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philip gelatt jr

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It's me! [Jul. 7th, 2008|11:39 am]
As a buddy icon! 

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To revisit: Eleutheria [Jul. 2nd, 2008|10:43 am]
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I just realized that I desperately want to read this again:



I read it years ago and I have vague memories of being really moved by it.   I think somewhere I have a file full of quotes from it that I thought were fantastic.  But where that file is, I'll probably never know. 

I think I found the book originally because Burroughs mentions it and borrows from it in Cities of the Red Night.  Weird those trains and tracks of influence you can follow to find fantastic things.  And if I had to make a hierarchy, I think I'd put Fowles over Burroughs. 

I have an affection for works of art that strive to great heights but find themselves getting lots along the way.  Flawed masterpieces, I guess.  I think this is definitely one of those.  I'll make a list of my other favorites some time and it'll be great. 

I've also convinced myself that  I should buy an original printing of the 1977 revised edition.  But the internet tells me that's going to be rather pricey, so I guess I'll probably just get a normal version of it. 
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Mater Lachrymarum [Jun. 21st, 2008|12:37 pm]
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[Current Music |Whirlpool of Terror and Tension by Magyar Posse]

I think ultimately anything I want to say about this movie was already said in Nathan Lee's NY Times review.  And I quote:

[It] is silly, awkward, vulgar, outlandish, hysterical, inventive, revolting, flamboyant, titillating, ridiculous, mischievous, uproarious, cheap, priceless, tasteless and sublime. And that’s before the evil monkeys and sniggering Japanese harpies start running amok. By the time it gets to the diabolical subterranean soft-core orgies, this lunatic B-movie extravaganza has long since defied description and dazzled every irreverent, gore-hungry synapse in the brain.

It wasn't great Argento but it was definitely full-on Argento, exuberant in its excesses, heedless of things like plot and sense and completely willing to give itself over to its more ludicrous plot devices.

I honestly wanted to cheer during the film (e.g.: constantly through the first 10 minutes; anytime a kid died for no apparent reason but to do it) as many times as I wanted to cringe with disappointment (e.g.: ghost Daria Niccolodi, flaming CGI-man).

Also, maybe someday, if I play my cards right, I can get a review with a cast of adjectives that evocative and absurd.  I would love to write an unabashed Argento-inspired film.  Or comic.  Or Slash-Fic.  Or anything. 

I think tonight I'm going to have to re-watch Phenomena
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Not quite yet an adventure and the Mother of Tears [Jun. 19th, 2008|09:47 am]
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Word on the street is that the the Indy book isn't yet out.  Damn it. 

But soon, I promise.  I have held a copy in my hands.  I know how it feels.  I know it wants to be free. 

I'm going to see this tomorrow night:



And I am absurdly excited, even though all indicators point to "disappointment."

But c'mon, it's Argento.  And even at his worst, he's still like some kind of bizarre nightmare dispensing faucet.  Remember in Opera when that women gets shot through a peephole in her apartment door?  Now that's fucking cinema as the Furies intended it. 

I think perhaps to truly appreciate an Argento film you have to enter some kind of weird fugue state where you forget entirely that you are watching a film and instead imagine that some mad doctor has distilled nightmares into a concentrated liquid and is squeezing droplets of this liquid directly into your eyes.  

If you can get there, it's awesome.  If you can't, then you feel pretty much like you're watching a schlocky Italian horror film.

Also, there's a moment in Suspiria that I think has to have had a substantial aesthetic effect on David Lynch.  Blue curtains and strange sounds.  That's it for now. 



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Indiana Jones Adventures #1 [Jun. 16th, 2008|05:24 pm]
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[Current Location |Manager's Office]
[Current Music |Questioning Silence]

I think a comic book I wrote called Indiana Jones Adventures #1 (not the title I gave it, but still a sturdy title) comes out this Wednesday.  But I'm just not sure.   The Dark Horse website says it is, but the Amazon website says it isn't.  And my editor isn't saying anything at all. 

I got a copy of it in the mail Friday, with no attached note or anything.  Just a single book in a box.  Is that a cryptic signal that the release date is nigh?  I can't decode these symbols!







