Category: Uncategorized (Page 14 of 1085)

 

‘Paul Laffoley was born into an Irish Catholic family in Cambridge, Massachusetts in 1940. He spoke his first word, “Constantinople,” at six months, then remained silent until the age of four (having been diagnosed as slightly autistic), when he began to draw and paint. In his senior year at Brown University, he was given eight electric-shock treatments. He was dismissed from the Harvard Graduate School of Design, but managed to apprentice with the sculptor Mirko Baseldella, before going to New York to apprentice with the visionary architect Frederick Kiesler. In 1968 he moved into an eighteen- by thirty-foot utility room to found a one-man “think tank” and creative unit called the Boston Visionary Cell.

‘Laffoley supports himself with a job at the Boston Museum of Science, returning to the BVC not only to eat and sleep but to work on multimedia renderings of his visions of alternative futures and complex realities.

‘During a routine CAT-scan of his head in 1992, a miniature metallic implant, 3/8 of an inch long, was discovered in the occipital lobe of his brain, near the pineal gland. Local M.U.F.O.N. investigators declared it to be an alien nanotechnological laboratory. He has come to believe that the “implant” is extraterrestrial in origin and is the main motivation behind his ideas and theories.

‘As an architect, Laffoley worked for 18 months on design for the World Trade Center Tower II. As a painter, his work is usually classified as visionary art or outsider art. Most of Laffoley’s pieces are painted on large canvases and combine words and imagery to depict a spiritual architecture of explanation, tackling concepts like dimensionality, time travel through hacking relativity, connecting conceptual threads shared by philosophers through the millennia, and theories about the cosmic origins of mankind.’ — Paul Laffoley Official Website

 

Further

Paul Laffoley Official Website
Laffoley’s Odyssey: Short Films
Paul Laffoley @ myspace
Paul Laffoley posters & explanations
Paul Laffoley: Chasing Napoleon
Paul Laffoley on HP Lovecraft and the nature of evil
Paul Laffoley @ DATAISNATURE
Video: Infinity Factor: Paul Laffoley

 

Media

Lafolley’s Odyssey (6:09)

Paul Laffoley discusses ‘The Black White Hole’ (3:59)

Paul Laffoley slide show (9:57)

 

In the spotlight

The Parturient Blessed Morality of Physiological Dimensionality: Aleph-Null Number (2004)

The artist explains:

Bernard Riemann [ 1826-1866 ] student of Carl Friedrich Gauss [ 1777-1855 ] developed what we currently call dimensionality. Since dimensionality in the generic sense means the range over which, or to the degree to which any entification manifests itself, it often became further defined as a series contextual propositions. In other words it is a language which Ludwig Wittgenstein [1889-1951] considered a weltanschuung or worldview, an idea that was eventually fleshed out by Benjamin Lee Whorf. But these ideas have kept dimensionality well within the scope of practical science in which one paradigm becomes either parasitic to or subsumptive of all other paradigms.

The person who moved dimensionality away from the iron grip of traditional mathematics and back to the Ancient Greek concept of Fate, was Georg Cantor [1845-1918], who posing as a mathematician [ a scientist who abhors the concept of infinity in its abstract and concrete manifestations], sought the realm of actual Absolute Infinity – the Aleph-Null Number. This was his search for the living presence of the number of elements in the set of all integers which is the smallest transfinite cardinal number, which goes beyond or surpasses any finite number, group or magnitude.

What Cantor was doing was following the learning process of The Kabbalah, which is a search for God from a base of total materialistic skepticism. One of Cantor’s followers, Kurt Gödel [1909-1963] actually attempted to devise a mathematical proof of the existence of God.

This all leads to the idea that consciousness is embedded within the nature of dimensionality, and that consciousness can not be defined totally as we experience it in our fourth dimensional realm of Time-Solvoid by projecting our definition of consciousness, learned from experience, onto other more comprehensive and less comprehensive realms.

Consciousness presents itself, therefore, as a family of forms – an octave of in
telligence many aspects of which can not be accessed by our human intelligence. But the fact that analogy-cum-metaphor is the operation of the imagination means, even if the transfer of the mind is never complete, that aliveness and deadness are terms relative to a dimensional realm.

Beyond the human realm of Time-Solvoid, the existence and nature of consciousness is often designated as God , gods, demigods, Demons divas, Angels ,souls, heroes , etc. While accepted as part of nature, these entities are rarely understood.

Below or less comprehensive than the human realm, consciousness in the form of ghosts, apparitions , shadows or hallucinations are just as distant from human consciousness as members of the so-called divine realm. But the real difference is that most humans feel obviously and naturally superior to these entities. This feeling is often translated into propositions which state that these beings are without any kind of consciousness, and that the attribution of consciousness to them , is what gave rise to the existence of superstition prior to the rise of experimental science. A science that tried, on the one hand, to discover their true nature, and on the other hand, to dismiss their existence as flim-flam.

The pre-scientific Ancient Egyptian Civilization accepted shadows as having consciousness. Of the nine parts of the Egyptian personality, two were about the shadow. The Khaibit (the shadow of the physical body) which never leaves the carcass, and The Ka (the doppelganger) the shadow of the soul that moves freely about the Earth and the stars are interpreted as phenomena such as lucid dreaming or the out-of-the-body-experience in terms of human perception.

While both forms of the shadow are ultimately the same, the dynamic and static forms demonstrate the form of Life-Death of the Shadow.

In today’s world-view, very few people believe that shadows possess a form of consciousness, let alone believe that a human can communicate with one. To most people the shadow is simply the result of solid objects in space blocking the rays of a light source and that is it.

