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QINEFATASTIQUE

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lhl‘ ]3l'I1(I\1t"tiul\ nI SPACE I999 by
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mmsy THE LAST DAYS OF MAN
Vulumc l Number 3 Volume 2 Number 3 Volume 3 Number 3

ON EARTH incur)><|r;iting inter»


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CINEFANTASTIOUE star Jun I-‘inch. mid Mirliziel Muui--
cuck. thv SL‘lt'I\(‘\' Iirtinn imwlist
upun \\'I\uSL' work tIu- Illm I5 I>.l:i(-(I.
zmd I\'I:u‘k \\'ulf's detuilud \'X1lI1llIlll-
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niquus A‘X"‘ tt't'hI\iL‘i;\ns iu\*nl\'1-(I III
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And lhusr are just thr "sp\-t'i.\I"
IeL\turv1~:. ..

Vululuc I Nnmln-r 4 VllI\lIIl\' 2 Number 4 Vulumv I! Number 4


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fillllllllililili =5
PUBLISHER & EDITOR -:1‘ by Save Rubin I
Frederick S. Clarke ll genre as told
7- in its scope 1

1-step, includ-

Gary

WIS

by Suart M.Kaminsky 20
CONTRIBUTORS
with a good
ses the film

by John MccEzT3‘q
Gary

ABC-TV
by Joel Thl_!1E§_l_l___22

Inc Eon

CINE FANTASTIQU E is talks


in
THE GOLDEN GUN
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Chris Knight
interviews conducted by Chris Knight 30
in the latest James Bond outing.
fortune in a career where prestige
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On substantial projects, a discussion in by Tonda Marion 44
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SENSE OF WONDER . 71;» editorial remarks by Frederick S. Clarke 38

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FORBIDDEN PLANET ‘F(:?‘B:DIg-ZN ;3LA‘NE':‘, Me‘t‘l'tKGoldv;yn-lvgayilz ;O:\BlI(J;DlE5!N PLaNET RA
bySi;eRubin
crs s a em a sc ence c on re ease ero- wyn- ayer e-
o
HISTORY OF THE i956, is an updated version of William Shake- lease. i956. in Eastman
FIRST FILM To speare's last play, "The Tempest." lt is re- Color antlCinemaS1‘opc.
CAPTURE THE markable, even today, for its lavish production 95 minutes. Produced by
values which reflected the deep-seated feeling of Nicholas Nayfack. Direct-
ESSENCE OF THE the studio's executives that MGM would not follow edby Fred McLeod Wilcox.
|EN E H | her competitors and produce a low-budget outer Screenplay by Cyril Hume.
éCENR(E: AS(;|,To?l;q space picture. The studio had earned the reputa- Based on a story by Irving
tion of being the best in Hollywood and often Block and Allen Adler. Art
BY THE PEOPLE boastd of havéng gmoxgg starls (:13-Kl inlheaven," GHQEZIOLS, iedric Gibbgis
an t s alt tu e 0 go "on y st c ass" re- an rt ur onergan.
t
WHO CREATED IT‘ suited in an expenditure of $1,900,000 to create decorators. Edwin B. Wil-
the world oi FORBIDDEN PLANET as realistit‘- lls and Hugh Hunt. Direct-
ISRARELYMAYCHED. :2‘: é‘2.;‘°“;§‘1.‘.Z§.“.;i§“l§.“1.§§;““.i§:“:Z:‘.€:;I ‘;i..‘;‘.;’““é‘2.if,?".".,’.'.§‘.i§;E‘°
EVEN TODAY, IN ably the first time in Hollywood um a science Charles K. Hagedon. ma}
| fiction film received the budget it deserved and styles by Sydney Guilaroff.
SCOPE‘ BEAUTY V

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TS significantly, it was MGM who twelve years lat- Makeup by William Tuttle. ‘
"
AND BOUNDLESS
|MAG|NAT|QN_
er would give 59,000,000 more to Stanley Kubrick
to create the ultimate in science fiction films, his
2001: A SPACE ODYSSEY.
But today, little more than the name remains
Assistant director, George
Rhein. Special effects. A.
Arnold Gillespie, Warren
Newcomhe, Irving G.Reis,
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of the old MGM capable of producing a FORBfD- and Joshua Meador through , -
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DEN PLANET. The company is now more inter- the courtesy of Walt Dis- . _

ested in running its Grand Hotel in Las Vegas, a ney Productions. Elec- '

pet project of the innkeeper who gained control oi tronic tonalities by Louis _
the company, than it is in producing a handful of and Bebe Barron. Edited
films each year, films made on rented facilities by Ferris Webster. Re-
and released by United Artists, MGM's distribu- cording supervisor, Dr.
tlon partner who controls their film library ior
theatrical release, including FORBDDEN PLAN-
Wesley C. Miller. Anne
Francis‘ costumes by Hel-
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ET. A source at MGM. when contacted about the en Ruse. Men's costumes , . ,
film, politely informed us that "the stufi on the by Walter Plunkett. K '. ,
old illms has all been sent back east." Perhaps
realizing this sounded like a put-oil. he added Dr. Morbius . . . . , . . . , . . ..
with a note oi sincerity: "lt‘s in a warehouse . . . . . . . . . . Walter Pidgeon
somewhere, in New Jersey, l think, but l‘m not
sure." He didn't really care. The lllm has been A““"“ ""“" F“““‘5
released to television, its potential as a theatri- Commander Adams . . . . . ,

cal attraction written-oil long ago. in 1972, MGM . . . . . . . . . . Leslie Nielsen


supposedly re-released the film to theatres as L, D 0,
part of = G-rated Chlldren‘s Matinee Package. ' °° ‘;,:r"e‘n' §‘_;‘;‘;,;,_;
hut the company's by then withering distribution ' ' ' ' ' ' ' "
arm failed to book many playdates? And so FOR- Lt. Farman . . . Jack Kclly
BIDDEN PLANET unspoois on late-night TV, chm! Qnnn
where it is chopped up to accomodate automobile Richard Anderson

‘A faint possibility exists to view FORBIDDEN Cook . . . . .. Earl Holliman


PLANET theatrically as it was intended in the a- Bnsun George walla“
vowed interest of United Artists to resume maii-

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nee bookings oi the film this summer.
Right: The miniature and
composite matte photogra-
Seve Rubin is a freelance writer and film 0;, H“?N>
researcher based in Los Angeles. He is cn;‘5;_pb_g',";:u_C:':: for
Combat Films Q World g
currently preparing a book entitled
fl. l-iis Retro-
spect oi THEM! appeared in our previous
@ I d,
3 an. ng Di‘
All 4 2 d_
a r .‘ .n '
:£'§t'::eg":]Er‘;“;l‘:L':g
x

ssue complex which descend.


honey-comb like, a dizzy-
Artist Jim Thomas lives in San Jose, Cal- ing ‘I900 levels into the
ifornia. and is a frequent exhibitor at the surface of Altair 4. 3|-ti
art shows of various science fiction con- and 4th: The Krel furnace.
ventions, such as the annual Westercon. a vast energy complex
where he has won several prizes. Thomas which draws power from
is also a photographer and movie fan. the very planet itself.

5
IJ1-hmd U19 5L‘9l\t‘5 HI FORBIDDEN PLANET. Tupi
Amw Framvls. L\'SII(‘ Nu-lsnn, Jurk KPH)" Mur-
uun Junes and Warren SL-\'t~ns r(-lax h(\lw['(\n
(;|k(-S. Mlddlu: Tlw Iull-size muvk-u|: III llIll('d
Flunvts CFUISPI‘ (‘—57l') its ll slls nu lhv surfurv
-J Alnur IV. Nulo lhv su]1pul‘llm: calm-_~a ;n\dllw
n1‘.ll'hlm-1')’ whirh up;-r;|l(~s lI\(' 5.|ul'l-l"s du\A n
rnnws. Bnllumi Rubby unmasked? Frunkm C:u"~
punter has rmm-wd lhv [up hull III lhr rnhu\Ԥ Hp
and mkvs ;| Ixruzllhn-1‘ |)l‘I\\'('|'I\ §(‘l‘l\L'S. Oppusnv
pagv: Pl’(‘~|‘|rn{‘l\.\£‘l|u1\ skru-hus nmrlv by ;|rl du-
n-rlnr Arthur LunL'r;::u\ nl l|\(- mlm-mr and s~xu-r-
lur nI tho Murbius "HnLl.<(' nI Tnn\nrrn\\'. "

mn\n\e|'v|uls. and whorv lhv dnvwnsmns “I ns


C\|1l'rn'.\Si'up1.- |>irlurP and $1,900,000 in |=r-mm-\|-»n
\':|lu£* 15 all hut lust.
Tr;\('kin|1 dnwn l)n~ slur)‘ In-hind lhv jlruduclum
nI FORBIDDEN PLANET |!rnv(-d hr ho Ll Inrl\\id-
;\|)\(> lnsk, Iur rvzlslms ulm-r llum Hm {IS I:\&‘lu dis-
Snlullun III MGM us :| Iihn |)rudu1'lm|\ rnn\|‘|;u\_\'.
Nlrhulals N;\\‘I;\(‘k. lhr ])X'I|(I\.\l‘('l' uI FORBIDDEN
PLANET, (l\(-d ||\ I958‘ Frvd l\In'L£-nil \\'1l\'Ivx. lhc
mm'.= (Inn-vlnr. |1;|>;_~;-1| ;\\\';|y m 1964. 01 uw naug-
n1Ii&'1*|\l 5114-(‘ml 1'II(~\'!s l'l'l'\\‘ (hut ('unslsl(\d uI A.
.-\l‘I\uld Gill!-spin-. lrvuu: RIOS. \\';|rr(‘n Nl'\A'('nn\|)P
mm .m.=uu;| Mviltlul‘. my G1ll0s|m- nuw sur\'|\‘L=.=,
Tho uullmr uI tho hlm's svn-1-n11l:|y. Cyril Hume.
la ulsu dnad, us is Alll-I! Adler whu nri§:in:1Il)'
\‘nl\L'l'l\'t'[I llw Iilm Lind l‘l|‘1\\1I|!l1l'l‘(I its original
sum‘. FurluI\;ll(‘l)'. all mlw

_-
m-1 IPZIIIS pruvr-1| a
‘Mm (-ml. 1 Iuund Irving Dlurk‘ whu nriginnlly
(It-\'£-lup(~d and suld lhu pru]1-rl II) MGM with Al-
l(~|\ ,-\dl(\l'. Bluvk is nn\\' :\ |1ruI£'S5ur uI Art ul
(';|l|Inrni:| Siulv Cnl|t';1(- .|l l\'nr||1ri(Ig\', I Inuml
GlIIl‘.“i]l\(-, ll\(- |'l'|l\;\i|\il\),1 livlml n\n*|nh|:'r III (I10
I1ln\'s S|!\'l‘lilI \-III-("ls I1-mu, ill‘! (Iir\~(‘lI|r :\l‘l]\U!‘
Luncrgzm and k‘ln('|I\:1l~n1r;\|1!wr U\'n|‘|:r- Fulsvy.
-....~._ all nn\\‘ rt-hr(‘d. Lnuis B:n‘l‘nn_ whu rrmnlrd lhv
mn||\':|I\\'\~ t'I(‘\‘ll'Ill\Il‘ mus\l‘.|l .~;l'nru Iur FORBID-
DEN PLANET with his v\'1I1~ Iivbl-. nuw npt=r:\lP5
3 his uwn muslr sludiu lI1“'\'§IIInI‘)'\1\‘n|2(I. Arlnri
-Y J Warrcn Sm-\'\-ns .uuI \\';|ll\'|' Pldgnmx l"\\':\s l in
(h:.|l‘."') I|;:l‘|~|-(I In h;\\'v lhrn‘ IIHIKIS ]<||1|1l-tl. S\P—
_¢. _. I1; .;‘>'-6'; wens, ynu‘ll rrmvnlht-r. lmzl Ins mind "|)un§l(‘d"
m lhv Iillm Ollu-I‘ |X-rInr|\\\~|'.~;, surh :15 Aunt‘
Frimfis. .\l‘(- \\r(~(I HI l;|Ikn\); uhnul \|N- Illm and
lI('L'I|('(I In ho l|\l\‘l‘\'Il'\\'l‘K|. zlml snmu, surh us
(hr l;|h'nl¢-cl Earl Hull|m:\|\. arc ulnnndy ;m\p1y On
r(‘uul'd l‘nl\l‘l'l‘l\Il\|1 \|N‘ll' |1;|l'l|\'1p.\lmn m thv Iilm.
Hullimzm. whn |)];\y(-(I lhv nmk nu l1u:\|‘d (hr slur-
ship ha: <';lH9d FORBIDDEN PLANET, with sum?
]u:ill|il‘;|ll||n_ "llw wvvrsl Illm I 1-\'€-r n\:\do." Fi-
‘y _~\ L .
y’ 1;;
F nully, 1-,11..\\-1|»; \.l|)l‘l1l'\\Ifl'S\Illl\ 1<-my (hr Rulml

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nu] .1 w IR‘. Z\ v-un';_ hln \ ((‘l'I\H|l‘lI||\ VVIUI has
(Lulu! m u~um->\|u\lum Rubin’ Ilnl“ |,r1|:m.\l
Frnm ll\\‘5l' and mm-r
~’nur¢‘(< n h.\~2 bun ]><v§L-.1111: In |)I('l‘9 lrqlvlhcr .1
mu-1v l‘nn\|)lrn~ gmxl ;u'1'ur:|l(- 51-my III U10 ]1x‘udur-
li|mu[FORIl1DDl-IY\' PLANET.
5“ -

h~\~m\; Blurk \v;\.~; nu s\r;mg('r In srionrr In'lim\


wllvn hr \\‘1lIk[‘(I ||\\u Um uIIi1'v nl Nirhul;|s Nay-
lurk an .\1(;.\1 m [hr S|)r|n§1|1I 1954. l';|l‘l‘}'|I\g nw
L‘|m\|)l(‘lt'lI SIIJFY ])|‘n|)u>iLlI r--r .| mm nulln-1| FA-
TAL PLANET. whlrh h(' h.|d urilu-n Willi Ins
Irwml Allon Adler. A p;|iuu~|' by pruIOSSmn,
Blurk |1;|.lrri\'[\(l Ill HrIll‘v‘\\‘|md H1 19-I5, I|Il(*l‘
SPr\'ing m lht‘ War I)v.'|);|l'lmA'nl G('lI(Il‘IIl' S1-r\'u‘r
115 1\ map n\.|kPr during WWII. With his t'Xl(>l\5l\'(-
|a;n'k;:rnu|\d In nrl, 111- m~|;.m wnrkiny: Ill .<|X\k'1:\l
£-IIOrls \ull\ Fn-d S1-rsvn ;n zom Ce|\lury-Fnx,
and was nlw ui [hr hrs! IlI(I\\'IKI\J1lIS II1IIIIII\’\\‘I|n(‘I
In reuhzo ll\(* |n\|r|rl;|m‘n- ux ;| m'\\‘ klml HI .\(‘l‘1*\'l\
\'!lll'l"l:|IIII\!9I1l, :;l‘lPl1l'|* Iltlllm. "r\Ill'l‘ U11‘ WAIT.“
says lm-k, “yuu \'uuldn‘l ('S(‘i\|X' l-| the snulhsvns
uilh Elm: Crush)’ Lind Durulhy Lilmnur. Thzll was
\\'hl'l‘(' lln-y w<-n- dmng um ;\mmn~ u-5:5. And yuu,
L'uuld|\'l mm-l In llw samds HI Alum Iur um ‘ms
and sand’ :|d\'r~nturr- pruliiorutod hv Tnny Curlis
and L'nivers;|l sludms. That whole mmunonl was
In lurmml. Thus Hullywnud lurncd In uulor
spare. "
In I949 Illuvk l[\Il Fux lo Iurm 5\*|)l.\ I’rudur>
Imus, :1 spt-(‘ml curls sludin_ wnh parlnor Jack
mm“. As lhc-\r rst ]1ru|(~(‘\, lhoy |1\~g;u\ 1|. do-
vvlup :1 Illm ulmul m:u\‘5 Conquest uI (I10 muun,
but hefure they gut beyond tho plunmng slzqgc,
lhey learned mm indopcndcnl |)l"I)(Iul‘l'!‘ Gvnrge
P:\l'5 )ll"QdL\L'llD1l HI DESTINATION MOON was ul-
ready underway in Ilnllywnnd. ‘rm-y IHIEIESIDG
Robert Lipp€rl, 4| um» nxhibilur turned lm ms-
tributur, in their ideas and Lippert contracted nished story, entitled FATAL PLANET, to Allied [yr Ia‘ Mull“, HI
them to do the special effects for ROCKETSHIP Artists, a move which seemed quite logical to 0
XM (l-Txpeditton Moon], a filni then being made them since that studio was encouraging a great
for his Lippert Pictures by producer Kurt Neu-
rnann. "It was a low-budget film." recalls Block
many science fiction pro|ects at that time. tn-
cluding WORLD WITHOUT END, INVASION OF
/
sourly, "but it had some interesting ideas and it "rut: soov snnrcncns and TARGET EARTH.
>

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also managed to tap into the market already es- Their agent disagreed with them. He encouraged
tablished for Pal‘s film." them to "think big" and submit the story to MGM i /. ‘wt ~ "4":-'1‘;-

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With DESTINATION MOON the science fiction first The two agreed that it was worth a try and ' -

film had officially "arrived" in Hollywood, and that, after all, there was always Allied Artists to sag‘-. mf “»_
"1'
i

between I950 and I955 Block and Rabin worked


doing the special effects on a succession of ill-
"
cont' eived , Ion budget films that‘ exploited . rath ‘
turn to if they were turned down at MGM. Thus,
FATAL PLANET was spared the fate of being yet
another low-budget science fiction film
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er than det' eloied


l the new i: enre . Durin't. a lull in On a crisp . spring morning in I954 . Block and _ ‘ 2‘ -- ' -.
the partnership (the t\\0 would later collaborate
. Adler walked ilttd the plush office Gt producer '* .
' —‘
I / .

on another series of low budget science fiction Nicholas Nayfack at MGM in Culver City. Cali
F’
films including ATOMIC SCBMARINE, WAR OF fornia. When Block offered him the story to read,

I
- ~- - --
THE SATELLITES and KRONOS). Block began an Nayfack refused. V

association with Allen Adler that was to lead tn "You tell me what the story is about." he said
the production of FORBIDDEN PLANET. professionally. M A40’!
Allen Adler (nf the Adler acting family, Luther so, using his keen imagination, Block began _f'!7:__
Adler was Allen's uncle) came to Block early in to act out the story of FATAL PLANET. in a /
I954. Experienced in selling a few stories to quiet raspy voice. he began to move around the /-4. Z3-26./I7/-Ff (I
television. he suggested that they pool their ta- roo|'n and whisper. 47/If/II
lents and write a good science fiction tale. Al- "You know, Mr. Nayfack, we have an invisible

,,,,,,‘‘//f""'/T
‘P"'7
though printarily a special effects technician (the monster..." Before he could complete the sen-
eye monster of ATOMIC SLBMARINE is hetuony tence, Nayfack interrupted. ,,_ 4.,
Block's arin). Block had done quite a bit of writ- "flow can you see an invisible monster?" he 4-pg,‘/9;
ing and was fond of mythology and the classics. asked?
lle agreed to collaborate and suggested they use "You can't. That's the point. lt’s very scary.
Shakespeare's "The Tempest" as a premise on When you see something it's not half as frighten-
which to build the science fiction story. “The ing as your imagination," said Block, hoping the 01/la‘ rnnw
Tempest" is Block's favorite play, and at the executive would agree. wyvnu/at 71014::
time he saw in it the opportunity tn add afresh
attgle tn the repetitive and stagnating st-it-ht-o fic-
"But how will you know it's there?“ persisted
Nayfack?
/W: "'0'"?
WW /r"-'~'# I
,-\\ t
tion film genre. And then Block began to act out the monster. ff"! 4"" E / ,\ \

\
in "The Tempest." Propsern is a magician lurking around the room, at the Same time. tak— ""1!/"""". 1
I
.
i E tt \
who lives on an enchanted island with his beauti- ing breaths in heavy gasps. For a moment he
ful daughter Miranda who has never seen men.
Through the imagination of the two writers. the
would hesitate and then he would move forward
again.
44," ' I
I.) ,
— —' \
\\x
enchanted island became the planet Altair 4, "That's great!" exclaimed Nayfack. getting in .

thousands of light years front Earth. Prosperu the mood and realizing the possibilities. \ | '
‘f
i

the magician became Murbius the philologist,


and Miranda became Altaira. his daughter. Block
"The great thing about this," furthered Block,
hoping to put the capper on the deal, "is that it
3 I
\\ L}
snatched the name Morbius from his background
in Geodesy. Moebus was the German niatheniati-
clan who discovered tlie topological conundrum.
won't cost you a cent to make the monsters. You
could have a thousand oi‘ them!"
That bit of logic was quickly grasped by the
-Q‘

