#Lionel Atwell

[driveintheaterofthemind]

The Gorilla (1939)

20th Century Fox

[thewarmestplacetohide]

Dread by the Decade: Mystery of the Wax Museum

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★★

Plot: Just before a wax museum opens, corpses begin disappearing from the local morgue.

Review: Snappy dialogue and striking visuals aren't enough to pull together a film that can't decide if it's a comedic noire or tense horror.

Source Material: "The Wax Works" by Charles S. Belden Year: 1933 Genre: Psychological Horror, Mystery Country: United States Language: English Runtime: 1 hour 17 minutes

Director: Michael Curtiz Writers: Don Mullally, Carl Erickson Cinematographer: Ray Rennahan Editor: George Amy Composer: Cliff Hess Cast: Glenda Farrell, Lionel Atwill, Fay Wray, Frank McHugh

-----

Story: 1.5/5 - You can guess the twist without even watching it and its disturbing central concept is only superficially explored. Too much time is spent on dialogue that is not as clever as it wants to be.

Performances: 2.5/5 - Atwell is an unmemorable bad guy, Wray is a generic damsel, and Farrell is sometimes trying too hard to be brash.

Cinematography: 4/5 - Great use of technicolor and fluid camera movements.

Editing: 2.5/5 - Overly abrupt cuts.

Effects: 4/5 - Wonderful use of pyrotechnics and some fun mad scientist tools.

Sets: 4/5 - The wax museums (there are actually two) are the highlights, though they're underutilized.

Costumes, Hair, & Make-Up: 2/5 - The burn prosthetics are a bit weak, even for the time.

Trigger Warnings:

Mild violence

Mild body horror

Ableist depiction of a deaf character

Misogyny (uncritical)

Brief racism (uncritical)

[screamscenepodcast]

HAPPY HALLOWE’EN 2018: THE TOP TEN

Another year gone by, Creatures of the Night! So much has changed! But it’s All Hallow’s Eve, and we know that means you’re still looking for the best in spooky movies to chill your bones and entertain your live-in ghosts! And so it is that we are pleased to bring you what our infallible reasoning has determined to be the top ten best horror movies covered so far on the show (1895-1941)! Here’s the write-up: what their deal is, pros and cons, and where to find them! We hope it helps your evening’s entertainment! PS. Keep your eyes peeled: not only is our eighty-third episode going up today, but there’s new music and fiction over on our Patreon!

#10 - Dracula (1931)

While the first true horror film to be made in the United States may seem a bit sedate to viewers used to later renditions of its story, Tod Browning’s classic adaptation still manages to chill with its atmospheric visuals courtesy of cinematographer Karl Freund and set designer Charles Hall. But it’s strongest asset is its cast, with unforgettably evocative performances from Bela Lugosi, Dwight Frye, and Edward van Sloan. If you get the version with music by Phillip Glass, it only enhances the magnetic pull this film can have over you - if you let it. Rental options at $3.99 are the Cineplex and PlayStation video stores, and in HD for $4.99 on iTunes. 1h 25min.

#9 - Bride of Frankenstein (1935)

Taking some incidents and ideas from the original novel left out of the first film, and combining them with a unique mix of goth, camp, queer, and horror ideas and themes, James Whale’s sequel to the original 1931 Frankenstein stands as an over-the-top bombastic testament to the horror of being forced to be “normal”. With wonderful performances from Colin Clive, Ernest Thesiger, Boris Karloff, and Elsa Lanchester, the only flaw is perhaps that the titular Bride just isn’t in the movie enough. Rent it for $3.99 on the Cineplex video store, for $4.99 on YouTube and Google Play, and in HD for $4.99 on iTunes. 1h 15min.

#8 - Frankenstein (1931)

The second of Universal Studios’ one-two punch of 1931, James Whale’s classic film manages to outdo Dracula primarily in pathos and theme. While the earlier film was content to merely thrill its audience, the tragedy of Colin Clive’s Dr Frankenstein and his creation looks at the cycle of abuse and confronts viewers with the way society treats its outsiders and outcasts and asks them to question their biases. Boris Karloff’s iconic performance as the Monster echoes through the ages. Available for rent at $3.99 on the PlayStation video store, and in HD for $4.99 on iTunes. 1h 11min.

