#Louis Friedlander

[thewarmestplacetohide]

"Your monstrous ugliness breeds monstrous hatred. Good! I can use your hate." The Raven (1935) dir. Louis Friedlander My Ko-fi

[schlock-luster-video]

On April 22, 2009, The Raven was released on DVD in France.

Here's some new Bela Lugosi art!

[thebutcher-5]

The Raven (1935)

Benvenuti o bentornati sul nostro blog. Nello scorso articolo abbiamo deciso di fare un’altra maratona, oltre quella dei classici Diseny, e abbiamo iniziato a parlare della Pixar, partendo ovviamente con il suo primo lungometraggio animato, Toy Story. La storia inizia con Andy, un bambino che si diverte a creare storie e a giocare con i suoi amati giocattoli. Quello che non sa è che quando lui…

[illustratus]

1807, Friedland by Jean-Louis-Ernest Meissonier

[pandoramsbox]

Chronological Horror Watch Rankings from 2023

Life continues to be busy, and Sci-Fi Saturdays are basically on hold until I have the time and mental bandwidth to engage in unpaid cinema musing. (Especially because I want to write stuff that's actually thoughtful and interesting.)

However, if you follow me on Twitter or BlueSky, then you know I have been commenting on the horror films I have been watching to mark Spooky Season.

I watch and read about horror all year long, but Halloween is an excuse to mainline them. Last year I sk/tweeted my way through a chronological watch of Pre-Code/1930s horror cinema.

Here's how I ranked the 25 films I watched, from worst to best, with my sk/tweet commentary:

25. Murders in the Zoo (Dir. A. Edward Sutherland, 1933): The premise is good, but the film is either a delight or dud, depending on how funny you find Charles Ruggles' character, and how much you know about eating patterns of large reptiles.

24. Thirteen Women (Dir. George Archainbaud, 1932): I want to like this Bechdel Test passing tale of a mixed-race woman killing off the white women who bullied her as a child, but the yellow face, Orientalism and racism present disgusts me too much.

23. Murders in the Rue Morgue (Dir. Robert Florey, 1932): Bela Lugosi's screen presence and Karl Freund's cinematography keep this Edgar Allen Poe adaptation from true mediocrity. For a better 1930s movie with a killer ape watch "King Kong."

22. Svengali (Dir. Archie Mayo, 1931): Is this truly a horror movie? Film scholar William K. Everson thought so. Svengali is a hypnotic, abuser of young women, like Dracula. The actual horror is that manipulative abusers are so prevalent in real life.

21. Werewolf of London (Dir. Stuart Walker, 1935): Werewolf of London plays like a variant on The Invisible Man minus James Whale's artistry. The seed of a good concept is in this film, however, and would eventually inspire better werewolf films.

20. The Invisible Ray (Dir. Lambert Hillyer, 1936): Boris Karloff's antisocial scientist pursues Radium "X" research to the point of self destruction, but makes the mess he made of his reputation and relationships everyone else's problem.

19. Dracula's Daughter (Dir. Lambert Hillyer, 1936): For happening moments after Dracula ends, it's odd that the Sewards are never mentioned in Dracula's Daughter. At least Countess Zakeska being outright bisexual diverts from this plothole.

18. Dracula (Dir. Tod Browning, 1931): Is it a good adaptation of the source novel? Not really. Did Tod Browning really leave most of the direction to cinematographer Karl Freund? Probably. Is Bela Lugosi nevertheless charismatic and iconic as Dracula? YES!

17. Freaks (Dir. Tod Browning, 1932): Given how some of the performers were exploited, I feel a bit guilty for how much I enjoy Freaks. I love stories of outsiders creating found family (as well as revenge narratives), so I keep coming back to this unique film.

16. Drácula (Dir. George Medford, 1931): A Spanish language version of Dracula exists because reshooting the main scenes in a different language was easier than dubbing or subtitling films in 1930. The resulting film is overall better than Tod Browning's.

15. White Zombie (Dir. Victor Halperin, 1932): Part of the "Bela Lugosi Has Weird Makeup" and "A Woman Being Hypnotized is A Man's Problem Actually" Pre-Code subgenres. Of greater note, this film says a lot more about colonialism than probably intended.

14. The Black Cat (Dir. Edgar G. Ulmer, 1934): The Black Cat is a film where aesthetics and shock value are the attraction over story. Bela Lugosi gets to be handsome, Boris Karloff gets to be stylishly sinister, and the two pair well together.

