‘A conveyor belt consists of two or more pulleys, with a continuous loop of material – the conveyor belt – that rotates about them. One or both of the pulleys are powered, moving the belt and the material on the belt forward. The powered pulley is called the drive pulley while the unpowered pulley is called the idler. There are two main industrial classes of belt conveyors; Those in general material handling such as those moving boxes along inside a factory and bulk material handling such as those used to transport industrial and agricultural materials, such as grain, coal, ores, fines, and lumps material.

‘The belt consists of one or more layers of material. They can be made out of rubber. Many belts in general material handling have two layers. An under layer of material to provide linear strength and shape called a carcass and an over layer called the cover. The carcass is often a woven fabric having a warp & weft. The most common carcass materials are polyester, nylon and cotton. The cover is often various rubber or plastic compounds specified by use of the belt. Covers can be made from more exotic materials for unusual applications such as silicone for heat or gum rubber when traction is essential.

‘Material flowing over the belt may be weighed in transit using a beltweigher. Belts with regularly spaced partitions, known as elevator belts, are used for transporting loose materials up steep inclines. Belt Conveyors are used in self-unloading bulk freighters and in live bottom trucks. Conveyor technology is also used in conveyor transport such as moving sidewalks or escalators, as well as on many manufacturing assembly lines. Stores often have conveyor belts at the check-out counter to move shopping items. Ski areas also use conveyor belts to transport skiers up the hill.

‘Primitive conveyor belts were used since the 19th century. In 1892, Thomas Robins began a series of inventions which led to the development of a conveyor belt used for carrying coal, ores and other products. In 1901, Sandvik invented and started the production of steel conveyor belts. In 1905 Richard Sutcliffe invented the first conveyor belts for use in coal mines which revolutionized the mining industry. In 1913, Henry Ford introduced conveyor-belt assembly lines at Ford Motor Company’s Highland Park, Michigan factory. In 1972, the French society REI created in New Caledonia the then longest straight-belt conveyor in the world, at a length of 13.8 km. Hyacynthe Marcel Bocchetti was the concept designer. In 1957, the B. F. Goodrich Company patented a conveyor belt that it went on to produce as the Turnover Conveyor Belt System. Incorporating a half-twist, it had the advantage over conventional belts of a longer life because it could expose all of its surface area to wear and tear. Möbius strip belts are no longer manufactured because untwisted modern belts can be made more durable by constructing them from several layers of different materials.’ — collaged

 

_____________________

Inconveniently Placed Conveyor Belt
by TV Tropes Foundation

In real life, conveyor belts, escalators, moving walkways and similar conveyances are part of certain specialized environments, and serve the function of moving things in a convenient direction. In video games conveyor belts can show up anywhere: in the middle of a forest, in underground catacombs, etc. These belts don’t move in a logical direction. They carry pedestrians into Spikes of Doom or drop them down Bottomless Pits. Multiple conveyor belts move in opposite directions to trap players.

In short, the conveyor belt in video games often serves the purpose of hindering instead of helping its user.

This is almost always a sub-trope of Malevolent Architecture. (It could be some sort of Benevolent Architecture, but don’t count on it.) Justified by the Rule of Fun, though it can get irritating on occasion, particularly when used with other, nastier hazards like Spikes of Doom, Smashing Hallway Traps, Descending Ceilings and the like.

In top-down games, a conveyor belt will often act as a Broken Bridge, going too fast for you to be able to run against. It’s a one-way trip unless you can find a way to shut it off or reverse it.

Occasionally overlaps with Conveyor Belt-O-Doom, which may get adapted into this trope in Licensed Games.

Video Game Examples:

Undertale

Double Dragon II

101 Ways To Die

Minecraft

Kirby 64

Terraria

Infinifactory

Cat Sorter

Ultra Moon Pokemon

Pokemon Stadium

Super Mario Maker

Kaiten Sushi Go!

Batman

Chrono Trigger

Mega Man

Portal 2

Sonic the Hedgehog

Klax

Sushi Striker: The Way of Sushido

ARK

 

_______________

Parcel conveyer system being installed into empty warehouse

Conveyor Accumulation Buffer

Handrail Ride on Giant Montgomery Moving Walkway at Lambert St. Louis Intl. Airport

Switch Conveyor System

ระบบสายพานลำเลียง ใต้หวัน-1

Gough Econ Bucket Conveyor

Moving sidewalk Paris Expo 1900

SUSHI CONVEYOR BELT- Automatic Delivery System

The KNEX Conveyor Belt

 

_______________

Conveyor Belt, a horror fiction
by Fish E

The small dark room smelled like skulls. Every few seconds the groan of the conveyor belt pushing a few feet forward could be heard. The belt did not start in the room, nor did it end in it, but it was one of the many stops along the way.

A teenage girl stood next to the conveyor belt, and she could be seen only by the light-bulb hanging from a thin cord above her. In her hand was a small but very hard mallet. Its head was made of dense metal.

