#elizabeth friedman

[petsincollections]

Camel's Head

1976-1993

Cibachrome 6 in. x 9 in. (15.24 cm x 22.86 cm)

Bequest of Elizabeth Friedman, Class of 1939

Bryn Mawr College

Accession Number: 2002.15.1

Acquisition Date: 01/15/2003

Geography: North and Central America, United States

Classification: Fine and Visual Arts; Photographs; Cibachromes

Culture/Nationality: American

https://triarte.brynmawr.edu/

[nofatclips-home]

Every Wave to Ever Rise by American Football featuring Elizabeth Powell - Film by Ian Ferguson, Dakota Pailes-Friedman and Dylan Pailes-Friedman

[twixnmix]

Run-DMC, Beastie Boys, DJ Hurricane, Chuck D and Davy DMX at 300 Elizabeth Street, next door to the Def Jam/Rush Productions office building, in New York City, 1987.

Photos by Glen E. Friedman

[nitrateglow]

Spooky Season 2024: 12-22

Phantom of the Mall: Eric's Revenge (dir. Richard Friedman, 1989)

The opening of the new mall is hampered by one thing: a Phantom hiding in the air vents, and committing robbery and murder. It turns out this Phantom is really a teenager named Eric (Derek Rydall) disfigured in a fire set by the mall's developers to clear out any remaining houses impeding their dreams of commercial development. Now, Eric plans on having his revenge and watching over his girlfriend Melody (Kari Whitman), now an employee of the mall. But what will he make of her burgeoning romance with a journalist?

Talk about pure '80s cheese. This film feels like it was made to capitalize on the slasher cycle and the popularity of the Andrew Lloyd Weber Phantom of the Opera megamusical. It's not a particularly good movie, but it is dumb fun. I love how this Phantom makes free use of the goods available in the stores and how he spams his spin kick attack like he's in a video game.

Also, Pauly Shore is in this. He has a great scene talking about subliminal messaging in department stores, but is otherwise the usual Pauly Shore.

Hangover Square (dir. John Brahm, 1945)

Musician George Harvey Bone (Laird Cregar) is disturbed by long sessions in which he blacks out. He fears he may be committing murder, but is reassured by the police when he goes to them that isn't likely. Detective Dr. Allen Middleton (George Saunders) advises the overworked George take a break from composing. George does so by going to a pub where he meets the lovely Netta Longdon (Linda Darnell), a music hall entertainer who dreams of fame. George and Netta enter into a toxic relationship in which she uses him to advance her career while seeing other men on the side. When George discovers her treachery, his blackouts return-- this time in a far more violent form.

I'm starting to become fascinated by John Brahm, a director best remembered for his moody, macabre dramas in the 1940s. Hangover Square was his second and final collaboration with the talented but doomed Laird Cregar, who died two months before the film was released. It's as much a noir as a horror picture, drenched in that chiaroscuro lighting and urban dread so common to the classic cycle.

Cregar is astonishing in the lead role. Though handsome, he was a bigger man, so Hollywood refused to allow him to transition into leading man parts. He is marvelous here, passionate and sensitive, yet also sinister once his jealous rage takes over. I've seen Cregar in multiple films and he was truly fantastic, able to be comic as well as dramatic. Hollywood didn't deserve him.

Lastly, Linda Darnell's character sings this really catchy song when Cregar first sees her. I saw this film weeks ago but it is STILL STUCK IN MY HEAD.

The Sealed Room (dir. DW Griffith, 1909)

In some nondescript time period (everyone's dressed like it's either the early 18th century or the middle ages), a king (Arthur V. Johnson) learns his mistress (Marion Leonard) is smooching with a musician (Henry B. Walthall). Jealous to the point of rage, he has the couple sealed in a small room where they suffocate to death.

The Sealed Room is a gem from the nickelodeon era, though I admit my liking for it comes from how extra all the performances are, even by the standards of the early silent period.

It also has one of my favorite instances of what I like to call "silent film logic"-- that is, scenes featuring action that would be very loud in real life, but in a silent film, you may not think about it as much. Here, the king has the lovers walled up alive in a small room, where they lounge unaware. And yet, there's workers slapping up a brick wall not ten feet away from them! It's very amusing.

Frankenhooker (dir. Frank Henenlotter, 1990)

When his girlfriend Elizabeth (Patty Mullen) gets hacked to death by an automatic lawnmower he built, medical student Jeffrey (James Lorinz) decides to resurrect her by killing sex workers for their shapely body parts then sewing Elizabeth's severed head on top. He does this by having his victims smoke explosive crack.

No, I'm not making this up.

I first heard about Frankenhooker from James Rolfe of Angry Video Game Nerd fame. It sounded so insane that I knew I had to watch it. It's-- well, it's definitely a bizarre movie with lots of crude humor and pitch black jokes.

Would you believe me if I said it was kind of an unsung feminist work? I definitely did not expect THAT angle coming in, but that messaging is definitely there. Jeffrey is a villain-protagonist through and through, even before he starts committing murder. We learn he was already demanding Elizabeth modify her appearance to suit his tastes before she got killed. He views women as more a collection of body parts than proper people. However, his misogyny does catch up with him in the end and his fate at the resurrected Elizabeth's hands is the very definition of irony. I don't want to spoil it.

It's definitely not for everyone, but if you have a sick sense of humor and some friends that share that humor, you'll have a good time.

Friday the 13th: Part 2 (dir. Steve Miner, 1981)

A summer camp close to the infamous Camp Crystal Lake is about to open. Little do the young, horny counselors know, Jason (Warrington Gillette and Steve Daskewicz)-- the boy that allegedly drowned long ago-- is still alive and he's mad his mama got decapitated in the previous film. Lots of people die.