/
/ iv
\
‘/ 9 *‘ ' ‘
the Moebus Strip. a two-dimensional figure with producer, and Nayfack told them it was a deal .
only one surface. The group of Italian nobles who He was buying FATAL PLANET and putting it on LL, mp‘ ,;‘|’
@ y
\'isit the island in Shakespeare's play became the the production schedule immediately. _i-u,” ,,,, L,-my
officiers and crew of the ljnited Planets Cruiser The vast amount of enthusiasm born in Ni- but /lflltll-i'
""4 "~93!/1/"7
C-57D. To create the unforgettable Robby the Ro-
bot. Block combined the characters of Caliban.
the hunchbacked witch-child. and the spirit Ariel.
cholas Nayfack‘s office that day soon dissipated.
Dore Schary. the creative driving force at MGM
was against the film. Unaware of the entertain-
”"' ’°"==
ln the play. Caliban is ti virtual slave to Pros- ment potential of FATAL PLANET, Schary was
pero's will-. while Ariel is a master at creating worried that the studio was going to follow its
illusions and spells. Itttbby, reflecting both of competitors and produce a cheap planetary ad-
these characteristics. gradually became the star venture. But Nayfack bulldogged the New York nt-
of FORBIDDEN PLANET.
To add an extra dimension of terror to his
lice until they gave him permission to make the
film. Nayfack hired a friend, Fred McLeod Wil-
fxz D”/4¢‘8I0J '5,-,"*
film not tutlltd in Shakespeare. Block dipped into
Freudian psychology. then in vogue with the gen-
eral public. and came up with "monsters from
cox to direct. Wilcox, a nephew of the Schenclt
brothers. had done very little since he gained
fame in I943 by discovering the entertainment ‘,1/Pdlll II J‘)
fl t/Yo; flan appear
the id." "The idea of a bugeyed monster is a possibilities ofabeautiful collie in LASSIE COME 71';/)l¢g 7: Jet ./vurt; f4¢,4¢‘
pretty childish illusion." said Block, explaining HOME. But Nayfack had confidence in his pal '4/,7 Ml P‘ 7”
the choice. "But there are real monsters and de- Wilcox, and together they gathered the best pro-
nions that exist within us that we know nothing a- duction team then available at MGM. In many

K/":“‘ '0“
bout. We're capable of doing the most horrendous cases. the studio gave iheni the cold shoulder. '
things and we‘re often shocked at this truism. Arthur Lonergan was pulled away from Cedric
The monster from the Id is nothing more than the Gibbons art department and was given virtually no
invisible demonic spirit of Morbius. That‘s why departmental assistance on the filnt. As A. Ar-
the monster is invisible. in the very end MGM nnld Gillespie put it, "every-t iody thought we were \ |_/ ~11 “ ~.
couldn't accept the fact of total invisibility so nuts." \~
they |_ut
- the Disney pe o ple to c rea te an e xaniple Wh il e th e production crew went ' oter
' some of
of the Id. It was quite poor." the drawings submitted with the Block and Adler '"" -- (I J
For other iaCets of FORBIDDEN PLANET. storY- Nayfack hired Cyril Htlme to write the L-_‘»"- I
the two writers borrowed freely from numerous screenplay for the film. Hume, a veteran writer. ,:1,,,,,, 4 I
myths and legends. source material often used by had developed some expertise in writing for exo- sun“? l
Shakespeare himself. The chaste and pure Altaira tic settings while working on Tarzan films. lie \; ‘.-
enioys an Ed enic ' rappor t w llh th e t ransi ll anc
t d w ou Id I aer
t pe n th e I mag in a tive scri p I for THE
Earth creatures who roam the lush, forrested INVISIBLE BOY. Nayfack's only other science
grounds of the home of her father. yet when she fiction project. Hume's script retained Block and ,-u‘ M“
kisses Commander Adams fur the first time. a Adler’s basic narrative. but increased the role
,d
change transpires in her relationship with the
beasts and her pet tiger nearly kills her. Block’s
of the Krel, a futuristic super race discussed
briefly in the original story. As Hume polished “ill-r»—”‘ i;
‘T \‘, '\' _,- —;
"
a t

5 g

’ . 1
'
inspiration for this sequence came from the myth
whicli states that only a pure virgin can tame a
unicorn. To Block, the myths consulted by the
and revised the work. the film entered the pre-
production phase and underwent a title change to
FORBIDDEN PLANET (Fatal was thought to be .
, i""
T
3"; ‘ A
-
.
,,

t
\- t
‘ ""‘
'
two writers as .\<n||‘t‘e material not only enriched
the textiire III llit'it' stury. they demonstrated that
(“Eff is .il\\n_vs soon:-thing fundamental in myth-
too negative). Arnold Gillesple‘s attitude typified
the general feeling atng the film's crew for the
overwhelming task ahead: "MGM had never made
‘TE

L
I
_// \ ‘
* Q
. _' -
ology-evt-ti in the far off future of Altair 4. a science fiction film. This gave us a chance to
The two writers had figured to sell thier fi- create a new world outside our own solar system . . 1- i

I
Twp‘ .\Iurlnus |\\‘;\ln-r
PId§ZP|>X\l(‘|['l'I\l>I1Sl!'Il\(‘51\
umquv k'.|lur\= ‘-1 Ins pru-
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Ll. Oslruw (\\';|rrP!\ Str-
vensl and Cv-mm.m<k~r
.~\d.1n\s 11¢-slur Xn-lsvm.
lie nrdvrs llnhhv lu slum!
lhr \'on\n\;\Iul\-1' \\'1lh h\.~
hl.\:;lr-r. !\hrl:lh~: A |\r\‘—
pr|»rlul‘un1\ pzllnlllxp hv
lr\'u\g Illurk -,1 tho ml:-rmr
ul lhc Krol lzxlmrzlhvlwvs.
P|‘lX\\;\r\l)';||1|'Hm'lslvrh—
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surh |>;\|mu\|,:s .11-mp wnh
ms ur\;1uml smry In svll
lhl= Irina ul FORBIDDEN
PLANET tu MGM|n'n(lm‘L'r

Nlrl\w].\s N.\)'I.|rk. While


C\'r\l Hunw wrulr Hm
51'1":-¢*|\|>l.|'»' Mr lhr (llm
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Mm ..n <h-||.u'lm|-nl “um.-<1
H1.»-k‘s |\.n|\l\m»1_~ .\.- lhr
\lA5l:1'Il'I|h'lI|l\\'.\ >1-ls
.md |u'u||\u'l||vn \h‘.-n;x\.
null-m\ Tm H1-\\ --1 hm,
rd l’l,|m-\.-< L'r\n.~rr (‘»7D
slund \\nh 1|“-1r \\ 1-_|]!< -us
.n uw r--.ul\' mr mm nu’
:.l.\uu|u --1~.\|».u"~.| u-r—
rmlc ||1|‘&‘\-HI: \' r.mn--I .~’\'<'
.\ml <'.|n !>.\r\'l\' In-.|l‘. Thr
.\'ll'\'X\ll!l_\ ml FURl(IUDl'l.\'
PL;-\T\'l'I'l' 4:; .| l1ln\.lr\-ln
hr I--uml HI lhr I-\r|-H1-n\'\~
I --1 M .\-»x.~, s|w¢'|.|l l'“\'l‘K_\’
.u\d |>rud\|r!|nn d1-snln.
The pre-production skecthes ior FORBIDDEN
It re resented a wonderiul opportunity. Nobody
couldpprove us wrong. We could do almost any- PLANET made by art director Arthur Lonergan
are shown at right, and on the preceding and iol-
Erz /4!,‘/2/‘Iv ‘2,fi!zZ-
A12 /4//4r”0€
thi
nA‘lthough it is true that MGM had not entered lowing page. Given Cyril Hume's screenplay,
the industry-wide science iiction craze which iol-
lowed WWII, there was a tradition at MGM be-
Lonergan broke it down into the various interior
and exterior sets required, sketching in the gen-
L 4
,
t

—?
of/6 (D49)
»

lore the war in creating Iantasies on the sound oral appearance oi each and making note oi spe-
cial props, eiiects, and process photography re- / / /J4/I7

ff",I
stage. THE WIZARD OF UL is an immediate ex-
ample. but there were others. These included quired. Sich skecthes are the iirst step intrans-
MYSTERlOUS ISLAND (I929), MAS( OF F: ierring a writer's concepts into iilm ii"I“i2\gs€‘l. Not 3;”; gggkfty
MANCHU (I932), GABRIEL OVER THE WHIT done ior their aesthetic appearance, l e etches
'6'", ”'“'”‘r
,

nouss (I933), MEN MUST FIGHT (1933) and two


Hal Roach shorts, 'l'lN MAN (1935) and ROBOT
WRECKS (i94ll. In addition, aiter the war, MGM
released two iilms, BEGINNING OR THE END
(1947) and THE NEXT VOICE YOU HEAR (1951),
are utilitarian. serving as a blueprint ior the en-
tire production.

had researched the early Works oi Czech writer


4 .

.
7 .

n
,

.
‘a

_,_/
IA/;‘““,'
puuln. H, fey

which illustrated a developing interest in a return Karel Capek which included the play "R.U.R." i _'
to the iantasy iiirn. (Rossum's Universal Robots) ior the Robby char- '00‘; "Pm, 0/gig:
“V79 ‘“"""f»'
Aiter getting the go-ahead irom Nayiack, Gil- acter. The word robot, interestingly, comes irom -__f=-, — —
lespic and Lonergan. along with Warren New- the Czech word robota, meaning work. And tn-
All
T‘ ,"’7"""
combe and set designer Hugh Hunt began experi- deed, Robby works hard in the iilm. producing
menting with new ideas. "The interesting thing," such varied items as a diamond studded dress ior 5-“¢",“;4
says Lonergan, "is how to research a project like Altaira, iiity gallons oi whisky lor the cook, a- 41¢" Ilflrf
this. There is simply no place to go. You have to tomic shielding ior the space ship and a variety J‘pn: Imp hurt
reach up to the stars and grab onto something. oi tasty synthetic ioods ior the Morbius house- i/cnricot bun/K
The art department was used to having a particu- hold. Block and Adler also exhibited their know-
aw 4r Bern"-
lar iield oi research. The only way to start on
this iilm was to iield a lot oi ideas, let some go
and latch onto the rest."
ledge oi science iiction by including in Robby's
programming the three laws oi robotics as pro-
posed by Isaac Asimov, which includes the over- ,X :
l ' ‘
;2
. .
I

S”, ;~,.‘,
J2 urea J/pvr
1 ,,,_'r_
The production crew began with the concept oi riding directive to preserve and protect human E——“"" y 7- -I nun‘ pm."
the starship. inuenced by the rash oi UFO sight- liie. Thus Robby symbolizes the harmonious syn» " \- _4
1'¢""""'f I“""~"
-

inc! bursting-out umws the country at the iii-ne. thesis oi scientiiic advance and social good, at I/1.
United Planets Cruiser C-57D became a ilying last the powerlul tool which man is unable to turn "" <4/tn»-1 Paual-I
saucer. To elaborate on the basic saucer design
the production crew traveled to a well-known a-
upon himseli.
Robby has a certain degree oi class. due in
large part to the voice provided by Marvin Miller,
I“ J "it 5“./"1'~r'.
J-,,,/, _/},,“; W
rena oi scientiiic debate—Cal. Tech. Says Gil-
uh“ ha.‘ U,
,

lespie: "The scientists were extremely helpiul expressing a iriendly, benign superiority. Unlike
tawny’
~

and gave us a lot oi ideas. They looked over some


ui our sketches and approved oi the designs ior
the crews quarters. the navigation devices and
Gort, the terriiying robot oi THE DAY Till-I
EARTH STOOD STILL, or H.A.L. 9000, the para-
noid super-contputer oi 2001: A SPACE 0DYS-
1


~
sllv c.‘
_"\1},_ 24‘
F

'_. “TI Flu! "HA1


the control panels. " SEY, Robby spends most oi FORBIDDEN PLANET
While the MGM miniature workshop created in a highly sympathetic role. and proved to be L 1 rum 'mm"“"'
three model starships (one six ieet in diameter,
one iorty-cight inches and one twenty inches).
Robby‘s ]Gl‘|), and the Krel underground complex,
one Di the iilm's most poweriul science iiction
concepts.
Producer Nicholas Nayiack revised Robby ior
:</ti“
"
the scenic department. under the direction oi another MGM iilm in 1958, THE INVISIBLE BOY. ‘Qt (D. )
George Gibson, began work on the 350 toot cyclo- Block, who worked on the special eiiects ior that /7 -/'51’) ‘V
rama depicting the Altairian suriace. "Gibson iilm, views the transiormation uriiavorably.say~
was an elaborate genius at that sort oi thing rc- ing: "They corrupted poor Robby and made him ‘/'
I-
members cinematographer George Folscy who
was hired by iricnd Wilcox to lens FORBIDDEN
into a heavy. I-le was always designed as a good
robot, not as a destructive machine." The robot's "’ vrlr 0/ 0147 71!”
PLANET. "When you stood at one end oi the
stage alter the backing was completed, you al-
most couldn't bclievc you were on a stage. You
career continued with appearances on television
shows including episodes oi THE THIN MAN, and
THE PERRY COMO HOUR, two episodes oi LOST
Kg
“\_ 1
\ "'""7“l! Jib ""'I
Iprlbuv’ /urn Pllsl,
had iu walk right up to it to believe it was back- IN SPACE (one episode titled "War oi the Robots“
pitted Robby against the Robinson's own robot),

‘j——i 6
ing."
Leading up to Gibson‘s cyclorama was a vast and most recently in an episode oi COLL MBO. In A/7
expanse oi pebbly rock and brush. Folsey's as- l9'Il, MGM sold Robby to Movie World in Buena
stgnment required him to light the backing and Park, California, where he appears on display in J?‘ 3 M r)
the whole set in such a way that everything mixed his retirement. Quite unknown to Robby is the 9 "H
with no color seperation. For the day scenes the iact that he now has two brothers, constructed
measurement ior the entire cyclorama was set at recently by iilm technician Bill Malone in West d_E
64 loui candles. The illumination also includcda
diiitcult set up around the 60 loot plywood cruis-
er. The balanced lighting arrangement created
Hollywood irom the original plans oi draitsman
Bob Kinoshita. Robby ll resides in Malone'sliv-
trig room and sometimes tidys-up the house while
t

90¢ f ‘Knot
I90!/MAW? MI
Gilmvp
the illusion oi a plain that stretched tor hundreds Malone is away. Robby Ill was constructed by a -’ r\ ,_/,7,’ ;-J‘, ,’
oi miles. When night came the lighting was re-
ducetl to a bare minimum. A tiny light lit up the
horizon, representing the soil glow oi Altair 4‘s
group oi kids who began to congregate at Malone's
house in increasing numbers once the word got
out about his unique house guest. Thanks to Ma-
/FY‘
~
" "'1
4/"
-3 ;,“' 4-,,’ M,“
21,,’ C M.
twin moons. For the interior oi the cruiser, sev- lone. every kid's dream to build his own robot
:13’
"7 ‘ """' 2'
eral scis were designed. These included the work came true ior somc. and who knows, one oi those
shop. the navigation center, the quarters ior the youngsters may be inspired to go on to build a
crew and the multi-story control room, reinini- true robot someday. For, ii you hadn't already
scent oi the bridge oi the Enterprise in 5TAR guessed, Robby is |ust a liieless shell weighing
only about I00 pounds. Like the charming little
E 2 ‘I7
TREK. a scries which. years later, owed much
oi its inspiration to the basic concept oi FORl3iD-
DEN PLANET.
drone workers oi SILENT RUNNING, it is only
when a human host inside operates the many con-
t I
0

The design ior Robby the Robot was based on trols and levers that Robby comes alive. For M*"""“" J3"
the shape oi the old-iashionlrd pot-bellied stove. FORBIDDEN PLANET, a succession Di actors P4'"7"5 5411'";
Some ui the more light-hearted members oi the assumed the role. including iormer child star Ill¢L.ily(Il1-£14‘)
iilm crew thought hc looked quite a bit like Nay- I’
"4 "'”' ‘"‘“' "‘
Frankie Darrow and prop man Frankie Carpenter.
iack himseli. Gillespie later gave some rough only to quit and be replaced. The claustrophobic _ _,
sketches to Bob Kinoshita', a Japanese draitsman coniinement within Robby, the hcat, the Cumplex l ' 1 '“’ PW" "" ”""""“‘
rlavlu D14¢cu4u.z/
who designed the interior oi the starship and the controls all made the role oi Robby decidedly un-
mind-boggling underground complex oi the Krel, poptilar. Malone himseil Iinds it remarkable that ‘
444": -|"<AIlN
and Robby was born. A natural star. the robot he hasn't yet been electrocuted while operating Jr,‘ ,_-,,,,,,,,,,,;t,~
‘Nu n p1u|uj ,7
;

gave the iilni much oi its comic llavor, especiai-


ly in hilarious scenes with the ship's cook. play—
ed by newcomer Earl Holliman. Block and Adler
the robot irom inside.
While FORBIDDEN PLANET had many arnaz-
ing props, such as Robby, it was the Morbius
‘z
4,
< ’g",,"‘ ,4, _,,,, 4,
_|~,,,,, ¢,,,“' ,,,,_,
House oi Tomorrow that utilized the resources
’l(inoshita is still a practicing Art Director in then available at MGM to best advantage. Like
0‘ "" “"'“’ /"'” “""'
Hollywood and recently worked on the NBC World
Premiere Movie "rut-: DEAD DON'T DIE.
the starship set, the iuturistic house had its own
soundstage, complete with iorrested vegetation
Z,§1Y,",Z‘.,','If,°_‘Z,f,,‘f
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hlm. Men's 4‘-:sl\||m-.\ \\‘|'I‘|* zh-.<u:m-ml In’ \\".m\-r
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,0
AP‘
” mm 1-|\lr.|m‘¢'s 1-- m-- Kw! l1l])|vl‘L|ln|'l\'S ms \ll\'
m-r,;r--mun \'un\|)l\-X. Llkv Krn Atlum. uh.» mm-1|
ler h|~('.|l\|(- :n'rl:|in\od mr (hr >;wp.- .l|1(|(‘l|h!‘
|1l(\xll_\' -yr ms lulurnshr 5.»! m-smu UH mp -I.\mPs
Bnnd lms. .~\rl|\ur LlIl\[‘l‘|l1|l\ nu I-‘ORBIDDI-I.\'
PLANET l|l5]X'l\St‘(| with \h1~ n'uS!I|n\.||‘)' p|:\I\5 nu-
Earth hn\1s\'s. L'nm'lu(l|n;! lh.\l, wllh us v\'n\(lu\\'5
mm (lu||l‘S n w.|=- um 1'l:\usll‘u|Jhnb|\' ;u\ Animus-
phere-. Says L\mt-|'g:u\: "1 mud? the ;\S:illm|)liu|\.
wh\l'l\ 1sn'\ um fur-I9lL'l\(\d nnw. (ha! lhre In-6-ll
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usl. W0 l\;|(l nu \\'m(ln\rs in llw Mnrhlus humtu
E\'\-ryllunu w.\s Iulurislu‘ m dvslgn. \\'1- mm-n 1..
.m»|d usm); ;|nylI\im: um wuultl r\'srn\l:l\~ .|n
¢-1|:-nuly .||lph;|m‘\-. l r(*n\on\br|' 1| lrusl|';|\m|: Inu-
mvnl :|I(\*l‘ lhv 5!-l dir\*('lnr had (l\‘Sl}Ll\\‘(| 1| S|)(‘(‘lill
lmm h.u-k vn;m- mr Murbius' study. \\'l\il9 |1r\--
pzlrinp (nr 1| s('(‘m‘. Wilrnx 1'urnpL|in0d lh;\( (hr
rl\.|ll‘ hlu1'k9(l Ills \'i|-\\‘ and |l|‘(|l'l'l'l| il l‘l'll!l\\'('(‘]. ll
\\‘.|$ rupl.u"\-tl mm ;\ rmluliu‘ nHn*\- s\\\\'(-I rhuir.
ll \\'.|.\' -mly ilfl‘ lirml uld Cedrir Gihbuns 1‘:\n\(-
n\'¢-I‘ and unto:-rodud (hm H10 1-1-rm" was curren-
m."
In lhv uriglnnl stury by Blnck and Adler. Mm"-
lnus t|i5L'u\'er5 an :\1\rim\l ri\'|li7.;\linn |)Pn(‘;\lh his
hnusr. Frum (MS Smilll hi! nI n\:\\eri1\l. Script-
wrlh-r L‘\'r|l lhuuv 1'11-anlorl tho Krol. :1 supvr
=-.|r-‘. .\|\|u|\|l.|h-(l sy§1mn;\l1c:\lly m lhe vuurse nl
nu ll)" “lhr l\!I¥IlSl('l'S [rum llw Id. " Aflnr :1
:u -.\ Klll ~\\-r\' uivuug Ilwm lhr p~v\\'\-r ul mind n\'—
-1 m.n|--r. 1111- s\|\n"n|\s&'||v\|s mind ul H10 Kr:-I su-
,».,~|m.-x1.<<<| 1-\|1lnlh-(I m .- \':||mih:\li.<l|r |\i|.!hl-
n\.|r| .4 hl'l'Ivl' m--\|.<.m<|.= “I yours Iminrc mm-
!h!l- X'~r'!v»u |'.|rrn-d AInrhi\|s tn Allah" 4. Nn\\'.
..u|\ Um \r ~u\-.-1».»rm-mu m:|k"|\inP5 ¢-m\h|\ue¢l 1“
\ux‘\’1\:. |~|\|1'|vlh|1g mp -M-1-wm=1mm¢ p0\\‘e-r nl
.m I nl nuy1l.|nr\. ("n|np|'(-|\\~l\S1||n1|! lhc |\1ll\(‘|\Wl"k
--| uh Kr:-I 15 Lu" ht-)'n|\(| u‘un<|c|'sl:m(ling of
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ledge of the alien race by scanning a computer-
lik E d G vic E. The rest of the immense room con
sists oi a group oi unusual machines that include