13. The Raven (Dir. Louis Friedlander, 1935): Bela Lugosi's Edgar Allen Poe obsessed neurosurgeon seems to be taking revenge on Boris Karloff for his character's sins against Lugosi's in The Black Cat. Granted, his character is also a sadist.

12. The Most Dangerous Game (Dir. Irving Pichel and Earnest B. Schoedsack, 1932): Shot on many of the same sets as King Kong (1933) and featuring 2 of its stars, The Most Dangerous Game looks like an adventure story and plays out as suspenseful horror.

11. Island of Lost Souls (Dir. Erle C. Kenton, 1932): The compulsion to include love interests in adaptations of literary sci-fi/horror like Island of Lost Souls, adds interesting dimension to their themes, even as they remain narratives centering men.

10. The Mummy (Dir. Karl Freund, 1932) The plot is mostly a rehash of Dracula (1931), but its heroine has more agency. Jack Pierce's makeup and Boris Karloff's performance are equal to, if not better than, their work in Frankenstein.

9. Doctor X (Dir. Michael Curtiz, 1932): Shot in expressive two-color Technicolor and featuring pre-Code scream queen Fay Wray, Doctor X packs an amazing amount of horror, sci-fi, comedy, and mystery elements into 76 minutes.

8. The Bride of Frankenstein (Dir. James Whale, 1935): Despite being made after the Production Code went into effect, the body count is higher in this film than Frankenstein. The Bride herself, meanwhile, only appears on screen for less than 5 minutes.

7. Mystery of the Wax Museum (Dir. Michael Curtiz, 1933): Michael Curtiz, Lionel Atwill, Fay Wray and Technicolor teamed up a second time for Mystery of the Wax Museum. But it's fast talking, reporter Glenda Farrell who keeps the plot moving and together.

6. Mad Love (Dir. Karl Freund, 1935): Maybe it's the presence of fellow expatriate Karl Freund behind the camera, but Peter Lorre's performance in Mad Love is nuanced, captivating, and one of his best. The film is otherwise middle of the road for the era.

5. The Old Dark House (Dir. James Whale, 1932): Need a Gothic meditation on the Lost Generation but with black humor and queerness? James Whale is your director! The film is a fairly accurate adaptation of its source novel, Benighted by J.B. Priestley, too.

4. The Invisible Man (Dir. James Whale, 1933): James Whale's horror films, including The Invisible Man, have more character than their contemporaries. Claude Rains' manic, darkly comic performance is as strong as the visual effects.

3. Dr. Jekyll and Mr. Hyde (Dir. Rouben Mamoulian, 1931): Karl Struss' dynamic, creative cinematography makes this adaptation of the oft filmed Robert Louis Stevenson novella stand out. Unfortunately, Hyde's abuse of Ivy is trigger warning warranting disturbing.

2. Vampyr (Dir. Carl Th. Dreyer, 1932, France/Germany) It's not a Hollywood film, so Vampyr probably shouldn't be on this list, but this trippy, technically sound but aesthetically silent, art film fits the timeline, so I used that as an excuse to watch it.

1. Frankenstein (Dir. James Whale, 1931): Like Dracula, Frankenstein is a loose adaptation of its source novel, but has defined the iconography of its central monster. It's also a damn great film, period. Its influence on horror and sci-fi is justified.

[tootern2345]

Fleischer Studios staff from 1930-1931

Vet Anderson, Andy Engman, and Ed Rehberg were formerly Fables/Van Beuren men who later moved to the west coast

Grim Natwick, James “Shamus” Culhane, Bernie Wolf, Al Eugster, & Art Turkisher all ended up going to Ub Iwerks before the other four men moved to other studios (mainly Disney)

William Henning was the inbetweening supervisor before Edith Vernick replaced him

Sam Stimson worked for Bill Nolan’s studio in New Jersey during the silent ages

Al Windley was a Harrison-Gould camera operator

Nick Tafuri, Bill Turner, Joe Stultz, Seymour Kneitel, Isadore Sparber, and Myron Waldman became Famous Studios regulars (with Seymour and Izzy also being supervisors for the studio as well)

H. Ritterband and Louis McCormick were camera operators who later moved to famous studios

Charles Schettler. Vera Coleman, Ruth Fleischer, and Edith Vernick were Inkwell studio veterans

Frank Paiker would later do camerawork for Hanna Barbera

Ted Sears later became a driving force in Disney’s story department

Sadie Friedlander later married and became Sadie Bodin, she got fired from Van Beuren during the time Burt Gillett reigned on the studio

George Cannata and Reuben Timmins (R. Timinsky here) worked in different studios Coast to Coast