The association of light with consciousness has a history lost in time. But closer to our time James Clerk Maxwell [1831-1879] discovered in 1856 the relation between light and electricity which led eventually to the theory of the electromagnetic spectrum which developed in the early 1930’s. From about 1875 on, the Occult vision of dimensionality, akin to the Pythagorean musical scale of infinite extent, was introduced and supported by Maxwell’s discovery.

Degrees of consciousness, from almost blinding light to almost total darkness, provide the metaphor for Good to Evil, The Divine to The Demonic, Life to Death, all as degrees of embodiment. These are the aspects of the entire electromagnetic spectrum, which include what we call visible light –a very small portion of the spectrum. Most of the spectrum is undetectable by our unaided senses, but nevertheless, it contains octaves of energy which separate themselves into individual dimensions.

Today so-called “physical light” is a metaphor the position of human consciousness within the total dimensional system for two reasons:

(1) “Physical light” always has its origin in the Past, whether or not that origin is a star or a candle;

(2) The “brilliance” that we associate with light exists in Nature only in the minds of intelligent conscious life-forms, and is not inherent in the non-conscious aspects of Nature. The photons which deliver energy to waiting retinae do not “carry” light. If it was the case that they do, the entire Universe would be “lit up” all of the time in an isotropic and homogeneous manner, and there would be no “darkness” in the Sky.

The symbol for the velocity light has been in our contemporary world the letter “C” meaning 299,796 + or – 4 km./ sec. in a vacuum near the Earth , or in the open air. But now astrophysicists are discovering there is a type of space which can not be monitored by any aspects of the electromagnetic spectrum. This is the space where an old star goes when it explodes and dies. This space is distinct from the space of a Black Hole, only in the sense that the Black Hole space is an infinitesimal point of that , space infinite in extent, which acts as the background energy plenum of the Universe.

On Earth these same astrophysicists have discovered a way of slowing down the speed of light to 17 mph by changes of media. They expect very soon to have light to travel at 4 mph. Then everyone will be able to interact directly with light, even the blind , because the energy of the electromagnetic spectrum travels in the human brain at 700 mph.

According to Philip Gibbs in an article entitled: “The Symbol For The Speed Of Light ? “, he states : “…, it is possible that its use persisted because “C” could stand for “celeritas” and had therefore become a conventional symbol for speed. We can not tell for sure how Drude, Lorentz, Planck or Einstein thought about their notation, so there can be no definitive answer for what it stood for then. The only logical answer is that when you use the symbol “C”, it stands for whatever possibility you prefer “.

While there are many physicists who propose an identification between light and consciousness by means of formulae that rival the simplicity and power of Einstein’s famous E = Mc². I prefer, therefore, to use “C’ to stand for consciousness.

 

The Day I Met Paul Laffoley
by Jason Louv

Shortly after returning to the States, I was visiting my college girlfriend and her family in Boston. Our relationship hadn’t exactly stood the test of a year long distance—whereas I had left Santa Cruz, California as a stoner literature student into The Smiths, veganism and the occult, I had returned as some kind of Psychedelic Warlord Avatar. My eyes were hollowed out by a year of nonstop chaos ritual and months spent drifting among the Untouchables and dead bodies in the East, and I was holding a book contract, a mandate from Genesis P-Orridge to enlighten the young, and a slowly escalating case of paranoid psychosis.

In such a situation, I did the only reasonable thing: Go shopping, or, rather, follow my college girlfriend around while she did her shopping, all the while wondering what the f*** had happened to me.

It was on this fateful consumer outing that I thankfully became SOOOOOO bored waiting for the girlfriend to finish at H&M in downtown Boston that I suddenly had the impulse to leave the store and buy a $3 hotdog from a cart vendor on the other side of the street.

No sooner had I bought said hotdog and turned back towards H&M did Paul Laffoley cross the road.

My brain reeled for a moment before I leapt into action and approached.

“Excuse me, I don’t want to bother you, but are you Paul Laffoley?”

“Why, yes! Yes I am!” he said, staring up at me through round coke-bottle glasses, apparently shocked that somebody had recognized him.

He proceeded to excitedly drag my girlfriend and I to his studio, a tiny one-room flat he had dubbed the Boston Visionary Cell, which was only a block away. The area was absolutely packed with books, from floor to ceiling, covering every available bit of wall space, with his paintings leaned against them, and architectural diagrams rolled into scrolls everywhere.

Paul proceeded to download cosmic information at us for the next four hours. I wish to god that I had a tape of everything that he said, because it went by so fast that I could only process maybe one percent of what he was saying. He ranged across his architecture career, his hero Antoni Gaudi, the occult and ten thousand other topics. Laffoley showed us his plan for the new version of the World Trade Center (which he had submitted to the city, but which had been turned down!) that would be built to look like one of Gaudi’s original sketches for the first WTC. I mean literally like a sketch, too, complete with steel girders in place to represent the graph paper that Gaudi had drawn his original version on. At the top of this new WTC would be a ball with cedar trees growing out of it at all angles, like a chaostar; Cedars, Paul explained, were traditionally associated with death, and would absorb and transmute the “thanatopic” energy left over from 9/11.

He proceeded from this remarkable display to telling us how he had recently had a leg removed. While in the hospital after the amputation, he had experienced “astral mountain lions” coming to take the astral double of the severed leg, presumably to eat. In their honor, and as a wry turn-about, he had commissioned an artificial leg made from a mountain lion’s leg and foot, which he said he would use on occasion. While I was working hard to process this, he offered to read our palms (Really? I thought)—my life line, he said, was remarkably long, though my girlfriend’s was short.