#7 - Son of Frankenstein (1939)

We might be in the minority for thinking this, but for our money the third Universal Frankenstein movie is the best of the bunch. Set in a suddenly absurdly Expressionist Castle Frankenstein, Basil Rathbone descends into a quivering neurotic madness as the son of the legendary doctor, Lionel Atwell is unforgettable as the one-armed Inspector Kemp, while Bela Lugosi gives perhaps a career best performance as the not-quite-dead hunchback Ygor. It’s the movie that brought horror back from the abyss, and is way more gruesome than its predecessors, especially as it drops the campy tone. Library members who subscribe to Hoopla can stream the film, and it’s available to rent for $3.99 on the PlayStation video store and in HD for $4.99 on iTunes. 1h39min.

#6 - The Invisible Man (1933)

Mark Hamill said it himself - his much acclaimed interpretation of the Joker comes from Claude Rains’ performance as the tragically insane Griffin in this adaptation of the HG Wells novel. The movie shows off James Whale’s great skill at mixing humour and horror, even if some of the British-isms get a bit broad at times, but the true power of The Invisible Man is how it’s gotten more relevant with time - in 2018, the idea that anonymity might lead to immorality is no longer a hypothetical notion. Find it on the PlayStation video store to rent for $3.99, and on iTunes in HD for $4.99. 1h11min.

#5 - The Black Cat (1934)

What do you even say about a movie like Edgar G. Ulmer’s The Black Cat? A metaphor for Austrian/Hungarian relations after World War I, a dip into the world of Satanic cults, a revenge story with elements as unsavoury as Oldboy, and a chance to see Karloff and Lugosi really go at it as adversaries on roughly equal footing at a time when both men’s careers were on about the same level. This movie will draw you in with its gorgeous cinematography, hypnotic editing, and modernist set design, that by the time it’s over, you’ll hardly notice that the story seems to have quite a few holes in it... This underappreciated classic is waiting for you on Google Play and YouTube in HD for $4.99. 1h5min.

#4 - Island of Lost Souls (1932)

Watching this movie is like willingly stepping into a nightmare. The HG Wells’ novel might have somehow wanted to portray Dr Moreau “sympathetically” (fucking Victorians) but this adaptation understands he’s an utter monster and Charles Laughton delivers a bravura performance that underscores the character’s pure insanity. Combine this with the film’s dark and gritty look, the subtle make-up design of the hybrids (including a heavily obscured Bela Lugosi), and the unforgettable chant of The Law, and you have a film that will burn itself into your memory. Unfortunately, Island of Lost Souls has no current streaming options available, but you can find it on Blu-Ray from the Criterion Collection. 1h11min.

#3 - Körkarlen (1921)

The Phantom Carriage is perhaps the… least “fun” entry here in the top ten. Victor Sjöström’s haunting exploration of the horrors of alcoholism, domestic abuse, poverty, and tuberculosis is a critique of Christian naivete while simultaneously an encouragement of spiritual moral values. It has the tone and pace of a dirge, as it seeks to imprint its message on your very soul. All wrapped up in a chilling story of New Year’s Eve and the spectre of Death! This public domain film can be found on The Scream Scene Playlist on YouTube for free. 1h 47min.

#2 - The Old Dark House (1932)

James Whale’s definitive take on the traditional mystery thriller formula is a movie that will have you laughing right until the moment it has you screaming. In some ways, it’s a movie of clichés, with the protagonists seeking shelter in an old mansion during a rainstorm in the night and having to deal with the reclusive family they find within. But the dark, brooding cinematography, and truly shocking twists that rivet up the intensity over the running time, all contribute to make this a harrowing watch. It’s one part Rocky Horror Picture Show, one part The Addams Family, and one part The Texas Chainsaw Massacre. I’m not kidding. The Old Dark House is currently streaming on Shudder. 1h12min.

#1 - Dr. Jekyll and Mr. Hyde (1931)

Early on in the first Hollywood horror craze, Paramount Pictures managed to outdo their main competitor Universal with this masterpiece from director Rouben Mamoulian. With a use of sound, visuals, effects, script, and performance far beyond what most films were doing at the time, this adaptation reigns supreme among other versions of the same story. Fredric March utterly inhabits the dual title role, but it’s Miriam Hopkins’ performance that will stick with you in this superb examination of domestic abuse, alcoholism, and the beast that dwells within us. Currently for rent on YouTube, Google Play, and the PlayStation video store for $4.99. 1h 38min. Hope you find something in our top ten that tingles your spine, and until next year – Happy Hallowe’en!