I confess I have a hard time getting into these Friday the 13th films. I've read it took a few entries for the series to find its footing as gloriously dumb schlock, but the first one and this sequel were mostly boring for me. About all I liked was the last twenty minutes, when the heroine's background in child psychology comes into play. Otherwise, this gets a big meh from me. Not horrible, but nothing I can imagine I'll ever rewatch.

Corridor of Mirrors (dir. Terence Young, 1948)

A party girl (Edana Romney) becomes involved with a Renaissance era-obessed artist (Eric Portman). Their fetishistic relationship leads to heartbreak and murder.

Already discussed this one is great detail at my Wordpress blog. It's a great romantic thriller in the vein of Vertigo and Rebecca.

The Old Dark House (dir. James Whale, 1932)

During a thunderstorm, a group of unwary British travelers are marooned at the crumbling mansion of the Femm family, a collection of eccentrics who may be insane. Everything goes wrong: the hulking butler gets drunk and preys on the women visitors, the area may flood, the lights go out, and there may be a homicidal maniac imprisoned in one of the rooms upstairs. Will anyone survive the night?

I have raved about this film for a long time now. It's truly a favorite of mine in general, not just for the Halloween season. Both witty and chilling, it's an atmospheric masterpiece. The damp and mold are palpable.

What fascinates me most is the Femm family itself and the gaps in their backstory. This is one movie where I feel like there's a Tolstoyan novel's worth of drama with the Femms. It's hinted that the 102-year-old patriarch of the house (played in drag by actress Elspeth Dudgeon) used to host orgies there. The death of the seductive sister Rebecca at the age of 21 may or may not have been due to inter-family foul play. Morgan the butler has a close, even weirdly tender relationship with the homicidally insane brother Saul, suggesting a myriad of possible connections between them. It's very interesting-- I like that the movie doesn't fill in all the blanks.

A Game of Death (dir. Robert Wise, 1945)

Don Rainsford (John Loder), big game hunter extraordinaire, finds himself shipwrecked on a mysterious island. The owner is Erich Kriegler (Edgar Barrier), an urbane German who also enjoys hunting, though with a slight difference-- he likes hunting humans. Teaming up with other shipwreck survivors Ellen (Audrey Long) and Robert (Russell Wade), Don tries finding a way to escape before they become Kriegler's next wall trophies.

This movie is a pallid, watered down, shot-for-shot remake of The Most Dangerous Game, one of the crown jewels of 1930s horror, so of course, I am not fond of it. And yet, I rewatch it every few years, so it must have something going for it. So instead of tearing into it as I normally do, I'll list a few things I think are actually good about it:

I like that the main character initially tries tricking Kriegler into thinking he will hunt people with him. Very pro-active.

I think Kriegler is a good villain. Not as memorably deranged and campy as Leslie Banks' Zaroff in the original film, but chilling in a more low-key way. His "the strong deserve to prey upon the weak" philosophy fits in nicely with Nazi ideologies-- no doubt what this wartime horror flick intended.

Um... I think Audrey Long is really pretty. I like her flow-y outfits.

... Yeah, that's it.

The Most Dangerous Game (dir. Ernest B. Schoedsack and Irving Pichel, 1932)

All-American big game hunter Bob Rainsford (Joel McCrea) is shipwrecked on the unlisted island of Count Zaroff (Leslie Banks), a Russian aristocrat and master sportsman who claims he now hunts "the most dangerous game" of all. Being a himbo, it takes Bob a while before he realizes that game is human beings. Unwilling to hunt alongside Zaroff when given the offer, Rainsford and fellow prisoner Eve Trowbridge (Fay Wray) wage a game with Zaroff: let loose into the island's thick jungle, if they survive the night without Zaroff or the terrain killing them, they'll go free. If not, Rainsford dies and Eve will become a rather different kind of quarry for the evil count.

Now, here's my favorite "hunter hunts people" movie! While "The Most Dangerous Game" has been adapted and ripped off multiple times for a century, the original is still hard to beat. The castle set drips with gothic grandeur. The jungle soundstage is thick and suffocating, and once the chase intensifies, it becomes like something out of a nightmare.

I actually think the climactic hunt is among the greatest sequences in all cinema. The editing is so dynamic and the images are brilliant. And when you consider this is still an early talkie, when films were still trying to rediscover their footing after silent cinema came to an end, it becomes even more remarkable.

Going on Letterboxd, I was shocked to find a lot of people on there have mixed to negative opinions about this movie, largely because they think it's too over the top and that it's messaging is too on the nose.

I mean-- yes, these things are true, but I don't see them as flaws. It probably helps that I love camp and melodrama, and am not ashamed to admit it. And regardless of the fervent camp on display, I still think the trophy room scene is creepy and the chase is super intense. I have probably seen this movie close to a hundred times and yet, the chase still has me shouting at the TV, willing the characters to run faster. That's damn fine filmmaking.

The Haunting (dir. Robert Wise, 1963)

A researcher of the paranormal brings a motley crew of ordinary people into the allegedly haunted Hill House. Both potential ghosts and the neuroses of the visitors bring on sinister events and ultimately tragedy.

I love this movie more and more. I already wrote a bit about my reaction this time around, though since then, I started rereading the source novel, Shirley Jackson's The Haunting of Hill House. Obviously, the book delves more deeply into Eleanor's psyche, but the film does a fantastic job of this as well. Given film is a visual medium, it can be a challenge to depict a character's interior state without delving into expressionism and this film does that well.