“That’s OK,” he said with a goofy grin. “We can just punch that up with a razor…”

We both laughed nervously.

Paul also answered my questions about magick, in ways that I’m still trying to understand. I asked him if I could correspond with him on the subject, and he agreed—which I never followed through on, to my own great loss. He was also kind enough to provide the cover for my first book, Generation Hex, which is a detail from his 1978 painting The Metatron.

That day, I felt we had met a being from a completely different dimension, a friendly alien who had come into our reality to evolve our understanding of the universe we live in, and to simply break our false categorical distinctions between science, spirituality, architecture and literally everything else.

 

Works

‘Mind Physics: The Burning of Samsara’ (1967)

 

‘Homage to the Black Star of Perfection’ (1965)

 

GAUDEAMUS IGITUR HEAVENWARD TO OUTER SPACE: THE FUTURE (2001)

 

The Living Klein Bottle House of Time (1976)

 

Magical Man (1969)

 

Life And Death Of Elvis Presley (1988)

 

‘Geochronmechane: The Time Machine from the Earth’ (1990)

 

‘THE QUEST FOR THE VISION OF THE JUST WORLD’ (1976)

 

 

‘Cult icon Mimsy Farmer was a pretty hazel-eyed blonde with the fragile features of a Mia Farrow or Yvette Mimieux and the independent streak of a Tuesday Weld. After playing the innocent virgin in a few movies and on TV, she essayed restless youth roles in a string of AIP drive-in exploitation movies in the late Sixties. Farmer then relocated to Europe, where with a whole new look, she became an international sensation in 1969 due to her mesmerizing performance as a heroin addict in More. Thereafter she remained in Italy in a series of popular European giallos and horror films between some acclaimed dramas that never found their way to the U.S.

‘Mimsy Farmer was born Merle Farmer in Chicago. Her parents, Arch and Suzette Farmer, were reporters for the Chicago Herald Tribune. Though named after her father’s favorite brother, she always went by the nickname Mimsy, which came from her mother who Mimsy suspects took it from the poem “The Jabberwocky” used in Alice in Wonderland. When their daughter was about four years old, the Farmers moved to Hollywood when Mimsy’s father took a job writing news for NBC-TV’s Los Angeles affiliate. While attending Hollywood High, the lovely teenager was discovered by an agent and almost immediately landed roles on TV’s My Three Sons and The Donna Reed Show.

‘Mimsy came close to replacing Sandra Dee as Gidget in Gidget Goes Hawaiian (1961), but the producers opted for Deborah Walley. As consolation, they gave her a bit uncredited role. Her official film debut was in the heartwarming or mawkish (depending on your taste—there is no in-between) family drama Spencer’s Mountain (1963). It was based on the novel by Earl Hamner, Jr., who later created the popular seventies television drama, The Waltons, and set in scenic Wyoming with the majestic mountain peaks of the Grand Teton Range as background.

‘Unhappy with her performance in Spencer’s Mountain, Mimsy began studying with esteemed acting coach Jeff Corey. Despite keeping busy on television including guest appearances on The Outer Limits and Perry Mason, Farmer kept her job selling candy at a local movie theater. She finally left it when she returned to the big screen in the soapy Bus Riley’s Back in Town (1965) directed by Harvey Hart from a screenplay by William Inge who had his name removed from the credits when Universal ordered a script re-write to make the film more of a vehicle for Ann-Margret. Aping James Dean, the brooding Michael Parks played a disillusioned sailor returning home after three years at sea. He finds his sultry ex-girlfriend (Ann-Margret) unhappily married to a wealthy older man, his job prospects bleak, and his younger sister (Farmer) has become the town tart. The film was not well-received though Farmer does well with her role.

‘For drive-in movie fans, 1967 was a banner year for Mimsy Farmer who had three films in release. Despite her ambition not to become an idol for the young, she became very popular with teenage audiences for a short period of time and began her ascension to cult movie actress. First up was the explosive youth exploitation classic Hot Rods to Hell from quickie producer Sam Katzman for MGM and directed by John Brahm whom Mimsy liked a lot. She credited him for teaching her the trick to crying on screen with a little help from glycerin drops in the eye. Originally made for television as 52 Miles to Terror, it was deemed to violent and released to drive-ins throughout the country instead with a more exploitative title. This was Farmer’s first real bad girl role after playing mostly ingénues. The worried actress remarked that she was cast by her looks alone and hoped she wasn’t going to now be typecast.

‘Mimsy Farmer and Laurie Mock were teamed again by producer Sam Katzman in her most notorious movie from this period, Riot on Sunset Strip. However, the roles were switched as Mock was cast as the out-for-kicks Liz-Ann friend of Farmer’s more conservative Andy who was described in the press book as “a real swinger, who took her first ‘trip’…all the way to Hell and back!” All the ingredients were present—hippies, LSD, protestors, free love, mod fashions, police brutality— to make Riot on Sunset Strip a camp classic of the alienated youth movie genre. The movie’s standout scene is Farmer’s wild LSD freak out dance where she writhes around the floor in her mod mini-dress gazing in wonder at her hands and feet. She then begins dancing around shaking her wild mane of hair ala Ann-Margret (critic Clifford Terry described it as “a dry-land water ballet”). Whatever you label it, it has become a YouTube favorite much to Farmer’s bemusement.

