#I love the original 1968 movie too!

[seaside-lovers-archive]

Sometimes self care is making a Planet of the Apes AU for you and your husband.

[drchucktingle]

MY night of the living dead

in interviews folks often ask what got me into horror and i always say FIRST TIME i can remember as a young buckaroo when i truly LOVED the experience of a horror story was NIGHT OF THE LIVING DEAD. what i do not often say is that is was the 1990 remake starring tony todd

yes the 1968 black and white original was classic but MY night of the living dead is the tony todd version, which is controversial opinion but what do i care it is basically my mission to eliminate the idea of a ‘guilty pleasure’. I SAY IT PROUD: I LIKE THE 90S VERSION BETTER

lots of reasons this film resonated with me and the biggest one is that i LOVED tony todd. he was one of the first actors i thought ‘hey its THAT GUY. THAT GUY IS THE BEST THIS MOVIE WILL BE GREAT’. was too young to know many actor names but i remember LOOKING HIM UP specifically

obviously as CANDYMAN he is an icon of horror, and the reason i think he resonated with so many buds is because of the EMPATHY he created with his characters. candyman is VERY complex thanks to his performance, both scary and uniquely sympathetic for a slasher

i think his horror connection made is so he did not play heroes very often after that but while buckaroos mourn the loss of this actor i would recommend horror buckaroos rewatching NIGHT OF THE LIVING DEAD 1990 VERSION where he is the hero of the story. that empathy really shines

anyway REST IN PEACE tony todd thank you for bringing me into the world of horror. i know many will remember you as candyman and rightly so, what an honor, but i will remember you as the hero in the farmhouse that everyone shouldve listened to

[vintagerpg]

The five-volume Chronicles of Prydain, by Lloyd Alexander, began in 1964 with The Book of Three, and saw new entries — The Black Cauldron, The Castle of Llyr, Taran Wanderer — appear annually until finishing with The High King in 1968. They’re set in a fantasy version of Wales, and draw from Welsh mythology, but the story is very much the tale of an assistant pig-keeper named Taran who, as he grows from boy to man, seeks adventure, finds responsibility and learns the terrible cost of glory. It’s one of the first works of fantasy I read as a kid and honestly, I don’t think any others, except Earthsea, have measured up in terms of emotional weight (and their refusal to indulge in power fantasy or other cliché). I re-read them recently and that remains true. You ought to read them if you haven’t. They’ll change you, I bet.

Anyway. My editions as a kid were the ‘80s Dell Yearlings with the gorgeous cover art by Jean-Leon Huens. I have a deep love for the first cover and its depiction of the Horned King (and am eternally jealous that Tony DiTerlizzi owns the original). The others are pretty great, too. I love that the giant cat is basically a house cat and I love those alien-looking Cauldronborn on the final book’s cover. The Black Cauldron cover is rather new for me; my original had the movie poster for the god awful Disney movie (beautiful, yes, but still awful and utterly lacking the emotional heart of the books). I’m pleased Huens shows Eilonwy, but now I am a little bummed he never painted the bard, Fflewddur Fflam.

[thatbanditqueen]

Come Hell or Come Sundown

A Charro! One-Shot

Summary: It is the summer of 1968 and Elvis finds himself in a New Hollywood, no more production code, just a ratings system with the promise of more sex and violence. This is good, because Elvis is in transition too! He is hot off the set of his TV special and ready to make a gritty western he can be proud of. Things are going well, he's making friends on location in Arizona, but then first they cut some of the violence, and now he's not so sure there is going to be any sex scenes in this movie. What's next, are they going to make him sing to his horse?

Inspired by the cut nude bath scene and the notes in Donna Lewis' diary that there were originally sex scenes scripted in Charro!

A response to the writing prompt: "Cowboy Elvis"

Warnings: References to past sexual harassment, minor drug use implied and kissing.

WC: 13.4K

Thanks to my lovely writing support group @vintageshanny @ellie-24 @be-my-ally @lookingforrainbows @from-memphis-with-love @missmaywemeetagain @shakerattlescroll @peskybedtime and to @whositmcwhatsit for alpha-ing most of this. It is been a crazy two months, I won't go into it, but if you are still reading my stuff let me know it.

July 29, 1968

Apacheland Arizona

Ina leaned against the back side of the sound stage listening to the cactus wren sing their sunrise melody for the desert. Off in the brush she saw a lizard scurry away. It was early, but the air was already beginning to heat up and hung there thick with promise. She took a sip of her coffee, savoring the light, sweet taste, her heart full of hopeful anticipation for the sweet day ahead. 

She ran her fingers down over her blouse, enjoying the smooth empty feeling underneath where round flesh had been a month ago. 

This picture had been the answer to her prayers, a sign that she could still land a part as the love interest role. It was a role she knew well, one she had been playing for ten years in vehicles designed to showcase male stars: John Wayne, Paul Newman, Jerry Lewis, and now Elvis. Ina rarely got a leading role in a picture focused on a couple or a strong female character, but she accepted it was still a good salary and it kept her busy on and off between modeling gigs.

Lately, however, the on and off had been more off, and her agent, Mickey, had started talking about auditioning for roles as older sisters, aunts, and even, gasp, mothers.

But then she got this and bam! She had knocked over her phone with excitement as Mickey  described this project as a “modern, gritty western.”  She’d even agreed to the nudity, accepting her agent’s advice that this was going to open up even more doors now that the production code was gone and the film industry had a new rating system that allowed for mature content.

The first American western with a sex scene. That’s how Chuck, this director, had pitched his script in their first meeting, while also assuring her it would be tasteful and artistic and mainly shot using her facial expressions. She hadn’t cared, signing anywhere they wanted if it meant staving off cinematic spinsterhood for as long as possible.

And then, after carefully examining every dimple in her bottom that night, Ina had launched into a month-long disciplined regimen of ballet classes, black beauties and one meal a day. Ina took a deep breath and inhaled the earthy, floral aroma of the Arizona desert, letting it fill her with confidence. Her tummy was svelte, her skin glowed with a healthy bronze tan, and she was ready to conquer the shoot ahead. She had a feeling about this picture. A good one. 

Hollywood was buzzing about the TV special Elvis had just finished shooting. Apparently it was raw and gritty and unvarnished, just like the script for this film. And Chuck, her director, was the king of the westerns, who had been promoting Charro! in the trade press as Peckinpah meets Leone with more sex appeal and heart. 

Ina looked out at the orange glow of the desert sky at sunrise one last time as she stomped out her cigarette butt and murmured to herself with hushed excitement.

“What a glorious start to a glorious day.”

She headed back inside and made her way around the back of the set where she bumped into Elvis’ stunt double and friend, Jerry. Ina grinned, she couldn’t help it, Jerry’s serious eyes and rugged shoulders made her heart skip a beat. 

“That was some party last night, huh?” 

Jerry looked down, his low chuckle heavy with the weight of words unspoken as they both reflected on the prior evening. Ina was sure she saw an echo of her own desire in the warmth dancing behind Jerry’s blue eyes.

“You should talk, Sandy Koufax. Charlie’s grateful he can still see.”

Ina gulped, covering her mouth.. “ Oh no! Is he really hurt? I felt so bad, I was aiming for his stomach.” Ina said, twirling her hair. “Although I didn’t feel nearly as bad after watching Elvis go after Alan with the whole bucket, intentionally, over and over. He really took it to the next level.”

“Oh, that’s just how the bossman lets off steam.”

“That’s one way to put it. Say, where is the old steam engine, anyway?”

“He just went out front to get some dirt on his clothes.”

Ina raised her eyebrow. 

“He wants to make sure he has that real cowboy look.”

“Huh, Elvis Strasberg. Who knew?” 

Ina thought of Elvis out rolling around in the dirt and tried not to giggle. This got harder and harder as she looked into Jerry’s eyes, which were also twinkling with amusement.

In a moment of vulnerability Ina decided to let down her guard and step closer, trailing her fingers over Jerry’s upper arm. His muscle flinched slightly under her hand and it made her feel a little flight of butterflies in her tummy. 

“Too bad,” she murmured in what she hoped was a sexy, flirtatious voice.  “I was beginning to hope maybe you’d have to step in for him today.”

Jerry’s eyes widened for a split second, as he ran his hand through his hair. “Uh, well, as far as I know his scenes today aren’t dangerous at all.”

“That’s what you think.” Ina smiled, walking backwards for a few steps to enjoy the slight blush coloring Jerry’s scruffy cheeks.

She couldn’t be sure, but she felt there was a spark between them, and it made her feel young and giddy. Fifteen years of having her body and self worth surveyed and scrutinized and picked apart had left Ina unsure of her seduction abilities. First it had been photographers and advertising executives, then producers and directors had joined the throng out to shatter her confidence. For some women, the brutality of the business helped them create a calloused, impenetrable outer shell and distorted sense of self worth. For Ina, it had done the opposite, and she frowned as she felt the familiar knot of insecurity tighten in her stomach and vowed not let her self doubt stop her from having fun this time. No, before the end of this shoot she’d get Jerry alone and find out if he was as quiet and soft spoken in bed as he was on set.

Twenty minutes later, Ina was still smiling to herself when she slunk into a chair in make-up and pulled her thick, terry cotton robe tighter around her body. 

“Look at you,” Bertie gushed as she toyed with Ina’s long, brown hair. “Excited for the scenes today?”

Ina paused and looked at herself in the mirror, letting out a nervous sigh. 

“As ready as I’ll ever be.” 

She awkwardly smiled up at Bertie, and told herself to relax even as her shoulders inadvertently rolled upward and she tugged at the hem of her robe.

“You know five, even three years ago, you would kiss, passionately, then the camera would pan to the bedside table and come back into focus with you smoking. But now, Blow Up, Bonnie & Clyde, the new rating system. It’s a whole new ball game out there. I’m not sure - “

“Oh, you’re gonna be fine.”

Ina looked down and studied the top of her cleavage, she felt strangely ambivalent about the nudity and the sex scenes they were shooting. She was proud that they wanted her to do them, it bolstered her self esteem and made her feel longed for and desired, special. But she couldn’t shake that nagging feeling deep down that she would get on set, bare it all and then have the director and DP exchange hushed whispers before pulling her off and recasting her role. She met her own gaze again in the mirror and tried to squelch her self doubt.

“I know, I know, and it’s all very tasteful. I trust Chuck. Still, I’m the one wearing a see-through robe. All Elvis has to do is take off his cowboy hat before he carries me to the bed. He might be shirtless in the second scene, but for the most part all we’ll see is a little bit of his ear.”

Bertie nodded into big rounds of hair she was smoothing over with oil and pinning into place with bobby pins lodged at the side of her mouth.

“Yeah, well, with most guys I’d be fine just seeing the ear, cuz women’s bodies are just more beautiful. But with Elvis, I kinda wished they’d have him nude too, you know?” She clicked her tongue and winked at Ina in the mirror,

“You should get Betty Friedan on that, it would really be a movement for sex equality. Though I bet he’d give you a private show if you asked him, Bertie. He’s making his way through the crew, two at a time I hear.”

Bertie wiggled her eyebrows into the mirror.

“Yeah, I heard about that, two of the pretty Mexican extras, right? They can have him, I just want to look at him. I don’t think I’d survive if he touched me.” She flipped her long red hair over her shoulder and bit her lip. “I don’t know how you are going to make love to him all day.”

“Oh, well, when it’s work, you sort of detach yourself. I mean, yes, Elvis is very handsome, but he doesn’t really send me, you know? You should have seen him last night with his guys. Like a pack of wild animals.”

“Oh?”

“Yeah, I think Jerry is the only one who has ever opened a book, or doesn’t eat with his hands.”

Ina tried not to move as she watched Bertha pin another round hair piece in place. 

“The stunt double? He sure has that silent type thing going for him.” Bertie squinted her eyes at Ina as she stuck a few more pins in. “Ahhhh, let me guess, that’s the type you go for. Over Elvis. Are you telling me that you wouldn’t, you know, play patty cake with Elvis if he made the move? I thought he always dated his leading lady, maybe those extras are just the appetizer before the main dish..”

Ina sat up, admiring the tower of rolled hair Bertie had constructed on top of her head. Satisfied, she leveled Bertie with a friendly but stern look.

“Things can get sticky when you bed your co-star. And giving in just encourages them. You shoulda seen Jerry Lewis trailing me around off set like a creep. like I owed it to him.” 

Ina grimaced, remembering Lewis’ sweaty brow as he had pushed her against the wall of her dressing room and promised that she’d like it, that she didn’t know what she was missing. She shuddered, thinking of him and all the others: the photographers who’d grinded into her as they straddled over her during a photo shoot. The producers who had invited her to an audition and then cornered her alone. She felt sick to her stomach and reached out for the random half drunk bottle of Coke on the vanity in front of her to wash away the bad taste in her mouth.

“You ok, Miss Balin?”

“Please Bertie, call me Ina. After that party last night I think we’re all on a first name basis.”

“Ha, yeah, I guess.” She turned Ina around to finish her make up. “You know, I think you might be the only woman here who doesn’t want to sleep with Elvis.”

“Thank god Elvis seems to be somewhat of a gentleman, because I’m not looking to be another notch on his belt, I’ve worked too hard to stay in this business without a casting couch reputation, and I plan to keep it that way. Plus, with all the bed hopping that happens on location, and then having to run scenes together if things get, you know, weird. Better to keep things professional between us.”

“On the other hand, a lonely stunt man...”

Ina winked, she could feel the giddy excitement bubble up just thinking of Jerry. She tried to stifle it and stay aloof as she spoke.

“A month is a long time, even a lonely stuntman deserves some company.”

A cough interrupted their giggles and the women turned to see Elvis leaning against the doorway, one hand on his belt. He squinted his eyes, looking at them with exaggerated suspicion as he wiped his hand over his forehead leaving a dark streak of dirt above his brow.

“Uh huh, and just what’d I stumble into here, huh? You two look like you are up ta no good, boy, I tell ya what.”

Perfectly lined smoky eyes sat below Elvis’ dirty forehead and more dirt billowed off his trousers as he strode toward the two women, his hands hanging off the top of his corduroy trousers. Bertie shot Ina a cautious glance in the mirror that warned her not to laugh, even as  the sides of her lips seemed to hold back a chuckle.

“I’ve seen that look before Iny Niny.” Elvis said. “Right about the moment ya took aim and fired at poor Charlie Hodge, square the eyes.”

“I really didn’t mean to hurt him! Really.” Something about Elvis’ easy charm made it impossible not to smile broadly. “I - we - we’re not up to anything, you. Just chit chat. I was saying how I almost didn’t recognize you when I got here yesterday. On account of that beard you got, Presley.”

