Ghoule, reaguj!

[crippled_avenger]

http://www.pressonline.rs/page/blog/sr.html?view=post&id=39980&blogId=5#blogComments

vidi komentare...

[Meho Krljic]

Zario si im očnjake direktno u Srce, brate nečastivi.

[Ghoul]

vidi komentare...

tako ti je to kad tražiš đavola među pobornicima "pravih, proverenih vrednosti"!

(mada, onaj što je govorio o sranju koje ulazi nazad na čmar je uspeo čak i mene na trenutak da zgrane!)

[crippled_avenger]

Steven Spielberg and Will Smith are in early discussions to collaborate on a remake of Chan Wook-park's highly acclaimed 2003 Korean action hit "Oldboy" reports Variety.

In the original, a man gets kidnapped and held in a shabby cell for 15 years without explanation. Suddenly, he's released and given money, a cell phone and clothes and is set on a path to discover who destroyed his life so he can take revenge.

Smith who would play the kidnapped man if all the pieces fall into place and Spielberg is looking for a writer to begin the development process. The film will likely get underway once Spielberg finishes his directorial duties on the first "Tintin" film.

DreamWorks is in the process of securing the remake rights and the new film will be distributed by Universal.

[mafija_x]

[Ghoul]

bolje vil smit nego rob šnajder!


bolje spilberg nego mcg.

ali razlike su zaista minorne, if any.

[Shozo Hirono]

Pooooooooooooooorke ??????????????!!!!!!!!!!!!!!      

[Ghoul]

rorke?

hm, on bi već bio DOBAR izbor za glavnu ulogu u rimejku!

[cutter]

rimejkovaće shi gan?

[Son of Man]

E za SHI GAN ce vec da USHIJU GA  
Sto je mnogo mnogo je...mada ako oce da plate, nemaju vise svojih ideja, neka ih bre...al to ja necu gledati i sta me briga, sta ja imam sa tim ? Samo Kim ki duk i zabole me Babin kuk.

[Shozo Hirono]

Steven Spielberg and Will Smith are in early discussions to collaborate on a remake of Chan Wook-park's highly acclaimed 2003 Korean action hit "Oldboy" reports Variety.

In the original, a man gets kidnapped and held in a shabby cell for 15 years without explanation. Suddenly, he's released and given money, a cell phone and clothes and is set on a path to discover who destroyed his life so he can take revenge.

Smith who would play the kidnapped man if all the pieces fall into place and Spielberg is looking for a writer to begin the development process. The film will likely get underway once Spielberg finishes his directorial duties on the first "Tintin" film.

DreamWorks is in the process of securing the remake rights and the new film will be distributed by Universal.

Ne znam da li su ih Turci pretekli,ali Bollywood sigurno jeste i to jos davno !!!!!!
Staromomche Zinda !!!!  
http://www.imdb.com/title/tt0488906/

[Shozo Hirono]

Bogami,sa ovakvim replikama ovaj film postaje PRAJSLESSSSS !

Balajeet Roy: Motherfucker... Sisterfucker... I'll cut your flesh into pieces... no wait... I'm sorry
[Cries]
Balajeet Roy: Please... just let me go...

------------

Balajeet Roy: I'll kill you, Rohit
Rohit Chopra: If you kill me, who will tell you your daughter's whereabouts?
Balajeet Roy: Tell me her whereabouts, Rohit
Rohit Chopra: Your daughter is being plundered in this very whorehouse.
Rohit Chopra: She is getting fucked!
Balajeet Roy: [screaming] No!

-----------------

Balajeet Roy: Don't give me such a big punishment for a little mistake in the past?
Rohit Chopra: [furious] LITTLE MISTAKE? Due to your mistake my sister had to commit suicide and you had to rot in hell for fourteen years!

----------------

Balajeet Roy: Time... time has the power to change everything... once upon a time... even I used to be a human being

------------------

Rohit Chopra: To find out why I did this to you... you have only 6 days left
Balajeet Roy: But you don't even have one day left...
Balajeet Roy: C'mon Bala... do you really think you can kill me?

------------------

[Shozo Hirono]

[cutter]

http://www.youtube.com/watch?v=8Q-rW1FZMX8

spilberg će to voki tokijem. možda i toki vokijem  

[crippled_avenger]

When it was announced that Steven Spielberg and Will Smith were set to remake the highly acclaimed Korean film "Oldboy", fans began to worry that the film would end up as bad as almost every American remake of an Asian thriller has proven to be in recent years (for every single "The Departed" there's five like "Shutter").

Now Will Smith tells Film School Rejects that rather than a remake of Chan Wook-park's 2003 film, the project will be an adaptation of the original manga by Garon Tsuchiya and Nobuaki Minegishi.

"We're looking at that right now. Not the film though, it's the original source material. There's the original comics of 'Oldboy' that they made the first film from. And that's what we're working from, not an adaptation of the film" says Smith.

Though similar, there's some notable differences between the graphic novel and the darker original film with its darker elements from live eating of octopii to brother-sister incest. A writer is currently being sought for the Universal Pictures project.

[Ghoul]

očekujem od meha il tako nekog stripadžije da nam kaže kolika je razlika strip-film i ima li materijala u stripu koje bi ovi mogli da uzmu a da to ne bude već superiorno urađeno kod čanvuka.
ja čak možda i imam sken toga negde na svojim strip diskovima, ali ko će sad na svu muku još i stripove da čita?

[DušMan]

Ja sam počeo da čitam taj strip pre par godina, ali ga nisam nikad završio. Sećam se da mi je film bio superiorniji. Verovatno zato što su tamo slike u pokretu, za razliku od stripa gde su bile statične.

[Milosh]

Verovatno zato što su tamo slike u pokretu, za razliku od stripa gde su bile statične.

Drmni nešto jače, pa onda kreni da čitaš strip ponovo...

[Meho Krljic]

očekujem od meha il tako nekog stripadžije da nam kaže kolika je razlika strip-film i ima li materijala u stripu koje bi ovi mogli da uzmu a da to ne bude već superiorno urađeno kod čanvuka.
ja čak možda i imam sken toga negde na svojim strip diskovima, ali ko će sad na svu muku još i stripove da čita?

Mislim da sam ti ga ja narezao. Strip je daleko sporiji i detaljniji. Ko voli - dobro mu je, sve dok ne očekuje superiornu vizuelnu stilizaciju i tempo filma.

[crippled_avenger]

Hayao Miyazaki: 'We need to liberate our children from nationalism'Comments (...)
Trenton Truitt and Ben Child
guardian.co.uk, Tuesday November 25 2008 12.02 GMT
Article history

A still from Hayao Miyazaki's Ponyo on the Cliff (2008), another film from the Japanese director which celebrates the innocence of children

Despite being responsible for Japan's most successful film of all time, Spirited Away director Hayao Miyazaki is known as something of a recluse. But he has made a rare foray into the limelight to criticise the rise of nationalism in his home nation and to call for increased measures to improve the environment.