[mjv18]

Star Wars Crossfire Fan Cast

The following is a fan cast for a Star Wars story I’ve been writing, set in the age of the Old Republic. It’s in an AU from canon or legends so there will be a few changes to fit the story. 

The story is set around 4000 BBY, and the Mandalorian Wars are raging. The Sith Empire, Republic, and Neo-Mandalorian Crusaders are in a 3-way struggle for galactic dominance. Revan is in service to the Sith, though looking for an opportunity to overthrow the Sith Emperor. 

The main characters include a family of Jedi: Kade Sarko, his sister Camilla, his mother Cadence and his father Lionel. While the rest of his family tough it out fighting the Sith, Kade takes on a crusade of his own - uprooting the crime families running riot on Coruscant. 

To do this, he creates a crime-fighting human replica droid named SWIFT, with whom he becomes partners. Unfortunately, he inadvertently opens the door for 2 Sith agents serving undercover in the Republic Senate - Darth Crassus and Darth Dominus - to start a chaotic diversion. By hacking into SWIFT, the Sith start a droid revolution and open up the opportunity to crack the Republic open at the heart...

Here are my selections:

Tyler Posey as Kade Sarko

Camila Mendes as Valencia Cora, Kade’s Pilot

Isabela Moner as Commander Camilla Sarko, Jedi Knight

Alexander Skarsgard as 5W-1FT ‘Agent SWIFT’, Kade’s Detective Droid

Josh Dallas as Jedi Fleet Commander Lionel Sarko

Kelly Overton as Republic General Cadence Sarko

Keanu Reeves as Lord Revan, Sith Champion

Clint Eastwood as the Sith Emperor, A Sith Pureblood 

Jonathan Scarfe as Governor Kast/Darth Crassus, the Lord of Sacrifice

Jamie Foxx as Orre Mantic/Darth Dominus, the Lord of Torment 

Mackenzie Foy as Jacintha Shan, Daughter of Revan

Hayley Atwell as Jedi General Bastila Shan, Jedi Grand Master

Mahershala Ali as Jedi General Jolee Bindo

Simona Brown as Jedi Commander Astrid Bindo, Jolee’s Adopted Daughter

Michael B. Jordan as Tuck Dardanos, Valencia’s Boyfriend

Morgan Freeman as Ezekiel Dardanos, 

Parker Sawyers as Riot Evander, Republic Commando Vet

Kiernan Shipka as Republic Agent Zaylee Pinca (Twi’lek)

Brandon P Bell as Lieutenant Elias Cronin, Jedi Knight

Janelle Monae as Captain Khadija Matsuda (Zygerrian)

Eka Darville as Lieutenant Commander Maverick Matsuda (Zygerrian)

Phylicia Rashad as Supreme Chancellor Kimora Kento (Togruta)

Tilda Swinton as Grand Vizier Ember Veda (Umbaran)

Trevante Rhodes as Jett Forge, Kento’s Bodyguard (Nautolan)

[dinoandrade]

It’s Sunday and today’s Classic for Connor is “Son of Frankenstein” from 1939 directed by Rowland Lee. This is the 3rd Universal “Frankenstein” flick and the last to star Boris Karloff as The Monster. The film also features little Donnie Dunagan as young Peter Frankenstein. Three years later little Donnie would become famous as the voice of young “Bambi” for Disney. Also starring are Basil Rathbone as the son of Doctor Frankenstein, Bela Lugosi as Ygor, and Lionel Atwell as the one-armed Inspector Krogh - a character which is now impossible to take entirely seriously thanks to the genius of Kenneth Mars’ Inspector Kemp in the Mel Brooks masterpiece “Young Frankenstein”. And if you think I can’t wait for Connor to be old enough to see THAT film... well, you’d be right. https://www.instagram.com/p/BsTzxoHDLoR/?utm_source=ig_tumblr_share&igshid=1y6k0b6pckai

[sharonisthebettercarter]

i liked kristin kreuk as lana. as an actress, she's not a psychopath who puts other people or characters down to elevate herself which is always appreciated, but dear gawd, the way lana was as a character had to be intentionally written as the absolute WORST thing for clark because sometimes her tormenting him or actions ranged as bad as fucking LIONEL, just with a pretty face~ so all was forgiven...

she made the boi. so. fucking. INSECURE. he started to HATE *what* he was BECAUSE she had such a huge problem with it. clark kent wanting to become or be human, just to be with someone who refuses to accept him no less, is called self-fucking-RACISM. and seeing that nonsense made out to be 'normal teen insecurities' drove me up the fucking wall.