‘Unhappy with her husband and her career in Hollywood, Mimsy headed for Vancouver on advice from actor Peter Brown who told her about HollywoodHospital where they experimented with LSD and psychotherapy. After her own session, she began working there but quit when she realized the hospital never followed up with their patients after their “treatment.” Still in Vancouver, she received a life changing phone call from director Daniel Haller (one of her favorite directors) who wanted her for the female lead in his new movie The Wild Racers (1968), which was going to be shot on location throughout Europe. Mimsy played Katherine the girlfriend of race car driver Joe Joe Quillico (Fabian) who progresses from U.S. stockcar racing to traveling the European Grand Prix circuit. The more successful he becomes, the more his relationship with Katherine crumbles. This was the only film the actress did for AIP that was not a hit with the drive-in crowd. In an interview with the Oakland Tribune, Haller opined that it was a picture “too esoteric in its treatment to make as much money as it should have.”

‘Deciding to remain in Europe, Farmer sought out work there and landed the female lead in More (1969), first time director Barbet Schroeder’s cautionary tale of drug taking with an original song score by Pink Floyd. The actress was introduced to Schroeder by The Wild Racers’ cinematographer Nestor Almendros and associate producer Pierre Cottrell. Though not completely happy with the script or things her character had to do in it, Farmer accepted the role in part because she would get to work with her two friends again. The movie was filmed on a shoestring budget, but you would never guess that when watching the movie.

‘More was an international sensation and really clicked with young people of the time. It helped to kick off Mimsy Farmer’s European career, which lasted for over 20 years. Her films included Dario Argento’s suspenseful psychological thriller Four Flies on Grey Velvet (1971) and Lucio Fulci’s The Black Cat (1981). Her last acting credit is the Italian TV-movie Safari (1991) for director Roger Vadim. Today, Mimsy concentrates on her art (displayed on her web site www.mimsyfarmer.com) and sculpture work, which can be seen in such movies as Blueberry (2004), Troy (2004), Marie Antoinette (2006), The Golden Compass (2007), and Clash of the Titans (2010).’ — Sixties Cinema

 

___
Stills

 

___
Further

Mimsy Farmer @ IMDb
Mimsy Farmer Website
Mimsy Farmer Info Site
‘648: MIMSY FARMER’
‘façade: Mimsy Farmer’
‘Hommage à Mimsy Farmer’
Mimsy Farmer films @ MUBI
‘THE TRACK (1975) and more from Mimsy Farmer’

 

___
Extras

Alain Delon & Mimsy Farmer 1975

Bob Adkins interviews Mimsy Farmer and James MacArthur

A song by Nicola Piovani, performed by Mimsy Farmer

Mimsy Farmer Tribute

 

______
Interview

 

Your first big movie role was in Spencer’s Mountain. What was it like to work on this?

When we made Spencer’s Mountain I was fifteen and a half. I was accompanied by my mother and a teacher, and spent most of my time with them (or riding horseback) when I wasn’t working. I didn’t have many scenes with Henry Fonda who seemed pretty miserable and spent most of his time at the local café, or Maureen O’Hara who was also fairly distant. James MacArthur, who was quite a bit older than me, was nice but the person I felt most comfortable with was Wally Cox who seemed to take me more seriously and taught me some lovely Elizabethan songs, which I still remember. Delmer Daves [the director] was more concerned about my weight than about my acting, unfortunately, and kept telling me, ‘watch your bottom honey.’

What do you recall most about your second film Bus Riley’s Back in Town with Michael Parks and Ann-Margret?

I just remember being impressed by being on the same set with Jocelyn Brando [who played her mother], as much as if she’d been Marlon [her brother].

Hot Rods to Hell was your first real big screen bad girl role. What attracted you to the part?

I needed to work and couldn’t wait for a better offer. I also thought, ‘If Dana Andrews and Jeanne Crane had accepted who the hell was I to be finicky?’

Your next three movies were for American International Pictures. Did you sign a contract with them?

No, I had no contract with AIP but I was supporting my ‘cowboy’ husband [he was from Brooklyn and failing to get work as a stuntman in Hollywood] and a bunch of animals. The better directors were not lining up in front of my door pleading for me to be in their movies. They didn’t even know I existed.

You have a great LSD freak-out scene in Riot on Sunset Strip. Do you remember anything special about it or the movie itself?

That ‘great LSD freak-out scene,’ which I took very seriously at the time, has since become for me a source of amusement tinged with embarrassment. Somewhere on the internet someone said, ‘that scene is so bad, that it’s hilarious.’ I agree. I was pretty naive back then and so earnest!

In Devil’s Angels you played a local girl who makes trouble for the Hell’s Angels led by John Cassavetes. How was it to work with him?

I really liked Daniel Haller [the director], a very nice man, and admired John Cassevetes, also a very nice guy. All Cassavetes and I talked about was how much he missed his wife. Actually, I mostly listened. Anyway, doing a movie with him, even though he wasn’t directing it, was a step in the right direction.

Your last AIP movie was Wild Racers with Fabian and your second film directed by Daniel Haller.

I’d left my ‘cowboy’ husband and was working in a hospital in Canada where they were using LSD as a tool for psycho-therapy. The experience was enlightening but disappointing. When Daniel Haller called me, I jumped at the chance to go to Europe and also to see my brother Philip, who was living in London at the time. It was the best move I’d made up to then and I loved traveling in France, Spain, and Holland.

After accepting the role in More did the nudity ever become a concern? A number of your ‘60s contemporaries would not take roles where they has to be naked.

No, not all. Nudity was an integral part of the movies in which I appeared naked. Being flat-chested and boyish helped a lot and, I hope, there was nothing vulgar or lewd about these scenes.

Do you consider More of your best or important movies? Back then you remarked that you thought the idea of marijuana leading to heroin addiction was not believable.