Countless people were strapped to the conveyor belt, each human was three feet in front of the next. Their arms and legs were tied down, and it was impossible to move. Every few seconds another one would be under the girl, and she’d raise her hammer, its shadow on their petrified faces, and smash it down on their head. Then the groan of the conveyor belt moving on would be heard, and she’d bring the mallet down again, and crush another skull.

Groan, smash, pause, groan, smash, pause, groan, smash, pause, those were the sounds of the room, making a disturbing musical beat. A malevolent cycle which breathed in and out deep evil fumes.

The girl was pretty, even with blood splattered all over her body. She had long wavy red hair, and was wearing a butcher apron over her yellow sundress. She enjoyed running barefoot through the rolling plains of flowers. She loved to lie down and smell the scent of the sun as it soothed her skin. She loved her father, but her mother had died long ago. She had a lot of friends, but her favorite was her boyfriend.

She knew they would get married.

Groan.

He had happy brown eyes, and brown hair. He was very strong and very smart. She loved him.

Smash.

He was absolutely perfect, and there was no one she’d rather be with.

Pause.

Once they were married she’d stop doing this.

Groan.

They’d have a beautiful life together, and he’d get her out of this mess. She couldn’t leave now though

Smash.

because the pulsing and the beat of the room had captivated her. She was part of it, and she was trapped in it. But she knew she could stop once she married him.

Pause.

She had stopped noticing the people she was hammering a long time ago. She used to find it painful to slaughter them, but now it was easier.

Groan.

They just kept coming and coming. Waiting for the end of the belt of people was like watching a river and waiting for all the water to flow away.

Smash.

After a while, after a week. A week of

Pause.

ten hours a day, eventually you stop being disgusted. She had to do it now.

Groan.

Some people begged her not to kill them. They didn’t understand it wasn’t her choice.

Smash.

She had the messiest job of them all.

Pause.

When the victims begged, it ruined the beat.

Groan.

Their words scattering through the room, disrupting the beat.

Smash.

Usually they didn’t talk. They were too scared.

Pause.

Her mind had grown hard, and her heart as well. She no longer saw them as living, breathing people, but only as traitors.

Groan.

Then he was right under her shadow, strapped to the conveyor belt, her next victim. She looked down at him, and suddenly someone on the belt was a person. It was him, her love. It was impossible, how could he be one of the ones she had to crush? His big brown eyes were pleading desperately.

She pierced her lips, not wanting to hurt him. But the beat was being paused, and her heart had stopped too, it lived with the music. The shadow of her hand being raised covered his eyes. He shut them fiercely as she brought the mallet down on his head.

Smash.

She started to cry as his blood splattered on her body, his face flattened against the belt.

Pause.

Suddenly her breath was gone.

Groan.

One more groan and he would be out of the room, and into the next section of his journey. Now there was someone else under her.

Smash.

She couldn’t keep working, she had to quit then. She couldn’t believe what she had done. She hadn’t known she was doing it at the time, but now it was slowly dawning on her; enveloping his soul with darkness.

Pause.

Alright, time to turn around and leave, she told herself.

Groan.

But she didn’t turn around.

Smash.

Pause.

Groan.

Smash.

Pause.

Groan.

Smash.

Pause.

Groan.

Smash.

Pause.

Groan.

Smash.

Pause.

She felt much different now, now that she couldn’t think. She still felt so helpless. She let the beat circle a few times more. Then she couldn’t take it. She positioned the sharp head of the mallet in front of her face. She thrust it in.

 

______
Airports

 

_____________

 

SIGNIFICANT INCIDENT REPORT NO. 2
JM Torlach

A plant operator lost his life when he became trapped by the arms, head and shoulders between the underside of a conveyor belt and a return idler roller.

The deceased had apparently attempted to remove rocks which were caught on the top surface of the return section of the belt. He climbed under guard rails to a closed-off section of platform directly under the belt.

His body was found in a seated position on the guard rail, with his arms, shoulders and head caught between the underside of the belt and the return idler. A shovel with a bent handle was lying below him on the platform.

 

Man’s arm is ripped off after ‘getting it caught in conveyor belt’ in recycling tip horror
Rebecca Day

A man’s arm has been ripped off after ‘he got it caught on a conveyor belt’ at a recycling tip in Wythenshaw owned by waste management company Viridor.

The unnamed 29-year-old man was rushed to hospital after the horrific incident while working at the Sharston Tip in south Manchester last night.

Members of the public are still able to dump their waste at the household waste recycling centre, which remains open.

 

Metal Conveyor Belt Slides Down Incline Crushing Supervisor — Iowa
Wayne Johnson, M.D.

A 35-year-old supervisor from an out-of-state manufacturing company was killed while he was overseeing the installation of a heavy metal conveyor belt at a recycling plant. This conveyor system was designed to move recycled materials from ground level to a new elevated sorting line. However, because of jerky movements, the welded attachment point failed, and the entire conveyor belt immediately slid down the incline and bunched up on the ground level. The victim was standing on or walking over the conveyor at ground level when the weld failed. He was knocked down and dragged through a narrow space between the belt and the conveyor frame, causing extensive crush injuries to his trunk and extremities. An ambulance was located across the street and arrived within two minutes, however due to the extent of his injuries, the man was dead on arrival at the local hospital.

