Eve (1968 film)
Eve is a 1968 thriller film directed by Jeremy Summers and starring Robert Walker, Fred Clark, Herbert Lom, Christopher Lee and introducing Celeste Yarnall as Eve. When the director quit midway through filming, Spanish horror film director Jesus Franco was brought in to finish the job; the film was a co-production between Britain, Spain and the United States, location scenes were filmed in Brazil. It was released as Eva en la Selva, The Face of Eve, Eve in the Jungle, or Diana, Daughter of the Wilderness. An explorer looking for a priceless missing Inca treasure in the Amazon jungle runs across a bikini clad and barefoot young woman named Eve, worshipped as a goddess by jungle natives. Eve is being pursued by a showman who wants her for his freak show. Robert Walker as Mike Yates Fred Clark as John Burke Herbert Lom as Diego Christopher Lee as Colonel Stuart Celeste Yarnall as Eve Rosenda Monteros as Conchita Maria Rohm as Anna Jose Ma Caffarel as José Ricardo Diaz as Bruno Lyric by Hal ShaperSung by Jago Simms Filmed on locationin Spain and BrazilCopyright 1968 Udastex Films Limited TV Guide called it a "very poorly done story of a Tarzaness".
One fun thing to do in the movie is to keep track of how many characters die as a result of their own monumental stupidity. List of American films of 1968 Eve on IMDb
The House of 1,000 Dolls
The House of 1,000 Dolls is a 1967 thriller starring Vincent Price. It has been described as "quite the sleaziest movie AIP made"; the film is set in Tangier. Released in Spain under the Spanish title La casa de las mil muñecas, it was not released in the United States until November 1967. Stephen Armstrong, vacationing with his wife Marie in Tangiers, runs into an old friend and learns he is searching for his missing girlfriend, kidnapped by an international gang of white slavers; the kidnappers are nightclub his mentalist partner Rebecca. Under the guise of their nightclub performances they hypnotize and kidnap young women for the white slavers, spirit them to the House of 1000 Dolls. Stephen continues the investigation. Vincent Price as Felix Manderville Martha Hyer as Rebecca George Nader as Stephen Armstrong Ann Smyrner as Marie Armstrong Wolfgang Kieling as Inspector Emil Sancho Gracia as Fernando Maria Rohm as Diane Luis Rivera as Paul José Jaspe as Ahmed Juan Olaguivel as Salim Herbert Fux as Abdu Yelena Samarina as Madame Viera Diane Bond as Liza Andrea Lascelles as Doll Ursula Janis as Doll The film originated with Harry Alan Towers, who shot the movie in Madrid and got Samuel Arkoff at AIP to contribute financing.
At one stage Terence Fisher was announced as director. Vic Damone was mentioned as going to support Vincent Price and Martha Hyer, but he ended up being replaced by George Nader. Filming began in November 1966. Knowing that local censors would prohibit filming, Towers gave them a copy of Abe Lincoln in Illinois and hired an actor to walk around the set dressed like Abraham Lincoln in case the censors dropped by. According to Price in a 1984 interview, he had been signed on to the project without full knowledge of what the film would be about. After his scenes were shot, "Martha Hyer and I were led off... so we went to visit on the set and we found that they were remaking all of the scenes we'd been in, but a pornographic version of it." He added, "I never got to see it". The Chicago Tribune called the film "not bad enough to be good... bargain basement backfire, discount Price". The New York Times described the film as containing "routine sleuthing, double-crossing and chasing". List of American films of 1967 The House of 1,000 Dolls on IMDb
La Dolce Vita
La Dolce Vita is a 1960 Italian drama film directed and co-written by Federico Fellini. The film follows Marcello Rubini, a journalist writing for gossip magazines, over seven days and nights on his journey through the "sweet life" of Rome in a fruitless search for love and happiness. La Dolce Vita won the Palme d'Or at the Oscar for Best Costumes; the film was a massive box office hit in Europe with 13,617,148 admissions in Italy and 2,956,094 admissions in France. Based on the most common interpretation of the storyline, the film can be divided into a prologue, seven major episodes interrupted by an intermezzo, an epilogue. If the evenings of each episode were joined with the morning of the respective preceding episode together as a day, they would form seven consecutive days, which may not be the case. 1st Day Sequence: A helicopter transports a statue of Christ over an ancient Roman aqueduct outside Rome while a second, Marcello Rubini's news helicopter, follows it into the city. The news helicopter is momentarily sidetracked by a group of bikini-clad women sunbathing on the rooftop of a high-rise apartment building.