The Phantom of the Opera (dir. Terence Fisher, 1962)

Aspiring songstress Christine Charles (Heather Sears) and producer Harry Hunter (Edward de Souza) are drawn into a mystery at the London Opera House. A phantom is sabotaging any attempt to produce Joan of Arc: A Tragedy, a show allegedly written by the cold, snobby, rapey Lord Ambrose (Michael Gough). After some investigating, it turns out the Phantom (Herbert Lom) was once the meek-mannered Professor Petrie, whose music was stolen by Ambrose. Now, he wants only to see his opera done justice and only Christine's voice can make that happen.

I am very fond of this version of The Phantom of the Opera even though I think it has a myriad of dramatic flaws. Let's get the flaws out the way first. I think the film is a bit repetitive in retelling us Petrie's story over and over, at first through onscreen description and then through filmed depiction. I also think the ending is anti-climactic, like the writers didn't want to go the usual route of making the Phantom a homicidal maniac but they weren't sure how to make a properly dramatic finish without that characterization.

That out the way, this is a unique, even refreshing retelling in many ways. The Phantom/Christine relationship is no longer one of unrequited love-- in fact, Petrie seems wholly uninterested in romance or sex at all. He views Christine and himself as victims of the truly despicable Lord Ambrose: Petrie had his music stolen and Christine was sexually harrassed. Therefore, it is up to the two of them to wrest the opera back from Amrbose's influence and make it the production Petrie wanted. Petrie is one hard taskmaster. He is relentless in training Christine and at one point throws filthy sewer-water in her face when she faints.

But the Phantom is hardly an out and out villain here. He doesn't even kill people-- he has a convenient hunchbacked assistant to do that. No, the real baddie is Ambrose, among the nastiest villains in the Hammer canon. Ambrose never even kills anyone, yet he makes the blood boil with his wanton cruelty. Michael Gough (who I always remember best as Alfred in the Tim Burton Batman movies, as well as Batman Forever and Batman and Robin) is so good at being bad.

This version of POTO also has my favorite version of the Phantom's compositions. Usually, he writes a "burning" piece called Don Juan Triumphant, fitting his romantic obsession with Christine. Here, Petrie writes an opera about Joan of Arc, a virginal saint persecuted by powerful men-- a fitting subject for Petrie given his own persecution by an aristocrat. Joan's aria "I Hear Your Voice" is gorgeous and always brings me to tears, it's that beautiful.

Not a perfect film, but still a very good one.

[soupy-sez]

Beastie Boys and Run DMC on the roof of the 298 Elizabeth St. building, NYC, 1987, © Glen E. Friedman

[galathynius]

2023 reading log

the uncensored picture of dorian gray by oscar wilde / jan. 2-9 / 4 stars

buzz saw: the improbable story of how the washington nationals won the world series by jesse dougherty / jan. 9-11 / 4.5 stars

proposal by meg cabot / jan. 17 / 3 stars

sidelined: sports, culture, and being a woman in america by julie dicaro / jan. 12-17 / 4 stars

remembrance by meg cabot / jan. 18-19 / 3 stars

how sweet it is by dylan newton / jan. 19-20 / 3 stars

daughters of sparta by claire heywood / jan. 21-22 / 3 stars

highly suspicious and unfairly cute by talia hibbert / jan. 22 / 4 stars

gentlemen prefer blondes: the diary of a professional lady by anita loos / jan. 23-26 / 3 stars

hell bent by leigh bardugo / jan. 26-31 / 4 stars

all about love: new visions by bell hooks / jan. 22-31 / 4 stars

daisy jones & the six by taylor jenkins reid / jan. 31-feb. 2 / 4 stars

everything i know about love: a memoir by dolly alderton / feb. 2-9 / 4 stars

emma by jane austen / feb. 11-19 / 4 stars

fake it till you bake it by jamie wesley / feb 19-23 / 3.5 stars

my dark vanessa by kate elizabeth russell / feb. 23-26 / 4 stars

throttled by lauren asher / feb. 26-28/ 2 stars

the locker room by meghan quinn / mar. 1-5 / 1 star

come as you are: the surprising new science that will transform your sex life by emily nagoski / feb. 17-mar. 5 / 4.5 stars

pucked by helena hunting / mar. 5-11 / 3 stars

legendborn by tracy deonn / mar 12-23 / 4.5 stars

unadulterated something by m.j. duncan / mar. 23-25 / 4 stars

the fifth season by n.k. jemisin / mar. 26-apr. 15 / 4 stars

how to fake it in hollywood by ava wilder / apr. 16-19 / 3.5 stars

sharp objects by gillian flynn / apr. 19-22 / 4 stars

the homewreckers by mary kay andrews / apr. 22-25 / 3.5 stars

the kiss curse by erin sterling / apr. 25-26 / 3.5 stars

the wedding crasher by mia sosa / apr. 26-27 / 3 stars

let’s get physical: how women discovered exercise and reshaped the world by danielle friedman / mar. 25-apr. 27 / 4 stars

mile high by liz tomforde / apr. 27-may 6 / 1.5 stars

happy place by emily henry / may 6-7 / 5 stars

carrie soto is back by taylor jenkins reid / may 7 / 4 stars

the spanish love deception by elena armas / may 8 / 2 stars

neon gods by katee robert / may 8-9 / 1 star

love in the time of serial killers by alicia thompson / may 9-11 / 4 stars

the bodyguard by katherine center / may 11 / 4 stars

the intimacy experiment by rosie danan / may 11-12 / 3 stars

upgrade by blake crouch / may 12-13 / 4 stars

by any other name by lauren kate / may 13 / 3 stars

the dead romantics by ashley poston / may 15-17 / 4 stars

the ballad of songbirds and snakes by suzanne collins / may 19-28 / 3.5 stars

so many ways to lose: the amazin’ true story of the new york mets—the best worst team in baseball by devin gordon / may 13-jun. 4 / 4 stars