“I almost don’t recognize myself, honey.” He paused and looked in the mirror, taking a step closer as he rubbed the dirt into his forehead more. “That’s probably a good thing, maybe this picture actually has a chance to be something.”

Ina sat up as Bertie dusted her with a last round of hair spray and swiveled her chair around to face him. 

“Oh, now don’t say that, there’s a reason you’re the star here. I love your movies.”

Ina may not have actually seen them all, but she knew of Elvis’ desire to be in more serious dramas. It was a common topic of conversation in Hollywood when his name came up. Ok, well, one of the common topics. Maybe not as common as his reputation for fucking his costars, she mused to herself, but still, as someone who had even less clout to be picky about projects, she sympathized with that ever present double bind of needing the money, not wanting to be seen as difficult, and yet, also yearning for more creative fulfillment.

Their eyes met and he nodded to himself, pursing his lips, as if he were reading her mind,

“Huh, so you're the one.” He grinned and took his cowboy hat off, running his hand through his hair as he tried to fill the awkward silence. “Well, sorry but I can’t issue you a refund, Iner Niner. All I can promise is that this ‘un will be better than some of the stinkers, I reckon.”

Ina smiled big, thinking of the desert sunrise this morning, all the good omens. “I don’t know if I would ever describe an Elvis film as a stinker. But I do have a good feeling about this film.” 

Elvis scratched his beard, a naughty blush lighting up his cheeks as he took in the very sheer negligee peeking out from under her white terry cloth robe. 

“Huh, feeling better and better the more I look- I mean listen to you, INy”

Ina felt a chill up her spine as she looked into Elvis’ dancing eyes, lingering on his face with newfound appreciation. There was something about the way the stubbly beard he had grown out for this role accentuated his jawline and made him seem more rugged, more handsome than he had looked when he played the polished romantic lead in his previous films. She felt a flutter of something unfamiliar stir in her belly; she had never been gaga over Elvis before. 

And you are not now, she told herself, it’s just the characters and the scenes you know you are shooting today. Besides, he flirts with everyone, why he’d been flirting with you and every woman in the bar last night even when he had one or two extras on his lap. 

Elvis arched his eyebrow, and Ina pulled her robe closer with a nervous laugh.

“Yeah, I think you’re gonna be seeing a lot more of me today.” She chuckled. “I was just telling Bertie I remembered when all I had to do to film a sex scene was lead a cowboy into my wigwam, and let the camera cut to smoke coming out of the top. We left the rest to the audience’s imagination.”

“Yeah, I think I remember that one.” Elvis whistled as he plopped into the make-up chair next to her.  “Well, don’t worry, we’re only gotta pretend to make love with an audience of a hundred or so crew members watching, so no pressure.”

They laughed nervously, and then one of the production assistants peered around the door and called to Ina that the DP was ready to work out the lighting for her fully nude bath scene. She stood and gave Elvis a friendly pat, smiling inwardly as she looked over her shoulder to see Bertie trying to wipe the dirt off his forehead. 

“See you out there in the ring, Presley.”

“Ok,” he smiled.

Ina studied him for another beat, wondering if the way his beard framed his lips made them look even bigger and more luscious, but she couldn’t be sure.

Striding from the building with wardrobe and dressings back to the soundstage, Ina considered how Elvis had managed to meet and completely defy her expectations. She had never seen him at awards shows, premieres or parties, nor ran into him around town or at the studio canteens. Indeed,he had a reputation for keeping to himself in Hollywood. All she knew was the second hand information she got from people who had worked with him and the Hollywood rumor mill. There were so many contradictory descriptions of him that no, she had not known what to expect when she arrived in Arizona and discovered an Elvis she barely recognized under the scruffy beard he’d grown.

When Chuck, the director, had brought her over to introduce them, he had been shy and sweet, sheepishly sticking out his hand with an affected deep “Hullo, I’m Elvis Presley.” But then by the end of the rehearsals yesterday they had become more comfortable with each other. Something about kissing Elvis inbetween jokes she knew he was making to make her feel at ease had broken the ice between them. And he had started in with the nicknames almost immediately, helping to bring her into the camaraderie that had been established with the crew before her arrival. 

The run through yesterday had gone well, all jokes aside, and he had shown himself to be respectful and kind, never pushing or trying anything when they were in each other's arms. It’s probably good that he’s sleeping with some of the extras, Ina thought to herself. That way there would be no pent up sexual expectations and she could just focus on being a professional and perhaps even friends with Elvis. 

Yes, she could be friends with him. Ina had only been in Apacheland for a little over 24 hours, but she could tell from Elvis’ warmth that they had established a solid rapport and chemistry for their roles. She felt as safe as she could with him as she readied herself for her first nude role on film.

“Today is going to be a good day,” Ina repeated to herself as she opened the door and entered the sound stage.

Ina was walking along the corridor behind the set when she heard Jerry’s voice on the other side of the plywood and hurried to catch him and flirt a little more. But then he said her name and she stopped, listening, as she realized he was speaking with one of Elvis’ other friends. It sounded like Charlie.

“I saw y’all. Why, she had her hands all over you, ya big stud. You really ain’t gonna try to bury the hatchet in that briar patch?”

“Oh, you know how Crazy can be. All I did was apologize to Alma and Flor for blocking the doorway last night and he ‘bout split in two. I ain’t about to try no funny business with his leading lady.”

“But you heard him call her Groucho, said he could barely stand to kiss her with that mustache above her lip. Said she was so manly, you could almost mistake her for one a the cowboy extras in drag. Like a goddamn drag queen who forgot to shave, is what he said.”

Ina felt the blood drain from her face and she began to tremble, tracing her fingers above her smooth upper lip, the one she diligently waxed every two weeks. They might as well have punched her in the gut with a steel two by four. She could almost taste something metallic at the back of her throat, where a lump formed.Tears threatened to spill from her eyes, and it took all her willpower to push them back as she stood there paralyzed while Jerry and Charlie chatted away.

“Aw, well he was off his rocker, she isn’t nearly as bad as that dog from continuity he had in his room at NBC, you know, with the big knockers?”

“Nah, I think In-ahhs pretty cute myself. If she’d been pawing my chest I’d be on that like white on rice, man.”

“Heard you like drag queens, Hodges.”

“Aw naw man, see, now that ain’t fair. Sides, that’s Lamar.”

The busy sound of the crew talking and moving around the sound stage echoed up into the lights with Charlie and Jerry’s laughter, but Ina could hardly hear anything except the pounding of her heart through her whole body. Air. She needed air. Ina hurried out a side door, her mind was racing and there was no way she could stomach the idea of filming a sex scene with Elvis now. Jerry and Charlie’s words had fractured the fragile veneer of confidence she had spent the last month building up. Dieting, ballet classes, early nights, slathering her face in cold cream and plunging it in ice first thing in the morning, staying away from alcohol and ice cream. She had worked so hard to get to a place where she had been able to look in the mirror and tell herself she could do this. Now all her self doubt had returned tenfold. 

Facing the desert, she lit a cigarette and muttered under her breath, her voice cracking as tears rolled down her cheeks.

“Oh god oh god, why did I take this role? Why do I embarrass myself again and again?”

Ina pressed her hand to her throat as she sucked in deeply, willing the nicotine to steady her shaking body. She longed to run off, get in her car, and maybe drive to that bar down the road Bertie had told her about, the one where all the baseball players went. 

The very idea of male attention was like a salve, and it helped her slow her breath as she slumped against the warm, concrete wall of the sound stage and looked out at the desert, focusing on the hills in the distance.

It was like looking out at a completely different view than she had faced that morning. The land was now  desolate and unforgiving in the July heat, and the jagged peaks of Superstition mountain loomed like a giant, dark fiery sentinel in the sky. Her chest rose and fell with each inhale and exhale of smoke, her fingers trembled as she tried to quell the turmoil churning inside her. 

Just when she was sure she couldn’t walk back inside, she smelled a hint of sage in the dust, it filled her nostrils with renewed energy. The wind whispered in her ear that she was stronger than she knew, she had trudged harder paths than this.  She could put one foot in front of the other.

The door next to her exploded open and there was the fresh face of the young, blonde PA who had called to her in wardrobe.

“Oh, there you are Miss Balin, we’re ready for you.”

Ina sucked in another drag of her cigarette and took a deep breath. She could do this. Elvis and his entourage were a bunch of childish idiots. Fuck them. 

True to his promise, the director, Chuck, kept the set closed for the nude bath scene Ina was shooting first. It was just him, the cinematographer, his assistant, the boom operator, and three female PAs. One to hold the clap board and two to help Ina in and out of the tub. The scene was blocked so the camera only captured her naked from behind with the side of her breast visible as she donned a sheer blue robe lined with black lace. They would run it from the top, then Chuck would run over and tell her how stunning she was and ask for another take as she shivered. It took eleven takes in all before he and the DP were content they had the footage they needed.  

Ina reclined in her chair, trying to warm up during the short break before the next scene. She was rehearsing the dialogue as people trickled in to shoot her first love scene with Elvis, and she suddenly became paranoid that other crew members had heard Jerry and Charlie’s story about Elvis’ calling her a drag queen. She sat up and looked around. Suddenly every hushed whisper was about her, every glance her way was filled with pity. She gripped the side of her chair and told herself to get it to-fucking-gether. 

The next scene was meant to occur directly after the bath, when her character, Tracy, discovers Elvis’ character, Jess, rummaging around in her bedroom looking for his gun. They would argue, then kiss, then argue more before he carried her to the bed. After that, he would remove her robe and begin to kiss her neck, stop and then put his hat on the bedpost, before the camera moved in for an extreme close up of her face as they made love.

Then they would break the set and set up for the second sex scene that was meant to take place at the end of the film when Jess has been victorious against the band of outlaws and takes her to Mexico with him to start a new life across the border. 

Ina squeezed her hand, using her thumb as a metronome as she said her lines. “I must look new to you - toooo you  - I MUST look NEW to YOU now.” She had these little games she had learned in acting class to vary the rhythm and emphasis over and over until she was comfortable in the dialogue, in the character, and it rolled off her tongue naturally, without having to think about it.

Elvis' voice rang out high above the buzz of the crew and all the words she had ever known fell out of her head. She felt her sphincter clench up tightly instinctively as if on cue at the sound of his chuckle, and a frown formed on her lips. The air was suddenly ripe with the smell of sweaty bodies and stale coffee and cigarette smoke.

Looking over her shoulder, just the sight of him surrounded by his flunkies made Ina’s stomach sour. A spark of defiance bloomed in her belly at his smug face and she longed now to walk up to Elvis and slap him sharply across the face before telling him off for being such a rotten two-faced charming bastard. But instead she popped another black beauty to fight off the hunger she had sensed growing in her belly and steeled herself to give the performance of a lifetime.

Elvis passed by her chair as she stood, a crooked grin pushing the apples of his cheeks up above his beard. 

“Well, might as well get it over with.”

His despondency made Ina bristle. She was completely incapable of stopping the prickly voice that sprang out from her throat.

“We don’t have to shoot these love scenes.”

Elvis paused in his stride toward the set and looked back at Ina, his brow furrowed for a moment before he grinned again, bigger and wider.

“Huh? Course I want to shoot ‘em, love scenes are my specialty.”

Ina narrowed her eyes at his stupid, smirking expression as he glanced around at his friends as they whistled and chimed in with a chorus of stupid affirmations. 

“Uh huh.”

“That’s right.“

“On and off the set” 

“Well, you seem anxious to, what was it, get this over with?” She said cooly, leveling him with a glare. “So then it must be me. Maybe we could just cut them from the film altogether. CHUUCK?”

Elvis’ face began to scrunch up in a frown as Ina’s voice rang out like a knife, cutting through the chaos of a live shoot. The sound stage had been buzzing with activity as the crew readied the set, but now everyone had stopped what they were doing and turned to stare at the two leads.

Elvis’ eyes zoned in on Ina and his face clouded with concern as his hands tightened against his body in clenched fists.

“Now see here - “ then he paused and took a deep breath, smiling big. 

That broad, smooth, movie star beam. 

“Aw, now I think we got are wires crossed someplace.That’s jus my ole stage fright talkin’, honey. Gets me ev’ry time like a sonabitch. Didn’t mean nothin’ by it, Iny Tiny, come get over here. I feel very honored to work with you. I been sayin’ all week, haven’t I, Chuck? That I couldn’t wait for Ina to get here, class up this joint’?”

Ina looked at where Chuck stood, hands at his hips as he nodded, a terrified grin plastered on his face.

“That’s right, that’s right. Why, that's what we’ve all been saying, Ina, we couldn’t wait for our Tracy to get here.”

Chuck dug a handkerchief out of his pocket and wiped it over his big, balding head as he spoke slowly, as if talking to a spooked horse. Ina

“I think I know what’s going on, my dear.”

Chuck looked over at Elvis and then put his arm around Ina, guiding her toward her mark. 

“You’re nervous. We’ve just spent two hours during the bath scene. And this sort of  - um - delicate, shall we say, yes, delicate feminine performance is new to you, isn't it?”

“Well, yes, I suppose, but I - “ 

Chuck put his finger to Ina’s mouth

“Say no more, my dear. It’s natural to feel vulnerable in this situation. But let me assure you, everything is being shot in the most artistic technique possible. And you, well, just look at you, huh?” He spun her around in the center of the set. 

“Ina, you are a dream. My living, breathing Renoir painting. And I want you to know, that was my inspiration for your room here. The colors, the outfits, a Parisian chorus line meets the Old West. The colors, the costumes, they are meant to evoke the Belle Epoch, you know? You are wearing the same outfits Degas’ dancers wore, did you know that?”

“Uh huh, you mean if they wore anything?” Ina added in a clipped tone.

“See, and that’s exactly it! The original work of art is, of course, the beauty of the female form.”

“Cain’t argue with that.” Elvis smirked, but Ina shot him a withering look which threw him off again and once more he was frowning and searching her face.

Chuck noticed none of this and kept talking. 

“And you are an exemplary example of the female form, a perfect specimen of a woman.”

“Well, I assure you I am no drag queen.”

Elvis coughed nervously, his hands clenched in fists at his side. The quick, sharp look he shot Joe did not escape Ina’s notice and she knew then that he had said the things Jerry and Charlie had been laughing about. She narrowed her glare at him, telegraphing her contempt as he stuttered and tried to regain control of the conversation.

“No - ah-uh -er -  siree, honey, you’re the real deal, got more class than the rest of this outfit combined. Why, I reckon I’m more nervous ‘bout this scene than you are.”

Chuck nodded vigorously.