I don’t think it is my best movie, though the role was interesting and Nestor Almendros’ photography was gorgeous. It was, though, very important for my career, both in the positive and in the negative sense. Its success in France was huge and overnight I became a ‘star’ but, as is often the case, I became ‘type cast’ and most of the roles directors offered me subsequently were those of neurotic or outright mad young women. Well, I can’t complain.

It’s true that I said, and still believe, that smoking grass does not in itself lead to shooting heroin. I know many people who light up a joint from time to time who have never touched anything harder and never will, myself included (though now I prefer a good glass of wine).

How would you rate Barbet Schroeder as a director? In an interview you gave to the New York Times you were unhappy with some of his directorial choices.

Well, I think now, that I was silly to berate Barbet and his movie at the time but I still think that it’s naive and moralistic and some of the scenes were an embarrassment to do, all the ‘Zen’ and ‘Lotus’ shots and the ‘unexplored brain’ nonsense. What I didn’t say though was that his movie was pretty daring and unconventional for those years, in Europe anyway, and that he was a better than average director.

Did you find a big difference between working in Europe versus Hollywood?

In Europe, actors were not shuffled off to their trailers between shots and were invited to participate and collaborate with the director and other crew members. It was so different. Nobody was anxious about my ‘bottom’ (admittedly much diminished) and nobody was redesigning my eyebrows and curling my hair. I just had the feeling that nobody wanted me to act or look like anyone but myself—such a relief!

Were you surprised that More was such a hit especially in France?

Yes, More got its chance because it had been so successful at the Cannes film festival but was blasted by the critics in the U.S. Of me, Newsweek said, “She acts the range of emotions from A to B.” Bette Davis once said, ‘Old age ain’t for sissies.’ I say, neither is being an actor!

You seem to have a healthy attitude about bad reviews.

For me, the movies I’ve done aren’t only about how they turned out but also, who was involved in them. Also, on the whole, when you’ve decided to live and work in a foreign country, you are the foreigner, and if you’re an actor there are limits to which and how many roles you’re going to be offered and if you’re working to make a living you can’t be too choosey and you’re mostly grateful when you can work.

 

___________________
15 of Mimsy Farmer’s 68 roles
______________
John Brahm Hot Rods to Hell (1967)
‘Hot Rods to Hell begins with corn and is full of corn, though it hits the viewer in waves rather than consistently. No amount of acting talent could have made this film phenomenal, as much of the cheese comes from the script itself. It is amplified, however, by often-exaggerated performances and a plethora of sudden zooms (for “dramatic” effect – usually on Dana Andrews’ face). One thing the film wins legitimate cool points for is style. Hot Rods to Hell is full of great music. Mimsy Farmer rocks some totally groovy outfits. The outfits worn by Gloria and Tina are completely indicative of the late ’60s, which enthusiasts of the era (myself included) will love.’ — The Motion Pictures

Trailer

Excerpt

Watch the film here

 

______________
Arthur Dreifuss Riot On Sunset Strip (1967)
‘For about the first two-thirds of the feature, both freaks and cops are sympathetically portrayed. The bad guys appear to be—in art as in life—the Sunset Strip merchants and business owners who used the police to harass longhairs. Wise as Solomon, patient as Job, the paternal Lieutenant Walt Lorimer (Aldo Ray) is the movie’s hero. He tries to broker a deal between the establishment and the freaks, whose number includes his estranged (because mom is a lush) daughter Andy (Mimsy Farmer). If a well-meaning liberal had written an episode of Dragnet, it would look something like this part of the movie. But at 47:55, a hippie cad doses Andy’s diet soda, and the application of a phasing effect to the electric blues on the soundtrack signals that all hell is about to break loose; though slow to build, the freakout that follows is epic, in the sense that it is very long. Now, the movie turns into a regular episode of Dragnet: five wasted youths, who have degenerated through regular acid use to the level of rutting curs, rape Andy while she trips. (If you’re thinking it’s like that scene in Touch of Evil, guess again.) Lt. Walt, who hasn’t seen his daughter in years, finds her naked at the scene of the crime, and suddenly the wealthy businessmen of the Sunset Strip don’t look like the bad guys anymore.’ — Dangerous Minds

Trailer

Excerpt

 

______________
Daniel Haller Devil’s Angels (1967)
‘With only a $4 million gross, Devil’s Angels may not have been a major hit for AIP, but it’s still an interesting and well-done biker film which features several highly recognizable faces from 1960s/70s cinema and television such as Marc Cavell (Cool Hand Luke), Russ Bender (Bonanza), Buck Taylor (Gunsmoke), Bruce Kartalian (The Outlaw Josey Wales) and Mitzi Hoag (Deadly Game). Although not nearly as well-remembered as the Dennis Hopper/Peter Fonda 1969 classic Easy Rider nor as hard-hitting as Al Adamson’s Satan’s Sadists from the same year, Devil’s Angels is a solidly-made, quirky and enjoyable exploitation film that benefits most from a wonderfully complex performance by the legendary John Cassavetes as well as an entertaining and thoughtful screenplay by the extremely underrated Charles Griffith. There’s also a terrific musical score written by Mike Curb and performed by Sidewalk Productions. Not to mention a catchy theme song by Jerry and the Portraits with additional music courtesy of Dave Allen and the Arrows.’ — Cinema Retro

Trailer

the entire film

 