iron widow by xiran jay zhao / jun. 5-7 / 3 stars

the grace year by kim liggett / jun. 7-8 / 4 stars

the last magician by lisa maxwell / jun. 9-11 / 4.5 stars

little fires everywhere by celeste ng / jun. 12-14 / 4 stars

not a happy family by shari lapena / jun. 14-17 / 2.5 stars

the familiars by stacey halls / jun. 17-21 / 3 stars

the girls i’ve been by tess sharpe / jun. 21-22 / 3.5 stars

once more with feeling by elissa sussman / jun. 23 / 3 stars

the cheat sheet by sarah adams / jun. 24-25 / 1 star

how to sell a haunted house by grady hendrix / jun. 26-29 / 3 stars

little thieves by margaret owen / jul. 1-3 / 4.5 stars

this is how you lose the time war by amal el-mohtar and max gladstone / jul. 3-6 / 3 stars

the very secret society of irregular witches by sangu mandanna / jul. 11-12 / 4 stars

the lies of locke lamora by scott lynch / jul. 13-27 / 4.5 stars

seven days in june by tia williams / jul. 28-30 / 4 stars

bloodmarked by tracy deonn / jul. 31-aug. 2 / 4 stars

something wilder by christina lauren / aug. 3-4 / 3 stars

howl’s moving castle by diana wynne jones / aug. 4-5 / 4 stars

dark matter by blake crouch / aug. 12-13 / 3 stars

eat up! food, appetite, and eating what you want by ruby tandoh / jul. 30-aug. 14 / 4 stars

the silent companions by laura purcell / aug. 5-18 / 4 stars

mr. wrong number by lynn painter / aug. 19-20 / 2 stars

romantic comedy by curtis sittenfeld / aug. 20-21 / 4 stars

the last tale of the flower bride by roshani chokshi / aug. 21-23 / 4 stars

the hating game by sally thorne / aug. 23-25 / 2 stars

lessons in chemistry by bonnie garmus / aug. 25-26 / 2.5 stars

the godparent trap by rachel van dyken / aug. 27 / 2 stars

i’m glad my mom died by jennette mccurdy / aug. 27-29 / 4 stars

the atlas six by olivie blake / aug. 29-sep. 9 / 3 stars

wordslut: a feminist guide to taking back the english language by amanda montell / sep. 1-9 / 4 stars

practice makes perfect by sarah adams / sep. 10-11 / 3 stars

all systems red by martha wells / sep. 13-14 / 3 stars

do i know you? by emily wibberly and austin siegemund-broka / sep. 14-16 / 4 stars

same time next summer by annabel monaghan / sep. 17 / 3.5 stars

Ounder the influence by noelle crooks / sep. 18-22 / 4 stars

burn for me by ilona andrews / sep. 22-23 / 4 stars

the littlest library by poppy alexander / sep. 24 / 3 stars

the neighbor favor by kristina forest / sep. 25-27 / 3 stars

satisfaction guaranteed by karelia stetz-waters / sep. 28-oct. 5 / 3 stars

the ex talk by rachel lynn solomon / oct. 5-7 / 4 stars

change of plans by dylan newton / oct. 8-9 / 2 stars

coraline by neil gaiman / oct. 9 / 4 stars

you, again by kate goldbeck / oct. 9-11 / 3 stars

mrs. caliban by rachel ingalls / oct. 12 / 3 stars

summer sons by lee mandelo / oct. 12-19 / 4 stars

the death of jane lawrence by caitlin starling / oct. 19-24 / 3 stars

house of hollow by krystal sutherland / oct. 25-29 / 4 stars

white hot by ilona andrews / oct. 28-nov. 2 / 4.5 stars

twice shy by sarah hogle / nov. 4-5 / 3 stars

sexed up: how society sexualizes us, and how we can fight back by julia serano / nov. 2-10 / 4 stars

artificial condition by martha wells / nov. 11-14 / 4 stars

wildfire by ilona andrews / nov. 14-16 / 4.5 stars

between a fox and a hard place by mary frame / nov. 18 / 3 stars

revolting prostitutes: the fight for sex workers’ rights by molly smith and juno mac / nov. 18-20 / 4 stars

emily wilde’s encyclopaedia of faeries by heather fawcett / nov. 21-24 / 4.5 stars

love and other words by christina lauren / nov. 24-25 / 3 stars

the boyfriend candidate by ashley winstead / nov. 26 / 3.5 stars

the seven year slip by ashley poston / nov. 27-28 / 5 stars

how to fall out of love madly by jana casale / dec. 3-10 / 3 stars

ordinary monsters by j.m. miro / dec. 10-21 / 3 stars

rogue protocol by martha wells / dec. 22-23 / 4 stars

what you wish for by katherine center / dec. 25 / 3 stars

the blonde identity by ally carter / dec. 25-26 / 2.5 stars

just my type by falon ballard / dec. 26-31 / 2 stars

[claudia1829things]

"THE BLACK DAHLIA" (2006) Review

"THE BLACK DAHLIA" (2006) Review

Judging from the reactions among moviegoers, it seemed quite obvious that director Brian DePalma’s adaptation of James Ellroy’s 1987 novel had disappointed them. The ironic thing is that I do not share their feelings.