 

I was crushed, severely injured, and nearly killed in a conveyor belt accident
DC4MVP

I was sitting on and repairing an industrial conveyor belt. Suddenly, the conveyor belt started up and I went on a ride that changed my life forever. I fell from the one I was sitting on down below to another one where I got caught in between the two before I eventually broke my arm, was freed, and ended up being sucked up under that bar where the ribs and back broke before I eventually passed out and lost consciousness.

The list of injuries include: *Broken humerus *5 shattered ribs *3rd degree burns on right shoulder & left elbow *3 broken vertebrae *Collapsed lung *Nerve damage in left arm resulting in 4 month paralysis *PTSD *Torn rotator cuff *Torn bicep tendon *Prominent arthritis in left shoulder*

 

Dreamworld confirms at least three dead
Hugh Riminton

Three people have reportedly died after an accident on a ride at Dreamworld on the Gold Coast.

Police say it appears they had become caught in a conveyor belt at the Coomera theme park.

It’s believed the accident occurred on the Thunder River Rapids ride with a six-person circular raft flipping over onto the conveyor belt.

“The situation is unfolding,” a Queensland Ambulance spokeswoman told AAP.

 

______________

 

Category: Belt Conveying
‘Welcome to the Conveyor Belt Guide’
Möbius band
‘Sun’s Super-fast Plasma ‘Conveyor Belt’ Surprises Scientists’
‘Alicante Airport Conveyor Belt Kills Baby’
The Conveyor Belt – A Fashion and Lifestyle Journal
‘The plane on the conveyor belt’
‘How to Make a Conveyor Belt for a School Project’
‘One conveyor belt can move 1000 boxes in 12 minutes.’
‘Explosionproof Conveyor Belt Alignment Switches’
‘How the care conveyor belt tortures people back to life’
‘How to make a conveyor belt with LEGO parts?’
Play ‘Arthur Christmas: Conveyor Belt Madness’
‘Maoists strike at NMDC mines, damage conveyor belt’
‘Conveyor Belt of Death’
‘Where the Conveyor Belt Has Taken Us’
Conveyor Belt @ Facebook

 

 

*

p.s. Hey. ** Dominik, Hi!!! Hm, I think if I lack a vitamin, it must be D. It’s true, tiny headphones would make a tiny, plastic you irresistible. My preorder is in. Well, love did erase ‘Smoke on the Water’ but he replaced it with the chorus of Joe Jackson’s ‘Stepping Out’ which is even worse, so love was in a bratty mood yesterday. Coffin Joe: I know, so dumb but satisfying. Love predictably replacing every sidewalk in Vienna with a conveyer belts, G. ** _Black_Acrylic, Cool beans, as people used to say about good things for inexplicable reasons. I like ‘Sleepwalker’s’ poster, and it’s only 50 minutes out of my life, so I think I might just target it. Thank you, Ben. ** Uday, Hi. Oh, if my experience is anything to go by, the big 0 birthdays are daunting beforehand, and a little unnerving on the day, but then, by the next day, everything is still the same, and you’re just, like, whatever, no big until the next 0, or the birthday before when you start worrying about the impending 0. Although I have to say, when I turned 70 it was by far the least whatever, no big yet. ** Steve Erickson, No, I actually am only a novice to his films, just beginning to investigate, and that one hasn’t been in-taken yet. You know/like it? ** Darby🥧, Is that a cupcake, or, wait, a pie? Maybe you were a fireball, but fireball-dom is a virtue, but you weren’t convoluted, unless I’m too convoluted to tell, which is highly possible. Really, you can’t know how a suicide will affect others. It can be someone you don’t know well and assume the effect will be fleeting and then get really wiped out by it. Caution is highly advised to suicide debaters. You mean back in my teen days? Not hippies because back then everyone who was ‘cool’ either looked like a hippie or was one, so hippies weren’t niche. There was a really, really early kind of goth look that some people had. Deliberate gloominess. Maybe them. Oh, now I get it, about the burning end. Great, burn it, exciting! Oh my god, that’s what I look like? I can’t think about it or I’ll never leave my apartment. Or maybe I would like freaking everybody out. Hm, okay sure, why not. ** Justin, Hi. No, because I only discovered the existence of Coffin Joe about three weeks go. It’s possible I accidentally used that name maybe, but I would thought I was inventing it if I did. ** Bill, Indeed: character. You went to Concerto too? I forked a lot of gulden for a lot of 12″s that I no longer possess. The Quaker Goes Deaf is such a good name. I’m going to see what I can hunt about it, image- and info-wise. ** Right. I personally think too many people just take conveyer belts for granted and don’t spend the time to appreciate what wondrous things they are, and so I decided to force the issue in a blog post. I hope you will pay your respects, and I will see you in any case tomorrow.

