The art of the double bill is a fine
one. It's the cinematic equivalent to creating the perfect mix-tape.
(Sorry, even in the digital age, they will always be mix-tapes to
me.) I love picking out two seemingly divergent movies and bringing
them together, forming one most interesting evening. Granted, my
personal taste has never been for everyone, so your mileage may vary.
I was once banned from picking out movies for some friends of mine
one night after crafting the double bill of “Meet the Feebles”
and “Desperate Living.” Hey, it maybe a heady mix for the
uninitiated but I still stand by that one. Puppets singing “Sodomy”
and Edie Massey yelling out
“Look....at.....all....those....dummies!!!” is sheer perfection,
people.
Image from filmposters.com
So earlier this week, we had the
diverse yet kind of harmonious double bill of the 1970 classic
documentary, “Gimme Shelter” and the equally classic 1979 horror
film, “Phantasm.” This was my first time seeing the former,
unbelievably, and after reading about it for years, it did not
disappoint. One of the fascinating things about the Rolling Stones is
that within a time span of 10 years, there was not one but three
documentaries made about them. The first being Godard's “Sympathy
for the Devil” aka “One Plus One” (1968), “Gimme Shelter”
(1970) and the infamous and sorely needs-to-be-legitimately- released
“Cocksucker Blues” (1972). One could do a whole book about their
connection to cinema, starting off with these three films.
Okay, this has nothing to do with the documentary, but mein gott, Merry Clayton SMOKES it.
“Gimme Shelter,” made by The Mayles
Brothers and Charlotte Zwerin, documents the band around the time
period of “Get Yer Ya-Ya's Out!”, complete with a brief shot of
Charlie Watts being photographed for the cover, as well their 1969
concert at Madison Square Garden. The latter has some great footage,
particularly of opening act Ike & Tina Turner doing a scorching
version of “I've Been Loving You Too Long.” Seriously, the latter
is total baby making music and undoubtedly made everyone in the
audience that night about 200% more fertile. Mick's response to the
footage? “It's nice to have a chick occasionally.” Mick? Shut up.
Of course, what “Gimme Shelter” is
best known for is featuring the build-up, the firestorm and the
aftermath of Altamont. What was supposed to be a sweet-cheeked follow
up to Woodstock turned into a festival of bad vibes, abuse and one
death, all thanks to some extremely poor organizing and the bright
idea to hire the Hell's Angels as security. Because outlaw bikers
being paid in beer are a great mix with pie-eyed and huge-pupiled
flower children. The thing about “Gimme Shelter” is that even
though I went into the film knowing the ride I was in for, I was
still floored by the pall that blankets every frame of celluloid.
Even the lighter footage, like the band recording “Brown Sugar”
in Muscle Shoals, Alabama, has a somber undercurrent. It did make me
happy to see that my favorite Stone, Charlie Watts, got a lot of
camera time. (My other favorite Stone, Ron Wood, was not in the band
at this point, though for what it's worth, more folks should give
some love to Mick Taylor.)
After that rock & roll deathshow,
“Phantasm” was very much the spirit of the night that was needed.
Re-watching it, something hit me that despite it being one of the
biggies of horror from the past 30+ years, there is still really
nothing quite like it. It is atmospheric, surrealistic, features some
great colors and has Reggie Bannister....all wonderful things that
should be in every horror film! I definitely wish more genre
filmmakers would study a film like this, not to mention all of the
Italian greats (Bava, Argento, Fulci) and honor the fact that there
is a wide rainbow of gels in the world of lighting. Film is a visual
medium, so embrace the colors. Some rich red lighting is way more
striking and eerie than muted sepia. Muted sepia is fine for the old
timey photo booth at Silver Dollar City, but not a horror film.
Reggie, in one of the most iconic scenes in horror.
Also in horror news, I saw the poster
for the “re-imagining” of “Maniac,” with Elijah Wood. Now, I
have no opinion on the film itself since I haven't seen it, but it
did make me wish that more directors and producers would take more
influence and less direct ideas from older films. There are good
remakes, of course, some even great, but I feel like the past few
years have sported a bulk-sized bonanza of them. There maybe few, if
any, truly original ideas at this stage of the game, but individual
approach, when honest and pure, is always original.
On the writing front, keep your eyes
peeled for new material on Dangerous Minds, as well as upcoming
contributions to both Rupert Pupkin Speaks, William CastleBlog-A-Thon and Paracinema. Enjoy, cats and kittens!
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