During a press conference in Tokyo to promote his latest film, Ponyo on the Cliff, which has already grossed $153m in Japan and picked up two awards at the Venice film festival, Miyazaki said he was disappointed by the actions of Japan's disgraced head of the airforce, general Toshio Tamogami, who was fired earlier this month after he wrote an essay defending his country's actions in the second world war.

"We need to liberate our children from nationalism," Miyazaki said. "The nationalistic view suggests the problems in the world come from its multi-ethnicity. [It] creates a possibility for the country we love to turn into something negative for the world as a whole. This is a lesson we learned from the past war and which we cannot forget."

The 67-year-old Academy award-winner also derided Japan's environmental policies - as well as those of the world in general - a theme highlighted in his films Princess Mononoke and Spirited Away, which holds the all-time box office record in Japan with a stunning 30bn Yen yield.

Miyazaki's work often touches on the innocence of children and posits the view that they offer hope for humanity's future. Ponyo on the Cliff, which centres on a young boy who befriends a goldfish that wants to be human, is the latest example. It will be widely released in Europe and north America in 2009. The director has also driven home his point outside the world of film: his company Studio Ghibli recently opened a creche in Tokyo after Miyazaki decried the lack of childcare facilities.

The film-maker spoke enthusiastically about the venture during his talk at the foreign correspondence club. "Here in Japan we have much potential future uncertainty, which applies to the workplace and also how we should raise our children," he said.

"[But] as they ran wild in the [facility's] garden we saw that they were quickly able to adapt themselves. There were many cases where they may have been threatened, but they did not cry... It was truly an astonishing thing to see. There was no longer an uncertainty about our children."

[DušMan]

ALAN MOORE'S NEONOMICON HORNBOOK; by Alan Moore & Jacen Burrows.
Alan Moore fans, this is the big one, the first all-new Alan Moore horror series in ages is coming, and this is the first look!  Neonomicon is the all-new full-color sequel to The Courtyard! He takes his re-invention of H.P. Lovecraft's mythos to new levels of madness as investigators look into what happened to legendary FBI man Aldo Sax. The path it leads them down is one of the most intense and disturbing works Moore has ever written. The series itself does not launch until Fall 2009, but this special book Features completed pages from #1, a look at some of Moore's original script, special design sketches, and an all-new interview with Jacen Burrows. Two editions are available: the standard cover by Burrows and a special Leather cover by Burrows signed by the artist, packaged with a Certificate of Authenticity, and limited to just 3,000 copies! STANDARD COVER 16 FC LEATHER COVER SIGNED

[crippled_avenger]

[Ghoul]

šta, već sam postao objekt fejsbuka?

[Milosh]

šta, već sam postao objekt fejsbuka?

Lepo sam ti ja rekao da je to neizbežno...

[crippled_avenger]

Berlin
STORM
((GERMANY))
By DEREK ELLEY
'Storm'

A Piffl Medien/A-Film (in Germany) release of a 23/5 Filmproduktion production, in association with Zentropa Berlin, Zentropa Entertainments, Zentropa Intl. Netherlands, IdtV Films, Film i Vast. (International sales: Trust Nordisk, Hvidovre, Denmark.) Produced by Britta Knoeller, Hans-Christian Schmid. Executive producer, Maria Koepf. Co-producers, Marie Cecilie Gade, Bettina Brokemper, Frans van Gestel, Jeroen Beker. Co-executive producers, Peter Aalbaek Jensen, Peter Garde. Directed by Hans-Christian Schmid. Screenplay, Bernd Lange, Schmid.

Hannah Maynard - Kerry Fox
Mira Arendt - Anamaria Marinca
Keith Haywood - Stephen Dillane
Jonas Dahlberg - Rolf Lassgard
Patrick Faerber - Alexander Fehling
 REMEMBER TO REMOVE THE HEADLINE AT THE VERY BOTTOM.
STORM

(GERMANY)

A Piffl Medien/A-Film (in Germany) release of a 23/5 Filmproduktion production, in association with Zentropa Berlin, Zentropa Entertainments, Zentropa Intl. Netherlands, IdtV Films, Film i Vast. (International sales: Trust Nordisk, Hvidovre, Denmark.) Produced by Britta Knoeller, Hans-Christian Schmid. Executive producer, Maria Koepf. Co-producers, Marie Cecilie Gade, Bettina Brokemper, Frans van Gestel, Jeroen Beker. Co-executive producers, Peter Aalbaek Jensen, Peter Garde.

Directed by Hans-Christian Schmid. Screenplay, Bernd Lange, Schmid. Camera (color, widescreen), Bogumil Godfrejow; editor, Hansjoerg Weissbrich; music, the Notwist; art director, Christian M. Goldbeck; costume designer, Steffi Bruhn; sound (Dolby Digital), Patrick Veigel; sound designer, Hans Moller; assistant director, Scott Kirby. Reviewed at Berlin Film Festival (competing), Feb. 7, 2009. Running time: 102 MIN.

Hannah Maynard Kerry Fox

Mira Arendt Anamaria Marinca

Keith Haywood Stephen Dillane

Jonas Dahlberg Rolf Lassgard

Patrick Faerber Alexander Fehling

With: Tarik Filipovic, Kresimir Mikic, Steven Scharf, Joel Eisenblaetter, Bent Mejding, Wine Dierickx, Reinout Bussemaker, Alexis Zegerman, Arturo Venegas, Drazen Kuehn.

(English, German, Serbian dialogue)

By DEREK ELLEY

A potentially gripping legal thriller about what happens when Western Europe attempts to solve Central European problems ends up as dull entertainment in "Storm." Europudding production, shot largely in English, wastes some fine acting talent -- Kerry Fox, Stephen Dillane and, especially, Romanian actress Anamaria Marinca ("4 Months, 3 Weeks and 2 Days") -- on a script whose dialogue is by turns awkward, expository and simply unnatural, and which tries to be provocative but ends up being either back-breakingly worthy or plain silly. Expect some serious reviews in Euro territories followed by distinctly un-stormy business.More than one option(Film) Storm
David Palffy, Michael Kevis
(Film) Storm
Paul L Nolan, John Kewalzick
(Tv) Storm

It's 2005, and former Yugoslav National Army commander Goran Duric (Drazen Kuehn) is arrested while vacationing in the Canary Islands. Three years later, his trial for war crimes committed 15 years earlier in the Bosnian town of Kasmaj is due at the U.N. Intl. Criminal Tribunal in the Hague. Prosecutor Hannah Maynard (Fox) is told by her boss, Keith Haywood (Stephen Dillane), that it's a piece of cake; all she has to do is prove Duric was in charge of the ethnic cleansing.