Nelly Sanborn was the head of the timing department and later move on to famous studios somewhere into the ink & paint department under the name of Nelly Sanborn-Greene

Ben Shenkman would later become a prolific caricaturist/character designer for cartoons as well as assistant animator & animator

Harvey Eisenberg, Saul Kessler, & Al Geiss later became associated with TerryToons before moving to other studios (Eisenberg becoming a prominent layout artist/character designer for MGM’s Tom & Jerry and Al Geiss was involved with the Screen Gems Studio during the 40’s)

Milt Platkin would change his name to Kin Platt and become a noted story artist/scriptwriter. He’s noted for writing almost all of the Top Cat episodes for Hanna-Barbera

and Mae Schwartz was Dave Fleischer’s secretary

[ulkaralakbarova]

An aging thief hopes to retire and live off his ill-gotten wealth when a young kid convinces him into doing one last heist. Credits: TheMovieDb. Film Cast: Nick Wells: Robert De Niro Jack Teller: Edward Norton Max: Marlon Brando Diane: Angela Bassett Burt: Gary Farmer Steven: Jamie Harrold Danny: Paul Soles Jean-Claude: Martin Drainville Laurent: Serge Houde André: Jean-René Ouellet Albert: Claude Despins Sapperstein: Richard Waugh Sapperstein’s Cousin: Mark Camacho Woman in Study: Marie-Josée Colburn Man in Study: Gavin Svensson Tuan: Thinh Truong Nguyen Cop: Carlo Essagian Drunk: Christian Tessier Storekeeper: Lenie Scoffié Tony: Bobby Brown Philippe: Maurice Demers Guard: Christian Jacques Guard: Henry Farmer Guard: Dacky Thermidor Guard: Gerard Blouin Old Engineer: Charles V. Doucet Worker: Pierre Drolet Bureaucrat Official: Norman Mikeal Berketa Ironclad Tech: Eric Hoziel Janitor: John Talbot Thug: Richard Zeman Thug: Nick Carasoulis Special Appearance: Cassandra Wilson Special Appearance: Mose Allison Man at Airport (uncredited): June Järvenpää Film Crew: Original Music Composer: Howard Shore Editor: Richard Pearson Director: Frank Oz Director of Photography: Rob Hahn Story: Kario Salem Screenplay: Lem Dobbs Producer: Lee Rich Screenplay: Scott Marshall Smith Producer: Gary Foster Production Design: Jackson De Govia Costume Design: Aude Bronson-Howard Script Supervisor: Rebecca Robertson Casting: Margery Simkin Key Makeup Artist: Francine Gagnon Key Hair Stylist: Corald Giroux Makeup Effects: Matthew W. Mungle Construction Coordinator: Alain Brochu Supervising ADR Editor: Marissa Littlefield Sound Effects Editor: Paul Urmson Story: Daniel E. Taylor Art Direction: Tom Reta Set Designer: Félix Larivière-Charron Camera Operator: Nathalie Moliavko-Visotzky Dialogue Editor: Nicholas Renbeck Art Department Coordinator: Genevieve Ferderber Set Designer: Lucie Tremblay First Assistant Director: David Sardi Boom Operator: Markus Wade Music Editor: Suzana Peric Property Master: Denis Hamel Art Direction: Claude Paré Rigging Grip: Alain Brouillette Supervising Sound Editor: Ron Bochar Stunt Coordinator: Jean Frenette Set Decoration: K.C. Fox Production Manager: Alain Gagnon Set Designer: Céline Lampron Greensman: Ray Légaré Boom Operator: Nathalie Piche Still Photographer: Phillip V. Caruso Steadicam Operator: Angelo Colavecchia First Assistant Camera: Maarten Kroonenburg Location Manager: Michèle St-Arnaud Prop Maker: Patrice Jacques Set Designer: Charlotte Rouleau Sound Re-Recording Mixer: Lee Dichter Special Effects Supervisor: Louis Craig Chief Lighting Technician: Jean Courteau Production Coordinator: Victorine Tamafo Set Designer: Claude Lafrance Foley Editor: Kam Chan Dialogue Editor: Fred Rosenberg Stunt Coordinator: Bud Davis Armorer: Julie Coulombe Art Department Coordinator: Michelle Drolet First Assistant Camera: Tony Rivetti Sr. Sound Effects Editor: Lewis Goldstein First Assistant Editor: Richard Friedlander Art Department Coordinator: Michel Bouchard Foley Editor: Frank Kern Dolly Grip: Alain Masse Production Controller: George Lakes Armorer: Brent Radford Executive Music Producer: Budd Carr Executive Producer: Adam Platnick Executive Producer: Bernard Williams Stunt Coordinator: David Leitch Movie Reviews: JPV852: A go-to for a solid heist-thriller that features two great performances by De Niro and Norton with honorable mention to Brando who looked a little worse for wear. Not the top notch in the genre but still a breezy but still suspense-filled watch if you don’t want anything thought-provoking. Still makes me chuckle that it was Frank Oz to be the one to direct three generations of great actors… **3.75/5**

