#Aubrey Woods

[cleowho]

“It can't be done.”

Day of the Daleks - season 09 - 1972

[joelywoely]

are you a Warren godby autistic or a gordon porlock autistic or an aubrey woods autistic or-

[loveboatinsanity]

[buddyboy600alt]

Charlie and the Chocolate Factory - The Candy Man Can on Sampo Tri-Screen Color TV

Charlie and the Chocolate Factory © by Warner Bros., Family Entertainment Inc.(FAIR USE)

Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.

Sung by Aubrey Woods. The opening song to the classic Gene Wilder movie, Charlie and the Chocolate Factory. Now on the Sampo TV. Model #9519.

#CharlieAndTheChocolateFactory#GeneWilder#MelStuart#aubreywoods#anthonynewman#lesliebriscusse#thecandymancan#thecandyman#charlieandthechocolatefactory1971#Sampo#sampotv#sampotriscreentelevision#sampotriscreentelevision#sampotriscreentv#9519

[dweemeister]

The Abominable Dr. Phibes (1971)

In the late 1950s and 1960s, American International Pictures (AIP) was a minor Hollywood studio with an outsized reputation. AIP, which made nothing but low-budget pictures and B-movies during its existence, focused on cornering the market for teenagers and young adults. Rather than making an endless string of superhero movies, AIP instead relied on its Beach Party series and related films (1963-1967) and inexpensive horror movies (usually involving producer/director Roger Corman). One of AIP’s mainstays for its coterie of horror films was none other than Vincent Price. A longtime character actor for 20th Century Fox, Price had only begun to regularly feature in horror films beginning with House of Wax (1953). From there, he became a regular on AIP’s Edgar Allan Poe adaptations (very loose adaptations, mind you) under Corman’s direction. No matter how dastardly Price’s characters schemes were in his numerous horror films, Price’s almost effortless charm always pored through, to the point that one cannot help but root for his schemes to succeed.

Though Roger Corman was not involved in The Abominable Dr. Phibes (Phibes rhymes with “bribes”), a portion of Price’s fans point to his performance here in the title role as the Vincent Price-iest of all. In this darkly comedic horror film directed by former production designer Robert Fuest (the 1961-1969 TV series The Avengers, director on 1970’s Wuthering Heights), the film’s deliberate campiness demands more absurd motivations, plot developments, and aesthetic choices than some viewers might be comfortable with. In short, this is not the ideal introduction to Vincent Price or AIP’s horror movies. To enjoy the first Phibes film is to be in on the joke, to accept the film’s inherent silliness.

The opening credits help set that mood. As they roll, Dr. Phibes (Price) ascends from beneath a flight of stairs, playing on organ Felix Mendelssohn’s “War March of the Priests” from Athalie. His only company in this fiendish lair are his tall, silent assistant Vulnavia (Virginia North) and his animatronic band, the Dr. Phibes Clockwork Wizards. Reported killed in a Switzerland car accident in 1921 alongside his wife Victoria, Phibes (who carries heavy facial scars and lost his speaking voice in the crash) is hellbent on seeking revenge against the British doctors who presided over Victoria’s failed surgery. Instead of going to therapy, Phibes murders the doctors instead. One after another, the doctors die in increasingly elaborate ways – each homicide inspired by one of the ten Plagues of Egypt as described in the Book of Exodus. After the third doctor dies, Scotland Yard finally begins connecting the dots under Inspector Harry Trout (Peter Jeffrey). Trout soon realizes that the deceased were all directed by Dr. Vesalius (Joseph Cotten). This revelation only begins to unearth Phibes’ wicked plot.

Elsewhere, Hugh Griffith plays a helpful Rabbi and Terry-Thomas plays one of the doctors. Derek Godfrey and John Cater play Inspector Trout’s superiors, Crow and Weaverly, respectively. Aubrey Woods, whom most know as Bill the Candy Man from Willy Wonka and the Chocolate Factory (1971), plays an eyewitness named Goldsmith.

