I didn't even know that there was a sequel to The Lost Skeleton Of Cadavra. I've now looked him up extensively on my movie rental website and added all of his movies to the rental list. I'd certainly hope he keeps making movies too, I'd forgotten just how much his films made me laugh until I came here and saw some of the moments.
That’s kinda my hope: people following will discover new movies, or remember well-loved old movies, and be moved to revisit them.
This could quite possibly be one of my favourite blogs. I'd forgotten how funny Larry Blamire's movies were. Thanks for creating a place for them to get some appreciation! As well as all of the other excellent movies you've posted images and gifs from! Hence my enthusiastic reblogging.
You are quite welcome, and thanks! Good to know someone appreciates what I do.
I hope Blamire is still up to something. If he follows the Skeleton progression, he may eventually start doing parodies of 80’s horror…now wouldn’t that be something?
Were you physically affected by your influence on "IT"?
Physically? I’m not sure. The book moved me more than the film, to the point where my friends took it away from me before I could finish it, because I was in such a deep funk. The movie had its moments, but nothing as scary to me as the book. The Shining, on the other hand, man, that movie terrified me when I first saw it as a kid.
Stephen King, who wrote the novel The Shining is based on, is reportedly unhappy with this adaptation. It is easy to see why: Kubrick’s vision has little in common with King’s.
King’s protagonist was a nice guy — weak rather than malicious. His inner demons were past, and he was working on making a good life for his family and forgetting his alcoholism and violence. The hotel worked on him to bring those to the fore, and engaging a hidden and vicious ego that Jack had (mostly) suppressed. The hotel wanted Danny because his power would amplify that of the hotel once he was one of them, and used Jack as a tool to get at him. In the end, Jack briefly shook off the clutches of his inevitable doom to save Danny and Wendy and destroy the hotel.
Kubrick’s protagonist — if it’s fair to call him that — is a barely-controlled ball of anger to begin with. His alcoholism is only a few months in his past, and his anger and ego are largely unaddressed. The hotel finds fertile ground in him, and while it clearly wants Danny and Wendy in its cast of ghosts, it uses Jack as more than a tool, it treats him as the star attraction. He’s a murderer (in the book he doesn’t kill Halloran. I suppose Dick is a ghost in the hotel now, too), and, it is implied, an abuser, who is, at best, barely keeping these impulses in check. Kubrick’s Jack Torrance is like a set mousetrap, only needing the right prod to spring into violence — violence that is his own, not entirely that of the hotel. Kubrick’s Jack has secrets as deep as those of the hotel, and these secrets prove to be the access to his wrath. Kubrick’s Jack joins the hotel’s coterie of victim-ghosts with a smile — or at least a frozen grimace — on his face.
King said Kubrick failed to understand the horror genre. Well, perhaps, but I think he created his own work of art that used horror as one of its main themes, and did so successfully. The 1997 TV adaptation was far truer to the book, but on film at least, moving hedge animals and oversized croquet mallets (Jack’s weapon, what Kubrick replaced with the more film-friendly fire axe) just cannot be scary.
This is an aspect of King’s genius: he can make ridiculous things terrifying. Unfortunately, film as a medium simply cannot do the same.
Kubrick’s genius was pushing the medium of film to its limits, and then pushing it some more. The intersection of these two geniuses produced something amazing, but easily overlooked as overacted schlock.
Heeeere’s Scixie in the back row, shining in the dark.
The Shining (1980) directed by Stanley Kubrick, starring Jack Nicholson, Shelley Duvall, and Danny Lloyd. Based on the novel by Stephen King.