Hovering above, Marcello uses gestures to elicit phone numbers from them but fails in his attempt shrugs and continues on following the statue into Saint Peter's Square. 1st Night Sequence: Marcello meets Maddalena by chance in an exclusive nightclub. A beautiful and wealthy heiress, Maddalena is tired of Rome and in search of new sensations while Marcello finds Rome suits him as a jungle he can hide in, they make love in the bedroom of a prostitute to whom they had given a ride home in Maddalena's Cadillac. 1st Dawn Sequence: Marcello returns to his apartment at dawn to find that his fiancée, has overdosed. On the way to the hospital, he declares his everlasting love to her and again as she lies in a semiconscious state in the emergency room. While waiting frantically for her recovery, however, he tries to make a phone call to Maddalena. 2nd Day Sequence: That day, he goes on assignment for the arrival of Sylvia, a famous Swedish-American actress, at Ciampino airport where she is met by a horde of news reporters.
During Sylvia's press conference, Marcello calls home to ensure Emma has taken her medication while reassuring her that he is not alone with Sylvia. After the film star confidently replies to the barrage of journalists' questions, her boyfriend Robert enters the room late and drunk. To Sylvia's producer, Marcello casually recommends. Inside St Peter's dome, a news reporter complains that Sylvia is "an elevator" because none of them can match her energetic climb up the numerous flights of stairs. Inspired, Marcello maneuvers forward to be alone with her when they reach the balcony overlooking the Vatican. 2nd Night Sequence: That evening, the infatuated Marcello dances with Sylvia in the Baths of Caracalla. Sylvia's natural sensuality triggers raucous partying while Robert, her bored fiancé, draws caricatures and reads a newspaper, his humiliating remark to her causes Sylvia to leave the group, eagerly followed by Marcello and his paparazzi colleagues. Finding themselves alone and Sylvia spend the rest of the evening in the alleys of Rome where they wade into the Trevi Fountain.
2nd Dawn Sequence: Like a magic spell, broken, dawn arrives at the moment Sylvia playfully "anoints" Marcello's head with fountain water. They drive back to Sylvia's hotel to find an enraged Robert waiting for her in his car. Robert slaps Sylvia, orders her to go to bed, assaults Marcello who takes it in stride. 3rd Day Sequence: Marcello meets Steiner, his distinguished intellectual friend, inside a church playing Bach on the organ. Steiner shows off his book of Sanskrit grammar; the two continue playing the piano offering up some jazz pieces for the watching priest. 4th Day Sequence: Late afternoon, his photographer friend Paparazzo, Emma drive to the outskirts of Rome to cover the story of the purported sighting of the Madonna by two children. Although the Catholic Church is skeptical, a huge crowd of devotees and reporters gathers at the site. 3rd Night Sequence: That night, the event is broadcast over Italian radio and television. Blindly following the two children from corner to corner in a downpour, the crowd tears a small tree apart for its branches and leaves said to have sheltered the Madonna.
Meanwhile, Emma prays to the Virgin Mary to be given sole possession of Marcello's heart. 3rd Dawn Sequence: The gathering ends at dawn with the crowd mourning a sick child, a pilgrim brought by his mother to be healed, but trampled to death in the melee. 4th Night Sequence: One evening and Emma attend a gathering at Steiner's luxurious home where they are introduced to a group of intellectuals who recite poetry, strum the guitar, offer philosophical ideas, listen to sounds of nature recorded on tape. An American woman, whose poetry Marcello has read and admired, recommends that Marcello avoid the "prisons" of commitment: "Stay free, like me. Never get married. Never choose. In love, it's better to be chosen." Emma appears enchanted with Steiner's home and children, telling Marcello that one day he will have a home like Steiner's. Outside on the terrace, Marcello confesses to Steiner his admiration for all he stands for, but Steiner admits he is torn between the security that a materialistic life affords and his longing for a more spiritual albeit insecure way of life.