However, when Duric's canny lawyer (Tarik Filipovic) undermines the credibility of Hannah's key witness, Alen Hajdarevic (Kresimir Mikic), Keith tells Hannah she has to take a new approach to the case. She has one week to do so, as the tribunal is already getting itchy to close the book on Bosnia.

Hannah tracks down Alen's sister, Mira (Marinca), who lives in Berlin with her husband (Steven Scharf) and young son, and pressures her to go on the witness stand. Meanwhile, she also starts to uncover hints of further dark deeds by Duric in a spa hotel in Vilina Kosa, near Kasmaj.

Despite threats and harassment by Serbian nationalists, Mira finally agrees to help Hannah, partly to exorcise her own memories. But behind-the-scenes wheeling and dealing by EU pols undercuts Mira's usefulness and threatens to make her collateral damage on a broader geopolitical level.

Not helped by the cloth-eared dialogue, which sounds directly translated from German, the rather tired-looking Fox doesn't breathe much life into her conflicted role as U.N. careerist and social conscience. Most of the rest of the cast, including Dillane as her hardass boss and Sweden's Rolf Lassgard as her EU apparatchik lover, are simply moved around the board at the scripters' convenience.

Only Marinca, so good as the pragmatic best friend in "4 Months," manages to rise above the studied dialogue. She carves a sympathetic character whose life is of little consequence to those in the comfy Netherlands, far from the tangled, emotional arena of former Yugoslavia.

Schmid, who created a real sense of claustrophobia in exorcism drama "Requiem," doesn't show the same smarts here as the movie flips back and forth between the Netherlands, Germany and Central Europe with zero accumulating tension. Widescreen, handheld lensing by Polish lenser Bogumil Godfrejow, who also shot "Requiem," is distractingly antsy, for no apparent reason other than to try to engender a sense of immediacy.

More than one option(Co) A-Film Distribution (Netherlands)
(Co) A-Film
Film - Filmography, Year, Role
(Co) A-Film
Film - Filmography, Year, Role
(Co) A-Film
Film - Filmography, Year, RoleMore than one option(Person) Maria Kopf
(Person) Maria Koepf
More than one option(Co) Dolby Laboratories Inc.
(Co) Dolby Digital
More than one option(Person) Scott Kirby
Assistant Director, Set Decorator, Actor
(Person) Scott W Kirby
(Person) Scott Kirby
Animation Director, WriterMore than one option(Film) Requiem
Edit Frajt, Zoltan Fabri
(Film) Requiem
(Film) Requiem
1998 - Francis Frappat, Alain Tanner
(Film) Requiem
2006 - Sandra Hueller, Hans-Christian SchmidCamera (color, widescreen), Bogumil Godfrejow; editor, Hansjoerg Weissbrich; music, the Notwist; art director, Christian M. Goldbeck; costume designer, Steffi Bruhn; sound (Dolby Digital), Patrick Veigel; sound designer, Hans Moller; assistant director, Scott Kirby. Reviewed at Berlin Film Festival (competing), Feb. 7, 2009. Running time: 102 MIN.

[Ghoul]

wow, ovo se mora pogedati, makar ovaj rivju vrlo jasno nagoveštavao skoro sve uobičajene boljke inozemnih pokušaja bavljenja balkanskom tragikomendijom.

naravno, drago mi je što je film, po svemu sudeći, umetnički PUKAO; sa takvom agendom i ne zaslužuje bolje.

Tarik Filipovic je jedno vreme ozbiljno figurirao za važnu ulogu u SRPSKOM FILMU, aca me je ubeđivao da je on super glumac – ne znam jer ne gledam TV – ali to je razlog više da se ovo pogleda. kao i ona rumenka - ovaj, rumunka.

btw: ja sam izgleda jedina osoba na svetu kojoj je taj šmitov REQUIEM bio vrlo promašen, dosadan i šupalj; vidim da svi ostali (i dalje) otkidaju na to.
hm.
da li je bio potreban OVAJ film da se pokaže da je Ghoul, tradicionalno, bio u pravu, i da je šmit prodavac magle?

ovo je vrsta filma kakva bi sjajno legla festu, kad bi ovaj imao ozbiljne selektore.

[crippled_avenger]

Malo istorije žanra, što da ne?

Blood and gutsiness

Risible dialogue, busty vampires, huge profits ... Will Hodgkinson tells the extraordinary story of the British horror studio that gave Hammer a run for its money


Will Hodgkinson
The Guardian, Friday 13 February 2009
Article history

Four stories for the price of one ... scene from The House That Dripped Blood (1970). Photograph: Ronald Grant Archive

There was a period in British culture - roughly the mid-60s to the late 70s - when making a movie on the cheap, getting it shown in cinemas and turning a profit was actually possible. Amicus studios, the brainchild of a socially inept scriptwriter called Milton Subotsky and a fast-talking hustler called Max J Rosenberg, hired everyone from Vincent Price to Joan Collins to star in hastily made horror movies with vague pretensions towards psychological depth. They even convinced Hollywood boy wonder William Friedkin to shoot an adaptation of Harold Pinter's The Birthday Party. Remarkably, Subotsky and Rosenberg achieved this without having any money whatsoever, let alone a real studio.

What Amicus did have was its own, original genre: the portmanteau horror. These involved an anthology of related segments, more often than not adapted from the short stories of Psycho author Robert Bloch. Amicus favourites included such titles as Dr Terror's House of Horrors (rail passengers get their Tarot cards read), Torture Garden (carnival sideshow reveals people's inner cruelties), Asylum (inmates are interviewed by a psychiatrist) and The House That Dripped Blood (a copper investigates four crimes in one building).

Amicus films were typically brooding and claustrophobic; they were far darker, and much less camp, than the horror films of the same period produced by the more famous Hammer studios. The scripts tended to reflect Subotsky's obsessions. I, Monster, its Dr Jekyll and Mr Hyde adaptation, is stuffed with Freudian theories because Subotsky's wife happened to be studying psychology at the time.

"Hammer was a business set-up," the late, legendary horror director Freddie Francis told this paper in 1995. "Had it dealt in garbage disposal, it would have been just as successful. Milton Subotsky from Amicus, on the other hand, was a real horror buff."

