Honourable Mention: The Final Curtain
23 hours ago
Showing posts with label Frankenstein. Show all posts
Showing posts with label Frankenstein. Show all posts
Wednesday, November 18, 2009
Monday, November 16, 2009
Tuesday, November 4, 2008
Thomas Edison's Frankenstein (1910)
The real original Frankenstein movie! Made in 1910 thanks to Thomas Edison, inventor of the kinetoscope!
Produced by Edison Studios, the 1910 adaptation of Mary Shelley’s novel Frankenstein is considered cinema’s first horror film. Written and directed by J. Searle Dawley. The unbilled cast included Augustus Phillips as Dr. Frankenstein, Charles Ogle as the Monster, and Mary Fuller as the doctor's fiancée. Shot in three days, it was filmed at the Edison Studios in the Bronx, New York City.
At the time of its production, films were thought to be a disposable medium and, after they had made their initial theatrical run, were often stripped to recycle their valuable silver nitrate.
For many years, this film was believed to be a lost film. In 1963, a plot description and stills were discovered published in the March 15, 1910 issue of an old Edison film catalog, The Edison Kinetogram.
In the 1950s, a print of this film was purchased by a Wisconsin film collector, Alois F. Dettlaff, who did not realize its rarity until many years later. Although somewhat deteriorated, the film was in viewable condition, complete with titles and tints as seen in 1910.
Dettlaff arrived at possession of his print of Frankenstein in a rather circuitous fashion. The print had originally belonged to his wife’s grandmother who used to screen the film and other silent shorts as part of a stage show. His wife’s grandmother eventually left show business. Passing her projector and film collection down to her son, who passed it along to his son, Dettlaff’s brother-in-law. Not knowing what he had in the collection, Dettlaff’s brother-in-law sold the entire collection to a film collector, who then sold it to another collector of Dettlaff’s acquaintance, from whom Dettlaff purchased them in the mid 1950s. Since Dettlaff was running silent films for his children as a way of teaching them to read, he screened the film for them. However, noting that there was some wear and tear, he placed the print aside, so as not to damage it further.
It was in 1963 that a film historian discovered the March 15, 1910 edition of The Edison Kinetogram with its picture of Charles Ogle in full make up on its cover in the Edison archives in New Jersey. The picture was published in numerous magazines and books, sparking interest among film buffs worldwide. But no print could be found. The American Film Institute declared the 1910 production of Frankenstein to be one of the top ten most “Culturally and historically significant lost films.”
When Dettlaff heard of the film’s placement on the AFI’s list, he announced that he indeed had a copy. However, knowing the worth of such a treasure, Dettlaff has been reticent about releasing the film to be seen. In the late 1970s he had allowed a few minutes to be shown as part of a BBC documentary, later released to home video. These snippets would later wind up in various silent cinema video compilations without attribution or payment made to Dettlaff. Feeling slighted, Dettlaff became guarded in allowing the film to be screened. In 1986, he donated a “copyright protected” version of the film, with a copyright notice that scrolled across the center of the film making viewing difficult, to the Academy of Motion Pictures Arts and Sciences.
In 1975, at the urging of TV news photographer Charles Sciurba, Dettlaff undertook making a copy of the film with the aid of Clarence Stelloh, who had worked as an engineer at Western Electric during the early days of sound film. Working over several weekends, the pair used a 16mm camera and a modified step printer to copy some 14,000 to 15,000 images at a rate of one to two frames a second to create a 16mm backup copy of the film. Complicating the project was the fact that the film had shrunk by up to 8% at some spots, necessitating Stelloh to make changes ot the printer to accommodate for the varying space between the sprocket holes.
Here's how the March 15, 1910 edition of The Edison Kinetogram, the catalog that the Edison Company would send to distributors to hype their films, describes the film:
“To those familiar with Mrs. Shelly’s story it will be evident that we have carefully omitted anything which might be any possibility shock any portion of the audience. In making the film the Edison Co. has carefully tried to eliminate all actual repulsive situations and to concentrate its endeavors upon the mystic and psychological problems that are to be found in this weird tale. Wherever, therefore, the film differs from the original story it is purely with the idea of eliminating what would be repulsive to a moving picture audience.”