Dore Schary took an interest in the film he had
once opposed and hired Louis and Bebe Barron to
create the electronic music that accompanies the
I" Fl’: A”:-ta“
J2 “.
the Brain Boost and a matter transmitter. Beyond film at every turn. FORBIDDEN PLANET. more- __
this laboratory is the untouched remains of the so than most science fiction films. looses a great Y,’ _.
Krel civilization. a iascinating miniature design-
ed by the special effects crew headed byA.Arnold
Gillespie. i-‘iity yards in length and filmed horl-
deal in its transition to television, not only in the
size of its wide>screen Cinemascope image. hut
also in its strangely innovative musical score and
" ' -L l
if
Q
§:'m([ J
zontally along the floor of a soundstise. the en» soundtrack. in an age where even P°lice sirens ' {\E7_ I,’ 7*
gineering that went into the miniature reects the are going electronic to the nth degree. the vivid 1
painstaking detail apparent also in Robby, and the "tonalities" created by Louis and Bebe Barron
film's full-scale settings.
One of the more interesting scenes in the iilm
for this film still represent one oi the great re
volutions in iilm scoring.
' 4
____':__“._; ___,_’_ ___
follows Morbius as he takes Commander Adams, Lou Barron's West Hollywood music studio is
, 6"‘,_/\-?._,~:~_.-'
ft .
Doc Ostrow and Lt. l-‘arner on a tour oi just one now crowded with the aging paraphernalia asso- ‘~

of the 7900 levels oi the Krel power complex that ciated with electronic music. Before playing a- ,--_ -. . ,

once ran an entire planet. Filming the four men bout ten minutes of the iilm's original score on < ‘O '__-It
a
_~\ ,,‘, -4
‘, I
being dwaried by the colossal machines oi the his large, full range music system, Barron asks ~\ ‘ 4‘. 5' ,1 .;. '- \

& J
4
whether i can survive high frequencies. lnod in
.
Krel required a matte shot showing the group K
I Q
crossing a bridge over a ventilating shait which
descended a dizzying 7900 levels below. For the
approval and he, like some musical ne'cromancer.
opens the spealters all the way, unleashing the
T'~-,__-"
‘J _¢
~ Q ‘
. ', - i.
scene, Wilcox took a crew to the Bekins Van and
Sorage building in Hollywood. it was the tallest
overwhelming power oi the FORBIDDEN PLANET
overture. it is a fantastic, new experience. We
are joined by iriend Bebe, the two are now di-
"

-'
ft -“

\
\’7'\’\
,' ‘_,- ._’
. 1

1
building nearby and provided a clear view oi a
large parking lot below. With the parked automo- vorced. and once more as a team they relate —i--
’('"l04Vf /'*"‘U.
biles cleared away, Wilcox sent Folsey's camera
crew to the top of the building. Using a group oi
their perseverence in overcoming Hollywood's
reluctance to change the pattern oi scoring iea- >- .1 _-
\ 1

midgets hired to duplicate the actors, the scene ture motion pictures,
70:4 .rur
,

was filmed showing the four little men walking Electronic music. today, is quite blase. its {I ‘*',{',_ Q
below. The miniature replicas oi the Krel ma- advancement, in the most part due to rock music k .'- I
,

.f
‘kw; ‘pear
‘A ~,“”‘r'%,
chinery were later matted into the background for (Emerson, Lake & Palmer. Rick Walteman and _—-1 --

the finished eiiect. At its deepest point, the min- others) has been quite rapid since 1956 when the H
iature Krel complex featured a mirrored George
Gibson backdrop giving the effect oi a full 7900
soundtrack oi i-‘ORBiDDEN PLANET was first
heard. With the Barrons, it all began with a mar- T‘
y

‘T./I1}! ,5"‘.j_'.
i '

M
3' 3J'kn/so
"“" “'5
34¢!)
levels. rtage gift they received in December, i947: a 6 00¢: 4-I 7794‘,
in the final scenes of the iilm, the monster tape recorder. The miracle oi post-war produc» 4,43 Q44‘; pyf
from the id breaks through a barrier oi solid tivity had finally resulted in the commercial dis - I
Krel metal to attack Morbius. a sequence re- tribution oi the machine, although even then they 1-4‘
quiring an interesting combination oi live~action were still a unique possession. Having previous
musical background (Lou as drummer and radio
I‘ ' "'
and miniature sets. The Krel door. serving as
the supposedly impenetrable barrier. was a min- bug and Bebe as a singer and pianist) they found ' ' "' t I” '
iature sheet oi lead designed to burn easily. On the recorder intriguing. particularly in the dis
the back oi the door was pasted some highly com- covery that the machine was capable oi emitting - : g 1/2'
busticle liquid that would ignite the lead. Once ig- some highly unusual sounds. A friend, John Cage. ' W”,
nited. the metal changed colors repeatedly, going an avante garde composer, was experimenting
L
Y O "" 84'3"/f'

from gray to red and then to white. simulating the with electronic sound at the time. which he re _ .

if Jix

.
v
heat being generated on the other side by a mon- ferred to as "taped music." After reading M.l.T. A -
ster tapping into the almost limitless power oi proiessor Weiner's treatise on Cybernetics, Bar
the Krel machines. ron began to consider the bizarre feedback sounds
Filming the assault oi the id monster on the he was getting on his tape machine more serious-
starship presented major problems. At first, the iy, and with Cage and pianist David Tudor, the t
writers were against picturing the creature. Nay- Barrons received a grant from architect Paul
fack, originally convinced by Block that the in- Williams to experiment in the field oi electronic
visible beast was satisfactory, reversed himself sound. cut of this six-month research project _____... - _..
and hired animator Josh Meador of Wait Disney came a great deal of experience and a short mu- ' ‘
sical piece titled "Electronic Nervous System. " >\
Sudios to devise some version oi the id monster
/" ’
-..,‘ _,, 1'
that would be visible to audiences. it was Loner> Excited about their new discoveries, the Bar . '' 4
gan. however, who came up with the idea oi a rons decided to study the field oi electronic clr- \ 5.
AA

V
- i

huge head with piercing eyes that would become


visible m the power discharge of the Cruiser's
defense system. ln its iinal form, the id monster
cuitry. Barron was fascinated by Weiner's defi-
nition of Cybernetics as the science of communi-
cation and control in animals and machines. They
~

\ 2‘
\
,

,
Z '4 -


is a lion-shaped head resting on two powerful began researching into the laws governing the
'
, ‘\\
Q
'_ " ‘_ ,

'
\\ ‘
legs. with a distinct. unearthly roar. The ani- new forms of circuit behavior as discussed in
if _'__ __ -

mated sequence in which the outline oi the crea- Weiner‘s treatise. As Barron explains: "Our 5.
',\.‘-\' I‘ w
,

ture becomes visible is quite short. possibly giv- findings encouraged us to go ahead and construct /' , ’ ' o

0
. P

ing credence to the story that a dispute arose be- electronic circuits. We felt. continually, that -Ari)-' ’ 1
tween MGM and Disney, forcing Meador to quit their activity patterns were quite similar to .\
before his work was totally finished. Throughout
most of the iilm the monster from the id resem-
primitive living organisms. if not for Weiner‘s .
.
.'_. ' \~
' -, .

bies the invisible beast mimiced by Block in Nay-


fack's office. There is a sense oi eerie move-
theories. we would have dismissed our interest
in electronic sounds a being irrational. "
Through patience and perseverence after a
i
‘ ‘~»".,
"
ment communicated by i-‘olsey‘s camera. a de- series oi commercial failures and a strong de-
gree oi hesitation. and a weird sound effect cre- sire to spread their ideas, the Barrons were e- A41!
./\{,”,4'-y.£.p,¢,;‘-Us
{ f"7",
ated by Louis and Bebe Barron combined with ventually able to bring their unique world of re-
lapses of total silence. when the beast attacks the sistors. capacitors. wires and vacuum tubes (now A’
starship it leaves a trail of footprints in the Al- read transistors) to the screen. Between 1949 4 ~74?’ ""7"“"!
tairian dust. These giant impressions were wood and 1953. the Barrons used their electronic mu-
boxes cut out in the shape oi the creature's giant sic in a series of experimental iilms. One of F/M
feet. covered with sand and wired electrically to
open and create the effect of a depression as the
their early compositions was used in a film based
on the writings of Nim called THE BELLS OF
'\, _ IYq.7w/want
3 "*1
creature's huge feet rose and iell tnvisibly onto
the surface of Altair 4.
ATLANTIS. impressed by the compliments they
were receiving from fellow musicians, the Bar-
3 I /34"‘;
The actual production of FORBIDDEN PLANET rons attempted to enter the motion picture busi- Diff /or
began in early i955, a full year after Block and ness, hoping a contract could net them a iew r\ C,. __.
1'»-nuneo dy
Adler’s first visit with producer Nicholas Nay-
lack. and the film took six months to complete.
thousand dollars for their work. Through the
grapevine they discovered that Dore Schary was :-
5- ;
_
Mon, hovel.
en cnwl: I
K-,,~“___, "W
During the fourteen months between June i955 the man to see. Says Barron: "lie was the num- ' ¢,.,",,,,,,’
and the initial release of the film in August 1958, ber one guy in the industry. so we decided we Mvu we lami-t
the major editing oi the iilm was completed by might as well shoot for the moon. Besides. we emu 007]” 6;";
1/ran r I-now;
Ferris Webster as the special effects department
worked to com P lete all oi the laborious matte
also heard he was a nice human being " Through
a iriend the Y learned that Dore Schar Y ls wife was
417'!/"£4,
{RIM W71’ -'-7 _T:\ ”"”’
/1
1

shots involved in the special effects. a painter and that she was having a one woman Giéldfl/"
it was during this post»production period that -
show at a New York Gallery. Living in Greenwich
»
Md! fuatt¢¢ ~

ll
Village at the tinie. the two musicians decided to musical score outside of Hollywood. was a harmless credit. but to he on the safe side
crash the showing in the hope that Dore would be With what Lou Barron refers to as a iieauti- they searched for something else. and it was
therc for the opening. ful contract. the two musicians returned to their Dore Schary himself who came up with that great
Says Barron proudly: "We crashed the show's Greenwich Village studio to hegin work. When the euphemism "clet"truiiit' tonatities" to describe
opening alright. There were all these terribly contract was completed it was agreed that the their work. Says an exasperatetl Barroii: “it was
impressive people standing around. everybody new electronic music would provide only ll por- law suit proof!"
feeling really important. so we looked around for tion of the filni's suundti';it'k. though it was flex- The score of FORBlf)DEN PLANET repre-
thc person who would probably look the least im- ible. lf MGM used absolutely nothing of their seiited a complete breakthrough in lilni music.
portant. We spotted hini and sure enough it was score. they would receive $5000. if as little as Aside from the unique classical orchestrations of
Schary. Now we knew that Schary had personally three seconds were used. they could expect ll Bernard iierrnianii for 5l|fl\l‘ early science fiction
produced a film called BAD DAY AT BLACK mininiuniof$i0.000. Bcyuiid that. earnings were films. must of the musical aecompanimeiit asso-
ROCK. it was a controversial film at the time to be determined un a per screen minute basis. cialed with the genre had lacked a degree of uri-
and the critics were wild about it. We told Schary The twenty-five minute score fur the film would ginality that was present in the Barron's work.
that we liked it and he appeared to be pleased. eventually net the two niusiciiiiis 525.000. "They All the fantastic clements of FORBlDDEN PLAN-
After all. everybody likes to be appreciated. but really gut a deal," recalls Barron. "We did all ET: the starship's voyage through deep space. the
we really meant it. We were quite lucky that we the recording and editing ourselves. We brought mystery of Altair 4, the horror uf the id. are
had something to latch onto for openers." them a Complete soundtrack. " brought more vividly into being because of the
After establishing this "tn," the Barrons told The score for FORBIDDEN PLANET rcpre- exotic mixture of the electronic sounds of Louis
Schary about their musical discoveries. interest- sents a great many circuits designed by the Bar- and Bebe ilni-ron. '
ed. Schary gave thcm a standing invitation to rons. These interesting compositions ranged Unlike many of the space exploration films
come to MGM when they were on the west coast. from the hesitating "beta beat" oi the id monster, that formed a distinct sub-genre uf cin_elant_as-
impulsively. they immediately decided to drive
cross-country and stay with Behe's parents who
to the bubbly sounds associated with Robby the
Robot. Many of the sounds that reached the
tlg in the 19505. FORBIDDEN PLANET manag-
ed to sustain a distinct element of class. The no-
lived in Los Angeles. Barely two weeks later they screen were collages of different circuits taped nonsense portrayal of Morbius by Walter Ptdgeun
were on the phone to Schary. by the Bai-rons and stacked like building bl0cks— was able to overshadow a trlteness in the charac-
"When can you come over?" Schary said. re- the same principle on which the moog synthesizer terizations of the other roles. not a fault of the
cogniztng Lou‘s voice. now works. Some oi these themes involved as performers. but a weakness in Hume's screen-
"We're free this afternoon. how about three?" many as seven different component sounds. each play that was perhaps his only concession to gen-
replied Barron. hardly believing this all was hap- representing a scperate circuit. "From the be- eral public tastes. The beauty of young Anne
pening. ginning. we discovered that people compared Francis as well as the primacy oi her relation-
Schary agreed and the interview was confirm- them with sounds they heard in their d.reanis." ship to Leslie Nielsen helped the film to tran-
ed. The Barrons had prepared some tapes. a re- says Barron. "When our circuits reached the end scend the simple "sex in space" scenario. Niel-
cord and had also brought along some film clips oi their existence tan overload point) they would sen‘s handsome features as well as a dynamic
from THE BELLS OF ATLAN'l'lS. Politely re- climax in an orgasm of power. and die. in the screen presence as Commander Adams allow him
fusing the films. Schary preferred to listen to the film. many of the sounds seem like the last pa- to make the role. ii a stereotype. at least a clas-
tapcs. visualizing in his mind footage from FOR- ruxysm oi a living creature." Some oi the cir- sic one. Nielsen is HE captain and one observes
BIDDEN PLANET which had already completed cuits were nameless. but a few of these were de- how right it is that it is he who pilots the fated
filming. Schary was impressed and hired the two rived from some of their favorite music. The 5,5. Poseidon to disaster in lrwin Allen's THE
New York musicians to score a portion of MGM's theme used as night fell on the planet Altair 4 POSEiDON ADVENTURE. For its time. FOR-
new science fiction film. Twenty-four hours later came from a song called "Night With Two BlDDEN PLANET was the most ambitious attempt
the Barrons received word that Schary had given Moons." to create a serious yet fantastic outer space ad-
interdepartmental orders to the effect that every- By January. 1956. the score was finished. With venture. it combined a superior and highly uri-
thing possible was to be done to assist them in Schary‘s approval, the final version was used ginal story concept with a level of specialeficcts
their efforts. but problems soon developed. throughout the entire picture. eliminating a time craftsmanship that was to presage the visual
First it was feared that the Barrons might be consuming quest for additional orchestrated ma- spectacle of later cinematic journeys into the un-
infringing on someone‘s patent rights and that terial. For the next six weeks. the Barrons would known such as FANTASTlC VOYAGE and 200i: A
MGM could be charged with patent infringement. supervise the integration and mixing of their mu- SPACE ODYSSEY. in successfully blending the
The motion picture industry at the time was very sic onto the soundtrack of FORBIDDEN PLANET. fantasy of Shakespeare and the legitimate horror
patent conscious, with a continual battle occurtng Before the final dubbing session. he took the raw of Freudian psychology with the sense of wonder
between Western Electric and RCA, tearing the tapes to a preview. in the middle of the theatre a inherent in the exploration of deep space. the film
film capitol apart. Patent searches were conduct- sound technician worked a tape recorder which more than compensates for its basic flaws in
ed in Washington. D.C. and weeks were spent with had been synchronized with the projector. As the writing and direction. At a time when 2001: A
patent attorneys to make it clear that the new e- film progressed. the technician would adjust the SPACE ODYSSEY continues to garner millions of
lectronic music was a unique concept. volume. treble. base and balance controls, test— dollars at the box—office year after year. when
in September. i955. the contract with MGM ing the range of the innovative new sounds. Dur- iilnis like HOUSE OF WAX have been successful-
Was finally signed. For a short contract. it fea— ing the early scene where the starship lands on ly and profitably reissued. and when distributors
tured an elaborate number of clauses. Barron re- Altair 4. the mixer opened the volume controls like Columbia begin to see the worth in old clas-
members: “Rudy Monte drew up the contract. lt and the eerie sounds poured out of the giant sics like Ray Harryhausen‘s THE 7TH VOYAGE
was very frustrating to deal with him. He was theatre speakers. The audience erupted in spon- OF SINBAD which they will distribute again the-
Viennese and everytime we upset him with a con- taneous applause. Composers have frequently atrically this spring. it seems both a waste and
tract idea he would yell. ‘Ob. my heart!‘ lt was been appalled by the quality of their scores once an oversight that FORBIDDEN PLANET continues
exasperating. in addition. we were negotiating they are transferred to tape. comparing mixing to languish in that twilight zone of neglect called
without a lawyer or an agent with the toughest to spreading peanut butter with aknife. But Louis television syndication. And while the record in-
contract lawyer in the business. We could do a and Bebe Barron were quite pleased that night. dustry sees a boom in the sale of motion picture
couple oi paragraphs per session and a couple of When the preview ended. film editor Ferris soundtrack albums that has seen the exhumation
sessions per week—and it was a short contract! Webster told Barron in amazement: “l can‘t he- of scores from the ‘S05. '40s. ‘5Os and even '60s
it was written in beautiful English. like a &i- lieve it! They used my rough cut." Webster had by such composers as Korngold. Herrmann. New-
preme Court document. it wasn‘t written in iegai- only then recently left MGM to work on another man and Rozsa. it too seems bnth a waste and an
ese at all but with the characteristic literary project. assuming the studio would assign anew oversight that the vibrant electronic tonatities of
style of Rudy Monte. it was filled with little editor to finish the work on FORBIDDEN Pl..AN- Louis and Bebe Barron which presaged the moog
clauses that sounded so casual." ET. They did not. and the final version of the musical realities of the ‘70s remains totally un-
The contract negotiations completed. the Bar- film. thus. is only a rough cut. lt is due to this available when. with the eclipse of stereo and the
rons were introduced to Johnny Green and thc shortsightedness in the final editing that many of advent of the quadruphonic age of sound it can
MGM music department. The Barrens and all the scenes in the film do not blend quite proper- now be enjoyed uniquely as never before. FOR-
studio staff composers met at Green's house one ly. The Bi\.l'l‘LlIiS themselves had been rushed to BIDDEN PLANET is hardly .1 inst film, or even a
evening where their experimental tapes were complete their final music editing by a March l neglected one. Among the niatiy fans of the genre
played and it was explained that the new music deadline. MGM was anxious to finish the film by it is highly regarded for its many at-hievenients
was to be featured in FORBIDDEN PLANET. lt this deadline in order to avoid payingo\'er$B0.000 and the unique place it occupies in the evolution
was a debut filled with enthusiasm. for the eiec- in California property taxes. in their haste, or of the science fiction iilni. but even among iiiulil
ironic music received the approval of the entire through an oversight. studio executives had de- buffs its reputation has been cariied through its
gathering who realized its potential for use with cided that Webster's rough cut wa.s good enough. discovery on television where its image. scope
the MGM science fiction feature. With the studio A final problem did arise over screen credit and quality ni sound are reduced to the niust
now in complete agreement, Schary invited the for the musical contribution of the Barrons. in mundane proportions. What wouldn't itn_\' of us
Barrons to transfer their equipment west and be— the original contractual agreement the credit was give to see FORBIDDEN PLANET again as it was
gin work on the score. "This was impossible." to have read "electronic music by Louis and Bebe intended. in Cinemascope on the large theatre
says Barron. "it would have been ridiculous to Barron." Prior to the film‘s release. however. screen. with if proper speaker system. powerful
transfer all of our equipment to Hollywood for a Rudy Monte circulated a nienioranduiu among the amplification and gmitl i\\'U\.lSlll‘S. The public. as
three month job. We were happy in the Village executives at MGM which read: "fin you suppose we. would surely respninl to the lilni's unique
and we naturally refused St'hary'.s offer." Fur- that perhaps the musicians union will say that beauty and exvitiiig entertainment potential which
iuniilely. their \'|('t'irl)tiit‘ niusie was now niuch they have jurisdiction over this if we call it elt-t'- can he appi'eci:ited today perhaps more than ever.
desired fur the iilni and MGM agreed to let them ti-unit" musie'."‘ This new aictiety raised. the fl:ii'- MGM. are von list:-nini~" Are you tin-i'e'.'
t‘unslrilt‘l their iiiil§|t‘.il eoiiipusiiioii in New York. rons were confronted to i-i-in-gutiate |lil‘l|‘ i‘nn-
the first time the Sl\l(||ll nan t‘\'t‘t' t'n|tl|';it‘ll'(‘l for a tract. E\‘t'l‘)‘lIl\4' 1ii!l‘t‘l'(| lllill "t-let‘triinit' ttit.i2iit"'

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Plimvls ('ru1.<v~1' L'—5'ID.