ESPECIALLY. given that he didn't owe her shit. he didn't *owe* her HIS secret, it was his damn secret, and how obsessive she was made her worse than lex half the fucking time for fuck's sake

with peggy, it was one specific scene... and also every bit of bullshit her psychopath of an actress spewed in peggy's name. i almost feel bad for the character, because while sure, that scene where she shoots at steve for kissing another woman--WHEN THEY'RE NOT FUCKING TOGETHER--aged HORRIBLY and is EXTREMELY ABUSIVE, it *was* for the most part, that one scene... maybe a few other less alarming stints where she keeps trying to tell steve what to do or 'mother' him that could be brushed off with fair context, at least until of course atwell ran her mouth and turned peggy into an all out narcissistic abuser, like herself

and apparently a slaver too, who 'owns' steve, i shit you not, her words not mine. still being paraded like a 'normal' thing

the absurdity. of what hayley turned peggy into makes lana look like a damn near saint, but i suppose to be fair, i already like her better just on principle because her actress isn't a fucking PSYCHOPATH

anywho~

in contrast, and i'm still convinced it was absolutely intentional, when you look at lois' actions in smallville, nearly everything lana does, and i mean *everything*, in regards to clark and his secret, *lois does the opposite*

to the point where after we've seen him repeatedly broken down and hating himself for being fucking kryptonian (something he could never control or change), we see him take on a little bit of peacock pride, and settle into a comfort and acceptance of himself that just wasn't there with lana (even when she knew)

lois also never once demands she be told, she finds out on *accident* through a kiss~, NOT through *trickery*, and *waits* until clark is *ready* to tell her himself while she is quietly so proud and enthusiastic of everything he does

even before she knows, she is basically his cheerleader through and through, and loves him for WHO he is, regardless of *what* he is

and that difference was so goddamn refreshing, apart from seeing an actual *healthy* take on a relationship in media, expecially after the toxic mess with lana

with sharon? she's a lot more subtle but still brilliantly written for what little they gave her to work with

she is the reason they are able to save nick fury's life (calling meds the second she sees him down, exposing her cover to steve)

she is the FIRST person to question pierce's motives regarding hunting captain america, and remains suspicious, even listening and making sure to help against rumlow when push comes to shove and steve finally makes his reappearance

when we first see her and steve interacting, she very gently rejects him because of her mission, thereby preventing starting something through disingenuous means, but still makes it clear that she IS interested when she tells him 'hopefully not too far'

she doesn't bread crumb or hide her affection, but is professional and competent, and that's just with glimpses in the first movie

in the second one?

HOOO BOI!

she helps him *save bucky's life*, something that was not only meant to be a nod to her aunt's actions, but an obvious indicator to where her motivations come from, even as she gives that speech inspired by the principles steve himself holds, and that ain't even the half of it

first she gives steve the information, then she makes sure he is informed when bucky is in custody, tries to stop bucky without lethal force when he is brainwashed again, and THEN makes sure to return the equipment so steve has a fighting chance.

she does ALL of this, for a man she owes *nothing*, because she believes in what he stands for and who he is

and then HE kisses her. Steve, makes an active choice to move forward with a woman he's come to very much like and admire because he *doesn't want to miss his chance again*

and of course, it's awkward and ill timed with his friends looking on with absolute dickish smiles~ and snarky remarks that show how comfortable they've become around each other<3

but even with what little was there, it's fucking beautifully presented, and shows a MASSIVE difference as opposed to someone having him 'retire' in his 30s no less... and stop being himself. for their own selfish whims no less.