Produced by Edison Studios, the 1910 adaptation of Mary Shelley’s novel Frankenstein is considered cinema’s first horror film. Written and directed by J. Searle Dawley. The unbilled cast included Augustus Phillips as Dr. Frankenstein, Charles Ogle as the Monster, and Mary Fuller as the doctor's fiancée. Shot in three days, it was filmed at the Edison Studios in the Bronx, New York City.
At the time of its production, films were thought to be a disposable medium and, after they had made their initial theatrical run, were often stripped to recycle their valuable silver nitrate.
For many years, this film was believed to be a lost film. In 1963, a plot description and stills were discovered published in the March 15, 1910 issue of an old Edison film catalog, The Edison Kinetogram.
In the 1950s, a print of this film was purchased by a Wisconsin film collector, Alois F. Dettlaff, who did not realize its rarity until many years later. Although somewhat deteriorated, the film was in viewable condition, complete with titles and tints as seen in 1910.
Dettlaff arrived at possession of his print of Frankenstein in a rather circuitous fashion. The print had originally belonged to his wife’s grandmother who used to screen the film and other silent shorts as part of a stage show. His wife’s grandmother eventually left show business. Passing her projector and film collection down to her son, who passed it along to his son, Dettlaff’s brother-in-law. Not knowing what he had in the collection, Dettlaff’s brother-in-law sold the entire collection to a film collector, who then sold it to another collector of Dettlaff’s acquaintance, from whom Dettlaff purchased them in the mid 1950s. Since Dettlaff was running silent films for his children as a way of teaching them to read, he screened the film for them. However, noting that there was some wear and tear, he placed the print aside, so as not to damage it further.
It was in 1963 that a film historian discovered the March 15, 1910 edition of The Edison Kinetogram with its picture of Charles Ogle in full make up on its cover in the Edison archives in New Jersey. The picture was published in numerous magazines and books, sparking interest among film buffs worldwide. But no print could be found. The American Film Institute declared the 1910 production of Frankenstein to be one of the top ten most “Culturally and historically significant lost films.”
When Dettlaff heard of the film’s placement on the AFI’s list, he announced that he indeed had a copy. However, knowing the worth of such a treasure, Dettlaff has been reticent about releasing the film to be seen. In the late 1970s he had allowed a few minutes to be shown as part of a BBC documentary, later released to home video. These snippets would later wind up in various silent cinema video compilations without attribution or payment made to Dettlaff. Feeling slighted, Dettlaff became guarded in allowing the film to be screened. In 1986, he donated a “copyright protected” version of the film, with a copyright notice that scrolled across the center of the film making viewing difficult, to the Academy of Motion Pictures Arts and Sciences.
In 1975, at the urging of TV news photographer Charles Sciurba, Dettlaff undertook making a copy of the film with the aid of Clarence Stelloh, who had worked as an engineer at Western Electric during the early days of sound film. Working over several weekends, the pair used a 16mm camera and a modified step printer to copy some 14,000 to 15,000 images at a rate of one to two frames a second to create a 16mm backup copy of the film. Complicating the project was the fact that the film had shrunk by up to 8% at some spots, necessitating Stelloh to make changes ot the printer to accommodate for the varying space between the sprocket holes.
Here's how the March 15, 1910 edition of The Edison Kinetogram, the catalog that the Edison Company would send to distributors to hype their films, describes the film:
“To those familiar with Mrs. Shelly’s story it will be evident that we have carefully omitted anything which might be any possibility shock any portion of the audience. In making the film the Edison Co. has carefully tried to eliminate all actual repulsive situations and to concentrate its endeavors upon the mystic and psychological problems that are to be found in this weird tale. Wherever, therefore, the film differs from the original story it is purely with the idea of eliminating what would be repulsive to a moving picture audience.”
Friday, October 31, 2008
Wednesday, October 8, 2008
H Minus 23: Shrimpenstein
An offbeat children's television show, it premiered on KHJ channel 9 (Los Angeles, CA, USA) in 1966 and became an instant counter-culture hit.
The show was created by Michael Dormer and Lee Teacher at the stylish plastic kitchen table of Dormer's Ocean Beach home. Their pal at Capitol Records, producer Fred Rice, had suggested that they cook up some cute monster characters for merchandising, but when he saw the first Shrimpenstein storyboard, the fuse was lit. A few days later, Rice, Teacher, and Dormer were pitching a Shrimpenstein television show to KHJ.
