Wonder Woman is ready to spring into action at any moment! And here's a gallery of art to prove it. (And we're going to present another collection of portraits of everyone's favorite Amazon every other Wednesday, as we count down the weeks to the release of "Wonder Woman '84" in October!)
The Ghastly Ones & Other Fiendish Frolics (1995, Manic D Press)
Writing & Art: Richard Sala
Rating: Eight of Ten Stars
Richard Sala spoofs children's picture books in an anthology collecting four horror-themed short items. (Three are narratives constructed using verse and drawings while the fourth one is a series of couplets paired with portraits of murderers and monsters.)
"The Ghastly Ones & Other Fiendish Frolics" was written and illustrated by Sala during a period when he reportedly had grown frustrated with working in comics. It stands a unique entry in his body of work, and shows off his playful side more strongly than his other efforts. It's also a quick read; each page of text has at most a couple of paragraphs, and they are generally followed by a full page illustration.
The book leads off with "The Ghastly Ones", in which a creepy fan of serial killers goes to interview an arrogant detective who hunts them and other monsters. The verses describe 20 serial killers, their preferred victims and sometimes their methods, as well as their fate. An illustration of the killers posing with victims, or otherwise showing their evil natures, is included with each. One of the killers is still on the loose, and he appears at the very end of the narrative to bring it to a grimly amusing, entirely fitting close.
The second included tale, "The Morbid Musings of Malcolm deMulch", is the briefest of them, consisting of just six pages. It feels very much like a dark Dr. Seuss book, or something from Edward Gorey, with each page containing a drawing and a rhyme with Malcolm wondering about how and when he will die. It was originally intended for an anthology where it was to have been a single page comic story. Sala reworked it slightly and turned each panel into an individual page for the inclusion in this volume. (You can see the original version of the story at the bottom of this post. Click on it to enlarge it.)
Next up is "The Skulkers". Like "The Ghastly Ones", it's a catalogue of murderers and monsters, but it has no narrative framework. Instead, readers are treated to literal portraits of 10 killers, with each subject revealing a little bit about him- or herself in a couplet. Like the other sections in the book, it's equal parts cute, amusing, and disturbing. On the downside, Richard Sala engages in his love of drawing grotesquely misshapen noses; this is admittedly a personal issue, but it's my least favorite aspect of his art and he provides a concentrated dose of it here.
Closing out the book is "Beware! Beware!", another perfect spoof of an early reader book. In it, an elderly woman is warning a child about all the homicidal maniacs that are lurking outside the safety of their home. The illustrations and the rhythm and repetitiveness of the writing captures the feel of an early reader book designed to both amuse and educate... but it's bizarre and twisted throughout. It also has an excellent, evil-chuckle-worthy ending, so it makes it the perfect capper for this unusual book.
If you enjoy darkly humorous works and fine illustrations, I think you'll get a kick out of "The Ghastly Ones"... and I think you'll be even more amused if you've ever read books aloud to little kids while they followed along.
Whenyoung is an Irish band from Limerick who has been taking the indie music scene by storm. They released their first full-length album in 2019, and "A Labour of Love" is one of the songs included on it. The clever video for it feels like it might be a 1970s or early 1980s crime drama, but it's really about something entirely different. Check it out below, and get your week off to a good start with some great music!
Continuing Don Hudson's "Jenna of the Jungle" (and including a random bonus jungle girl afterwards). Click on the individual panels for larger versions, and come back next Saturday for Part Five.
Born in 1955, Denise Coward is an Australian beauty queen (Miss Australia 1978) turned actress. She had a brief television and film career during the mid-1980s, with a recurring role on the mystery-based soap opera "The Edge of Night" during its closing years in 1983; and starring roles in B-movies "Sudden Death" (1985) and "Battle for the Lost Planet" (1986).
Coward retired from show-business and married actor/producer John James in 1989.
Somewhere in Turkey (1918)
Starring: Harold Lloyd, Bebe Daniels, William Blaisdell, and Harry Pollard
Director: Alf Goulding
Rating: Five of Ten Stars
An explorer (Lloyd) and a beautiful castaway (Daniels) fall in love while imprisoned by an idol-worshipping sultan (Blaisdell).
"Somewhere in Turkey" may be one of those films that the passage of time has left behind... or maybe it's just not that good and even audiences in 1918 might have felt a little disappointed. While it's probably both, I think it's more of the latter than the former.
First, while the film has many strong slapstick moments (several involving literal slapping), most of the comedic routines are stretched to the point they stop being funny and start being repetitive; this is not a good thing for any film, but it's Very Bad when we're talking about something with a running-time of 10 minutes. Second, the story is sloppily constructed with Harry Pollard's character just vanishing about 2/3rds of the way through... and Lloyd's character doesn't seem to give him a second thought as he rides off with his new lady-friend. It's actually unusual for these comedies to leave such a huge element unresolved. (Of course, since the version I viewed--which is embedded below--is 10 minutes in length, and various sources report that it's 12 minutes long, so maybe Pollard's fate is explained in that missing footage.)
