It’s Christopher Lee and Peter Cushing together in a horror picture, a formula no shock feature fan can resist. Most of us remember staring at the beautiful full-color photo of Chris Lee in monster makeup in Denis Gifford’s picture book about horror movies. Yet this has remained one of the pair’s most obscure items, at least as a quality presentation. Powerhouse Indicator’s expert added value items put all the rumors to rest, including the question that’s been repeated through the years — where’s the legendary 3-D version? Or perhaps more to the point, was there really a 3-D version? And then there’s the other question — is the movie any good?
I, Monster
Region B Blu-ray
Powerhouse Indicator
1971 / Color / 1:85 widescreen / 75, 81 min. / Street Date September 28, 2020 / available from Powerhouse Films UK / £15.99
Starring: Christopher Lee, Peter Cushing, Mike Raven, Richard Hurndall, George Merritt, Kenneth J. Warren.
Cinematography:...
I, Monster
Region B Blu-ray
Powerhouse Indicator
1971 / Color / 1:85 widescreen / 75, 81 min. / Street Date September 28, 2020 / available from Powerhouse Films UK / £15.99
Starring: Christopher Lee, Peter Cushing, Mike Raven, Richard Hurndall, George Merritt, Kenneth J. Warren.
Cinematography:...
- 10/27/2020
- by Glenn Erickson
- Trailers from Hell
Assigning the year to which a film belongs affects how we think of it – but should we choose production or release date?
Let's try to push past the wordplay: how we date movies is serious business. Literary critics seem to rub along without having to write Twelfth Night (1602), but open any film book and you will find great thickets of brackets – Date Movie (2006) – mucking up otherwise perfectly respectable sentences. Moreover, the specificity these dates purport to offer is quite illusory.
Twasn't ever thus. Early film histories, such as Paul Rotha's The Film Till Now, first published in 1930, were largely unencumbered. Within a few decades, alas, parentheses had become de rigueur – but what to fill them with? Opinions varied. In later, much-expanded editions of Rotha's book, the most influential of its kind, films were dated "by their year of production, and not, as is misleading in some film books, by...
Let's try to push past the wordplay: how we date movies is serious business. Literary critics seem to rub along without having to write Twelfth Night (1602), but open any film book and you will find great thickets of brackets – Date Movie (2006) – mucking up otherwise perfectly respectable sentences. Moreover, the specificity these dates purport to offer is quite illusory.
Twasn't ever thus. Early film histories, such as Paul Rotha's The Film Till Now, first published in 1930, were largely unencumbered. Within a few decades, alas, parentheses had become de rigueur – but what to fill them with? Opinions varied. In later, much-expanded editions of Rotha's book, the most influential of its kind, films were dated "by their year of production, and not, as is misleading in some film books, by...
- 7/5/2011
- The Guardian - Film News
Production stills have played a large and peculiar role in my movie-watching life. Seeing a haunting image from some unfamiliar film can set me off into reveries, and make me crave the opportunity to see the mystery movie itself. I guess this explains my otherwise bizarre quest to watch every film illustrated in Denis Gifford's A Pictorial History of Horror Movies, but it doesn't stop there.
I must have seen the above image from Karl Grune's 1923 Die Straße (The Street) in some ancient volume on expressionist cinema, and it stuck in some dusty corner of my brain ever since. It may have also gotten aligned with the dream sequence from Wild Strawberries where Victor Sjostrom observes a watchmaker's sign, a clock without hands. (Along with movie stills, such signs have an inexplicable atmospheric value of their own.) Maybe the book was Siegfried "laugh-a-minute" Kracauer's From Caligari to Hitler,...
I must have seen the above image from Karl Grune's 1923 Die Straße (The Street) in some ancient volume on expressionist cinema, and it stuck in some dusty corner of my brain ever since. It may have also gotten aligned with the dream sequence from Wild Strawberries where Victor Sjostrom observes a watchmaker's sign, a clock without hands. (Along with movie stills, such signs have an inexplicable atmospheric value of their own.) Maybe the book was Siegfried "laugh-a-minute" Kracauer's From Caligari to Hitler,...
- 11/25/2010
- MUBI
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