Rice had already worked with Gene Moss and Jim Thurman, so Moss was tapped to play Dr. Von Schtick and Thurman to provide the voices.
Shrimpenstein, affectionately known as "Shrimpy", was a miniature Frankenstein monster, "created" when jellybeans accidentally fell into the Monster Machine. The noted sculptor and puppet-meister, Wah Chang, brought Shrimpy to life.
Dormer and Teacher wrote all the scripts and the theme song lyrics. Rice and some friends from Capitol Records supplied the music and Moss sang the theme song. Dormer also designed the sets and all the goofy machines.
Milt Hoffman, the genius behind the first "Tonight Show" starring Steve Allen; mentored, produced, and directed.
Shrimpenstein (1967)(Part 1):
Shrimpenstein (1967)(Part 2):
Shrimpenstein (1967)(Part 3):
Shrimpenstein (1967)(Part 4):
The show was created by Michael Dormer and Lee Teacher at the stylish plastic kitchen table of Dormer's Ocean Beach home. Their pal at Capitol Records, producer Fred Rice, had suggested that they cook up some cute monster characters for merchandising, but when he saw the first Shrimpenstein storyboard, the fuse was lit. A few days later, Rice, Teacher, and Dormer were pitching a Shrimpenstein television show to KHJ.
Rice had already worked with Gene Moss and Jim Thurman, so Moss was tapped to play Dr. Von Schtick and Thurman to provide the voices.
Shrimpenstein, affectionately known as "Shrimpy", was a miniature Frankenstein monster, "created" when jellybeans accidentally fell into the Monster Machine. The noted sculptor and puppet-meister, Wah Chang, brought Shrimpy to life.
Dormer and Teacher wrote all the scripts and the theme song lyrics. Rice and some friends from Capitol Records supplied the music and Moss sang the theme song. Dormer also designed the sets and all the goofy machines.
Milt Hoffman, the genius behind the first "Tonight Show" starring Steve Allen; mentored, produced, and directed.
Shrimpenstein (1967)(Part 1):
Shrimpenstein (1967)(Part 2):
Shrimpenstein (1967)(Part 3):
Shrimpenstein (1967)(Part 4):
Wednesday, August 20, 2008
Tuesday, June 24, 2008
Jesse James Meets Frankenstein's Daughter
Here's something suitably weird...
"Jesse James Meets Frankenstein's Daughter", a western/monster movie, was released in 1966 as part of a double-feature genre-bending grindhouse/drive-in schlockfest with "Billy the Kid versus Dracula"; both directed by William "One-Shot" Beaudine, veteran director of over 350 known films and hundreds of TV episodes. In 1966, when he made them, he was the oldest active director in Hollywood, at age 74.
"One Shot" was prolific not only because of his propensity for shooting the least amount of takes possible (hence his sobriquet), but also because he started in the early days of the film industry, when one- and two-reelers were ground out like sausages. The entire movie was shot 8 days.
In this movie we learn the valuable and wholesomely PC lesson that female mad scientists can be just as insane as their male counterparts and are fully capable of ranting and raving and speechifying on and on about dubious scientific projects of no earthly use whatsoever to which they have devoted themselves body and soul just as well as any man (so why don't we see more of them?).
Interesting factoid: The lab equipment was provided by Ken Strickfaden, who used the same gadgets in the Frankenstein films made by Universal, as well as "Young Frankenstein" (1974). This is one of the few times the equipment was filmed in color.
The plot: Legendary western outlaw Jesse James encounters the GRANDDAUGHTER (yes, the movie's title is wrong folks... let that oversight clue you in on what you are getting into here ;) of the infamous Dr. Frankenstein. Maria Frankenstein proceeds to transform Jesse's slow-witted pal Hank into a bald zombie (which she names Igor), despite the protestations of her brother Rudolph and the heroic snooping and meddling abilities of villager Juanita.
Cast includes John Lupton as Jesse James, Narda Onyx as Dr. Maria Frankenstein, Estelita Rodriguez as Juanita Lopez, Cal Bolder as Hank Tracy / Igor, Jim Davis as Marshal MacPhee and Steven Geray as Dr. Rudolph Frankenstein.
FEAR Frankenstein's monster reborn!