_____________
Daniel Haller & Roger Corman The Wild Racers (1968)
‘Fabian plays Joe Joe Quillico, a cocky, womanizing, race car driver who loves to win! This is not your average racing movie. Filmed in Europe it has a distinctive “art film” feel with interesting edits and scene structure. And it’s got a lot of Grand Prix racing footage! Joe Joe Quillico is hired by a race car owner/businessman to be runner-up for a veteran driver in the year’s big European trophy races. Joe Joe doesn’t like coming in second and blows an engine disobeying the owner’s directive to not win. Eventually Joe Joe is given a shot; he wins a few races and becomes the toast of the European racing circuit. Now he’s a celebrity, gets product endorsement deals and parties like a wild man all while his ego explodes. He uses chicks as if he’s testing race cars!’ — The Video Beat

Trailer

Roger Corman on THE WILD ANGELS

 

______________
Barbet Schroeder More (1969)
‘The first directorial effort by Barbet Schroeder, the film became a hit in Europe, and today has now achieved the status of “cult classic”. Starring Mimsy Farmer and Klaus Grünberg, it is principally set on the sun-drenched Spanish island of Ibiza. A young German student, Stefan (Grunberg), is taking a break from his university studies. He hitchhikes to Paris for some freedom. He says he wants to be warm for a change, to have a chance to see the Sun. While at a party in Paris, Stefan meets a free-spirited American girl named Estelle (Farmer). He is instantly drawn to Estelle, and pursues her. He will even eventually follow her to the island of Ibiza. In Ibiza they slowly begin a relationship. Estelle introduces Stefan to many pleasures and freedoms, including taking drugs. Ultimately he will even try heroin, to which he eventually becomes addicted. The results are tragic. Schroeder has said that the story of More was modeled on the myth of Icarus and Daedalus, “with Estelle representing the Sun”. The film was shot on location by the legendary cinematographer Nestor Almendros, who was to become a long-time collaborator with Schroeder. More debuted in Cannes at the 22nd Cannes Film Festival, in May of 1969, and the U.S. premiere was in New York in August, 1969. The film’s musical score was unique for the time, as it was written and performed by the group Pink Floyd, they would later release the music as an album, Soundtrack from the film More. The score is now one of the reasons of its cult status.’ — BBS

Excerpt

the entire film

 

_______________
Georges Lautner Road To Salina (1970)
‘It was the last movie acted in by Ed Begley, who died the same year it was released. It was the third-to-last for Rita Hayworth, and her role as an out-to-lunch marm is eerie when you consider that she was later diagnosed with Alzheimer’s disease. It was the only English language movie directed by Georges Lautner, who was a household name in his native France if not a universally appreciated auteur. The film is based on the French novel Sur La Route de Salina, penned by the ridiculously obscure writer Maurice Cury. The theme to its soundtrack (which is stunningly good) was used by Quentin Tarantino in Kill Bill Vol 2. There’s nothing particularly strange about the actors who played the two lead roles, but they’re both intriguing thespians. Mimsy Farmer, a quirky American beauty who had recently moved to Europe (she’s never left) and was just beginning a run of notable Euro art house film appearances, portrays a sexy psycho chick in a role not completely dissimilar to the one she’d done the year before in Barbet Schroeder’s cult classic More. The main male part, a hippy drifter, is ably handled by Robert Walker, Jr. son of acting people Jennifer Jones and Walker, Sr. (film noir lovers might remember Walker, Sr.’s beautifully perfect portrayal of the creepy Bruno in Alfred Hitchcock’s Strangers on a Train).’ –– criminal element

Trailer

Watch the film here

 

_______________
Dario Argento Four Flies on Grey Velvet (1971)
‘The little-seen Four Flies on Grey Velvet is perhaps most remarkable for it’s unusual spiritual underpinnings and Dario Argento’s deft attention for sexual signifiers. The title of this third and final film in Argento’s “animal trilogy” is as egregious as the weird science that literalizes the eye as a photographic camera. Rock star Roberto Tobias (Michael Brandon) leaves his rehearsal studio and follows a mysterious figure into an empty theater where he struggles with the switchblade-wielding man. Roberto accidentally stabs the man, who falls evocatively into the theater’s orchestra pit. From a balcony, a masked figure captures the moment on camera. If Argento’s signature use of a black-gloved killer is noticeably absent, this is compensated by the presence of Brandon himself, whose striking features recall those of the giallo director’s. There isn’t much to Four Flies on Grey Velvet besides pent-up rage though much of the film’s sexual frenzy prefigures themes from Deep Red.’ — Slant Magazine

Trailer

Excerpt

 

_____________
Fabio Carpi Body of Love (1972)
‘A father and a son meet for a holiday on a beach. The father is 62 and a researcher of insect life, the son is 15 and at a boarding school. They don’t have to say much to each other and both agree to „stop the experiment”. But then they come across the inert body of an unconscious young woman. They carry her to their beach house. She regains consciousness and it turns out that she speaks a language they do not understand. They treat her as their property, take her to the beach, to the small restaurant nearby and on boat trips. The woman’s presence enables father and son to come to terms. One day she disappears and they find her together with her hunky diver boyfriend who speaks her language as well as theirs. Father and son don’t like this intrusion into their harmonious triangle and they start fiddling with the hunk’s oxygen tanks …’ — manuel-pestalozzi

Excerpt

Mimsy Farmer on the set of Body of Love

 

______________
Francesco Barilli The Perfume of the Lady in Black (1974)
‘Written and directed by Francesco Barilli, Il profumo della signora in nero (The Perfume of the Lady in Black) is one of most bizarre Italian giallo films of the 1970s. Starring American actress Mimsy Farmer, the film tells the story of Silvia Hacherman, an industrial chemist who tries to escape from her troubled past. A series of musical and visual cues trigger terrifying visions as Silvia becomes the focus of a series of murders inspired by Lewis Carroll’s Alice in Wonderland…’ — Quartet Records

the entire film

 