As for the film being left behind by the passage of time, I think there are some things that modern viewers will find distracting that might not have bothered audiences a century ago. For example, there's an executioner in the sultan's palace that appears in straight-up minstrel show black face instead of a black actor playing the part--something which probably shouldn't have been so far-fetched an idea, since less than two years later, black characters were being played by in films headlined by Buster Keaton, such as "Convict 13".
I have some further nitpicks about the costuming choices for this film. The characters look more Arab or Tunisian than Turkish, but that's all those are... nitpicks, and I probably wouldn't even have thought about it if not for a far bigger problem in the film:
It's a major plot point that the Sultan's court are idol-worshippers, in spite of the setting being northern Turkey and the Sultan ruling over Muslim. Even for a goofy comedy, this really stretched my disbelief, even allowing for Turkey being more "secular" in those days. Maybe audiences of 1918 didn't have the same level of cultural insights we have today--or maybe it's me that's over-educated in this matter--but more so than anything that bothered me about this film. (It's possible that the Sultan and his inner circle are secret idol-worshippers, as this is something that's hinted at in the manner Lloyd' and Pollard's characters end up in the mortal danger, but it seems more likely to me that this is just another artifact of indifferent writing. These problems could have been avoided if the film's setting had been a fictitious nation, It's a problem that could have been avoided if the location had been an imaginary one, such as in "His Royal Slyness", a 1919 film also starring Lloyd. That said, it's entirely possible that the film originally was set in a fictitious country, but was "relocated" due to Turkey being an enemy of U.S. and allies in World War I.)
For all the negativity I've just heaped on "Somewhere in Turkey", I have to say that Lloyd and Daniels are excellent together as always (once they finally get to share the screen). In fact, Daniels is front and center in all the best scenes in the film, from her melodramatic posturing when captured at the beginning of the film; to her confrontation with the Sultan; and her imprisonment and escape with Lloyd's character at the end, the scenes are all cute, funny, and to the point. In fact, I think that Daniels' presence, more than anything else, makes this film worth your taking a few minutes to check out. (And you can do so right now, since it's embedded below.)
Model, actress, and British tabloid-favorite Elizabeth Hurley turns 55 years today! Here are some photos of her through the years in celebration! Yeah, Bay-bee!
For the third year in a row, we're celebrating Junes in June with photos and mini-bios. We're only doing two this year to make room for Wonder Woman Wednesdays--hence the late start!
The first June in June for 2020 is June Marlowe.
June Marlowe, born Gisela Goetten, was the oldest of six children of German immigrant parents. She began acting in silent movies straight out of high school in 1923. She maintained a busy schedule and seemed to be on a fast track to fame, but her rising star came crashing down with the introduction of sound into motion pictures.
By 1930, she had already slipped into such obscurity that, when she had a chance encounter with a director from the Hal Roach Studios, he thought he had discovered a new talent--despite the fact she had already played significant parts in 30 films, most of them from major studios.
Today, Marlowe is mostly remembered for her role as Miss Crabtree, the cute school teacher in six "Our Gang Comedies". It was the role upon which she ended her career, retiring from acting in 1932 and marrying businessman Rodney Sprigg. She spent most of her time afterwards as a house-wife, but Marlowe also authored two children's books ("Breezy" and "Furry") late in life.
June Marlowe passed away in 1984 at the age of 80. She is buried with her parents and five siblings in the Cathedral of Our Lady of the Angels in Los Angeles.
Doughnuts (1933)
Starring: Unknown Singers
Directors: George Rufle and Frank Sherman
Rating: Seven of Ten Stars
Tom & Jerry are doughnut-makers attending a bakers' convention along side a host of oddball competitors. They hope to impress attendees and the snooty judges who may award them a prize.
"Doughnuts" is another bit of fast-moving, nonsensical fun that's basically a seven-minute cartoon operetta. The animation is crisp and fluid, and there's not a static moment as the gags, visual puns, and health code violations flow across the screen. Highlights include a drunken sailor that looks like a cross between Popeye and Bluto; the revelation of the real reason people attend fairs; and Tom & Jerry's innovative method of making donuts. The non-stop, snappy, hilarious music also makes this one worth checking out.
One thing about this cartoon--the second-to-last entry in Van Beuren's "Tom & Jerry" series--which may offend particularly sensitive viewers out there since it seems like the writers and animators were trying to cram more ethnic stereotypes and gay jokes into seven minutes than had ever been done before. The material here is more playful than the straight-up racist stuff in "Plane Dumb" (the second "Tom & Jerry" adventure I watched, and one that I am still trying to figure out how to write a review that properly describes how it is both horribly backwards and incredibly innovative for its time), and the mockery is spread around to a broad range of people, I think the sheer volume of it may even raise an eyebrow or two among even the least uncaring and unWoke among us. See if YOU can find all the ethnic and gay jokes that are included! Watch "Doughnuts" below, then tell us how many you spotted!
.jpg)
.jpg)