The screenplay by William Goldstein (who returned for the sequel), James Whiton (his only major writing credit), and Fuest, is no one’s idea of sensible, intelligently structured writing. The transitions between the scenes involving Phibes, his assistant, and the victims to Scotland Yard and Dr. Vesalius are untidy. Goldstein, Whiton, and Fuest attempt to make more of a mystery out of this film than they should, but it only serves to make the investigatory half of the film as a dumping ground of expository dialogue. The scenes with Phibes are the zanier, far more interesting parts of the screenplay – even though the character can no longer speaker (the writers engineer an inexplicable workaround, but this unlikely development can have a pass in the context of this bizarre work). For the scriptural scholars among us, some of the stylish killings of the unsuspecting doctors take liberties with the stated Ten Plagues of Egypt. Though perhaps unacceptable to those demanding strict adherence to the holy texts, the thematic divergences of those murders are still so cockamamie that most viewers probably do not mind.

Dr. Phibes’ murders would make Jigsaw from the Saw series (2004-present) proud. To be clear, The Abominable Dr. Phibes is not a slasher film (a subgenre that was beginning to find its foundations by the early 1970s), but it contains elements that would become slasher hallmarks – an individual committing several revenge killings due to a past event, a sort of catharsis (in later slasher movies, sexual gratification) in the act of killing, and unusual manners of murder. Instead of horrifying the viewer with the wanton death, it is Vincent Price’s performance that keeps The Abominable Dr. Phibes within the confines of comedic horror. Due to reasons that I do not wish to spoil, Price’s Phibes scarcely makes a facial expression aside from his default, neutral gaze. His gait is deliberate and steady. Without the possibility of any facial muscular contortions or Price’s trademark smirk, so much of Price’s performance is through his eyes. From his thousand-yard stares, contemptuous gazes, world weary looks, and bemused glances, Price provides an enormous amount of the film’s soul and tenor with so little of his body. This sounds like a silent film director’s dream, but Price’s performance is a commanding one, in any era. His Dr. Phibes may not be in full control of his movements (thanks to Trevor Crole-Rees’ excellent makeup design), but Price is always fully in control of his acting. No surprise to anyone who knows Price’s work – always dependable to provide his utmost effort, no matter how dire the material.

The screenplay, nevertheless, keeps some emotional distance between the audiences and the title character. Though the film’s absurdity allows the viewer to scrap their sense of morality while watching Phibes slaughter each of the doctors, Phibes’ psychology is inaccessible until the film’s second half. The filmmakers, by not prioritizing Phibes’ mindset as much as they could, continually frame him as the villain amid bumbling detectives, the privileged victims (ensuring that the viewer cares not too much about their deaths), and the prideful Dr. Vesalius (whose hubris erodes as the film progresses, revealing his desperate humanity).

If anybody could be considered a co-lead here, that would be Joseph Cotten as Dr. Vesalius. The underrated and undermentioned Cotten, not at all known for his horror work and more for his collaborations with Orson Welles (namely 1941’s Citizen Kane and 1942’s The Magnificent Ambersons), performs ably here. Cotten replaced Price’s friend, Peter Cushing (Grand Moff Tarkin in 1977’s Star Wars, a regular as Baron Frankenstein and Van Helsing in Hammer horror movies), after Cushing fell ill. Cushing would have been ideal in the role, but never does Cotten act as if the unconvincing dialogue is beneath him, even if he doesn’t attempt to hide his American accent. As Dr. Vesalius, Cotten wonderfully inhabits his character’s desperation as his colleagues meet their ends, as if prophesied.

Set designer Brian Eatwell (1973’s The Three Musketeers, 1976’s The Man Who Fell to Earth) runs rampant with his design to Phibes’ lair. A curious combination of art deco and the garishness of 1970s colors serves the film’s ludicrousness. I am not sure how livable Phibes’ abode is – there are nary any bedrooms or any other amenities depicted – but the central chamber could be an ideal place for a raucous, demented soiree. Vulnavia’s ever-changing wardrobe in each of her scenes is also a delight, thanks to costume designer Elsa Fennell (1964’s Goldfinger, 1971’s Diamonds Are Forever). Perhaps there isn’t too much of association between campy costumes and sets with heartrending motives for murder, but that is exactly what transpires in The Abominable Dr. Phibes.