_______________
Armando Crispino Autopsy (1975)
‘Like most gialli, the plot is convoluted and contrived, and the mystery unsolvable. Much is made of Mimsy Farmer’s obsession with death, sexual frigidity, and ambiguous relationship with her father, but director Crispino is little interested in subtext and motivation. Of course, one doesn’t watch a film like this for the story and theme, but rather the cinematography, graphic violence, and over-the-top acting. Autopsy doesn’t disappoint in any of these areas. Shot in Rome on a decent budget, Autopsy is a great film to look at. The colors are rich and vibrant. The camera work and editing, while not on par with Dario Argento, effectively conveys the lead character’s paranoia and disorientation. There is little onscreen carnage after the opening suicide montage. To make up for it, director Crispino gives us good, long looks at Mimsy’s research subject: cold, black-and-white photos of crime scenes, autopsies, and medical anomalies. While arguably a cheap ploy, these are real, grotesque, and sometimes strangely beautiful, and give the film an understated feeling of unease that a dozen fake splatter scenes couldn’t equal.’ — Classic Horror

Trailer

All Death Scenes

 

_______________
Serge Leroy La Traque (1975)
‘La Traque is an undeservedly obscure French drama/thriller that is incredibly tense, intelligent, compelling and unpredictable. The title, plot synopsis and awesome movie poster make you assume that this is another variant on the The Most Dangerous Game in combination with Straw Dogs or Deliverance, but the film is much more than that. It’s a dreary Sunday and a bunch of macho males gather in the countryside for an afternoon of wild boar hunting. The group of acquaintances (I really wouldn’t refer to them as close friends) exists of prominent aristocrats, like a land owner and an aspiring senator, as well as middle class guys, like a pair of car mechanic brothers and a former military man. During the hunt, the Danville brothers encounter Helen Wells, a beautiful English tourist searching for a country cottage to rent during the holidays. They viciously rape the defenseless poor girl, but she manages to wound Paul Danville and flee into the forest. Although none of the other hunting party members is responsible for what happened, they all have their own dark secrets and absolutely want to avoid getting linked to a scandal. Therefore, rather than helping Helen, they decide to collectively track her down and silence her. The acts and decisions taken by the lead characters may seem illogical and revolting, but they’re actually very realistic and plausible. In fact, La Traque is much more of a social character study instead of a rancid backwoods thriller. Real human beings are much more cowardly and self-protective than the heroes depicted in movies, as illustrated in the unforgettably bleak finale. The atmosphere of the film is thoroughly grim and depressing, with fantastic exterior locations and powerful camera-work. The all-star cast is sublime, with particularly Mimsy Farmer, Michael Longsdale and Jean-Pierre Marielle giving away solid performances.’ — Coventry

the entire film

 

________________
Marco Ferreri Bye Bye Monkey (1978)
‘Never one to embrace the ordinary, Italian arthouse director Marco Ferreri went hog wild with this New York City-based oddity starring Gerard Depardieu (back in his early, more subversive years, before turning into a fat French joke). And if you thought Ferreri’s LA GRANDE BOUFFE or THE LAST WOMAN were strange, he was simply warming up for this wrongheaded vision of America. The plot alone is enough to leave your queasy, with Depardieu playing a French cad (a big stretch, eh?) who works with a troupe of half-baked radical feminists (isn’t that redundant?) who feels they can’t effectively argue against rape until they’ve actually experienced the act firsthand. Later, he runs into eccentric old fart Marcello Mastroianni, who, while roaming Lower Manhattan, stumbles across a giant (fake) ape lying dead near the Hudson at the foot of the World Trade Center (shades of Dino DeL.’s KING KONG!), with a baby chimpanzee buried in its fur. And it’s no surprise when Depardieu adopts the cute li’l hairball, since they almost look like father ‘n’ son. The plot continues to spin uncontrollably.’ — Shock Cinema

Excerpt

Watch the film here

 

________________
Lucio Fulci The Black Cat (1981)
‘From Italy’s own Godfather of Gore Lucio Fulci (Zombie, The Gates of Hell) comes The Black Cat – a gruesome reimagining of the classic Edgar Allan Poe tale starring Patrick Magee (A Clockwork Orange) and Mimsy Farmer (The Perfume of the Lady in Black). When a young couple goes missing in a sleepy English village, Scotland Yard Inspector Gorley (David Warbeck, The Beyond) is brought in to assist on the case. But what starts off as routine investigation turns into a murder inquiry when the couple are found dead in mysterious circumstances. Fusing a classically gothic atmosphere with the decidedly more visceral elements that are the hallmark of Fulci’s films, The Black Cat is a too-often overlooked and underrated entry in the Italian master filmmaker’s canon.’ — Arrow Films

Trailer

Excerpt

 

_______________
Ruggero Deodato Bodycount (1987)
‘Although no film with David Hess, Mimsy Farmer AND Charles Napier could be a complete waste of time, BODY COUNT is still fairly routine. In addition to showdown!some fairly bad dialogue, it also features the most annoying variation on the chubby practical-joker character that I’ve ever seen, and it takes entirely too long for the killer to end the audience’s discomfort. Still, it’s rarely boring, with a few good moments, and many of the murders are pretty graphic (if not as gory as I’d been led to believe; I mean, this was directed by the same guy that helmed CANNIBAL HOLOCAUST (1979), for pete’s sake!)’ — Hysteria Lives

Excerpt

the entire film

 

_____________
Lewis Klahr Her Fragrant Emulsion (1987)
‘HER FRAGRANT EMULSION is an obsessional homage to the 60’s B-film actress Mimsy Farmer. The film’s visceral collage images act as a metaphor for sensuality and move in and out of sync with the soundtrack to evoke the distancing and intimacy cycles that are common in love relationships.’ –L. K.