'the little guy, too dumb not to run away from a fight'

'if i see a situation pointed south, i can't ignore it'

yeah, sharon, did all that, just in the movies. people like to discredit and ignore it all, but she actually helped steve be *steve* after knowing who he was and what he was capable of, she never gambled with his life or put herself before thousands of other lives, which is more than can be said about that other carter... what was her name again?

eh, probably not important anyway~

oof, i remember, there's also the fact that peggy + steve = bucky getting tortured and captured by hydra, apparently, while steve + sharon = bucky getting freed from hydra, that is kinda weird how that worked out...

i mean, you'd think he'd actually give a shit about the guy steve pretty much spent all 3 of his movies trying to save, but hey. what is obvious character regression and assassination for ya~<3

poor boo bear...

disney's fucking gross, confirming hydra trash party just for atwell and rewarding her bullying. smallville did it right.

[manualstogo]

For just $3.99 Alias Mary Smith Released on July 15, 1932: A girl tries to clear her brother's name for a crime he didn't commit, but she gets framed for murder just like her brother was, and may be headed for the electric chair, just like her brother. Directed by: E. Mason Hopper Written by: Edward T. Lowe Jr The Actors: Blanche Mehaffey Joan Wentworth, aka Mary Smith, John Darrow Robert 'Buddy' Hayes, Gwen Lee Blossom, Raymond Hatton Scoop, Alec B. Francis attorney, Jack Grey Detective Dan Kearney, Ben Hall Oswald, newspaper photographer, Henry B. Walthall Atwell, Myrtle Stedman Mrs. Ruth Hayes, Edmund Breese Mr. Hayes, Matthew Betz Snowy Hoagland, Harry Strang Detective Bosco Yaeger, Lionel Backus hood, Jack Cheatham cop, George Chesebro Mac Runtime: 1h 1min *** This item will be supplied on a quality disc and will be sent in a sleeve that is designed for posting CD's DVDs *** This item will be sent by 1st class post for quick delivery. Should you not receive your item within 12 working days of making payment, please contact us as it is unusual for any item to take this long to be delivered. Note: All my products are either my own work, licensed to me directly or supplied to me under a GPL/GNU License. No Trademarks, copyrights or rules have been violated by this item. This product complies withs rules on compilations, international media and downloadable media. All items are supplied on CD or DVD.

[the1920sinpictures]

Kittyinva: 1921 Rotogravure “Prominent Actors of the Current Theatrical Season”. There’s Constance and Joan Bennett’s dad, John Bennett. John Drew, uncle of the Barrymores including Lionel, shown here too. The famous William Gillette, the most famous Sherlock Holmes on the stage and Ernest Truex, an old Broadway star. Joseph Schildkraut will go on to star in movies as will Lionel Atwell and George Arliss.

[vileart]

We Need to talk About Dramaturgy (Off Eastenders): George Attwell Gerhards @ Edfringe 2017

We Need to Talk About Bobby (off EastEnders) will be performing at the Edinburgh Fringe from the 14th-28th of August at 12:40pm daily at ZOO Southside (Venue 82).

Annie's thirteen and she wets the bed. After landing a huge role in a late-night television drama, she's left alone in an adult world, struggling to make sense of the things she is told to say on camera. Soon, Annie's comfortable childhood begins to fall apart. Charting the decline of a young TV actress, this daring new play explores society's uneasy fascination with child violence.

What was the inspiration for this performance?

The show started as a response to the EastEnders advert in which Bobby Beale is about to kill his mum; there’s a threatening shot of him coming towards her with a hockey stick and the audience is meant to be hooked in by the question of whether he will kill again.

We felt this was one of numerous examples of violent children being used to titillate audiences without exploring the actual experience of that child and why he had come to be so violent.

Our play isn’t about EastEnders and you certainly don’t need to know the show to enjoy it, but it situates itself a response to a genre of plays, films, songs and shows which focus on violent or psychopathic children.

Bobby responds to, amongst many others, EastEnders, Lionel Shriver’s We Need to Talk About Kevin, “Punk Rock” by Simon Stephens, “I Don’t Like Mondays” by The Boomtown Rats and even the most recent episode of Sherlock.

Is performance still a good space for the public discussion of ideas? 

I believe so, yes. Quite often we talk about the first moments of performance as people telling stories around a camp fire. Those stories were told to entertain people, to foster relationships and to teach each other about different lived experiences, how to handle threats, how to love etc.

