Podcasts about Roy Ward Baker

En el episodio 30 de esta temporada hablaremos de la película "EL CLUB DE LOS MONSTRUOS" ('The Monster Club', 1981). Dirigida por Roy Ward Baker, esta antología británica de terror y humor nos sumerge en un exclusivo club donde criaturas de todo tipo se reúnen para compartir sus macabras historias. Basada en relatos de R. Chetwynd-Hayes, la película combina segmentos de terror clásico con un tono desenfadado y una sorprendente banda sonora, con la presencia de Vincent Price y John Carradine como maestros de ceremonias. *Sintonía de entrada: Lucidator de Saggitarius V.

[10x1] Season X launches with us rewinding the clock on Hammer to tackle non-Dracula strands of the famous production company's archive. And we begin with The Vampire Lovers from Roy Ward Baker, with Ingrid Pitt playing a female vampire preying on affluent women in 19th-century Germany... And completing her unintended recent trilogy of Vampire Videos guest appearances, it's copywriter and podcaster Mary Muñoz once again... Hosts: Hugh McStay & Dan Owen Guest: Mary Muñoz Editor: Hugh McStay "You must die! Everybody must die!." -- Marcilla Subscribe and leave a rating or review to support the show. You can also leave a donation at Ko-fi and follow us on social media platforms here. A proud part of the Film Stories podcast network. Theme music by Nela Ruiz • Episode art by Dan Owen. Podcast art by Keshav. Learn more about your ad choices. Visit megaphone.fm/adchoices

As a companion piece to our episode on --And Now The Screaming Starts!, here's an episode of the much-missed podcast A Very British Horror discussing 1972's Asylum, the previous movie made Amicus Productions and director Roy Ward Baker.  The show's regular hosts, Chris Denton and Paul Monk, are joined by our very own Dan, in hyper-enthusiastic mode. If you've never seen Asylum, it's great fun and someone has (probably dodgily) uploaded it to YouTube.  We recommend you watch the film before listening to this spoilery discussion. Many thanks to Chris and Paul for allowing us to host this.

Today Matt and Todd are joined by Mike McCarty to discuss a favorite from 1968. Quatermass and the Pit, (or, if you have the time, watch Five Million Years to Earth the USA title). Quatermass and the Pit (1968) stars: James Donald, Andrew Keir (as Quatermass), Barbara Shelley, and Julian Glover. Directed by Roy Ward Baker. Written by the legend of British Science Fiction: Nigel Kneale, Quatermass and the Pit takes you to a deep pit, excavated in the underground of a London Building. What is found within begins to warp the minds of all around it, causing fear and chaos. Quatermass and the Pit will be enjoyed by fans of Dr. Who, or movies like Halloween III, Prince of Darkness and Pandorum. This is a classic blend of sci-fi and horror. Already well-known by Mike and Matt, this was a first-watch for Todd and an instant classic. This is a great time, check it out. We couldn't find this streaming anywhere in the US, but the fantastic Blu Ray is available and alive with 60s London Nostalgia, I thought it was a nice clean print.

Lee and guest host Wick check out Roy Ward Baker's "Dr. Jekyll and Sister Hyde" (1971), a Hammer production which marked the first gender-bending adaptation of Robert Louis Stevenson's famous story. The conversation jumps around from the excellent lead performances of Ralph Bates and Martine Beswick to how the film weaves in the Jack the Ripper and Burke and Hare stories, as well as if it actually intended any progressive message with its gender-switching story, of if it was all just an excuse to see Beswick fondle herself in the mirror while naked (spoilers: it was!). The hosts also talk about what they've watched lately. "Dr. Jekyll and Sister Hyde" IMDB  Check out Wick's art here.  Featured Music: "Dr. Jekyll and Sister Hyde Main Theme" by David Whitaker & "Under My Thumb" by Tina Turner.

A DEAD WOMAN WITH THE SOUL OF A MAN! A MURDEROUS MAN WHO CAN TRANSFORM INTO A WOMAN! PROBABLY JUST A COINCIDENCE!   Have you ever noticed that Hammer Studios made two horror films that work as trans allegories? Well, technically three, but I forgot about one of them. Anyway, I've been curious for a while as to what an actual trans person might think of Terence Fisher's Frankenstein Created Woman (1967) and Roy Ward Baker's Dr. Jekyll and Sister Hyde (1971), so I invited back my friend and the co-host of the Defend Your Trash Movie podcast, Luana Saitta, in order to pick her brain (Frankenstein-related wordplay intended).   This was originally going to be a look at multiple horror movies with a trans/genderqueer slant, but we ultimately had more than enough to talk about with just these two films. Are they really trans allegories? Have they aged well? Are they good outside of the allegory? I hope you agree, enjoy this angle on a couple of Hammer classics, and have a happy Halloween season!   00:00 – Intro 13:55 – Frankenstein Created Woman (and other Hammer Frankenstein movies)  50:32 – Dr. Jekyll and Sister Hyde (and other Hyde and Jack the Ripper movies) 1:42:26 – Outro and sections from Luana's ‘trans canon'   If you are in a position to make the world a better place, please consider the following fundraisers: Trans Lifeline: https://translifeline.org/ Hope Mill Inc's Hurricane Relief:  https://www.gofundme.com/f/support-hope-mill-incs-hurricane-relief Florida Disaster Fund (PayPal):  https://www.paypal.com/fundraiser/119147482333313104/charity/1521272 Palestine Children's Relief Fund:  https://pcrf1.app.neoncrm.com/forms/gaza-relief  

Is it about corporate greed run amok?  Class warfare?  Human indulgence?  Human suffering?  Uh… the hubris of man? Well, it's definitely not about some dumb diamond necklace.  Roy Ward Baker's all-time classic account of the sailing and sinking of the Titanic is far more than simply a blueprint for later, better retellings.  It may very well set the high watermark for them all. Join our  Patreon and support the podcast!  Join the Random Acts of Cinema Discord server here! *Come support the podcast and get yourself or someone you love a random gift at our merch store.  T-shirts, hoodies, mugs, stickers, and more! If you'd like to watch ahead for next week's film, we will be discussing and reviewing Henri-Georges Clouzot Wages of Fear (1952). 

Special guest Michael Patrick Jann brings us an almost-lost character study of a young woman lost in a world that doesn't value her existence. Director/Writer/Star Barbara Loden crafts a little drama, a little crime, and all the grimey Pennsylvania you can handle. Understated and sublime; American independent cinema by a singular filmmaker who was way ahead of her time.  Join our  Patreon and support the podcast!  Join the Random Acts of Cinema Discord server here! *Come support the podcast and get yourself or someone you love a random gift at our merch store.  T-shirts, hoodies, mugs, stickers, and more! If you'd like to watch ahead for next week's film, we will be discussing and reviewing Roy Ward Baker's A Night to Remember (1958). 

En una nueva edición de Página 13 dedicada al cine, Iván Valenzuela conversó con los columnistas Ascanio Cavallo y Antonio Martínez, respecto a os 50 años de “Gritos de terror” (1973) de Roy Ward Baker y también los 60 años de “El sirviente” (1963) de Joseph Losey.

This week Ken welcomes esteemed, accomplished director and author of the field guide/memoir "Adventures in the B-Movie Trade", Brian Trenchard-Smith to the show. Ken and Brian discuss the weather in Portland, Brian's travels around the world, his appreciation for everything he's gotten to do, visiting Soviet Russian in 1968, falling in love with cinema after seeing a Hitchcock film, how you should see a local movie in the native language in every country you visit, developing your taste in film, how the world is smaller, but not as substantive in many ways, forgetting your Italian accent, strange double features, taking acting classes with Barry Manilow, being only able to play a British Army Officer, knowing from age 13 you want to make movies, the closed show that was the British Film Industry, Australian television, editing Hammer Horror films, working for the ABC, editing sex and violence filled TV promos, sort of forging a recommendation letter, Raymond Burr, Ironsides, Number 96, Prisoner in Cell Block H, learning how cinema production worked, Beauty pageants for girls AND cars, Concourse Del Ellgance', stunts, making documentaries, Bruce Lee, Man from Hong King, Stunt Rock, why every young filmmaker needs a calling card, Hong Kong Cinema, cannibalizing your own films, World of Kung Fu (which no longer exists), Kung Fu Killers, editing news film and the pressure of it going down to the wire, news directors wanting to kill you, Japanese Cinema, Seven Samurai, Rashomon, being OBSESSED with trailers growing up, The Legend of the Seven Golden Vampires, visiting the set of Shatter, Roy Ward Baker, finding financing, hopping on a trend too late, the Bruce Lee clones, being bored by love scenes in films, parody, being subversive, hang gliders, Dead End Drive In, having to watch three hours of Once Upon a Time in the West so you can cut the trailer, Leprechaun in Space, enjoying the days when you physically handled film, enjoying your films with an audience, the 1988 Mission Impossible, Sahara with Jim Belushi, directing Flipper, being proud of different films for different reasons, Seconds to Spare, diehard on a train, replacing Dolph Lundgren with Antonio Sabato Jr, Happy Face Murders with Ann-Margaret, and the awe of making and watching Omega Code 2. 

6x4 - SCARS OF DRACULA (1970)We return to the well of Hammer horror for Scars of Dracula, directed by Roy Ward Baker, starring Christopher Lee once again as the eponymous Count, this time being antagonised by two brothers at his castle home...To talk about this film, our returning guest this week is editor and podcaster Mary Muñoz...HostsHugh McStay & Dan OwenGuestMary MuñozEditorHugh McStay"What we shall be facing in a few hours' time is not a man. He is evil. He is the embodiment of all that is evil. He is the very Devil himself." -- The Priest.Why not get Bitten and join our Ko-fi membership tier, to listen to episodes earlier?Or subscribe and leave us a rating or review to help spread the word. It's the best way to help grow the podcast and make it discoverable by more people. You can also leave a donation at Ko-fi and follow us on various social media platforms here.A proud part of the We Made This podcast network.Vampire Videos theme music composed by Nela Ruiz • Podcast artwork by Dan Owen.Become a supporter of this podcast: https://www.spreaker.com/podcast/vampire-videos--5546381/support.

Un épisode sous le signe du WAMPYR cette semaine alors que les voyeurs se penchent sur Blade de Stephen Norrington, The Vampire Lovers de Roy Ward Baker et Vampire humaniste cherche suicidaire consentant d'Ariane Louis-Seize!

En una nueva edición de Página 13 dedicada al cine, Iván Valenzuela conversó con los columnistas Ascanio Cavallo y Antonio Martínez, respecto a las películas “Sonido de Libertad, “Proyecto Fantasma”, "Cobweb" y los 50 años de "Gritos de terror" de Roy Ward Baker.

En una nueva edición de Página 13 dedicada al cine, Iván Valenzuela conversó con los columnistas Ascanio Cavallo y Antonio Martínez, respecto a las películas “Sonido de Libertad, “Proyecto Fantasma”, "Cobweb" y los 50 años de "Gritos de terror" de Roy Ward Baker.

Jim discusses a classic horror film from Amicus Productions directed by Roy Ward Baker – “And Now The Screaming Starts,” starring Peter Cushing, Stephanie Beacham, Ian Ogilvy, Patrick Magee, Herbert Lom and Douglas Gamley. A newly married couple experience strange happenings, including murder, at the groom’s family estate. Is a legendary curse at work? Find … And Now The Screaming Starts | Episode 371 Read More » The post And Now The Screaming Starts | Episode 371 appeared first on The ESO Network.

LOVE WILL HAVE ITS SACRIFICES. NO SACRIFICE WITHOUT BLOOD. BEWARE THE NIGHT AND YOUR OWN GAY PANIC, BUT, ALSO, HUBBA HUBBA!   Wash your neck, prep your veins, and get ready to donate your plasma to the blood-sucking daughters of Sappho. It's time to explore the sexy, violent world of lesbian, pan, and bisexual vampires on film. Join Gabe and returning guest Luana Saitta of the Defend Your Trash Movie and Monster Island Commentaries podcasts as they explore a specific period in Sapphic vampire movie history (1970 to 1983) and four representations of the surprisingly prolific genre: Roy Ward Baker's The Vampire Lovers (1970), Harry Kümel's Daughters of Darkness (French: La Rouge aux Lèvres, 1971), Jean Rollin's The Living Dead Girl (French: La Morte Vivante, 1982), and Tony Scott's The Hunger (1983).   00:00 – Intro 09:26 – The Vampire Lovers 32:43 – Daughters of Darkness 53:12 – The Living Dead Girl 1:21:57 – The Hunger 1:40:44 – Outro   If you are in a position to make the world a better place, please consider the following fundraisers: Dallas Hope Charities (LGBTQ+ homeless youth charity): https://secure.givelively.org/donate/dallas-hope-charities Equality Florida: https://www.eqfl.org/ Atlanta Solidarity Fund: https://atlsolidarity.org/ Donations 4 Abortions (state by state abortion funds): https://donations4abortion.com/funds-by-state  

Jim discusses another classic from Hammer Films, 1970's "Scars Of Dracula," starring Christopher Lee, Dennis Waterman, Jenny Hanley, Christopher Matthews, Wendy Hamilton, Michael Gwyn, Patrick Troughton, Michael Ripper and directed by Roy Ward Baker. A young man goes missing. A young couple searching for the man find themselves crossing paths with a recently resurrected Count Dracula. Find out more on this episode of MONSTER ATTACK!, The Podcast Dedicated To Old Monster Movies.

Jim discusses another classic from Hammer Films, 1970’s “Scars Of Dracula,” starring Christopher Lee, Dennis Waterman, Jenny Hanley, Christopher Matthews, Wendy Hamilton, Michael Gwyn, Patrick Troughton, Michael Ripper and directed by Roy Ward Baker. A young man goes missing. A young couple searching for the man find themselves crossing paths with a recently resurrected Count … Scars Of Dracula | Episode 363 Read More » The post Scars Of Dracula | Episode 363 appeared first on The ESO Network.

Directed by Roy Ward Baker and released in 1958, A Night to Remember is a film that tells the tragic tale of the R.M.S. Titanic. Based on a novel by Walter Lord of the same name, the film takes a respectful approach to the subject with honesty and care. It is widely respected and its influence can still be felt to this day. 