“Yes, we are all nervous shooting something that is, as I said, delicate like this. And your character is unsure in this scene, she loves Jess, but is torn, because she’s worried he is still the bandit she sent away.  Channel your feelings into the scene and let’s make beautiful artwork here today.”

Ina rolled her eyes. “Ok, ok, I’m ok. Like he said, let’s just get it over with already.” 

Elvis grinned as he walked around the set door to his mark. 

“That’s the spirit, Iny Beany.”

Chuck yelled action, directing them through the scene as the cameras rolled.

“You see him rooting through your stuff, and you think of how long it's been, how he left you without a word. You hate him because you love him, but you wish you didn’t and you are trying to keep it all bottled up. Beautiful. Indifferent. That’s it Ina, that cool, icy glare, it’s perfect.”

It was not hard for Ina to muster a cool, icy glare for Elvis as he looked down at her. Every time they started, one of the PAs would come over and spray her body and chest with water for continuity with the bath scene that was just supposed to have occurred in the storyline.

In the third run through, she couldn’t help herself when Elvis’ foot knocked into hers. She thought of that guilty grimace she saw move across his face at the words “drag queen” and she stepped on his foot. Hard. 

“Perfect! Perfect Ina, you’re nailing it!” Chuck called out from where he was watching the monitor.

“Nailing me is more like it,” Elvis said, jumping back, a hurt pout on his face. Then he reached out and stroked the side of her shoulder. 

“Say, you sure you ok? You’re not sore at me for something, are you? It’d be better if we just clear the air. If I said something this morning, or did something in passing, honey, I’m sorry. But you gotta tell me.”

Ina looked in his big blue eyes, searching hers, seeking a connection. She glanced off behind him, at the brocade pink wall paper. The air smelled of bath water, sweat and cheap aftershave. Chuck was right, she thought, this could be a cheap Parisian brothel.

“I assure you, I am fine.” Ina forced her mouth into a tight smile. “Just watch where you’re going and we’ll be fine.”

He squinted his eyes at her, but seemed to decide against whatever it was he originally wanted to say, and stepped back with his arms up in surrender. “Okay. Alright. Whatever you say, Iny,  my mistake. Let’s try again, I bet we’ll get it right somehow.”

They went through the whole scene three times, up until the part where Jess lifts Tracy up and carries her to the bed. Elvis’ eyes narrowed as he stepped toward her, uttering his lines in a stern, serious voice. But when he picked her up and hoisted her in the air, she heard Charlie’s obnoxious laughter in the background and their words from earlier began to play through her head again on a loop.

The shrill sound of his laugh sent a sharp bolt of pain down the center of her head and suddenly she felt as if ginger ale was bubbling up on to the top of her brain. She wasn’t sure if she could hold it together anymore. 

There was the taste of bile again at the back of her throat. She swallowed, running through all of the tools she had learned in the Actor’s Studio such as telling herself she was Tracy and trying to channel her anger into the tension between Tracy and Jess. She was, after all, supposed to be fighting Jess’ advances at first and pushing him off before giving in. But she could barely look at Elvis and instinctively jerked back when he placed her on the bed and began to move his fingers over her sternum. 

Her head throbbed and she could feel more tears welling up. She had to get out of there and take a little break, so she cried out, “CUT!”

Elvis jumped back, a panicked look on his face.

“Did I hurt you, Iny Beany? Wanna do it again, just to practice, from the mark by the bed?”

“No.,” she hissed under her breath, pushing him away. Maybe she didn’t need a break, maybe they could just skip this scene altogether.

“No, no no. I’m sorry, I just can’t do it. Chuck, do we really need a full love scene? We’re not making Belle du Jour here.”

Elvis had his hands on his hips, a stricken look on his face while Ina stood, straightening what was left of her dignity and snapping her fingers for the PAs to bring her thicker robe. 

“Ina, darling, we just went through this.” Chuck’s  transatlantic accent was getting thicker and higher-pitched the more he spoke. “And I hate to bring this up, you know I do, my dear, but it's in your contract.”

“Contract or not, I can’t do it. I just can’t.”

“My dear, what can I do to make you comfortable?” Chuck pleaded.

“Nothing. I would rather make love to a rattlesnake than to that man.”

Elvis stood taller, his fingers balled up into fists as his leveled, polished voice began to transform into a Southern snarl. 

“Yeah, uh huh, well I had about enough of this bull shit. Rattlesnake, huh? That can be arranged, honey, why, I’ll get it myself.”

“Well, I bet it will be small and limp, just like you.”

He staggered back when she hurled those words at him, flustered and mumbling as he looked around the set to see who had been in earshot and heard her yell out the words ‘small and limp’ at him. The answer, of course, was everybody. Because everybody in the crew was watching.

They had, of course, originally gathered around because Charro! was making film history with today’s shoot. 

All the popular European films being released had sex scenes, James Bond was having sex. Several recent westerns had initially included nude scenes, but studios had cut them at the last minute. 

But 1968 marked the dawning of a new era. The MPAA had a new rating system. Bonnie & Clyde had proven last year that audiences not only had a stomach for violence, but wanted sex. And like Bonnie, they wanted it much more than they got it. And so this picture, and about a dozen others in production, were all racing to give it to them.

Even if the plan was to pan to a hat and then just Ina’s face, Charro! was going to make history. 

Or rather, it would have made history. Instead, the entire crew watched in horror as Ina threw up her hands and stomped off in protest while Elvis coughed loudly, took a deep breath, and then announced to the crowd

“Don’t worry, folks, we’re gonna get Arthur Rankin in here and he’s gonna recreate these scenes with claymation. Make a little Elvis the Rednosed Cowboy.” His voice rang out with forced cheerfulness, followed by a ripple of nervous laughter that spread through the soundstage. 

“Boy, I tell ya what, now that would be a historical milestone, huh Chuck? Bet audiences would pay double ta see a stop motion love scene.”

The director nodded as Elvis patted him on the shoulder with a forced, playful candor and then strode out of the studio followed by his entourage.

Elvis’ motel room was dark, save for the television, an ever present companion, and the table lamp that cast shadows against the wall outlining Alma’s silhouette. The light captured every curve of her body as it lay sideways across the bed next to him. His fingers tapped absentmindedly over her bronze thigh, but his mind was otherwise occupied and failed to register the coquettish look she was giving him as she pouted and ran her hand over his arm.

He was thinking of his first film and the time had asked his co-star, Richard Egan, the secret to good acting.

“You. You already got it kid, in spades. Why do you think they renamed this picture after your song? Just be you, unaffected, unadulterated. You’re a natural.”

But what good had natural ability been without opportunity? He’d had such high hopes back then, hopes to be in real movies about real people, stories with an edge that packed a punch. And for a time, it seemed like he was. Dramas in which the singing was a plausible part of the premise.

But somewhere along the way the edge had been sanded off and his plans had all gone wrong. He’d gotten himself typecast as the type of character he hated, a romantic lead who broke into song during an appointment with the IRS. Those roles were fine for Rock Hudson, but not for him. He knew he could do better. Better than dumb musicals, better than all this. 

He had those same high hopes for this picture when he first read the script.

“Guess I should be happy this western’s actually being filmed in the goddamn desert and not in some California shrub valley,” he mumbled, balling his hands into fists as he spoke.

“What was that, baby?”

Elvis looked up at the woman lying next to him, he had forgotten she was even there. Her warm body next to him had become just another amenity of the room, like the mini fridge or the Gideons Bible. The puzzled look on her young, naive face reminded him how truly alone he was. 

Oblivious to Elvis' existential crisis, Alma decided maybe he needed some prompting after their kisses had dissolved into still silence. She moved her hand to Elvis’ thigh, stopping when he flinched and jumped up almost as if he were trying to escape her touch. She frowned, then flipped her hair as she adjusted and lay prone over the polyester orange bedspread, fashioning a come hither look on her face. She could tell he was rattled by the onset fight and was trying everything in her bag of tricks to laugh it off and redirect him to something better. Her. 

“Ha, small and limp. That bitch has no idea what she’s missing. It took all my self control not to cry out in front of everyone that you have an anaconda in your pants, Elvis.”

A grimace passed over his face, and Elvis started to button up his shirt and mumble to the floor.

“Don’t, baby - just-” He softened his voice at the rejection he saw in her eyes. “Honey, I can’t stand it when women do that.”

“What, what am I doing wrong?” Alma sat, her face falling as she scooted back against the pillows.

Elvis pulled on the red bandana around his neck and paced the other way, looking back at her as he tucked his shirt back into his clean, brown corduroy pants. His shoulders stiffened.

“Insincerity. I can’t, I jus hate it when women go overboard trying to puff up my ego. I’ve had my share of lovers, no one ever complained. That’s not the point.”

“It isn’t?”

“Nah, honey. What that bitch is really saying is she don’t take me serious, I’m not man enough for this fucking role, for her New York high society standards. Fat lot of good any a that did her, thinks I don’t know she’s been in what, five pictures? Jerry Lewis? Try twenty five, sister. Give me a goddamn break. She’s wound so tight, she could start a fight in an empty house, I tell ya what, boy, and that’s the god honest truth.”

He began to pace the room, wringing his hands over as he walked.

“This un’ is gonna be different, Chuck said, more raw, Chuck said, more real.” His voice trilled between a high falsetto and a deep growl. “Then first they cut the violence, and now this bullshit. What’s next? Bet they gonna try and have me sing to my fuckin horse!” 

He punched the wall. “Fucking cowboys don’t fucking sing!” He screamed to the ceiling, then began to pace again, his hands now balled up in fists.

He turned and looked at Alma. “You ever see John Wayne sing? Gary Cooper? ‘Fore they walked over to the OK corral to shoot the bad guy?”

He punched the wall again and then turned and tried to compose himself when he saw Alma flinch.

“Ok ok ok ok.” He took a deep breath. “I  - uh - this picture’s got me all keyed up.”

“Want some grass? Flor has some killer grass, make you forget today even happened.”

“Nah, honey -  now, good lil girls like you should know better than to mess with that stuff.”

Alma pulled her hand through her hair and struck what she thought was a glamorous, come hither pose.

“Want me to give you a blow job? Help you relax?”

Elvis frowned. “Man, like a goddamn cat in heat and twice as willing. Don’t you think of nothing else?” 

Alma sat up and started to put her clothes on, her voice as low as her hopes for the evening.

“You’re the one who invited me up here and had me undress while you watched. I’m just trying to do what I thought you wanted.”

“Well stop tryin’ to think, you’ll wear yourself out.” 

Alma grabbed her shoes and opened the door, finding Joe on the other side with one hand about to knock and another holding up a tray of food in his hands.

“Oh, hey -”

“Hey yourself.” Alma said with a huff and a very aggressive hair flip, her long brown tresses smacking Joe’s cheek.

Elvis shrugged as Joe looked after Alma, whistling to himself. 

“Man o man, EP, you got the prettiest girl here. What’s up her butt?”

“I don’t know - Something up with the chicks on this picture, man, stuck up and crazier than a sack full a possums.”

Elvis looked at himself in the mirror hanging on the wall across from the bed as Joe mumbled about how many crazy women they had met on their journeys, half-listening as he stroked his beard and reassured himself that he looked just as fit as Clint Eastwood. And more handsome. He winked at himself and straightened his belt buckle, then looked over at Joe.

“Now hold on a second, son, jus’ what in high heaven is that?”

Elvis lifted his hands from his left hip and pointed at the cheeseburgers and fries Joe had laid out on the table, fixing him with a dark glare.

“You said dinner, EP, brought you dinner.”

“Tryin’ to get me back in the 200 club like you? Don’t think I haven’t noticed you been auditioning for the part of lardass of the group.”

“But last night - I thought you - 

“I thought, I  thought - you ain’t thought shit, and that’s the problem. I’m supposed to be shirtless on film tomorrow and you fixin’ to get me fat as a boarding house cat.”

Joe frowned, furrowing his brow for the split second it took him to plaster a smile back on and nod. Now he understood what was up Alma’s ass, and what was about to be up his too if he didn’t turn this around.

“Right, boss, my mistake, tell me what you want and I’ll go get it.”

“What I want, what I want. Ain’t nobody cares what I want, and that’s the goddamn problem. Save a whole lotta time and money if you just thought to ask first.” 

Elvis put his hands on his waist and cried out an inaudible growl to the ceiling. 

“Jus… just bring me a caesar salad. A big one.”

Joe hurried out and Elvis went over to cover up the burgers, but the smell was too tempting, so instead he sat down and began to devour them one after another, mumbling to himself in between bites.

“Goddamit, if I look fat tomorrow it’ll be Joe’s goddamn fuckin’ fault.”

There was a knock at the door, and he yelled for whoever it was to come in as he went to wash up.

“Joe told me to come get rid of the - uh - food tray.”

Charlie’s voice trailed off as Elvis emerged from the bathroom and followed Charlie’s eyes to the table and the plates that were empty, save for a handful of cold fries.

“Well, have at it - wait.”

Elvis stepped back and looked around, grabbing one of the guns from the night stand and put it in his belt. He had all this nervous energy running up and down his body, he needed to just get out of this room, out of this motel, get as far as possible to just breathe some fresh air and think. He snapped his fingers at Charlie.

“Grab Gee Gee, we’re going for a drive.”

Charlie’s face softened into a big goofy, excited grin. “Okee dokee artichokee, where we heading?”

“Anywhere that ain’t this goddamn motel, numb nuts.” Elvis started to head down the exterior stairs, running his hand over the warm, wrought iron bannister. He looked back over his shoulder and clapped.

“Bring the cigars, too, then meet me at the car. Chop chop.” 

A renewed sense of purpose guided his steps as Elvis walked down the corridor of motel rooms that lined the pool,and he ran his hands up and down the front of his shirt. He mulled over what he wanted to do that didn’t involve eating more hamburgers. Or eating anything. 

When he looked up, he realized he had stopped outside Ina’s room. There, through the curtain, he could see the back of her through the curtain where she sat on her bed, talking to someone on the phone. 

“No no no, Mickey, of course I understand. Yes, well, I don’t know, I think you have to have been on top to get back on top, but your meaning is not lost on me. I get it. Yes. Opportunity of a lifetime. I know. Elvis Elvis.  Don’t worry. I’m gonna go make it right, right now.”

She looked up at the ceiling and wiped the sides of her eyes, summoning a mask of quiet cheer Elvis recognized well as she clutched the phone tight. 

“Yes, no  - I’ll be a good girl, Mickey. I promise. I know, I know, no bread.”

He was transfixed, enjoying the power he felt watching her unaware, and pressed closer to the glass, careful not to draw attention to himself. A small front section of her long, flowing hair fell out from behind her ears and she absentmindedly began to twist it nervously. She looked like a fragile little girl, like a beautiful flower someone had stepped on. The sight of her anxiously talking away pulled on his heart strings.