Amicus may have fashioned preposterous horror hokum out of love, but the studio came into being through hard-nosed opportunism. Rosenberg, a New Yorker, was a law graduate with a successful distribution company when he heard about the Eady plan, a British subsidy set up to funnel government money into movie production and encourage filming in the UK. Subotsky was a shy science-fiction film freak, also from New York, whose parents considered the movie industry disreputable. Nevertheless, he managed to get into the feature film business, producing Rock, Rock, Rock with Rosenberg in 1956, before he moved to England in 1960. In 1964, the pair came together again with the founding of Amicus to take advantage of the Eady plan.

The late Rosenberg called Amicus "a studio without walls". There was no capital structure, so films got made through a combination of private investment, funding from the Eady plan, and extremely low budgets. Its first proper production, 1965's Dr Terror's House of Horrors, was made for less than £100,000, yet starred horror giants Peter Cushing and Christopher Lee and was directed by Francis, already an acclaimed cinematographer. Rosenberg's technique for attracting high-profile talent was simple: he hired them on a competitive day rate, but only for a few days, so shooting schedules were brisk. The House That Dripped Blood was filmed over a couple of weeks.

"Rosenberg, who was the money man, was always in America and we never met him," says Ingrid Pitt, the Polish-born actor who starred with Dr Who's Jon Pertwee as a sexy vampire in The House That Dripped Blood. "But Milton was an angel. He was often on set and he had a way of making you feel wanted. We used to sit around and talk about medicine. He always thought he had something wrong with him."

Subotsky was also driven by a deep-rooted hatred for Hammer. In 1956, Hammer had rejected a script he wrote called Frankenstein and the Monster, only to go on and have huge success with a similarly themed film called The Curse of Frankenstein. To Rosenberg, this proved there was money in British horror movies. To Subotsky, the gauntlet had been thrown down. "Hammer seem happy to make the same film over and over again," he told an interviewer in the early 1970s. "I'm always looking for something different." But Subotsky overestimated his own abilities. He not only made a misguided attempt to improve on Robert Louis Stevenson's Jekyll and Hyde story with I, Monster; he insisted it be filmed in 3D. The film's young director, Stephen Weeks, could chop out Subotsky's monotonous dialogue about Freudian theory, but making the 3D effect work was almost impossible, because the sets had been built the wrong way round. The script called for the action to go from left to right, but the building lines went the other way.

"Milton Subotsky was a strange, nerdish character," says Weeks now. "He wanted everyone to watch home movies of his damn kid." Subotsky ran out of money halfway through the production, but rather than give up, he simply told Weeks to cut whatever scenes he had filmed into something resembling a finished movie. The film was released to terrible reviews - but, like most Amicus films, it made a profit.

Subotsky soldiered on, encouraged by Rosenberg, for whom critical lashings mattered little in the face of increasingly large financial returns. Subotsky's script for Tales from the Crypt, an anthology piece based on stories from 1950s pulp horror publishers EC Comics, was described by Variety as "laughably melodramatic". A review in Films Illustrated said: "Much of the dialogue is risible throughout, and much of the playing incapable of overcoming the vast obstacle of the script." Yet Crypt, which stars Joan Collins as an unfaithful wife who kills her husband only to be killed herself by a man dressed as Santa Claus, was one of the most successful films of 1972. It was second only to The Godfather at the US box office, and spawned a follow-up, The Vault of Horror.

One of Amicus's most notorious titles was Asylum, also made in 1972, another compendium piece based on short stories by Bloch - this time revolving around the psychological aberrations of inmates at a psychiatric hospital. Needless to say, Subotsky was incapable of leaving Bloch to his own devices, adding gratuitous scenes of limbs crawling across floors to the writer's original script. But Asylum's director, Roy Ward Baker, created a mood of sinister threat, and Subotsky assembled a starry cast: the best story features Charlotte Rampling as a schizophrenic whose murderous alter ego is played by Britt Ekland. Following a now-familiar pattern, Asylum opened to atrocious reviews and huge returns.

For reasons that remain unclear, Subotsky lost heart in Amicus in the wake of its biggest successes. In 1975, the studio released an adaptation of Edgar Rice Burroughs' lost-world adventure The Land That Time Forgot. It had proved a difficult film to shoot: its star, Doug McClure, was drinking heavily after the collapse of his marriage, while Subotsky was rumoured to be spending more time at Hamleys buying toys than running the studio. His only real involvement with the production was to turn up at a screening with his four-year-old-son, announce that the boy could tell there were men inside the dinosaur suits, and leave. Soon afterwards, Subotsky withdrew from the company and launched a lawsuit against his former partner that dragged on for the next five years - largely because the company had been set up on nothing more than a handshake.

Rosenberg kept Amicus alive for two more years. The studio's swansong was a terrible science-fiction western called Welcome to Blood City. Rosenberg cut his ties with the British film industry, set up a distribution company in California and produced films such as the Natassja Kinski-starring Cat People. Subotsky lurched from one disastrous production to another until dying of heart disease in 1991. Rosenberg kept working well into his 80s, dying in 2004 aged 90.

The Amicus story should have ended when Subotsky walked off in a huff in 1975. But the films have endured, growing in cult status as the years pass. There's something about the way they were made on a wing and a prayer that gives them charm, while the underlying themes of paranoia, neurosis and sexual repression - Subotsky's preoccupations, it seems - give some measure of depth behind the wooden dialogue and hammy acting.

In 2006, the US producer Robert Katz felt the Amicus name was worth reviving, and set up the label again. The second film from the reborn Amicus Entertaiment was the cult Stuart Gordon flick Stuck. Starring Stephen Rea and Mena Suvari, it re-established Amicus as a name to conjure with. Now the company is preparing to remake The House That Dripped Blood and Dr Terror's House of Horrors.

Amicus thrived in recession-hit 1970s Britain, when a combination of cheap production values and scary, silly fantasy suited the mood of the times. Perhaps its hour has come again.

• The season Amicus: The Studio That Dripped Blood is at the Barbican, London, from 20 February.

[Ghoul]

amicus je, što se mene tiče, dao hammeru 'run for its money' jedino po pitanju takmičenja u tome ko će da napravi dosadniji, prevaziđeniji, zastareliji, prazniji, izlizaniji 'gothic' horror.

ni jedni ni drugi mi nisu dragi, i strogo gledano, ne znam da li bih mogao na više od ukupno 10 engleskih horora nastalih između 1955. i 1975. godine da stavim svoj seal od approval, a pitanje je i od tih 10 koliko njih bi pripadalo ovim kompanijama!

[Bab Jaga]

Ima i video: http://www.youtube.com/watch?v=UO_7kTYGbS8

[crippled_avenger]

Ghoule, još uvek se nisi oglasio povodom serije Čkaljinog sina NEKI ČUDNI LJUDI na kojoj je kao ko-scenarista radio RANKO MUNITIĆ?