Quatermass and the Pit (or as it's known in the US ‘Five Million Years to Earth') is a 1967 British science fiction horror film from Hammer Film Productions, a sequel to the earlier Hammer films The Quatermass Xperiment and Quatermass 2 (see General Witchfinders episode 17 for more details). Like its predecessors it is based on a BBC Television serial, of the same name, written by Podcast hero Nigel Kneale. It was directed by Roy Ward Baker (who is responsible for such highs as A Night to Remember And such lows and The scars of Dracula and The Legend of the 7 Golden Vampires - see episodes 28 and 31 respectively)  And this incarnation stars Andrew Keir (featured in Cleopatra, Dracula: Prince of Darkness and Daleks' Invasion Earth 2150 A.D.)  in the title role as Professor Bernard Quatermass, replacing Brian Donlevy, who played the role in the two earlier films. James Donald, Barbara Shelley (also in Dracula: Prince of Darkness and The Gorgon) and Julian Glover (whos been in some little known films called Indiana Jones and the Last Crusade, The Empire strikes back, Games of thrones, several Doctor Who stories and load of other stuff including being the voice of a giant spider in Harry Potter) they appear in co-starring roles.Nigel Kneale wrote the first draft of the screenplay in 1961, but difficulties in attracting interest from American co-financiers meant the film did not go into production until 1967. The director, Roy Ward Baker, was chosen because of his experience with technically demanding productions such as A Night to Remember; this was the first of six films that he directed for Hammer. Andrew Keir, playing Quatermass, found making the film an unhappy experience, believing Baker had wanted Kenneth More to play the role. Owing to a lack of space, the film was shot at the MGM-British Studios in Elstree, Borehamwood, rather than Hammer's usual home at the time, which was the Associated British Studios, also in Elstree.The plot of the film verison was condensed to fit the shorter running time, the main casualty being the removal of a subplot involving a journalist named James Fullalove, and the climax was altered slightly to make it more cinematic. The setting for the pit was changed from a building site to the London Underground. The closing scene of the television version, in which Quatermass pleads with humanity to prevent Earth becoming the "second dead planet", was also dropped, in favour of a shot of Quatermass and Judd sitting alone amid the devastation wrought by the Martian spacecraft.The script was sent to John Trevelyan of the British Board of Film Censors in December 1966. Trevelyan replied that the film would require an X certificate and complained about the sound of the vibrations from the alien ship, the scenes of the Martian massacre, scenes of destruction and panic as the Martian influence takes hold and the image of the Devil.It has been suggested that Tobe Hooper's 1985 Lifeforce is largely a remake of Hammer's Quatermass and the Pit. In an interview, director Tobe Hooper discussed how Cannon Films gave him $25 million, free rein, and Colin Wilson's book The Space Vampires. Hooper then shares how giddy he was: "I thought I'd go back to my roots and make a 70mm Hammer film.Three decades on, Andrew Keir reprised the role of the Professor in "The Quatermass Memoirs", a five-part docudrama scripted by Nigel Kneale and transmitted on BBC Radio 3 in March 1996. Get bonus content on PatreonSupport this show http://supporter.acast.com/general-witchfinders. Hosted on Acast. See acast.com/privacy for more information.

Four films in one podcast? It can only mean that Trev is back with another months worth of the Films I Own That I Haven't Watched Yet. Four films picked at random (well, three at random this week and one has jumped the queue) from Trev's ever growing DVD collection. Listen in as he watches each movie and then gives his impromptu review straight after watching them.This weeks films are RONIN (1988)A gritty Crime - thriller directed By John Frankenheimer Written By David Mamet and starring Robert DeNiro, Jean Reno, Stella Skarsgard, Natasha McElhone, Sean BeanWatch or Own Ronin here - https://amzn.to/3YOkHRcTHE BURBS (1989)Dark-comedy horror directed by Joe Dante, written by Joe Dante and Dana Olson and starring Tom Hanks, Rick Docummun, Carrie Fisher, Bruce Dern and Corey FeldmanWatch or own the burbs here - https://amzn.to/3YuhhTWA NIGHT TO REMEMBER (1958)Docu-drama of the tragic voyage of the Titanic Directed by Roy Ward Baker, and starring Kenneth More, Honor Blackman, Michael Goodliffe, and Tucker McGuireWatch or own A Night To Remember here - https://amzn.to/3YuibjiTRUE ROMANCE (1993)A high-octane ultra-violent action thriller directed by Tony Scott, Written by Quentin Tarantino and starring a massive cast of actors including Christian Slater, Patricia Arquette, Christopher Walken, Dennis Hopper, Gary Oldman, Brad Pitt, James Gandolfini and Val KilmerBuy your own copy here - https://amzn.to/3xkoGt3 Hosted on Acast. See acast.com/privacy for more information.

Links www.youtube.com/mrparka https://www.instagram.com/mrparka/ https://twitter.com/mrparka00 http://www.screamingtoilet.com/dvd--blu-ray https://www.facebook.com/mrparka https://www.facebook.com/screamingpotty/ ​https://letterboxd.com/mrparka/ ​https://www.patreon.com/mrparka https://open.spotify.com/show/2oJbmHxOPfYIl92x5g6ogK https://anchor.fm/mrparka https://www.stitcher.com/show/shut-up-brandon-podcast https://podcasts.apple.com/us/podcast/mrparkas-weekly-reviews-and-update-the-secret-top-10/id1615278571 Time Stamps 0:00 “Magnificent Warriors” Review – 0:18 “A Woman Kills” Review – 4:00 “From Beyond” 4K Review – 8:27 “Undeclared War” Review – 13:59 “Infernal Rapist” Review– 17:21 “Blood Hunt” Review – 21:05 “Clash” Review– 24:00 “Joy Ride Trilogy” Review – 27:11/ 29:10/ 30:37 “M3GAN” Review – 32:17 “Infinity Pool” Review – 35:29 Patreon Pick “And Now the Screaming Starts” Review – 39:20 Questions/ Answers – 43:49 Update – 49:54 Update Blu-Ray 1. Programmed to Kill 2. Attack of the Beast Creatures 3. Lost Faith 4. Undead 5. Frostbiter: Death of the Wendigo 6. Made in Hong Kong Volume 1: Erotic Nightmare/ Deadly Camp/ The Demon's Baby 7. The Beast in Space 8. Flesh and Fantasy 9. Curucu Beast of the Amazon 10. Ted Bundy 11. Sidekicks 4K Film Notes Magnificent Warriors – 1987 – David Chung A Woman Kills – 1968 – Jean-Denis Bonan From Beyond – 1986 – Stuart Gordon Undeclared War – 1990 – Ringo Lam The Infernal Rapist – 1988 – Damián Acosta Esparza Blood Hunt – 1986 – Javier Elorrieta Clash – 1984 – Raphaël Delpard Joy Ride – 2001 – John Dahl Joy Ride 2: Dead Ahead – 2008 – Louis Morneau Joy Ride 3 – 2014 – Declan O'Brien M3GAN – 2022 – Gerard Johnstone Infinity Pool – 2023 – Brandon Cronenberg And Now the Screaming Starts! – 1973 – Roy Ward Baker

Dopo 25 anni torna in sala "Titanic" di James Cameron e insieme a Massimiliano Bolcioni ne approfittiamo per parlarne e per citare vecchi film dedicati al mito della nave più famosa della storia ma anche delle tante navi che al cinema hanno raccontato di catastrofi marine: "Titanic" di James Cameron (1997), "Titanic" di Jean Negulesco (1955),  "Titanic latitudine 41 nord" di Roy Ward Baker (1958),  "La nave dei folli" di Stanley Kramer (1965), "La nave dei dannati" di Stuart Rosemberg (1976), "La crociera del terrore" di Andrew L. Stone (1960), "Nave fantasma" di Steve Beck (2002), "Prigionieri dell'oceano" di Alfred Hitchcock (1944).

We're switching things up on "Son of Hammerland" with a look at Dr. Jekyll and Sister Hyde!Roy Ward Baker's thoroughly engrossing yet unfortunately titled thriller mashes up Robert Louis Stevenson's classic novel with the Jack the Ripper murders, a slash of Burke and Hare, and a gender-bent look at the classic "tragic villain"!Ian and AC dig into what makes this film such a sinister joy, and how it fits in with some of the other Hammer horror they've reviewed over the years.!And be sure to join us back here next month as we close out 2022 with a deadly double-feature: Captain Kronos: Vampire Hunter and Vampire Circus!Show Links:Watch the Dr. Jekyll and Sister Hyde trailer.Keep up with Aaron's reviews at Horror 101 w/ Dr. AC!Catch up on previous "Son of Hammerland" episodes!And watch the series that started it all: "Hammerland"!Subscribe to, like, and comment on the Kicking the Seat YouTube channel!

The big Transgender Jubilee! Josh sends Drusilla off for surgery, but not before they discuss the movie from which Drusilla stole her username. From Wiki: "Dr. Jekyll and Sister Hyde is a 1971 British horror film directed by Roy Ward Baker based on the 1886 novella Strange Case of Dr Jekyll and Mr Hyde by Robert Louis Stevenson. The film was made by British studio Hammer Film Productions and was their third adaptation of the story after The Ugly Duckling and The Two Faces of Dr. Jekyll.[citation needed] The film is notable for showing Jekyll transform into a female Hyde; it also incorporates into the plot aspects of the historical Jack the Ripper and Burke and Hare cases.[1] The title characters were played by the film's stars, Ralph Bates and Martine Beswick."Along the way: Female Trouble, Myra Breckenridge, Desperate Living, Pink Flamingos, Elizabeth Coffey on Midnight Mass, the new Arrow boxset Gothic Fantastico, Hatchet for the Honeymoon, The Night Evelyn Came from the Grave, White Lotus, School of Rock, Enlightenment, Chucky, Smile, and more!NEXT WEEK: Hereditary with special guest Chrisitan TucciWebsite: http://www.bloodhauspod.com Twitter: https://twitter.com/BloodhausPodInstagram: https://www.instagram.com/bloodhauspod/Email: bloodhauspod@gmail.com Drusilla's art: https://www.sisterhydedesign.com/Drusilla's Instagram: https://www.instagram.com/hydesister/Drusilla's Letterboxd: https://letterboxd.com/drew_phillips/ Joshua's website: https://www.joshuaconkel.com/Joshua's Twitter: https://twitter.com/JoshuaConkel Joshua's Instagram: https://www.instagram.com/joshua_conkel/Joshua's Letterboxd: https://letterboxd.com/joshuaconkelal 

The martial arts horror film The Legend of the 7 Golden Vampires was released in 1974.  It stars. Peter Cushing as Professor Van Helsing  Christopher Lee… oh hang on… John Forbes-Robertson as Count Dracula (Not the son of Johnston Forbes-Robertson, but did play Mr Badger in 2 episodes of Jonny Briggs)  Robin Stewart as Leyland Van Helsing  (29 episodes of Sons and Daughters)  Julie Ege (pronounced eg-gay", not "edge") as Vanessa Buren (1962 Miss Norway and competed in Miss Universe pageant Awarded the title "The New Sex Symbol of the 70s" by the head of Hammer Film Studios, Sir James  Carreras. Hammer featured her as a not-so-glamorous prehistoric woman in its ‘Creatures the World Forgot' (1971). The film was a flop, but Julie went on a round-the-world publicity tour and became a leading pin-up model.  She lived for six years in the 1970s with Tony Bramwell, former assistant to The Beatles and later a successful record and film music promoter. Their next door neighbor was Brian May of the rock group Queen. To date, she is the only Norwegian James Bond girl (in On Her Majesty's Secret Service (1969)) Shen Chan as Kah, David Chiang as Hsi Ching and Szu Shih as Mei Kwei all stars of innumerable asian movies.  The film began development due to Don Houghton's father-in-law knowing Hong Kong film producer Run Run Shaw. Houghton flew to Hong Kong to discuss a project with Run Run and his brother Runme who agreed to finance 50% of the film. It was shot between October 22 and December 11, 1973, at Shaw Brothers Studios in Hong Kong.  The Shaw Brothers were not happy with how Roy Ward Baker (Dr Jekyll & Sister Hyde, Scars of Dracula, The Vampire Lovers, and A Night to Remember) was directing the film and had martial arts sequences choreographed by one of their studios directors Cheh Chang (uncredited), these additional scenes that led to the Eastern version of the film to run at 110 minutes (20 mins longer that the UK version).   Renee Glynee who was the continuity supervisor for the film stated that working with the Shaw Brothers Studios was "a big experience" due to language differences and that director Roy Ward Baker was constantly screaming at the Chinese actors to stop spitting on set. In an interview in the late 1990'sBaker described the shooting of this film as "a nightmare". He discovered that Hong Kong films were made silent and looped in post-production due to the constant noise of traffic and aircraft. He lamented that Peter Cushing was practically catatonic on set, having recently been widowed but still wanting to do the film to give him something to do. On its release in the United States, the film was truncated further by 20 minutes, re-titled The 7 Brothers Meet Dracula and loops several remaining scenes to fill the running time.  In all territories, the film was a financial failure.  This is the only Hammer "Dracula" film not to feature Count Dracula's name in the title. Forbes-Robertson, long time stand in for Big Chris Lee (was considered to fill the cape in Scars of Dracula before Lee was persuaded to return) was furious when he discovered that he had been dubbed by David de Keyser.  Lee tried to talk Peter Cushing into not doing the project, as he considered it below an actor of Cushing's calibre. Lee told Cushing that Ralph Bates was willing to step in and do the film if Cushing wanted to back out, but Cushing replied that he thought the change of scenery might help his ongoing grief induced depression.  Get bonus content on PatreonSupport this show http://supporter.acast.com/general-witchfinders. Hosted on Acast. See acast.com/privacy for more information.

This week we have a look at the 1970 Hammer film Scars of Dracula as part of our march to Halloween. This is Episode #382!Scars of Dracula is a 1970 British horror film directed by Roy Ward Baker for Hammer Films.It stars Christopher Lee as Count Dracula, along with Dennis Waterman, Jenny Hanley, Patrick Troughton, and Michael Gwynn. Although disparaged by some critics, the film does restore a few elements of Bram Stoker's original character: the Count is introduced as an "icily charming host;" he has command over nature; and he is seen scaling the walls of his castle. It also gives Lee more to do and say than any other Hammer Dracula film except his first, 1958's Dracula.

Ian and A.C. head to the spooky, otherworldly depths...of the London underground railways for a "Son of Hammerland" look at Quatermass and the Pit!Hammer veteran Roy Ward Baker's 1967 adaptation of the mid-50s Quatermass serial adventures finds the titular scientist (Andrew Keir) investigating an alien spacecraft that has been unearthed in Old Blighty. Strange phenomena occur as the military gets closer and closer to penetrating the ship, leading to mysteries that may hold the key to everything from religion to evolution!In this spoilerific review, the guys marvel at the film's ahead-of-its-time ideas; excellent performances, and possible influences on other popular films of the genre. They also talk about a particularly jaw-dropping special effects sequence, and reveal why they jumped from 1955's The Quatermass Xperiment to this movie--skipping Quatermass 2 entirely!Show Links:Watch the Quatermass and the Pit (1967) trailer.Read Aaron's written review of Quatermass and the Pit (1967).Pick up Aaron's book, Hidden Horror (mentioned in the show)!Catch up with Ian and A.C.'s review of The Quatermass Xperiment from earlier this year.Catch up on previous "Son of Hammerland" episodes!And watch the series that started it all: "Hammerland"!Subscribe to, like, and comment on the Kicking the Seat YouTube channel!