dc\s|;:|u-(I by .u'l um-‘-1-.r
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A round-toble discussion with producers Korl Hordmon ond Russell Streiner
and screenwriter John Russo obout the mcikin€ and the unmoking of their
controversial horror film NIGHT OF THE LIVING D AD.
A lI\‘i\lIIl|1(I)' sits 5I\I1l\'Ii iii IIlL' riiitllv III IILll'lI' iii;iri ;iii(I Russoll S1I'[‘lIIl'I', .IIl(I (hr IiIni‘s si‘i‘i~i-|i~ (‘FQ: \\'liy (lid yiiu i'l\iiiisi- _i lwrriir Iilrii (iir
ii\.iii .-\ssiii'i.ili-s‘ SIUKIIH iii (I|I\\'l\IIHKI\ I'itt_~'huri:li. \\I‘IIt‘l‘, -IIYIIH Russ“. K.irI II.ii‘<Ini.iii is \I\i- iiri-.\'i~ your Iirsl \'i'iilui'\/' ls II Iii-i.i\isi- il IS llir riisii-sl
I(‘s 111-iippvil iii Al i'li;i|r iii ihr |i.iili in t|ii- riiiih-i'» (I[‘I\l iii II.irdni.i|i i-\ssui'i.iti-s iii I’i\lsliu|'i:li. Ll Iiini hi niziki-, ;Il\(I \Iii- i-.isii-st Ill in-II"
rrirr riiiini, wliirli pnili.ilili' |‘\]lI~III\h' \\'liy lI\‘\\'- i'uiii|i;i|\\' spi-\'i.iIi/iiii: iii iriiIu.~i|'i.iI Iilnis. \'i>ni— II:\RI'7.\Ir\N I iliiiik \\l' -III .i;;ri-i-iI il wiulri hi-
riinii*i‘s iii ilw sturliii .|ru 5<IlII\'II\\‘§ I.II<‘ Iur f‘|\t‘l‘<'I.II5. iiiiiIli~nii-:Ii.i s|iiii\'.~' Liiiil ri-vurdiiiiz. III‘ lIii- niiisl viiiiinn-i'<'i.il liliii ivi» i-mild iiriiiliiri-.
II\(‘t‘IlX\|£S. :\(‘I\l1\II)', ll'5 Ll II\ill\ll(‘(|\llll. iiiii |'vi- .lI$Il ]!I.|\'\'(I lIi4' mi» iii II>ll‘l‘fi‘ C-ii-iw iii mo riiiii. 5TRl-‘lNER- i"-iii Il.l\'\' hi iiiiiii-i.-=i.iii<i iii.ii III!‘
Ii['.\l'KI ruiii-irs the II\Il\}{ II\|l\'[‘S i\I)\IUI II\\' ]lI.|l'\' .ii RUSSPII sii-i~iiii-i- iIl\(I -IIIIIII RIISSIV lll'\'II1Pll\\‘II|'l‘.\' pi~iiiiiii*iii.ii III NIGHT (IF ‘rm-I I.l\’lN(i DEAD Ill‘-
nighl. Il si-i‘\'v$ as .i <';iIIini: i'.ii'd fur ziiiyivriv viliu HI Nl'\\' .-\mur|i'.iii Films iii I‘illsIi\ir‘i:lI. Iiirnn-(I iii i:.iii ii little -in-r six yr-;ir.~' .ii:ii. r\Ii(I I(\l's I2ll'(‘ il.
l'l'll|£I\I iii-i Il|.~I \\‘I\|It‘ iiiiiiiiiiii riii SHI\!L'l\I\\' \\'I\I| I\.\lI ii.iy. ism [ll |ll'ri(I\JK‘\‘ i'IiY\‘lI!\\‘l‘<'l.IIS. iiiiiu.~ii~i.ii ii \\'1l}i iiii- I|l‘.~I I\',|I\II‘L' ill\\' --i us Ii.|(I I)L'A‘l\ \X\\'4II\"
siiniclliiiiiz II! (‘IN WIIII .i Iilni k'Z\II(‘lI .\IIGII’I' OF .imI .\'.|I(‘.\' Iilms. SII'(‘l|Il‘I' .II§<| |lI,|\'l‘lI iI\\~ |*i»Ii- iii i-rl iii. I Ihiiik Kiirl JI.|I'lIIILllI_l riiiplit II.I\'l‘ I)\‘\'l\ in-
TIIE LIVING DEAD. II Iris yiiu kniiiv _\'iiu'i‘v in -IIIIiIiI\\' iii lIl(‘ IIIIII, iirio iililii-1-iirl)‘ \'in‘lini_~' iii lhv \'llI\'l'(I \\‘llI\ $l|n\l'II\III\{ ini III!‘ \\'i~st (‘mist \'i';irs
mi» i-igiii vii-iiiiii-. II\'I|\H di-iiil. Riis.-ii JISII iiiipi-.iri-il iii me riliii .|S I)l\l‘I(‘ I)\.lI l'UI'Ii|\l\I\‘ IIIII iii IIIl' riili- iir iiriiiliiri-in
NIGIIT OF THE LIVING DEAD has Il\‘l‘Il i';iIIHI \'.ii-mus |.:iiii\iIs. And Il'i|I\kI}‘_ \\'l‘ !i.i(I iii (Iii lhv kiiid HI ]iii‘tun~ lI\JI
a II\.\IilL‘_ .i vl.is>-ii-. ii giwiss. iiiiiriigi--ius iiiiiiii-i'- I giii iii IUIll\\‘ ilii-so Ili(II\'|(I\|.\I5 \I\'I\II\'\A'l|l"IUIlQ1 W0 wi-i-i- ilI\I|§I .\.\SUI‘l'4I iiriii-iiii: .i|ili» Ill _~:PIl, A
gnililicr i|l1(I Ll giinil :ii-i-iiiiri I\‘.|Illl'(‘ Iiir Ll (Ii'i\'0—ii\ >|l II.irlIm.i|i .-\s$ii¢'iiili-.~:, \\I\\‘I"\‘ IIIO iiipiv ii! NIGIIT liiirrnr Iilrii >i-i-iiii-rl iii Iii t|ii- hill. \\’i- did rim
(IU|.I\)I\'-I)III. Niil iii-vi-5s.ir\I§' iii lli;il IJl'(I\'l'. Il's .iI- OF TIIF LI\'IN(i I)E:\I'7 LIIIKI its |ii'iirIui'liui\ Il"l'- Ii.i\‘i' 1| (II5Il‘\II\.lIlII|\ (I(‘.|I \\‘Ilt'II wr skirlvd nitn
su liven k‘~lIIt'KI §‘ .<i'iiiIii»Iii' uiirk \Ii.il S\.ll‘l‘l'l'(I.\' iii qiii-iilly l'<lII\l‘§ u|i I|\\1\‘Il\'I'iII riii\\'c|'s.iliii|i. ll Sill)" ]Il'|VdU\'IllI|\. \\'i- ilirl it iili iiur l\\I1I\\'\' and nur iri-
I)!'lI\§1\l\g Ill Il|(I1l iii.- |\I'x'§.\\lI'L'.\' .iii<i I\'l'I'||I' ll‘ .i Il\'L".l|I\l' .I]\|I,|l'l"l\I III |X\\‘ II\.\\ I|l\' |1L'llL'SIS iii lIll>‘ \'\'§Illl‘>' I1\H|\\'_\‘, Lll\(I IIIPH .\L'\‘L.\l‘\'(I II1(' (IlSIl'II7U-
FHIIIIOSS 5-ii-ii-ii-. \\'ii.iii~vi-i ii iii.iy I70, lIl(‘ I.|\‘I i.< key \\'lIl‘R lI\ ni.~ I\1r|‘]‘rlI‘ riiiii }1L'l\l‘\' IS i.iii;i~iy l'\H5— ll\III KI(‘1|I.
iti.i\ NILHIT OF THE Ll\'l.\'1; DE.-\D is WIN‘ llI III!‘ \lI\(I\‘I'SlI"I[I, (I\1L' iii the kiri IIKII iiii- ;|llPI\lII\ KIN‘ CFQ- I i;iki- ii IIi.lI U\‘L'I‘§'II\\|i}1 l'vII\\'t‘I'I1\l\)Z
I'\\|)SI §ul‘i‘i-.\.~’IuI hui'riii' Iiliiis (‘vrr I‘IIilKIl‘. ll vim» Iiini I\.|§ I‘\‘l‘\'I\'L'{I I\.i.~= liirusi-d ll" iiiily iim~ i|it1i\'i- NIGIIT OF TIIF LIVING DEAD stiirlcd .\l L;il(-iii
HHUIJS Ill pliiy IliDilIl'('5 iiii iiiii iil (IllUI)Ir‘ IHIIS .§'L\ ilii.il. uL'|tl'}L\‘ RI1I\lL'l'Ii, liiiiiwi-ii \\'|‘IrIl' i|ii- in-iigiiinl iniiigo ii-ii|i Giiiirge R|lH\[‘I'4I| II\\' din-viiir. iind
yi-zirs 2|Il(‘l' its iiiiti'.iI rvli-aisv. It (‘IIIIIIHUPS in siivry uii wlii\'Ii lhr Iilrii is lusvd. and dIl‘FK'I\‘(I. III(‘I1 lIii- IIIl'l‘l' iii yiiii ixinic iiilii ii"
l‘Il'1\\A' K'l‘lI\\‘(I5. It ciintiiiucs lu sriiri‘ lhv Iiviiig d_iy- |1I\ItIiILI|'.l|)I\l‘(I A\"(‘ i-rIi\i-(I II\K' Iilni. Ilis viviilrihuiiiiri SI‘REIY\‘l-"I(' Tti.\t's |II\I\' pzirliailly vlwrrvfl.
Iiigtils iiui ul its ;l\liII(‘I\l‘(‘. in l!ii- siii'i'i‘s.~' iii NIGHT OF 'I'IIE LIVING DEAD Gcivriiv ZIIKI I, Iii!" \'XL|\|‘II[‘, wvrc tho iwii own:-rs
Thurr is siiniethiiii: \lX\l(]\.ll' .iIiuut NIGHT OF c.i|iiiii\ I)!‘ XlIIX\lII\IIL'(I. .iiiiI il is iiiii IIH‘ puriiiise nl III Lawn! Imlipé. I lhilik lhc l(I[‘C\ nl'I}III\l\I(‘(I n\‘cr
THE uvixc nmn iiiiii I5 I\1\l‘[I Ill ]7UI y-iiii Il|\){i‘I' lIl|:| iiiii-ii» Ill (III iniiii l'I4Il‘S \‘\I‘I"_L'4‘ Il‘4||’!\ ii.i_i~ IY\'l\\['UiI Gl'l!l"}1l' ;\I\(I -IUIIII :R\1SSft_l,
I\lI1('I\ iiiii~
UII. Il Hllilhl I)r Il£‘(‘1I\JS[‘ ii is Ll 2i\l\k‘rl'9 ])I‘|I](‘l'I I)\‘ iii.» Il'LlIl.\'k‘I‘II!!‘(I l'Hl\\'l‘l'5JIllHl\ \\‘III\ ii.ii<iiii.iii. Rus- LIIIKI they L‘Ill"llI‘ IiL|k‘I( l|l1l‘I 1l!'l11ll|\1‘PdIIIIlI we \\'l‘I:l‘
-I ilrivuii III Pillliurgh Iilniiimki-rs wliii IIJKI iirn-r sir .iii<‘I Slri-iiii-i‘ in lhiil \|ii- Iilm IS iiiir the iiiirk ii! iliinig In rlii .i hlirrllf Iilni.
Licklcri .i Iviiliii-i-—Ii-iiplli Iiliii Iwiiiri-. Ii riiultlliv l|I\l‘ ii\.iii. I¥\il iii .l(IKIIII4IXI in |Zl\'IX\il \‘!'\'lI\I V\Il(‘l‘\‘ RI SSO: Ii iriis nrluiilly Gr-iirge, :i IPIIOW mm»
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“ ' ” '*" I5.|\'Il'L‘-]Il'l'$llIi'lll ,|l\(I l‘l"l'.lII\'l' (Ill‘i'('IHI’ .ii II.|rd~
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George Romero, Richard Ricci, a cousin of Ro- film, although sometimes it's hard to treat that time? Even to flush the toilets. l mean it was
mero's associated with Latent image. Ruddy Ric- kind of premise seriously. lthink that overriding really hard work to shoot that filrn. Karl and
ci, John, myself, and a few other people. These viewpoint is displayed in the final product. Once Marilyn did the make—up. We all built props. We
ten named a corporation to produce the film call- you buy the fact that the dead can come back to made dummies that had to take gunshots.
ed image Tent and once the corporation was life, it's treated in all other regards as a serious RIJSSO: Friends would come out and cook for
formed, we secured our investment. film. the crew and for a lot of the extras that had to
CFQ: -Iohn, how did you become involved in Cl-‘Q: in the beginning, did you decide that this show up. And still we did it in 30 days. All the
writing the script? phenomenon of the dead coming back to life shooting.
RUSSO: George wrote an original story and it should happen over a wide geographical area. or STREINER: in all honesty. l would have to say
was up to the point where the people came out of be confined to a small setting for budgetary rea- that with as many of the production's shortcom-
the basement of the house. i think that's the first sons? ings as we can attribute to budget, and there were
thing you saw, Karl, when you decided that you RUSSO: We knew from the jump that it should a lot of those, you have to remember that it's the
wanted to be part of the project. You saw an in- be over a wide area. The only question was how first feature we had ever completed. We would be
complete script first and thun...maybe you don't could we deal with that in light of our limited kidding ourselves to say that we even now know
remember? budget. Could we actually create the feeling of all the answers about how to make any film. l
HARDMAN: l really don't. the phenomenon being spread over a wide area? mean we're still in the learning process. We had
RUSSO: But everybody said yeah, this is good. Karl. Russ, George and l would sit around and normal production headaches that we had experi-
this is right on with what we should do. A couple discuss how we could handle it. Could you deal ence at before. We learned an awful lot from the
of other ideas had already been kicked around. with a small group of people confined in a house whole experience. down through the distribution
Then Karl. Marilyn, George and I, together. fi- and still create the impression that the world arrangement. There are a lot of things that we
gured out an action outline of what should happen was falling apart around them? We decided that would now never consider doing on another pic-
from that point on in the script. Then. sort of by was the route we had to go and l think we suc- ture. either in terms of the production schedule
default, l ended up writing the screenplay we be— ceeded largely with that effort. or the distribution agreement. A lot of values
gan shooting with. l took the work George had CFQ: Your use of the television was very good have changed in the passing of six years.
written and all the notes from our discussions in that respect. CFO: So, not to drag this out or press the
and came up with the finished script. The screen- HARDMAN: Yes. The premise, of course. point, l take it you don't believe a film could gain
play itself was a community effort. Unfortunately, was the Venus probe being sent out and on re- any kind of symbolic character on an uncon-
there‘s been a lot of publicity scrambling among turn, picking up some stray radiation. The ra- scious, accidental level?
some of the people involved. and there's been a diation was detected and the probe exploded. with RUSSO: l think that could happen.
lot of misconception about how the picture came chunks falling into the earth's atmosphere. That, STREINER: lt could happen but it didn't happen
to be. lthink, in actuality, whether, for instance, naturally, would spread it over a fairly large with this film. it's very hard to determine. Fel-
Karl and Russ were the producers of the picture. piece of real estate. lini and Bergman and people like that certainly
and l have the credit as screenwriter and George STREINER: There was some discussion as to start out with a certain design in their minds. but
as director and so on, all of those categories whether the phenomenon needed to be explored by the time their fans and critics get finished
merged. There was a group of anywhere from that deeply. Did we even have to reveal how the with their films, l'm sure a lot more is built in
five to tcn people. l think you could safely say phenomenon came to be? There was some dis- by the word of the critic and the word of the fan
the picture would not have been made without the cussion about that. and then we settled for the than Fellini or Bergman had in mind for a lotof
presence of any one of them. it was very much a compromisc—the old radiation trick. their effnrts.
community effort. We had tremendous support Cl-‘Q: Don't you think it would have been in- RUSSO: Critics found all sorts of hidden
from Karl's friends and Karl's and Marilyn's as- teresting if no possible explanation were given’? meanings in STRAW DOGS. l read an interview
sociates, as well as our own associates and RUSSO: l think all of us would have preferred with Sam Pcckinpah where he said that he was
clients. You know, advertising people. Ad exec- it that way. But, at the time almost every film handed a bad novel and he was handed a screen-
utives came out to be ghouls and to sit there fool- we went to see in that genre had an explanation. writer. The only thing he could find good in the
ing around with bones and livers from slaughter- it seemed that the masses couldn't live without novel was the action in the siege at the end. So he
ed animals. There were about 250 extras in the some sort of explanation. We finally decided to decided to keep that and make the most he could
film and we could never have made the picture give them one, even though we would have rather out of it. and do a good action story. So Packin-
without their support. had various explanations attemjxed on the televi- pah's attitude about the film was vastly different
CFQ: ln the beginning, was the film intended sion, on the radio. by scientists. maybe religious from that of the critics.
to be done under the aegis of a seperate corpor- fanatics, or whatever. Everyone with their own Cl-‘Q: When you sit down and say, "Let‘s make
ation or by the existing Latent image? explanation and none really the explicit one. a horror film." the first thing that comes to mind
STREINER: lt was intended to be made under a HARDMAN: it was safer to explain it. That is let's scare people. What you have first is a
seperate corporation. There were several inher- was the only conclusion. series of incidents that are going to do just that.
ent problems had we done it as a Latent image Cl-‘Q: George Romero has called his original Did you then build your story around them?
project. lt got into a big stock hassle and things story for the film an "allegory." Basically, we- HARDMAN: l think the main things we relied
like that. so we chose the path of least resistence 've answered that the elements of the original on were the ghouls and their attack, the siege of
and that was to set up a seperate corporation and story were in the completed film. Do you agree the house. As the film progressed in production.
then sell shares in the corporation. Latent image, with him’? is NIGHT OF Tl-iE LIVING DEAD an we decided as a group that we needed more than
as a corporation, owns no stock in image Ten allegory? that, hence, The Last sipper. the explosion of
Corporation. RUSO: l don't agree with him. the truck. l think these were afterthoughts.
RUSSO: The primary reason was that we could HARDMAN: I don't either. RUSSO: Yes.
go to investors and say, OK, you're going to put SFREINER: No. I don't. HARDMAN: Those individual incidents. involv-
your dollars into this picture and whatever money RU§O: i think the film is an attempt to make ing the ghouls were written in after production
the picture makes, you'll be paid accordingly, money. And it's an attemtt to tell a good. honest. had started on the film.
rather than investors thinking their dollars would emotionally involving story. A lot of the critics CFO: Were the ghouls in the original concept?
go back into the coffers of Latent image or into have jumped off the deep end in likening the Were the living dead intended to eat human flesh?
the production of another film. So we set up lm- ghouls to the silent majority and finding all sorts SFREINER: They were ghouls. The original ti-
age Ten to do one picture and one picture only, of implications that none of us ever intended. l tle was Tl-IE FLESH l-ZATER5. insofar as the gore
and madeanagreement with the stockholders that think George wants to encourage that kind of is concerned, i can recall at the time there
every dime would be shared. thinking on the part of some critics. But I'd ra- seemed to be a very heavy influx of so-called
Cl-‘Q: In what ways was the final NIGHT OF ther tell them they're full of shit. horror films. ..
Tl-IE LlVlNG DEAD different than what you had HARDMAN: Jack is right. That's true. I-IARDMAN: That was the time nf BLOOD
originally planned, if it was at all? STREINER: l think that in setting out to make FEAST.
RUSSO: l don’t think it was. a general entertainment film, if some critics STREINER: .. .that were made in Mexico, and
§’l'RElNl-IR: Well. let's face it. We're dealing were entertained to the point that they began other foreign countries. They were just abomina-
with a fantasy premise, but deep down inside we reading all these fantastic social implications in- ble. They were just terrible films in every sense
were all serious filmmakers and somewhat dis- to it, fine. if that's how they're entertained. But of the word. They had no terror value, and al-
appointed because we had to resort to horror for l can't say that there were any overriding social most no value. period. We decided that once we
our first film. l mean everyone would like to do ramifications in the original design of the film. l reconciled ourselves to that premise then why
the great American film, but we found ourselves, mean that is just not true. sell it out? lf we presume that recently dead were
through a series of what we thought were logical RUS%: We tried to stay true to the premise coming back to life, would maim and otherwise
conclusions. making a horror film. Once we a- and we'd sit here and reject things. l think we devour victims. then let's show it. lthink in that
dopted that for openers. we then tried to make tried to make the people behave the way normal sense, that's the reason the film caught on so
the best, most realistic horror film that we could people would behave. And the limitations of the well. lt_ didn't sell out. A lot of people got sick.
make on the money we had available. in all as- film. as far as i'm concerned. stem mostly from but when girls went to the drive- ins with their
pects of the production we treated it as a serious the lack of budget. The shortcomings are just boyfriends. they ended up hiding their faces a lot.
having to use music out of the library. having to l think it has a value. in that context. in that film,
‘Unnamed members of image Ten include Gary go with takes because you couldn't shoot a lot of l think it worked.
Sreiner, a brother of the producer who worked film. We shot that picture in 30 days and they RUSSO: We did a lot of talking about how to
sound on the film, Vince Qirvinski, the produc- were real back-breaking days. Twenty—hour days. pay off the kind of people that like horror films.
tion manager at The Latent image, and attorney Some of us slept at the house where we were What do they like to see? There were a lot of mo-
Dave Clipper. who set up the corporation with in- shooting. There wasn't running water. We had to vies out. for instance. that would spend l5 min-
vestments, all small, from atotal of thirty-three carry water from a spring. Remember how we utes talking about a gigantic ying mantis that
individuals. used to carry garbage cans full of water at a was killing people. in the first l5 minutes of the

