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Saved cows and calves by making halves of that famous Lambton Worm
Oh, my God, The Lair of the White Worm (1988) is not a good movie. I mean, nunsploitation with terrible bluescreen effects. Plot exposition plus Freudian crosswords. Peter Capaldi with a mongoose apparently stashed in his sporran. (All together now: or are you just happy to see me . . .) I imagine the anachronistic slander of the Emperor Carausius does not even rank among the problems most viewers have with this film, but what do you want from me? I read The Silver Branch (1957) in high school.
It was, nonetheless, a remarkably entertaining way to spend an evening with two friends who do not have livejournals, even if I may never get those synapses back. Next time, I insist on watching a movie with actual, you know, continuity. And better values of human sacrifice.
It was, nonetheless, a remarkably entertaining way to spend an evening with two friends who do not have livejournals, even if I may never get those synapses back. Next time, I insist on watching a movie with actual, you know, continuity. And better values of human sacrifice.
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Actually, in some cases...yes.
Russell's probably best-known for either his adaptations of D.H. Lawrence books like Sons & Lovers and The Rainbow, his direction of the Who's rock opera Tommy, or his strange-ass biography of Franz Liszt starring Roger Daltrey (Lizstomania). My personal favourite films of his are Worm..., The Devils (an adaptation of Huxsley's The Devils of Loudon which casts Oliver Reed as the sexy priest and Vanessa Redgrave as the "possessed" Mother Superior--it was banned almost everywhere, forever losing two scenes that put Haxan to shame [the "rape of Christ" sequence, in which nuns sexually abuse a giant crucifix, and the coda in which Redgrave uses one of Reed's bones as a dildo]) and Gothic, the weirdest version of the Byron/Shelley/Mary Shelley/Clair Claremont/Doctor Polidori holiday menage you'll ever see. Might'v been based on Bloody Poetry, but...maybe not.
Um, so--basically, Russell is like the British Alejandro Jodorowsky, except for the fact that he was briefly far more popular than Jodorowsky has ever been, and therefore got stuck halfway ina nd halfway out of the Hollywood machine. "Visionary", in that very particular male way. On good days I look at his fuckery and say: "Oh, YOU", and want to pinch his little cheeks. On bad days, I wonder what the fuck the guy's damage is, but I must admit, I'm not interested/arsed enough to find out.;)
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Derek Jarman did the production design for that one! Never mind, I have to see it. Also IMDb informs me of a number of actors I like in it: Max Adrian, Murray Melvin, John Woodvine, Kenneth Colley . . . Wait, its Cardinal Richelieu is the same Christopher Logue who wrote War Music? Have you got this on DVD? Can I steal it?
and Gothic, the weirdest version of the Byron/Shelley/Mary Shelley/Clair Claremont/Doctor Polidori holiday menage you'll ever see.
Gabriel Byrne as Byron, whose Polidori is Timothy Spall? Oh, twist my arm.
On good days I look at his fuckery and say: "Oh, YOU", and want to pinch his little cheeks.
*ksnerk*
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Wiah I did! Like The Shout, The Devils is thisclose to being a sort of lost film. I'd love to have both it and Gothic, even if I had to pick them up on video--they'd go straight on the "gotta have!"" list, along with a copy of Trouble Every Day. Video Watchdog did a pretty amazing spotlight issue on The Devils, though, and I have that--otherwise, I'm working off memories of a screening I saw at some indie circuit festival years and years back.
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Oh, my God, the Harvard Film Archive is showing The Shout two weeks from now. Want to come to Boston?
otherwise, I'm working off memories of a screening I saw at some indie circuit festival years and years back.
It's not even on DVD from the BFI. Man . . .
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