Steiner philosophizes about the need for love in the world and fears what his children may grow up to face one day. 5th D
Manfred Mann
Manfred Mann were an English rock band, formed in London in 1962. The group were named after their keyboardist Manfred Mann, who led the successful 1970s group Manfred Mann's Earth Band; the band had two different lead vocalists during their period of success, Paul Jones from 1962 to 1966, Mike d'Abo from 1966 to 1969. Manfred Mann were in the UK charts in the 1960s. Three of the band's most successful singles, "Do Wah Diddy Diddy", "Pretty Flamingo" and "Mighty Quinn", topped the UK Singles Chart, they were the first southern-England-based group to top the US Billboard Hot 100 during the British invasion. The Mann-Hugg Blues Brothers were formed in London by keyboard player Manfred Mann and drummer/vibes/piano player Mike Hugg, who formed a house band in Clacton-on-Sea that featured Graham Bond. Bringing a shared love of jazz to the British blues boom sweeping London's clubs, the band was completed by Mike Vickers on guitar, alto saxophone and flute, bassist Dave Richmond and Paul Jones as lead vocalist and harmonicist.
By this time they had changed their name to the Manfreds. Gigging throughout late 1962 and early 1963, they soon attracted attention for their distinctive sound. After changing their name to Manfred Mann at the behest of their label's producer John Burgess, the group signed with His Master's Voice in March 1963 and began their recorded output that July with the slow, blues instrumental single "Why Should We Not?", which they performed on their first appearance on television on a New Year's Eve show. It failed to chart, as did its follow-up, "Cock-a-Hoop"; the overdubbed instrumental soloing on woodwinds, vibes and second keyboard lent considerable weight to the group's sound, demonstrated the jazz-inspired technical prowess in which they took pride. In 1964, the group were asked to provide a new theme tune for the ITV pop music television programme Ready Steady Go!. They responded with "5-4-3-2-1" which, with the help of weekly television exposure, rose to No. 5 in the UK Singles Chart. Shortly after "5-4-3-2-1" was recorded, Richmond left the band, though he would record with them later.
He was replaced by Jones' friend Tom McGuinness—the first of many changes. After a further self-penned hit, "Hubble Bubble", the band struck gold with "Do Wah Diddy Diddy", a cover version of the Exciters' No. 78 Hot 100 hit earlier that year. The track reached the top of the UK, US charts. With the success of "Do Wah Diddy Diddy" the sound of the group's singles moved away from the jazzy, blues-based music of their early years, to a pop hybrid that continued to make hit singles from cover material, they hit No. 3 in the UK with another girl-group cover, "Sha La La", which reached No. 12 in the US and Canada, followed it with the sentimental "Come Tomorrow" but both were of a noticeably lighter texture than their earliest output. Meanwhile, "B" sides and four-song EPs showcased original material and instrumental solos; the group returned to jazz and R&B themes on their albums: their first, 1964's The Five Faces of Manfred Mann, included standards such as "Smokestack Lightning" while the second and last with this line-up, Mann Made, offered several self-composed instrumentals and a version of "Stormy Monday Blues" alongside novelties and pop ballads.
With a cover of Maxine Brown's "Oh No Not My Baby" began a phase of new depth and sophistication in the arrangements of their singles. The group began its string of successes with Bob Dylan songs with a track on the best-selling EP The One in the Middle, "With God on Our Side", next reaching No. 2 in the UK with "If You Gotta Go, Go Now". The EP's title track reached the British top ten singles, the last self-written song and the band's last R'n'B workout to do so; the run climaxed with a second UK No. "Pretty Flamingo", produced by John Burgess. The group had managed an initial jazz/rhythm-and-blues fusion, had taken chart music in their stride—but could not hope to cope with Paul Jones' projected solo career as singer and actor, with Mike Vickers' orchestral and instrumental ambitions. Jones intended to go solo once a replacement could be found, but stayed with the band for another year, during which Vickers left. McGuinness moved to guitar, his original instrument, contributing the distinctive National Steel Guitar to "If You Gotta Go, Go Now" and "Pretty Flamingo", was replaced on bass by Jack Bruce, playing for the Graham Bond Organisation for some time before a recent brief stint with John Mayall's Bluesbreakers.
