In the last issue, we introduced four well-known "horror traders", some of whom are the only ones who love Cthulhu, some who create classic horror characters, and some who are spoofy, and in this issue we continue to look at what other "lawless" "traders" there are.
<h1 class="pgc-h-arrow-right" > exploit heirs</h1>
Frank Henenlotter
Notable works: [The Devil in the Basket] (1982), [Brain Damage] (1988), [Frankenstein Whore] (1990)
Frank Hennan lott was born in New York and as a teenager was often associated with Forty-second Street in Manhattan.
However, forty-second Street at that time was completely different from forty-second street now, synonymous with the red light district, full of brothels, pornographic performance venues, and taxi drivers often crashed cars by watching the street's exposed warblers.
There are also many mill theaters that specialize in cheap exploitation films, and Hennan Lot is a regular visitor to these mill theaters.
Therefore, the images of dirty hotels, monsters, street girls, and lower-class men in his films can be imagined from where their erotic and strange stories, rough humor, and ugly and filthy shapes come from.
And Hennan lott started making movies as a teenager, and the 16-centimeter black-and-white short [Knife Slash] was bought at the Midnight Theater on Forty-Second Street to be screened alongside John Waters' Pink Flamingo.
[The Devil in the Basket] is Hennan Lot's debut novel, and the male protagonist Doon's first few shots of New York are the real forty-second street scenes at that time, and the main scenes of the hotel and small clinic after that are also in this street that he is familiar with.
This gave the film a feel of cheap neon from the start, coupled with the film's poor budget, several shots of the monster were made in stop-motion animation, and rookie Hennan Lott did not have the final editing rights, so it was only shown in New York at first.
For a long time after that, Hennan Lott didn't get a chance to make a film, and became famous in the Cult film world because a friend of his in Dallas wanted to screen the unedited [Devil in the Basket] at midnight.
From the small cinema in Dallas, the screening expanded to the whole city and all of California, and lasted for several years.
Hennan Lott's friend had some money and asked him if he wanted to make a movie, so he had 1988's [Brain Dead].
The two sequels to [Brain Crippled], [Frankenstein Whore] and [The Devil in the Basket] both have a distinctly Hennnan Lotte style, because no one but him can combine weirdness and disgusting so funny.
Although Hennan lott has always said that he is not making horror films, but exploitative films, it is not accurate to regard his work as an exploitative film entirely.
For example, although [Frankenstein prostitutes] are born from frankenstein's story and add traditional elements such as lightning resurrection monsters, the prostitutes in the hotel explode, and the cobbled together girlfriend repeats "Want to date?" like a robot. Want to go out? Looking for some fun? Do you have money? ”.
The random combination of monsters at the end of the film is not from exploitation.
But this strange taste makes Hennan lotort's films very similar to exploitative films in some ways, such as "more rude, more wild".
Except for [Horror Blind Date] in 2008, Hennan Lott has not made a film since the nineties, mainly engaged in distribution work, and something Weird Video, where he works, mainly distributes exploitation films, and all kinds of films from B to Z are completely Hennant's taste. (text _Amber)
<h1 class= "pgc-h-arrow-right" > horror fantasists</h1>
Joe Dante
Masterpieces: [Piranha] (1978), [Bile Breaker Three Times] (1981), [Elf] (1984)
Joe Dante spent his early years as a film critic, but soon joined Roger Coeman's New World Pictures as a director's apprentice, earning $16 million in 1978 for his feature film debut [Piranha] for $600,000.
Because the "imitation" of [piranhas] to [jaws] is particularly obvious, Universal was going to sue the new world, but Spielberg actually liked it after reading it, so the lawsuit was closed, and Joe Dante became famous.
1981's "Three Breaks" was one of Joe Dant's horror films, and the special effects were excellent at the time, with four minutes of footage of the werewolf being extremely realistic and terrifying.
After this film, Joe Dante was promoted by Spielberg to shoot a segmented horror film with him [Yin and Yang Demon World], which became a watershed in Joe Dante's career, after which he was recruited by Warner to shoot [The Elf].
[Pokemon]'s box office success brought Joe Dant a huge reputation and took him out of the realm of horror films like "Jaws" and [Daredevil Three Times].
While it's hard to say what obvious style Joe Dante's films have, his penchant for fantasy is obvious, and he said of [The Elves]: "I like to do things in movies that can't be done in reality, show things that you can't see on the street, and there are so many great movies that show you real life anyway." ”
The films and series joe Dante has directed since then are like a continuation of the themes of the eighties horror films, [Call for Help], [Buried Ex-Girlfriend Alive], Master of Horror, Salem, etc., he has always followed his own preferences and filmed those unrealistic and fascinating fantasies. (text _Amber)
<h1 class="pgc-h-arrow-right" > angry youth</h1>
George W. A. Romero George A. Romero
Date of birth and death: 1940.2.4-2017.7.16
Masterpieces: [Ghost Show] (1982), [Zombies Out of the Cage] (1985), [Strange Demons] (1988)
"A few years ago, I was doing a research on World War II films. I found some old Nazi archives and I couldn't believe what I was seeing. 115 Elements, Necromancer, Resurrection Study of the Dead. You think it's cool? Bullshit! The worst and worst things in the world happen here. "King of the Zombies" George W. A. Romero was still an out-and-out angry youth.
In the sixties, when mutilations and offal were not yet used as a consumer entertainment, Romero really intended to film [Night of the Living Dead] in the name of exposing Nazi crimes.
So, from the very beginning, we have to recognize one thing, and there are some obvious differences between Romero, who also loves plasma and nude women, and B-grade film directors who are cynical, mock the world, and automatically divide their work into infamous.
After [Night of the Living Dead], Romero used stories of witches, murderers, and vampires to survive until the second half of the seventies.