 

‘Usually dressed in a top hat and black cape with outrageously long fingernails, Jose Mojica Marins, aka “Coffin Joe” made a series of notorious films from the 1960s until his death in 2020, at age 83, that were real nightmare fuel, filled with lots of blasphemous swipes at the Catholic Church and horrifying images of torture and murder. He was the “Freddy Krueger” of Brazil but with real elongated fingernails instead of a razor-fingered glove. His films suddenly got so demented they were banned by the government. But he never stopped making movies.

‘Marins was born in Sao Paulo, Brazil on March 15, 1929. His father Antonio, worked in a traveling circus as a bullfighter and went on to manage a local movie theater, where the young Jose became fascinated with the horror films shown there. His father gave him an 8mm camera, and Marins started making his own movies using neighborhood children and experimenting with trick photography. He once had a nightmare in which he saw himself being dragged into an open grave by a man dressed in black which triggered the creation of “Ze do Caixao” (pronounced ZEH-dough-kySHAWN), which literally translates to “Joe the Grave” (Coffin Joe on video).

‘Audiences so identified Marins with the “Ze do Caixao” character that when he once ran for public office, people voted for Coffin Joe instead of Marins, invalidating the ballots. As for his obsession with children, Marins married several times and has 23 children! When he used to film in an abandoned synagogue that became his studio, Marins was also known for holding notorious casting calls where he would force aspiring actors to let rats and snakes crawl all over them (the police were called in several times).

‘He even incorporated his actual eye operation into a film and when told Bunuel had done that in Un Chien Andalou, Marins said: “But did he cut his own eye open?” In 2008 he made Embodiment Of Evil where “Coffin Joe” is released from Sao Paulo prison and his faithful hunchback servant Bruno and a new entourage of punked-out kids search anew for the perfect receptacle of his demon seed. Corrupt cops and a vengeful priest hunt him down. Scene after scene of surreal bloody madness reminded you that Marins had not lost his edge.

‘I was exposed to Marins’ films from Something Weird Video, helmed by the late, great Mike Vraney who tirelessly rescued hundreds of bizarre films from the vaults. He released the Marins films on VHS, scrambling the brains of cinemaniacs who were flabbergasted by the movies. Purists have objected to the “Coffin Joe” moniker and complain that we should say “Ze do Caixao.” But according to Mike Vraney, Marins was delighted with the name and thrilled with his newfound accessibility. For me, the films were a true discovery- a man whose dark visions and disturbing imagery were unlike anything I’d experienced before. Cheaply made and filled with amateur acting, Jose’s films were also genuinely creepy and utterly fascinating. I had nightmares for weeks after binging on them.’ — Dennis Dermody, Original Cinemaniac

 

____
Stills

 

____
Further

José Mojica Marins @ Wikipedia
JMM @ IMDb
My Last Interview With José Mojica Marins
JMM @ mubi
DVD: ‘Coffin Joe Collection’
The Coffin Joe Wiki
Jose Mojica Marins: Up-Close and Personal
JMM @ Letterboxd
LOOKING INTO THE EYES OF JOSÉ MOJICA MARINS’ COFFIN JOE
Coffin Joe (José Mojica Marins) Appreciation Page
The Filmmaker Must Attack On All Fronts: José Mojica Marins (1936-2020)
“Coffin Joe” – The films of José Mojica Marins
José Mojica Marins and the Cultural Politics of Marginality in ‘Third World’ Film Criticism
DEPTH OF FIELD: JOSÉ MOJICA MARINS – COFFIN JOE’S THEOLOGICAL TERROR
Celebrating José Mojica Marins and the Legacy of Coffin Joe
Under the Shadow of Coffin Joe
Ritual of the Sadists: The Subversive Horror Cinema of José Mojica Marins

 

____
Extras

The Strange World of Coffin Joe – 1968

Inside the Mind of Coffin Joe (Official Trailer)

The Retro Time Machine Podcast – Coffin Joe

Coffin Joe – Jon Stewart Show 1994

 

______
Interview
by Felipe M. Guerra

 

FMG: What can you say about “Exorcismo Negro”, your best-produced film from that period?

JMM: It was my most expensive production, with a quality level I had never had before. It was something like: “I need a needle”. Boom, the guys from the crew just brought me a thousand needles! But the film was not as good as it should be. [Producer] Anibal put a guy on my back, to control me, and he was the wrong guy. He passed away recently.

FMG: Are we talking about Adriano Stuart? [note: Also a filmmaker, Stuart directed successful films with the Brazilian comedy group Os Trapalhões. He appears in “Exorcismo Negro” as an actor.]

JMM: Yes, that’s him. Adriano was there as a kind of spy for [producer] Massaini, someone who should control me during production. But the curious thing is that he drank a lot, I saw him drink a whole glass of cognac in front of me. He was an alcoholic, so he was unable to control me. And he had the audacity to say that he could stand drinking more than I did! Once the guys made a bet, the poor part of the crew with the rich part, to see who could take more alcohol. I drank a lot, cognac, wine, mint liquor, everything they served me. And he [Adriano Stuart] didn’t have the satisfaction of seeing me fall, because he fell first. And only when he fell drunk did I raise my hand and say: “Okay, now I can fall too”. And then I fell. But while he didn’t fall, I didn’t either. The power of the mind is incredible! I took it all because it was a gamble and the poor part of the technicians bet on me.