A good number of people – including a relative of mine – have told me that they had expected "THE BLACK DAHLIA" to be a docudrama of the infamous 1947 murder case. Others had expected the movie to be an epic-style crime drama similar to the 1997 Academy Award winning film, "L.A. CONFIDENTIAL" - another Ellroy adaptation. ”THE BLACK DAHLIA” proved to be neither for many fans. For me, it turned out to be an entertaining and solid film noir that I enjoyed.

Told from the point-of-view of Los Angeles Police detective Dwight “Bucky” Bleichert (Josh Harnett), ”THE BLACK DAHLIA” told the story of how the January 1947 murder of Hollywood star wannabe, Elizabeth Short aka “The Black Dahlia” (Mia Kershner) affected Bleichert’s life and the lives of others close to him – especially his partner, Lee Blanchard (Aaron Eckhart). The story began over three years before Short’s murder when Bleichert saved Blanchard’s life during the Zoot Riots in 1943. After World War II, the pair (who also happened to be celebrated local boxers) participated in an inter-departmental boxing match to help raise support for a political bond issue that will increase pay for the LAPD, but with a slight tax increase. Although Bleichert lost the match, both he and Blanchard are rewarded by Assistant District Attorney Ellis Loew (Patrick Fischler) with promotions and transfers to the Warrants Department and the pair became partners. Bleichert not only became partners and friends with Blanchard, he also became acquainted with Blanchard’s live-in girlfriend, a former prostitute and artist named Kay Lake (Scarlett Johansson). Although Bleichert fell in love with Kay, he kept his feelings to himself, due to his relationship with Blanchard. Thanks to Blanchard’s penchant for publicity, the two partners eventually participated in the murder investigation of Elizabeth Short (nicknamed the Black Dahlia). The case not only led the pair to a rich young playgirl named Madeleine Linscott (Hillary Swank) and her family, but also into a world of prostitution, pornography, lesbian nightclubs and the dark underbelly of Hollywood life.

Written by James Ellroy and originally published in 1987, ”The Black Dahlia” became the first of four novels about the Los Angeles Police Department in the post-World War II era (”L.A. Confidential” was the third in the quartet). In my opinion, it was the best in Ellroy’s L.A. Quartet. I believe that it translated quite well to the movie screen, thanks to DePalma’s direction and Josh Friedman’s screenplay. Like the movie ”L.A. CONFIDENTIAL”, ”THE BLACK DAHLIA” turned out to be superior to its literary version. Not only did DePalma and Friedman’s screenplay recapture the ambiance of the novel’s characters and 1940s Los Angeles setting, the plot turned out to be an improvement over the novel. Especially over the latter’s chaotic finale. Despite the improvement, ”THE BLACK DAHLIA” never achieved the epic style and quality of ”L.A. CONFIDENTIAL”. If I must be frank, I really do not care. Movies like the 1997 Oscar winner are rare occurrences of near perfect quality. Just because ”THE BLACK DAHLIA” was another film adaptation of an Ellroy novel, did not mean that I had expected it to become another ”L.A. CONFIDENTIAL”.

Mark Isham’s score for the film did not turn out to be that memorable to me. All I can say is that I am grateful that he did not attempt a remake of Jerry Goldsmith’s scores for ”L.A. CONFIDENTIAL” and ”CHINATOWN”. On the other hand, I was very impressed with Vilmos Zsigmond’s photography for the film. One sequence stood out for me – namely the overhead shot that featured the discovery of Elizabeth Short’s dead body in the Leimert Park neighborhood in Los Angeles. Ironically, part of the movie was shot in Sofia, Bulgaria substituting as 1946-47 Los Angeles. Production Designer Dante Ferretti and Art Director Christopher Tandon did a solid job in disguising Sofia as Los Angeles. But there were a few times when the City of Angels seemed like it was located on the East Coast. And I could spot a few palm trees that definitely looked false. However, I really loved the set designs for Kay’s home and the lesbian nightclub where Bleichert first met Madeline. I loved Jenny Beavan’s costume designs for the film. She did an excellent job of recapturing the clothing styles of the mid-to-late 1940s and designing clothes for particular characters.

One of the movie’s best strengths turned out to be its very interesting characters and the cast of actors that portrayed them. Characters that included the ambitious and sometimes malevolent ADA Ellis Loew, portrayed with great intensity by Patrick Fischler; Rose McGowan’s bitchy and shallow Hollywood landlady/movie extra; Elizabeth Short’s frank and crude father Cleo Short (Kevin Dunn); Mike Starr’s solid portrayal of Bleichert and Blanchard’s immediate supervisor Russ Millard; and Lorna Mertz, the young Hollywood prostitute portrayed memorably by Jemima Rooper. John Kavanagh and Fiona Shaw portrayed Madeline Linscott’s parents – a Scottish-born real estate magnate and his alcoholic California society wife. Kavanagh was charming and fun in a slightly corrupt manner, but Shaw hammed it up in grand style as the alcoholic Ramona Linscott. I doubt that a lesser actress could have pulled off such a performance.

