Count Dracula [il Conte Dracula (1970)] - Soundtrack

Although the film Bruno Nicolai composed this excellent music for was first released in 1970. A soundtrack LP of Nicolai's score would not be released until 1982. Twelve years later, that same album recording would get reissued on compact disc, with an additional 10 previously unpublished tracks. This 2021 disc is a remaster and reissue of the latter and a welcome addition to my collection.

When I checked the IMDB I found that Christopher Lee was in a total of nine films that had 1970 as the registered year of release. Three of those films were Dracula movies. Two of them were Hammer Film productions. The first being Taste the Blood of Dracula, which was the last film, at that time, to have a narrative connection to the entry that preceded it. Seeing that it picked up right where Dracula Has Risen from the Grave had ended. The second Hammer offering was the far inferior, I think, Scars of Dracula.

Count Dracula, an offering from Spanish director Jesús [Jess] Franco, would be the third time Lee would play the legendary vampire on the big screen in the year 1970. The lure here seems to have been an intention stated by the filmmaker(s) to hew closer to the narrative of Bram Stoker's novel than any other film had, up to that point.

While I have seen, and enjoyed, Franco's more Universal Monster mash styled (and almost dialogue free) Dracula, Prisoner of Frankenstein (1972), which also used this score. Count Dracula remains a vacancy in my viewing history. One that I hope to rectify, sooner rather than later.

Explorers (1985) - Newspaper Ad

San Francisco Examiner - June 30, 1985

I was not living in the States at the time of Explorers theatrical release, so I missed out on seeing it on the big screen. The version I did see was the home video release from Paramount, which had some modest alterations.

The tragedy of this movie's perceived failure, both commercially and critically, in 1985 most likely is rooted in its dire (and admitted by director Joe Dante) third act issues.

When Explorers went into production, it was slated for a Fall of 1985 release. At some point during production the film's release was moved forward to July, which shortened the film's post-production and might even have cut into some of its filming schedule. That latter point is an assumption of my part, at that time of writing this particular blog entry, that is. But I make it after having read how Dante has regularly voiced disappointment with the film's third act and stating that the moving forward of the release robbed them of the ability to work out the revelation and tighten the pacing. So it goes.

Still, it the film as is had more than enough charm and magic and love for schlocky science fiction movies that it is impossible not to enjoy it. And Jerry Goldsmith's score is, as always, a joy to hear. 

Alien 3 (1992) - Trading Card #43

Behind the scenes: Alien Head - Rubber Model

A final rubber model of the Alien's head is constructed only after a series of schematic drawings were created depicting the Alien from several angles. The original Alien design came from H. R. Giger and was reworked by Tom Woodruff, Jr., and Alec Gillis for Alien 3.

Tentacles [Tentacoli (1977)] - Newspaper Ad

Oakland Tribune - June 29, 1977

I have a memory of seeing the poster for Tentacles displayed at the Alameda Theatre and being unnerved and grossed out by the idea of being gripped and engulfed by slimy and sucker encrusted tentacles. The concept so unsettled me that I did not go and see the film.

Now there might be some out there that might hold the opinion that I dodged a bullet by making that decision. Because, when the film made its network television premiere and I finally watched it, I found the film to be a rather underwhelming and silly affair.

Ovidio Assonitis, credited here as Oliver Hellman, having made considerable bank with his Exorcist cash-in, known stateside as Beyond the Door, struggles to build and maintain any kind of tension whatsoever. While there a few nifty moments scattered throughout, they are just that. Moments. Not sequences, just an occasional well crafted edit or nicely angled shot during an attack sequence.

Though I would like to add Stelvio Cipriani's zesty score to my soundtrack collection at some point.

A check of the Theatre Guide revealed that, at the Lux, Tentacles was on triple-bill with The Little Cigars Mob, a film about gang of bank robbing circus midgets, and Savage Sisters, another Eddie Romero Philippines lensed exploitation flick. The Coliseum drive-in, that aforementioned Alameda Theatre, as well the Hayward 6, the Hilltop Mall, and the Nimitz drive-in all had Tentacles paired with a re-issue of The Food of the Gods. Not surprising, really. As both were American International releases and The Food of the Gods was the distributor's biggest moneymaker of the previous year.