Dr. Maria Frankenstein: "It’s because we’ve been forced to use the brains of children that we’ve failed. What we need is a man - a powerful man - a giant! Then we will succeed!"
Dr. Rudolph Frankenstein: "But what - what good will it do to succeed?"
Dr. Maria Frankenstein: "Imagine! We’ll have someone to do our bidding who can’t be put to death! Just as we have given it life, only we can take its life away!"
Be ASTOUNDED by the advanced "science"
Dr. Maria Frankenstein: "What a fool I’ve been! I’ve allowed the duo-thermal impulsator to be attached only to the body! Let’s see what Grandfather’s notation says.... You see? The duo-thermal impulsator must also be attached to a living brain, to transmit living vibrations to the artificial brain!"
Dr. Rudolph Frankenstein: "But such a powerful electric impulse might prove fatal to the brain of a living person!"
Dr. Maria Frankenstein: "That chance I am willing to take!"
WATCH as Maria Frankenstein defies both God and Man!
Dr. Rudolph Frankenstein: "Maria, we’ve already caused the deaths of three children, and violated the graves of others, just to make the experiments!"
Dr. Maria Frankenstein: "My, you’re a humanitarian! You should have stayed in Europe and given pink pills to sweet old ladies!"
Dr. Maria Frankenstein: "This is the last artificial brain Grandfather Frankenstein made. The secret of how to make them died with him. If I fail in this last attempt, I too am willing to die!"
Dr. Rudolph Frankenstein: "Is it so terrible to fail?"
Dr. Maria Frankenstein: "You’re a fool, Rudolph! We hold the secret of life in our hands!"
Dr. Rudolph Frankenstein: "Maria, Maria! This has already cost Grandfather his life! And Father---"
Dr. Maria Frankenstein: "Father was a weakling! He dared not try the experiments - only on paper! You know, Rudolph, sometimes I think you remind me of Father...."
Dr. Rudolph Frankenstein: "This wound is bad - it festers!"
Dr. Maria Frankenstein: "It is not important. He is as strong as a giant! What a brute he’ll make!"
Dr. Rudolph Frankenstein: "Maria, please stop these terrible experiments! We’ll have another death on our conscience!"
Dr. Maria Frankenstein: "Don’t be an imbecile! If I turned him over to the marshall he’d be hanged anyway! So what has he got to lose?"
Dr. Rudolph Frankenstein: "What you are going to do is insane!"
Dr. Maria Frankenstein: "We shall soon see which one of us is insane!"
Dr. Rudolph Frankenstein: "Maria, this isn't the same as experimenting on one of the village children! Jesse James will kill us!"
Dr. Rudolph Frankenstein: "Don’t do it, Maria! You are going too far! No-one should tamper with the laws of God!"
Dr. Maria Frankenstein: "You are no longer Hank Tracy! You are now - Igor! Do you understand? Igor! That is how you will be known! I am Maria Frankenstein! As I think, you will think! We are one! I will command, you will obey! You will live as long as I will it! You will die when I command it! Remember, you are always under my control! You are now Igor! I command you to arise! Igor! I am Maria Frankenstein! I created you! I created you! I command you to get up! Get up, Igor!"
Jesse James Meets Frankenstein's Daughter (aka Jesse James Meets Frankenstein)
1966
XVID
430 mb
5-part download
Part01
Part02
Part03
Part04
Part05
"Jesse James Meets Frankenstein's Daughter", a western/monster movie, was released in 1966 as part of a double-feature genre-bending grindhouse/drive-in schlockfest with "Billy the Kid versus Dracula"; both directed by William "One-Shot" Beaudine, veteran director of over 350 known films and hundreds of TV episodes. In 1966, when he made them, he was the oldest active director in Hollywood, at age 74.
"One Shot" was prolific not only because of his propensity for shooting the least amount of takes possible (hence his sobriquet), but also because he started in the early days of the film industry, when one- and two-reelers were ground out like sausages. The entire movie was shot 8 days.
In this movie we learn the valuable and wholesomely PC lesson that female mad scientists can be just as insane as their male counterparts and are fully capable of ranting and raving and speechifying on and on about dubious scientific projects of no earthly use whatsoever to which they have devoted themselves body and soul just as well as any man (so why don't we see more of them?).