I think going to the theatre still presents a space to do that and the live nature of performance, especially at the Fringe where audiences are particularly interactive and talk to each other more easily; making it the perfect space to stage shows which open up a conversation. We hope Bobby will be entertaining and captivating but what we want at the end is for people to be excited about what the show made them think about, not how we staged it.

How did you become interested in making performance?

The core Paperback team met whilst studying at the University of Warwick. We had all been interested in theatre and acting at school but it was at university where we became interested in making work. 

We have been heavily inspired by the swathes of emerging companies coming out of Warwick. The enthusiasm for and discipline of making new work that is fostered at the university has been a huge part of leading us to making the work we do now.

Is there any particular approach to the making of the show?

The process was fairly simple; once we had identified the themes we wanted to talk about the writer, George Atwell Gerhards, went away and wrote up a script. We felt that the best way to examine the topics we were looking at would be to tell one girl’s story in a simple way. This way we aren’t claiming the show to be representative of every child actor or every young girl. Also, we felt this was the best way to allow the audience to find their individual responses to the show rather than being told what to think.

Once the play was written myself (the director) and the writer  I spent a lot of time with the writer (who is co-director of Paperback) talking about how to structure the play, what we needed to show the audience, what we didn’t etc. We stuck the scene titles to our living room wall and spent a lot of time staring at them, moving them around and trying to cut out the unnecessary bits… like literary butchers trying to get something lean.

He’s also been popping in and out of rehearsals to see how we’re getting on. He’s a fantastic person to work with in that he’s not precious about the show and open to suggestions from the cast, which has helped them to get a real ownership of the text and their characters.

Does the show fit with your usual productions?

Paperback are based in adaptation but we try to create shows which respond to a group of texts, films or stories rather than adapting one novel. We want our work to ask questions about the stories we choose to remember and the stories we make now. We are not tied to a particular genre or style of theatre; seeking always to choose and fuse the styles which most successfully serve the stories we want to tell and the audiences those pieces are directed at.

Our last production relied much more on the devising process in order to create the content of the show. Our next show - which will look at the prevalence of the “taming narrative” in modern rom-coms in order to explore the relationship between feminism, femininity and what it means to be vulnerable - will probably have a very different format which includes much more “live theatre” elements.

What do you hope that the audience will experience?

Bobby, a three-hander, explores the experience of a child actor (Annie) who is cast in an adult TV drama. In our staging, we try to help the audience see the play through Annie’s eyes - to help them experience her confusion and isolation.

What I think the play does that I haven’t seen many other shows do is to explore our societal relationship with teenagers. We’re trying to open-up a dialogue about the best ways to protect, educate and safeguard young people, to talk about the fact that half of them are watching Game of Thrones and understand what implications that has. We hope that by the end the audience will be asking questions about how they talk to teenagers.

What strategies did you consider towards shaping this audience experience?

We thought a lot about casting, about sound, and about how the design of the show could replicate the disorientating world of a T.V. set.

It was very important to us that the play showed the audience the world through Annie’s eyes. For that reason all the other characters are played by just two actors who switch between parts - we felt this helped to stage Annie’s disorientation and how it is difficult to understand, distinguish and trust adults when you are young.

In our sound design we also make use of the sound of TV static which is played at different intensities to reflect when Annie is feeling stressed, upset or disorientated. This came from us talking about how it felt to be a teenager, especially when experiencing the hormonal maelstrom that is puberty and reflecting on the fact that quite often it felt like your brain was straining with the stress of it all.

We Need to Talk About Bobby (off EastEnders), the debut play from George Attwell Gerhards, is a response to the depictions of “crazy child killers” in We Need to Talk About Kevin, Punk Rock - even the most recent series of Sherlock.

Produced by Paperback with the generous support of the Lord Rootes Memorial Fund, and the University of Warwick Vice Chancellor’s Fund.

Paperback are a West Midlands based theatre company formed in 2016 at the University of Warwick. They use a vigorous process of devising, writing and discussion, to ask questions about the stories we choose to remember and the stories we make now.

from the vileblog http://ift.tt/2vuOZhh

[pcapopcultureaddict-blog]

Movies in my DVD Collection #555 - The Vampire Bat (1933)

"These are the TALONS of The Vampire Bat"