‘Ill’ one MILLION YEARS
B.(‘. 1' Or Hm! the surprise :Appl'Jr.A||rl‘ Classlvd ads art‘ per vulurnn HM.
51
llllhl‘ (."h.1>n|n.~4.|\|r was any murv 5l;lrl- p;|)'Ill1|(' m udulnrce. A (‘ulunm linv is
Hm: lh.|n nw um (‘)'l‘—)')\1|7pl7l\l pumps» 107 puml ur .|prux|m:|l1-ly :5 u-p¢-wm-

"*
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-J S[‘NBAD‘S C\'1‘lups'.' Or ma: Dun- (L-1| rharuru-r.-=.

Iurllfs §l.ll!|l’l$Z K»! lhc ramm-n r;\plur-
mp ma In-.lchud |>lv.-maaar Iurliu-rn-d
(hr |1lvl murl‘ rl\~\‘rrl_\' than nw r'.|=l;|- SUBSCRIBE WCINEFANTASTIQUE and
ways |-I MYSTERIOUS ISLAND 1-.m"!\inp )'uu‘l| L1-1 yuur Issue: wvvks lwlnrvlhcy
.| rruh” lJ|dn'\ lhuy mu gel dlnrwr? mu my sunds, and yuu‘ll ulsn rm‘;-1\*e
lknuw. Frwnds haw .lr\:un~d wnlh mo 5|1e'l'i;|l ha1|¢-nn.- am llsls srnt lo all
ma: .| lllm hkv JASON ,\Nn THE AR- .~ul\s\‘r£b(-rs nn uur mllilinp hsl. Suh-
GONAUTS as just nu-|nmm;. Mnn.~'u~r, .-mpn-.n lsaurs are mam-d luyuu Hut
Mnnslvr, Mlmslvr, at-mm-, End. In. m In-.|\'_\' m;\n|l.| 1.-v|\‘(‘l\|pes In ktwp "\l‘I‘|\
a .~1apm ~lI‘L1\l\'1‘|Il‘|.-Nlll lnun-l\' mr the u|||u.|rkL-ti and in uxrvllvnl rundlllnll.
Ln-1 that DINOSAURS 1a r(-.|lly smrrvly S\|lIsrr1|1IluI\5: nnl- _\-our (4 lssusl S4.
.uu- dlurunl. l('s .~:lu|'n¢l In rn|\d\-mu .1 ma. _vv;|r> (B Issues! $7. three years,
mm, 1-an n "Ind ¢~-m-ma" mm ulnmaw (12 i3'§\ll1!<) slu. While S\llJ$l'r£l!lI\}!, ur-
Insull. .~ap|a-.=v!).
1 n\nrl‘l_\‘ I-w~aa.-w dur all nw lurk 1ssu(~s_\-uu‘\'v missed‘
lhmr >rr|]|l5 arr smular. Fmnkly
lhv) .|x'n- ma. The dulm: ,5 nut mu
Sdnw. r.‘ |h.|\ as an n\.|\'. |Wil|1AI‘|.'Ul‘
um .\ lllm dnvs h..\-.- \'.|lu1-, M1-|\ ar
HT slurk U|1 un o\lr.| rnplvs (us an m~
\'|-sllnvlll \ .1 _\'|>ur= urv mum; apan.
All h.n-klssuvs am lnperlerl mmlrun-
Q
~ un]Fn£ r
I
“I
Q

("mils unl_\’ m m. 1.-< mm-an nrluvs

n|Il‘I‘>'. n an‘-5 lmv.|\|=:' mo vnrmus
11

n
aim." and the supply ls runmm: uul.
Muku ynur rh|:1~ks III‘ munl‘)' urders
|»._\-.mu- 1“ Frvdcrwk s. Clarke and
7
lvrhnu-ul Ir.||1plm:s Hr a hlnl arr £ns(\[I- send |.- Cam-lalnlilallqun‘ 1410 Dn'vr.~'r)'.
er.nl1l|~‘
am-ay_~
.-mu .m_\' lY"(‘ L-.-m
rnnlph-n|l‘1Il.~’ (hr lllm J5 a
rnnlnhulllvn sum-ma Park, |u. 606:5
whuh-. And m-au_\-, Wu huvv u, nmm ul '
.- mm m lhv mm 1: W-ls nnu-nllvd. A mam: mowuvs Irnm .unm.|(iu|\ mu-
hlm hkr‘ m\’sTr>tm0L's ISLAND
nu rl.|In| u- |'nr|||uI‘nl un gr:-.u
III-ARPS vars .|r\- ..\-...1a1m- [rum mm,
5. Gra-
hum-All sur .|l r('.l§nn;|hl|- prlres. Svn a s. s.
1»-M-a, ..|- 1-. m;|k1- burmmt l|\rn.|(l5 m ....-. r-.r ran d4'lLl|l§ 1.. -na Dempslr,
r|nl‘n1:|lu' .|rl. n pruInl.~'\'>’ un|1-r\.||n- c-4, an Pru.~pu-I. ILL 50056
nwnl .md |*.Alh.|rsl5. .|nd n d1-L\_'§-rs,
C.m‘l .| film h.|\'<- \'.|lun- Ill!‘ its lmim;
prn|A'$5lu1IL\l. |1e;|uhIull_\' \.\d(', and en- POSTERS. prL'.~>|n><-ks and Mills [rum
lE;liI\iI1|1‘.’ “Tlll l'\'L'l' Salld lhill all‘! HJ: .lInl~lllHI'\ [H1115 -Aft‘ IIPIYILI §||\||1|\I, §\1|
1|. h.|\'n~ .|n ('xru.~n- (4-nlwr ll.|rrvh.|usn-n‘s and lmrk-d I1)" Mark w--u. Send a s.s..n.
L-Hurls, llrrrm-Al\n'§ mu5ll'. L‘m|prr'.~’
|1huln\;r;|p||\', ...- what rm-\--.u)~' lwnuld
0. M mu d1-lauls lu Anlmahun Pm-
dur!i|vn.~, Elkadur, m 5204;:
man lhul I-Lurk wan wnuld ,m»\~m[- ma
n\A'|\ II|‘llI\|n§ nu lhv .~;uh]4-<1. '
1:,»---1--n wnhu. l':1l|k0hvnn-nlhm MDONBHOTH has mnnslvrs, wore-
nm n w.|> Wally \\'e§lnml'E Whlv am a-.m~¢->~, wllrhcrull. nrcull Hrllnn, rm,
Man-h‘s ln;|.kuup m nn..m<v|.|. AND lllus, Sample Pup)‘, 25¢‘ lu: Depl.
MR. mus. Wally waa wllh Fznramuunl. P. 0. Bux c. Bvllevuc-. wasn saoos
.1.
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47
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