#Séance on a Wet Afternoon

[moviemosaics]

Séance on a Wet Afternoon 

directed by Bryan Forbes, 1964

[kristenswig]

#84. Séance on a Wet Afternoon - Bryan Forbes

[diderots]

My favorite first time watches of 2023

Buñuel y la mesa del rey Salomón, 2001

Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles, 1975

Creep, 2014

Ludwig, 1973

살인의 추억 (Memories of Murder), 2003

Séance on a Wet Afternoon, 1964

12 Angry Men, 1957

Tonight or Never, 1931

In a Lonely Place, 1950

[aliveandfullofjoy]

As a followup to my post from the first half of the month, I finished October having watched ten more spooky movies to get into the Halloween spirit! That’s eighteen movies total and is about eighteen more than I usually watch, so indulge me as I celebrate a bit. In the order of viewing:

Isle of the Dead / dir. Mark Robson / 1945

Séance on a Wet Afternoon / dir. Bryan Forbes / 1964

Dracula / dir. Francis Ford Coppola / 1992

Beetlejuice / dir. Tim Burton / 1988

The Devils / dir. Ken Russell / 1971

A Page of Madness / dir. Teinosuke Kinugasa / 1926

Dead Ringers / dir. David Cronenberg / 1988

Coraline / dir. Henry Selick / 2009

I Walked with a Zombie / dir. Jacques Tourneur / 1943 

The Exorcist / dir. William Friedkin / 1973 

I have a lot of thoughts about all of them, but for the most part, like the rest of the month, I like them all to varying degrees and they’re all well worth a watch, especially if you’re in the market for something spooky. 

I hope you all had a great Halloween! Kick November’s ass!

[petersonreviews]

[facepalminmovies]

Séance on a Wet Afternoon (Bryan Forbes, 1964)

[svenson777]

BRYAN FORBES “Séance on a Wet Afternoon” 1964

Vintage Hand-Painted Film Poster by Irish artist John J. Lomasney (1899-1989). Originally painted for display at the Royal Hawaiian Kuhio Theater in Honolulu. Painted in gouache on 22 by 44-inch artboard.

>>

JOHN J. LOMASNEY was an illustration artist for Warner Brothers and Paramount Studios at the dawn of the golden age of cinema. He painted over 56 years of film (1925-1981) including 387 Oscar nominated and 83 Oscar winning films.

Lomasney, an only child, was born In Ireland around the turn of the Century. He came to the United States and spent some time in California where he worked briefly as a set painter at Warner Brothers and Paramount. Almost nothing is known of this reclusive “loner” who moved to Hawaii in 1936 with his mother, Mary Lomasney. He went to work for the Royal Hawaiian Theater chain as a staff artist.

At that time theater chains competed for customers and relied on the - “one sheets” - that were placed in the glass display cases in the front of the theater to attract customers. Royal Hawaiian hired Lomasney to create their own “One Sheets” as opposed to the “One Sheets” supplied by the Studios. Eliminating the myriad of credits on the studio posters, Lomasney was able to create more colorful, graphic posters that accented highlights of the action or the character portrayal of the stars.

Using the studio supplied stills as inspiration; Lomasney painstakingly fashioned his original posters, painting in gouache on 28 by 44 inch art board. He seldom did more than four posters for a movie and each one is unique, a one of a kind creation.

For forty years Lomasney spent everyday of his working life creating this treasure of movie nostalgia.

His only interests were movies and painting. He rarely talked with anyone and if he did it was only about movies. When he was working in his studio he was quick to “shush” anyone whose conversation rose above a whisper. Dick Howard, Royal Hawaiians’ director of advertising in 1970, describes Lomasney this way - “He was slow, meticulous and very detailed. His entire life was focused on movies… practically the only subject capable of moving him to speak ” He smoked “White Owl” cigars and was always well dressed in a sport coat, shirt and trademark bow tie.

When he left the employ of Royal Hawaiian he took only one paint brush and never kept any of his own work.

In those days, studio-trained painters were schooled to be anonymous and there are only two of his original signatures known to exist.

One of the most astonishing aspects of Lomasney’s versatility and inventiveness is the skill with which he dramatically integrates billing requirements with huge luminescent portraits of such idols as Errol Flynn, Sophia Loren, Natalie Wood, Fred Astaire, Gregory Peck, John Wayne, etc., etc..

Lomasney died at the age of 90 in 1989 and was buried beside his mother in Diamond Head Memorial Park.

See also: https://www.charitybuzz.com/catalog_items/sance-on-wet-afternoon-1964-vintage-hand-painted-film-101028

[cor-ardens-archive]

Séance on a Wet Afternoon (1964, Bryan Forbes)

[austinhippie]

KIM STANLEY

(Feb 11, 1925 – Aug 20, 2001) In the 1950s, Stanley was a prolific performer in television, and later progressed to film, with a well-received performance in "The Goddess" (1959). She was the narrator of "To Kill a Mockingbird" (1962), and starred in "Séance on a Wet Afternoon" (1964), for which she won the New York Film Critics Circle Award for Best Actress and was nominated for the Academy Award for Best Actress.