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listen to a black crowd because they're not in- HARDMAN: it's ominous. begun against the Reade Organization for huth the
hibiteti in any way and they want their man to win. CFQ: Right away you said to yourself that rights to the picture and for in excess of a mil-
CFQ: Both of you. Russ and Karl. played var- something was wrung all around. it was just so lion dollars in damages.
iuus roles in the making of the film. Both of you well done. CFQ: is this being filed jointly?
acted in the picture: Karl playing Harry Cooper RUSSO: And that was one of the last scenes STREINER: it's being filed by lntage Ten Cor-
and Russ playing Johnny. the girl's brother. Did shot. if nut the last. it was already getting into poration. ‘ Karl. Jack. George. one other stock-
you find any problems in terms of acting conflict- November and there was an ice cold drizzling holder and myself are at this point trustees of the
ing with your behind-the-scenes work? rain. We had to shoot between times that it would corporation. it's a five man committee appointed
SFREINER: Well. in my case. you noticed i rain. And then the people's breath was a problem. to be trustees for image Ten and to look after its
was killed oil in thc first five minutes. l think You could see their breath and it had to match the asset. which is NIGHT OF THE LIVING DEAD.
that had to say something about my performance. other footage. The foilage was gone from the Ci-‘Q: You have nothing more to say on this?
l was uptight about it. You can stroll around be- trees and we had to try to get around that. RUSSO: l'm not sure how much we can say
hind the camera and you have an ability to tell SFREINER: One of the things l'm still most without getting into a possible slander or libel
people how you want to see something. but when angry about is the original negative. the black and thing. Maybe we should let all that stuff be said
you're on the receiving end, as far as l'm con- white negative. The prints that were struck off of in court. l'm just not sure.
cerned, it’s a totally different matter. l'm ner- that. like our first answer print. were just beau- STREINER: Well. i don't think we have to re-
vous about this interview. l'm getting a little bit tiful. it was good-looking black and white film. serve too many comments. Anything l would tell
of mike fright right now, as a matter oi fact. When the deal was finally concluded with Walter you is my personal opinion. But l will most
CFO: Karl. you were prominent in the film. Reade. although we didn't have it in writing. they strenuously use my personal opinion to influence
did you have any problems? orally agreed that the eventual prints would be the judgement of the stockholders. Very frankly.
HARDMAN: Yes i did. as a matter of fact. pulled on Eastman stock and they would be good- I think we are now being screwed by Reade and
Duane Jones. in my personal view and only my looking prints. Well, the print they sent in—the we have been screwed by Reade. it's my intention
personal view. was unrlerplaying far. far too first time we saw it was at the premiere and it to see that it doesn't go on. We're very serious
much. lie was too far down. His performance was one of the most embarrassing situations. i about getting the rights to the picture back. We
was monotonous. without color. without inflec- hope to never go through that again. There was feel that there's alot of life left in it and we just
tion. And that worried me because i thought there lust so much detail in the original black and white simply have not gotten a fair count on the thirg.
had to be some color. some inflection in the film. that was just completely ignored. The Reade Or- Cl-‘Q: Are you ever contacted when the film is
i guess we talked about that generally and some ganization figured why give it any considera- about to be released?
agreed. others didn't. But i decided that my tion at all‘! it would have cost maybe three cents Si'RElNER: No. We always learn after the
character should be a sharp contrast with Duane's a foot more to have it pulled on Eastman Kodak fact.
character. So l played Harry Cooper in a kind of stock. i-IARDMAN: Reports from Reade are supposed
frenzied. fist-clenching. nervous way. And when Rtl§O: Because the film was made in Pitts- to be sent in indicating where and when the pic-
the first rushes finally came back and i saw my- burgh. we suffer some condescension from peo- ture has played. it's always after the fact. that's
self on the screen it was really embarrassing be- pie in the industry and people in other parts of true. Never before, because they have the right
cause. to me. Harry Cooper came off like a com- the country. One reviewer said it was a grainy to distribute the film wherever they deem fit.
ic opera figure. little product from Pittsburgh. Well. the print CFQ initially. were you satisfied with the way
STREINER: Well. didn't you move to Bucnos and negative we had looked as good as any black the film was being distributed?
Aires for a while after that’? and white film. l don't care what black and white RUSSO: it only took us about three or four
i-IARDMAN: Yes. l felt i had to get out of town. film you've ever seen. that print looked as good months to begin to get dissatisfied. not so much
RU$O: But l have to say that you constantly. as any. i was talking to a friend who saw the film with the way it was being distributed at first. but
throughout. asked for directional advice about in Seattle a couple weeks ago and he saw a print with the way the returns were coming to us. The
how you were playing the character. You were al- where two twenty-minute sections of the film first week the picture was released showed us
ways told that it was working Well and you had no were brown. That's the way the one at the pre- that it was going to be a hit. it made a lot of mo-
reasou to modify your performance during the miere was. That's no fault of ours. That's purely ney in Pittsburgh and in New York and Philadel-
filming. So l'm just saying that l don't think it a lab problem. yet something we get blamed for. phia in the opening bookings. We had projections
was your fault. That happened. and you may be it causes people to think. "Well. they just can't from the distributor and from the producer's re-
partially right. if there were a middle ground that make it in Pittsburgh like they can make it in presentative. and even from the owners of thea-
Duane could have been brought up to the contrast Hollywood." it's totally false. tre chains. that we would make at least a million
might have been eased. Cl-‘Q: How did you approach the distributors dollars on the picture. We feel we should have
l was in the film and l had some problems with this film? made. actually. more than that. Closer to two
that neither Karl nor Russ had. One of them RUSO: Russ and George went to New York. million dollars and that's one of the reasons for
was getting set on fire with gasoline. Bill Hinds- STREINER: With a great deal of trepidation. the lawsuit.
man and i did the scene where people were set on We finished the picture and George and f were STREINER: The picture had been in distribu-
fire with Molotov cocktails and torches. idldn't driving to New York on the night Martin Luther tion for about four months and on the strength of
have a beard then but l was the ghoul that got it in King was assassinated. And we figured oh. great. the four months play-off we received a letter of
the head with the tire iron. Remember that? And everything else has gone wrong up to this point estimate from our producer's representative that
the only reason for it was that we shot it at 4 o'- and here we show up with a film with ablack cat went into some detail describing to us how. by the
clock in the morning and everybody had to go playing the lead and probably every theatre in the end of 1969. from just the United States and Can-
home. The crew stayed. at least. andthey said country is going to be burned down within two ada. we would have accruedaquarter of a million
that l would do the thing. Karl did the makeup. days. We were not successful on our first attempt dollars. We haven't hit that figure yeti The pic-
We used Derma wax. That's what morticians use with the picture. Columbia Pictures had it for ture has now played in over 4000 engagements
if you get a nose taken off in a car accident. They quite some time. that we know of in the United States and Canada.
make you a new nose with Derma wax. And that Cl-‘Q: Were they the first ones? RUSSO: it played for a year in Rome in one of
damn stuff is really something. The only way you Sf'RElNER: They were the first ones to see the largest theatres and it's played for almost a
can get it off is to use a knife and scrape it off the picture. in any event. Columbia had the pic- year in Madrid. it's been dubbed into approxi-
your face. it takes a couple of hours and it pulls ture tied up for some time. all the time giving us mately Z5 foreign languages.
and feels like all of your skin is coming off. encouraging words like. "Yes. we like the pic- HARDMAN: it's played in Paris.
STREINER: As a matter of fact. if you're in- ture." and "it's just going through another bat- CFQ: While actually filming did you do any-
terested, Jack can pop his nose off for you right tery of screenings" and things like that. l came thing to attract distributors?
now. back to Pittsburgh and George stayed there for a STREINER: The only thing we did during pro-
Ci-‘Q: Something l don't think was fully ex- couple of days. But we were satisfied that the duction was to round up an awful lot of production
plained in the film was the body that was found picture was going to Columbia. Then George call- shots and we did put together a press kit of sorts.
upstairs in the house at the beginning. The people ed us a few days later and said that Columbia e- or a publicity kit with a dozen photographs and a
in the audience kept murmuring. "They're for- ventually turned it down. At that point we started few other things and sent it around to various
getting about the one upstairs. " We're all waiting looking around for a producer's representative. distributors while the picture was being edited. it
for it to come down. but it never does. We figured our inexperience apparently must got very little response.
STREINER: Yes. The way that thing was done. have been showing through to these people. So we RUSO: We had coverage during production
the impression was to be that it was so far gone needed and secured a producer's rep. After the from a local television station and we did have
that there was almost nothing left but a skeleton. rep picked up the picture we had five offers that one Variety article. There were some scattered
Probably if the thing had looked a little better. were almost identical over the next two months newspaper articles.
the thing we were using as the carcass. the audi- or so. We finally went with Walter Reade which §f‘RElNER: But there was no thrust. We didn't
ence would have understood. if we would only has turned out to be the biggest mistake we made target in on any distributors.
have had enough money to spend on it to allow the with the picture.
camera to dwell on it a little longer. it was one of CFQ: What kind of deal does an independent ‘The suit image Ten filed against Walter Reade
those Revell plastic. snap-together heads. with producer get with amajor distributor? will go to trial sometime during the first six
fake hair and blood and clay molded around like 5'l'Rl2iNER: lf we had been played fairly with. months of l9‘l5. A judge has been appointed. A
skin. we wouldn't have made out all that badly. We had long battle ensued over jurisdiction in the case
Cl-‘Q: The scene that impressed me most in a 50/'50 deal. The prints and advertising came off when image Ten insisted that it be tried in Penn-
the entire film was the opening scene. with the the top and then everything after that was to be sylvania. Reade insisted it be tried in New York.
ll‘ tifivinit along the road. split 50/50. And we have strong suspicions. and The dispute went all the way to the Pennsylvania
HARDMAN: The car‘? The distant shot of the it's my personal opinion. that we have not gotten Supreme Court who ruled that jurisdiction for the
var? a lair account from Reade. And on that basis we case belongs in Pennsylvania. The case will be
CFQ: Yes. it was just so... have now filed litigation. Litigation has already tried in Common PleasCourt in Allegheny County.
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23
tertained by it. gistics. We spent months making dummies and from Evans City.
CI-‘Q: Then it should be advertised as basically things. and scouting locations. and finding out CI-‘Q: Were these people paid fur what they
a splashy horror film 1’ just where everybody’s head was. did‘?
HARDMAN: Yes. They're still going with the STREINER: The only crisis was keeping the HARDMAN: Lltimately. everyone was paid.
original FRANKENSTEIN and DRACULA. commode at the location Working. That created STREINER: There was a fair amount of inter-
STREINER: No. I don't think you can all of a some very tense. anxiety-filled moments. Other est. too. in Evans City about the shooting itself.
sudden say that because a lot of people are inter- than that l shot Karl in the chest three or four Like the night we blew up the truck. We had two
ested in seeing this picture it is an art Iiltn, then times. My brother got his arm burned one night. identical trucks. One we rented up there. Didn't
revamp the advertising to a level of sophistica- He did it inadvertently when we were shooting one we buy the other one for around $45?
tion that will get a whole new audience. Ireally of the outdoor scenes—well. how can you catch IIARDMAN: Yes. something like that’?
don't think you can do that. your arm on fire other than iriijgrtently? SFREINER: We towed it up there. On the night
CFQ: Some of the slick magazines and critics RUSSO: Like most other films. NIGHT OI-‘ we blew up the truck we decided to wait until two
have alntust called it that. I don't think NIGHT THE LIVING DEAD wasn't shot in sequence. So. o'clock in the morning because we weren't quite
OF THE LIVING DEAD has a general appeal, and for some scenes the house would have to be total- sure what was going to happen. Still. in all. there
must have been I00 to I50 people who hung a-

F perhaps it could reach more people by making ly boarded up. I-‘or other scenes that were sup-
some changes in the outlook of the film. posed to be earlier in the film the house was in a round. They wouldn't go home.
SFREINER: Those are really bridges we have different stage of being boarded up. and we had to CI-‘Q: Did anything happen that you didn't ex-
to cross when we get to them. The first and im- remember all these different stages. When we'd pect?
portant thing is to get the rights back. Then we'll unboard the house we took magic marker and STREINER: No. it wasjust that everyone was
have to sit down and have a couple of skull ses- wrote on the board "upper left—door." and on an- so curious. I just mention the truck blowing up.
sions as to what to do with it. whether we redis- other board "lower left-—door. " We'd have to put but there were nights when people would hand a-
tribute it ourselves or look for another distribu- these boards back in exactly the same place. In round way into the morning hours just out of
tor. some takes. even now in the finished print. if you sheer curiosity.
RUSSO: There are certain kinds of people who look closely. you see Duane boarding up and you RUSSO: Well. some shrapnel came pretty
need intellectual pretensions before they'll go to can read "upper left-door" on the board. close to you and me.
see a Skin ick. NIGHT OF TIIE LIVING DEAD HARDMAN: And then teaching Duane how (O I-IARDMAN: When you‘re dealing with pyro-
has already played in the Museam of Modern Art. use a hammer. how to hold a hammer. technics and say you're not quite sure as to what
So maybe you are right. Maybe there are certain RUSSO: Duane wasn't much of a carpenter. We will happen, that sounds funny. but a hubcap could
kinds of people who need intellectual pretensions had to drill holes in the boards that Duane put the sail off and decapitate someone.
before they'll go see a horror film. but once they nails into. RUSSO: It was TNT and gasoline and we had
get into the theatre they'll dig it. CFQ: Why did you have to shoot it that way? never blown up a truck before.
IIARDMAN: I think that's true of a minority of Why not shoot all the boarded up scenes at once? STREINER: We now conduct lessons in it.
the people. IIARDMAN: It wasn't that well planned. RIJSO: We weren't sure the fellow handling
RUSSO: Maybe we should make some attempt RUSSO: Well. some of the actors weren't a- the demolitions wouldn't be overenthusiastic. We
to sucker the audience? vailahle. We had to work around people's sched- shot the scene with three cameras to be sure we
STREINER: I don't think anybody is really go- ules. too. We couldn't afford to break down for had it. As it turned out we were able to get two
takes. The TNT blew the truck off the ground a

ing to be suckered. It's a film that pays off most five days and wait. so we'd go ahead and shoot
people. It has some value other than the blood and something. then backtrack. little bit and then ames burst out all over. but
guts aspect. Cl-‘Q: Was your script completed when you be- they died down quickly and we got another take.
RUSSO: I think it's a different thing. like I gan shooting? Cf-‘Q: What was the hardest scene you had to
A
said, to sucker an audience. If you're going to STREINER: it was completed. other than the shoot‘? Karl. Iremember something about a coat
use tricks to get people into a theatre. and once incidents Karl mentioned that were added after tree that kept following you down the stairs?
they're there they're going to like what they see. the fact. Once the shooting started to take some HARDMAN: From my own personal point of
view that was the hardest.
,

it's different than using tricks to get people into shape the script was embellished. but the basic
scrip was finished when we started shooting. 5'f‘RElNER: Karl's famous death.
1

| an audience to see something they're disappointed


in. What l'm saying is that there might be a seg- Cl-‘Q: I read that the scene Karl so fondly re- CFQ: Would you elaborate on that?
ment of the people that would love. really enjoy fers to as "The Last Supper" was a spur of the HARDMAN: Very simply. Iwas holding a rifle
a horror film. but they've got themselves psych~ moment addition. Didn't abutcher drive onto the on Duane and saying we were going to do things
ed out of those kinds of plots. and they need to set with all those intestines? rny way. I-le turned and threw a board at me.
first believe there's something more to it. HARDMAN: Well, no. One of the stockholders knocking the rifle out of my hands. He grabbed
Cl-‘Q: What was the ratio of footage shot to owned a chain of meat markets. We knew that we the rifle. leveled it-whammf Of course. as the
footage used? needed intestines. livers. hearts. and stuff like character I saw what was coming. The force of
RUSSO: We shot 56.000 feet. that. So he arranged to get those things from the the bullet was to slam me into the corner. I was
STREINER: We used 10.000. It would be safe slaughter house from which he purchased meat. to bounce off the corner. hit the piano on the oth-
to say 5.5 to l. Somewhere in that area. They were all goodies belonging to lambs which er side of the doorway leading to the basement.
CFQ: Who was responsible for the editing? are supposedly somewhat similar to human or— then clutching myself. fall down the steps into the
RUSSO: George Romero. gans. We had to slush out the intestines. literal- basement of the house. Well. there was a coat
STREINER: What we would do. as each scene ly. That was pretty grim. tree next to the door which had been in every shot
was cut. was sit down and look at it. It's very RUSSO: That was comic when I first saw it. and there were coats on it. Eleven times I got
hard to look at a film in that way. So the first im- Vince Sirvinski was standing there with those in- shot. slammed myself into the corner. bounced
pressions everyone had were pretty much created testines, washing them out with Coke bottles full off onto the piano and got wrapped up in that coat
from the first rough cut of the film. Then there of water. There wasn't very much that was funny tree. and the coat tree would follow me into the
was a lot of discussion about what should go and during the filming. at least for me. it was all basement. By the time we got agood take I was
what should stay. In that regard it was committee hard work. so exhausted from laughing l hardly had enough
edited. but the mechanics were handled by Ro- HARDMAN: l'm still amazed that somebody energy left to do it.
mero. during the filming didn't just collapse and die. SFREINER: Probably the most difficult shoot-
CFQ: Did you use stock music and who select- right there on the spot. ing was the clay we photographed most of the pos-
edit? CFQ: Why do you say that? se. the helicopters and the police dogs. it was
HARDMAN: it was library music. HARDMAN: Because of the hours. difficult just from a pure logistics point of view.
RUSO: I think we all had a hand in selecting RUSSO: it was really. really hard work. We had an awful lot of people to handle. We also
it. Karl even made some in his studio. S'i'REINER: I don't think we'd go through the had to be very careful. One person was assigned
HARDMAN: A lot of the electronic stuff. same kind of production schedule again. At four to make sure all of the live ammunition was out
RUSSO: Karl and Marilyn recorded a lot of the o'clock in the morning. after you've been working of the weapons being used in the scene and re-
sound effects and invented sound effects here and iB hours, your objectivity gets a little on the placed with blanks. We didn't want any mishaps.
there that were slugged in when we needed them. cloudy side. and all you're interested in doing is or anybody thinking they had an empty gun and. in
There's a very practical reason for using music sacking out someplace. You've been living on ham fact. shooting someone. That was difficult. but
in place of sound effects. it's cheaper and easier. and cheese sandwiches and a couple beers for only in the sense of the logistics.
l think we would have preferred to use naturalis- three days. Cl-‘Q: The Sheriff at the end of the film is ex-
tic sound effects throughout NIGHT OF THE LIV- CFQ: You used local. non-professional people tremely loose and humerous. Was it planned that
INC DEAD. l think it would have been more in this film for supporting roles and as the way?
ghouls. What was the reaction when you walked RUSSO: fie had never acted before. I gave hirn
frightening than to go with the music. But the mu-
sic covers up sound effects. We would have had up to somebody and told them. "What we want you all the facts about the ghouls and about the situa-
to record and sync all the footsteps and nail to do is wear these torn clothes and munch on tion. I told him when he was being interviewed to
pounding in the Iilm. It's just a much more Ia- these animal intestines." keep this fund of information in his mind and an-
borlous. expensive process. HARDMAN: Both Latent Image and Hardman swer the questions in his own words. So those
CI-‘Q: Was there any crisis before or during Associates were working closely with all the ad- were some of his own words. We decided to leave
the making of the film? vertising agencies in the city. The word was out it in.
RUSSD: l think we worked very well together that this picture was going to be made. We sim- CFQ: it is very difficult to assign creative
ply put out the word that we needed extras and a cooperative effort such as filmmaking.
credit to
once we started shooting. The only discomfort we
had. really. was in getting organized. We had all everyone, almost without exception. was very Who deserves the credit for whatever success
worked together on commercials for a short eager to take part. Because of the glamour. the NIGHT OF THE LIVING DEAD has achieved?
stretch. but we had never worked on a project so so-called glamour. HARDMAN: In a singular or plural sense?
large. that demanded so much in the way of lo- RUSSO: We used some of the townspeople CFQ: Either way. if it‘s a singular sense, who