Scars of Dracula is a 1970 British horror film directed by Roy Ward Baker for Hammer Films.It stars Christopher Lee as Count Dracula, along with Dennis (i should be so good for you) Waterman, Jenny Hanley, Patrick Troughton, and Michael Gwynn. Although disparaged by some critics, the film does restore a few elements of Bram Stoker's original character: the Count is introduced as an "icily charming host;" he has command over nature; and he is seen scaling the walls of his castle. It also gives Lee more to do and say than any other Hammer Dracula film except its first, 1958's Dracula.This film breaks the continuity maintained through the previous entries in Hammer's Dracula film series: whereas at the end of the preceding film, Taste the Blood of Dracula, the Count met his end in a disused church near London, this film opens with a resurrection scene set in Dracula's castle in Transylvania, with no explanation of how his ashes got there. Furthermore, in Scars of Dracula, the Count has a servant named Klove, played by Patrick Troughton; in the third film of the series, Dracula: Prince of Darkness, Dracula has a servant named Klove (played by Philip Latham) who appears to be a different character, though identically named. The disruption of continuity caused by Scars of Dracula reflects the fact the film was originally tooled as a possible reboot of the series in the event Christopher Lee elected not to reprise the role of Dracula, and, as Listener Christopher pointed out was intended for John Forbes-Robertson, who later played Dracula in The Legend of the 7 Golden Vampires.Peter Cushing was asked to appear in this movie, however due to conflicting schedules, he reluctantly declined the major role written for him. He was able to carry out a dare set by his good friend Christopher Lee. Due to a hold up in production in filming of "Scream and Scream Again", Peter was able to spend a day on set filming a brief cameo as a milkmaid for the opening village Inn scene.Dracula's resurrection at the beginning of the film is the same footage as Dracula's death from Taste the Blood of Dracula, but simply played in reverse.$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$ Just in case anyone has too much money and wants to give a bit to us to help with our hosting n stuff. It would be amazing if you fancied sending us some pennies - thank you.https://supporter.acast.com/general-witchfinders $£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£   Get bonus content on PatreonSupport this show http://supporter.acast.com/general-witchfinders. See acast.com/privacy for privacy and opt-out information.

Dans cet épisode, le temps est venu d'aborder la décennie cinématographique 1940 pour le trio Gravlax – Pap(Gubi)da – Casa. La sélection de films les emmène Outre-Atlantique avec un film classique et très connu, un film dont le nom est ultra connu même si on ne sait pas vraiment toujours ce qui se cache derrière, et enfin une pépite qui commence à être remise en avant et réévaluée au fil des ans. Le programme de films sera donc : 4'55 ( Gravlax ) : « Pêché Mortel » de John M.Stahl ( 1945 ; SPOILERS vers 26 minutes 30 secondes ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=394.html 38'30 ( Gubi ) : « Les Raisins de la Colère » de John Ford (1940) : https://www.allocine.fr/film/fichefilm_gen_cfilm=1268.html 1H10 ( Casa ) : « Hellzapoppin' » d'Henry C.Potter (1941) : https://www.allocine.fr/film/fichefilm_gen_cfilm=210.html Les « recos » : ( Gubi ) : « Un frisson dans la nuit » de Clint Eastwood ( 1971 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=377.html ET la série « Manipulations » de Jeanne Le Guillou et Bruno Dega ( 2022 ) : https://www.allocine.fr/series/ficheserie_gen_cserie=28809.html ET « Monsieur Verdoux » de Charles Chaplin ( 1947 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=2257.html ( Gravlax ) : « 49ème Parallèle » de Michael Powell ( 1941 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=61530.html ET « L'évadé du camp 1 » de Roy Ward Baker ( 1957 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=60815.html ( Casa ) : La série documentaire « Cinq hommes et une guerre » de Laurent Bouzereau (2017) : https://www.allocine.fr/series/ficheserie_gen_cserie=21794.html Films évoqués durant l'épisode : • « **Les Clés du Royaume** » de John M.Stahl (1944) : https://www.allocine.fr/film/fichefilm_gen_cfilm=22377.html • « **Le démon de la chair** » d'Edgar G. Ulmer (1946) : https://www.allocine.fr/film/fichefilm_gen_cfilm=564.html • « **Cléopâtre** » de Jospeh Mankiewicz (1963) : https://www.allocine.fr/film/fichefilm_gen_cfilm=2384.html • « **La planète des singes** » de Franklin J.Schaffner (1968) : https://www.allocine.fr/film/fichefilm_gen_cfilm=12791.html • « **Le retour de Franck James** » de Fritz Lang (1940) : https://www.allocine.fr/film/fichefilm_gen_cfilm=6513.html • « **Le ciel peut attendre** » d'Ernst Lubitsch (1943) : https://www.allocine.fr/film/fichefilm_gen_cfilm=392.html • «** Laura** » d'Otto Preminger (1944) : https://www.allocine.fr/film/fichefilm_gen_cfilm=393.html • « **L'aventure de madame Muir** » de Joseph Mankiewicz (1947) : https://www.allocine.fr/film/fichefilm_gen_cfilm=47500.html • « **Les Forbans de la Nuit** » de Jules Dassin (1950) : https://www.allocine.fr/film/fichefilm_gen_cfilm=395.html • « **Mark Dixon, détective** » d'Otto Preminger (1950) : https://www.allocine.fr/film/fichefilm_gen_cfilm=5358.html • «** La main gauche du Seigneur** » d'Edward Dmytryk (1956) : https://www.allocine.fr/film/fichefilm_gen_cfilm=175556.html • La série « **Desperate Housewives** » de Mark Cherry (2004-2012) : https://www.allocine.fr/series/ficheserie_gen_cserie=221.html • « **Network, main basse sur la télévision** » de Sidney Lumet (1976) : https://www.allocine.fr/film/fichefilm_gen_cfilm=46077.html • « **Les Diaboliques** » d'Henri-Georges Clouzot ( 1955 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=3732.html • « **Le brigand bien-aimé** » d'Henry King et Irwin Cummings ( 1939 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=3095.html • « **Vers sa destinée** » de John Ford ( 1939 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=3918.html • « **Il était une fois dans l'Ouest** » de Sergio Leone ( 1968 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=2021.html • « **L'honneur perdu de Katarina Blum** » de Volker Schlöndorff et Margarethe von Trotta ( 1975 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=2381.html • « **Douze hommes en colère** » de Sidney Lumet ( 1957 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=4063.html • « **La maison du lac** » de Mark Rydell ( 1981 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=12454.html • « **Les enfants de la Crise** » de William A.Wellman ( 1933 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=138188.html • « **Les voyages de Sullivan** » de Preston Sturges ( 1941 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=46946.html • « **Deadpool** » de Tim Miller ( 2016 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=146349.html • « **La folle journée de Ferris Bueller** » de John Hugues ( 1986 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=46543.html • « **Gremlins 2** » de Joe Dante ( 1990 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=5922.html • « **La folle histoire de l'Espace** » de Mel Brooks ( 1987 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=2735.html • « **Hamburger Film Sandwich** » de John Landis ( 1977 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=13264.html • « **Astérix et Obélix : Mission Cléopâtre** » d'Alain Chabat ( 2001 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=28537.html • « **La Cité de la Peur** » d'Alain Berberian ( 1994 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=9400.html • « **Zelig** » de Woody Allen ( 1983 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=1618.html • « **La rose pourpre du Caire** » de Woody Allen ( 1985 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=286.html • « **Last Action Hero** » de John McTiernan ( 1993 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=8204.html • « **The Mask** » de Chuck Russell ( 1994 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=10744.html • « **Là-Haut** » de Pete Docter et Bob Peterson ( 2009 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=130368.html • « **Nicky Larson et le parfum de Cupidon** » de Philippe Lacheau ( 2018 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=257514.html • « **Airport 80 Concorde** » de David Lowell Rich ( 1979 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=44481.html • « **Wayne's World** » de Penelophe Spheeris ( 1992 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=7028.html • « **Les Chaussons Rouges** » de Michael Powell et Emeric Pressburger ( 1948 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=553.html • « **Lawrence d'Arabie** » de David Lean ( 1962 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=4749.html • « **Docteur Jivago** » de David Lean ( 1965 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=4754.html • « **Le pont de la rivière Kwai** » de David Lean ( 1957 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=1602.html • « **Went The Day Well ?** » d'Alberto Cavalcanti ( 1942 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=28088.html • « **Bon Voyage** » d'Alfred Hitchcock ( 1944 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=6809.html • « **Le Troisième Homme** » de Carol Reed ( 1949 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=1826.html • « **L'héroïque parade** » de Carol Reed ( 1944 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=56557.html • « **Le voleur de Bagdad** » de Michael Powell ( 1940 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=7072.html • « **Le Dictateur** » de Charles Chaplin ( 1940 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=2253.html • « **Le Narcisse Noi**r » de Michael Powell et Emeric Pressburger ( 1947 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=4305.html • « **Colonel Blimp** » de Michael Powell et Emeric Pressburger ( 1943 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=4082.html • « **Ben Hur** » de William Wyler ( 1959 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=1532.html • « **Le faucon maltais** » de John Huston ( 1941 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=1809.html • « **La vie est belle** » de Frank Capra ( 1946 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=5762.html • « **Arsenic et vieilles dentelles** » de Frank Capra ( 1944 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=1343.html • « **Géant** » de George Stevens ( 1956 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=29107.html • « **Dreamcatcher, l'attrape-rêves** » de Lawrence Kasdan ( 2002 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=41300.html • « **Mémoires de nos pères** » de Clint Eastwood ( 2006 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=60580.html Musique diffusée durant l'épisode : Générique « Loud Pop » ( Gravlax ) LVDS « Blessed » Alfred Newman ( B.O de « Péché Mortel – Leave Her to Heaven » ) : « Main title » / « Train music » / « Night scene : Spreading the ashes » / « Warm Springs : Danny » / « Newlyweds : First Dinner » / « Eleen and Danny on the Lake » / « Bar Harbor : Dick's Suspicions » / « Windy Day : Jealousy » / « Eleen's Plan : Fall Down The Stairs » / « The Letter : Poison » / « Finale » Paul Mitchell Wright : « Tom Joad Walking » / « Tom Joad's Lament » / « Grandma's Waltz » / « Amazing Grace » / « A People in Flight » / « The Mother Road » / « Cross Country » / « Gone » / « Pastures of Plenty » / « Chicken Reel » / « Camp Waltz » / « Beyond the End of the Road » Louis Armstrong « Hellzapoppin' » Martha Raye & The Six Hits « Watch The Birdie » / « Conga Beso » Whitey's Lindy Hoppers of the Savoy Ballroom « Lindy Hop » Robert Paige & Jane Frazee « Heaven for Two » ProleteR « It don't mean a thing » / « When Lana says » The Laidbackz « Foolish Thoughts » Nicobox « Goodbye » Tony Lee « Theme song of Misty » Générique de la mini-série « Manipulations » ( 2022 ) par Sathy Ngouane et Axelle Renoir Ralph Vaughan Williams : 49th Parallel Suite « Prelude » / « Prologue » Hubert Clifford : Musique de « The Dark Man » ( 1951 ) Charles Chaplin : B.O de « Monsieur Verdoux » Thomas Newman : « Five Came Back - Main Theme » / « Wonderful » Liens : Article Wikipédia sur la photographie « La mère migrante » de Dorothy Lange ( 1936 ; évoquée dans la partie sur « Les Raisins de la Colère » ) :https://fr.wikipedia.org/wiki/M%C3%A8re_migrante Article Wikipédia sur le roman "Dans la dèche à Paris et à Londres" de George Orwell ( 1933 ) :https://fr.wikipedia.org/wiki/Dans_la_d%C3%A8che_%C3%A0_Paris_et_%C3%A0_Londres Chaîne YouTube TLV Podcast :https://www.youtube.com/channel/UCoLK73hPXzMYGnZEYVRvAEQ Lien Twitter : https://twitter.com/TLVPodcast Page Facebook : https://www.facebook.com/M.Gravlax Page du podcast : https://podcloud.fr/podcast/tu-las-vu Page Sens Critique avec tous les films traités dans le podcast :https://www.senscritique.com/liste/Tous_les_films_traites_dans_notre_podcast_Tu_l_as_vu_venez_n/2716388

WoHos!This week I looked at two Foundational films about identity.Dr. Jekyll and Sister Hyde is a 1971 British horror film directed by Roy Ward Baker based on the 1886 novella Strange Case of Dr Jekyll and Mr Hyde by Robert Louis Stevenson. The film was made by British studio Hammer Film Productions and was their third adaptation of the story after The Ugly Duckling and The Two Faces of Dr. Jekyll. The film is notable for showing Jekyll transform into a female Hyde; it also incorporates into the plot aspects of the historical Jack the Ripper and Burke and Hare cases.Dead Ringers is a 1988 psychological thriller film starring Jeremy Irons in a dual role as identical twin gynecologists. David Cronenberg directed and co-wrote the screenplay with Norman Snider. Their script was based on the lives of Stewart and Cyril Marcus and on the novel Twins by Bari Wood and Jack Geasland, a "highly fictionalized" version of the Marcuses' story.The film won numerous honors, including for Irons' performance, and 10 Genie Awards, notably Best Motion Picture. Toronto International Film Festival critics have ranked it among the Top 10 Canadian Films of All Time.Some questions remain:How central to your identity is your gender?Which is the worse decision: taking female hormones to extend one's life or becoming addicted to pills in order to save your brotherWho's right about Mr. Cronenberg's film: Your humble host or David Cronenberg, himself?Philosophy Corner™ makes its first appearance on the podcast. I just couldn't stop thinking about identity.Coming up:Whole Squad Pod™ (Mac, Quinn and me on three kickass films from 1960: LES YEUX SAN VISAGE / EYES WITHOUT A FACE, PEEPING TOM & PSYCHO.Mac's Picks: Killers genre with ICHI THE KILLER & HENRY: PORTRAIT OF A SERIAL KILLERIt Means the World of Horror to Me™ the (rescheduled) Lynchisode with FIRE, WALK WITH ME & MULHOLLAND DR.Mom's Picks: Possession genre with POSSESSOR & METAMORPHOSIS. Thanks so much for listening. Please get in touch with me over email:worldofhorror96@gmail.comworldofhorrorpodcast on Letterboxdworldofhorrorpodcast on Instagram I forgot to cover this article, but I thought it was interestingThe Strange Case of Dr. Jekyll & Mr. HydeMental Floss Articlehttps://www.mentalfloss.com/article/67769/11-strange-facts-about-dr-jekyll-and-mr-hyde Mac does his streaming thing at twitch.tv/thegayjimmybuffetMom makes mosaic art: gsoglasswoodmosaic on Instagram

Marking the 110th anniversary of the Titanic disaster, the CinePunked team assemble to discuss the definitive screen version of the incident – Roy Ward Baker's 1958 film A Night to Remember. Gathering just outside of Belfast, where the ship was built, Robert, Rachael and Neil consider the legacy of the night, Belfast's relationship with the story, generational trauma and just what we'd do if faced with the same situation.