[Ghoul]

Ghoule, još uvek se nisi oglasio povodom serije Čkaljinog sina NEKI ČUDNI LJUDI na kojoj je kao ko-scenarista radio RANKO MUNITIĆ?

poznato je da ja TV ne pratim, i da ga samo slučajno načujem i ili u magnovenju bacim neki pogled, a na taj produkt uho/oko mi se nisu zaustavili tokom bivanja u dnevnom boravku.

munetić svakako nije neko zbog koga bih narušavao svoje principe.

[crippled_avenger]

Universal, Imagine team on 'Strange'
Duo gear up 'Lovecraft' graphic novel
By MARC GRASER

Universal and Imagine Entertainment are gearing up for "The Strange Adventures of H.P. Lovecraft."
The studio has bought the film rights to Image Comics' graphic novel, with the project a potential directing vehicle for Ron Howard. The book bows April 8.

U sparked to "Lovecraft" because its take on classic horror fits in well with the studio's library of monster fare featuring Dracula, Frankenstein, the Mummy and the Wolf Man, the last of which is being brought back to the bigscreen later this year.

Created by Mac Carter and Jeff Blitz, book borrows elements from Lovecraft's life, such as his family's struggle with mental illness and his own bouts with writer's block, and transforms the young writer's darkest nightmares into reality when he comes across a book that puts a curse on him and lets the evils he conjures up loose on the world.

Lovecraft, who died in 1937, is considered one of the most influential horror writers of the 20th century.

Carter, a commercial director, will pen the script and serve as executive producer alongside Blitz.

Carter and Blitz both helmed commercials for Anonymous Content, working on spots for such clients as McDonald's, Yahoo, Coca-Cola and Toyota. Carter has since gone solo and has helmed more than 100 ads for clients.

Imagine's Brian Grazer and Howard are producers. David Bernardi, shingle's senior VP, and director of development, Chris Wade, will serve as co-producers.

Image Comics also publishes the popular "Spawn" books, as well as "Witchblade," "WildC.A.T.s," "The Walking Dead" and "Youngblood."

[crippled_avenger]

Police, Adjective
Politist, adj. (Romania)
By JAY WEISSBERGA 42 KM Film production, in association with Racova, Raza Studio, with the participation of HBO Romania. Produced by Corneliu Porumboiu. Executive producer, Marcela Ursu. Directed, written by Corneliu Porumboiu.

With: Dragos Bucur, Vlad Ivanov, Ion Stoica, Irina Saulescu, Cerasela Trandafir, Marian Ghenea, Cosmin Selesi, Serban Georgevici, George Remes, Adina Dulcu, Dan Cogalniceanu, Costi Dita, Alexandru Sabadac, Anca Diaconu, Radu Costin, Viorel Nebunu, Emanoela Tigla, Daniel Birsan, Bungeanu Mioara.
 New Romanian cinema gains further impetus with Corneliu Porumboiu's cerebral non-thriller "Police, Adjective." With his 2006 Camera d'Or winner, "12:08 East of Bucharest," Porumboiu established himself as a witty writer-helmer with a superb ear for dialogue and an interest in the broader ramifications of truth. His follow-up, about a contempo cop's unwilling surveillance of a teen suspected of selling pot, takes things further, aiming a laser-sharp intellect and a deeply considered understanding of language at themes of authority and the residue of totalitarianism. Euro and bicoastal arthouse play is assured, though some auds may find the actionless passages taxing.
The deliberately paced opening -- following teen Victor (Radu Costin) as he's trailed by undercover cop Cristi (Dragos Bucur, "Boogie") through crumbling sections of the north-eastern city of Vasliu -- immediately sets up an unspoken critique of the country's post-communist stagnation. It's the inability, or refusal, to move forward, in all aspects of Romanian society, that's the real subject of the movie.

Cristi is a good cop, if a bit weary, and recently married to Anca (Irina Saulescu). His superior, Nelu (Ion Stoica), has him shadowing Victor in hopes of finding out where the teen's weed comes from, but in the course of his investigation, Cristi realizes Victor's just a kid who occasionally lights up with some friends. Though Nelu accepts Cristi's findings, he's unwilling to listen to the argument that Romanian law will soon fall in line with pan-European practices, so what's the point of ruining a kid's life for something that will soon be more or less legal?

Porumboiu uses his camera rationally, as a surveillance tool, yielding long passages in which little apparently happens. Victor's life, like that of most teens, is not exciting, and Cristi's tailing becomes a drudgery. Still, Porumboiu manages to hold the viewer's attention with tiny details, and by building sympathy for Cristi and showing the cop's growing sympathy for Victor.

An illuminating finale with police captain Anghelache (Vlad Ivanov) not only justifies all this careful pacing and deliberate buildup, but also rewards the viewer with one of those rare revelatory moments, exposing the full strength of what has preceded it. An earlier scene between Cristi and Anca plants the seed of what's to come, and how questions of language, and the parsing of definitions, can be manipulated and turned against their true purpose.

That's where "Police, Adjective" is so extraordinary: Porumboiu is one of the few helmers working today who so completely understands both the power of language and the power of visuals. He brings this intelligence to bear on the corrupting influence of a system that exerted control for generations, arguing that such systems die very hard deaths.

Perfs show the naturalness that's perhaps the sole common trait of the so-called Romanian New Wave. Ivanov, the chilling abortionist from "4 Months, 3 Weeks and 2 Days," appears only towards the end, but the studied calm and confidence in his power are thrilling and devastating to watch.

The camera calls as little attention to itself as possible, generally maintaining (like Cristi) an observational stance. However, every inch of the frame contains something meaningful, as when the fixed camera holds onto the image of Cristi and Anca separated by a wall. Version caught in Bucharest was screened digitally, before sound and color correction were completed, but was otherwise a finished version.

Camera (color), Marius Panduru; editor, Roxana Szel; music, Mirabela Dauer, Yan Raiburg; production designer, Mihaela Poenaru; costume designer, Giorgiana Bostan; sound (Dolby Digital), Alexandru Dragomir, Sebastian Zsemlye, Christian Mike Sugar; assistant director, Mihai Sofronea; casting, S.C. Exit Films 2002. Reviewed at Elvire Popesco Cinema, Bucharest, Romania, April 2, 2009. (In Cannes Film Festival -- Un Certain Regard.) Running time: 110 MIN.

[Ghoul2]

Tell Tale
By JOHN ANDERSON

Directed by Michael Cuesta. Screenplay, David Callaham, inspired by Edgar Allan Poe's "The Tell-Tale Heart."