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thought that the people who made NIGHT OF THE Kai-I can't even lace a liverwurst sandwich. first film and that was the major problem In
LIVING DEAD must he next to savages. that no HARDMAN: I still don't see how they did it— writing sequel.
a
civilized person ruuld bring hintseli to pholo- biting Into that raw li\'er and heart... CFQ: Is there anything arty oi you would like to
graph fttnnibttlisnl and that sort of thing. I ne\'er STREINER: Do you want to bl‘ exrused. Karl? say about NIGIIT OF THE LIVING DEAD that we
felt that I should be taken out of society. No. I think it had its place in that Iilm and have not covered. or are there any misunder-
CFQ: One oi the reasons horror iilnts are so vonlronted with the same decisions on basically standings you'd like to clear up that may have re-
popular is that people enioy being frightened. the same points I would probably be in favor of suited Ironi interviews with other principals?
Would you agree‘? doing it again. Even though a lot oi parent groups Rt'SSO: There has been one basir misunder-
IIARDMAN: Yes. think we're raving lunaties. standing that's rropped up in all the interviews-
RL SSO: Most Iairy tales have something tltat CI-‘Q: Alter the sureess oi your first iilm. one that. artually. we had nothing to do with the pie-
is trightening in them. llansel and Gretel throw would have experted you to do another horror ture!
the witrh into the oven. It's in the realitt oi Itin~ film. yet what you did next was THE AFFAIR. STREINER: There has been a sort of running
tasy. though. It never afievts aityl)0(ly's sensibil- STREINER: Image Ten was dissolved helore Iued I)Pl\\‘€t'It people who are still with Latent Im-
lIl('S. really. that by its very nature. As a corporation tve were age and the people who have left and Ilardman
lIAltI)Itl.~'t.\I; Sfllllt‘ |)S)'t‘III;ttl‘ISlS \'I'-llill that it lIllI_\‘ |X‘t‘tttiilt‘t‘I by till!‘ t'||I’|HII"IIl[‘ t'Il1lI‘ttt'l€‘I‘ oi Asstwiiiies. I dun‘t (‘\‘[‘I'I I(IIOtA' how It got started.
CIHDS. I(It>I\'I iitiiiiit=ii Inliuy Iltlll. |lI‘lI(IIll‘|‘ IIIl(‘ niiii. Ileyond IIILII IIl(‘l‘t‘ \\‘itS SIIIlIt' As tiir AIS Illl‘ Sll(‘(‘l‘SS UI Iltt‘ |‘|I(‘i\t\I'(‘ is (‘lbl'll‘[‘!‘I\[‘(I.
RI SSO: I don't agree with that. tlisagret-mt-nt about what the set-ond film should we all have a deeply vested interest in it. I rer-
CI-‘Q: Ill Ill? Slllitl‘ l‘£‘5l)et‘l. (ItIll(I;|I\\'il)'5 \\'llt5 iii-. As .i IIIKIIIPI‘ ot Ittfl. lltere W215 ii |ll‘(‘ll)' Illtltl IZIIIII)‘ iittin dislike. til‘ ii.iti~ L\Ilyl)4l(‘l)' ill t.iiti-tit
out ovt-r Evil in Iatry tales. There are many lior- stretch oi time while various ideas were beitig Image.
ror Iilms today where that iust doesn't happen. or kieketl around. Evt-ryone had several diift-rent i- IIARDMAN: Well. I think you Ieel put upon he-
thert‘ is tto (‘Il‘.\I‘ rut sense oi good and evil. In deas. andtwe iiiially zeroed in on a hort-or an- rause of tlte obvious attempt to rop the glory on a
NIGHT OI" TliI'I LIVING DEAD there is no l‘l(‘;ll‘ thology. \\'e got itito beginning disrussion on that. single-hantiet'I basis [or the protiurtion of NIGHT
delinitioii oi good or t-vil. For some reason we gut off the horror anthology OF THE LIVING DEAD.
STliEINERt NIGHT OE THE LIVING DEAD had and otito sonietlting else. The evt-ntuzil result was STREINER: Well. yes.
been out tor nia\'be a year when a story appeared the film now railed THE AFFAIR. IIARDMAN: You know. that's ti hit gross. a hit
in Life niagazint-. It iust so happened at the time CI-‘Q: What horror Iilnis have you seen that niurh. Ithlnk. Idon‘t know the reason tor it.
the stoi-y ;||i]'lt‘1|t‘t'tI. in some small iotvit iti Ne» impressed you‘! RUSSO: That's the toite oi the Newsnlg ar-
braska a part-tit group was tip iit arms that the RUSSO: Not too many. tiele.
titt-tit-r iii l|tt' tllII_\' theatre Ill IIIPII‘ t~oiiititiiitit;.- iiiit- STREINER: iii its tttiit-. TIIE TIIING lt‘l’I'IIi(‘tI IIARDMAN: Yes. I lliI|l|lPlt to tiiiiik tii.it's \'ery
l‘(I It! |)I2|\‘ IIIIIIS like xiuitr or "rite LIVING nit-. II)’4lIl (‘Elli pitt PSYCHO Ill tiiiit l‘;\I(‘gt)r)‘. t'(-'l‘- UIIILIII" \\'IIt‘Il there it-mi so iitiiiiy |K‘it)ll(‘ lII\'iiI\‘('(I.
DEAD. aiul I guess a t‘ou|ilt' of X-rated Iilnts al- tainly it is one of my all-time Invoriles. INVA— anti I'nt not inst talking .tlioul ntysell.
so. 'i"iitiii- t‘IIIl\|1l;|iIll \\‘LlS IIIZII lit‘ Ililtl 1| L'£l|lIl\'€' il\1- stow or THE BODY smrcnrns was .i gootl RUSSO: Tll\'I'\' \\‘l'l'(' st. iiiiiiy ))(‘ii|)Ie III\’UI\‘(‘(I
tlienre and ii people in that small town wanted to tilni. Beyond that. there art.-n‘t too niziiiy. There in ways that were rrttrial and they don't even
go to the theatre they had to see what the owner are several seit-nee iietion iilnts. some oi the ronie otit in the rredits. I t'an think oi one point
thought they should site. Dut I t'an't help thinking things George Pal did. and therv was THE DAY when we wert- ttrst getting organized. Karl was
that WIIPII you tlt"<|]I your kid oif ill ii-titit III Illl‘ THE EARTH s'root) STILl.. Tlltil WIIS It good iieiitg (‘tlII5I(Ii'I"l'tI IIlI' tiirt-t-iiti-. ut-tii~gi- oit-ii waiti-
shoiv and the nt:u'qu1-ti says NIGHT OF THE LIV- Illln. VILLAGE OI" THE DA.\INED had Sonivthing ed to put his iianit~ under eonsideratioii. Do you
INC DEAD. you should know it isn't going to he a goiitg for it. But it is really surprising when you renieotber. I(.irl'.'
Disney Illm or HANS IIIIINKER AND TIIE SILVER sit down and try to rerall the iilnis that have IIARDMAN: Yes I do. I hadn't until this min-
SKATES. So. it you tlo|i't want your kids to see a made tut Impression on you. Tht-re are so many ute.
iilni with that title antl you have sonte suspit-ioiis filios your ioiiid iust snaps shut on. You t'an't CFQ: All oi you are tht-n strongly against the
as to what it might be. then tion't take them. The even rt‘t';tll the titles. Many oi the -Iapanese Iilms “one nian movie" t'ont'e|it. es|)et'ially tlealing with
;u'tit"Ie I thought was o\‘t~rt'riIit‘al was thi- one sut'h as MOTHRA. I fall to see Iiow they did the NIGHT OF THE LIVING DEAI). bevause it's quite
they eventually reprinted in Reatlvr's IgL§. a- business they did. other than the Iaet that they obvious itow that it wasn't that kind oi prtidurtioit.
iitiiii Il'I(‘ i‘IIt't'I till‘ tiiiit I\L\(l ‘Ill RIII illltllt-‘lit’? UI W('I‘[‘ a iiiiviiity. The iIi1|)itllI‘S(‘ (‘l‘\l5Il vities WEII RL'SSQ1IlItitII( ittiiiiiitiioiig Ill [,!!‘1l(‘l"{ll is .1 titti-
small t"ltildren. It was originally printed in some but I bt-lit-ve they've all been working irunt one et-ss that is very seldom dominated by one per-
Cltiettgo p;ipt'r. then |‘e|irintet'I in Reader's Digest. hasit‘ svript. son. I lhiiik there's a t"ertain nivthology that's
\\'eII. he's entitled to his |It)II\l of view. but we're IIARDMAN: I was going to nientiun FR:\NKlIN- grown up itrountl tlii'et'tt:|‘5. I don't believe It til-
t't'l‘IilIllI_\‘ not monsters. Oh. ItIon't know. maybe STEIN. THE PHANTOM OF TIIE OPERA and reetov is ever quite so iniluential in what t~o|1tt's
we ill'(" DRACL t.,\. Tiitit |)Iat'es Ill(‘ -.it 2| point tit time tiitt its the Iinishvd |lI'lltlll!‘I its the mass media. or
The thrust of the article was a romptu‘isoii bt~- when l was very young and they really seared me. direeturs. would like people to believe.
tween NIGHT OF THE LIVING DEAD :tntlTIiE RLSSO: THE PHANTOM OF TIIE OPERA Somebody otire said that onee you at‘Iitt‘\'r.' a
THING. I guess when this writer Roger Ebert really scared me. but I was iit gratle st-hool when certain level of talent. after that. making Iilnis
was _\'tlllIltI(‘l‘_ Ill‘ \\'I\S terrified of THE THING“. I saw it. I l'(‘l'tIl‘IllI)l‘l‘ \\'ll(‘tl I \\‘ilS 3| kid. really I)l‘(‘llIl\t‘5 ii ilIi\IIt'I' III iiit-it. Ii you ii-.iiiiit=ti to be 2
Well. everyone has grown up slnee the days ui being up for seeing Fraiikeiisteiii films. But I was diret-tor. then you‘re the one who gets to deal
THE THING. and I’ni nut so sure ait audienve is- always Ll little disappointed when it was over. with all the (‘It‘I'\‘l\IS attd all the supporting peo-
ii't prepared tor a Iilni like NIGIIT OF TIIE LIV— STREINER: Fruni my own point oi view. I am plt~. The same goes lor produeing. And. if the fi-
ING DEAD. Films have gone beyond that now. more in favor OI the IIitCh(‘ot‘kbrand of suspense ital produvt is 5ut't‘essfuI. everybody says. "Oh!
And I'm not eerlain to any Itighei' degree oi ar- anti terror than the overt. blatant terror. II you \\'hat 21 genius!"
llSt|t' level. I Iliiltk a lot oi the stuff shut since ran trigger the ;tudlenve's inltlgiltttiiult you've won CI-‘Q: NIGHT OF TIIE LIVING DEAD was di-
NIGIIT OE TIIE LIVING DEAD is so n\ut‘h l‘t.lI)- the battle. II people fan be vaused to use their t‘et‘tet'I by one man.
bish. irankly. I think a lot of people aiter seeing brains. as we |)I'U|)£tI1I_V did listening to Sergeant RIJSSO: George Romero directed the pieiure
our Iilni. derided they were going to pattern their Preston on the radio. that's invaluable. You t'ati‘t and did a damn good ton of it.
films alter it. I think that's been. nn the whole. do everything for them. You've got to trip somt‘- STREINERZ I think you make it bad mistake if
unsurvesslul. But audiences are prepared tu thing iit their personal psyeholug ii you want to you try to dirt-rt a filnt by committee. A produr-
rope with things like NIGHT OF THE LIVING make tlieni laugh. rry or be Irightened. I think er. or iiiiaiieial people. can only influence pro-
DEAD. otherwise they wt)u|dn'tke1-pguing baelt. the reasun we have it hard time reralling good tluvtion up to ti point. Then the person who has
Either that. or we're raising a real society oi horror filrns is beeause serious filmmakers have been delegated as direetor. and this is true oi any
niasot-htsts or something. shied away tront them. You ran list any number iilni. I doti‘i rare what it is. must locus every-
CI-‘Q: I think we've covered the explirit ap- oi worthwhile westerns because it was Iasttion- thing through his \'ie\\'|tuint. Otherwise you have a
pi-oarh to the gore in NIGHT OF TIIE LIVING able at the time for a name director to do a Wes- hodgepodge.
DEAD quite extensively. but alter all the dis- tern. Dirertors who know what they've doing have Rt SSO: There are certain films. too. that
russion about horror Iilnis. I'd be interested to shied away ironi ltorror tilins. don't require an extraordinary directorial view-
know. not\. in the light oi all you've said. it you CFQ: Do you people have any Iuture proierts point. The director doesn‘t rreate the film be-
feel the gore was iustifiod? In the wurks'.' rause the srript pretty niut'h speaks for itsell.
HARDMAN: Yes. At the time I was a negative STRI-JINI-JR: At New American we have a tilm Now there aren't too ntatiy ways Duane Jones or
voire. ldidn‘t think we had to go that tar. ButI'ni we're treating as a direct sequel to NIGIIT OF Karl would have played their roles. Sometimes

as
very glad we did. TIIE LIVING DEAD railed. surprisingly enough. things are set in ntotitnt. and within rertain per-
STREINER: But you liave to renieitiber that RETURN OF THE LIVING DEAD. imeters. they Come out about the way anyone
CI-‘Q: You don't have any fears about doing a would have predicted. Then there are other Iilms
—— ——— — — ———7— —— sequel to NIGIIT OF TIIE LIVING DEAD‘? that are rreated irom the beginning to end during
Some levity behind the set-ties of NIGHT OF THE STREINER: No, because the srript has really the produt'tion. These iilnis require rreative ta-
LIVING DEAD that belie liappiel‘ times. Top: With worked out well. I think we've nianziged I0 retain lent. and maybe even genius. But I d0n't believe
paint burket and hammer in hattd. dirertureorge the good parts and strip away the bad. It'll stand NIGHT OF THE LIVING DEAD is one oi those
Romero poses with his east. going eloekwise: on its own two feet as a lilm. I'm very pleased films.
ilttdith Ridley holding a |ar of Bosro used as blood with how the srript has gone. We‘\'e had it Iut uf CEQ: Well. Ihere"s only one other thing I still
in the film. protiueer Karl Hardman. his real-life battles about the srript and some oi the details. don't understand. It's that rlothes pole that kept
and liltit daughter. Kyra Srhon. and ltlarilyn East- RUS50: Those were healthy battles Ill working toilnwitig you down the stairs. Karl. It amazes
man. vttvt-red with Bosro Ior her death stene. out the ronrept. Rudy Rieri and I worked on the me that all those people in that farmhouse. their
Bottom: llardmatt relaxes between takes as sunte- story and Rudy wrote the screenplay. I‘ni also lives in horrtiying danger. would take time out to
one applies some Iresh Ilosro. Like the tilni it- very happy with it. It's unique atid a whole differ- hang up their coats!
self. the makeup was a community eifort t‘nntrib- ent aspect oi what happens when the dead come
uted to by all involved. bark to lile. It's in no way an Imitation of the

Z7
HIM REVIEWS
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28
‘t
YOUNG
FRANKENSTEIN
...a witty tribute to those Christopher Lee as
SCaI‘antat\i!a_ THE
MAN WITH THE
,, black-and-white movies oflthe GOLDEN GLN. taunts
his mistress (Maud
past that never made anyones Adams) whom he
suspects may have
blood run cold... betrayed hint. Lee
tollows ably in the
YOUNG FRANKENSTEIN A 20th Century-Fox Re- tradition the linncl
lease. 12 74. 105 minutes. in Black &- White it films have set for
Plywood. Produced by Michael Gruskuti. Direct- exotic. larger than life
ed by Mel ilrouks. Screenplay by Gene Wilder and villains. while. sadly.
Brooks. Director oi photugraiihy. Gerald Hirsch- the hero of the series
feld. A. S. C. Music cnmpnsed and conducted by begins tn lose his
John Morris. Orchestratiuns by Junathan Tunick. excitement.
Viulin Solo by Gerald Vinci. Edited by .iuhn How-
ard. Production designer. Dale llennesy. Set
decorator. Bob De Vestel. Assistant director,
Marvin Miller. Makeup artist. William Tuttle.
Costume designer. Dorothy Jenkins. Special ef-
fects. Henry .\liller. Jr. aiut liai Millar.

Dr. Fraiikensteiit . . . . . Gene Wilder

Igor .. . . . .. . . ... Marty Feldnizut THE MAN WITH THE GOLDEN GUN
Elizabeth ..... ..... Madelitie Kahn
Frau BlLi(.‘li[‘l‘ Cloris Leaciinian _]ame5 Bond |5 dead
Inga . . . . . . . . . ......'l‘eviCiarr
inspector Keiiip . . . . . . . Kenneth Mars
lllittdntatt .. . . . . . . . . . . . ... . . . . . Gene liackniait THE MAN WITH THE GOLDEN GUN A t nitetl villains. all in top forni. Christopher Lee infuses
Artists Release. I2/74. in Color. Produced by the character of Scaranianga with life and pur-
For those who spend quiet Saturday afternoons Albert R. Broccoli and liai'r_v Saltzniait. Directed pose, a role oi deserved prestige and importance
tvatching age uld horror Hicks on the television by Guy Hamilton. Screenplay by Rit‘ltat‘til\1ai|iauin fnt‘ ii master screen villain who has paid his dues
set. YOL NC I-‘RAl\'KEl\‘STi-iii\' should be a plea- and Toni Mankiewicz. Music l‘lIlll])0S9H and con- in being typecast itt it genre with more than its
sant surprise. Gene Wilder. who plays the young ducted by .lohii Barry. Lyrics by Don Filack. Title share ui |nw»budget potboilers. Lee's Scai'amati-
Frankenstein can take niaior credit for scripting Song perfnriiied by Lulu. Director of photograpiiy. ga is a man with a iob; that ioh is killing people.
this umpteenth take-oil on the Mary Shelley novel Ted Moore and Ossie Morris. Protluction tie- and he does it better than atiyone else. He takes
and he seems to lia\'e a proiound influence un the signer. Peter Murton. Sipervisbig editor. John pride is his work. iltit the pride ot il madman. but
director. instead oi the usual tastelessness of Shirley. Edited by Roy Poultuii. Special efiects the pride of ti pruiessinnal who tioesn‘t pretend
Mel Bvimks‘ tithe!‘ lilnis. YOL NC FRANKEN- by -lnhn Stears. lit be anything ntnre. While giving Blind a tmtr nl
STEll\' is a witty tribute tn those black-and-white the solar energy plant. pointing out various nia-
muvies of the past that never made anyoiit-'s .lanies Bond Roger Moore chines and their function. he ireely admits that
blood ruii cold but still had a unique style that ltas Scaramanga . . . . . . . . . Christopher Lee he doesit’t know how it all wrirks. Alter all. that's
not been recaptured in conteniporary lilnis. Mary Goodnight . .. . . . . Britt Eklaiicl not his iob. Searamanga is aided by a French-ac~
The iilni is best described as a homage to Andrea . Maud Adarits ceiited midget. Nick Nack. played by Herve Vil-
those ancient horror films. it is a homage ren- Nick Nack . .. Herve Villechaize lechaiwe. who manages tn upstage both leading
tiered with intpeccaiile fidelity. The improbable J. W. Pepper .. . Clifton flames men. Nick Navk is not the flunky usually tied up
glimpse of the distant castle sitting atop its very Hip . . . . . . .. Soon Talk Clli with the chiei villain but an intelligent. know-
nwn pinnacle. the cnhivebby interiors. the music liai Fat . . . . . .. Richard Lnn
. letigeaiile partner with ambition to eventually
-both eerie and cut-ny—the specific borrowings Rodney . . . .. Marc Lawrence take over the operation when ltis boss iinally
las the hairdo nf Elsa Lanchester as THE BRIDE M ...... . . . . . . . . . . . ... Bernard Lee meets his ntatch. Veteran actor Richard Loo who
OF FRANKENSTEIN] all bespeak a loving faniil- Miss Moneypenny . .. . . . . . . Luis Maxwell has played the Japanese oificer in countless \\'\\'li
iarity with the obiects oi their aifectinn. Lazar ..........
. .. ...... Marne .\iaitland lilnis is iiai Fat. a business magnate who ])lnl5 tn
Peter Boyle's monster is based lovingly on gain at monopoly on the technique for the efficient
Boris i(;irloff's incarnation in the 193i James in this, the ttitttit in the Broccoli-Saltzmaii use oi solar energy by stealittg iut invention. a
\\’ha|e classic. but what Boyle lacks is a hint of series and the tenth James Bond novel tn be film» "solar agitator.“ and hiring Scaramanga tn kill
terror. Kai-loii‘s ninnster would either elicit fear ed, Bond is pitted against one ui his ntore bizarre its inventor.
or pity from iui audience. but this new "monster" adversaries. Francisco Scaramanga. a million For the most part. the laii Fleming novel has
brings out nothing but love. Even in his ranipages dollar hit man. interiiationally known as THE been abanditneti except tor its title. No longer is
he is a gentle creature easily stilled by soulful MAN WITH THE GOLDEN GL‘N because of his Scarantanga one of Fidel Castro's hired killers
violin t‘ll\lSlL'. The secret lies with D0_Vle'S shifty penchant Int‘ using golden bullets in the gun of the and the action has bcclt trititslerred from Flem-
idiot eyes. Confined to ntuttering varialittns on a title. which he easily disnianties and conceals on iiig's beloved Janiaica to the Far East. Even the
"Mmmuuuunininiiiini“ theme throughout the iilni. his person in the form oi a pen and cigarette iinal ronirontatioit in the snake infested swamps
Boyle must cnnstaiitl_\' rely on expression tn form case. The killer has one peculiar identifying as two human anintals stalk each other has been
the comedy aitd the citnipassioii of his rule. When mark. a third ntp|ile on his chest. transferred indoors to the far less satisfying
Gene i>i;ickman's well-nieaning blind nian repeat- The filnt is entertaining and has all the gloss pseudo-aniusement park atmosphere oi Scara-
edly pours soup into the minister's lap, Boyle's that distinguished its predecessors. but followers niang:i's hideout. Draitiu and excitement to he
agonizing l'IIH\l)illi\lit|ll of stricken eyes and lite Iii Bond iia\'e l‘t)Iite t0 realize that James Blind is llttind hnth in the novels and past lilnt etttri(‘Sha\‘e
revealed rubble oi gnashed teeth constitutes an dead. At least the character created by the late given way to comedy and the absurd. The ftlnt re-
excrutiatingly iunny expression of victimization. lan Fleming in thirteen novels and aptly poi'tray- introduces Clifton -lanies as the stout iiayou Sher-
\\'ith Brooks, the Briyle-Hackntan hi—|in.ks work ed by Sean Connery has passed away. The Flen\- ifl J.W. Pepper. wiio first met Bond in LIVE AND
beautifully as physical vaudeville: the blind nian ing character was a cold |ii-oiessioiial wiio i-ould LET DIE. Once again. a boat chase introduces the
and the nionster exchanging toasts niiiy tn have rcmorselessly gun down it S.P.l-I.C.T.R.E. agent t‘hat':tt'ter tor some comic sct-ties which, while
the blind man smash the minister's wine mug: the tcniisequently the double 0 designation. the li- certainly entertainntg. go against the basic grain
hulk)‘ exuberance of Boyle and Ha1‘kni'-tn llil‘t‘all)' cease to kill]. but Roget‘ Moore's i|ite|‘|iret;ilio|\ of the n\1Ill‘l'i;|l. [\oi\tl's till-ltalid riintments come
igniting the niniisti-r's (‘X£\5])Pl'l\ii4btt by lighting up is so low-keyed that it is ;i woiitirr he is any iii iust the riglti places and have now become
the titI‘inster's lltltinb instead of his cigar. Hill tliveat Whatever to his t||l|)tll\l'itiS. .~\lthittti:|\ lite ntilrehiild as well as sltntt-\\‘ltLtt strained. As Btll\(l
Tlliile, lti'\P Ill the best i'\\;\kt‘\l|I artists itt Hol|y- screeit|ilay by Rl('l\'-\!'(l.\l1|il)i\\|li\ and Toni \i.inl<ie- finally |)P(l§ .\Ii|i"_\‘ Gllttdltitlllt iilritt El-;li11t(ll~ ilil‘
it-nod. created Boyit-‘s wide-iiroiv monster mask wicz attempts to toughen up the character with phone next to the lied rings attd Bond |1ll‘l>ZS it u|i
cnntplt-le with li|)pet‘\~t| neck [\‘e|‘\‘ Gut‘t'ii. Boyle several callous. brutal at‘titnts such as the s\'t'|\e to find \l tin the other end. The set't‘t*l st-t'\‘il‘t'
is physically perfect for the part. so perfect that in which Bond slaps armiitri St'araiiiang.t's ntis- chief asks to spi-ak to Goodnight .tntl ilonti re-
tht~ makeup seeiiis J l'i\l‘ll‘.il\ll‘t‘ oi his own iea- tress. 1\l\lil“l‘i| (Maud i\:iamsi. this only succeeds iiltes. after some tirlay. "Site's coninig tiutt‘, Sir."
iures, especially the domed iieati. tn making the contrast more apparent thatt ever. This proiiiptetl one tt'onien'.~i iiiiiier to rt-in.ii*i< that
Gene \\'ildev. as the new Dr. Frziiikt-iistciii lthi- Roger Moore walks through the role anti the au- the licst Bond ftliit would he tttt\' in which he is
grandson of the originall. is ntrl as cottvtnctng in dietice never feels that his Boiitl is in any danger. castrated.
t‘Itltiili\lt~ti]l;ii1t‘ 30 Opposite hllllirt-'5 blatttl ltertric iil'(' it il‘\tI ..i Dan St'ii|)|k't'ttttl