He shook his head. What the fuck had happened? Why was she so angry at him?  He'd played the part of the funny, affable host from the minute they met, introducing her to the crew and having Gee Gee get her screwdrivers as they all yukked it up in the bar. He'd about busted his gut when she lobbed a handful of ice at Charlie and knocked him over the back of the couch. 

He stood there watching as her big brown eyes lit up while she told her agent how nice the desert was. He almost believed her. Goddamit, why couldn’t she just be a good girl and get along? She’d been sweet and flirty in make-up and then what, an hour or two later, her claws were out and she’d aimed them at him. 

He whistled and thought about the fickleness of women as he turned to walk the long way around the pool. 

Thirty seconds later he heard the thud of a door opening followed by Ina’s voice calling out for him.

Elvis stopped, his hands moved out as if to balance himself as he swiveled around, slowly, to face her. A sense of dread settling in his stomach. Up above him, he saw Charlie and Gee Gee making their way down the staircase, while to his left a group of crew members were heading for the pool. The smell of chlorine wafted through the open air hallway.

He cautiously trudged back toward the doorway to where Ina stood, each footfall a slow thump of his cowboy boot against the hard concrete sidewalk. 

“Oh good, I’m glad I caught you, Elvis.” She swallowed, there it was again, that cheerful mask settling over her face as she exhaled a nervous laugh. “Could I talk to you for a minute?”

Elvis straightened up, looking around again before pulling on the red bandana at his throat. He definitely didn’t want to be alone with Ina. She was unpredictable and he couldn’t stand the awkward energy that flickered between them. However, he also didn’t want another public scene and he could already hear their names being whispered by some of the crew at the pool.

So he did what he always did with an audience, he mustered a wide, beaming smile and spoke in a nonchalant, cool voice:

“Hey honey, you ain’t gotta worry bout me, I’m all good. You get your beauty sleep and I’ll see you tamarra onset an - “

Ina’s lip trembled, she looked like she might fall apart at any moment.

Shit he thought, unable to stop himself from walking over to her and stroking her shoulder.

“There there, been a rough day. This desert heat, I tell ya what, baby, does things to ya head. Now go ahead and listen to ol’ Elvis -”

Ina put her hand over his where it squeezed her shoulder.

“Could we just talk - just for a moment?” Her eyes pleaded with him. “Alone. I -  I won’t take much time, I just - I’d like to apologize and clear the air if you’ll let me. Otherwise, otherwise I won’t be able to sleep and then you’ll be making love to a haggard old zombie first thing in the morning.”

Elvis' eyes softened and he looked around once more before nodding. “Ok.” 

As soon as the door closed he was an obedient puppy letting her lead him by the hand to sit on the bed, where he took off his cowboy hat and toyed with it in his lap. 

Ina stepped away, backing toward the dresser where she lifted herself to sit next to the TV, but then changed her mind. She felt like a ship adrift, unmoored and out of her comfort zone. Sitting and swinging her legs about was too casual, she decided, so she stood back up and swept the hair that had fallen out of her high ponytail behind her ears.

Just make it short, sweet, earnest, she reminded herself, you’re no stranger to eating humble pie. Indeed, Ina reflected on the number of times she had apologized unnecessarily just to smooth things over with her mother or sister, a producer, an ad executive. This was one of the first times she felt she actually had behaved badly and now she was lost for words.  If only there was a script for life. 

“I - um - thanks for seeing me - I - I - I.”

All the words left her head when she found Elvis’ dark blue eyes studying her beneath his long lashes. He was rotating his cowboy hat in his lap. The smell of the heavy floral cleaning products the maids had used lingered in the air, stronger now that the air conditioner cycled on with a heaving, mechanic whomp. She swallowed again, and counted to ten, trying to ignore the way the back of her neck seemed to prickle as a chill went down her spine. She steadied herself, forcing her eyes to connect with his. 

“Elvis, I am so very sorry. I mean it. I -  I - I - ’ve never lost it before onset, it is so unprofessional I can barely stand to look at myself.” 

She felt a release of tension as she watched his hands relax. He took a deep breath and stroked his beard.

“You don’t have to worry about me, Ina,  I been making two to three pictures a year since 1933. I can roll with the punches, ain’t nothing I can’t handle. ThoughI gotta admit you threw me off back there.” 

The register of his voice changed from rougher to softer as he looked down at the floor and then back up at Ina’s face. 

“Be honest, did I do anything to offend you or make you mad at me?”

His softer side was almost harder to withstand and his eyes seemed to penetrate her very being, seeking out the secrets she kept hidden in her heart. She shook it off with another nervous chuckle,

“No, no, this was 100% me. I’ve been so nervous about these love making shoots. Chuck’s is telling everyone back in Hollywood this is the first the first film with a sex scene - “

“Isn’t it?”

“Well, I mean, since the production code, maybe, but they’ve shot plenty of them. It’s just that the studio always pulls out at that last minute -”

Ina covered her mouth and gasped when she watched Elvis’ lip curl up at her words but said nothing. He didn’t need to. The glint in his eye said it all and when he waggled his eyebrows up and down Ina laughed out. She was grateful for the levity, it seemed to crack through Elvis’ cool bravada and made this conversation easier.

“Stop, you know what I mean.” 

She blushed, and looked out her window, watching as the silhouettes of two people walked by. It was getting dark, she needed to wrap it up. 

“But yes, today I was nervous, I haven’t been eating or sleeping much, but I promise you - “ 

Her voice wavered as she turned back to find his steady gaze. 

“ - um - no more fights, no more difficult behavior. I am so grateful for this opportunity to work with you and I just hope you can forgive me for my lapse of judgment.”

Elvis stood up, his fingers were once more busy fiddling with his cowboy hat and he spoke in a low whisper.

“Ok. I forgive you. So long as you really ain’t mad at me.”

The breath hitched in Ina’s throat when Elvis looked up at her, biting his lip in a way that made the top jut out a bit as he searched her face once more, as if she were a puzzle he needed to solve.

She gulped. “I - uh - I - no, I just need some sleep - I “

“Honey I can’t help feeling like you’re holding something back here, and if we’re gonna get along, I need you to be completely honest with me.”

Ina looked away. Damn him, he was like one of those fortune tellers back on Coney Island who she had believed as a kid. As a teenager she had learned the truth: they had no supernatural talents, they were just extremely gifted at reading their marks. Like Elvis was reading her right now.

“Oh, I may have been upset about something but it doesn’t matter, it was silly and stupid, like me. I - I was wrong, and I apologize. I’ll happily apologize to you in front of the whole crew tomorrow if you want. Really. If that is what it will take to make amends with you Mr. Presley.”

Elvis clenched his fists. 

“I don’t give a damn about a public apology or the crew or any of that. But I can’t bear it when a woman is sore at me and won’t say why. Ticks me off to no end.”

Tension hung in the air, and Ina sighed. Recounting the whole ordeal made it seem so juvenile now, though it still stung.

“I - I am, I heard some of your friends talking. They -”

“Which friends?”

“Jerry, Jerry and Charlie. I told you, it’s like high school and I can’t believe I let them upset me.”

“Well now you started, better lay it all out for me. Go on.”

“I - I well, I heard them laughing about how you had said I looked like - like drag queen that needed a shave. And they were calling me Groucho and saying I had big feet.”

Ina let her shoulders drop and forced a smile, but she couldn’t stop her hand from pulling on the necklace at her chest.

“Ha, actually now that I say it is kind of funny, you see I - um - I usually have a great sense of humor. Any of my friends would tell you. Some of them are drag queens, actually. They’d probably feel more slighted being compared to me. Your boys just, they  - they just caught me right before I was filming my first nude scene and well - “ 

Ina’s voice trailed off as she watched Elvis get up and pace towards the bathroom growling. 

“Those fucking nitwits, pulling a stunt like that and gummin up tha works -” he turned and his face fell at the pained look on Ina’s face. “You know I never said nothin’ like that.” 

Ina quickly shook her head, summoning the calm veneer that usually came so easy to her. She immediately regretted telling Elvis, now she felt as raw as she did after she had a full waxing appointment at the salon.

In her heart she knew he was lying, she knew from the way he had grimaced, albeit it briefly, on set when she’d said she wasn’t a drag queen. 

Yet there was something earnest and pleading in his eyes that made her question her own grip on reality. This got worse when he bit his lip and looked up at the ceiling, all vulnerable and apologetic, as if searching for the right thing to say. It made her stomach flip up into her throat. Then looked at her, his eyes wide with a newfound warmth as he sought a connection from across the room, as if he were seeing her for the first time. Ina knew right then that she needed to get him out before anything changed.

“Oh, yeah, sure, I know. And, well  it doesn’t matter anyway, right? I mean it’s none of my business what you think of me - like I said, I knew some knockout drag queens, so it’s a compliment really. Ha so - “

Elvis stode over as she spoke and grabbed her hands, his thumb delicately soothing the top of her knuckles. The spicy smell of his aftershave entered her nostrils as he spoke in a low, soft voice.

“Here’s the thing now, Iny Beany, I just need you to know though that I didn’t say none a that. Ya right, them boys still in high school, and they been playing pranks like we’re still in high school. I guar-an-TEE you they knew the assistant had just called for you, and they set that whole thing up to ruin my first sex scene shoot. Have half a mind to fire 'em. They need to learn some goddamn respect."

Ina found herself transfixed, unable to step away or pull her hands from his. She looked him over. He somehow looked like a cowboy who had let a bunch of drag queens dress him. 

He wore a fresh pair of dark green slacks, a thick leather belt and a long sleeve white linen shirt. Over his hands sat several jewel-encrusted rings matched by the two necklaces that lay underneath his red bandana, tied much like a silk ascot through a cravat. His foundation make-up was impeccable, and his hair was styled in a high quiff perfectly slicked back above his forehead. It made him look cavalier and polished at the same time. 

Then there was the way his smokey eye makeup was now smudged around his waterline made him look even more ruggedly attractive. Sweat glistened underneath his beard, almost like glitter.  There, in the dim light of her motel room he looked like the prettiest cowboy she had ever seen.

“Know what I mean?”

Ina shook her head, realizing she’d gotten caught up staring at his scruffy chin and lost track of what he was saying.

“Um, I’m sorry, what did you say?”

A sly grin tweaked up the corners of his lips.

“I said, you cain’t listen to a word outta those boys' moufs, ‘specially Charlie. His elevator don’t go all the way up, if you take my meaning.” 

Elvis stepped in closer to her, cautiously, waiting to see if she stepped away or flinched.  But it was all Ina could do to just keep breathing, each stroke of Elvis' thumb over her hand now sent a bolt of electricity down her chest.

“How I could I say something like that about you, Iny? Ya so beautiful, I could barely look at you too long before turning into mush.”

Ina rolled her eyes, but she could feel her own resolve waver as his hand moved to her hips and a blush crept over her face.

“Stop, you don’t have to lie to me.”

He shook his head, his nose tickling over hers.

“How can you say that Iny Meany? You have no idea, no idea what you do to me.”

Ina’s heart skipped a beat when she felt his thumb at the indent of her girdle. The air between their bodies seemed to crackle now with heat, and he pulled her closer, nuzzling his nose over hers. A tear rolled down her face and he lifted his finger to catch it.

“Ssshhhh, s’ok baby, s’ok. I got you. And I promise ain’t no one gonna talk like that about you again.”

He pressed his cheek against hers and she pushed back,willfully embracing the harsh scruff of his beard. She could feel herself teetering on the precipice of something dangerous. If she crossed this line with Elvis it would change the dynamic of their work together, it would change her reputation. She had vowed to herself she wouldn’t be susceptible to his charms, him, of all people. He was so obvious, so cliche. And yet here she was, nuzzling her nose back along his.

Emboldened, Elvis gently pressed his lips to her skin, peppering her jaw with light kisses. Ina eagerly moved to give him access to her neck and he instantly took the hint and suckled at her nape, pausing to grin as she moaned out a high, breathy unladylike moan.

Her chest heaved as their lips met and the faint aroma of mustard filled Ina’s nostrils.

“Oh my god, you taste like hamburger.”

Elvis chuckled, unsure of himself for a moment. Ina enjoyed watching him become self conscious.

"I’m sorry baby, you want me to go brush my teeth?”

She shook her head, pulling him closer and speaking between kisses.

 “No - mmmm - it’s amazing — mmm - haven’t had a mmamburger in months.”

Elvis let out a nervous laugh. 

“Ok, ya kook, I’ll be sure and eat hamburger every day.” 

"Ha! I'm gonna hold you to that, Presley."

His fingers brushed over her thighs as he lifted her onto the dresser and Ina trembled.

“You ok? Just say the word, and I’ll stop.”

She shook her head, stopping was the last thing on her mind. Though she suddenly thought of crew members at the pool who’d seen her call Elvis into her room to apologize.

“I wonder what everyone outside thinks we’re doing in here.”

“Hmmm, whatever they’re thinking, I guarantee it's not nearly as good as what I’m thinking.”

“Elvis - I - I don’t want to have sex.”

He arched his eyebrow.

“Whoo now, who said anything about sex?”

“I mean, of course I want to have sex with you.”

He stoked her thighs, a faint smile on his face.

"Relax Iny, we’re just having some fun. Don’t overthink it. We ain’t gonna do nothin’ you don’t wanna do.”

Ina released a nervous giggle. “OK, you see, I um, well, actually the thing is that I sometimes break out when I - I do it.”

“Really? You know that Max Factor stuff will cover anything.”

“Ha! I know - I just think tonight, no matter what I say later, we should just keep it simple.”

“I gotcha Iny girl. Sweet. Simple.”

Ina’s pulse quickened at the way he leaned into her chest, his hands worked up from her thighs. She felt like a giddy teenager as she smiled gleefully into his face, her right hand fiddling with his ear.

“You have a great earlobe, you know that? I can see why you’re a movie star.”

“Huh. That right? Cuz of my earlobe?”

He leaned in and kissed the top of her nose.

“Oh yeah, it's very photogenic. I see why this is the only part of you in frame during the sex scene. I mean the rest could as ugly as Boris Karloff -” Ina waved her other hand in front of Elvis face. “But this lobe, right here, it’s a million dollar lobe.” 

Elvis chuckled. “That right?”

“Uh huh. I hope you have it insured - oh god.” 

Elvis' right hand moved over her breast, flicking her nipple. 

“Hmm, well, maybe I should stop whateva this is and go call the colonel, get him right on that, uh huh.”