Terry Bernard - Josh Lucas
Elizabeth Clemson - Lena Headey
Phillip Van Doren - Brian Cox
Angela Bernard - Beatrice Miller
Kevin Stanovich - Jamie Harrold
Acherton - Michael Kenneth Williams
Bernard Cochius - Pablo Schreiber

Edgar Allan Poe could have used a new liver, but not in his most macabre hallucinations could he have imagined his classic "The Tell-Tale Heart" being transformed into the horror-transplant vision of "Tell Tale," a thriller that will keep its considerable viewership off balance while providing star Josh Lucas with one of the better opportunities of his career. Under the imprimatur of producers Ridley and Tony Scott, the very talented Michael Cuesta ("L.I.E.") has made his most accessible film to date, an intelligent creepfest that may have auds imagining the movie playing on and on, beneath the floorboards.

As Terry Bernard, Lucas, an actor of natural intensity, takes his usual edge off, at least initially. Terry has a beautiful doctor girlfriend, Elizabeth (Lena Headey), a menial job and a daughter (Beatrice Miller) with a crippling illness that will eventually cause the calcification of her tendons and connective tissue. But Terry has had a medical emergency, too -- a heart transplant, from which he's just recovering. He's a mild-mannered guy, so it's a bit surprising when he starts hyperventilating in the presence of certain people at the local hospital, and then manages to stab to death the same medical technician who harvested his new heart.

But there's a coronary-pulmonary-style system at work in "Tell Tale," even if viewers will sometimes wonder how it's all connected: David Callaham's script metes out details with tantalizing slowness, so certain things don't immediately add up -- like why Det. Van Doren (a beautifully rough and slouching Brian Cox) is so amenable to Terry finding and then killing the people responsible for the death of Terry's heart donor. Or who that donor was. Or why certain people are so interested in what Terry knows or may find out.

That Lucas at first plays Terry on the downbeat makes his character's transformation all the more credible. Just as Terry's body is changing -- his doctor tells him he's only the second case in history of someone whose blood type has spontaneously changed (he now matches his donor) -- so is his mind. His appetites are altered. His attitude toward Elizabeth gets coarser. And his bloodlust is amped.

Cuesta (for whom Cox starred as the predatory pedophile in "L.I.E.") is the Philippe Petit of narrative wire-walking. All the while, as the intrigue assembles around Terry, his donor and the crime ring operating within the hospital, a fairly lovely story unfolds about Terry, Elizabeth and the daughter who is bringing them together. It's rare to find quite this believable and warm a domestic subplot rolling out at the same time other characters are meeting horrific, bloody ends, but it never feels strained or forced and ramps up the viewer's emotional investment.

"Tell Tale" may be a fantastic story, but the supernatural elements of Callaham's Poe-etics are so tightly woven into the action and emotion that one forgets how unnatural it all is.

Noteworthy among the tech credits is d.p. Terry Stacey's shooting, which gives an unaccustomed elegance to Providence, R.I.

[Ghoul2]

The Shadowless
Golgesizler (Turkey)
By ALISSA SIMON

Directed, written by Umit Unal, based on the novel "Golgesizler" by Hasan Ali Toptas.

With: Selcuk Yontem, Hakan Karahan, Taner Birsel, Onuryay Everentan, Yigit Kusbeygi, Tales Farzan, Arsen Gurzap, Umut Karardag, Bigkem Karavus, Ertan Saban, Fuat Onan, Serkan Senalp, Aydemir Akbas, Zeynep Kumral, Ozay Fecht.

Unfolding in a timeless village rife with supernatural beliefs, mysterious disappearances and untimely deaths, "The Shadowless," Turkish helmer Umit Unal's mesmerizing fourth feature, reps an ambitious adaptation of a multilayered novel by Hasan Ali Toptas, dubbed "the Kafka of the East." Pic's more akin to an Anatolian "Twin Peaks" or an East Euro arthouse item than it is to most current Turkish cinema. This ambiguous, gorgeously crafted item did limited biz on narrow release in February, but seems destined for fests, plus longer life in local ancillary. Its ravishing formal qualities should appeal even to auds unfamiliar with the novel.

With 22 speaking roles (plus a silent cameo by author Toptas) and a nonlinear, episodic narrative creating the atmosphere of a waking dream, the plot is difficult to synopsize. The pic's themes include the city vs. the provinces, common sense vs. superstition, the modern, centralized state vs. rural traditionalism, and the nature of creativity.

Story begins as an Istanbul barber (Taner Birsel) arrives in a remote, unnamed village. Since the previous barber, Jingle Nuri (Fuat Onan) went missing years before, the pompous mukhtar (Selcuk Yontem) encourages him to move into Nuri's shuttered shop.

Meanwhile, the mukhtar has problems when Guvercin (Bigkem Karavus), the burg's most beautiful girl, suddenly vanishes. The observant village guard (producer Hakan Karahan) suspects a gentle dreamer (Ertan Saban), whose mother (Arsen Gurzap) doesn't take kindly to his being roughed up.

Elsewhere, the Imam beds Nuri's abandoned wife (Zeynep Kumral) and the guard maintains a long-running affair with the married Hacer (Tales Farzan). The tale of Dazzling Fatma (Ozay Fecht) and Hamdi the Soldier (Yigit Kusbeygi) recounted by the village sage (Aydemir Akbas) adds to the air of sexual debauchery.

In a place where most inhabitants believe in the power of spells, perhaps the most unsettling episode involves teen Ramazan (Serkan Senalp), the unlucky pawn in a plot to demonstrate a neighbor's supernatural abilities. The eerie mood is further fostered by the moans of the mukhtar's unseen son, who's kept locked in a cellar.

Helmer Unal ("Istanbul Tales") considers his screenplay to rep one of many possible readings of the novel while remaining faithful to its spirit. His compelling adaptation compounds the sense of mystery and introduces an element of surprise by keeping a key revelation for the end. Fine ensemble cast (mostly stage thesps) seems entirely in tune with Unal's intentions.

Stylistically, the story's surreal atmosphere is balanced by the plausibility of the characters and locations. Although the time period is unspecified, realistic art direction and costumes suggest late '60s or early '70s in a working village. Gokhan Atilmis' expressionist lensing and Candan Ercetin's moody score lead a topnotch tech package.

[Ghoul2]

Horsemen
By JORDAN MINTZER

'Horsemen'
A Lionsgate (in U.S.)/Metropolitan Filmexport (in France) release of a Mandate Films, Michael Bay presentation of a Platinum Dunes, Radar Pictures production. Produced by Bay, Brad Fuller, Andrew Form. Executive producers, Ted Field, Joe Drake, Nathan Kahane, Joe Rosenberg. Co-producers, Nicole Brown, Kelly Konop, Jeremiah Samuels, Michael Weber. Directed by Jonas Akerlund. Screenplay, David Callaham.