FMG: Adriano Stuart once said that he directed scenes from the film.

JMM: No. The only thing he did was busting my balls because I don’t like to repeat takes, and he wanted to do all of his scenes again and again. He made me repeat it too much, and I am against it. All the scenes in which he acted… Sometimes he wanted to repeat four, five times, thinking that his performance improved with each take, when in fact it got worse and worse.

FMG: But at least was he a nice guy?

JMM: No. He was very arrogant, too arrogant. And he drank a lot while shooting. [note: Ironically, Mojica and Stuart worked together again more than 30 years later on “Encarnação do Demônio”]

FMG: Let’s talk about “A Estranha Hospedaria dos Prazeres” (The Strange Hostel of Naked Pleasures, 1976). Who directed this film after all, you or Marcelo Motta? [note: Officially the film would be directed by Marcelo Motta, a pupil of the filmmaker, but Mojica had to take control of the production. Motta’s name is the only one that appears on the poster and in the credits.]

JMM: Marcelo Motta was a friend of mine, a student at my school of dramatic arts, whom I wanted to give a chance to. But he became religious at the same time, he started dating an evangelical girl, and started to change his way of thinking. The whole thing started to get complicated, but he was a smart guy, and I really wanted to give him this chance. (…) But in the end he threw away so much money, wasted so many things… I had to take over the production. I said: “Marcelo, I don’t want to discredit you, I know you’re smart, but I think you need to take a few months off with this girl”. He did so many things wrong that it was not easy for me to finish the film, he left everything incomplete.

FMG: And what do you think of this film now?

JMM: Well, I ended up doing exactly what I wanted from the start. But the film could have gotten a lot better. It was a project that I believed in a lot. It was very difficult to give a shape to the material that he [Marcelo Motta] filmed, because it was impossible to understand anything.

FMG: Soon after you directed three films, “Inferno Carnal” (Hellish Flesh, 1977), “Perversão” (Perversion, 1979) and “Mundo, Mercado do Sexo” (World, Sex Market, 1979), without the presence of the supernatural. All three are thrillers and the horror comes from the human being. What happened?

JMM: This time it was not because of the Dictatorship. I simply wanted to show that the human being does not need to appeal to the supernatural, he is already supernatural, he is already perverse. If you look at “Perversão”, for example… Good heavens! My character in that film is very cruel! [note: In this movie Mojica plays an evil millionaire named Vitório Palestrina, who sexually abuses a virgin girl and bites off one of her nipples!]

FMG: So the villain doesn’t need a supernatural element to be bad.

JMM: Exactly, it is not necessary. That’s what I tried to show and I think it worked.

FMG: I love what you did in “Delírios de um Anormal”, which was putting back all the scenes from your other films that the censors had cut. And none of the censors noticed this time!

JMM: Their imbecility was gigantic. I did it on purpose after I went to the censorship building and, suddenly, a woman and two men appeared and started touching me, to make sure I was a real human being! And these guys were responsible for censoring our films!

FMG: And they touch you to see if you were real?!?

JMM: Yes, they were touching my body! And I asked: “Do you want to touch another part too?”. Holy shit, that was crazy. “Why are you touching me? Do you think I’m an extraterrestrial?”. And I said: “Are YOU the guys responsible for the censorship?”. I was really pissed! And so I looked for several journalists to tell the story and said: “Let each one do their own censorship because Brazil today has no censorship”.

FMG: That’s why you decided to make a film with all the scenes they had cut?

JMM: Yes, I put back everything that was cut, as a confrontation. Everything I was asked to cut in my whole career I put in this new film, and it passed uncut this time! I thought: “Fuck, it can be!”. Because everything they cut from my other films was there. What censorship was that? [note: Of the 1h23min of “Delírios de um Anormal”, Mojica filmed only 35 minutes of new scenes. The rest of the narrative consists of images from his previous films.]

FMG: And you’ve always had a lot of problems with the censors.

JMM: Yeah, a lot. You have no idea how much censorship has hurt our youth at that time. I have always defended youth with tooth and nails. I think that censorship destroyed a part of Brazil.

FMG: When you think about how much you couldn’t do during the dictatorship…

JMM: Holy shit, lots of things!

FMG: Let’s talk about “A Praga”, a movie of yours that was lost and has been rediscovered just now.

JMM: “A Praga” had one of the great actresses of Brazilian cinema, television, and theater, Wanda Cosmo. I think “A Praga” would be a great success if Eugenio Puppo released it at the end of this year, because they are preparing many tributes for me this year. I still don’t understand why, maybe is it because the Maya said that in 2012 it’s the end of the world? The only thing I know is that I am receiving a series of tributes in Brazil and abroad. And I wanted to release “A Praga” right now, because the film is ready. If he intends to release only after I die, it will not have the same intensity.

FMG: Is it true that the film had to be dubbed now and the dialogue lists no longer existed?