2 Guys 5 Movies begins their most recent yearlong journey – covering the top five horror movies for each year of the 1970s. We start with the year 1970, and Frank's list includes Roy Ward Baker's The Vampire Lovers, Jack Woods's Equinox, Mario Bava's Hatchet for the Honeymoon, Cry of the Banshee, starring Vincent Price, and Dario Argento's The Bird with the Crystal Plumage. If you are a fan of the podcast, there are other two important ways you can help us. First, you can please subscribe, rate, and leave a review on your podcast client. That not only would be useful to us for the feedback, but also help us receive more attention. Second, if you like your Facebook page, 2 Guys 5 Movies, it would be helpful to like or share our posts so others can learn about 2 Guys 5 Movies and decide if it is for them. Finally, if you have your own ideas for the podcast, you can also email us with list suggestions at 2guys5movies@gmail.com, and thank you all for listening and your support.

Just when you thought it was safe to leave "Hammerland", Ian and Aaron return to the murky meadows of gothic greatness with "Son of Hammerland"!In 2021 the guys examined all of the Dracula and Frankenstein movies from Hammer Films. This year they'll explore the "off-brand" eerieness of the studio's other fright flicks...beginning with Roy Ward Baker's transformative exploitation thriller, The Vampire Lovers!Ingrid Pitt stars as a centuries-old lesbian vampiress whose thirst for blood is curtailed when she meets the beautiful and virginal Emma (Madeline Smith). Though filled with familiar genre conventions, this movie kicks open the coffin to more explicit violence and nudity, which Hammer hoped would make it competitive in the new decade.Watch as Ian and Aaron debate the effectiveness of this move, and one of them reveals a surprising (if inconsistent) stance on lurid displays of flesh!Show Links:Watch the Vampire Lovers trailer.Buy the new Vampire Lovers Collector's Edition Blu-ray from Shout! Factory.Watch the latest episode of "Featured Extras", in which Ian and Aaron dig into Shout! Factor's new Vampire Lovers Blu-ray!Check out Aaron's written review of the Vampire Lovers Blu-ray.Listen to Ian and Aaron discuss 1974's Vampyres (mentioned in the show).Catch up with the guys' original journey into darkness with our "Hammerland" playlist!Subscribe to, like, and comment on the Kicking the Seat YouTube channel!

This week on Hammer Pub, your hosts will still be sitting down with yet another marvelous Hammer horror film while having a few drinks and providing a running commentary on a gothic horror classic.  This week, they'll be be joined by Nolan McBride, host of the Dead Ringers podcast, who helps the gang run through their commentary for Roy Ward Baker's 1974 franchise capper The Legend of the 7 Golden Vampires.  During the discussion, the gang chats their recent watches, their overall thoughts on the film, Baker's direction, the lack of Christopher Lee, and…we may even have a special guest who pops up unannounced?! It's something a little different for Scream Addicts, but it's a commentary we hope you'll love! Be sure to subscribe to our show on iTunes, leave feedback, tell your friends about us, and give us a yell on Facebook and Twitter! We are: @nolan_mcbride @MichaelVarrati @thealichappell @Paulisgreat2000 @Jinx1981 @ScreamAddicts