[brookstonalmanac]

Events 6.14 (before 1900)

1158 – The city of Munich is founded by Henry the Lion on the banks of the river Isar. 1216 – First Barons' War: Prince Louis of France takes the city of Winchester, abandoned by John, King of England, and soon conquers over half of the kingdom. 1276 – While taking exile in Fuzhou, away from the advancing Mongol invaders, the remnants of the Song dynasty court hold the coronation ceremony for Emperor Duanzong. 1285 – Second Mongol invasion of Vietnam: Forces led by Prince Trần Quang Khải of the Trần dynasty destroy most of the invading Mongol naval fleet in a battle at Chuong Duong. 1287 – Kublai Khan defeats the force of Nayan and other traditionalist Borjigin princes in East Mongolia and Manchuria. 1381 – Richard II of England meets leaders of Peasants' Revolt at Mile End. The Tower of London is stormed by rebels who enter without resistance. 1404 – Welsh rebel leader Owain Glyndŵr, having declared himself Prince of Wales, allies himself with the French against King Henry IV of England. 1618 – Joris Veseler prints the first Dutch newspaper Courante uyt Italien, Duytslandt, &c. in Amsterdam (approximate date). 1645 – English Civil War: Battle of Naseby: Twelve thousand Royalist forces are beaten by fifteen thousand Parliamentarian soldiers. 1658 – Franco-Spanish War: Turenne and the French army win a decisive victory over the Spanish at the battle of the Dunes. 1690 – King William III of England (William of Orange) lands in Ireland to confront the former King James II. 1775 – American Revolutionary War: the Continental Army is established by the Continental Congress, marking the birth of the United States Armed Forces. 1777 – The Second Continental Congress passes the Flag Act of 1777 adopting the Stars and Stripes as the Flag of the United States. 1789 – Mutiny on the Bounty: HMS Bounty mutiny survivors including Captain William Bligh and 18 others reach Timor after a nearly 7,400 km (4,600 mi) journey in an open boat. 1800 – The French Army of First Consul Napoleon Bonaparte defeats the Austrians at the Battle of Marengo in Northern Italy and re-conquers Italy. 1807 – Emperor Napoleon's French Grande Armée defeats the Russian Army at the Battle of Friedland in Poland (modern Russian Kaliningrad Oblast) ending the War of the Fourth Coalition. 1821 – Badi VII, king of Sennar, surrenders his throne and realm to Ismail Pasha, general of the Ottoman Empire, bringing the 300 year old Sudanese kingdom to an end. 1822 – Charles Babbage proposes a difference engine in a paper to the Royal Astronomical Society. 1830 – Beginning of the French colonization of Algeria: Thirty-four thousand French soldiers begin their invasion of Algiers, landing 27 kilometers west at Sidi Fredj. 1839 – Henley Royal Regatta: the village of Henley-on-Thames, on the River Thames in Oxfordshire, stages its first regatta. 1846 – Bear Flag Revolt begins: Anglo settlers in Sonoma, California, start a rebellion against Mexico and proclaim the California Republic. 1863 – American Civil War: Second Battle of Winchester: A Union garrison is defeated by the Army of Northern Virginia in the Shenandoah Valley town of Winchester, Virginia. 1863 – Second Assault on the Confederate works at the Siege of Port Hudson during the American Civil War. 1872 – Trade unions are legalized in Canada. 1888 – The White Rajahs territories become the British protectorate of Sarawak.

[theloniousbach]

FROM THE ARCHIVE: SARAH HANAHAN with Benito Gonzalez, Elam Friedlander, and Hank-Alan Barfield, SMALL’S, 12 OCTOBER 2023

The week before SARAH HANAHAN came to Jazz St Louis, she had her monthly Small’s late Thursday night gig, the one Nicole Glover had for some months in 2021. On Monday on her return, I saw her live at Small’s with Joe Farnsworth. All this to say, I’ve been on a Hanahan run.

She’s an impressive player, inventive and powerful. She plays the alto with the growl and attack of a tenor player. She was all that at this gig, save for Old Folks which proved that she and her band can play a ballad. She toned things down a bit with Peter Martin and Generation S here, but she was once again in full modal, stretch things out mode here as she was with Farnsworth when they, including Tivon Pennicott, did Ole for 40 minutes and Impressions for half that time.