He moved as if to leave, smirking at how quickly Ina pulled him back into her arms.

“Don’t go.” 

She squeaked out, voice cracking.

“You sure? You don want me to fetch a rattlesnake to kiss instead? See if you like making love to his earlobe?”

“Stop.” 

Ina swatted him, straightening the line of his bandana. 

“Please don’t repeat what I said earlier, I was tired and nervous and upset and I hate myself for that whole scene. I really am sorry, Presley.”

“I know, baby, I know. I'm just teasing.”

He pressed his lip son hers once more and Ina rocked forward into him, following the slow, tender rhythm of Elvis’ body. She felt like a buoy, still unmoored and adrift in the ocean, but now she didn’t want to come into shore. She wanted to stay like this, swaying back and forth to the ebb of Elvis’ tide,  delighting in the wet smack of Elvis’ lips every time they smashed into hers. Again and again.

Her whole body buzzed when his fingers trailed down to her hem and absentmindedly began to work their way under her dress. He had notched himself between her legs, fitting snugly against her knee caps. She made a small squeak of surrender as she opened her hips to bring him in closer. The taste of onions and pepsi and meat filled her mouth as he took her with the tip of his tongue, slowly owning and consuming her completely. 

Elvis moaned into her and deepened their kiss.

Ina lost herself in the sweet supple cushion of his lips. His hands moved over her bosom,  fanning the spark in her belly into a flame. Then his fingers moved under her skirt and feathered over the warmth of her panties. Ina felt the bulge begin to swell at her thigh and then Elvis jerked back.

Every cell in her body cried out to pull him back into her embrace and then until he was inside her and they were melting into each other. Vows and boundaries be damned. Thank god he had some sense of self control.

“Whooa, whoa whoa.” He muttered slowly, almost painfully.

Ina nodded, licking her lips as she met his eyes.

“You ok?’

“Yeah, you?”

Elvis took a deep breath. “Course, honey, I - I - I just think we better put the breaks on for tonight.”

“Yeah, sure, no. Totally. This was exactly what I wanted.”

He wiped his mouth, shooting her an impish smile, like he knew exactly what she wanted.

“Guess I should clear out, huh?”

“You don’t have to leave, I mean, I enjoy your company. Is what I mean. But if you are looking to get lucky, then yes, I suppose you should find one of those extras you've been playing patty cake with.”

“Huh, okay, well I'll be on my way then. Catch ya later.” 

But he didn't move, just stayed there hovering above her. His forehead leaning into her as he pushed in even closer, pressing the air out of her lungs.

“You do have a reputation to keep up. I understand.”

"Mhmmmm."

Elvis shook his head and went to sit on her bed, up against the head board.

“Look, I'm willing to put my reputation aside, jus for one night. I promise, no funny business. Clothes stay on.” 

He smirked.

“Unless you’d feel more comfortable without your dress on.”

Ina hesitantly moved to perch next to him. She could still taste the mix of Elvis’ salty sweat on her tongue as she wiped her raw lips.

“That’s awfully accommodating of you, Presley.”

“What can I say, Iny Beany, I’m an open minded guy. Always say, if a girl wants to take her own dress off, who am I to say she can’t?’

“Well, if it’s all the same to you I think I’ll keep mine on. For now. There’s still time for you to make an exit.”

“Aw, now shut up with that exit junk already and get in here.”

Elvis pulled Ina down into the curve of his arm, and she sighed, embracing the cozy warmth of his body and rubbing her hand over the trim stretch of his stomach as he spoke to her in a soft, friendly voice.

"Alright now, I want you to tell me everything there is to know about you. How did  the hell you end up in a god forsaken Elvis Presley picture, huh?”

“Hmmm, poor life choices? But Elvis, I thought you liked this film? I thought you were the one who made it happen.”

“Aw, well, sure, the first script was pret-tee fantastic. It was gritty and had guts, ya know, but then these damn producers been wittlin' it away to nothing, man. Chuck cornered me this afternoon once you'd left and started in on nagging me to sing the title song.”

“You don’t want to sing? Just the title? it would be so good.”

“So you like the way I sing, Iny?” 

Elvis’ eyes danced but then he remembered what they were talking about and was solemn once more. 

“Yeah, naw man, that would set it up as another Presley musical, the next they’ll be trying to get me to sing to my horse. No self respecting cowboy sings, you ever heard of a singing cowboy? Never seen John Wayne sing.”

“OK, sure, but what about Roy Rogers, Gene Autry, Hank Williams was the Driftless Cowboy, right?” Elvis leveled her with his blue eyes and pinched her side. 

“Hmmm - guess you got me there. But it’s 1968, I’d like to see Gene Autry sell a movie in today’s economy. My boy my boy. Today it ain't no joke. Can you see him in The Good, The Bad and The Ugly?”

Ina tilted her head in agreement back onto Elvis' shoulder, she felt the same way she did sinking into a pair of comfy, worn-in slippers, and founding his chest as relaxed and welcoming,

“Trust me, I get it, I’m just grateful I don’t have to do a rape scene in this film.”

He squeezed Ina tighter, kissing her cheek.

“Yeah, me too, honey, real grateful. Boy. Don’t know why anyone want ta see that.”

 “The old west ain’t what it used to be.”

“You can say that again.”

Elvis' arms closed around Ina tighter as they murmured the hours away, comparing diet pills, LA taco huts and favorite movies while their limbs easily intertwined into one another. The closest he got to undressing her was the moment around midnight when he stealthily undid her pony tail and played with her hair while she pretended to be miffed. Then he kissed her forehead and told her he had done her a favor, because it looked better this way, and she should just be a good girl and do as he said. Which got him a light slap and a big “HA!”

They spent the next hour enjoying a playful, cozy respite together in the dim orange glow of Ina’s hotel room. It was well past one in the morning when he gave her a parting kiss that turned into a series of parting kisses before he snuck back up to his suite. 

Shooting began the next day at 7 a.m., and you could have knocked the director, Chuck, over with a long, pink gaudy boa feather as he found Elvis and Ina in good spirits ready to work. They exchanged playful barbs and their onscreen chemistry sizzled when they went through each sequence, pausing between takes for Ina’s chest to be spritzed while another batch of assistants dabbed Elvis’ forehead with dry unused coffee filters. The industry’s secret weapon against perspiration.

Elvis found Ina in her dressing room during a break and their lips met with stifled giggles as they kissed now with away from the ever present surveillance of the crew, laughing and talked into each other’s mouths.

“Oh my god, now you taste like bacon. I swear Elvis, you’re gonna have me off my diet and then I’ll swell up like a balloon and then Charro! will be a very different film about a cowboy and his pregnant saloon madam.”

“Baby, you gotta let yourself have one hamburger now and then, trust me now, I been doing this longer than you. It will help the cravings.”

Ina kept her mouth shut as she calculated that she had been in this business just as long as he had, since she began modelling at 15 in 1955.

“Ok. I give in. I have no willpower around you. I will have one hamburger this week.”

“Tonight, honey. Imma have you for dinner.” He winked. “Over for dinner, I mean.  I’ll have one a my guys come get you and bring you up to my room later. ”

“Ok. Dinner. Tonight. Your room.” She grinned as she chased the taste of bacon on his tongue and the salty scent of his body as it enveloped her until a knock on the door brought them back into their roles on set as Jess and Tracy.

That night Elvis went through his usual routine after a shoot, which began with a shower to wash off the desert and the dust and the sweat of the set off his body. He took extra care in how he dressed, selecting a light blue dress shirt and a white suit, capping off his outfit with a small black porkpie hat. He doused himself in aftershave and the smell of Old Spice smacked Joe in the face when he came in to set up Elvis’ calls to Memphis and LA.

Once Elvis hung up his phone he leaned over and banged on the wall for Joe to come back in.

“You want me to get that sweet little Mexican gal boss? Alma?”

“Did I tell you to do that? That gal ain’t nothing but a big phony, naw man. Wait for me to tell you what to do, son."

Elvis stood up and went to slather more after shave on, exchanging one ring for another at his toiletry bag.

"Go down stairs and invite Ina up to join me for dinner.”

Joe let out a loud cackle. “What, Groucho?”

Elvis paused, taking in the look of disbelief on Joe’s face. His heart sank and he rubbed his hands over one another as he remembered how they all were howling at his jokes about her a few nights ago. 

He hadn’t even really meant it. He’d just said those things after watching Alma and Flor look at Ina with envy during rehearsals. All he had wanted was to put them at ease, make them understand he was attracted to them. Saying what he thought they wanted to hear. But then the boys had chimed in and now they all thought she was a dog. 

Elvis forced a low chuckle and ran his hand through his hair.

“Nah, man, not Ina - I meant Flor. Goddamn it,  this picture messin’ with my head.”  

He swallowed hard, thinking of the way Ina's beautiful big brown eyes looking up at him. They their legs had seemed to fit together, the way conversation had seemed to flow effortlessly. He smiled to himself thinking of the way she had blushed when he snuck into her dressing room. How her breasts had felt beneath as they ran their love scenes. He pushed away the pang of guilt for now and tamped down his desire to hold her once more. Maybe he'd sneak down to her room later if he could get away. But for now he had an image uphold. These guys looked up to him, and his control over them as their boss rested on the how cool they thought he was.

He snapped his finger at Joe. 

“But I don’t wanna hear y’all calling her that no more. Tell the others. Like I said this morning, y’all shitwads talking like that is what got me in trouble in the first place.”

And with that, Elvis spent another night surrounded by people and utterly alone.

I don't really think I did Ina justice here, look at how great they looked together. We were robbed of their sex scenes.....

taglist:

@i-r-i-n-a-a @ab4eva @eliseinmemphis @richardslady121 @artlover8992 @ashtag6887 @karolshungary @j-v-9-2 @waiting4brucewayne2adoptme @notstefaniepresley @dollette02 @dkayfixates @everythingelvispresley @velvetelvis @moonchild-daniella @lialocklear @obsessionisthecure @louisejoy86 @arrolyn1114 @literally-just-elvis-fics

i don't really have a taglist for one-shots and I apologize if you don't want to be tagged, just let me know and I'll take you off.

[thefisherqueen]

The Merry Widow (1968) with Jeremy Brett

I've not been a lot on social media lately because of the complete takeover from US'ers (which - understandable, I'm worried and grieved too, but still there are other countries and issues and the way people often neglect to specify they're talking about the US and assume all their readers are in the US too is kind of obnoxious) so I've directed my very limited time and energy towards something which has given me a lot of joy in recent years and is often freely accessable too: old media. I'm making a valliant effort to actually finish Moby Dick and Les miserables and Raffles, I've read the first collection of Arsène Lupin, I'm trying to get into Hercule Poirot (not entirely convinced yet but we'll see), and last weekend I watched The Merry Window movie of 1968, starring Jeremy Brett. It is entirely on youtube here. Not in the best visual or auditory quality, sadly (it has not been remastered yet), but still very watchable.

I went into this without any knowledge of the story or rich history of this operette, only having heard a few fragments of the songs before. And I was so, so entertained throughout, even though I did not understand everything that was going on.

A summary of my prompt research: The Merry Window (Die Lustige Witwe) was composed by Austrian-Hungarian composer Franz Lehár and first performed on stage in 1905 in Wien, running a very succesful row of almost 500 live performances. It has since been adapted both on screen and stage often, even through this very day. The Metropolitian Opera has a comprehensive synopsis on the story on their website, but more fun is this comic.

The basic story goes as follows: the embassy of a small Balkan country (fictional, but likely to be inspired by Montenegro), situated in Paris, is thrown into merry chaos as they learn that a very rich widow originally from the same Balkan country also is residing in Paris. Shenagans and plotting occur to try and convince her to marry one of their countryman, so her sweet sweet money won't leave the country, which is in dire need of it. There's only a problem: the proposed candidate, a count played by Jeremy Brett, already knows the widow, and the two of them have a History. Avoidant behaviour, sassiness, misunderstandings and other delicious drama ensue.

I did not expect the amount of music and songs in this movie. I think 80% or 90% of the script is in song rather than dialogue. Entire performances are shown, during which the plot just stands still, and honestly? I loved it. Modern movies/shows often move too fast for my sluggish autistic brain to keep up with, and this languid tempo just worked well for me. The folk and, I imagine, quite scandalous can-can dances are a joy. I'm usually not that fond of the more classical technique of singing but I found the music here quite gorgeous, too, a delightful mix of classical sound with fun folk elements. Jeremy Brett's rich voice really stood out of me. You can listen to the entire soundtrack here.

Jeremy Brett is a treat to watch in his role as a bit of a playboy, avoiding responsiblities and commitment and feelings of heartbreak by dancing and drinking at a local nightclub each night instead. Not suprisingly for everyone who has seen him in Granada's Sherlock Holmes: he's really excellent at dramatic posing, lounging on surfaces not meant for that, and 'trying to look cool but actually besotted'. There's a lot of humour in the dialogue and performances of the entire cast, too. For example, there's an entire extramarital affair going on right under the nose of an antirely oblivious baron's nose, and it's pretty hilarious. Further example of some funny lines: "What have you been doing lately?" Absolutely nothing!" "Excellent!" Jeremy's rivalry with the widow (played by Mary Costa) is especially a lot of fun, both really sell that part. I really got quite emotional by the final "Love unspoken, faith unbroken..."

There's an interesting background of historical social context to this operette, too: widows in that time enjoyed an amount of financial freedom denied to either unmarried or married women, and watching high class men competing for a woman's money was, I suppose, a nice bit of social commentary. I also really enjoyed a song by a group of men all wondering what they have to offer women if it isn't money - a question, in my opinion, that may be asked more often. The widow using her relative freedom to protect another woman from scandal at the end was rather sweet, too. The story ends, of course, by not upsetting the status quo too much. But it's such a fun ride.

All in all, very much recommended.