In his brief tenure before leaving to form Cream, Bruce played on "Pretty Flamingo" and on the EP Instrumental Asylum, which began the group's experiments with instrumental versions of chart songs. He was replaced by Klaus Voormann; the band changed record companies just afterward, although EMI released an EP of earlier unissued 1963–66 era songs titled As Was, a hits compilation. Jones was replaced by Mike d'Abo in July 1966, the group switched labels to Fontana Records, where they were produced by Shel Talmy, their first Fontana single, a
24 Hours to Kill
24 Hours to Kill / In Beirut sind die Nächte lang is a 1965 British/German international co-production drama film shot in Techniscope and Technicolor, filmed in the Lebanon a tax haven. It was produced by Harry Alan Towers, directed by Peter Bezencenet and stars Lex Barker, Mickey Rooney and Walter Slezak; the film was written by Peter Yeldham. An airliner enroute to Athens has to stop over 24 hours in Lebanon due to mechanical problems. Though the crew look forward to rest and relaxation in the glamourous tourist hot spot, one of the crew members is in fear of his life due to his being a target of a criminal organisation based in the city Lex Barker... Captain Jamie Faulkner Mickey Rooney... Norman Jones Michael Medwin... Tommy Gaskell Wolfgang Lukschy... Kurt Hoffner Helga Sommerfeld... Louise Braganza France Anglade... Françoise Bertram Helga Lehner... Marianne Walter Slezak... Malouf Hans Clarin... Elias Shakib Khouri... Andronicus Issam Chenawi... Giancarlo Bastianoni... Killer Maria Rohm... Claudine 24 Hours to Kill on IMDb
Vertigo (film)
Vertigo is a 1958 American film noir psychological thriller film directed and produced by Alfred Hitchcock. The story was based on the 1954 novel D'entre les morts by Boileau-Narcejac; the screenplay was written by Samuel A. Taylor; the film stars James Stewart as former police detective John "Scottie" Ferguson. Scottie is forced into early retirement because an incident in the line of duty has caused him to develop acrophobia and vertigo. Scottie is hired by an acquaintance, Gavin Elster, as a private investigator to follow Gavin's wife Madeleine, behaving strangely; the film was shot on location in San Francisco, at Paramount Studios in Hollywood. It is the first film to use the dolly zoom, an in-camera effect that distorts perspective to create disorientation, to convey Scottie's acrophobia; as a result of its use in this film, the effect is referred to as "the Vertigo effect". Vertigo received mixed reviews upon initial release, but is now cited as a classic Hitchcock film and one of the defining works of his career.
Attracting significant scholarly criticism, it replaced Citizen Kane as the greatest film made in the 2012 British Film Institute's Sight & Sound critics' poll. In 1996, the film underwent a major restoration to create DTS soundtrack, it has appeared in polls of the best films by the American Film Institute, including a 2007 ranking as the ninth-greatest American movie of all time. After a rooftop chase, where his fear of heights and vertigo result in the death of a policeman, San Francisco detective John "Scottie" Ferguson retires. Scottie tries to conquer his fear, but his friend and ex-fiancée Midge Wood says that another severe emotional shock may be the only cure. An acquaintance from college, Gavin Elster, asks Scottie to follow his wife, claiming that she is in some sort of danger. Scottie reluctantly agrees, follows Madeleine to a florist where she buys a bouquet of flowers, to the Mission San Francisco de Asís and the grave of one Carlotta Valdes, to the Legion of Honor art museum where she gazes at the Portrait of Carlotta.
He watches her enter the McKittrick Hotel. A local historian explains that Carlotta Valdes committed suicide: she had been the mistress of a wealthy married man and bore his child. Gavin reveals that Carlotta is Madeleine's great-grandmother, although Madeleine has no knowledge of this, does not remember the places she has visited. Scottie tails Madeleine to Fort Point and, when she leaps into the bay, he rescues her; the next day Scottie follows Madeleine. They travel to Muir Woods and Cypress Point on 17-Mile Drive, where Madeleine runs down towards the ocean. Scottie grabs they embrace. Madeleine recounts a nightmare and Scottie identifies its setting as Mission San Juan Bautista, childhood home of Carlotta, he drives her there and they express their love for each other. Madeleine runs into the church and up the bell tower. Scottie, halted on the steps by his acrophobia, sees Madeleine plunge to her death; the death is declared a suicide. Gavin does not fault Scottie, but Scottie breaks down, becomes clinically depressed and is in a sanatorium catatonic.