JMM: My ex-wife [note: Nilcemar Leyart, who also edited many of his films] does lip reading very well and managed to save a lot from the original dialogues. She was the one who edited my old films.

FMG: “A Praga” was filmed in Super-8, right? Why?

JMM: At the time I had a new Super-8 camera and wanted to make an experiment with it. I think the movie is really good. But I had a maid who didn’t know about those things, mistook the film rolls for trash, and she threw it all away. So we literally had to rescue the movie from the trash! I think “A Praga” will be interesting right now because it will show things from the past, and a lot of strong scenes.

FMG: Have you ever seen the movie since it was shot?

JMM: Exactly. And I’m curious to see it now. I’ll be really pissed if Puppo took things out of the movie that he shouldn’t have taken. What was in the movie should be in the movie. Unfortunately, a long time has passed and it would not be possible to shoot new scenes with the same cast, so I hope we can show the film as it was originally. What I do know for sure is that “A Praga” has amazing scenes. The main character has a wound in his stomach that needs to be fed with human flesh, and in the end there’s a fantastic scene in which he swallows his own wife! If Puppo waits for me to die to release the film, I don’t know if it will be the same thing. Because with me alive I can talk about the film and help promote it, but with me dead they won’t do a fucking thing.

 

_____________
15 of José Mojica Marins’ 43 films

______________
Sentença de Deus (1958)
‘God’s Sentence (Portuguese: Sentença de Deus) is an unfinished Brazilian film project developed between 1954 and 1956, directed by José Mojica Marins. The film was restored into a complete format in 2007 by Portal Heco de Cinema de Brasil.’ — Wikipedia

Excerpts

 

______________
My Destiny is in Your Hands (1963)
‘Tired of the constant abuse he suffers in his household, a boy runs away from home and goes on a series of sad and dramatic adventures, in which he finds the opportunity to show the power of his own voice.’ — Letterboxd

the entire film

 

_______________
At Midnight I’ll Take Your Soul (1964)
‘Marins plays the lead, dressed in a black top hat and cape with bushy connecting eyebrows, straggly beard and mustache, and outrageously long, curved fingernails. In the film, Coffin Joe is the local undertaker and evil town bully who is searching for the ultimate woman to sire his child and perpetuate his evil. He puts several damsels though hideous tests- like having spiders crawl over their body while they sleep- to see if they measure up. Most fail the test and die, but on the Day of the Dead the victims rise from their coffins to get their revenge. Crudely filmed in black & white, At Midnight I’ll Take Your Soul is remarkably potent stuff for 1964- filled with scandalous anti-Catholic rantings, nudity, sex and sadism. The movie became a sensation and Coffin Joe became a cult figure.’ — Dennis Dermody

‘The crew refused to shoot a scene because there wasn’t enough sunlight. Director José Mojica Marins forced them to shoot the scene by pointing a gun at the cameraman. Various crew members have confirmed the story. On one of the rare occasions when he would respond to questions about the incident, Marins claimed that the gun was only a prop.’ — IMDb

the entire film

 

_______________
This Night I’ll Possess Your Corpse (1967)
‘This Night I Will Take Your Corpse begins where the other film left off and continues Coffin Joe’s reign of terror. There are scenes that scald the mind- women are covered with 50 real tarantulas and left in a pit filled with real snakes. Marins also adds an amazing color sequence in which Coffin Joe travels to hell, a surrealistic snow palace of writhing, screaming bodies. The whole film is like a nightmarish poem, disturbing and scary and pathological.’ — Dennis Dermody

the entire film

 

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The Strange World of Coffin Joe (1968)
‘The film is a collection of three short films titled O Fabricante de Bonecas (The Dollmaker), Tara (Obsession), and Ideologia (Theory). Joe only appears briefly in the role of a horror host, introducing the segments, and the film is not a part of the Coffin Joe trilogy. The hymn-like title song was written by Marins, and performed by Edson Lopes and Brazilian Samba band Titulares do Ritmo.’ — Internet Archive

the entire film

 

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The Awakening of the Beast (1970)
‘Psychiatrist experiments LSD on 4 volunteers, to investigate Coffin Joe’s influence over them. Each patient presents a different reaction, involving sex, perversion and sadism.’ — Letterboxd

Excerpt

 

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End of Man (1971)
‘A mysterious man emerges from the ocean and wanders aimlessly through a town. After apparently resurrecting someone, the man is mistaken for a messiah with supernatural powers. After giving a farewell speech from a mountaintop, the would-be messiah voluntarily returns to his former residence, an insane asylum.’ — UOL

Trailer

 

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Sex and Blood in the Trail of the Treasure (1972)
‘An American explorer organizes an expedition to the Amazon Rainforest in search of a lost treasure.’ — Letterboxd

Trailer

 

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When the Gods Fall Asleep (1972)
‘A slasher, but instead of murder he spreads morality. Even more than The End of Man this one owes a massive debt to Neo-realism and at times hits some of the same subversive notes you’d find in early Pasolini or the Spanish Quinqui cycle. The sketch comedy tone is also faded, as this goes a bit more Mondo. Marins is marching to his singular beat and gives us something utterly unique in the end. Those expecting something akin to the Coffin Joe films are going to be sorely disappointed though.’ — man_in_bath

the entire film

 