[rollercoasterwords]

I haven't seen many horror films and would like some recommendations. What are some must-watch horror movies for someone new to the genre?

oooh this is such a fun question but so hard 2 answer bc horror is like. such a versatile genre & where u should start depends a lot on like what type of movies u enjoy/what ur looking for….

like if u want sci-fi/alien horror then the obvious place 2 start is w alien (1979) and aliens (1986) (there are other sequels as well but the first 2 are the best) & then also the thing (1982) and its prequel film that came out in 2011 (also titled the thing). AND of course the fly (1986) is a must-see...and if u want something more recent nope (2022) or no one will save you (2023)...both a little more artsy and slow-moving than the 80s recs on this list but very very good <3

if ur interested in slashers then again start w the classics scream (1996) is SO fun it deserves its spot in the horror hall of fame...i know what you did last summer (1997) is also a fun & slightly older slasher; cabin in the woods (2011) is great if u want some meta-slasher-horror; ready or not (2019) isn't necessarily a conventional slasher but i'd still include it in this category & it's one of my faves

if found footage is ur jam PLEASE start w creep (2014) probably my fave found footage horror film ever...but also i'm not a huge found footage fan generally speaking lol. that being said the blair witch project (1999) is of course the classic here but it's not my personal fave; other good options if u want something genuinely freaky/scary are the bay (2012) hell house llc (2015) and gonjiam: haunted asylum (2018)

if u want like possessions & demons etc then. start with jennifer's body (2009) if u want horror-comedy it is SO fun & a staple of the genre atp but if u want something scarier then it follows (2014) is a popular one. there have also been a lot of good possesion movies coming out recently i thought smile (2022) talk to me (2022) and when evil lurks (2023) (<- literally JUST watched this one today lol) were all quite spooky

& sort of possession-adjacent but if ur more into hauntings, ghosts, etc then start w the babadook (2014) or his house (2020) both SO good. also the shining (1980) is a classic & la llorona (2019) is a personal fave of mine (NOT. the u.s. 'curse of la llorona' movie. the guatemalan one.)

if u want witches then start w the craft (1996) another sort of fun one <3 or if u want a classic then hungry wives (1972). the love witch (2016) if u want a visually beautiful & less scary one; the witch (2015) if u want a scarier one.

if u want eerie fantasy-horror then the company of wolves (1984) or tale of tales (2015). if u want a creature feature then blood red sky (2021) for vampires, ginger snaps (2000) for werewolves, and a quiet place (2018) for like post-apocalyptic creature invasion horror.

& SPEAKING of post-apocalyptic. if u want zombies i could make a whole separate post but. START w train to busan (2016) & seoul station (2016) the dynamic duo <3 & then if u want some classics from the genre of course night of the living dead (1968), dawn of the dead (2004...i haven't seen the original one u could watch that one too tho...), and 28 days later (2002). raw (2016) if u want an artsier one, the girl with all the gifts (2016) if u want a fun spin on zombie apocalypse, cargo (2017) if u want 2 cry. & if u want something funny then PLEASE watch zombie for sale (2019) or anna and the apocalypse (2017) or one cut of the dead (2017)

if u want kind of a slower-build psychological thriller then the invitation (2015) is one of my faves, but mother! (2017) is also good if u want an artsy pick & gerald's game (2017) and lyle (2014) are good as well

and then just a grab-bag of horror movies that didn't fit perfectly into any of these categories: barbarian (2022) if u want something really scary, piggy (2022) if u want slow-building horror, midsommar (2019) if u want sunshiney culty a24 aesthetic, us (2019) if u want something that'll freak u out & is slasher-adjacent, get out (2017) if u want slow-build thriller vibes, and teeth (2007) if u want teen-girl horror classic.

bear in mind that many of these films overlap between the categories i've divided them into 4 this answer, as is the nature of horror...if u were asking me 2 just like. force myself 2 choose a top 10 horror movies 2 introduce someone 2 horror w no preference 4 genre or vibe...i think my list would probably be (in no particular order):

alien (1979)

2. the fly (1986)

3. jennifer's body (2009)

4. ginger snaps (2000)

5. train to busan (2016) (<- pains me 2 say bc seoul station is my fave zombie movie of all time but if i had 2 choose just one zombie movie 2 introduce someone 2 the genre it would be this one...beginner zombie movie...)

6. scream (1996)

7. his house (2020)

8. barbarian (2022)

9. creep (2014)

10. us (2019)

[wellntruly]

Oh right yes, we're back with my top ten movies of 2024

1 McCabe & Mrs. Miller (Altman, 1971) Recommended for: easy but, Leonard Cohen fans

2 Sherlock, Jr. & Steamboat Bill, Jr. (Keaton, 1924 & 1928) Recommended for: Tarsem's The Fall fans

3 Shanghai Express (von Sternberg, 1932) Recommended for: noir fans

4 Solaris (Tarkovsky, 1972) Recommended for: people with a poetry tag

5 My Darling Clementine (Ford, 1946) Recommended for: people who have been told they have an old soul

6 3 Women (Altman, 1977) Recommended for: the witchy wlw Lana Del Rey fans

7 Sorcerer (Friedkin, 1977) Recommended for: Mad Max fans

8 The Apartment (Wilder, 1960) Recommended for: sad girl Christmas!

9 Harold and Maude (Ashby, 1971) Recommended for: Edward Gorey's Gashlycrumb Tinies fans

10 A Zed & Two Noughts (Greenaway, 1985) Recommended for: Bryan Fuller's Hannibal fans

As before, links go to my original Letterboxd “review” (comment), and if you click the poster or title there you’ll be taken to the short synopsis, cast & crew, wide header image for some vibes, etc.

And then the next ten too why not, it was a Good Year in Watching:

12 Angry Men (Lumet, 1957) After Hours (Scorsese, 1985) Lady Vengeance (Chan-wook, 2005) The French Connection (Friedkin, 1971) A New Leaf (May, 1971) Leave Her To Heaven (Stahl, 1945) Merry Christmas Mr. Lawrence (Ōshima, 1983) The Lion In Winter (Harvey, 1968) Women On the Verge of a Nervous Breakdown (Almodóvar, 1988) Fail Safe (Lumet, 1964)

I loved all these as well

[a-new-vers]

~H5~

Woke up today to find out Halsey has set the stage for a new hunt for fans to go on. In true Halsey fashion, it's cryptic with a distinct visual style we can probably expect from this era.

So let's explore, shall we?

A Lil' Timeline:

Halsey played the 27th at Lollapalooza India. During their set before they began to play Gasoline, a visual on screen displayed a URL: FOR MY LAST TRICK (click to go to the site).

Click HERE to see a video of when it was displayed at the concert.

The Website:

The theme behind the website seems to be opening a miscellaneous stick/patch packet.

The first thing is prompting the user to "pull to open" as in a tag to swipe off. You can see the collection of patches behind the plastic wrap. Once you finally open the package, all the patches will disperse.

This is where the Internet sleuthing begins, people. 24 unique patches (technically 25, but I'll get into that later) with different meanings. Let's get into it.

1 - SNA Flight Tag

So really obscure, but googling Air California flight tag brought me to this used bookstore site. In any case, the thing to notice is the date it is attributed with, 1968.

2 - Vintage Blotter Art

According to this blog (which is the only place I could find the image), this is a vintage blotter from 1994. Blotter art is an "...art form printed on perforated sheets of absorbent blotting paper infused with liquid LSD."

3 - Blythe Dolls

I believe this doll is a Blythe doll. Image reverse search does not come up with an exact result, but from the details you can make out, the dolls eyes are quite clear. Which looks a lot like Blythe Dolls, a doll brand that came out in 1972. Their gimmick was that the eyes could move left to right.

4 - Witch Halsey

Unsure, but it would seem it's Halsey as a witch. The aesthetics are similar to IICHLIWP (H4).

If the main theme here is the 70s, there’s the movie Season of the Witch that came out in 1973, February 14th. It’s apparently commentary on traditional American suburban lifestyle through the perspective of a housewife who does not like her place in life. She meets a witch and progressively gets into the occult.

5, 18, 19, 23 - Outside of USA

5: It's hard to tell what most of the words are, but the text "Pagado" (Spanish for "paid") is on the piece of paper. . The particular location might be Palenque, a Mexican city. Relevant date: June 25th, 1977.

18: Belleville. Based on a real winter carnival programme. Belleville is a a city in Ontario, Canada. Relevant date: 1971.

19: “We smokers all want to be non-smokers too” or something along these lines. I'm trusting online translation for this (German to English). Unable to find when this was made.

23: “For Us.” French. The image search doesn’t result anything. Unable to find when this was made.

6 - Peril is My Pay

Based off of a detective book involving traveling. The font is the exact same as one of the book covers. It was published in 1960s.

7 - I have something to tell you

A sign up. I assume it has to do with being updated on any album news.

Looking through the inspect tab you can see the information is being sent to “Sony Fan Music.” It does take note of which country you are in and your address.

8 , 9 - Round visuals

I think these are visuals to give grasp to the 70s theme. It’s reminiscent of 60’s/70’s clothing/aesthetic.

10 - Michigan license plate.

1971 comes up in the plate. Michigan has come up in HFK (H2), on Bad At Love. I doubt this has anything to do about the “boy back in Michigan” but perhaps traveling back throughout her albums.

11 - Ghost

Jan 27th 2014, interesting date to put since this is the date this is all happening, just a decade after.

I've seen some people say this is meant to be the anniversary for Ghost, the song. Although it came out in 2014, its release date was in July, and it originally came out on sound cloud on February 3rd. So unsure why Jan 27th is there. EDIT: I have been made aware that Jan 27th 2014 was its international release date! I am but a fool.

The text can be in response to the lyric “Where did you go?” and the themes on the song of someone leaving. IDK, this could also be a meta thing. If a theme here is traveling and visiting locations/people, then perhaps one thing you won't find if the ghost?

Additionally, this follows the theme of revisiting her previous albums.

12 - Cannel 17

WPHL-TV is a television station in Philadelphia, Pennsylvania, United States, serving as the local outlet for The CW Television Network. The logos here are form the 60’s/70’s.

13 - Master Mystifier

Or, alternatively, Harry Houdini. The date I do not believe has any relevance here but perhaps the idea of magic.

I came about the google search “Houdini’s Last Trick” where his last trick is widely asked about. It would seem to be an inspiration for the name of the website. So potentially Halsey will lean into magic, tricks, and deception.

14 - Calling Cards

Text on card: “Compliments - May I See (C) You (U) Home? If not, please return this card.”

“May I See You Home” seemed to be a common phrase for calling cards. They were handed out to ask people out. Again, the font and images are similar to H4 aesthetic. These were used in the 18th and 19th century.

15 - B&W Hair

Oh, I actually no idea.

16 - Candy

The closest I could get to finding what this meant is when this font was used for the book Candy by Maxwell Kenton, published in 1958.

As wiki describes the plot "Candy Christian, aged eighteen, is an extremely pretty and desirable but naïve young woman, who finds herself in a variety of farcical sexual situations as a result of her desire to help others. The men in her life, regardless of age or relationship, wish only to possess her."

17 - Southern-Belle

Clearly the saying southern belle. A girl born form the south, typically with certain attributes. The saying came from the idea that “... a girl who was expected to grow up into a lady. She was supposed to be fragile and flirtatious while also sexually innocent. She was beautiful but risky to touch, like porcelain.”

https://historyengine.richmond.edu/episodes/view/2259#:~:text=Course%3A,risky to touch%2C like porcelain

20 - Rabbit

I couldn’t find anything that looks the same, but I assume it has to do with Alice and Wonderland. Concerning dates, the book was published in the 1800s, while the arguably most famous iteration (the animated movie) came out in the 50s.

However, this can relate to the potential theme of magic and deception and girl/womanhood. But I’m also inclined to think the rabbit might have nothing to do with Wonderland and might be something else all together.

21 - K-Mart

Wiki comes in handy here. As described, “Satisfaction Always icon seen on Kmart branded packaging until the mid-to-late 70s, adapted from a hanging sign displayed in every early Kmart store.” So 70’s themed.

https://logos.fandom.com/wiki/Kmart_(United_States)/Other?file=Kmart_-_1960s_(Satisfaction).svg.

22 - Eye, Eye, Eye, and Eye

The eyes. Girl IDK, they’re eyes. They kind of remind me of the biblically accurate angels and the eyes they have. Although, I doubt that's what they're meant to be.

24 - Cigarette

People seem to think this relates more to Badlands, and I’m inclined to agree.

Themes:

Here are overall themes that seem to be present within the collection.

- Travelling

- Magic

- 60s-70s

- Eyes

- Books

- A Feminist Lens

- Past albums

A Tangent on Web Dev:

I just kinda wanted to point out the cool coding stuff they've done. When the patches are still in the plastic bag, they're always randomized in which order they're in (you have to refresh to notice this). They also disperse in a randomized order. I thought maybe the way they disperse could be a trail of sorts, like a map. But it seems totally random. I still find it cool how they've done that, every time in a different location, as if you open the package they come out uniquely for each person.

Oh and about the 25 patch, it seems the first patch in your packet appears twice when you open it. Idk if the number 25 matters or if this was done by accident. But the 25th patch is a duplicate, and never one in particular, just which ever is the first in your shuffle.

The End

For now.

[hooked-on-elvis]

Have you seen this picture of Elvis? I get so exited when I see an Italian connection to Elvis. For example today I discovered he owned several Beretta guns that explicitly say “Made in Italy”. 😍

This is not quite the same, but yeah: BRAZIL! 🇧🇷

OMG, YES! I'm crazy about that picture, I shared it here months ago. I totally have that feeling too! So cool you mentioned Elvis also collected Italian guns. I know just how you feel about it, dear. 🥹

Well, on Elvis and Brazil, there's a few connections I'll never get over... they're so dear to me.

First, during the last of Elvis' appearances on the Ed Sullivan Show (January 6, 1957), EP performed on the same day as a Brazilian singer named Leny Eversong. They didn't performed together, but I was so happy they got a couple pictures taken that day, backstage. Leny was/is one of the greatest female Brazilian voices. ♥ I don't know if that's true or not, but some places say Elvis told her she reminded him of his momma. Cute.

January 6, 1957: Elvis backstage with Brazilian singer Leny Eversong and the host of the show, Ed Sullivan.

Another Elvis/Brazil connection took place during his Hollywood era. On my favorite Elvis movie "Live a Little, Love a Little" (1968) there's a song composed by the Brazilian musician, Luiz Bonfá. The song is "Almost In Love", a beautiful ballad which dreamy melody was borrowed from Luiz Bonfá's original 1965 song "Moonlight in Rio", while the lyrics Elvis sings was composed by Randy Starr. According to Luiz Bonfá, in 1968 he was working at MGM and someone (I won't remember who) told him Elvis needed a song for the soundtrack of this 1968 movie. That's when the Brazilian musician would lend his beautiful melody, an original composition, to what would become the song recorded by the King and featured in the 1968 movie "Live a Little, Love a Little" soundtrack.

Brazilian's Bossa Nova was very popular around the world in the 60s but, unfortunately, that was the only song composed by a Brazilian musician that the King ever recorded. Either way I'm so, so proud of it. ♥

Last but not least, years later, on November 30, 1972 Elvis attended Paul Anka and Brazilian musician Sergio Mendes's opening night at the Caesars Palace in Las Vegas, NV. They met backstage. Sergio Mendes is one of the greatest Brazilian musicians of all times. He was friends with Frank Sinatra (they toured in the 60s). About that night meeting the King, Sergio said Elvis went backstage to congratulate Paul and him for the concert, telling them he did enjoy the show.