This was nearly an episode about Lesbian Vampire Killers. Instead, we we have chosen the 1970s vampiric gothic horror masterpiece, The Vampire Lovers starring Ingrid Pitt and Peter Cushing. Is it actually scary? Probably not, but vampires are inherently queer and this one is actually a lesbian! This is a queer movie watch party for your ears, hosted by Rowan Ellis and Jazza John. Join us as we take a look at the queer film canon, one genre at a time. From rom-coms to slashers, contemporary arthouse cinema to comedy classics - Queer Movie Podcast is a celebration of all things queer on the silver screen! New episodes every other Thursday. Find Us on the Internet Super Highway - Twitter: https://twitter.com/QueerMoviePod  - Patreon: https://www.patreon.com/thequeermoviepodcast - Website: http://www.queermoviepodcast.co.uk/  - Multitude: @MultitudeShows Production - Hosts: Rowan Ellis and Jazza John - Editor: Julia Schifini - Executive Producer: Multitude - Artwork: Jessica E. Boyd Transcript [Intro Music] JAZZA:  Welcome to the Queer Movie Podcast, celebrating the best. ROWAN:  And worst. JAZZA:  In LGBTQ+ cinema. One glorious genre at a time. ROWAN:  I'm Rowan Ellis. JAZZA:  And I'm Jazza John. Each episode we discuss a movie from a different genre of cinema. ROWAN:  This episode, genre is-- ROWAN & JAZZA:  Queer Horror..  JAZZA:  [vampire laugh] ROWAN:  Thanks, Jazza. JAZZA:  But, before we dive into this week's episode, Rowan, what's the gayest thing you've done since we last spoke? ROWAN:  Well, this is actually something that I've wanted to do for a long time. But every time I've tried to do it, there's been a It's not been available for me. And that is volunteering for a Queer Organization specifically for a Queer Youth Group or kind of youth mentoring organization, something like that. And there's, sadly not a lot of them in London, and a lot of them kind of were at capacity or weren't doing their services because of COVID. But at the beginning of the year, I applied and I've just found out today that I've been accepted, so I'm very excited. I've got to do some training, obviously, very soon, but yeah, I'm gonna get to do some mentoring. JAZZA:  It's gonna be so cool. And you're officially becoming a Queer Elder-- ROWAN:  Oh my God. JAZZA:  --soon anyway, aren't you? ROWAN:  Yeah, I am. JAZZA:  Yeah. ROWAN:  In a week's time, I will indeed hit 30 and therefore-- JAZZA:  Good then. ROWAN:  --become an OAP. JAZZA:  Uh-huh. As a as a cis gay man, I stopped aging at 24. So let me know-- ROWAN:  You never will reach that, yeah, I'll let you know what it's like. JAZZA:  Awesome. Thank you so much. ROWAN:  And Jazza, what's the gayest thing that you've done since we last spoke? JAZZA:  So recently, the UK started lifting lockdown restrictions, right? And we were able to have familiar relations again. I had relations with an individual and was able for the first time to actually complete a full session of prep. Do you know how prep works? ROWAN:  I was wondering where you were going with it. I was like, complete a full session of what? JAZZA:  Yeah, it's not session-- ROWAN:  --[2:00] I was like a full, a full session of-- JAZZA:  A full of [2:03] like a-- ROWAN:  --[2:03] relations, you able to what? JAZZA:  I full cycle, a full cycle of [2:06]. ROWAN:  Pretty you. JAZZA:  So I do have that you're able to get it on the NHS now. And it is for anybody who doesn't know a medication that prevents you from getting HIV. And how it works is you're meant to take it two hours before you have relations. And then afterwards you've had relations in order to properly protect yourself. In the past, I have only ever prepared to have the relations and never had to complete the whole cycle of prep. ROWAN:  Oh my God, that's the saddest thing I've ever heard, that's hilarious. JAZZA:  Is it. ROWAN:  You know what, that was excellent. That was a very good-- JAZZA:  Thank you-- ROWAN:  --gayest thing I've done since [2:42]-- JAZZA:  Yeah yeah yeah. I feel like an actual adult now. ROWAN:  Look at you. JAZZA:  [2:45] yeah, look at me. Man in my 30s, finally able to look after myself. ROWAN:  Full disclosure to everyone listening, Jazza as he said that grinning like a little schoolboy does have a tiny gnome figurine right behi--as he said, I felt like such an adult. There is a tiny gnome figurine right behind him. JAZZA:  I'm an adult who collects plushies and plays D&D like these are-- ROWAN:  You know what, fair enough. JAZZA:  Yeah, these are not things that are mutually exclusive. ROWAN:  Yeah, you know what, you're right. [3:09] [Transition Music] JAZZA:  The film we have chosen for today is the 1970s vampiric Gothic horror masterpiece. The Vampire Lovers, starring Ingrid Pitt, and the absolute legendary Peter Cushing. So without further ado, let's start nibbling away at Roy Ward Baker's, The Vampire Lovers. ROWAN & JAZZA:  [trumpet sound] ROWAN:  Are you anticipating some kind of like dramatic horror music [3:47]-- JAZZA:  Yeah, in my head like it's the the title card. ROWAN:  Excellent. JAZZA:  I actually, vampire [3:53]. ROWAN:  I know we just said that we were going to go straight into talking about the history of the genre and the-- JAZZA:  Uh-hmm. ROWAN:  --context of it. But I just also need everyone to know not to make this the call out Jazza Podcast. But-- JAZZA:  It it already is. ROWAN:  --I came up with a whole list of, honestly, iconic wonderful, queer horror movies have come out. Especially some in the last few years. Because we have had an absolute amazing blossoming of queer horror within the last few years. I came up with an amazing shortlist. Jazza, came up with a movie that I immediately vetoed. That is the movie lesbian Vampire Killers. JAZZA:  Uh-hmm. Which has James-- ROWAN:  Which has-- JAZZA:  Corden in it. ROWAN:  --James Corden in it, is therefore I hate crime. And I immediately vetoed it. And then the list Jazza went through the list and it. Basically the secret came out that Jazza is a massive baby. And essentially would just was not able to watch an actual horror movie. And so-- JAZZA:  Uh-hmm. ROWAN:  --we have watched this movie, which is, horror in the most technical sense of the word. JAZZA:  No, but it's like, it's it's a lot of foundations of horror, like, like it's a classic Gothic, lots of dark cobwebby castles. Lots of screen Queens, a couple of screen Kings. ROWAN:  Yes, every element of horror except the bit where it's scary, which I think suited Jazza just fine. JAZZA:  Yeah. ROWAN:  I think that was-- JAZZA:  100% ROWAN:  --that was, I think he's very pleased with himself that he managed to get this. Because the other, we watched some of the trailers together. And there were a few trailers that Jazz stopped halfway through and went, "Oh, yes, I think we get the idea." And then, and it was very obvious why. JAZZA:  Apparently, I'm quite good to watch horror movies with. Just know that if you ever watch a a legitimate horror movie with me, that is actually scary. I'm not having a nice time. And you know what, in this podcast that I am lucky enough to have with you, Rowan. I want to have a nice time, you know? And I don't think that's too much to ask. ROWAN:  Okay, well, when we connect, spend actual time together, maybe I'll just I'll be like, oh, yeah, let's watch this nice little, like animated children's movie and then just slip in a horror movie instead. You could just hold onto my hand. JAZZA:  Maybe next year's Halloween, we can have a special episode again. And you couldn't actually scare the hell out of me, it will be good. ROWAN:  Yeah, if everyone could just audio clip Jazza, just then essentially promising on his on his firstborn son that he will watch a horror movie with me, that'd be great. So I know that Jazza, you've done normally when we watch these movies, we do a little bit of context. And then we talk to each other and go, oh, wait, shit, did we do the same context maybe hopefully, we looked up different bits of trivia otherwise is going to be very boring for both of us. And luckily, we had kind of done a mix. So I know that you've looked up Hammer Horror, which is the kind of studio and very specific niche genre that this particular movie is in. So would you like to tell me about it? I'm ready to learn.  JAZZA:  Yeah yeah yeah, so a Hammer, also great name, Hammer Productions. They were a production house in the UK, who were famous for bringing a lot of classic horror from the black and white era of the 1930s into color. We making a lot of the classics like Frankenstein, Dracula, The Mummy, etc. Remaking them into color movies for audiences throughout the 1950s and 60s. The other thing that they were very well known for doing is having a butt ton of sequels for everything. So this particular movie that we're doing. The Vampire Lovers, has two sequels to it. Lust for a Vampire, released the following year, and then Twins of Evil. Which as far as I have been able to find out on the Wikipedia page was just kind of like the same plot two more times, but with different actors. But to be fair, if the punters are going to go and watch it, then why not right? The reason the The Vampire Lovers itself is quite interesting, and is that a little bit of a tipping point in terms of cinema, is because it was towards the end of the strictness of the Hays Code in the US, which is a piece of us legislation that was very tight collared, around the depictions of sex, nudity, deviant acts like homosexuality. ROWAN:  I'm gonna be annoying and interrupt here is the Queer Film Historian bitch on this podcast. Because I think it's genuinely interesting. It wasn't technically a piece of like Governmental Legislation as such, it was a code that was self-imposed by Hollywood on itself, specifically, because they thought that the government will be even more harsh, so they were like, oh, shit, like, let let's just, we promise no titties, no gays, no, no-- JAZZA: No titties, no gays. ROWAN:  [8:39] for gays, we promise. And and so yeah, no, it's it's a, it's one of those kind of really interesting things actually happened with the comic, comic books as well, the Comic Code Authority happened as well. JAZZA:  Mmm. ROWAN:  A lot of industries at the time were like, well, I guess if someone's gonna do it, it might as well be us, to ourselves. JAZZA:   Uh-hmm. Yeah yeah yeah. And this was kind of like, towards the end of the prolific nature of the Hays Code. And it was still actually really hard to get this past the censors. The Vampire Lovers, which obviously, is pretty gay. There's naked ladies and there's titties absolutely everywhere. And there's also a man who dies while he's having a piss. So it's not really kind of like the highest brow of entertainment. But the reason that they were able to get especially the the gay shit through the censors, even at the time as they were expanding. Was because it was based on the original source text from the 1800s, Carmilla, which is like a classic text. And because it's seen as a classic text, they were like, actually, this is basically Shakespeare. I don't think anybody actually said that. But essentially, that's how they managed to to get around it. ROWAN:  Just being true to the original. JAZZA:  Yeah yeah, exactly. But yeah, we're watching a a movie about lesbian vampires. Of course, there's going to be a little bit of a camper and Gothic horror is always just a little bit of camp. But it's also a really interesting moment in kind of like the attitudes of prudishness, that were in Hollywood throughout the 50s and 60s. ROWAN:  Absolutely. I do, I do agree with you like Hammer Horror is just camp, it's just campy. Like it just has that energy to it in general-- JAZZA:  It is now. ROWAN:  --and I think as well like well, we'll talk about this when we're actually talking about the plot and the performances and stuff in the next section. But yeah, the acting of the time was not exactly the most based in like realism. And and I think that that style of acting that was popular then I think just is so imbued with camp-- JAZZA:  Uh-huh. ROWAN:  --as you look back on it now. Even if this hadn't had a load of vampires in it, I feel like it still would have felt a little bit-- JAZZA:  Uh-hmm. ROWAN:  --kind of queer energy. JAZZA:  A 100%. It reminded me an awful lot of like Ryan Murphy guy. ROWAN:  Oh, yeah. JAZZA:  Which obviously is referential to this era of horror. And I was like, Oh, I 100% understand where all of these references now come from in, like our modern media as well. Rowan, you had, a you also went away and did some of your own research you clever bookworm slash website were around like, vampires, sexuality, all of those things. Would you end up fine, come on, show and tell. ROWAN:  Well, basically, for those for those who don't know about the history of the vampire, it's kind of appears in a lot of different folktales and legends around different places. Just I think the idea of someone who needs to drain other people of their blood, which is very much linked to like, you know, lifeforce in a lot of cultures. It makes sense that there will be kind of mythology around that, and and kind of scary tales, and all that kind of thing. But it kind of didn't necessarily get a kind of literary grounding until the early 1800s. Were John Polidori, wrote The Vampyre, which was actually created kind of as part of the sort of Gothic horror writing contest that also produced, Frankenstein. It was a good, it was a good time that they were having in that rainy manor house. And kind of interestingly, the history of vampires, I think, has not necessarily been, obviously in the mainstream link to queerness. But when you start looking into the history of it, it's a lot of like reading between the lines when it's going on. So, for example, that original text of Vampyre, a lot of people kind of thought that potentially the that kind of central character was based on Lord Byron. There was a bit of a mix up as to who had originally written the tale. And it was attributed Lord Byron originally and then kind of had to be redacted. And so you kind of have this element of like, oh, there's this creeping queerness in there. And that only became like, more intensified when it came to Dracula, which came a bit later. Because again, Bram Stoker, lots of rumors about him being gay, he had a very close relationship with Oscar Wilde. He wrote some frankly, adoring love letters to Walt Whitman, really, really, very gay letters to Walt Whitman. And there are just some quotes that come up in the book that feel very much like they are centered around the kind of repressed, a repressed homosexuality-- JAZZA:  Uh-hmm. ROWAN:  --shall we say. A lot of people have pointed out the fact that he basically started to write Dracula very, very soon after Oscar Wilde's trial and conviction. And that there was potentially a link between that and like the anxieties of being this like queer man who was worried about being like, discovered. So obviously, as with much of queer history, it is not provable. But I do think it's very interesting. And it's something a lot of people have have talked about. But yeah, I think vampire stories in general, as well as being kind of horror, obviously have a lot of links to the idea of sexuality, and and sexual anxieties, I guess over the years. JAZZA:  When we're looking at this area as well. It's really difficult to kind of like put the gay label on it. Because it wasn't a term that they used for themselves-- ROWAN:  No. JAZZA:  --either, but we're just kind of trying to view it for our own lens. ROWAN:  Yeah, exactly. So in Dracula, for example, you've got Lucy, the character of Lucy, who's this kind of like symbol of the new woman. So kind of more independent and breaking free of the constraints of society, especially sexual constraints. And so if she sort of gives herself or is compromised by this kind of foreign invader, then she becomes this corrupted figure, which is very, you know, if you read through the lines, metaphorically, it's very much a sort of like fallen woman virginity loss kind of situation. And then yeah, I mean, spoiler alert for Dracula, but she ends up being staked by like, all of the men who she had been pursuing at one point or another during the story, and dies-- JAZZA:  Uh-hmm. ROWAN:  --this death that's very, like writhing around and bleeding, and it's very kind of like, you know, symbolically resonant in a lot of ways. So yeah, I think I think that like even if you come to Twilight, or to more modern depictions of vampires, it doesn't necessarily have a Victorians lens of sexuality. It has a modern lens, but it's still feels like it might be commenting in some way. So there's a lot more sort of, in the vampire as the romantic lead for women's or like girls fiction, it becomes much more about a man who needs to control his natural impulses, and that he's able to do it for you. The female love interest. JAZZA:  That's the Twilight stuff isn't? ROWAN:  Exactly. JAZZA:  I'll be honest, I wasn't even I wasn't even making that link in like, I feel like Twilight is such a long time ago now. ROWAN:  Ancient history. JAZZA:  Yeah, yeah. But like, seriously, but yeah, I didn't even make that link of kind of like sexual request-ness. But then I haven't really read, I haven't read any of the Twilight books, I've only seen the movie. So maybe that's why it's not at the front of my mind. ROWAN:  Well, allegedly Stephenie Meyer did come up with the idea from some kind of romantically charged dream that she had. And she is quite from quite a religious background. So I think that the sexual repression and morality element to it is, it's not has not been not commented on by people in the past. So yeah, so I definitely think that the vampire legend and mythology and stuff has always had links to sex in some way and to that kind of forbidden element of sex. And I think that that only gets more apparent when you talk about sex that is genuinely forbidden and taboo in the way that kind of same gender relationships might be. So yeah, it completely makes sense, lesbian vampires completely make sense on a literary level. And it very much is not just a kind of, ohhh, she's sexy, and she's a lesbian, and she's a vampire. It's like, oh, there is actually some kind of literary backing to making this a a thing in your films. JAZZA:  Did you have because I accidentally came across this while I was looking through stuff around the source material for The Vampire Lovers, which is like a a vampire novel that predates Dracula by a couple of decades called Carmilla. About a lesbian female vampire. And apparently she's based on this Hungarian, I believe she's a Princess. She's a fancy person, uhm, called Elizabeth Boothroyd. Have you seen her a bit about her? ROWAN:  If this is who I think it is? Yeah, I think she married into a family and got an absolute ton of land and power from it and use that to allegedly just kill a lot of servant girls, and some minor nobility. JAZZA:  Some set I don't think we have to say allegedly anymore. This was in like the the 15, 16 [16:54]-- ROWAN:  She's not gonna [16:55]-- JAZZA:  [16:56] I think we're gonna get sued by Elizabeth III of Hungary fame, but she apparently killed up to 650 people and there was some people who say that she used to bathe in their blood to maintain like youth? Some of this is urban legends now, and there's some people that say that she inspired because she was from the Kingdom of Hungary. Which at that time included, Slovakia and Romania, which is kind of like the part of the world that is where like, vampiric culture comes from, I guess? And some people even suggest that she inspired Carmilla and Dracula. But yeah, like, it's an interesting part of kind of like also the, the empowered woman as well, which was definitely, I mean, deviant for the time that vampire novels became really, really big in the Victorian era. But certainly for like the 1500-1600s when she was alive, as well. And kind of like the fear and the weariness of the empowered, maybe sexualized women as well. I kind of like themes that run through this type of horror too. ROWAN:  Indeed, without I guess, should we go into talking about the actual movie and how the lesbian vampires sort of displays herself. JAZZA:  Displays herself. ROWAN:  Displays herself in this movie JAZZA:  Sometimes literally displays herself-- ROWAN:  Quite literally. JAZZA:  Uh-hmm. [18:15] [Transition Music] [18:15] [ADS] JAZZA:  Dear listener, there's only so many times you can lean on your ability to make a [18:25] gin and tonic. Trust me, I've had the headaches to prove it. Sometimes you need to shake up your drinks trolley, pun intended, and shaker and spoon subscription cocktail box is the perfect way to do that. Each box they send you contains enough ingredients to make three different cocktails with your favorite Spirits. All you need is to buy your own bottle and then you have all you need to craft 12 cocktails at home. It's between 40 and 50 of your American dollars every month, excluding the price of the bottle you buy. So is a sensible way to expand your drinking palette. You can even skip boxes or cancel whenever you like, my darlin'. Imagine if you will, clowning around some popcorn with your loved ones and a fancy cocktail in hand. Enjoying your own Queer Movie Night. Yes, you too, can experience what we experienced together here on this podcast. We support you. And don't forget to get $20 off your first box by going to shakerandspoon.com/queermovie, that's shakerandspoon.com/queermovie. Queer Movie Podcast is part of Multitude which is like a cool little collective of creatives. We like to give our audio siblings a shout out every now and again. And I'm very excited to recommend to you X0 Law. In case you haven't noticed yet, Rowan and I are big nerds. Rowan has her Disney and D&D, I have my love of Final Fantasy in the expanse novels. So this podcast is like catnip to us. Dr. Moyer McTeer is the host and as the coolest job description of Astrophysicist and folklorist. Which honestly, has made wondering what I've been doing with my life. Each episode she goes through the how to of fictional world creation, meaning you can apply her findings to any and all creative projects that you yourself are working on. Are you creating a home route for your D&D table? Are you scribbling away on your first Sci-fi novel? Do you find this stuff interesting? That's fine, too. Honestly, it's necessary educational listening. I had a particularly fun time listening to Moyer and guest Clark Robinson go through the mechanics of building a world magic system. And I think you'll find it interesting too. So go give X0 Law a listen, and tell the doctor we sent you. Now, back to the show. [21:02] [Transition Music] ROWAN:  So we normally split this into three different parts. JAZZA:  Uh-hmm. ROWAN:  We haven't conferred beforehand about what those parts are going to look like for this particular movie. But I have a feeling that we have a very similar thru line. JAZZA:  Hmm. ROWAN:  The first part I have referred to, because there was only one way we could refer to this part, given that in so many other films that we have covered in our previous episodes. This was also the title of a section of the film. JAZZA:  Uh-hmm. ROWAN:  The Party and its Aftermath. JAZZA:  Yeah. 100% It starts with the party and its aftermath. It's very all interesting things start with a party, as does this movie. ROWAN:  Yeah, for some reason, so many stories. Normally, the party in its aftermath is the last act. JAZZA:  Uh-hmm. ROWAN:  Whereas in this one, it's, it's the first so essentially, what happens at the beginning of this movie is that we have this man who's narrating talking about the fact that his sister has died and he is going on this revenge plot. Castle ruins, evil European family, some very helpful vampire lore up front. He lets us-- JAZZA:  Uh-huh. ROWAN:  know you got to decapitate them. You got a stake in through the heart. We're getting a lot of exposition, but you know what, that's just how he rolls. JAZZA:  It was quick. It was quick and acceptable. I feel like you know, for [22:20]-- ROWAN:  Ding, ding, ding! Here we go. JAZZA:  But also, is anyone gonna come into something called The Vampire Lovers, cold as to what a vampire is. ROWAN:  Unlikely. JAZZA:  Like, I feel like most people are probably gonna know broadly, what a vampire is and how you kill it. ROWAN:  Exactly. So it's it's the classic star of the vampire killer is here. He's narrating to us what's about to happen. We have a very fast zoom in on a guy's neck with fang bites. The camera angles and uses within this movie are just very intense. They really love a good zoom in, dramatic zoom in. They really like a good kind of interesting shots, shall we say throughout this. Which I did, did think heighten the camp element. But with, yeah, very quintessential have a horror stuff. The evil figure of the vampire looked like I would say a Halloween sheet ghost costume, mixed with a Dementor. JAZZA:  Oh, well, you have ruined that now. I thought it looks like really quite impressive. ROWAN:  I did as well. Yeah, no, that isn't to diminish how-- JAZZA:  Okay, cool. ROWAN:  --creepy it did look. JAZZA:  Cool. I think that is an accurate description of what it was dressed as to be fair. ROWAN:  Yeah, I was like, you know what, if people aren't going to go back and watch this movie, if they're just listening this to to hear a little bit about lesbian vampires. I want to paint them a picture. And the picture is-- JAZZA:  Uh-hmm. ROWAN:  --a teenager. You know what I'm going to build on this picture. The picture is a teenager who has been asked by their parents to take out their little kid sister and the local sisters friends trick or treating at Halloween. He obviously is too cool for Halloween costumes at this point. He's at that age where it's not cool again. And it's it's, it was cool when he was a kid but he's like, he's he's 15 now, yeah? So he is like, "Urgh, fine!" And he goes into the airing covered and he just gets a sheet and he's like, "Are you happy now?" And he cuts it lies in the sheets. He doesn't care. It's that mix with a Dementor? JAZZA:  Uh-hmm, and lace. ROWAN:  Yeah. JAZZA:  There was lots of lakes. ROWAN:  Yeah. JAZZA:  Yeah, ROWAN:  If you just put that in your head. You've seen him, you can imagine it. JAZZA:  Yeah, 100%. I also love the like beyond just the vampire and the fact that it is a bedsheet. I love the rest of the costuming in this movie, but especially our narrator and the fact that he's there with kind of like his large Bejeweled ring, long sideburns and kind of like ruffled lace cuffs as well. And as he's got kind of got his hand up to his face in shock like, "Huh?!!", you see the rough come out of his sleeve. oh, and it's quite beautiful. It's it's beautiful [24:53], I love it. And all of that coupled with like the artificial fog on the clearly papier-mâché castle. The fake IV and the fact that it's all moonlit night time. I loved it. I was here for it. I felt like I was on a movie set because I was. ROWAN:  Oh yeah, I've completely agree with you there. My note that I made for this section was for a movie about lesbian vampires. We're getting a lot of this random dude. JAZZA:  Who disappears for-- ROWAN:  He disappears-- JAZZA:  --the rest of the movie, by the way. ROWAN:  --for most of the rest of the movie, he comes back at the end. JAZZA:  Uh-hmm. Yeah, and comes back at the very end to ruin it with men. ROWAN:  Yes, well, I mean, what we don't want to give you any spoilers right now. You're gonna get spoilers in approximately how many minutes and take hours to get to the end act. The other note I made was vampire girl is cute and blonde has very shiny hair, please drop the routine. So I was thinking-- JAZZA:  I think, I think it's being, I think, I think the routine is being immortal. ROWAN:  You know what? That makes sense, that checks out. I will say, and we kind of briefly talked about this before we started to record. But the the effects were really good. The there's a computation that happens at this point, and genuinely very, very good special effects, very well-practical effects. JAZZA:  Yeah, like they had Madame Tussaud's head being like, cut off loads of blood everywhere. I laughed when the vampire was killed at the beginning of the movie. I'm sure people in 1970 may have been genuinely shocked. It's-- ROWAN:  Mmm. JAZZA:  --really difficult for me to put myself in the mindset of somebody in the 1970s. ROWAN:  I don't know whether someone in the 1970s didn't I I think they understood what movies were, Jazza. Like I don't think that they were that gonna be that shocked? I think. JAZZA:  It's not quite like in the 1920s when they first showed people a train covered [26:45]-- ROWAN:  Yeah and they ran away. JAZZA:  --and people ran out of the movie. Yeah, yeah yeah. ROWAN:  No, I think that, I think that there was like, it was campy back then it was campy now. It was very much, yeah, my favorite bit of this whole big very, very beginning section before we get to the party, is the disclaimer. Because it goes from this section. It's like a good cold open if, you know, this guy's a vampire hunters. He's a eventing a sister, this is woman who's going around trying to kill people. We get some some of him explaining how to kill a vampire. And we also get her just being really really scared of a cross so you know, ohh, that bit of laws also correct. But once when the kind of credits start to roll at the beginning, there is a disclaimer that any characters or events portrayed are clearly fictitious, which definitely feels like something real vampires making a movie would say. JAZZA:  You saying, are we gonna have to make keep our eye out for more evidence that these are actual vampires making actual movies? ROWAN:  Is Peter Cushing a vampire? Who can tell? JAZZA:  Actually, you know what? He was somehow invoke one, so-- ROWAN:  He does have the vibes. JAZZA:  Yeah. ROWAN:  So then we get to the actual party, which is so aggressively 60s in its hair, makeup and clothing. JAZZA:  Oh my god, the eyeliner? ROWAN:  It's incredible. JAZZA:  --the eyeliner. I was taking notes for my drag character. Like I am doing cat eyes from now on. ROWAN:  I would honestly love to see you as a in drag as a lesbian vampire. I feel like that will be beautiful. JAZZA:  Hey, just you weren't into Halloween this year. ROWAN:  It'll happen. Also in in in, again, with the over the top style acting the over the top style props and stuff. I'm not gonna lie to you, there is no way that you could watch this film with the sound on and not know who the baddies are. Because the music, really is not subtle. There is no no subtleties to this music, you very quickly know who is you're meant to find menacing. Which they needed to do because the acting is so wooden. It's really trying to like give you something give you some indication because the characters are basically just standing around without expressions. JAZZA:  And also like makeup. So you assume that the man who clearly has a inch of white stick on his face. You assume that he is the bad guy vampire, because he turns up has a flowy cape and is whiter than I am. ROWAN:  Uhmm. JAZZA:  Which is saying something. ROWAN:  Now's a good time to point out this man. So basically the plot of the party is there's like, well, there's not much but essentially it's just an excuse for our lead lesbian vampire to turn up. And for her, we assume lesbian vampire mother to, I don't know why I said lesbian, specifically of. Mainly, we can assume she's a vampire. She might also be a lesbian, it's unconfirmed. Kind of drops her off and is like, Oh no, who will look after my daughter while I conveniently have to go away. JAZZA:  Uh-hmm. ROWAN:  And they're like, well, I guess we'll look after her. So this whole party is essentially setting up, that she's gonna have to stay with this family for a little while. But every so often interspersed is just the aforementioned man that Jazza has just briefly described. Who just has a very bad like white face paint makeup on and looks very Draculary and just sort of grins a lot. And he's just never explained the entire movie, it's great. JAZZA:  Yeah, and every now and again, throughout the movie, there will be a shot of the lesbian vampires doing lesbian vampire things, And then that will cast away as a transition to a silhouette of the man with the white face on the on the horse. And I'm like, this movie wants us to believe that this this, I assume that, we know he is a vampire. He's confirmed to be a vampire at the end, because he smiles and has the-- ROWAN:  It's canon. JAZZA:  Yeah, it's canon. But he is confirmed to be a vampire. And I'm like, are we to believe that he is the one pulling the strings of everything? I think that's what we're meant to believe. In which case I kind of dislike because part of the thing that I loved about this movie was the women leads and women like the middle section of the movie is just the women kind of like conversing and trying to kill one another. Why does there have to be a male puppet, puppet master? But then I realized, or, like shoot this down Rowan, and I'm sure you will if you if you do think it is shit. ROWAN:  Pew, pew. JAZZA:  Pew pew. He's Dracula, right? ROWAN:  Well, okay, so it's this question of like, the Dracula character is so well-known and so iconic in everything about him. Not necessarily the actual original Dracula from the book because most depictions of Dracula are nothing like him. But the image of him that has been created by Hollywood by movies and by kind of not even just urban legends. But like people's people's imagination from from movies and like physical-- JAZZA:  Uh-hmm uh-hmm. ROWAN:  --representations of him. So I think it will be very logical to assume that it was meant to be Dracula. But it's it may be it's just because he is so synonymous with vampires we see. If we saw any vampire that looked vaguely like old timey pale skin, we would maybe assume it was Dracula. JAZZA:  But then who else is it going to be? Like, so Carmilla is our titular vampire lover. ROWAN:  uh-hmm. JAZZA:  And apart from Dracula, like obviously, they're originally from different universes from different books. They are-- ROWAN:  Different cinematic universes. JAZZA:  Yeah yeah. This this is like Marvel and DC. ROWAN:  Most ambitious crossover, The Vampire Lovers. JAZZA:  But if it's going to be anybody, I feel like it has to be Dracula. ROWAN:  Yeah. JAZZA:  Because, I feel like nobody else is gonna be calling the shots for Carmilla. ROWAN:  Uhmm. JAZZA:  And even arguably, you'd argue that Carmilla wouldn't be like canonically in the book. She wouldn't be taking any direction from no man. But-- ROWAN:  Indeed. JAZZA:  So we should probably introduce Carmilla, our main lesbian vampire. ROWAN:  At this point going by Marcilla-- JAZZA:  Marci-- ROWAN:  --in an extremely clever, different version of her name. JAZZA:  Yeah. ROWAN:  It's not it was like it was a fake name, but it was just weirdly close to her actual name. JAZZA:  It's a little bit too close, right? So she is played by Ingrid Pitt, who is a Polish-British Actress, and her Wikipedia page, incredibly impressive. She is a Holocaust survivor. Did you know that? ROWAN:  I didn't. It's really, I mean, the Hammer Horror, I know that we're kind of taking the mick out of it. But ultimately, they it has produced some incredibly iconic, especially British Actors and Actresses. JAZZA:  Uh-hmm. ROWAN:  A lot of them were in like, a ton of those very specific Hammer Horror movies and like, very much became, like icons because of it. So I didn't know that about her. But we love to learn. JAZZA:  Yes, she's a, she was a a a Polish Jew and was born 1937 was in a concentration camp in, in Poland. Managed to escape to the UK. And then what it was the era when all of the all of Hollywood were kind of like marrying like seven or eight times. She's had several marriages, she's not had seven or eight, she's had three marriages. But what had the whole classic thing of you know what, I'm just going to become an Actress. Moved to Hollywood, was a waitress for years until she got discovered. And I've got to say, I think that she carries the rest of the cast, I will say including, Peter Cushing.  