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The Bloody Exorcism of Coffin Joe (1974)
‘José Mojica Marins, a director of horror films about the diabolical Coffin Joe, is spending Christmas with friends. Household members go violently mad for no reason: first grandpa, then the hosts’ daughters, one of whom, Vilma, is about to get married. Mojica discovers that Vilma’s mother made a pact with a witch in order to become pregnant with Vilma, promising this first-born child to Satan; her impending marriage to a human is stirring up things supernatural. It what seems like a dream, Mojica enters a bacchanal in which an entranced Vilma is about to wed to Satan’s son; the master of ceremonies is none other than Coffin Joe. Can Mojica defeat his own creation and save Vilma?’ — rarefilmm

the entire film

 

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The Strange Hostel of Naked Pleasures (1976)
‘At an isolated inn — “Hospedaria dos Prazeres” (Hostel of Pleasures) — the owner (Jose Mojica Marins, who is also Coffin Joe) turns away some and allows others already in the guest book to stay. Those without a place to stay are enraged, as after all, there’s a storm outside. Yet he has room for hedonistic Hell’s Angels, a couple sneaking out on their respective partners, a man ready to kill himself, gamblers out to bankrupt someone and criminals escaping their last robbery. When they wake up in the morning, all of the clocks and their watches are set to midnight. That’s because they’re all in Hell and the absence of time is one of the many things they must deal with, as well as having to watch their deaths again and again. The owner warns them all that they don’t want to see his evil side — Coffin Joe.’ — bands about movies

Excerpt

 

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Perversion (1979)
‘A prominent millionaire gets a woman drunk and rapes her, biting off her nipple in the process. Because of his influence and powerful lawyer, though, he is able to beat the rap, claiming the woman was trying to extort money from him. He continues his life of debauchery, using women and flaunting his power until he meets a new woman, who won’t let him have his way with her, but wants to be his friend. Falling madly in love with her, he cleans up his act and devotes his attentions to her, not realizing that she has a hidden agenda.’ — Letterboxd

the entire film

 

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Embodiment of Evil (2008)
‘Forty years after the two previous instalments of what became known as “The Coffin Joe trilogy”, and marking a return of the legendary Brazilian writer-director-star Jose Mojica Marins to the role that established him as an Auteur of Horror, ‘Embodiment of Evil’ sees the villainous anti-hero gravedigger Zé do Caixão released from his shackles after decades incarcerated in a prison cell.

‘Accompanied by some of his followers, Zé take residence in a shanty town where he continues his search the perfect woman to bear his children and intent as ever on unmasking the political corruption and religious hypocrisy, no matter how extreme his modus operandi. Driven by tormenting visions, Joe is haunted by ghosts of his former victims and graphic hallucinations of a purgatory-like landscape filled with human suffering.’ — One Eyed Films

Trailer

Making of Embodiment of Evil

 

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Coffin Joe Born Again (2015)
‘The legendary Jose Mojica Marins, along with Marcelo Colaiacovo and Nilson Primitivo created this mind blowing experimental horror film. After two heart attacks in 2014, the Brazilian master is back with new footage and original script. These rare images were discovered by Marcelo Colaiacovo during his thirteen years of researching the Coffin Joe archives. It was during this time that Colaiacovo discovered several film cans full of unprocessed 35mm material from the 1970s – 1990s, some of which was used to create this short film. Using an experimental processing technique with assorted chemicals in his Resistência Filmes laboratory, Colaiacovo and Nilson Primitivo (King of the Brazilian Underground) worked together to ressurect these treasures to life.’ — IMDb

Trailer

 

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The Curse (2021)
‘This short film recounts the process of restoring A PRAGA, directed by José Mojica Marins AKA Coffin Joe. Originally produced in 1980, the film was never finished and was ultimately lost. Full of twists and never-before-seen footage, “Mojica’s Last Curse” breaks down the only unreleased film by the Brazilian horror master known to date, through making-of excerpts, testimonials, scenes from the original filming and images from the comic book that originated it.’ — American Cinematheque

Trailer

 

 