Here's some pictures:

November 30, 1972: Elvis attended Sergio Mendes and Paul Anka's opening night at Caesar's Palace. The photos show Elvis backstage at Caesar's Palace, early on December 1st, with Sergio and Paul.

Sergio Mendes and Frank Sinatra toured together in 1968.

Those are the Brazilian connections to Elvis that I know of so far. I don't believe there's more but who knows?

According to Kathy Westemoreland on her Facebook page (as shared on this website), Elvis did enjoy the music of the Portuguese singer, Amalia Rodrigues, known as the "Queen of Fado". Brazilian Portuguese and the Portuguese from Portugal are not the same but they are similar, just like American English and British English, because Brazil was a Portugal colony when it was first "discovered" in 1500, that until 1822 when Brazil became an independent nation. That leaves me wondering if Elvis knew a little bit of Portuguese or not, having him listened to some songs in Portuguese (both from Portugal with the Fado music and from Brazil with our Bossa Nova). That would be so cool, but I've heard or seen nothing that could proved this yet.

Italian language, on the other side, Elvis knew at least one word: "Arrivederci" -- "Oh, no, that's Italian", he said after mistaken German for Italian during a press conference in Germany in 1958, giving us yet another cute moment of him to cherish.

Anyway. Thank you so much for being kind and reminding me of that Army Elvis picture with the Brazil showing in the map right behind him on the wall. I love that picture. It's so silly, but even the slightest connections of Elvis with our different nations thrills us, I know exactly how you feel about the Italian guns he collected. ♥

I bet you love the song "Heart of Rome" too, don't you? Or "It's Now or Never", an English version from an Italian song ("O Sole mio"). I think there's more connections of Elvis and Italy. I'd love to read all about it if you'd like to share, including pictures of the Italian guns Elvis had, if you have any of them.

Ohh, by the way, another cool thing I know connecting Elvis to Italy is that Elvis' suite at the former International Hotel then Hilton Hotel and now Westgate Hotel in Las Vegas, which unfortunately was remodeled and doesn't look like it was when Elvis was there, is named today after a region in central Italy! I've seen somewhere on Youtube that Elvis' actual penthouse suite, when remodeled, was split in two or three different villas. Well, one is named "Tuscany". SO COOL! ⚡🥹 ✨

WestGate Hotel, Las Vegas. That picture above was taken on October 2023 by an Elvis fan, Jill Stringham, shared on the Facebook group "Elvis in the 70s". Below there's a video inside the suite.

[czache78]

Turned on the 2013 Romeo and Juliet movie today cause I wanted to watch something while doing embroidery, I’ve heard it’s not good lol

It actually wasn’t too bad?? I mean I like the 1996 version better, but this one is pretty accurate to what the original play is and hey it had good background instrumental things. One thing I did notice was that it changed some of the dialogue a bit, which I get for things that people wouldn’t know (like “put up your sword” means “put down your sword” lol) but then some of them didn’t make sense? Like they switched “thou wilt” to “you will” for some parts but not others?? They did add a couple bits of dialogue that were cool though, like Romeo said when going into the tomb and seeing Tybalt “I will now kill the man that killed you” which is kinda cool (paraphrasing)

Ok one thing about the 1996 movie is that benvolio didn’t have a big role in it at all. However, with this one he has a lot bigger role. He’s the one rather than Balthazar that is outside the tomb when romeo goes in, which I always think is a cool take to give benvolio more of a connection to Romeo. I think they added dialogue there too? anyway ;(And ahh it was so sad when benvolio went to tell Romeo about Juliet’s “death”,,, that was one of the parts that stood out to me. Also benvolio looks so young in this compared to Romeo and Mercutio lol, I’ll have to look up how old the actors were bc Romeo did NOT look like 16 or smth. A couple other characters I felt had a bit of a bigger role in this were friar Lawrence and the nurse. With the friar, they added some bits at the end after r&j die where they just show him grieving. And the nurse, well first of all literally every time r&j would make out the nurse would just like walk in on them lol, but anyway the scene where she finds Juliet “dead” was really good and sad, another part that stood out to me. Ummm what else, oh yeah, that was an interesting little scene where (I think it was after r&j met and kissed and Juliet was going back inside??) Tybalt pulled her aside and was like “I love thee cousin” and Juliet just moves his hand off her, she’s so done lol. I think it’s always an interesting thing when the directors directly state that Tybalt is in love with Juliet,,, I don’t think so and um that’s a little weird but whatever ig. The actor playing Tybalt did a pretty good job at being angry ig, he reminds me of Tybalt in the Hungarian version of romeo es julia. And also I like Leonardo DiCaprio’s romeo better than this one,, this one looked older and didn’t really idk show emotions?? Some of his scenes and lines with Juliet I got creepy vibes from and with the 1996 version romeo just shows how he’s absolutely devastated at well, everything. Even the 1968 version he’s crying on the floor at friar Lawrence’s. This one was just kinda basic idk lol,, he didn’t really show how much he loved Juliet (or mercutio honestly, he did do a good job of screaming at Tybalt tho lol)

All in all it’s not my favorite but it’s decent and has some extra parts added that I liked :)

Alrighty anyway,,, sorry if that was messy lol I just wanted to comment on some stuff :))

[datclassicrockfan42]

Who are the monkees?

YESSSSSSSSSSSS

DEAR LORD YES

(Sorry I don’t get this question very often)

Anyways, allow me to introduce you to The Monkees

They were a 60s rock band with a TV show(like the Aquabats). Originally created to make money and sell records but after a rebellion from their music producer, they truly(at least in my eyes) became a true band. Unfortunately a lot of factors caused the bands decline in popularity and their dissolvement. They did get back together in the 80’s and 90’s with a little surge in popularity, and thoughout the 2000s and 2010s they continued to tour. Currently the last remaining Monkee(Micky) is doing shows to honor the band these years.(this is definitely a cliff notes version bc(well I kinda lost my Monkee Autism for MCR autism and there’s no way I can fit the entire story into a single post, we can keep talking about this through dm through)

Now for the members. This group consists of four members. Davy, Micky, Peter, and Mike

Here’s a photo

The first member is Davy Jones.(Bottom Right)Short, British, and babyfaced. He’s basically the “Paul McCartney” of the group, the one that all the girls love(at least when the show first aired). In the band lineup, he does vocals, tambourine, and maracas(usually has like fifty maracas) In the show, he’s the group’s hopeless romantic. Always going after a girl and falling in love. However that whole “Davy falls in love and now it’s our problem” is much more of a season one plot line than season two(not to say doesn’t happen there too.)

Next is Micky Dolenz.(Top left). The bands…(for really lack of a better term here) wild card. He’s very energetic and comedic. In the band he’s the drummer but also does vocals most of the time. In the show, he’s wild, chaotic, and the jokester of the group.

Next is Peter Tork( bottom right). Sweet, sensitive Peter. Look at him isn’t he cute? In the band, he’s the bassist, but also plays a multitude of instruments. In the show he was the dummy. The butt of the joke all the time. His shy, awkward(auto fill suggested knees here, and I’m questioning everything), personality and lack of social skills was a constant joke during the series. Actual Peter is pretty intellectual.

Last but certainly not least(especially on this blog) is Mike(top right, in the green wool hat) the second Michael in my life(Mikey was the first). Ah Michael Nesmith. Where to start? Stoic, quiet,aloof, but a total goof sometimes.(starting to sound familiar here)He has what this website calls…autism swag. Usually wearing a little hat(okay now that I type this here I’m starting to realize the similarities between the two Michaels in my life), this Texan is the “serious one.” The dad of group basically. In the band he plays guitar and actually wrote a few songs(oh we’re gonna talk about this). In the show, he was basically the voice of reason. Not really focused on that much,but he had his moments. I should mention that he got rid of the hat around season two, but you can still identify him by his massive sideburns.

Look at these

Look at the size of them

NOW THE SHOW AND MUSIC.

The show: The show aired from 1966-1968 with two seasons. They also had two tv specials and one hella trippy movie. Currently a lot of the episodes have been taken off YT(damn copyright) but we have archive.com and many drive folders containing these episodes. Episode plots can go from “guys Davy’s in love again and now it’s our problem” to “Crap we can’t pay the rent” to “crap we gotta save America from spies”. And season two only gets weirder. Each episode usually contains two “romps” which are basically music videos that showcase songs(like I said made to sell records)

(I do gotta warn you tho. This show was made in the 60s…so some of the content is not actually…politically correct according to today’s standards. So yea just be prepared for that)

Episodes I’d personally recommend for beginners are

Season 1 Ep 8: don’t look a gift horse in the mouth. A simple episode. Displays each of the characters personally traits pretty well. Has good songs.

Season 1 ep 23: Captain Crocodilez a pretty funny episode. Got a lot of that typical Monkee rapid fire random humor(which is kinda Aquabatsish). Some good romps and I find this ep quite enjoyable

Season one ep 12: I’ve got a little song here. This is a Mike focused episode and is a little bit sadder than the majority of eps, but is overall good. It’s got the bands superhero personas, the Monkeemen. Good songs too.

Season two episode 16: fairytale. An iconic episode.(so sometimes the guys would dress up in drag to make their schemes work and there’s lots of that in this episode) it’s a bit more off the walls(which is normal in season two) but still overall a good episode.

Here’s the link for the archive(kinda bad quality but pretty accessible)

Edit: so i checked and something is wrong with the link….so yea

Ummm if yall want I can dm you a link to one of the drives

NOW FOR MUSIC

(Buckle up)

So the group(in the tv show years) released(holy shit) 9 albums.

The Monkees(a classic album of songs from the show) notable tracks include Last train to Clarksville, Saturday’s child, Sweet Young Thing, and Papa Gene’s blues

More of the Monkees(another classic, once again full of songs from the show) notable tracks include Mary,Mary , I’m not your stepping stone, the kind of girl I could love, and(you probably know this one) I’m a believer(yep the song from shrek was a Monkees song)

However, these albums were made with little to no creative control. Opting for studio musicans and writers than the actual guys themselves(who were all pretty good musicans) but after some rebellion, the producer getting fired, and a hole in a hotel wall(before the producer got fired,(guess who did this one lol). The band was able to play their own instruments.

Which brings us to an era which I personally consider the bands finest:

Headquarters: a masterpiece with the group playing almost of all their own instruments. Notable tracks include: Sunny Girlfriend, for Pete’s sake, and Randy Scouse Git

Pisces, Aquarius, Capricorn and Jones(thats actually all the members zodiac signs, expect Davy’s bc him and Mike are both Capricorns and they actually share a birthday(Dec 30): this is their psychedelic album(hey it’s 1967 everyone’s doing it) Notable tracks here include: Pleasant Valley Sunday, Love is only sleeping, Star Collector and the door into summer.

The Birds, The Bees, and The Monkees: another classic👌. Notable tracks here include: Daydream Believer, Tapioca Tundra, and Dream World.

We then have the HEAD(that trippy movie i was talking about(that’s a little advanced tho, stick to the show for now) soundtrack: notable tracks here include: Porpoise Song, As we go along, circle sky, and daddy’s song.

Now for some mythbustijg bc oh boy

They didn’t play their own instruments: actually a lot of the guys were originally musicians before the show(Mike and Peter were folk singers, and Davy worked in broadway(not an instrument but still cool to know). We kinda already debunked this one though so let’s move on to the next:

They didn’t write their own songs: kinda true. The studio did bring in some studio writers to write songs, but the guys actually wrote some songs themselves(mainly Mike, but the others did too)

Ok well I’ve been typing for quite a while now and my hands tried soo ima leave this here. DM me if you want any more info(I have a master degree in the history of Micheal Nesmith with a minor in the band and show history)

[severe-intense-gaze]

HI:

I finally watched Oliver Twist for the first time! I liked it a lot. Problematic makeup/offensive stereotype that's baked into the story aside, I thought it was brilliant. I can see so much from that film being borrowed by others, and the main one is Carol Reed. There is so much similarity between the look of Oliver Twist and the Third Man. I think he even borrowed the idea of the cat from Bill Sike's dog...

But I still need to figure out where it fits in my ranking based on how gay it is...

I feel like it's got a very dark edge to it and that is the hint there is a trafficking element to the relationship between Fagin and the boys. Over and over we hear that Oliver is "a nice looking boy" and this is almost always remarked on by older men such as Bumble, Brownlowe and Fagin. All of them say it all of them have Oliver in their custody for a time. In a sense they OWN him and he can be forced to steal for them or work for them or not as the case may be but of course Oliver never has any agency in any of this.

What are your thoughts on this?

Hellooo and thank you for sharing your thoughts with me!

I think David Lean's Oliver Twist is an untimely masterpiece and it's even more visually stunning and bolder than his previous work Great Expectations; he must have gained enough confidence from GE's success since breaking away from Noël Coward's protective wings and wanted to take a larger step with Oliver Twist. If I am to rank DL films, I'd put Oliver Twist in 3rd after Lawrence of Arabia and Brief Encounter. Nonetheless, aesthetic advancement is no excuse for ideological backwardness. It was very unfortunate that David Lean dared not even try taking a more critical approach to Dickens's offensive original text, instead he buried his head in sand trying to ignore Fagin's racial background and wishing no one read the book.

I'm glad someone finally mentions the interrelations between David Lean (especially his early films) and Carol Reed. Fun fact: David Lean first got into directing because of Carol Reed. Noël Coward wanted to make the war film In Which We Serve and Carol Reed told him he could never make it without David Lean. Lean was strongly influenced by Reed when he first started, the most notable example is the slanting composition in Brief Encounter when the suicidal Laura rushes out of the refreshment room. So I guess it's very possible and natural that Reed got one or two ideas from Lean's films as well (he saw GE and enviously said to Lean: I hope you throw yourself under a bus). But it's more likely that the cat is in Graham Greene's novel, I never read the novel so I can't say for sure.

As for the gay ranking, it's getting a bit too far innit XD. Oliver is like 10 or 11 of course he doesn't have agency and that he happens to be good-looking doesn't make his protectors/exploiters gay I guess 😭😭? But it's worth mentioning that in the novel Brownlow adopted Oliver not because he is Oliver's grandfather (as in the movie) but because Oliver is son to his deceased best friend whom he addresses as "my love" .

P.S. Reed himself made an Oliver Twist adaptation in 1968: Oliver! which I haven't seen yet.

[blogthebooklover]

Movie Recs In Honor of Kingdom of the Planet of the Apes

I decided to write out a list of movies to watch in honor of Kingdom of the Planet of the Apes coming out very soon. This list will feature movies with apes besides the POTA movies, or movies with weird and bizarre friendships/found families.