[tcm]

Kim Stanley in SÉANCE ON A WET AFTERNOON (‘64)

[elcinelateleymickyandonie]

''PLAN SINIESTRO''

(Séance on a Wet Afternoon)

Año: 1964

Dirección: Bryan Forbes

Para ver el tráiler ingresa al enlace:

https://www.youtube.com/watch?v=4QGJjjtmBHs

[cine-sports]

Seance on a Wet Afternoon: Rachel Weisz, Tomas Alfredson team for thriller

Seance on a Wet Afternoon: Rachel Weisz, Tomas Alfredson team for thriller

Rachel Weisz has signed on to star in and produce the psychological suspense thriller Séance on a Wet Afternoon, based on Mark McShane’s 1961 novel of the same name. Deadline reports that Enola Holmes director Harry Bradbeer had originally been on board to direct the film, but since he got caught up in the making of Enola Holmes 2 he is being replaced at the helm by Let the Right One In director…

[5starcinema]

The Men Who Made the Music

John Barry 1933-2011

Technically speaking, composer and five-time Oscar winner John Barry scored 111 motion pictures, most notably 11 of the James Bond movies, starting with Dr. No and ending with The Living Daylights. But from a larger, cultural perspective, it’s fair to say that Barry—like Burt Bacharach, Herb Alpert, John Lennon, Paul McCartney, and several others—helped write the soundtrack to the 20th century.

That may be because Barry was composing engaging, infectious melodies for movies at a time when radio stations had theme songs and film scores in regular rotation. No one needed to see Midnight Cowboy in 1970 to memorize its haunting, lonesome theme. And for better or worse, the theme from Born Free was in the mix as well. At the top of any John Barry playlist, of course, would be the composer’s personal favorite, the theme from Goldfinger. The most famous of the Bond themes boasts an unmatched brass attack with the last three of the melody’s first six notes (wah waaaah wah!). That was a trademark device in many of Barry’s scores, and a method he learned from his big band idol, Stan Kenton.

The bold, brassy sound colored numerous scores, but Barry added some key elements that came to define the international-man-of-mystery music associated with Cold War-era spy thrillers. Omnipresent in themes for The Quiller Memorandum, The Ipcress File, the James Bond pictures, or the television series “Vendetta” and “The Persuaders,” was the gloomy twang of zithers, cymbaloms, and other Eastern European stringed instruments, the chilling blast of a few off-kilter notes, and sometimes the futuristic timbre of the Moog synthesizer. All those elements blended into what might be called the music of espionage, or perhaps the ultimate score for international intrigue everywhere, for all time. Did Barry know anything about the KGB, the CIA or MI6? Probably not, but he essentially composed for each agency a theme song in case they needed one.

In many instances, Barry’s scores were also excellent pop music. The title track for You Only Live Twice was understandably a huge hit for Nancy Sinatra (and later, thanks to a portion of the melody, for Robbie Williams with “Millennium”). Shirley Bassey made a career from the title track for Goldfinger. 

Yet apart from Barry’s success with the Bond series, he was also laying down innovative, sometimes bizarre, but decidedly cool scores for The Knack and How to Get It, Séance on a Wet Afternoon, The Wrong Box, Boom, The Appointment, and dozens of others. Today, young music enthusiasts might think they haven’t heard much of Barry’s music, but if they listen to Sneaker Pimps, Portishead, Grantby, Pulp, Broadcast, or countless electronica acts, then they have actually heard a lot of John Barry.

As if providing a distinctive sound to a certain era were not enough, Barry was equally prolific in the late 1970s through the late ’80s, creating memorable scores for films that often didn’t deserve them (Somewhere In Time, Night Games, The Black Hole, Jagged Edge). 

He’ll be remembered for the spy stuff, no doubt, along with the cool, jazzy touches in his music that he matched with a lifestyle. Barry drove a Jaguar E-type, married swinging sixties icon and actress Jane Birkin, and wore expensive tailored suits. He was available for photo shoots—anytime, anywhere. Today you can’t find many people who might recognize Barry, the man, but everybody knows Barry, the sound.

[cinemondopodcast]

"So bright after a séance. Brightness just seems to fall from the air." -- Seance on a Wet Afternoon

[aliveandfullofjoy]

300 Favorite Performances: #210-201

210. Daniel Kaluuya, as “Chris Washington,” in Get Out (dir. Jordan Peele, 2017)

209. Emil Jannings, as “The Hotel Doorman,” in The Last Laugh (dir. F. W. Murnau, 1924)

208. Rachel Weisz, as “Sarah Churchill,” in The Favourite (dir. Yorgos Lanthimos, 2018)

207. Josh O’Connor, as “Johnny Saxby,” in God’s Own Country (dir. Francis Lee, 2017)

206. Eleanor Parker, as “Baroness Elsa Schrader,” in The Sound of Music (dir. Robert Wise, 1965)

205. Kim Stanley, as “Myra Savage,” in Séance on a Wet Afternoon (dir. Bryan Forbes, 1964)

204. Youssef Chahine, as “Qinawi,” in Cairo Station (dir. Youssef Chahine, 1958)

203. Giulietta Masina, as “Gelsomina,” in La Strada (dir. Federico Fellini, 1954)

202. Charlize Theron, as “Mavis Gary,” in Young Adult (dir. Jason Reitman, 2011)

201. Brendan Gleeson, as “Ken,” in In Bruges (dir. Martin McDonagh, 2008)

(300-291) (290-281) (280-271) (270-261) (260-251) (250-241) (240-231) (230-221) (220-211)