In addition, a laughably anachronistic soundtrack of swing jazz and Great American Songbook standards dot the film. I was not prepared for the appearance of either Mendelssohn’s “War March of the Priests” nor the legendary song that rounds out the closing credits. Phibes’ introduction while playing the former on organ readies the viewer not to take everything that is about to unfold seriously. For the latter song (again, I dare not spoil this), a brilliant solo trumpet takes the easily recognizable melody and swings it. Lyrically, this song’s placement in the end credits is fitting for what happens to Phibes. But I could not help but laugh the moment I heard the opening notes – a fitting send-off to a gleefully daft movie.

When The Abominable Dr. Phibes arrived in theaters, its poster showed the mutilated Dr. Phibes appearing as if he is about to kiss a woman. Above them read the tagline: “Love means never having to say you’re ugly.” This was a reference to Love Story (1970), with its (in)famous tagline and in-movie quote: “Love means never having to say you’re sorry.” The marketing for The Abominable Dr. Phibes confused audiences – was it a romance? horror? parody? – and the film struggled initially before AIP retooled its advertising to market the film as a horror film. On its low budget, the film was successful enough to warrant AIP to greenlight a sequel, Dr. Phibes Rises Again (1972). That sequel marked the beginning of the end of Price’s association with AIP, due to conflicts over his pay (while AIP’s box office fortunes were dwindling), his lack of satisfaction with the scripts coming his way (not even Price wanted to star in two Dr. Goldfoot movies in two years), and AIP’s plans to replace him with Robert Quarry as their primary horror star.

In the years since the film’s debut in cinemas, The Abominable Dr. Phibes has garnered a deserved cult status. There was no stopping Vincent Price from leaving AIP, but AIP – with their Robert Quarry plans not even a secret – somehow undervalued the actor who was their principal attraction through the 1960s. An essential in Price’s filmography, The Abominable Dr. Phibes defies genre conventions, genre categorization, and any semblance of rationality. For those looking for some bloody horror as the mercury drops, look no further than here. The first Dr. Phibes films guarantees murders with a wink and, though not a smile, an animatronic band playing hits that have yet to be composed.

My rating: 7/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog. Half-points are always rounded down.

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

[joelywoely]

@frogg0th

Free my woman she did all of it but I don’t care

[cinemaquiles]

O futuro bizarro e incrível de "É proibido procriar!" (1972)

[ruby-cloud]

here is a full drawing of my entry for Red Valley fanart competotion!

process:

ngl even before this i had like 10 different sketches until i settled on this idea. i really like how the final composition turned out

[kibbozthecat]

Night in the Woods x Omori- Still proud of this one, the only thing I've ever made that's been stolen multiple times

[redvalleypod]

Update! 🚨

We first announced Season 3 as 13 episodes, to be released in 3 parts.

Well…we’re currently at 17 episodes.

As a result, the ‘parts’ plan doesn’t work so well any more. So - our next 6 episodes to be released will now be known as…Season 4!

We are still planning on launching the new season by the end of the year! Everything is sounding awesome so far, we can’t wait to show it to you!

We just wanted things to be as clean and clear as possible for old and new listeners, and this feels right.

The original plan was five episodes for Part 1, and four each for Parts 2 and 3.

The newly-titled Season 4 is now six episodes, and Season 5, our final season, is also currently at six. The story just got bigger!

That’s a lot of numbers. Sorry if any of this is confusing! We’ll get our release date out for you as soon as we have it! ❤️

[mayaskribbles]

i still come to this place to find peace (thats enough, lets get you home)

[potato-lord-but-not]

gay people !?? in MY sci-fi horror podcast !???!??

[spacizia]

remembering

[hannatsunari]

All my drawings for the contest :)

[jhnmhm]

My red valley contest entry! Yay!!!!

[redvalleypod]

Tonight we party.

Season 4 Episode 1 - ‘The Brigadoon.’

Available everywhere Dec 1st, out now through our early access feed.

Thanks to @noahdea.art for his first official piece of art for Red Valley.