*

p.s. Hey. ** Jack Skelley, Oooh. I like all kinds of pizza, but if I get to choose among all of them, deep dish, ideally Chicago style. I promise you a nice tip. Best, Stephen King. ** _Black_Acrylic, That book is a super winner. ** Dominik, Hi!!! I love it so much when I managed to find them. I forget what foods have A and D. I guess I eat them since my fingernails are a normal pale purple/white albeit heavily chewed. Bimbo Tower met your criterion, yes. Sigh. I’m still a desk-chair-with-wheels newbie, but, so far, I’m never going back. Ha ha, wow, okay, me as Barbie with, hm, to be authentic, I guess a writing pen in my right front pants pocket, a packet of Freedent White Strong Mint gum in my left front pants pocket, and a nicotine patch in my shirt pocket in case of emergencies. Dare I ask you what accoutrement your Barbie would come with? Love stopping my brain from inexplicably wanting to constantly replay the riff from ‘Smoke on the Water’ because it’s most annoying, G. ** Misanthrope, Finally! I was in a Books-A-Million once in Georgia. Its selection was absolutely shocking! Well, you’re in DC frequently, and there’s gotta be one or two good indie bookstores there. ** Tosh Berman, Wow, you worked for Greg Shaw. I used to talk to him when he was at the Bomp! store, which was fairly frequently. Bomp! Records was a really fantastic label. It put out great records by so many great people: Spacemen3, Stooges, The Weirdos, Shoes, Modern Lovers, Germs, Devo, Flaming Groovies, The Last, The Nerves, 20/20, … I could go on and on. In your relative hood, The Little Lending Library and Iliad are good too. ** Justin, Hi. Thanks. I had no idea that reading was recorded. Weird. I sound a little sleepy. I’ve never been in an ice storm. It does have exciting but treacherous vibes. I hope your day is opposite of dreary. ** Mark, Hi. Huh, that’s very interesting. That the film provided good opera. Maybe it’ll get over here. Parisians like their operas. Oh, right, it involves outputting $$$ to get over here. You don’t have people you can crash with? I’d offer my place but my roommate has a ‘no guests’ rule. I think flights betwixt you and here are sort of not too, too expensive right now, I’ve heard? I hope you can, duh. It’ll be worth it, remember. ** Charalampos, I remember the Corll and Kraft books as being useful. Oh, it was kind of an existential threat at the time, at least if you weren’t a street hustler or hitchhiked. SMASH indeed! Vibeage galore from you know where. ** Darbyy🐖🐷, Hi. Oh, no problem, I understand that difficulty of reading about that. I was very interested in Emo culture when I was working on that book. I lived in a building here at the time whose ground floor housed Paris’s biggest Emo clothing, etc. store, and there were Emos hanging out around the building all the time. I was never interested in the music, I was just interested in them emotionally and their manner of displaying themselves fashion-wise. Well, the problem is suicide fucks up the people who knew and cared about the suicider. I’ve had a bunch of people close to me commit suicide in my life: my uncle, George, many friends, … and those suicides fucked me up forever. I don’t know, I like ‘Babe’ a lot. It’s pretty ‘sweet’, but it’s physically really well done. No, I’ve never been in a cult. I’ve always been really practical as a person. And my anarchism makes those things seem really faulty from the outset. Yes, I would like to see what you’re working on, and please only burn it if burning it seems like the final ingredient or something. ** Dee Kilroy, Hey, Dee! Wow, you’re working on a lot, That’s great. Bug paintings are a ticklish idea. Very cool to hear. Everyone I know who’s lived in Chicago loves Chicago. Zac included. Probably the same for you? Ouch, yeah, give your knuckles whatever they want temporarily at least. I’m still kind of doing that with my temporarily bum leg. 47, nice. The 40s were good for me. Just wait til you hit my age. It’s completely shocking. ** Uday, Thank you for saying that! And thinking that even more so. I should use that as blurb: ‘The Finnegan’s Wake of the internet’, except then no one will ever want to look at it, ha ha. ** T, Hey! Gosh, it’s really hard to pick a favorite Williams. I love them all. I guess I would say the only book of hers that I don’t 100% love is ‘Honored Guest’. Yes, Zac and I have tickets for Friday and Sunday. Cool, let’s meet up there. Actually, Zac and I are hoping to use a particular track by 7038634357 over the closing credits of our film. We’re in the process of writing to him to see if he would let us use it for minimal bucks. Fingers crossed. ** Caesar, Hi, Caesar! Very awesome to see you! Wow, you’ve done a lot since I was last graced by your presence. Congrats on all the good things. Engaged, for instance! I’m good, I’m just basically doing the work to finish the new film every day and sometimes night. I’m relieved to hear that things there aren’t as disastrous as it seemed they might be. Although, yeah, that sounds quite chaotic. ‘Prayers’ that your fascist president keeps hitting impenetrable walls. I didn’t see the 2018 ‘Suspiria’. I’ve been suspicious of it, but maybe I should. I’m working on a possible short fiction collection, Very short collection, if it works out. And Zac and I are bandying ideas around for our next film that I hope to start writing before too long. I’m happy you like Joy Williams. I think she’s my favorite living American fiction writer quite possibly. I still haven’t seen ‘Poor Things’, no, only due to my big busyness right now, but I will ASAP. I haven’t seen a single film thats nominated for the Oscar. Weird to realise that. I’m going to watch ‘American Fiction’ this week because it’s the assigned film for my next biweekly Zoom book/film club that I do with some writer friends. What’s your pick? ‘Poor Things’, I’m guessing? ** Okay. Today you get a Day dedicated to the Brazilian often horror director José Mojica Marins. Credit for the inspiration to make this post to Dennis Dermody’s great film site Original Cinemaniac, from which I also lifted some of the post’s texts. Enjoy. I think you will or could. See you tomorrow.