ROWAN:  How dare you, sir. JAZZA:  I I mean, this is one of his performances. There are other things that he's done better. But she carries this whole movie on her shoulders, I think Ingrid Pitt. I think that she is not, she's not so camp, that it makes it funny. But she really ups the energy, like throughout the film in all of the scenes and the development of her character. ROWAN:  Yeah, I agree. So I I kind of made a note about this, I think that you can see within her fighting to get out is some complexity around Carmilla. To the point where I like kept thinking it was going to be discussed in some way. So what essentially happens as I mentioned at the party, we it's it's a mechanism for Carmilla and Laura to become friends and have to stay together in the house. JAZZA:  Uhm. ROWAN:  Laura, basically slowly starts losing her mind. She starts suffering from nightmares that she's being attacked by this giant cat. She screams a lot. Oh, boy, do they love to scream in this. JAZZA:  I love it so much. ROWAN:  It's I, okay, I'm going to give you another metaphor for the scream. The scream is like, the scream that you get in a high school movie. When a teenager has been punked by their younger brother. And their hair, like their hair has been dyed green. And they look directly into the mirror that is also directly into the camera and they take a deep breath and then they scream. And then the camera zooms out, like to the house and into the like country and then a load of-- JAZZA:  Yeah, yeah yeah. ROWAN:  --birds like flutter out of trees. That's the vibe-- JAZZA:  Yeah. ROWAN:  --from every scream and there's multiple in this particular movie. JAZZA:  Well I love Rowan is that we're very quickly realizing that this season of recording review podcasts, all of your references are going to be to team trash moments. Like that's-- ROWAN:  Yeah, the best of all genres. Other than horror, but I know that you can't handle that, obviously. So I decided to [35:37]-- JAZZA:  [35:37] lead by you. ROWAN:  So yeah, this is very kind of classic Gothic idea of like, slowly trying to figure out like, what's real? What's not real? Did I might actually being attacked? This is a nightmare. Has someone caused me to feel this way? And while this is happening, we get this very intense kind of friendship going on between these two women. I think there's literally an an exchange or one of them says I shall die when you leave. And the other is like, I shall never leave you. And then they do kissy kiss, kiss kiss. JAZZA:  Uh-hmm. ROWAN:  But what's also really interesting to me, which I actually feel like I still see a lot in lesbian movies is that there is no actual relationship development. Which makes sense in this film, because it's like supernatural allure, right? It's like her being like, I'm just this lesbian vampire. And so you're gonna fall for me, even though we literally have never had a conversation properly. Like, we never see that on screen. But I often see that to my mind, at least in lesbian movies. Especially the like historic lesbian movies, where they just really love to bank on the idea of like the repressed women trope. And so they're like, we don't have to have them have conversations and talk about things because they've repressed, right? They just sort of inexplicably now want to kiss. There's no build up and nothing and no discussions. And so I was like, at least here it makes sense. Canonically with the idea of her having this like sexual allure to her victims. JAZZA:  Yeah, it kind of does. I I I will, and this is something that people smarter than me have talked about, about Carmilla the original text from the 1800s. Where she juxtaposes with a character like Dracula, because Carmilla actually seems to genuinely fall in love with the people that she ends up killing, alternative vampires. And I felt like Pitt's depiction of the, she was really good at kind of like, I believed that she really did care for these young women that she ended up, spoiler, kills. ROWAN:  Uhm. Yeah, completely agree. There's these, there are just these moments where she's the character on her own like, and she suddenly has this look of like, deep grief or deep sadness or deep like confliction in her. And I'm like, oh, if this wasn't a Hammer Horror, like I, this same story could be played out. And we really could have dug into the idea of like, I need to do this to survive, or like I cannot, this is what I was meant to do. Like, I've been living for hundreds of years. And this is what's always happened. But this is like, mentally horrific. And I feel like there's some interesting like vampire media that does explore this idea of like, what do you do if you just keep on living? And you have to hurt people in order to survive, like, what does that look like? That and see, or-- JAZZA:  Uh-hmm. ROWAN:  --seeing that conflict of someone who has fallen for someone for that, for real for the first time. That previously it hadn't been things like, these things are really interesting to explore, not where this film is going. Another spoiler alert gang, there there is no complex comes, the biggest complexity is this very specific look that we have interpreted from an actress who was not given anything else in the script to work with. JAZZA:  Yeah. Shall we just say this up before? Up the [38:37]-- ROWAN:  We shout. JAZZA:  --out for that. The script is not this movie's strong point. ROWAN:  Uhm. Yeah, if you couldn't have told that already. I feel like we've really hinted quite heavily at it, so far. JAZZA:  Yes. ROWAN:  But yeah, so the end of this first section is essentially, Laura is bitten. She has these fang bites on her. She she dies, and Marcilla is like, Bye!!! JAZZA:  Yeah, disappears. ROWAN:  I'm out of here, baby. JAZZA:  Uh-hmm. ROWAN:  And so we get to our second section. [39:04] [Transition Music] JAZZA:  So that first section has basically, it's the bullet point version of what's going to happen next with a new girl, essentially. ROWAN:  Uh-hmm. JAZZA:  That's what going to happen-- ROWAN:  Yes, that's exactly. That's exactly it. JAZZA:  Like this is what Carmilla does. She is parachuted in convolutedly to be, to befriend a young woman in a manor house. And then gradually over time, kills her, while terrorizing the local peasantry as well. Because every now and again we'll have like a peasant washer woman running through the forest. Who then stumbles falls and then screams and does the as you said, that [scream] kind of moment. ROWAN:  Wonderful impression. Yes. JAZZA:  Thank you. I'm conscious of of peeking the mic. Otherwise, I would delete, you know, I [39:52]-- ROWAN:  Oh, yeah. No, I know you would. So this one we get a little more titillation, though. Like we functionally you're right, it's exactly the same story. But we do get a little more titillation. So we have like Emma comes into Carmilla's room. Welcome in there is just naked in the bath, and just has a casual conversation about-- JAZZA:  Uh-hmm. ROWAN:  --the dresses that they're going to wear and Carmilla's like, you should take everything off for you try on this dress, because it ruins the shape to have underwear on. And she's like, oh, okay, like there's literally no reason for the scene apart from for the audience have like this kind of sex and fear and horror and campaign nudity and like all this stuff coming together in in the way that it's often does. So even at that point, I was like, oh, this is ridiculous. And then they start chasing each other around while topless in, what I genuinely think might be the most unconvincing chase scene in all of cinema. JAZZA:  It's kind of like when you see if the like, in in maybe a more modern movie where two women have been asked to, do a pillow fight and and it's sexy. Just trust me, it's sexy. All the way through this second conquest of Carmilla of Emma's character who is this the wide idiot, frankly. ROWAN:  Yeah, she does have a type doesn't she? JAZZA:  Yeah yeah. Oh my God, I didn't even think of it like that. But yeah yeah, though I did it. But she like I I I found myself questioning all the way through kind of like this moment of undressing and Ooh, tits or bear ass, you know. I don't want and can you answer this for me? Is this sexy? ROWAN:  Well as a sexual lesbian, Jazza, I don't really, I I'm both highly qualified and utterly unqualified to answer that question-- JAZZA:  Which is-- ROWAN:  --no, not in my mind. But I think as well it's it's it's that I think that the sexiness with this release, I don't know maybe there's probably some lesbians that are just like, yes, tits. But I think, like, we have them, we know what they look like. So it's kind of like, what did someone else I feel like it's the connection that that-- JAZZA:  Made that that logic. I just, I just want to put this out there that logic does not-- ROWAN:  Not, no, that's fair enough. JAZZA:  Yeah. ROWAN:  But it is this thing of like, there is literally no feeling of connection between them during that chase scene. Like, I think there are other bits where there's more like when they're doing this sort of hypnotizes seductressy bit that like, feels like they're-- JAZZA:  Uh-hmm. ROWAN:  --slightly monstering chemistry. But like, that scene where they're chasing each other around could not have been-- JAZZA:  Less sexy. ROWAN:  --less sexy, if it tried like it just in an embarrassing kind of way that's like, Oh, God, I guess I'm watching this now, this is happening. Because I do think as well, it is like, it is very funny to me, because I think immediately just reminds me of the super, the super cliche to the point where it's almost become a meme thing that happens with gay male characters in movies. And in porn as well, where they, they kind of have a like, they're sort of play fighting, and then suddenly, it's like, oh, no, now we are on top of each other and it is sexual. JAZZA:  Uh-huh. ROWAN:  Like-- JAZZA:  CRGBF episode. ROWAN:  Yeah, it's like it's it's such a trope. And it's so funny that it kind of like this was like, even less convincing than those things. I was really interested to see, because this was on so many sort of, like, you know, classic queer movie lists. But typically movies that are this old, you don't really have the actual canonical confirmation in any way. And you definitely do in this movie, like they, they really have it up and although it does fall into the trope, we'll talk about in a second about like, kind of the evil lesbian trope. It's supernatural and over the top and kind of didn't mind it in that way. But yeah, once again, Emma starts having nightmares. Start screaming, everyone else kind of goes away on like, the day goes away on business. She has a suitor, but he's not you know, it's it's in the olden times. So he doesn't really come-- JAZZA:  Uh-hmm, uh-hmm. ROWAN:  --around all the time. He just occasionally, he'll turn up. But we'll be do have it's a little bit different is the kind of Governess character-- JAZZA:  Yeah. ROWAN:  --like Mme. Perrodot, who's kind of like becomes this accomplice to Carmilla. Because she's just seducing everyone. JAZZA:  I love Carmilla and The Governess. And I want them to go away and have a home with the what was the cat's name? Gustav. ROWAN:  Oh, yeah, you know what-- JAZZA:  I want to-- ROWAN:  --you're right. JAZZA:  --go move to a cottage in the Romanian countryside and just live with Gustav. Because, uhm, so as well as seducing Emma, Carmilla begins seducing and killing all of the peasantry around the mansion. Carmilla begins to seduce The Governess. And that is when it does get sexy. And I was like, oh, all of a sudden there actually feels like there is chemistry between these two women. And I thought that Carmilla had turned The Governess into a vampire? But it turns out that she doesn't that The Governess is just have familia and just really fancy is the pants off of Carmilla. ROWAN:  Uh-hmm. JAZZA:  And to be fair with an ass like that. ROWAN:  I mean, who can blame her? JAZZA:  Mmm. ROWAN:  But yeah, that's an interesting thing here. Again, I'll come back to when we talk about lesbian trips versus exchange that happens between Emma and Carmilla about, you know, I love you. I don't want anyone taking you away from me and Emma being like, we'll always be friends. She's like, no, it's not the same thing, it's different. I want you to love me for all your life. Like it's very much the idea of like Carmilla is the predatory, kind of obsessive like actual lesbian. And then you have this like poor innocent Emma who didn't didn't understand what was happening. Like-- JAZZA:  Uh-hmm. ROWAN:  --she didn't know that that was what was going on in the mind of this perverted lesbian vampire. JAZZA:  I sometimes also get the the feeling that Carmilla was a bit of a like the lesbian version of a nagging dude, bro. Like she keeps on telling, telling Emma there's, ahh you talk such nonsense. Like, getting really defensive about the way that she feels about funerals, for example. ROWAN:  Oh, bloody he hates funerals. JAZZA:  Completely gaslights, Emma about like the bite marks on her being from a brooch and not from anything else. ROWAN:  Yeah, truly Carmilla is the gaslight, gatekeeper, girlboss of all, of all [46:00]-- JAZZA:  That is, that is the classification that we needed. Thank you very much, Rowan, I appreciate it. ROWAN:  I don't know if you had anything else to say about this section. Cuz I think the third section is like the boys are back in town. JAZZA:  Oh, I called the third section. Lesbian Vampire Killers. ROWAN:  Oh, yeah. You know what, that also works very well. [46:16] [Transition Music] ROWAN:  This is essentially when all of the guys and tada like, hey, I don't know whether you've noticed how every woman is dying in the local area by having their blood drained. But I think there may be foul play at work. JAZZA:  Uh-hmm. Can I just say the men, they have been practically no men having speaking parts in this movie, for like a good 50% of the middle part of it. The first 25% is Carmilla and the aftermath party. And then we have 50% of just women. seducing one another and being hot. And-- ROWAN:  And Gustav, the cat. JAZZA:  --and, and Gustav, the cat, of course. So I won't forget Gustav, the cat. And then these men come in. And I'll be completely honest, I forgotten who most of them were. ROWAN:  Oh, yeah, I fully could not remember any of these men were. JAZZA:  And what their relationships were with the women previously. So it is all of the aggrieved men who have been affected by cumulus murdering. So it is the father of Laura who she killed in act one. It is the suitor of Emma, who-- ROWAN:  Uh-hmm. JAZZA:  --at this point is going through the stages of death as well. And also the father of Emma as well, who has just come back from business. ROWAN:  Ooh, and surprised that guy from the beginning who who was narrating. JAZZA:  Oh, sure, the guy of the sideburns. ROWAN:  Yeah. JAZZA:  [47:52] caps. ROWAN:  [47:52] there's also just randomly like, there's a Doctor, there's a butler, there's a landlord. JAZZA:  Yeah, all of these men that, I'll be honest movie I didn't I don't care about and I feel like it wanted us to root for the men because they're the ones who are like injustice. And I was like, now I know that Carmilla is going around and killing all of these doe wide dumb women. But I'm on her side, I'll be completely honest. And I kind of want the men to leave them alone so that they can have their happy lesbian life with The Governess and Gustav. ROWAN:  Yeah. And instead, the men keep trying to bring garlic flowers into their room, which is honestly-- JAZZA:  [48:27] ROWAN:  --very rude. JAZZA:  Yeah, so one of the workers in the mansion, Mr. Venton, is supposed to be a, no, he's not really a hero. Basically, I immediately dislike him because we introduced him as he slaps the ass of a bar wench in the peasant village. He then decides, oh, yeah, definitely everything that's happening to Emma is vampiric in nature. He reckons the vampire is The Governess, actually, rather than Carmilla. And then starts talking with the landlord of the local pub, and getting advice and so brings in garlic flowers to Emma's bedroom, to try and ward off the vampires and causing a Doctor who also as well as encouraging the use of these flowers, brings in a a crucifix and puts it around Emma's neck. Which makes it impossible for both Carmilla and for The Governess to go into the womb and to complete the killing of our delight [49:33] ROWAN:  Yeah. Which ultimately, yeah, great plan to be honest, it did work. They pretty foolproof. JAZZA:  Yeah, it was pretty good until Venton get seduced by Carmilla and just goes, you know what, all I want to do is make out with you and I'm going to like murder this girl for it. And you know what? I was happy to see him die at the hands of Carmilla, good for her. ROWAN:  And then she's also like, ohh, going to kill the Doctor and all, like just the though we have a nice scene when the Doctor's Horse get super spooked. And she somehow, I guess is teleported there. Because she never really seems to leave the house and yet she's always off body killing people. So yeah she's, she's like you know what? We, enough of this. JAZZA:  Uh-hmm. ROWAN:  No thank you. So kind of simultaneously while all of the the lads are going on a little road trip to her old family castle to try and-- JAZZA:  Yeah, where she's buried. ROWAN:  Yeah. JAZZA:  Yeah. ROWAN:  She's like Oop, time for a kidnap and decides to essentially kidnap Emma, and in the process dump The Governess. JAZZA:  Can I just say this just cemented, cemented Carmilla was an, as the absolute fuck boy if this movie, ROWAN:  You're, you know what? You're absolutely right. She is-- JAZZA:  Like-- ROWAN:  --she is the fuck boy-- JAZZA:  --literally-- ROWAN:  --of this movie. JAZZA:  --The Governess is there on the floor, begging, take me with you. She loves you, she wants to create that life with Gustav. ROWAN:  She wants the cottage called dream with the cat-- JAZZA:  [50:58] of this-- ROWAN:  --and, in the woods, in Romanian. JAZZA:  Who knew in the 1970s that this was going to pave the way for the Cottagecore Movement and-- ROWAN:  I know, right. JAZZA:  --Lesbian Cottagecore Movement. ROWAN:  That's the true history of it. And then there's so much screaming again, classic. Because she decides to to feed on The Governess and-- JAZZA:  Yeah. ROWAN:  --maybe shouldn't have done that in front of Emma. If she wanted Emma-- JAZZA:  Uh-hmm. ROWAN:  --to come away with her. But you know she did and that's on her. So all the screaming again. And then the suitor is here to save the day, whose name is Carl. Which-- JAZZA:  Didn't know it is, no, I completely missed that. What? That's very funny-- ROWAN:  It's Carl, yeah. Carl's here to save the day and so Carmilla-- JAZZA:  Carl.. ROWAN:  --looks like, ohh, well, I guess a bit of skip town. This is too much for me, and then runs back to the castle. Which obviously we as the audience know is filled with the lads who are up to no good. JAZZA:  The Lesbian Vampire Killer. ROWAN:  Yeah. The Lesbian Vampire Killer, the lads. And so yeah, she just runs back to the castle, has a little nap. And then while she's napping, doesn't notice them all come around her coffin and and stab her in the heart. JAZZA:  I can I just say they don't, she doesn't notice them. Finding her coffin, moving a massive, kind of like slate off of her coffin. Carrying her coffin into the chapel, opening the coffin, then moving her dress down so that expose his, her chest and then placing the stake on her breast so that they can actually stub her. She doesn't notice any of that, she's fast asleep, bless her. ROWAN:  She's hibernating, [52:22] we nap and she deserves it. JAZZA:  Very cute. This is all happening during the night as well. And that's when she's to be awake? ROWAN:  Hmm, doing question is fine. She's she's hibernating. JAZZA:  And then they once again they stab her through the chest. She is then decapitated, which again, the physical effects of this movie. We're not what I was expecting for 1970, that is very nice. ROWAN:  That's very good. JAZZA:  Have we gone backwards? ROWAN:  Possibly, I I genuinely feel like the special effects of Jurassic Park hold up better than the special effects of Jurassic World. So, yes, you're you're correct. The audience of the goodies. JAZZA:  I am with you. ROWAN:  I really enjoyed that they were like yeah, Peter Cushing can have the killing blow. He's a he's the star of this, is no real connection to a lot of what's going on here but sure. And then at the end come in his portrait on the wall has changed to be all vampire instead of all hot like she was before. JAZZA:  Very doing great. ROWAN:  Yeah, it's great. It was it was very much like Chekhov's decapitation. Because they did the guy at the very beginning was like, the only way you can kill them as if you decapitate them. And it's like, oh, I wonder if that will come back later on. It's like, a plot point. And then yeah, that was the end of the movie we had, we have experienced, The Vampire Lovers. JAZZA:  Uh-hmm, uh-hmm. Rowan did you [53:36], how how was this, how was this experience for you? Because obviously this isn't what you wanted. You wanted quote unquote, "real horror". ROWAN:  So here's the thing. JAZZA:  Mmm, go! ROWAN:  I will admit, when we were coming up with these movies, and we and you decided that we were going to watch The Vampire Lovers, I was worried. JAZZA:  Can I just say, I rolled a dice when decided this. ROWAN:  Yeah, you did annoyingly. JAZZA:  So it wasn't me that decided it was the dice. ROWAN:  The dice, it was the thing. I would admit, the time I was a bit like, disappointed because I like, no that, I don't know if I'm that interested in this or whatever. But then I did watch the movie. And I agree with my initial assessment, I was so bored. This was such a boring movie. JAZZA:  I I couldn't disagree with you more. ROWAN:  Ohhh, God. JAZZA:  I loved it, I loved it so much. ROWAN:  I've could have predicted that though. I feel like we've had, we've disagreed on movies before in this podcast. And I think it's just you enjoy trash. JAZZA:  This isn't, no no-- ROWAN:  Like, and not that that's not even meant to be me. Like, like, taking a dig at you. I'm like you genuinely do appreciate sort of like campy, trashy, like low budget stuff. I think more than I do. JAZZA:  Yes. Yeah. No, I'm with you. That is my vibe. That is my my modus operandi. But also I will say, all the way through, I was just fascinated that a movie like this was out in 1970. And I was also just captivated by all of the women. Either Ingrid Pitt, really does carry this full movie, she was absolutely phenomenal throughout the whole thing. But then every single woman is just absolutely stunning. And I don't understand why they're hanging around with all of these mediocre men. I wanted it to just be the women living their cortical fantasy. And I was so sucked in to their beauty and like some of their sexy flirting. I was super into The Governess, and all of that shit. I genuinely was hooked to this movie. I I really enjoyed the ride, I thought it was great. I will say some of that is based on kind of like, oh, isn't this an interesting depiction of like, the end of the height of the Hammer Horror Movement, and of the type of movie that was out at the time and stuff like that. ROWAN:  What a nerd. JAZZA:  But I have a--I had a really nice time, I'd recommend it. ROWAN:  Yeah, I also I guess it appreciated it on that more intellectual level of like, mmm, this is I was I was like, at the very least, there's stuff that we can say about it. In the same way as I did predict this is what was going to happen. That like when you do an experiment in science class, really, I just keep doing high school metaphors. And it's not even on purpose. And when you do an experiment in science class, and it goes horribly wrong, and all of your results are wrong. You're like, well, at least I have something to write in my evaluation, even if the results and the conclusion of the terrible. I'll have, I'll basically just be able to, like, absolutely destroyed myself by being like me from 10 minutes ago, when I did this experiment is ridiculous, and doesn't know what she was doing and absolute fool. Or here all the things she did wrong. JAZZA:  And you're and you'll get really good marks for being reflective. ROWAN:  Yeah, exactly. You really reflective. And I kind of feel like this is the vibe of like, well, I don't enjoy it. But there's a lot we can say about it. So I guess this is the section where we talk about a little bit more context specific around Queer Movies, lesbian vampires, they're a thing. So this is not, this very much was part of a tradition. Like you talked about Carmilla before. And this is a tradition that has very much been with us for a long time, for a number of reasons. So one, as we talked about before, the vampire genre ties in a lot to sex and sexuality. And it only makes sense that if you're going to talk about perversion and sexuality that lesbians come up, you know, it's a it's just how we do. So I think also the fact that there is a, there is a riskier a danger, and alert sexuality element of vampires. And so if you're going to pick a sexuality to titillate the assumed to be male audience. With a bit of taboo, with a bit of danger, with a lot of titties, the lesbians will do it for you. So this is very much yeah, old, old trope, which has continued on through the decades. And this was absolutely no exception and actually was like a very noted example of it that a lot of people will talk about. I think it was very interesting that, when you look at the Wikipedia article for this movie, it gives you, often Wikipedia articles will tell you like what the rotten score is with critics. JAZZA:  Uhm. ROWAN:  And the note that they've made of it being certified rotten. I looked at the citation, and it was from 2013. It is now absolutely not certified rotten, the critic score is 71. And the audience score is 60. So it kind of has gotten more critical clout as a cult classic, than sort of a good movie at the time getting good reviews. It's very much had basically the reaction that we sort of had to at of, there is something about the context of it and something about its sort of cult classic status, which has, I think, elevate it in in subsequent reviews. JAZZA:  Is it, I'm sensing a mirroring of what we saw with Jennifer's Body-- ROWAN:  Hmm. JAZZA:  --a little bit. ROWAN:  You are not wrong, you're absolutely not wrong. There is this idea of the as I kind of mentioned earlier, corrupting lesbian force, right? So you would often have not just in like supernatural ways in in more realistic dramas around these decades, especially within the Hays Code or around it, of the experienced, maybe older sexual lesbian, and the young innocent virgin who didn't really understand what was going on and couldn't be blamed and was sucked in but just needed to be kind of taken out of this woman's [59:23] and given to a nice good man and that would kind of cheer her like this very much is something that is a big, big part of the conceptualization people had of lesbians of what what that relationship looks like. And I think queer people in general was like, the predator, right? So you had a lot of in our history, we have a lot of stuff where, you know, queer people shouldn't be teachers because they shouldn't be around young people. Ridiculous, obviously. And then more recently, we have the sort of trans bathroom panic stuff around the idea that old trans people shouldn't be trusted with our children in bathrooms like just completely ridiculous. But absolutely ties into this idea of like the evil lesbian trope, which plays out so much, over over time, over over this genre. And if you're being interpreting it in maybe a little bit more of a generous way, or if you wanted to subvert it, then you might look at how becoming a vampire is sort of as a symbol of no longer being tied to sort of puritanical ideas of sex and sexuality. And it being a very freeing experience and that that kind of tying into queerness like, I definitely think there's room for that interpretation. In like more modern explorations of lesbian vampires. I'd be really interested to see stuff like that. But yeah, there's a 1936 film Dracula's Daughter. JAZZA:  Yeah. ROWAN: 