Not only were the supporting characters memorable, so were the leading characters, thanks to the performances of the actors and actresses that portrayed them. I was very impressed by Mia Kershner’s portrayal of the doomed Elizabeth Short. She managed to skillfully conveyed Short’s desperation and eagerness to become a Hollywood movie star in flashbacks shown in the form of black-and-white audition clips and a pornographic film clip. At first, I found Scarlett Johansson as slightly too young for the role of Kay Lake, the former prostitute and artist that both Bleichert and Blanchard loved. She seemed a bit out of her depth, especially when she used a cigarette holder to convey her character’s sophistication. Fortunately, Johansson had ditched the cigarette holder and Kay’s so-called sophistication and portrayed the character as a warm and pragmatic woman, who turned out to be more emotionally mature than the other characters. I found Aaron Eckhart’s performance as the passionate, yet calculating Lee Blanchard great fun to watch. He seemed funny, sharp, verbose, passionate and rather manic all at once. There were times when his character’s growing obsession toward the Black Dahlia case seemed to border on histrionics. But in the end, Eckhart managed to keep it all together. Another performance I truly enjoyed was Hillary Swank’s portrayal of the sensual, rich playgirl Madeline Linscott. Just by watching Swank on screen, I got the impression that the actress had enjoyed herself playing Madeline. I know I had a ball watching her reveal the charming, yet dark facets of this interesting character.

Ellroy’s novel had been written in the first person – from the viewpoint of LAPD detective, Dwight “Bucky” Bleichert. Which meant that the entire movie had to focus around the actor who portrayed Bleichert. I once heard a rumor that Josh Harnett became interested in the role before casting for the movie actually began. In the end, many critics had either dismissed Hartnett’s performance or judged him incapable of portraying a complex character. Personally, I found their opinions hard – even impossible – to accept. For me, Harnett did not merely give a first-rate performance. He ”was” Dwight “Bucky” Bleichert. One must understand that Bleichert was a difficult role for any actor – especially a non-showy role that also had to keep the story together. Throughout the movie, Harnett, DePalma’s direction and Friedman’s script managed to convey the many complexities of Bleichert’s personality without being overtly dramatic about it. After all, Dwight was basically a quiet and subtle character. Harnett portrayed the character’s growing obsession with both the Black Dahlia case and Madeline Linscott without the manic and abrupt manner that seemed to mark Blanchard’s obsession. You know what? I really wish I could say more about Harnett’s performance. But what else can I say? He perfectly hit every nuance of Bleichert’s personality. I personally believe that Dwight Bleichert might be his best role to date.

I wish I could explain or even understand why ”THE BLACK DAHLIA” had flopped at the box office. Some have complained that the film had failed to match the epic qualities of ”L.A. CONFIDENTIAL”. Others have complained that it failed as a docudrama that would solve the true life murder of Elizabeth Short. And there have been complaints that Brian DePalma’s editing of a film that was originally three hours ruined it. I had never expected the movie to become another ”L.A. CONFIDENTIAL” (which did a mediocre job at the box office) – a rare case of near Hollywood perfection. I really do not see how a three hour running time would have helped ”THE BLACK DAHLIA”. It was a complex story, but not as much as the 1997 film. Hell, the novel was more straightforward than the literary L.A. Confidential”. And since the Hollywood publicity machine had made it clear that the movie was a direct adaptation of the novel, I found the argument that ”THE BLACK DAHLIA” should have been a docudrama that would solve Short’s murder rather ludicrous. Since I had read the novel back in the late 90s, I simply found myself wondering how DePalma would translate it to the movie screen.

In the end, I found myself more than satisfied with ”THE BLACK DAHLIA”. It possessed a first-rate cast led by a superb performance from Josh Harnett. Screenwriter Josh Friedman’s screenplay turned out to be a solid job that slightly improved Ellroy’s novel – especially the finale. And director Brian DePalma did an excellent job of putting it all together. I highly recommend it – if one does not harbor any high expectations.

[finndoesntwantthis]

Again if you feel I left anyone out, pls tag them 😌

[mollylongshlong]

no guys like this is insane… 😭😭😭

p21 intensive 2023 faculty list:

molly long

erica marr

nick young

tessandra chavez

jazelle tores

madi hicks

brian friedman

danny lawn

kirsten russell

lacey schwimmer

ricky maalouf

mandy korpinen and elizabeth petrin

tricia miranda

camila schwarz

saleemah e. knight

nika kljun

derrick schrader

billy bell

robbie blue

cheyenne murillo

bostyn brown

eugenia rodriguez

jordan pelliteri

cory barnette and troy herring

mj

renee baldwin

[chocolatehideoutpirate]