After release, Scottie frequents the places that Madeleine visited imagining that he sees her. One day, he notices a woman. Scottie follows her and she identifies herself as Judy Barton, from Salina, Kansas. A flashback reveals that Judy was the person Scottie knew as "Madeleine Elster". Judy drafts a letter to Scottie explaining her involvement: Gavin had deliberately taken advantage of Scottie's acrophobia to substitute his wife's freshly killed body in the apparent "suicide jump", but Judy continues the charade, because she loves Scottie. They begin seeing each other, but Scottie remains obsessed with "Madeleine", asks Judy to change her clothes and hair so that she resembles Madeleine. After Judy complies, hoping that they may find happiness together, he notices her wearing the necklace portrayed in the painting of Carlotta, realizes the truth, that Judy had been Elster's mistress, before being cast aside just as Carlotta was. Scottie insists on driving Judy to the Mission. There, he tells her he must re-enact the event that led to his madness, admitting he now understands that "Madeleine" and Judy are the same person.
Scottie makes her admit her deceit. Scottie reaches the top conquering his acrophobia. Judy confesses. Judy begs Scottie to forgive her, he embraces her, but a shadowed figure rises from the trapdoor of the tower, startling Judy, who steps backward and falls to her death. Scottie, bereaved again, stands on the ledge, while the figure, a nun investigating the noise, rings the mission bell. James Stewart as John "Scottie" Ferguson Kim Novak as Judy Barton Barbara Bel Geddes as Marjorie "Midge" Wood Tom Helmore as Gavin Elster Henry Jones as the coroner Raymond Bailey as Scottie's doctor Ellen Corby as the manager of the McKittrick Hotel Konstantin Shayne as bookstore owner Pop Leibel Lee Patrick as the car owner mistaken for MadeleineUncredited Margaret Brayton as the Ransohoff's saleslady Paul Bryar as Capt. Hansen (accompanies Scottie
Venus in Furs
Venus in Furs is a novella by the Austrian author Leopold von Sacher-Masoch, the best known of his works. The novel was to be part of an epic series. Venus in Furs was part of the first volume of the series, it was published in 1870. The novel draws themes, like female dominance and sadomasochism, character inspiration from Sacher-Masoch's own life. Wanda von Dunajew, the novel's central female character, was modelled after Fanny Pistor, an emerging literary writer; the two met when Pistor contacted Sacher-Masoch, under the assumed name and fictitious title of Baroness Bogdanoff, for suggestions on improving her writing to make it suitable for publication. The framing story concerns a man; the unnamed narrator tells his dreams to a friend, who tells him how to break himself of his fascination with cruel women by reading a manuscript, Memoirs of a Suprasensual Man. This manuscript tells of a man, Severin von Kusiemski, so infatuated with a woman, Wanda von Dunajew, that he asks to be her slave, encourages her to treat him in progressively more degrading ways.
At first Wanda does not understand or accede to the request, but after humouring Severin a bit she finds the advantages of the method to be interesting and enthusiastically embraces the idea, although at the same time she disdains Severin for allowing her to do so. Severin describes his feelings during these experiences as suprasensuality. Severin and Wanda travel to Florence. Along the way, Severin takes the generic Russian servant's name of "Gregor" and the role of Wanda's servant. In Florence, Wanda treats him brutally as a servant, recruits a trio of African women to dominate him; the relationship arrives at a crisis when Wanda meets a man to whom she would like to submit, a Byronic hero known as Alexis Papadopolis. At the end of the book, humiliated by Wanda's new lover, loses the desire to submit, he says of Wanda: That woman, as nature has created her, man at present is educating her, is man's enemy. She can only never his companion; this she can become only when she is his equal in education and work.
The Velvet Underground's 1967 debut album The Velvet Underground & Nico included the song "Venus in Furs". The 1992 feature film Swoon opens with Richard Loeb performing a dramatic reading of Venus in Furs with the assistance of several women and drag queens; the novel has been adapted for film several times: in 1967. Venus in Furs was a fictitious band who performed in the 1998 British-American drama film Velvet Goldmine. Steve Tanner adapted the novel to stage. In May 2004, it premiered in Los Angeles at the Sacred Fools Theater Company as part of its "Get Lit!" series. The book inspired Venus in Fur, a 2010 play set in the modern day by David Ives, which had its Off-Broadway premiere at the Classic Stage Company in New York City starring Nina Arianda and Wes Bentley. In 2013, Roman Polanski directed the film Venus in Fur, based on the David Ives play; the film premiered in competition for the Palme d'Or at the 2013 Cannes Film Festival and in January 2014 it won the Best Director award at the 39th César Awards.
Leopold von Sacher-Masoch. Venus in Furs at Project Gutenberg Leopold von Sacher-Masoch. Venus im Pelz Venus in Furs public domain audiobook at LibriVox