Welcome back to another episode of the GGtMC!!! This week Todd and Sammy discuss Dr. Jekyll and Sister Hyde (1971) directed by Roy Ward Baker and Wonderland (2003) directed by James Cox!!! Emails to midnitecinema@gmail.com Adios!!! --- Send in a voice message: https://anchor.fm/ggtmc/message

Do you remember when Derek co-produced a podcast called 1951 Down Place? Did you know that there was an episode recorded that was never released? Did you know that - after three years - that episode will finally be set free into the podosphere? This week, Derek is joined by Scott Morris (and a kidney stone?) to discuss the 1971 film Dr. Jekyll and Sister Hyde (dir. Roy Ward Baker), and this episode features all the old 1951 Down Place segments - the James Bond Connections, the Disney Connections, and the Doctor Who Connections (courtesy of Don Falkos). Also this week, another excellent installment of Kenny's Look at Famous Monsters of Filmland and an ultra edition of Mark Matzke's Beta Capsule Review. Voicemail: 503-479-5MKR (503-479-5657) Email: Monster Kid Radio's Discord Server - Monster Kid Radio on Reddit - Monster Kid Radio on Twitch! - - Monster Kid Radio on YouTube - Follow Mark Matzke Monster Study Group - Small Town Monsters - Follow Scott MorrisDisney, Indiana - 1951 Down Place -  Monster Kid Radio on TeePublic - Next week on Monster Kid Radio: STAY TUNED! "" () appears courtesy of () All original content of Monster Kid Radio by is licensed under a .