Here's a tribute edit for Isabella Nardoni to say I'm sorry that whatever happened to all of the innocent kids gone so soon and Angels they became to be in heaven to Beatriz Mota to Saffie Rose Roussos to JonBenèt Ramsey to Makayla Lynn Brewster to Junko Furuta to Rachel Joy Scott to Destiny Riekeberg to Destiny Norton to Destiny Marie Champagne to Lily Peters and Olivia Pratt Korbel to Olivia Engel to Emilie Parker to Yvonne Süskind to SISTERS EVA AND LIANE MÜNZER to Suzan and Sidra Hassouna to Anna Janáčová Tomíková to Jeannette Dawidowicz to Liliane Dawidowicz to Dora Poznanski to Rene Spiner to Jesse Layne Holland to Alexandria "Lexi" Rubio to Sarah Haley “HaleyBug” Foxwell to Baylor Arlene Nichols to Ava Cole Nichols to birgit ruth berkowitz to Sophie Jane “Soph” Lockwood-North to Charlotte Figi to Charlotte Bacon to Charlotte Louise Dunn to Rose Isabelle Pizem to Calla Adelaide Andrus to Calla Adelaide Woods to Joanna Arlene Mullin to Semina Halliwell and Ava Jordan Wood to Reta Shaw to Sandra Cantu to Jessica Lunsford to Makenna Lee Elrod to Jayce Carmelo Luevanos to his cousin Jailah Nicole Silguero to Eliahna Torres to Nevaeh Alyssa Bravo to Layla Salazar to Jackie Cazares to Anicka Anna Janatkova to Anna Glinberg to Larisa Ratmanski to Mania Halef to Nelly Tarszis to Yvonne Suckind to Anne and Margot Frank to Madeleine Hsu to Sara Sharif to Elizabeth Shelley to JoAnna Frances VanOstrand to Sherin Mathews to Jane Withers to Shirley Temple Black 1928-2014 to Alicia Lynn Clark to Maite Rodriguez, Leiliana Wright, Catherine Hubbard, Adriana Dukic, Mercedes Losoya, Skylar Annette Neese, Tristyn Bailey, Shinzo Abe, Star Hobson, Stevie Stock, Colby Curtin, Pauline Adelaar and Peter Fuchs, Helena Abram, Soren Chilson and Caylee Marie Anthony, Sierra Newbold, Natalynn Lea Miller, Amanda Todd, Bianca Devins, Gabriella Green, Moa Leontine Björk, Sloan Mattingly and Audrii Cunningham, Bella Claire Callaway, Joanna Mullin, Meika Jordan, Kristen Lee Dutton, Mikaela Renee Lynch, Avielle Richman, Eva Friedman, Magda Weisberger Willinger, Gracie Perry Watson and Inez Clarke Briggs, Jersey Dianne Bridgeman, Macie Hill, Caroline and Madison King and Madyson Middleton

[gorgonsagainstrape]

against forgiveness

A woman I know was recently raped; her first -- and typical -- instinct was to feel sorry for the rapist, who had held her at knife-point. When we begin to feel compassion for ourselves and each other instead of for our rapists, we will begin to be immune to suicide. Adrienne Rich

Margaret Cho Explains Why She Wants To Kill Her Rapist

Rape-Revenge: This Victim Survivor's Favourite Genre, Karen Moe

I Don't Forgive The Man Who Raped Me, Dina Friedman

When Forgiveness Isn’t An Option: M.F.A. (2017), Mary Beth McAndrews

Forgiveness is not justice. And trauma survivors don't need to forgive to heal, Ruby Hamad

Why I Reject Forgiveness Culture, Elizabeth Switaj

I Confronted My Rapist by Text Message, Anonymous

[kwebtv]

The Hanged Man  -  ITV  -  February 15, 1975 -  April 5, 1975

Crime Drama (6 episodes)

Running Time:  60 minutes

Stars:

Colin Blakely as Lew Burnett

Michael Williams as Alan Crowe

Gary Watson as John Quentin

David Daker as Piet Hollander

John Rees as Brian Nelson

Angela Browne as Elizabeth Hayden

Brian Croucher as Sammy Grey

William Lucas as George Pilgrim

Frank Wylie as David Larson

Julian Glover as Joe Denver

Jenny Hanley as Druscilla

Peter Halliday as Jean-Claud de Salle

John Bay as Sam Lambert

William Russell as Peter Kroger

Michael Coles as Hans Ericksen

Gareth Hunt as Eddie Malone

Jack Watson as Douglas McKinnon

Bill Mitchell as Harry Friedman

Alan MacNaughtan as Charles Galbraith

Naomi Chance as Jane Cowley

Tenniel Evans as Joseph

Victor Brooks as Nightwatchman

Fred Feast as Josef

[sbowen]

Ada Friedman

Elizabeth Buhe at The Brooklyn Rail has words about Ada’s Performance Proposal, Helen Rides VII: Wing and Wheel 3 (2020–24), at David Peter Francis, saying the works “propose that these thresholds are flexible, emphasizing valuable insights drawn from pre-industrial worldviews, vernacular belief systems, private magic, and seasonal rites.” One may since a shared spirit with…

[dollycas]

Phoning in a Murder (Jolie Gentil Cozy Mystery Series) by Elaine L. Orr #Spotlight / #Giveaway - Great Escapes Book Tour @elaine.orr1 @ElaineOrr55