Although he has always threatened that "zombie movies are really boring, or the stories of the living are strong", it was still 1978's [Dawn of the Living Dead] that really made him a master.
The 1980s were not only the golden age of horror films, but also the rise of Romero's career.
In this decade, he made "Ghost Show" that missed EC comics, "Zombie Out of the Cage" that satirized the research conflict between science and the military, and "Strange Demon" full of mother-child and human-animal love.
Growing up watching frankenstein and Dracula's story, full of worries about the fate of mankind and the future of technology, Romero was an out-and-out angry youth. (Text_Kai kai)
< h1 class="pgc-h-arrow-right" > disturbing</h1>
Stuart Gordon
Date of birth and death: 1947.8.11-2020.3.25
Masterpieces: [Live Jumping Corpse] (1985), [Living Demon Man] (1986), [Demon Doll] (1987)
"I've seen piles of undead corpses, under the protection of demons, transcending the infinite realms. I have also used the shadow from one world to another to sow death and madness in the universe. ”——H· P. Lovecraft, "The Living Devil", The Strange Talk, January 1934
Any B-grade film master has done a particularly "B-grade" thing when he was young.
In 1967, Stuart Gordon was a young man who could barely breathe. At that time he had not yet fallen in love with the great H. P. Lovecraft, obsessed with tinkering with a movie.
After enrolling in an "actor's refresher class" at the University of Wisconsin, I learned that in those years, if you wanted to make a movie, you had to start with a stage play.
It is here that Gordon sees the real madness: in Peter Weiss's Mara/THAAD, the mental hospital is constantly playing out a dialogue of paranoia, sudden sleep, and pornography.
Sade ordered others to abuse and whip him in the scene, which shocked Gordon. Perhaps learning the essence of Peter Wies, Gordon immediately set up his own drama club.
At screw theater, he first wrote his own "Gameshow" called Let's Make a Deal.
The first act locks the door of the theater, the second acts invite the actor disguised as the audience to the stage, the third act begins to directly beat, insult, and rape the "audience", and of course, in the fourth act, the audience also directly becomes the participants in this farce - each time ending with riots and attacks on the actors on the stage.
In 1968, Stuart Gordon did something even more beautiful. The Democratic Convention had just ended in Chicago that year, and police released tear gas to the people who marched and protested against the Vietnam War. Gordon immediately created a psychedelic version of Pan Peter.
But this is not a bedtime story that you don't want to grow up, we are about to become the evil god Gordon, turned Pan Peter and the Lost Boy directly into hippies and Epis, and they also arrived at The Island of Neverland - but the path became flying leaves.
In Neverland, the drug-savvy Pan Peter leads his friends in a desperate resistance to Captain Hooke and his pirate crew, and when a psychedelic light hits seven naked fairy girls, the older Gordon and his future wife (Carolyn Purdy, the girl's mother in [Demon Doll], each of Which killed her character in Gordon's early films) are arrested by the police for gathering people for fornication.
For many directors in the United States in the eighties, H. P. Lovecraft's horror novels are an inexhaustible treasure trove.
During his years on the show, gordon was chatting with a group of vampire movie friends, and he thought he was quite affectionate and said, "You should make a new version of Frankenstein." As a result, he was asked, "Have you seen Goodbye, Herbert West?" This sentence may have irritated Gordon a little.
After applying to the Chicago Public Library for six months, Gordon finally borrowed the 1922 copy of Homebrew magazine, which serialized the novel "The Jumping Corpse."
When the unrated film was screened at the Cannes Film Festival in 1985, the theater was filled with screams, ridicule, and some audiences and critics who were amused by black humor.
This is actually very much in line with the effect that Gordon wanted when he started the "Revolving Theater".
And [the live jumping corpse], and Jeffrey Coums and his syringe with fluorescent liquid, in whatever age, already represent Gordon and a cultural gesture.
Eighty years of exploitation films, a hammer hoe down to ensure that it is all gold. Whether it was a good time or not, for the next two years, Gordon took advantage of the hot iron to shoot "Living Demon Man" and "Demon Doll" under the "Empire" banner.
The former continues Lovecraft's fear formula of studying the immortal body and exploring the relationship between humans and the universe, while the latter has worked the manufacture of precision dolls.
When the golden age of horror movies has passed, Sam Remy has gone to make [Spider-Man], Brian de Palma has gone to make [Mission Impossible], and Stuart Gordon has just begun to fulfill his wish.
Following a brief attempt at sci-fi films such as "Mechanical Veyron" and "Devil's Weapon", in 2001, he brought [The Forbidden Zone], which had been brewing for 15 years, to the screen. Adapted from Lovecraft's earlier work, Gordon called the most desired film of his life.
A fateful family is shipwrecked and comes to a small town where all the villagers who have turned their backs on their faith have turned into fish.
Carpenter said it best: "H. P. Lovecraft definitely has a vendetta against the fish. All of his most terrifying creatures have the characteristics of a fish. ”
This is not false at all, when Lovecraft attended the dinner party, he would snatch the door whenever he saw a fish, because he would never be in the same room with such a creature with protruding eyes, open gills, and slippery body.
Gordon, of course, knew this, and he took his loyal film crew to shoot in Spain day and night for eight weeks.
Mixed with the ominous feel of a gloomy town, every scene in [The Forbidden Zone] is either in the rain, in the sea, or in a room full of dirty water, and the "slippery" feeling that Lovecraft feared all his life is taken to the extreme within the visual range of the film.
The old Ji Futuo, determined to be in a thousand miles. The kind of fear That Gordon wanted to express was plain, sticky, and with a hint of meaning.
No matter what the age, flip through the old man's Twitter to know that Stuart Gordon likes it or that set of things. (Text_Kai kai)
Which of your favorite works of a master?