The Original Planet of the Apes Franchise (1968-1973, Amazon Prime)

Honestly, I've only watched the 1968 movie a handful of times. I decided to watch all of the original franchise leading up to the release of Kingdom. They're all a lot of fun, with social/political commentaries at the time of each film. If you're a movie collector, or like behind-the-scenes/director's commentaries, I highly recommend buying the Blu Ray compilation pack.

2. Tim Burton's Planet of the Apes (2001, Disney+ or Amazon Prime)

I know, hear me out. Yes, it's over-hated, and yes, there was A LOT of potential for this movie. There were definitely too many "cooks in the kitchen" when drafting this movie. Imho, I think it's a guilty pleasure, popcorn movie. If you're a fan of makeup effects, Rick Baker (THE modern makeup effects master) does an absolutely phenomenal job with the designs of the apes in this movie (and check out his Instagram too). I do like the production and the ape costume designs for this film as well.

Tim Roth and Paul Giamatti are such a blast in this movie, too!

And the posters for this movie look so cool.

3. Planet of the Apes Reboot Trilogy (2011-2017, Amazon Prime)

I think this is what the 2001 movie should have been, and was trying to go for. While the three movies did make their money back at the box office, I have two theories why they almost went under everyone's radar (again, this is my opinion):

A. Because of the mixed reception from the 2001 movie.

B. Because of the abundance of comic book & remake movies coming out during the 2011-2017 years.

I put this trilogy right up with the Lord of the Rings and Star Wars. The storytelling is great, the special effects hold up well, and this reboot's version of Caesar has became one of my favorite main characters in modern film.

4. Mighty Joe Young (1998 remake, Disney+)

I don't know why this movie doesn't get talked about that much. Rick Baker, once again, does incredible work on the special effects for Joe. There's also a great musical score by James Horner. And Bill Paxton and Charlize Theron give amazing acting performances. And I think it's actually one of the better remakes that came out from the late 1990s.

In fact, the team that worked on the 1933 King Kong also made the 1949 film. Even Robert Armstrong (Carl Denham) came back for the '49 film. Ray Harryhausen worked under the supervision of Willis O'Brien for the special effects for the original movie. He also has a cameo appearance alongside Terry Moore (Jill Young) in a party scene.

Aaaaand I just found out the writers, Mark Rosenthal and Lawrence Konner, also did an uncredited rewrite for the 2001 POTA movie.

5. Tarzan (1999, Disney+)

Of course, who doesn't love Tarzan??? And Phil Collins's A.M.A.Z.I.N.G soundtrack???!!!

6. King Kong (1933, 2005, Amazon Prime/MAX)

Okay, technically it's a giant monster movie and the OG prior to Godzilla. And it also set the standard of film making overall. However, it is also a bit of a Beauty and the Beast story, hence the lines: "It was Beauty killed the Beast" and the "And the prophet said: And lo, the Beast looked upon the face of Beauty. And it stayed its hand from killing. And from that day forward, he was as one dead." I also recommend watching the extended cut of the 2005 remake.

7. Lilo & Stitch (2002, Disney+)

Again, who doesn't love Lilo and Stitch???

8. How to Train Your Dragon Trilogy (2010-2019, Amazon Prime/Peacock App)

Once again, who doesn’t love HTTYD (and why are they remaking it as a live action movie????)???

9. Gorillas in the Mist (1988, Amazon Prime)

This movie is about Dian Fossey (played by Sigourney Weaver), a primatologist who studied mountain gorillas and she was part of a trio of women who studied great apes; the amazing Jane Goodall and her study of chimpanzees, and Birute Galdikas who studies orangutans. The movie is also based on her book of the same name.

I use past tense for Dian, because she met a tragic and horrific death while she was conducting her research on gorillas. I have in-lined a link to Dian Fossey's Wikipedia article for further reading.

Rick Baker, once again, does some amazing practical creature effects work for the gorillas.

10. George of the Jungle (1997, Disney+)

One of my favorite Brendan Fraser movies, and such a fun, and a bit of a campy movie based on the cartoon series (which is also a spoof of Tarzan). I quote this movie every so often. Unfortunately, Rick Baker did not do the ape designs for this movie. The creature effects this time around was done by none other than the Jim Henson Creature Workshop!

[world-cinema-research]

The 400 Blows/Les Cuatre Cents Coups (1959)

By Cris Nyne

The directorial debut of pioneering French filmmaker, François Truffaut’s The 400 Blows, left a lasting imprint on the timeline of international cinema. To know Truffaut’s history before becoming director makes the film even more of a remarkable achievement. His life began as a troubled youth, engaging in petty crimes and was well on his way to a path of self-destruction. It was in his late teenage years when recognized film critic André Bazin would take Truffaut under his wing and give him a job as critic for the film magazine Cahiers du cinéma. During this time, Truffaut would become recognized as a brutal critic of French films. His infamy stretched to Festival de Cannes, where he would be denied accreditation in 1958. The following year in 1959, Truffaut would get his revenge by being crowned Best Director for The 400 Blows at Cannes. This all by the age of 27. Truffaut would continue to turn the film industry on its head and help pave the way for what today is known as French New Wave.

“If the New Wave marks the dividing point between classic and modern cinema (and many think it does), then Truffaut is likely the most beloved of modern directors -- the one whose films resonated with the deepest, richest love of moviemaking.” -Roger Ebert August 8, 1999

The 400 Blows is a semi-autobiographical tale that follows the young star Jean-Pierre Léaud as the mischievous Antoine Doinel. Antoine is humiliated by his teacher, skips school, steals, and smokes cigarettes while contemplating a better life A life away from his father’s failures and his mother’s affairs. Both parents find themselves exhausted of all options for their son (or the lack of attention they care to provide) and send him off to a school for troubled children. From the beginning of the film, his parents seem to have other priorities in filling the hole in their marriage, and Antoine is essentially a victim of having too much unsupervised time on his hands. By the end of the film, Antoine is contemplating his life outside of the observation center for delinquent youth. He makes a dash for it.

Source: Blu-ray.com

“The movie is full of actual incidents from Truffaut’s childhood, including his fabricating his mother’s death as an excuse for truancy. Few movies have been so personal.” -J.Hoberman, The New York Times September 21, 2022

The movie was well received by audiences and critics alike. He won Best Director at Cannes in 1959, as well as a nominee for the Palme d’Or, the highest prize awarded at Cannes. The French regional newspaper Nice-Matin claimed The 400 Blows to be “A Masterpiece”. The chemistry between Léaud and Truffaut was strong. They would go on to make three more feature films with Léaud revising his role as Antoine Doinel, Stolen Kisses (1968), Bed and Board (1970), and Love on the Run (1979). Currently, Rotten Tomatoes lists The 400 Blows with a rating of 94%.

Original Movie Release Poster

The film is in black and white and is shot in a very personal manner. There are lots of close-space encounters that make you feel as if you are squeezing into the room with them. The house that Antoine lives with his mother and father is very small. During one scene as Antoine is sleeping, his mother, Gilberte Doinel (played by Claire Maurier), comes home after a long night and cannot open the door all the way as it is stopped by the mattress that Antoine sleeps on. There are many fun street scenes shot from different angles- subterranean, street-level, and roof tops, that portray Antoine and his friends plotting and scheming around the streets of Paris. There are a few scenes that follow the main character along a stretch of blocks, and I found myself thinking about how smooth the camerawork was.

During its filming and release date, The 400 Blows took the idea of conventional filmmaking and shredded the blueprint. The director was only known as a stubborn critic and the main star of the film was completely unknown. The script was a unique story, one that, for the most part, Truffaut had lived and had made it through to tell the tale of a rebellious and delinquent child on a bad path. A child that by today’s standards would probably be diagnosed with an attention deficit disorder and prescribed medication. What was once an extremely unconventional approach to filmmaking has now become a standard in delivering a storyline. Truffaut’s confidence in leaping from critic to auteur has left a rippling effect that you can still see over 7 decades later.   

[hannahwatcheshorror]

THE RETURN OF THE LIVING DEAD (1985)

😿dog half un-dies (I guess?)

This is a wild follow up to NIGHT OF THE LIVING DEAD but is an extremely fun time and a great movie. Just don’t expect it to be like its predecessor. Special effects were a treat, use of the F-word felt very natural (who wouldn’t be saying it in their situation?), and the characters felt genuine and likable. You can see how it is inspired by the previous film and that influence only makes this one better. This movie is a romp and a half, I highly recommend it, (and as long as everyone is okay with a little female nudity) watch this with friends!

⭐⭐⭐⭐.5

Right off the bat, let me just say that I love how the whole premise of this movie is based around the US Army royally screwing up AND making faulty equipment. At first I wasn’t sure how they were going to make this punky and colorful sequel have anything to do with its black & white dramatic predecessor but they used it as non-fiction in universe movie lore (think like Grave Encounters only it doesn’t lead you to the place where you die, oh wait).

Freddy is our friend who now works at a medical supply place (the kind that sells real skeletons, cadavers, and half-dogs) with this guy Frank who wants to scare the new kid with these sPoOkY metal barrels the army left behind back in 1968 (though Frank claims 1969), he says they contain bodies from the actual events that inspired the movie NIGHT OF THE LIVING DEAD. They go down to investigate and to prove their strength Frank slaps a barrel like he’s a car salesman and the thing immediately starts to spew a thick yellow gas that knocks them both out. 

When they come to, the cadaver in the freezer is dancing a jig (and his little half-dog too) but here is where I have my first problem, the zombies are just so damn fast. For a reanimated stiff that was frozen, you’d think this first guy would be a little more… Stiff. But he runs out that door like a sprinter and doesn’t stop squiggling and squirming until they roast up his pieces in the crematorium. Not thinking about the smoke rising from the chimney (all thick and yellow) the team falsely assume the night is over. Rain pours the chemical smoke back down to earth and now the party really begins because Freddy’s punk friends are all rocking out in the graveyard (aptly named Resurrection) and suddenly this acid rain is gonna wake the dead.

Our girl, Trash, (that is her name, I’m not making fun of her), gets the death she always wanted, ripped apart by old men (the dream, really). The rest of the wildly named gang hightail it out of there and find themselves face to face with the original Barrel Boy. He is a goopy mess who not only knows how to use tools but understands the basics of leverage? This guy was really scary and freaky and wasn’t fast but he was persistent and I think that made him the worst of them all! He was also one of the Zoombobbies we watched just grab a character by the face and bite into their head which is a lot to process. Award for best/worst Z-Babe to the Gooey Basement Barrel Boy.

Speaking of dead people, Freddy and Frank just simply do not have vital signs anymore. They are talking and moving around but… Yikes, let’s get them some help. But oh, no! This sets off a domino effect of paramedics being called and eaten then cops being called then eaten. The wild thing is, it was the reanimated who kept calling for more help. That was very alarming to me. But it also confused me about what exactly these guys are. I joke around not always calling them “Zombies” but half of the time they seem like magical beings the way they have been decomposing in the ground for goodness knows how long but then were able to crawl out and now can sprint and have incredible strength? I don’t fully buy it (shenanigans). In NIGHT OF THE LIVING DEAD, the threat was in hoards and being overwhelmed, but in this film (much like 28 DAYS LATER) just one Zomb-o in your area and you’re basically already dead.

Finally when things came down to it they contacted the number on the barrels, they asked the army for help, they thought they could handle it on their own and just bury the problem but they couldn’t. Turns out the army had a contingency plan in case this sort of thing ever happened. They just NUKED LOUISVILLE, KENTUCKY. I understand WHY they did it, but there have to be some real ramifications from just casually launching a nuke. I don’t think the rest of the world would just sit quietly when the US bombs one of its own cities. Maybe it is just our political climate now (vs 1985 when this film came out) but I think it is wild that that was their solution and they just ended it there like US citizens weren’t rioting in the streets saying, “I had family there!” and that neighboring towns weren’t suffering radiation poisoning… WILD.

[inthretis]

Prescription: Murder is Columbo's Origin Story

A while back, I watched all of Columbo from start to finish, before going back and watching the two TV movies made before season 1. There are two of them, made in 1968 and 1971, before the show started with season 1 in 1971.

Prescription: Murder, produced and aired 3 years before the series, has a lot of TV show pilot quirks to it that make it feel like a prequel. This detective we see is not the Lieutenant Columbo we know by the show's start in season 1. Indeed Peter Falk looks too young for the role, not quite middle-aged. By 1971 though, he looks the part through the passage of time.

PM Columbo has a few differences from later Columbo: he’s not so bumbling, he doesn’t wear the raincoat all the time, he’s much less unkempt, and most importantly, he’s harsher.

He tries to browbeat, harass, yell, and get a confession from the accomplice, a young woman, to the point where she almost cries.

This is far from the Columbo of old. Early on in the story, the DA says that a case like this would be great for his career. This might be a version of Columbo newer to being a lieutenant, one not yet accustomed to duking it out with intelligent murderers.

He immediately suspects the murderer, but can’t find any clues. For the longest time, it really does seem like the murderer has the upper hand, and based on what we know later on, the murderer did have the upper hand, unlike later episodes where Columbo pretends to be defeated to lull his suspects into a sense of false security. The murderer, a psychologist, psychoanalyzes Columbo, giving us the viewer a complete rundown and summary of who Columbo is as a character.

Columbo decides that the only way was to attack the weak link, the accomplice. This doesn’t work out. He is only able to get a confession out of her after he proves to her that the man she loves doesn’t love her, and was planning to have her murdered. So Columbo here must realize that it is much better and easier to convince people to confess, rather than force and attack them into doing so.

ACAB, including Columbo, until after his first case where he got character development. (Although he still shows signs of this bastardry, though he reserves it for the murderers).

This also explains why in the second TV movie, Ransom for a Dead Man, the very second Falk Columbo appearance, has him being a police liaison for kidnapping, three years after the first movie with seemingly no cases in between. Columbo really did burn through his political capital, and being early on, he doesn’t have the sheer amount of goodwill he had with his police department like we see in Blueprint for Murder and Columbo Cries Wolf, so after the Prescription Murder case, he was reassigned to kidnapping, likely due to influence from the DA who was friends with the murderer in PM.

Then he solves another murder in Ransom For a Dead Man, proving it wasn’t a fluke, the rest of the series goes on from there. By the end of the first season, he’s able to spend millions in taxpayer dollars to dig up a concrete foundation just to catch a criminal.

While yes, Columbo is from New York, and then became a cop in LA, it was this specific case that turned Columbo from a normal police lieutenant into the legendary detective he is.