Phoning in a Murder (Jolie Gentil Cozy Mystery Series) by Elaine L. Orr About Phoning in a Murder Phoning in a Murder (Jolie Gentil Cozy Mystery Series) Cozy Mystery 14th in Series Setting -The fictional town of Ocean Alley at the Jersey Shore. Publisher ‏ : ‎ Lifelong Dreams Publishing (June 30, 2024) Paperback ‏ : ‎ 181 pages ISBN-10 ‏ : ‎ 1963251008 ISBN-13 ‏ : ‎ 978-1963251005 Digital ASIN ‏ : ‎ B0D29VPJ9G Lots of teachers are irritated by students paying more attention to their cell phones than what's going on in the classroom. Some would like to see their school ban cell phones during the school day. They don't hold out a lot of hope for a cell phone ban, so they work around them. More than most faculty, the band director at Ocean Alley High School doesn't want students to have phones in class, and he especially doesn't want the band distracted by them when they march on the football field. Imagine his reaction when one goes off during the National Anthem. When no student will apologize, Mr. O'Halloran cancels band practice the week before a big competition. Talk about a good way to tick off students, parents, and band boosters. With Scoobie's brother Terry as one of the bass drummers, Jolie and family have strong opinions. But someone is a lot more upset. At least the knitting needle in the band director's neck seems to say so. If Jolie hadn’t been the first to find the man, she would be less insistent to know what happened to him. What really gets the Ocean Alley crew invested is the last two people the school security system shows talking to Mr. O'Halloran – Scoobie’s brother and his best friend. Rumors abound. With appraising houses, running the food pantry, and keeping four-year old twins in line, Jolie has her hands full. Scoobie’s best friend George is always willing to butt into a mystery. Sometimes that’s helpful. Other times, not so much. About Elaine Orr Elaine L. Orr has authored more than 30 works of fiction, including four mystery series. What makes her fiction different from other traditional mysteries? Some might say the dry humor (only a few say lame), but she thinks it is the empathy her characters show to others. Fiction doesn’t always have to be profound. But it can contain people whose paths we cross every day — whether we know it or not. Her books include the fourteen-book Jolie Gentil cozy mystery series, which is set at the Jersey shore. Behind the Walls was short-listed for the 2014 Chanticleer Mystery and Mayhem Awards. “Reading any Jolie Gentil book is like spending time with cherished friends. That feeling grows as the series continues.” Phoning in a Murder came out in late June 2024. The River's Edge series takes place among the cornfields of Southeastern Iowa, along the Des Moines River. A fired news reporter switches to landscaping, but still digs up trouble. Demise of a Devious Neighbor was a Chanticleer shortlister in 2017 The Western Maryland mountains, near Deep Creek Lake, host the five-book Family History Mystery Series. The Unscheduled Murder Trip received a B.R.A.G. Medallion in 2021.. Small-town Illinois is the setting for the Logland Series, which features Police Chief Elizabeth Friedman -- a police procedural with a cozy feel. Amid the mystery and laughs, Final Cycle, set during a Christmas season, shows why it’s important to assist those who are difficult to help. Elaine also writes plays and novellas, including the one-act, Common Ground. Her novella, Biding Time, was one of five finalists in the National Press Club's first fiction contest, in 1993. Falling into Place is a novella about family strength as a World War II veteran rises to the toughest occasion. (It’s also Elaine’s favorite book.) In the Shadow of Light is the fictional story of Corozón and her family, who are separated at the U.S./Mexico border. A member of Sisters in Crime and the Independent Book Publishers Association, Elaine grew up in Maryland and moved to the Midwest in 1994. She now lives in Springfield, Illinois. Author Links Website    Blog    Twitter/X   Threads    Instagram    TikTok    Pinterest    BookBub Purchase Links Amazon - Apple - Kobo - B&N - Google  More of the Series TOUR PARTICIPANTS August 13 – Mystery, Thrillers, and Suspense – SPOTLIGHT   August 14 – Books, Ramblings, and Tea – SPOTLIGHT August 14 – Socrates Book Reviews – SPOTLIGHT August 15 – Christy's Cozy Corners – AUTHOR INTERVIEW August 15 – Baroness Book Trove – SPOTLIGHT August 16 – Boys' Mom Reads! – SPOTLIGHT August 17 – FUONLYKNEW – SPOTLIGHT August 17 – MJB Reviewers – SPOTLIGHT August 18 – Lady Hawkeye – SPOTLIGHT August 19 – Reading Is My SuperPower – AUTHOR INTERVIEW August 19 – Sapphyria's Book Reviews - SPOTLIGHT August 20 – Cozy Up With Kathy – SPOTLIGHT August 21 – Maureen's Musings – SPOTLIGHT August 21 – Ascroft, eh? – CHARACTER GUEST POST August 22 – Sneaky the Library Cat's blog – CHARACTER INTERVIEW August 22 – Escape With Dollycas Into A Good Book – SPOTLIGHT August 23 – Celticlady's Reviews – SPOTLIGHT August 24 – fundinmental – SPOTLIGHT August 24 – StoreyBook Reviews – AUTHOR GUEST POST a Rafflecopter giveaway Have you signed up to be a Tour Host? Click Here to Find Details and Sign Up Today! Want to Book a Tour? Click Here Your Escape Into A Good Book Travel Agent This post contains affiliate links. If you make a purchase using my links, I will receive a small commission from the sale at no cost to you. Thank you for supporting Escape With Dollycas. Read the full article

[xneontragedyx]

The photograph you’ve shared captures a moment in history, but without additional context, it’s challenging to determine the specific fate of the individuals depicted. However, I can share some insights about other famous photographs and what happened to the people in them:

V-J Day Kiss Photo:

The iconic World War II photograph of a sailor kissing a nurse in Times Square on August 14, 1945, symbolized jubilance and relief upon the war’s end.

The nurse in the photo was Greta Zimmer Friedman, who later confirmed her identity.

The sailor was George Mendonsa, who spontaneously kissed her in celebration.

Friedman described it as a celebratory moment, not a romantic event1.

Warsaw Ghetto Uprising Photo:

Taken during the Warsaw Ghetto Uprising in 1943, this picture shows people thrown out of the ghetto by German troops.

Many were killed, and the rest were sent to concentration camps as retaliation for their actions against Jews2.

Little Rock Nine ‘Scream Image’:

The iconic photo captured Elizabeth Eckford, one of the Little Rock Nine, being screamed at by Hazel Bryan during the desegregation of Little Rock Central High School in 1957.

In 1997, photographer Will Counts arranged for Eckford and Bryan to meet, and they reconciled after 40 years3.

Mother and Daughter Falling from a Fire Escape:

Taken in 1975, this photo shows 19-year-old Diana Bryant and her 2-year-old goddaughter Tiare Jones falling from a burning apartment building’s collapsed fire escape in Boston.

The circumstances surrounding this tragic event remain heartbreaking4.

Remember that each photograph tells a unique story, and sometimes the full details are lost to history. If you have any specific context or additional information about the people in your photograph, feel free to share, and I’ll do my best to provide relevant insights. 😊