29
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11
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F--r u\— xunnuuu-r ,u-rnnuuu .uu1 v|u|\ nu.-nun. sun Inna:-\|~r_ n.u.- n..u mulrln‘ n- mun
lhr sur<"\:u< .. <1\'n.mm‘ lr.nmn4' gr-nnul .uu1 |.n|1nY\||»g um lnr
Yum nn..-un-ma .1 \M1nl.4nl1urn>d.nl|\|
um -4 ,1 X--r-~\ r.\|\¢'|-r \§|x-m‘vl' .\nnu;.uu, mu -u m.|! .-unu-r Mu-.~_ 1-\‘v'n(Il\>\l§2|l!|n' I<|rmuL4 n< nu- u.-n 1|-(ml: '. uu.-.| lIl‘.Al|\'<> mn-rt-vr» 1».-
:l.m|‘|- .-up u» ku-r awn, “Yuu uu-uu wnlr lunn-r
uuu .u:u.n|, !.|\kmg u. nu- pjruulul ' ' or --mu--, 1.-uuuu .\HI1 uu._-.u~»- Lunl ,|ml\-nmgur |l.uu:!|\-r u-r\ _~||m\.\r Urn-vn vmu-,. u< nu- |u.uunuun. nuusuu.-x \\--n, nu u. |~ um ..| mun m nu
vK.n||)- cum.-uuun wh-|:|\_~|‘w\\~r 1 xuu: |u.-uu.u-ru- nun nu. _N_\4 .1 In 1 hm II--|v|v\ Inn. um-u-|.|u'_. 4Lmn\n||'~(!u-\\~ nu\ ,||-wl unun nu 1. |.~ uuuu
0l|\|,| I\.|a |nal up.-ux nu- (us! !|\|- uuunu. in .|
1

Lmd, unuunu-n In‘ muuuuur, .uu| unu-r )II4|1l!\\“Y' .-1-nu nu! uunuuun.-n h\' Ir»! ‘ill’ r|¢:;r |<m|\lu<"I_ (rum u. nu .uu\»-¢\ |I~!'A||-n nu- -n uuu-u- uu-1
1ur\|l.\r1\|m_ .uu| . \<-I1 \I|-Inn Hm lllm rn-d|!:~ rn\l nu "'r\' m--\u' 1..-.| u. run;-1. (ur |-\n-r\ nuu
In‘, -u. u-~- In-1 l.|Ju|u: un u» .| !mlk\' nu: .| hrmk u- In-.4!un> u| r-mrm, .|m|lI1_\(‘\‘AI1>-rm-H11-|»||\ vu |un-unuu.-u -mu um-|\‘_~ rm:-»<1v nu.~.n nu .4 -

.uuu-u in nu ,u-.-nun-uu~ l.n|v\,4 nrv .1.-..u n Wu‘ FLIBSII uuun ~\~r\'\»\ .n|lI1--ryuhkv\\u\\'.J.||‘win~, >‘|v;::lHn-r- ~A<r- .. n.u.u.n h.|Il\\
mnrmm: nu: Tm.- um" mum |'nm|<n- uunu a|>|'|l1_\ uu
nu- ~-.1.- (--ml -.| |nu n-~l an nnu nu-111 nu‘:-r nnu nu->11-n\n\\>¢h-I .m|n\.|||nn .<,u-- un 1-Ih-n\_~ .n\1— u\n>--| muuu-, .uu| u lh-ur\‘~.|ll nu nu Jrrnnx
|n.- u|.u- In nu- nunu u lnr uu ..u|..u-u: r<>.4~nn
v

u.n n\.nl|-—X-vr 1\' m->\n u. |u1\|n'rV\.||\n umuh-|\ Iv \Yrv>\|x|v<l u\- I-A-nu \r\.|rn-|\'~ l'\\'\-Imnr‘ unuuu nuuuun ‘-1 .| uu-.-_ y~|Iv\k»' n|\|mr.n! nu-uu- nu
In-1\.4l"\ um'nn\mnnl\‘ n.n.~u, (‘nun-r|nr Gnv\u\rI(|-— um-rr nu (‘hu\"hw44:rn\ nuvlmu-r\1.|\.~ Mu u.-.-u uuuu |L|rr\ .-\n|l .q1|>--.;r1|\g 1n nu- |n.n-_~ Ah-\ “Nu-I!I|.n1v!-rvlrnpuvw-nu n-»u-4» nn~ul>;|\ n-nu.
uh \-u-u u: ']u|~' |--nu. In Ann-n<".| (Jluu n prw<lu|<'Al, nu»; u-uh uuuu-ruu. nlh--r r\' .ul:~ as
u- n .||\ hanlurr hlm I-In-u
.\m-.u.-u_ X‘<|l‘l' ('u.~h|n4:. r\1\m- l.nkr~~n, ,u\4|
nlhqr (~|v uuu-u pm-rlnrnu-r.~ n .|H nnunda \'|-H‘
n|u- ¢Lm||- Ill.Af.4\Y\\:1_\ (nr nu vu-uu- ..uuuu--.- u-
|u-uuu \A|~Hul nur mu .un..nn_ n unu-,. u\.u .-
h-mpl» .. 4l\~|r—!w—|lu->1 rnrllnv-nlxpvnu-|w1;:h— nnnu-. n |~ ,.nu.uu \l.~ nuu
hnrlnu-1| Wu-lp In d\m:|n¢‘ u)Ilh\< ‘um! \¢I>|n,|n,\'l1-r ww--u |u .|.~.'w\'\.|l- |vrn<luu-r uu nu -nu--.~. \uu|u|~uu.' ->v\1~.|p-r Inlnrluxull-h_\|\r .-;nuu<u».~ m Hw hn4‘.m~|
_~

om“ .||ul hm um nu-un .unl --|u,.. ..~~u- |.4h rnuu nu nu uu~.»\\.-. .u'|- uu»_~n\» ~\u;::|:4h .md unmh-n->-K .\!-'1\'4Zf.l|—:»!\'|vd nn-,.
In n~ \Vv.nr.ulrr n,nv\n-\
\> wm\\-h-M. .|||--r nu Una. unn .|\|\r
n. Iuml Pr‘-|1 --1.. lulumh--1. n\.\.~h-r _~. u||lur .uu| uu. uuuu-nuuu =~\|'x\ nu-|--1--u,.|\ Anmwuruxlx In \!!v|- iurv »~ xu-u Ilrnx--' u- n~ -.\.n\ -nun A1YI\
\|:|l.~, m lur1\_ l\lhu-\~1'1l;u\\uhn~\'-vll _|;:.nn
hvr p\|-4.~ :~ u nu uuu In-l)m -nu 1-u u 1-mu. n\--ah-I hulhh-r wuu ('h.mg_ :ul'\'1:~ .u. 114-p|m\|rn! nu- |*l'\H|\ul|\m\.;|m'n nu nu nun nu- uuuu |.~ .m|m_~n|\ |n1\\r\\|-I uuu nu-n .~uuuu,. uu nu-
.n
nu- .4nln\.z||nn uuuc-1.. In-nu: u~|\l |u nu \.uu-uu \Ir>>du\v<| uu \uuu.n.- r~I1--\llr|hr uu Yu|uhr.4p_ uu nnr |ur -4nrl\l 1,... nu r, l'.:rH~ ||.nnu.uuu .~
nnl nu! --1 uuuuu-uu nr n-.-u.-.1 nr 4|h|'!\H|rv\|u! u
\\'.nv~ nr--.4\nr<.~ nu -<hZnu<l u|Hu~n nu cuu: nu-u 4m! rum-m.m\ runny; nth-r hlxn .. nun un n, n nu ‘\.4' nu nun. ru-
hr|\u- ux nv-r\~\. .1\ 1 Inn-r—\' um nun Mu n. un
\.~ -
r)\|.~->4hr~ _~‘4u-ml
nu-n n m.|-h:p1v\< \\n|n mu
um

bum‘ u.|hh|n‘ 1-u-mm uu nu -hnw kuru |,4H\\-r X-vr Y\\.~ mx .<|u.-.uu-u.n uu .n m\n.-un us um" .-n u-. nu uuuuun .\h\$T!-'l<I‘lEl'Y THF/\TNl> nuunur, .u-..\

nhn mnu lYl|\1.|'|~ In-.u| un Iur >r.|r|n;: I1|.~l|--\. n.|nu|n.r 1.w,u<ns un |u\-un-u.n.-.4 m\-- nu »--ru-._ \|~l nnu :<|\'\\A un\>n(l|~x\lh'<'\-nu:-:~4|\rn»~ mi .411-\ Ill>\'n\.1 m xm vu\u~n.<, --x .n .u\
_.u-,u- u. nnnur .uu.uu 1* nu» l1<\|mI nl u nuu uuhrhv|:v|nla-rnualwan\-|u|d.|\'lmn \\|.A]I--|l*l'.l uuu,....u. nuu--n nu-. I1~ Mu. .,u.-,. .-u.-u.
1m15\ .m uuzuu--u--u.-un-_ .| nul |:~l4|| .1.-\-.-nun
u

er unuu. uluuu um In rn uu1u,,..-n In u1nur.~ my n-nu-n.-u uun. r,..- |-.|u\.n.-u h\ m\'r|.u\ .~|--rua ||nu|-uu:.~ -.| nuu \|r\ um-\|x\ shmn nu». nu.-u -|uu. u| uuuu nu ,--|u.- -1l.lY\“H\|\.H \4v!|]- 1.
|\nl\|a\nru nu .-\nm\.Al~r> uu nu- \rr\r.~ m ‘Thr \l\-n.\u\"_w v.--» uun L.n(;r.u\m- Ilnu-rhr u. Y\|1\.|Y .n| [mu-»h‘.‘ ~:J\ uu uu H,|\[\|¥ \|.-.x
yl-rs, ur\\u-\n~\n~\ nu hvr nu..|n- u|u- wnuuu uu,
u

--1

)1-|I_ .4! \l\l.lln 1»-.1 -unuuu-u,-1....-_ um ..,»u- V\.|:~ \'h|\l4 I-rm Mn-.u_ n nu: Kh-|n--‘A n.
_ Thu \\ u v.uuv-u nun h.4_~ urLm\l\'lu1n4|uv.v .-r |~\ha uu.,1.~uun. |\.m\\\|<\ .uny1‘\,r\\.~ Ihr
nn-|v|v1IbI uu 4 nu bl»-n\.~Ll\1\_~ mnu Hv ~|--|\.~m|\ I--r .. ;:r-.n .u.n .4 nu ,u»uu.uu.u unmr u .1.-‘nu. hu! nun» mm mnul \-\- nu- amp: 11- |-r |'lm£(\-1. ~ ~!.n:|m1 hunv.» Uh-In un.u- ruin! nuuu
nuunuu u

mg mun.lH\| -u.|-nu,» llw -am --n .. y~||n\‘|-I Hui nu um nl \m\' .nu| n»\\-yv 4 =.u|.|.\n| :~1r||-M .n\-1 x~nuu-u-.- um l\'r\l ru.~.ux .._~ nu- nn.n..uuvn In uu nu |n\1\h!u< uu \v|\| .|r‘\m' ~1 Hmh |,|mu~

l!.|rr\ uunuu umu hnlll .uv-\ .uH1\\.nl-cl nu ‘\»I\\ nu r »nu|u,..-_.1|..-mn4u\uuu|uu.-uuuuu-\--,.\nu \1|I.uh\n ,uM h\~ \1u|l u. pl |H|\1v~ mun! 1~ nu
um-d bun‘ Ma \4|!-- unu >\|rh .n r-nu,-1.-n \\'
1-.
In-um. nu \lv.|H\l\ nn
rugahu \-u-- -'1 hun\,|n|l\' m.\\' \u- |n~n- -n u--._-. mm .\lrn .n u ,nnr|- nu» Lil-I-All m
|u llur nu |.- .~|\.|r|- m:~ un. lrnm ~\v|mZ nu- uuuu-1.-.1 11- uu-~\ r.|>AX\mZ 1\.4H.i‘1|‘
arrunla n In :-- 1-uuuu-nu I--un<|n|\ |\r\n\--— |u\.u\u.|.\' |u||\ lnr £\u-|e~\nr'\ I'|un unnu m.mv~ um nun rn-,-nrruru-ml .~~n. x.,. (.r.n\-Ar \-r ut nu .-\-|1\\\1v v|v.|>1|‘.|\\ A~\A1|\.|l Hm-.\ .u.~.~- -.1
um 1\'.
nun
,|lJm|\ umunuuuuu|..unu..nuu1~rnu- -..ru-_~_ .u. [An-L-nn un.-nn I’:-hr ruuvuu; nu ma\\l!.m\— nu uvlluu-In» -4 .. Ln-r !|hu u~.n.|n nu» nr
Allhnugll vu Irnm In-Hm‘ (I1:-‘A--I-v!lIlJ\|<' l~-r’ unln-In-\.u|lv .nu-unu -.nu-u vuu »~|\.~\-lrr u! u --\1r~VII*.\\Y.|_~H\v-a.nll|~\\\‘nhlallfI'|,4|\ug1|-\'\\.lhu|\l u\'1\n m/nn. nu .n»~ bu ..unnu.~_ 1 'r.\~
rv mnvll, rm» uuu n .nrn~|-n|:l\ hgmu n .nu| H\<.nr|\.|! ..uuu.u.»u u .m|n- nuu ~u\‘i\ .._ lY\H:~n -nu-uunu.nu uu. .n.- \.~14~.~1\u\.|)\\'nrk\h\'\u|l|vu: nr~v|nr|\n1. u. .~..-., unur .1. ,._.nuu m .u.\.u.r,
|mnh~\!r.nyh|-|| uuu 0--ux\!l:-as lnmliu _~.|\Hu: .'\u»m pr-><\n\\-4| hx n.u |l.|rr\Y\.m-|. unn(-|lr.\ w11|\' nu n|v Hr!‘ I‘-ur s--n-,_ ln\\~\||\!.~h,n'\\n-|n\hlL11 \|.|-I ~n\1\1< .1 n._n nvh nu uv.A).| |[\ nun khll ..'
,uun. mm uuum :1<\'<>r nu- ,n|uu.-u .. nu >>r mu-.-u unuuu u| uu. u |uu|u,u
~ A hnhn--I->u\ ('<IHl:1\ ‘/\ rum:-n >n.uuu n.-.1 .uu| >1.m||\ nun n \\'naH1\uh 1|..mu,uuu, ..=nn.- mu ‘YR
.-an-I: u
1ll’n')| rmhunu-, 4| 1.-...| lv\ .uu- uuu n,.,u-.|un --.n an--.nnuuu.n\ lhuh
m.\kv,\ nu- ‘Ir--<'v~\<\n ,n,,_»_. n.-.nn --1 .u\ ul-4 F.-.~uuuu-u um. w|\h uu.n.¢ Mu. nu n nuu l\,|1v;Hm.,' ..~ .nr
M r\'. um. T\' v\--m|\'.|H\ 1. ,._»n-|-- Inr H\|\|~|nn 1,-< nu- u-u ux hl\4.4n| .-\l!nrl ,||nl (um l.vnl~\‘ Y1\]\|'l'Y\\'l'|\ ..~ Hun 1, unu In ~u.u\.nnu u-. .uu~~ l'~'|..|(
:\|.~\n|mwr_ .n»u .\u- Hui
.~--nus nu u.|\nr |n\'-v|n)lh-x\u- |.u->. suupu min: n>l4nL|[\ \n.~u-,n| u| nnu |uu._..\ vuuu @\‘:~ c‘Inn; nun 1n>h\u1.|r\ -nuuun \I-r(nrm,mra~ vH'~l.|\;Il.l1n\l -x-\'- u.._ .4 uu-. 4 ~<[v|-mx.>; nu
n ,.\_u u..~ .. A.A\ '1 . nu-ur
v

nu-. -u\.1u,.n‘. a]I\\.|l 1|:-1\1\-nu R_4l1ny-—'Ax.~|, nu ~|-rxv.~ |~ dum: .|H .urn»_~ nu- I»! .._ 4 -..~u r\1 .|r
vunru -um-u-.1 n.u- l\r.nDIur\ umh-rul m ‘.1 (‘.;l1!v-rm.‘
unnnlrx rm 1-.u| nu» pm-1vH.|l -¢..~ nu 1. mu: nu 11'1l1\.l\|.AI\A\l1v~ u| nun-,
-mr n.\.| .~'rn,\rrn .\u.\ \|u|i<,n_ !1.4.~ huh n n\.ul\m' _~\‘_~h1\\ X>>r nu ,..ru_. ‘AM!!! \--nm-nu-~ -

\IrL.|rl\
wnrk unu In-yr .||mnm:lx »u- rlm_\l ~Yv.|n- .uu.nn nu- .|n||n.n~~\ nnu (w|l.u:| .~1v1\l>.nk0Ifw|1v|l |\1.\\I'\ |uhI1 \I|‘(',nl\ yum»

\n nu- unuu- ,\ml|\~-1 Hr.u\1-un uu.-. .n1.lll\Hl uuu nu |\\'|- .unuu >1 qm .... ~ »-n \nh nu]!
has nuurh-\-u~\\' \|rn\|\h-4| ll1>-|1|u|1\(ILu!I\1Inrllw nu in->>~\ |r\Y< 14 .nn: vu---uu ~- X.|r n..~ lnrn mumuh ‘Mk Md M" (“mm M mam M.“ Es‘ GMAT m.s".““.=. “_mm_md
nlauum-r nn-n Ir->p<\ .uuu| Iln» <l\,~|n\--xx .|1H|v\'vlIll.~ll
nuunn.unu-nuuu-u .-unun um u ~. -uu,» 1un»\- ur--u\u~.unu.. .\'~n\~- wry
nu. Iv ~Y|m: nuu... u r ‘A\-XL 1. {\l uu . nu 1\\.|1\||IJ'
Ohvu dr !l.4\lll.u\d
mun um nu- II_i|\ \|u1n_~.4‘1r, .. n1\\.|rk.||>h- mu
|'m1.\|\|vHm1 nu ~n~r\ -‘um ,\1l1n4\\1\v_\l\u\‘1:~l~I|1‘
_. 1-lHv\ nu- l||1\|\~\l!v1|\4;|-I nu nu ~-nv~~ nu 1-|n—
lndv .n.~u K»-.|\nr|-1 ~uuu 1.|_~>\n.|l|n¢: nu--nu. kn‘
rnIn|>\~\'1 ,nuu_, >~u<Y\ ...~ nu \|\nn,~‘|nr -A.4|k|ng
. mm u 1- .n um -u u. h.|\). uuun \|u|u-' nn
DJ\'|\l ln rrwl-\ nu-—\\mu .-1 .\n ‘I'Ill'N \nv\(r|\1u—
I--r, \~ ~h-rv |-nhlnr uu nu ~|r||-.~, .uu| n uuuun
hr nmrn-n |.n| -4 |-\ mnmrv 1,.u:u~~, |uuu u ru wnlld
rauntw -nxnrul H\|r nu u.uu .4~\n-\\~-r|
_~-vmv
nu- uumu uru-uun _~-rnn~ n nu» .~rr1<:~ Mu
|‘\|-|\ |\|\_4h\| ..u uu n~ Hun! \:r.nlr an’
a\mlnX~.
n-nu-,.-u.. \.\.-\ n nun \u. uu. ,-uu\..r ‘A\H\.m
um.-r .uu|u-u-.- .n\-1 \'m~ ..~.~n. 4 ~lIx|1\‘_ ~lr--.un
ul l.m\.|~-. \n.\|(.1I-\.|‘. n\nr1nu:~ Hun .uuu1|-.- |-||—
|n\--A lnr ..n nu 11Iu.|nL~
|us! u, _u. . \.|\ vnu
n~ ~\~r\ uun nu:
1

.\!.|rk “Ill!
is»
Tm |\HhnTl<1\<|} .-1 .-\\\r /\r\1\|\I'$<rInn-nl
|v|Tu|-\-Ln .\1 uu ux nu- \\-.». I 2| 1a 15- min-
un-,. |u xH\'-I |'l"~h1¢|-|\\v= !nL|.\\|l<\<r\Qu1nn
Mann l'r»du~I1~u.~\. nu.-.uu| ha H.nrr\ mu
1.-1.1-\.|\ |--. r-uu..u.1 l\un1vh.As|':\ .u nu uun-| ruu
|uu_\u- --1 nu lh-Jn11\’~ |\\»u\ n\ Hr-|1\.A~ l‘.urn'k
.\mu.n\uu rnuu-.\ ~v\ln1.4l\~n mT\u_~nn.|m1l.nl
Am’:-1|-~ .uu|.u Km-ln»|\|u\\n.iu4\1n~ u‘1|u1|n~-‘:1
r
1: \I,\r_~Iv.|l\_ Lnunnu

1-5-.
wnu l'l\»|Iv-yl\\.A>;11|r_
nu. K.nll\--|-nQuuv\.u\_ \\|l\|.m\ \\uu|u,u_ Linn-n‘
Gil->1->r\'_ n.--nu \|.|..1\|,.m l’.4\n~h Vnn

35
Hm] Ud[MU[¥]E$
THE RATINGS
. . um» . . . .

., Av<~r.\;1|- ..