 
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Letter for the day #1 [Jun. 16th, 2008|09:33 am]
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[Current Location |Manager's office]
[Current Mood |curiouscurious]
[Current Music |Goblin]

To:  The movie-going public
cc:   Everyone else


Dear Everyone,

Last Action Hero ain't that bad.  Re-watch it.  Seriously.  Its problem might actually be that parts of it are too smart for its own good and other parts of it didn't understand that.  The introduction of Slater is pure acidic parody gold.  And Arnold as Hamlet?  C'mon.   And the movie-world police station?!  Damn it people, go with me here!

Also, does anyone remember how they promoted that movie by writing its name on the side of a NASA rocket?  Cuz I do but the internet doesn't. 

Best,

PmG
Manager
The Smut House
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What is the smut house at the end of time? [Jun. 14th, 2008|05:45 pm]
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[Current Mood |scaredscared]


It's the only building on Blank Street.  Blank Street, of course, being the street that flows one way directly into the end of all time.   The rest of Blank Street is all overgrown empty lots, a few of them that used to be parking and one that holds, hidden deep under the brush and vines, a graveyard of indeterminate cultural belonging. 

At the end of Blank Street is the end.  The end is dark and murky and moves like it has lungs that draw breath.  The end isn't really why anyone comes to Blank Street.  They come for the Smut House. 

The Smut House is a repository for the nasty things of history.  A great, gloomy book and media shop containing every forgotten piece of filth, every scrap of low art, every last celluloid sex nightmare, every inadvertently poetic thing whispered in moments of erotic embrace.  It's a wonderful place, full of secrets, dust, and murk.  It smells like mankind and it's always open. 

It is the destination for legions of Chrononauts. 

... Of course, this livejournal isn't actually a building at the end of time.  duh.  it's just named after a building at the end of time. 


 
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Later... [Jun. 11th, 2008|05:15 pm]
In answer to my own questions:

1) Yes it is.

2) Yes, all too much yes.

3) Too painful to contemplate. 

In other news, these comics aren't going to write themselves (even though they made campaign promises to do just that.)
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Somedays... [Jun. 11th, 2008|02:05 pm]
[Current Mood |blankblank]
[Current Music |Apes and Androids]

... it's ridiculously hard to get any work done.   It's one of those damn days over here. 

So I spend a lot of time hitting refresh on my e-mails, practicing my psychic powers, pacing my hallway and pondering things that don't deserve pondering.

Like:

- Is it at all believable that Jack Nicholson would sleep with Shelley Duvall? 

- Is it possible The Happening will be worse than The Wicker Man (as some early reviews have claimed)?

- What if Nightbreed had been an incredible film and a box office smash (instead of neither)?  Would it have become the Star Wars of horror films? 
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Frontier(s) [Jun. 11th, 2008|01:28 am]
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[Current Mood |hothot]
[Current Music |Ozzy's Diary of a Madman]

I wish I was freezing like I am in that user photo.  God damn it,  that'd be nice. 

Watched Frontier(s) tonight.  Good but not great.  I loved the setup and the explicit politics of it.  Interesting to have a Muslim man in a horror film, especially one coming out of France.  Once the film settles down into its cannibal family horror section it started to lose me, but all-in-all a pretty satisfying bout of gore and carnage. 

Stylistically, it's not bad but not great.  The director (who went on to make Hitman, of all things) knows how to do gore and suspense well but falls all too easily into the trap of unnecessary visual flourishes during shots when the audience might get bored. 

I'd love to see more political horror films around.  Hostel gets credited as one; as being a direct response to Abu Ghraib.  I don't know if i buy that theory.  That being said, I do buy the theory that Texas Chainsaw Massacre was a direct and angry response to the Nixon era.

Maybe it's because I don't really  think Hostel is a horror film; it's more of a black-comedy that twists into a revenge tale.   It never feels entirely serious about itself.

There should be a strain of horror film that explore the genre's strange and unsettling roots.  To disorient and unsettle instead of shock and surprise.

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