Interesting factoid: The lab equipment was provided by Ken Strickfaden, who used the same gadgets in the Frankenstein films made by Universal, as well as "Young Frankenstein" (1974). This is one of the few times the equipment was filmed in color.
The plot: Legendary western outlaw Jesse James encounters the GRANDDAUGHTER (yes, the movie's title is wrong folks... let that oversight clue you in on what you are getting into here ;) of the infamous Dr. Frankenstein. Maria Frankenstein proceeds to transform Jesse's slow-witted pal Hank into a bald zombie (which she names Igor), despite the protestations of her brother Rudolph and the heroic snooping and meddling abilities of villager Juanita.
Cast includes John Lupton as Jesse James, Narda Onyx as Dr. Maria Frankenstein, Estelita Rodriguez as Juanita Lopez, Cal Bolder as Hank Tracy / Igor, Jim Davis as Marshal MacPhee and Steven Geray as Dr. Rudolph Frankenstein.
FEAR Frankenstein's monster reborn!
Dr. Maria Frankenstein: "It’s because we’ve been forced to use the brains of children that we’ve failed. What we need is a man - a powerful man - a giant! Then we will succeed!"
Dr. Rudolph Frankenstein: "But what - what good will it do to succeed?"
Dr. Maria Frankenstein: "Imagine! We’ll have someone to do our bidding who can’t be put to death! Just as we have given it life, only we can take its life away!"
Be ASTOUNDED by the advanced "science"
Dr. Maria Frankenstein: "What a fool I’ve been! I’ve allowed the duo-thermal impulsator to be attached only to the body! Let’s see what Grandfather’s notation says.... You see? The duo-thermal impulsator must also be attached to a living brain, to transmit living vibrations to the artificial brain!"
Dr. Rudolph Frankenstein: "But such a powerful electric impulse might prove fatal to the brain of a living person!"
Dr. Maria Frankenstein: "That chance I am willing to take!"
WATCH as Maria Frankenstein defies both God and Man!
Dr. Rudolph Frankenstein: "Maria, we’ve already caused the deaths of three children, and violated the graves of others, just to make the experiments!"
Dr. Maria Frankenstein: "My, you’re a humanitarian! You should have stayed in Europe and given pink pills to sweet old ladies!"
Dr. Maria Frankenstein: "This is the last artificial brain Grandfather Frankenstein made. The secret of how to make them died with him. If I fail in this last attempt, I too am willing to die!"
Dr. Rudolph Frankenstein: "Is it so terrible to fail?"
Dr. Maria Frankenstein: "You’re a fool, Rudolph! We hold the secret of life in our hands!"
Dr. Rudolph Frankenstein: "Maria, Maria! This has already cost Grandfather his life! And Father---"
Dr. Maria Frankenstein: "Father was a weakling! He dared not try the experiments - only on paper! You know, Rudolph, sometimes I think you remind me of Father...."
Dr. Rudolph Frankenstein: "This wound is bad - it festers!"
Dr. Maria Frankenstein: "It is not important. He is as strong as a giant! What a brute he’ll make!"
Dr. Rudolph Frankenstein: "Maria, please stop these terrible experiments! We’ll have another death on our conscience!"
Dr. Maria Frankenstein: "Don’t be an imbecile! If I turned him over to the marshall he’d be hanged anyway! So what has he got to lose?"
Dr. Rudolph Frankenstein: "What you are going to do is insane!"
Dr. Maria Frankenstein: "We shall soon see which one of us is insane!"
Dr. Rudolph Frankenstein: "Maria, this isn't the same as experimenting on one of the village children! Jesse James will kill us!"
Dr. Rudolph Frankenstein: "Don’t do it, Maria! You are going too far! No-one should tamper with the laws of God!"
Dr. Maria Frankenstein: "You are no longer Hank Tracy! You are now - Igor! Do you understand? Igor! That is how you will be known! I am Maria Frankenstein! As I think, you will think! We are one! I will command, you will obey! You will live as long as I will it! You will die when I command it! Remember, you are always under my control! You are now Igor! I command you to arise! Igor! I am Maria Frankenstein! I created you! I created you! I command you to get up! Get up, Igor!"
Jesse James Meets Frankenstein's Daughter (aka Jesse James Meets Frankenstein)
1966
XVID
430 mb
5-part download
Part01Part02Part03Part04Part05
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