1...“

v.,:-1»\u1v an-.1_
vw \~~.\w\\u~~. \.
\'.v\w -aw w
we \‘l1*1\‘- :m umv"-: )\|'|n.\~ 1:
-,.» n \~.>.>'.~n|'. .~
:-» In-e-+:<:\|\>.\ 1
>~\~--m~v1~|=\-\x\1‘
1=1\\n\l1\\\1|\\‘l
l\ .>“!Y$\<\vl4H\v.|Iv

‘ . . IV!
'0
.\ {14\l\‘.\'
‘.\h>‘
\~
\ >

\\ ‘ \

THE RATERS
DW 7 Hill \\}u'r|-l\
DB D;|\'u.! l'l:u‘||mln|nrw
DRS D;\1| R. S\'.\p|)q-rnlll
nw — D1\lL'\V1|\ngur1|
FSC 7 Fre-dn-rwk S. Cl;u'ko
JM — ‘Iuhn MrC.u"ly
RL-I Rulwrl L. .Ivrumr
TL 7 Tl!“ Lurxls
‘ Av. A\'¢>ru4:P R:\l\I\p

\ Ux

\>\\v

‘ ‘
H
"‘\\\\|-\\!\¥\
\\ ‘ H
_

‘ ‘ H
‘ ‘ ‘L"
‘ 4* ‘ \V H
\ ‘\4\\ UH ‘\.\l \>\~,\
\1>¥‘~,<\|| ‘

‘. . ‘ V ‘
-‘.~
H4! \\‘l‘li .~~.=

‘ 4<‘l1“,‘4\4‘n\ =».\

mar VHl'4\\! l'.\l(1H

\..». lm =

Mn! -‘.h.U!‘-HY’!
lY\v4\Y‘u\ 1v- ‘ H .,.~

H" _\\\-J

vwnw M
1"
.
.\

-\.
\\‘\_- v,'
.. =
>‘.\»..-

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M4

AU‘
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1

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.,..
-\

‘v .

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IF
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w

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V‘;.|I4
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\

4‘ \\

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l'~11wr
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36
LFUEIM Hi[MUBU[i$ " 'Il||l
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111.1.
11.11-.1111-....:.1 1111......
1. ..~ ...... 1.... ... ...... . ...... 1-..;...»
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.........-..-....1 ... .... .». .. .... .1 .1.-...1..
...
1 .

....... .1... .. 11.. 11:11.... .... ...


...... .1.-..........- .<~ -........1 1

1~.1111 11.111 .\...\1.1~.-.


1.... .1-.....». 1. 1. 1 -1.....1 ..........-.
............1 1.1. 1-1

...... ......-
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1..1. 1111.11
1.1..
.... .1
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~.1..-1. 1..-...». .. =
1.»-...1...-1.
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11.1 1 \-.11 1.1.11 1.\11 ......‘..:


=...1...,.. .... ...... ..... .... .. ..:., ...
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11.1. 1- .~1.\~.....
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1111 11.1.... .1 -.11_~'111.\ 1... ..


.\1......-..1........1.1...1....1.... .1. ....
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37
WARlIDL‘S FRr\NKI-ZNSTEIN. FLESH whh puhiicaiiuii oi volume a
The
GORDON. I‘l|ANTO.\l or Tlii: i-,\iiA- which nishes" up The alphuhi-T irom K‘
IJISE. YOLNO FR.-\l\'KEI\'STEl.\‘. eTi~., Tu z. wall L\'l' runcluiii-s his monu-
i-Ti-.. i-Tu. Laugh. T-TTI-iy ilichi. iiul iiiin'T mi-iil.TI Iii-Ii-ri-Tire Guide iii Fzirilzisliv
he deluded Thai They f\']lI‘(‘.\‘x'|\I .i iu-w Films Tciieisea-Lee hooks. i.os Ange-
Tiii-ei-Tion Iiir ('lI\l'(1|ll\jl§l_ll1\h' iu \!ll~$T-\'~ les. I974. 559 iuiges, slo.5n soTTi-uv-
ouiii-s. Tliusc saiires. inronii-s .iuTl i-ri. TT'sauani.oiiig work. really, oe-
seli.p.iroiiies i~e|ircsviiT Ti slagihilivig youii TIT-scripliiio and praise iparTiT-u-
h.ici<u-.iTi-r, airi-any quirk iiiTio-Tievi-i- Iariy win-u one roaloi-,~. iT was iii-ue
iiiiiiieiil -ii &‘lI\l‘(.|lll1l§H(|\.E iii "IV svveii» hilhoul iii-Tielil iii ;iuloni.liiT- d.Tl;i pru-
iii Tl TlT~;iil-eild. ll lei lil
INS l!l.ll leads H "lllllll;l$ki*il" lil lhr Illle Til \’iIii'l-lli l‘(‘S5ll\}!i, Llllil llkr ill! l‘S§l'|\\l1\l rck-r—
serious iilms such as lvilliam Frli-Tl~ _Pl'l\‘\' i"_TiniaskeTiliy .Ianies ilolieri PTTr- eiii-i~ Tools on niargiiial suliii-cis. ii
kiTi's THE EXORCIST and THE s'ri:P- isli and sieveii whiiuey illrake Pulilish~ seems The |Irlll|l|l‘l oi .i T-umpli-Ti-ly
FQRD WIVES. Bryan Forbes‘ poweriul ers, lin-.. New Yiirk. 1974. 266 pages. driveii. iiiiil-r-Tlirr-T-Ted iri-ak willing lu
new work oi science iiciiiin. Thai The $9.95 hardr-overi proniisi-s an expose deroic niosi oi his ll|(' To his work.
elemenis iii (‘lIl(‘1Ili\l§\5\|qlE viiiiiiiiue To oi i~loseTed ianiily skelcions and per- much To l|lT- hi-ail-siiakiiig clisheliei oi
0\'lll\'0 in nlezlninizlul wilys fur it l‘Ull- sunal zlllllvrzliiulis lhe ;llllhDl‘S doll’! Ialnllly. frii-nils. PIL‘. L|'l"5 third \'ul-
Teniporary audience. give ii To us. which is iusi as well uiiie ii-aiures a sirange |rl§I~W:|ii:-r-
Ill This issue we UHEl‘;|ilEW\11.\'liil'I( since There prohaiily areii'T any. aiiii gall--iiiuraie iiiiriuiuciiou iiy Roheri
uuo one oi The inusi euniruversial and even ii There were, The seaniy side oi Ilioch in which he slides iroin praise
inilueniiai oi modern horror Tilnis. Tu show Iiusinl--as geis enough puhliciiy oi Lee To wholesale coudeninaiiun oi
'AnaTomyuiA liorror rilni." oary An- zlilvway. whai The auihors have compii- presem -day movie auiiieiices ( ‘apes I
lhlly Slll‘!ll;|(‘7. conducis a round-Taiiie od I5 primarily a proiessional hTogra- and The vriplllni-ss ui nearly all ino-
discussion wiih producers icarl ilara- phv T-oi-erhig I40 Typo-riadeu pages -ii aerii Iilnls, cnm|IlILlnI5 Thai similarly
iuau and Russell areiner. and screen- viaceni Prk'e‘s hie To daie. nriiied in and oul oi Ray Harryhausi-n'l1
wriier .Tohn Iiusso ahuui The making. The Treaiineni is inosily iaciuai raaiasy Filip Srr:i|bQ<lk. There are e-
aud The unrnaking oi NIGHT or THE Tread dryi and synipaiheiic. while ire- uuugh eniries In The “Pl"0bl('ms" see-
LIVING DEAD. The irank. casual. oil- aueniiy nieniioning Mr. Price's good Tion minis Thai Lee has nnl saTisiac-
The-euii conversaiion delves Tnio The hunior The auihors show liTTle -ii Their iorliy ideniiiied as To Their ianiasy
niechauics oi how an Iudepeuneui hTir- own. Ii you've read Price's lluuks. I conieuii in all Three volumes To keep
rur iilni vouies To Tie uuiilu and ri-Teas - Like Tyhai Ii;
nD\\‘and The rluok QM’. The huiis and rrliivs‘ leiiers pouring
ed. whai emerges ironi The discussion read ariicles ahoui him. and seen his in.whiT~h Lee hearlily encourages. The
is Thai NIGHT 0F THE LlV|T\C DEAD numerous appearances on Talk shows, only Thing needed now To make Lee's
became a sucruss more hy aceideui This hook won'T give you much in The work alisiiluiely useiul is a volunie Thai
Than design. says proiluvi-r llardnian: line oi anecdoles or iacis you haven'l hreaks down The enlries inio individual
"The longer This iilni siays in disTrihu- heard heiore. whai you may have ior- iilmographies. an idea which Lee indi-
Tion and The more I hear ahoui This T-uh goTTen This hook can remind you. how- caied To me nearly a vear ago he was
and Thai eulT. The more asloundecl I he- ever. Trying To inieresl pulilisher scarecrow
OF come Thai we niade This iilni." Toially
devoid oi preiensions. The Three iilm-
Following The hiography secilon,
There is a hundred page iilmography
Press in doing. I wouldn'T poi IT pasT
hini, To show how indeiaiigahle wali
uiakers as a group deny Thai The syni- Iisiiug oi The aT-Tor's work wiih iairly Lee is. in his "Awkuiivvlecigcini-nTs'"
holisni oiien read inio The iilni was ev- compleie casi and credils. and sevllons seriion, ailer Tioiing The amiiuni oi
er inlended hy anyone involved in iis devoied To Television. radio and ilroad- work involved in. and years speni on.
welconie To The Thirieenih issue oi produciiun, They credii Their hoiiesi, way Theairlcal appearances. There are This proiri-T. in The nexl paragraph he
CINEFANTASTIQTIETsin-eh-Iaun-lass- serious approach To scaring an audi- 24 pages oi phoios. covering lii:l'i»l974. begins Talking alioui Ti seeomi ediiion oi
Teek~i. The niagariiie wiTh a "sense iii ence ior The success which The iilrn has The hook is noT a greal deiinilive inieriiaiiiuial sT-ope..
wonder." devoiedin The vxrlnliilxlliun iii enjoyed. Aceonipanying The imerviews hiography. IT is niore or less iaciual, we have come To expcci xi-ril value.
horror. iaiiiasy and science iiciion in isaii"AppreciaTion" oi The iilm wriueii IT Tloesn'T shool harlis aT hs suhieci aparl ironi visuals, in large-iiirmal
The cinema. hy suarT M. Kaminsky. which analyzes which is reireshing. IT is primarily a iilm hooks. Dulaii ilarlii~r's Monsiers
A greai deal oi cyneianiasiiy oi The iilm's impaci on anaudience in ils research eiiori. A liiile new |ournal- who's who, however, cheeriuliy puls
The lasl iew years has iieen lighT and coniexl as heing a work oi horror and ism, and even a new and diiierenl in- some iiiiormaiioii lieiweeii iis pic-
humuruus. and This has marked a Truly science iiciion. Karninsky concludes lerview mighi have helped. The auihors Tures. The volume is an A To Z manual
unique Trend amend The modern genre Thai NIGHT OF THE LIVING DEAD is appareuily never even niei Their suli- oi dinosaurs and creaiures Irom myTh-
iilms. in The pasl. horror. iaiiiasy and highly symholic. wheiher iT is in- jeri. ology. lheraiure. Tv. iilms and co-
sT-ieni-e iii-lion iilnis hai-e usi-Ti l'l>l1l(‘l|)' Tended To he or nol. Your appreciaiion .l. M. wlediiian mics. The laTTer seciioii. which vx-
and hunior, hui have always iieeii e.ire-
iul
The
To keep iis usage segregaied irom
ouilook oi The work as a whole.
ui This iealure may he enhanced hy re-
reading The inlerview wiTh George Ro-
mere. The direcior oi NIGHT 0F THE
E ” '
Richard Anuhile. who has previous-
plorcs whai could wiiii a llTTle care he-
ciinie nur owii nioderii myiliulogy oi
Marvel-uus iigure,-T iall oi Them Ti col-
Thus .Iames \l'h.ile irequenily iniecis LIVING DEAD, published in our Vul 3 ly ediied inieresiing and unique vul- Ieeiive ode To The suspi-cTerlTraTisiorni-
humor lhlu his horror iilms TTlli~: lN- No 2 issue. umes on Ahhoii and cosiello and w. c. aTive powers oi ganiiua raysi is useiul
VISIBLE MAN and BRIDE OI-‘ FIb\NK- sieve Rubin provides our iielrospsci Fields has begun whai is purporied To ai le.isT lo .in iilil comics iaii who hasn'l
ENs'rElN). George Pal uses comedy This issue. devoled To FORBIDDEN he a series oi hooks called The Film had The Time To keep up. several oi
in his srrecii iaiiiaslcs (TOM THLMB PLANET, one oi The niosi popular and classics Lihrary. Each volume is To B;l|'lTer's ii-riieups are very good. like
and THE 7 FACES OF DR. L.-lioi, and respecied science iiciion iilms oi all cover an individual iilm. leading oii The one ou gianis. The Loch Ness mon-
sionley Kubrick has even hianaged To Time. in a lengthy arTic|e.Riihln Traces wilh James \\'hale‘s Frankensleiii iA- sier. sen si-rpvnls, vampires and yeli.
inieci humor lniii so solemn a work oi The iilni's produciion aT MeTro-Gold- liun Bucks, New York, I974. 256 pages. several deal wiih T~reaTures unianiiliar
science iiciion as 2001; A SPACE OD- wyn-Mayer in The mid-iiiiies irom lni- $4.95 soiicoveri. Alihough This iilm has To noii-uriioiis. like The Cylierman and
YssEY. in The pasl, The use oi comedy Tiai siury coneepi To iinal musical heen covered so oilen There would Tee warriors ironi The l:ir, who Tv
Tn The genre has iieen iunclional. To scoring and release. In Talking To vir- seem To he liiile room Ior originalliy series. I-‘ilr The mosi parl. however,
draw naiurally upon The inherenl humor iually all surviving Tiieinhers oi The leii, Anohile has produced somelhing The eniries are Th-yly wriilen; uarher
oi a given sTTuaTion wilhoui changing iilni's pruduciion crew and many oi ils Truly worihwhile hy pulling The iilm un suilers an adcliciiiin Io The word "ugly,"
The orieniaiion oi The iilni on The whole aeiors Ruhin provides The niosi rleTail- |7.\|‘i9I' Through The use oi hundreds oi and I don'T Think he knows as much a»
as a lil-nrk oi horror. ianiasy or science ed and iascinaiing produciion hisiory oi aeiual ii-anie hlowups accompanied hy lioui American genre Tilnis as he Thinks
iiclion. The genre iilm is rare Thai The iilm ever presenied, uliiizing re- The ac-Tualilialogue. he does. ci. CAPTIVE WILD WOMAN
"organic" use oi
does noi ieaiure This pruduciions oi aciual pre-produciion His iniroduciion hrieily recouiiis The and MONSTER THAT CHALLENGED
comedy. However, receni genre iilms skeiches and painiings and many liehind generally well -known produclion clr- THE WORLD. The Iiimk is cheaply pro-
have used increasingly anoiher iorni The scenes phoiographs which deiail The cumslaiices which ledToThe iilinlieing duced (lrir some odd reason Barher
oi humor which has come To predomi- iilni's unique achievenieiiis in ari di- made ai L’ni\'ern:ll. oi inieresi is Ano- does noi even gel his name on The TiTle
naie. This humor is noi "organic." huT reeiion and special eiiecis design. Ev- hile‘s conclusion Thai direcior James page). There are hideous errors oi
derives iron-T mocking or ekaggeraiing eh Today, FORBIDDEN PLANET is whale's conirihuiion To The success oi puneiuaiion, and The layoui oi illusTra-
Those elemenls which deiine The work rarely niaiched in iTs scope.heauiy and The iilm is vasily overraied, Anohile Tions is occasionally sloppy, Two pho-
as horror. ianiasy or science iiciion. boundless imagination. calls whale's work on The iilm "primi- Tos disiinguish The volunie's T-olleciion:
This is saiire or parody, a legliimaie. To enhance your appreciaiion oi The Tive ai hesT" and noi vxhlblllng "a good one. a head shol oi Lee in TlIE CLRSE
someiinies even worihivhile, iorni oi curreni re-release oi aiioiher key work knowledge oi screen direciion or iilm or FRANKENSTEIN and The oTher. a
humor. iluT Tl is imperianl To draw The oi science iiciion. we preseni Tonda Technique," and calls The iilm a classic shoT ni The Panglioche scalp. supposerl-
disiinciiiin Thai a parody oi someihing Marion's shorl crhical essay "2001: "in spiie oi James whale." Anuhile ly ironi a yeii, Everyone will nuihhle
is noi The Thing iiseli. This disiinriion Filni Poelry." which explores The u- rrediis The iilni's success largely To wiih B;u’|.Tor‘s choice oi suhiecis. al-
ls hi-coming increasingly diiiiculi To nique achievemeni oisianley Kubrick's The periorniance oi Boris Karloii. and Though The hook is rnore eiimpleTe and
make wilh currenl genre iilms he- 2001: Ii SPACE ODYSSEY. ils poeiic his piriorially impressive hook Tillers worihwhile Than a similar liouk. Thuni-
cause parody and saiire are heiug ov- sense oi wonder. And our English cor- many shuis oi The nionsier which liring as Aylesworlh's iuvenile Munslers
erused promiscuously, i;eTTiTig a laugh respondeni, chris Knighl. Talks To ac- oul Karloii's imerpreiaiion oi The lic- Froni Q Movies. I Ior one nilss The
al The expense oi The genre Iilin cliche Tor Chrislopher Lee ahoul The reeeni wilderecl crealure which ciinvenlional radioarlive gooslTliE H-MAN. X. THE
has heconie an easy, cheap way oul ior good iorlune in his acling career which siills have heen unahle To do. As These \‘f\1(NOWN, eic. i. and almosi every-
many modern lilnimakers,u-ho lack The appears To have iinally progressed he- are piriorials. ii is hoped Thai iuiure Thing iroin Toho save Godzilla is ig-
vision, Taleni and rinemaiir d9xlEl'll)' yond The slage oi horror iilm Type- volunies oi The Film Classics Lihrary mired. The liesl Thiiig aiioui The bnuk is
To i-esiaie The elenieiiis oi The genre casling, Lee currenlly appears as The will deal wiih iilnis Thai are visually Thai iilrnosl inimediaiely aiier iis l‘.S.
iilm in a Iresh and meaiiingiul way Ior siylish screen villain scaramanga in exciiing such as KING KONG raiiier ediiioii was puiilished. ii wound up in
modern audiences, Thus ii is impor- The new James Bond iilm THE MAN Than The Bogari-Type iilms which have The reniainders siores ililarhoro. eTc.l
Tani To keep in perspecilve The achieve- WITH THE GOLDEN GUN. and is iea- been promised. ai lieuer Than hali iis original price.
inenis oi receni genre iilms like ANDY Tured on our ironi cover. Dan seapperoiii navid narihnloinew

38
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