Rent the film here

 

 

*

p.s. RIP Lionel Soukaz ** _Black_Acrylic, Hi, Ben. It’s great. I think Millhauser is one of the very, very best fiction writers in the US. Always a total pleasure. Hope you enjoy ‘Shame’. Wintery is such an appealing word, and I hope your weekend’s surroundings live up to it. ** Steeqhen, My favorite things tend to be things with high ambitions but without the means to achieve said ambitions. Zac’s and my films are always about that. As well as being perfect examples, haha. I’ll just peek at R&P, at least to start. Oh, well, good that you’ll have DH’s take to bounce off of. I get those random moments all the time, in fact. As much as I’m mostly drawn to experimental music, a perfectly constructed pop song is a heady drug. Great, your posted piece! I’ll devour it at the soonest opp. Everyone, Steeqhen has written what is no doubt a superb think-piece on his Substack about David Lynch entitled ‘David Lynch’s Emotional Resonance’, and you are hereby recommended to spend a little time there with attentive eyeballs. Go here. ** Misanthrope, Indeed. Do your very best, and fuck knows you already are. I’ll be chilling but hopefully working in my portion of the chill. ** Jack Skelley, It’s divinity. And we get to speak about it tomorrow. I’m very curious about Omar King’s book. I met him, and he is a serious total trip of a guy. Curious to hear your thoughts on him and, well, the event too. And the Movie Club thing. Wow, fun. God knows we all need every bit of respite we can get these days. ** Charalampos, I’m happy you’re on board with that novel. It’s a singular masterpiece if you ask me. ** Tyler Ookami, Hey. Yeah, I just literally cannot take reggae. It’s so not my rhythm or mindset. I really like dub and ska and toasters, and breakbeat ragga now that you mention it, but not just plain old reggae. It has the opposite of its intended effect on me. It just makes me tense. Strange. Yeah, Laika had the rights to ‘God Jr’ for about ten years. They intended it to be their first combo animation-plus-live action film, but I think they never quite ended up making that leap. I personally also quite like ‘Paranorman’, and ‘Box Trolls’ too to some degree. But, yes, they’re not the same group as they were back then. They were really interesting people. I had exciting conversations with them. ** James, It’ll be sad the day the blog shows you something, and you think, ‘Oh god, that again’. It’s a great novel. I very highly recommend it. I suppose I see the keys on a keyboard as technologically advanced pens perhaps. No muss, no fuss. I’m meh on beer, but I do like cider. Most hippies these days just seem like tech bros waiting for a barber. I applaud, no, wait, give you standing ovation for your day spent with GbV. I alway have to think when UK people say biscuit because the US definition of biscuit is something entirely different. Enjoy your relaxing weekend and get those eyelids of yours springy. ** Chris Kelso, Thanks, yeah, me too. 15 days is not insane. We shot ‘Permanent Green Light’ in 12 days. You just have to be extremely prepared and basically have every shot pre-planned and have your performers really ready to jump right into their characters because there’s no time to experiment on that schedule. I think I’m cool with YouTube game players. Watching them often helps me decide if I want to spring for a game or not. But, yeah, the less blathering the better. ‘All the Devil’s Are Here’, no, but I’ll hunt it assuming you’re recommending a hunt. Have a swell weekend, bud. ** Steve, Oops. Ah! Everyone, Steve has launched a new music track, “This Is The Water”, which I believe is a kind of an homage to the recently late Mr. Lynch if I’m not mistaken. You can listen to it, etc. here. Thanks, I’ll try to check out that analog series. My understanding is that we will be able to announce the World Premiere somewhere around the end of this month. ** Lucas, Hi. That makes sense. Yeah, I mean that’s obviously a big strength of the film. It just didn’t sit right with me. Totally subjectivity on my part there. My weekend? Well, yesterday when I was eating vegan Vietnamese food with friends half of one of my teeth broke off, so today I need to decide if I can live with a broken tooth or if I have to go to the dentist, and I’m really hoping it’s the former. Otherwise, work on the new film script, supervise some last little SFX work on ‘RT’, do my biweekly Zoom book/film club tomorrow. Like that. Xiu Xiu is back in Europe already? Wow. Have major fun. ** HaRpEr, True, but they’re just smart enough to know when they’ve been embarrassed, even if they can’t show that, happily. Actually, to finish my bully story, that boy, whose name was Scott, ended up falling in love with one of his straight friends and confessed to the friend who then told everybody about it, so Scott was outed, which wasn’t an easy thing back in the late 60s, and then after high school he moved to San Francisco and became a wild gay slut and ended up dying of AIDS, which is the really sad ending. It does sound maybe like ADHD. I hope you can just dismiss his shit and roll your eyes or something. But that’s annoying. You started filming, wow, cool. The editing is the best part. I think I partly make films just so I can edit them. Due to our having been stiffed during post-production by our monstrous ex-producer, Zac and I ended up editing ‘RT’ for six months by default, which was such a joy. The Millhauser novel is amazing. He’s an extraordinary writer. ** Dan Carroll, Hi. Yes, do read ‘Edwin Mullhouse’ if you can. It’s really singular and great. So far so good with the job, it sounds like. I guess that could get lonely and old, but … Yes, wonderful Millhauser quote. Hey, have a really fine weekend, Dan. ** Okay. If you’re not yet acquainted with the oeuvre of the beloved cult actor Mimsy Farmer this weekend offers you an opportunity to incorporate her. See you on Monday.