While Benito Gonzalez was big and modal too and as such following McCoy Tyner, here the source wasn’t John Coltrane, but Jackie McLean. Appointment in Ghana was the twenty minute opener which established the mood of power and spaciousness. Rene McLean’s Dance Little Mandissa added some catchiness but the family resemblance was there in the compositions of father and son. Nothing else was announced but, like Martin’s Groove Echo Chamber, the first set closer and their last tune of two in the second set before the open jazz session unfolded, built up from riffs. The former settled into a jaunty lilt whereas the latter was smoky and funky. The second set opener was another modal sprawl and Hanahan blew particularly hard, but I was struck how Gonzalez and Hanahan were differently modal.

Hank Alan-Barfield had sufficient power to drive this band and, in the few quieter moments, it was clear that Elam Friedlander was making a difference. In the first set closer, she made a point of making eye contact with her bassist to line up the riff. That tune also stood out as one solo was a joint effort between piano and alto where they sympathetically traded choruses.

While this is the Hanahan I have heard before and will again while hoping she overtime reins things in a bit, knowing what she can do under someone else’s leadership helped me understand how she sprawls, growls, and wails.

[justbag]

Check out this listing I just added to my Poshmark closet: Louis Vuitton Friedland Shoulder Bag Black Epi.

[mi6014ikepearson]

PAST SUCCESS - “PREVIOUS D&DAD NEW BLOOD WINNERS”

this is the 14th year that the D&AD New Blood Awards scheme has ran; with the first winning entries dating back as far as 2009; and our current application hitting the 2023 deadline.

as the project furthers and I add some initial research to dictate the sort of direction to head in the project - it comes a time to look at some previous examples of other people’s attempts tackling the project.

to start this process - I went to the official site and scoured through the almost 3000 entries, watched through some of the previous winners from different years and wrote some notes.

after highlights such as ‘you should read a book’, ‘duo’s done’, ‘free from funny’ and ‘the invisible threat’ - I made the decision to instead focus my attention on projects that were more alcohol related and seeing how they tackled their briefs, as it more closely lays with my entry.

with a set of parameters outlined; I started to analyse the aspects of each film, highlighting the positives and negatives of each film - to see if I can come up with a way to replicate their success, and hopefully limit the possibility of anything being unsuccessful through the production of my film.

BLOWING NOTES IN A BOTTLE - “A SOUND IDEA”

“COORS UNPLUGGED”      - Louis Friedlander & Georgia Lamb

Friedlander & Lamb’s project attempts to speak to the human urge to 

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WORLDWIDE BEVERAGE - “THE LANGUAGE OF ALCOHOL”

“BEERLINGO”      - Juan Rodriguez, Andres Felipe Guevara Escobar, Juan Diego Rivera Pineda & Daniel Sanchez Caicedo

DIGITAL BARMATS - “AN AID TO STRIKE UP CONVERSATION”

“OFFLINE DATING”      - Gabriella Holmes, Callum Stacey & Youmna Hazzaa

UNPLUG & REFRESH - “SITTING BACK WITH AN ICE COLD BREW”

“CHILL CHAPTER”      - Yash Bhut & Alyona Golikova

MODERN LUXURY FOR THE NEXT GENERATION OF HUSTLERS - “COLLECTIBLE, CLEAN & ENVIRONMENTALLY SOUND”

“THINK DIFFERENT DRINK DIFFERENT”      - Toby Rivett

USING ANALYSIS AS A TEACHABLE EXPERIENCE - “WHAT WAS LEARNT?”

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[schlock-luster-video]

On April 5, 1949, The Raven was re-released in the United States.

[sam-rothstein]

🔪🔪🔪

[screamscenepodcast]

The Raven (1935, Louis Friedlander) You’ll have a delightful time as we discuss this hidden gem, Bateman! It’s Episode 51 of Scream Scene: “Horror for Horror’s Sake”! https://screamscenepodcast.tumblr.com/post/171876105884/vaguely-inspired-by-edgar-allan-poe-comes-1935s

[serafino-finasero]

Irene Ware in the horror film The Raven (USA, 1935, dir. Lew Landers, as Louis Friedlander) | Universal Pictures

[fearsomeandwretchedandwrong]

I love that they did SNL style goodnights on the live episode of 30 Rock. Tina Fey and Julia Louis Dreyfus and Bill Hader all on the same stage! My top three celeb crushes right there.