This week on Hammer Pub, your hosts will still be sitting down with yet another marvelous Hammer horror film while having a few drinks and providing a running commentary on a gothic horror classic.  This week, they'll be tackling Roy Ward Baker's 1971 horror film Doctor Jekyll and Sister Hyde!  During the discussion, the trio chats about their recent watches, including Pig, The Night House, and Dark Shadows. Once the film begins, the gang discusses their overall thoughts on the film, Roy Ward Baker's direction, the film's excellent performances, and…next curtain-dresses?! It's something a little different for Scream Addicts, but it's a commentary we hope you'll love! Be sure to subscribe to our show on iTunes, leave feedback, tell your friends about us, and give us a yell on Facebook and Twitter! We are: @thealichappell @Paulisgreat2000 @Jinx1981 @screamaddicts

This week on Hammer Pub, your hosts will still be sitting down with yet another marvelous Hammer horror film while having a few drinks and providing a running commentary on a gothic horror classic.  This week, they'll be tackling Roy Ward Baker's 1970 horror film The Vampire Lovers!  During the discussion, Jinx and Paul chat about their recent watches, including the Jaws series, Fear Street 1666, A Classic Horror Story, A Quiet Place Part II, Old, Brotherhood of the Wolf, and Deep Rising. Once the film begins, the guys discuss their overall thoughts on the film, the film's boundary-pushing levels of sex and violence, its lesbian subtext, and…recapping the dangers of margaritas?! It's something a little different for Scream Addicts, but it's a commentary we hope you'll love! Be sure to subscribe to our show on iTunes, leave feedback, tell your friends about us, and give us a yell on Facebook and Twitter! We are: @Paulisgreat2000 @Jinx1981 @ScreamAddicts

It's the conclusion to the Summer of Hammer, and it's time to get evil! And we're not talking regular evil, here. This is pure, ancient evil! Wait, is the devil on horseback? Well, no. You'll have to get your cowboys versus Satanists jollies, elsewhere. But Christopher Lee has finally arrived in the Summer of Hammer! And he's here to thwart a Satanic cult, while riding (in a car) headlong into battle against the Goat of Mendes, the devil himself! Saddle up for the spectacular western (not really), The Devil Rides Out (1968)! And then from there, hang on a second! Are Martians automatically evil? Hey look, we're just talking about what we see in the movies, okay? Professor Quatermass, who prefers to limit his notoriety to the United Kingdom, thank you, oversees an excavation in the London Underground. When a large, unearthly object is uncovered, supernatural events begin to occur. It's Quatermass versus ghosts? Possession? But are these plot devices of earthly origin? It's Quatermass time! The Summer of Hammer ends, in Quatermass and the Pit (1967)!

In this double length episode we discuss two of many films based on the tragic sinking of the Titanic in 1912. First we discuss the 1953 film Titanic directed by Jean Negulesco and starring Clifton Webb, Barbara Stanwyck and a young Robert Wagner. Next we discuss the 1958 film A Night to Remember directed by Roy Ward Baker and starring Kenneth More.

Hammer fanatics, get ready! Because the Summer of Hammer is here to seduce you, with a pair of creature features! Oliver Reed uses his charm, and a typical passionate performance, to win our hearts. Despite the fact that he would prefer to eat us. The full moon will have you howling for this early Hammer classic, Hammer's only feature film foray into werewolf lore. It's The Curse of the Werewolf (1961)! And then from there, just what is Ingrid Pitt up to, in the role that made her a cult horror icon? The answer is: vampire stuff. Obviously. Mircalla? Carmilla? Marcilla? It doesn't matter what her name is! And your gender is irrelevant, too. If Ingrid wants you, she's going to use her vampire wiles to seduce you.  Good luck trying to resist! You know, if you even want to...in The Vampire Lovers (1970)!

But it seemed so real...almost as if it happened, or could. Join Reneé, John Paul, and Travis as they discuss Roy Ward Baker's 1973 British horror anthology "The Vault of Horror."   Please consider supporting the show on Patreon: https://www.patreon.com/thepodmortem    Where to listen to the podcast and follow us on social media: https://allmylinks.com/thepodmortem   Follow us on Twitter: https://twitter.com/thepodmortem https://twitter.com/bloodandsmoke https://twitter.com/realstreeter84 https://twitter.com/travismwh   What would you rate The Vault of Horror and what should we watch next? Email us at thepodmortem@gmail.com    "Pod Mortem Theme" written and performed by Travis Hunter. https://youtube.com/travismwh

This week on Hammer Pub, your hosts will still be sitting down with yet another marvelous Hammer horror film while having a few drinks and providing a running commentary on a gothic horror classic.  This week, they'll be tackling Roy Ward Baker's 1970 horror sequel Scars of Dracula! During the discussion, the guys chat about their recent watches, which include the Alley Cat, made-for-TV horror films, and The Amusement Park.  And, before the film begins, Paul and Jinx are joined by a pair of very special guests. Once the film begins, the guys discuss their overall thoughts on the film, its standing within the Dracula franchise, Roy Ward Baker's impressive direction, and…DVD cardboard slipcovers?! It's something a little different for Scream Addicts, but it's a commentary we hope you'll love! Be sure to subscribe to our show on iTunes, leave feedback, tell your friends about us, and give us a yell on Facebook and Twitter! We are: @Paulisgreat2000 @Jinx1981 @ScreamAddicts

We look at four noirish British films distributed in the United States by Eagle-Lion: Waterloo Road (1945, directed by Sidney Gilliat), I See a Dark Stranger (1946, directed by Frank Launder), The October Man (1947, directed by Roy Ward Baker), and The Blue Lamp (1950, directed by Basil Dearden). We explore the mental and physical landscape of wartime and postwar England and such subjects as militant Irish politics, English policing, and scapegoating as dramatic structure and social reality, and evaluate the performance of Dirk Bogarde's hair.    Time Codes: 0h 01m 00s:                  Brief Eagle-Lion Preamble 0h 04m 56s:                  WATERLOO ROAD (1945) [dir. Sidney Gilliat]    0h 30m 46s:                  I SEE A DARK STRANGER (1946) [dir. Frank Launder] 0h 58m 20s:                  THE OCTOBER MAN (1947) [dir. Roy Ward Baker] 1h 22m 16s:                  THE BLUE LAMP (1950) [dir. Basil Dearden]                          +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s *Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Find Elise’s latest film piece on Billy Wilder and 1930s Romantic Comedy *And Read lots of Elise’s Writing at Bright Wall/Dark Room, Cléo, and Bright Lights.* Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com

Moon Zero Two will strand Adam and Chris on an asteroid if they don't find something to say about Roy Ward Baker, Hammer films, Don Ellis, space suits, and Power Gloves.

Sannah & Eric are back to talk about movie adaptations of the Titanic disaster. There have been many through the years. We start by comparing the two must-sees from the list: Roy Ward Baker's adaptation of Walter Lord's famous book of the same name, “A Night to Remember” (1958), and James Cameron's wildly successful “Titanic” (1997). The bulk of our discussion focuses on these two. Then we spend the rest of the time discussing various other adaptations we've seen, giving our recommendations for the ones we feel are worth seeing. Other films included are: Saved from the Titanic (1912) (Lost film) La Hantise (1912) In Nacht und Eis (1912) Atlantic (1929) Cavalcade (1933) Titanic (1943) (aka “Nazi Titanic”) Titanic (1953) The Unsinkable Molly Brown (1964) S.O.S. Titanic (1979) Raise the Titanic (1980) The Legend of the Titanic (1999) Titanic: The Legend Goes On (2000) Ghosts of the Abyss (2003) Titanic's Final Mystery (Smithsonian documentary from 2012) Thanks for listening!

Sexe et règles sont-ils compatibles ? Selon une enquête réalisée pour la marque Nana, 80% des personnes menstruées évitent les relations sexuelles pendant les règles. Pourtant, selon une étude américaine publiée en 2003 par l'Association of Reproductive Health Professionnels, 62% des femmes cis interrogées ont envie de faire l'amour pendant leurs règles. Dans cet épisode, nous avons voulu discuter de sexualité pendant les règles avec trois invitées : Diane Saint-Réquier, fondatrice de Sexy Soucis, un site où elle répond aux questions des internautes sur les sexualités, les identités et la santé sexuelle au sens large, qui existe depuis 6 ans (à retrouver aussi sur instagram, twitter, facebook et France TV). Sexy soucis c'est aussi un collectif qui intervient en festival et soirées sur ces questions. Juliette Hammé, membre de l'émission Gouinement lundi (aussi sur instagram et twitter) et réalisatrice du podcast Adieu monde hétéro (à retrouver là où vous écoutez des podcasts, notamment Podtail, Apple, Spotify ou encore Deezer), sur des parcours de sortie de l'hétérosexualité et co-réalisatrice de Confisekse, le podcast des sextos du confinement. Ovidie, réalisatrice de plusieurs documentaires dont A quoi rêvent les jeunes filles ?, Pornocratie et L'éducation sexuelle des enfants d'internet et autrice de nombreux livres. Baiser après MeToo, le dernier, est sorti en octobre 2020 et Libres ! Manifeste pour s'affranchir des diktats sexuels aussi en collaboration avec Diglee vient d'être adapté en série sur Arte. Nos recos : Diane recommande le livre Chattologie, de Klaire fait Grr et Louise Mey, adapté de la pièce de théâtre du même nom. Juliette, recommande le dernier album de Mansfield.TYA, Monument Ordinaire (et si vous ne savez pas par où commencer, on vous conseille l'étourdissant clip Auf Wiedersehen, l'un des extraits de cet album) Ovidie recommande le film Showgirls de Paul Verhoeven, film qui ne fonctionne pas sur beaucoup d'aspect, mais l'un des rares films qui évoque la question des règles pour une travailleuse du sexe. Juliette nous a aussi conseillé trois films autour de la figure de la vampire lesbienne, qui est l'un des rares moments où le sang est lié à l'érotisme, même s'il ne s'agit pas de menstruations : The Vampire Lovers, de Roy Ward Baker (1970), Les lèvres rouges, de Harry Kümel (1971) et Les Prédateurs, de Tony Scott (1983). Pour approfondir la question, Juliette nous réfère au blog Le 7e Genre. Dans la même catégorie, Diane suggère Lesbians Vampire Killers, de Phil Claydon (2009). Un film « écrit par des mecs beaufs pour des mecs beaufs », précise Diane… « mais c'est quand même marrant et il y a des meufs canon ». Lisa conseille l'association Soie Rouge, qui organise des ateliers pour coudre des serviettes lavables. Vous pouvez nous suivre sur Instagram, Facebook et Twitter. Vous pouvez aussi nous envoyez un email. Crédit logo : Clayton DRX

Lester and Tariq discuss this 1967 cult Sci-Fi horror Quatermass and the pit and the legendary Hammer Film Productions behind them. Directed by Roy Ward Baker