Aidan Breslin - Dennis Quaid
Kristen - Ziyi Zhang
Alex Breslin - Lou Taylor Pucci

Riding in on the four ponies currently plaguing the Hollywood horror-thriller -- overstylized torture, whiplash editing, compulsive script reversals and crude neon lighting -- "Horsemen" brings its herd home to pasture in strictly predictable fashion. Not nearly as gripping as "Seven" nor as gore-crazy as the "Saw" or "Hostel" series, musicvid vet Jonas Akerlund's sophomore effort will be remembered neither as a highlight of the waning genre, nor for Dennis Quaid's most memorable screen performance. Lionsgate quarantined the pic's U.S. release to just 75 theaters in early March, hoping, perhaps, that the apocalypse will come in ancillary.

A fairly harmless shock sequence, whereby a woodsman stumbles on a silver platter displaying a pile of torn-out teeth, sets the tone for the film's other "revelations." By the time forensic dentistry expert Aidan Breslin (Quaid) concludes that a series of corpses mutilated by artsy trapeze devices may have something to do with the famous Bible passage about the "Four Horsemen of the Apocalypse," the audience is already several steps ahead of him.

Much of the initial action, as it shifts from blood-splattered crime scene to detailed autopsy and back, plays out in territory well trod by the latest and not-too-latest works of the torture-porn/Splat Pack school. A scene in which Breslin investigates a tattoo/S&M parlor connected to the murders typifies the approach of screenwriter David Callaham ("Doom"), as the script tries to immerse us in a faux-seedy world torn from a dozen other movies.

Thankfully, Breslin's shattered home life, where he remains estranged from his two young sons (Lou Taylor Pucci, Liam James) following the death of his wife from cancer, adds something vaguely human and original to the story. Quaid is best in these domestic sequences, in which he makes the tiresome pull between work and family seem believable -- much moreso than when he's on the beat and merely going through the motions.

When the adopted daughter (Ziyi Zhang, physically fierce yet unconvincing) of an early victim turns out to be linked to the killers, the diabolical prophecy heads so quickly for home that viewers may be shocked most by the film's slapdash ending.

Despite the abundance of red-green-white gels used for the biblical motifs, Akerlund's direction remains fairly restrained, and he actually seems to want to tell the father-son story in a straightforward way. Too bad about all those fish hooks suspending people in the air as they choke on their own blood.

Like the plot, the score by Jan A.P. Kaczmarek's ("The Visitor") leads us in mostly foreseeable directions.

[Ghoul]

bravo, ghoule2!
totalno si mi pogodio ukus!

ova 3 vredi potražiti!  

[crippled_avenger]

Ghoule, čujem da Nemanja Bečanović snima svoj celovečernji prvenac. O čemu je reč?

[Ghoul]

raspitaću se da li je to projekat o kome mi je pričao prošlog leta ili nešto drugo.

[Shozo Hirono]

bravo, ghoule2!
totalno si mi pogodio ukus

gde se dede ovaj ghoule2?

[Ghoul]

Ghoule, čujem da Nemanja Bečanović snima svoj celovečernji prvenac. O čemu je reč?

da, to je taj projekat o kome sam slušao još prošle godine, o neshvaćenom umetniku u vrletima CG koji završi... pa, još malo pa kao junaci JOVANE LUKINE.
u igri su francuske i slovenačke pare, ali još je to na dugom štapu i pitanje je da li će se za septembar planirano snimanje tada i desiti. ali i ako zakasni, verovatno će ga biti, pre ili kasnije.

[crippled_avenger]

Ne znam da li si video danas u Politikinom kulturnom dodatku, toj simpatičnoj opskurnoj publikaciji, ima tekst LDPovog astronoma Milana M. Ćirkovića u kome hajpuje uzgred i Lavkrafta?

[Ghoul]

ne pratim tu publikaciju, sem ponekad kad objave nešto moje; baciću pogled na onlajn izdanje.
znam da je ćirković veliki HPL fan, pisao mi je svojevremeno, a vala i nedavno.

[Father Jape]

Gospode... uspeo sam da ga prelistam i ne vidim taj clanak. A vel'ki sam inace fan Cirkovicev. 

[Alexdelarge]

Venera i mrtvozornik
Izložba iz kolekcije Henrija Velkama, čoveka mračne biografije i vlasnika moćne farmaceutske korporacije, prizorima disekciranih tela izaziva hvalospeve štampe i podseća na čovekovu nekrofilnu prirodu

Zaboravite Madam Tiso! Nova legija voštanih figura okupirala je grad! – reklama je koja, od 30. jula, napadno kruži Londonom (do 18. oktobra). Ona se odnosi na složenu muzejsku izložbu Izuzetna tela, postavku ,,čudnih i čudesnih anatomskih modela", jednog dela Kolekcije Velkam koja predstavlja ,,neobičan spoj medicinskih artefakata i originalnih umetničkih dela... ideja o vezama medicine, života i umetnosti".

Pomama 19-vekovne publike za ,,anatomskim Venerama", lutkama od slonovače i voska, koje predstavljaju, najčešće, sveže, gotovo srećno nasmešene ženske kadavere, rasparane, otvorene utrobe, sa verno raspoređenim, pomičnim i manje-više preciznim replikama organa, po svemu sudeći, ponavlja se i ovog londonskog leta. Štampa i mediji, kao verni predstavnici prosekturno-forenzičnog ukusa novog čoveka, u sadističkom obožavanju morbidnih fascinacija, kao što su čudovišta u formalinu ili svakovrsni preparirani telesni ,,rezultati" časova anatomije, utrkuju se u unisonom hvalospevu Izuzetnim telima.

U londonskom Indipendentu, Ronda Kenig kaže da je prisiljena da krije oči cvili i onesvešćuje se pred prizorima ljudskog 'otpada' Kolekcije Velkam". Kustos ove izložbe, Kejt Ford, opet, veliča modele disekciranih tela kao uzor ,,Božje arhitekture": ,,Deo razloga zbog kojih je anatomska Venera načinjena ovako životnom je lepota tela, koje je i mašina. Ne treba ih vezivati za užas smrti. Treba pretpostaviti da one komuniciraju ideju božanskog tvorca".

Čitalac i sam vidi da ovakve, egzaltirane, ali i sasvim uobičajene ,,kuratorijalne" tvrdnje – izmiču svakom raciju. Ali, već jedan od pratećih programa ,,Izuzetnih tela", koji se, razumljivo, zove ,,Seks: viktorijanska misterija", upozorava na golicavi, erotski aspekt eksponata.

Privlačnost erotske ležernosti

Kejt Ford kaže: ,,Anatomska Venera je tradicionalno anatomski korektna, ali ono što privlači pažnju je njena putena životnost, i sasvim erotska privlačnost, u svojoj opuštenoj ležernosti".