The California Cinema, which is where I saw Boots Riley's debut Sorry to Bother You on the big screen, had Tentacles showing with Eddie Romero's Philippines lensed exploitation flick Twilight People.

Fright Flicks - Trading Card #78

Day of the Dead (1985)

"You almost killed Rickles. Yeah. You almost fucking killed Rickles." 

Gigantis The Fire Monster [Godzilla Raids Again (1955)]/Teenagers from Outer Space (1959) - Newspaper Ad

San Francisco Examiner - June 26, 1959

The first Godzilla movie took two years to reach theaters and drive-ins in the United States, albeit in a cosmetically altered version. This quickie sequel, released the very next year in Japan, took twice as long getting to the states. Titled Godzilla Raids Again in Japan, the film was retitled Gigantis The Fire Monster because, well, the distributor did not have the rights clearance to use the moniker Godzilla.

While Gigantis The Fire Monster is no Godzilla King of the Monsters, it does introduce Anguirus. Although a quickly vanquished antagonistic nuance to the Godzilla here, Anguirus would, much Godzilla itself, be resurrected and evolve into Big G's forever BFF.

I have never seen Teenagers from Outer Space, not even on Mystery Science Theater 3000. All I know about it is that one of the alien threats is represented by the black silhouette of what is clearly a lobster. It was evidently a real lobster and quite dead and therefore quite odiferous.

There is also a moment, at the very beginning, where an "annoying" dog gets zapped by a raygun and collapses as a skeleton.

Alien 3 (1992) - Trading Card #42

Behind the scenes - Planet surface

To create the surface of the planet Fiorina 161, the set was littered with derricks and cranes, on the back lot of Pinewood Studies, London. The planet's unusual horizon will eventually replace the plain blue background.

The Omen (1976) - Newspaper Ad

Oakland Tribune - June 25, 1976

In these United States, where this blog is currently housed, The Omen celebrates its 50th birthday today.

I remember being equal parts fascinated and unnerved by one of the countless advertisements for The Omen. It was the one where the shadow Damien casts is that of doglike figure, which I had no way on knowing at the time was supposed to represent a jackal (and Damien's birth mother). The more used alternate, of course, was Damien casting a shadow of cross that, because of the perspective, was rather conspicuously upside down (which means EVIL).

My only other memories are of flipping through the novelization and getting frightened by the black and white photos in the center. The same also applies for the novelization of Damien Omen II (1978).

I think I first saw the film when it made its network television debut. Because, at time of The Omen's theatrical release, my brother and I were considered far too young to see R-rated fare on the big screen.

Because this was a major theatrical release, The Omen had no double-feature in its indoor venues. However, at the Coliseum drive-in, where double-bills were essential to the point of being required, The Omen was well paired with 1973's The Legend of Hell House.
 

And those double-bills being shown on the adjacent screens were also pretty cool. 

Fright Flicks - Trading Card #77

Poltergeist (1982)

 

Land of the Dead (2005) - Newspaper Ad

San Francisco Examiner - June 24, 2005

That Eli Roth quote comparing the release of a new George A. Romero zombie film being something akin to the release of a new Star Wars film (in the year 2005, at least) was not all that far off the mark. Well, at least for me.

I took a vacation day just so I could see the very first matinee screening of Land of the Dead on its opening day, because I was really that excited about it. When the movie ended, I contemplated staying at the theatre and getting a ticket for the next showing. I kind of regret not doing so, but I had to get home and write a review for a now defunct webpage. So it goes.

Oh, and there was the whole needing to pick up my kid from school thing.

Reaction to the film was mixed, or course. I remember one message board comment describing the film as having a first and third act that were in dire need of a second. Something that might have to do with Simon Baker's character of Riley Denbo feeling a tad thin and underdeveloped when compared to the more colorful and more energetic characters that surround him.

The true standouts are John Leguizamo's Cholo, Asia Argento's Slack, Dennis Hooper's Kaufman, and Eugene Clark's Big Daddy. I also like the satirical flourish of having Big Daddy being surrounded by a zombie crew of this own.

While it may not have been the thunderous and energetic achievement I had hoped for, I still think it is makes for a solid entry. One that that showed Romero still had the vision and the creative ability to make something interesting and entertaining.