Da patolog, kao morbidni, ali i dalje makar potencijalno kreativni Pigmalion, sasvim tanatofilično oseća privlačnost svih svojih ,,pacijenata", i sasvim frankenštajnovski traga za njihovom misterioznom ,,čas-je-vidiš-čas-je-ne-vidiš" životnosti, može doći u iskušenje (čak i golicavo) da eksperimentiše sa besmrtnošću, već je notorni predmet raznih umetničkih, ali i naučnih pregnuća.

Nekrofilni ukus naše civilizacije može nas, ipak, naterati da se zapitamo: možda u kulturi u kojoj je poslednji Venerin ljubavnik, njen patolog – nije sve loše. Ali, šta je dobro?

Odgovor nas upućuje na samu Kolekciju Velkam (welcome engl. = dobrodošli). Nju je, kao deo Velkam Trasta, najbogatije svetske medicinsko-istraživačke fondacije (koja godišnje na svoja istraživanja troši više i od same britanske vlade), ali i farmaceutskog koncerna GlahoSmithKlinemhtml:file:///G:NekrofilijaHenry Wellcome – Wikipedia, the free encyclopedia.mht!/wiki/GlaxoSmithKline, Englezima i svetu ostavio Henri Solomon Velkam (1853 –1936), sin siromašnog misionara Druge adventističke crkve (koja je predviđala kraj sveta 1844. godine), i masona, koji je putovao i propovedao Divljim zapadom SAD, iz platnom natkrivenih kola sa arnjevima.

Nevidljivo mastilo

Iako strogog religioznog vaspitanja, Henri rano pokazuje interes za medicinu, ali pre svega njen marketing. Prvi patent koji je objavio i ponudio za prodaju, 1869, bio je nevidljivo mastilo. U oglasu ga je, šaljivo(?), preporučivao za tajnu korespondenciju ,,Ku Kluxu". Već 1880, Velkam osniva svoju farmaceutsku kompaniju, koja se ističe svojim medikamentima u obliku tableta (za razliku od dotadašnjih praškova i tekućina), patentiranih kao ,,tabloid". Do današnjeg dana, njegova kompanija ne poznaje drugi put osim vrtoglavog uspona. Ali sam Velkam, potpuno u duhu svog prvog patenta, uspeva da ostane nevidljiv. Čak i biografije koje je pripremala njegova sopstvena korporacija, do današnjeg dana nisu zadovoljile duh Henrija Velkama.

Ono što je ipak ,,procurelo", iz jedne od prokrijumčarenih, zabranjenih verzija, ocrtava mračne, nimalo dobrodošle konture. Jedini debelo podvučen pasaž u njegovoj Bibliji bio je: ,,I za te novce uzmi što zaželi duša tvoja, goveda, ovaca, vina ili drugog jakog pića, ili što god zaželi duša tvoja" (Ponovljeni zakon, 26/14). Omiljena maksima mu je: ,,Ne govori nikome o svojim planovima, dok ih ne ostvariš." Iako je završio Koledž farmacije u Filadelfiji, Velkam je rano shvatio da je od samog leka mnogo bitnije njegovo pakovanje. Naoružan takvim marketinškim principom i poduprt masonskim vezama, napravio je farmakološku imperiju, koja je oduvek kontrolisala lekove najmasovnije upotrebe, pre svega za najmnogoljudnije, najprljavije i najbolesnije kontinente. Interesi koje je predstavljao tako dobro, i čije je ostvarenje organizovao tako dobro, da i danas funkcionišu besprekorno (kroz smernice koje je, veoma dalekovido, ostavio u testamentu), ukazuju da je, kao pravi, okoreli hrišćanski fundamentalista, tvrdo verovao da će njegov posao uspešno opstati do Sudnjeg dana. Velkam je, pošto je shvatio da mu je jedino dete deformisano – čudovište, novorođenče nemilosrdno, zauvek uklonio iz svoje blizine, ali je zato obožavao da krvnički tuče svoju ženu. I kada ga je napustila, manje joj je prebacivao što ,,ide iz ruke u ruku", nego što živi sa Somersetom Momom, jer je poznati pisac bio prononsirani homoseksualac! Na notorno čuvena arheološka iskopavanja u Džebel Moji potrošio je čitavo bogatstvo: potpuno ga je opljačkao, ali je razočaran starošću artefakata (1000 do 400 p.n.e.), sve pobacao u podrume, gde su trunuli zaboravljeni deceniju posle njegove smrti. Naime, Velkam, koji je obožavao samo zaista stare stvari, ,,romantično" je verovao kako je pronašao praistorijsko pleme belih ljudi. Neke satisfakcije je, ipak, izvukao iz Džebel Moje: uživao je u masovnim šibanjima radnika i farmaceutskim eksperimentima na živim ljudima... Razmere ,,podviga" Velkama, i njegovih korporacija otkrivaće se verovatno decenijama. Ali, ne treba zaboraviti da Henrijeva fascinacija smrću počinje, bez njegove volje, u njegovoj osmoj godini, kada je prisustvovao pokolju hiljada belih doseljenika u naselju Garden Siti – tu je mali Velkam pokazao zavidnu hrabrost, hrabreći dugu decu i praveći municiju kojom su se napadnuti branili od naleta (doduše s razlogom) besnih Dakota Sijuksa.

Ali i kada posetilac danas uđe u zgradu Kolekcije Velkam, kako bi posetio tekuću izložbu Izuzetna tela, ne treba da zaboravi kako je Henri lično terao molere da njene zidove kreče 26 puta zaredom, pre no što ih je za taj posao i platio.

Borislav Stanojević

http://www.politika.rs/rubrike/Kulturni-dodatak/Venera-i-mrtvozornik.lt.html

[Ghoul]

nije baš morao da moralizatorstvo vezano za tog 'kontroverznog biznismena' proširuje i na njegovu izložbu, i ineterese koje takve stvari mogu da pobude.
ipak, tipično.

[Alexdelarge]

U najnovijem broju PZ na dve stranice tekst o filmu Fitzcarraldo. Autor napisa izvesna Mirjana Ognjanovic.

[marduk]

U najnovijem broju PZ na dve stranice tekst o filmu Fitzcarraldo. Autor napisa izvesna Mirjana Ognjanovic.

KOja je bre ta Mirjana Ognjanović? Često u PZ piše o film-related temama.... Počinjem da sumnjam, eto pre je pisala i o Ravenu, Pou (filmu, kormanovom)...

[Ghoul]

to je moja anima.
moj ženski ego.
moja ghouletta.

[marduk]

to je moja anima.
moj ženski ego.
moja ghouletta.

Ete! Tčno sam znao!