The City in the Sky ūüéÜ Metropolis (1927)

 

Metropolis

 

As a film student at The University of Michigan, I was exposed to the masters of cinema – Chaplin, Murnau, Kubrick, Lang, etc. There, we were challenged to critique and look¬†beyond the surface to the underlying themes. “Metropolis” is supreme in incorporating intriguing layers of sub-texture and sub-plots.

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Moloch Machine

Austrian director Fritz Lang’s German Expressionistic masterpiece helped to develop the science-fiction genre, with innovative imagery from cinematographer Karl Freund, art design by Otto Hunte, Erich Kettelhut, and Karl Vollbrecht¬†and set design by Edgar Ulmer.(set designer for The Phantom of the Opera) It was the last of Lang’s silent films. (Filmsite Movie Review)

 

fritz lang

Friedrich Christian AntonFritzLang (December 5, 1890 ‚Äď August 2, 1976)

“Metropolis” was not just some sci-fi flick from the silent era, it’s a¬†visually-compelling allegory set in the dystopic, 21st-century city of Metropolis and represents a brilliant critique of the repercussions of man vs. machine and the brutality of the never-ending class struggle.

Establishing the tone of the film, this statement is presented following the opening credits.

THE MEDIATOR BETWEEN HEAD AND HANDS MUST BE THE HEART!

 

“Metropolis” took over 2 years to complete at ten times the budget for the usual Hollywood production of the time and influenced visuals associated with classic films such as; Chaplin’s war against the machines in Modern Times (1936), the mechanical hand of Dr. Strangelove in Stanley Kubrick’s Dr. Strangelove, (1964),¬†or the resemblance between the Maria robot and the droid C-3PO in George Lucas’ Star Wars (1977) trilogy of films, and scenes of Los Angeles in Ridley Scott’s Blade Runner (1982) to name just a few.

This symbolic tale was¬†written by Lang’s wife Thea Von Harbou (from her own novel). Her vision detailed a self-indulgent, futuristic, industrial world built of skyscrapers and bridges incorporating the Art Deco style of the 20s for the 2026 city of Metropolis.

An ultra elite, 1% privileged class of powerful industrialists is juxtaposed with a subterranean environment of the nameless, oppressed and exploited drone-like slave labor class.

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City of Metropolis

Made in Germany during the Weimar Period, Metropolis is set in a futuristic urban dystopia and follows the attempts of Freder (Gustav Fr√∂hlich), the wealthy son of the city’s ruler, and Maria (Brigitte Helm), a poor worker, to overcome the vast gulf separating the classes of their city.

Filming took place in 1925 at a cost of approximately five million Reichsmarks. The art direction draws influence from Bauhaus, Cubist, and Futurist design. (Wikipedia)

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Fritz Lang directing the workers

As with all great films, “Metropolis” was influenced by the historical events occurring during its time. Centered around the developing Industrial Revolution and depressed economic times, the film also incorporates the rise of fascism in a pre-Hitler Weimar Republic Germany following World War I.

Another influence of the movie’s themes was the rise of the American labor movement and unions during the 1920s due to oppressive working conditions. “Metropolis”, like the Progressive, investigative journalists of the day, took on corrupt politicians and the establishment in an effort to make people aware of the contrast of poverty with the upper-crust classes of the opulent Roaring 20s.

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I’m a steadfast believer that understanding history is empowering. “Metropolis” tackles the rise of immigration into the US and exploitation of workers at the beginning of the 20th century along with Capitalists exploiting labor. It deals with the conversation of doing what’s right versus greed and the power of modern science.

The creation of the evil android Maria (Bridgitte Helm) was an abuse of science but that same knowledge powered the city in the sky and could have been used to enrich the lives of the subterranean slaves.

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Describing these themes and comparisons in “Metropolis” is like writing a piece for The Nation magazine today. The similarities are frightening like George Orwell’s “1984” or H.G. Well’s “The Time Machine”. It’s dismaying to revisit a film I critiqued back in the ’70s, that was made in the ’20s continues to unfold in the year 2019; only 7 years away from the time of the 2026 Art Deco Metropolis city in the sky.

 

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Does art imitate life or life imitate art? I’m not sure, but in our “reality” tv driven news programming, a low information population, and the “I don’t believe in science” facts, kinda feels like we’re living in the dystopian world of “Metropolis”.

Lest we forget.

THE MEDIATOR BETWEEN HEAD AND HANDS MUST BE THE HEART!

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This is a restored version of “Metropolis”

If you’ve never seen it, I highly recommend this viewing experience. But, lasting 2 1/2 hours, prepare to settle in with an extra large bag of popcorn.

 

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Die Hard 30th Anniversary

 

Die Hard

IN THEATERS NOV 11th, NOV 14th

New York City Detective John McClane becomes the only hope for a small group of hostages, trapped in a Los Angeles high-rise office building when it is seized by terrorists on Christmas Eve. This 30th Anniversary event includes exclusive insight from Turner Classic Movies.

I have fond memories of the energy and excitement in the theater upon Die Hard’s release and it has remained one of my favorite movies of all time. Although premiering on July 12th,1988, it’s the perfect Christmas themed movie which our family always ends up watching during the Holidays.

The plot of the story takes place on Christmas Eve with NYPD detective John McClane (Bruce Willis) arriving in Los Angeles, intending to reconcile with his estranged wife, Holly (Bonnie Bedelia), at the Christmas party of her employer, the Nakatomi Corporation.

While McClane changes clothes at the festivities, the party is disrupted by the arrival of a German terrorist, Hans Gruber (Alan Rickman), and his heavily armed team: Karl, Tony, Franco, Theo, Alexander, Marco, Kristoff, Eddie, Uli, Heinrich, Fritz, and James. The group seizes the tower and secures those inside as hostages except for McClane, who slips away, and Argyle, (his limo driver) who gets trapped in the garage. (Wikipedia)

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Let the games begin because McClane is a tough New York cop to his very core and is bound and determined to foil the terrorist takeover as captioned on the movie poster.

“Twelve terrorists. One cop. The odds are against John McClane…That’s just the way he likes it.”

This highly successful American action thriller was directed by John McTiernan and written by Steven E. de Souza and Jeb Stuart. It was produced by the Gordon Company and Silver Pictures and distributed by 20th Century Fox.

Made for $28 million,¬†Die Hard¬†grossed over $140 million theatrically worldwide, with the film turning Willis into an action star, and became a¬†metonym¬†for an action film in which a lone hero fights overwhelming odds. The film’s success created the¬†Die Hard¬†franchise, which includes four sequels, a number of video games, and a comic book, and later in 2017 was selected for preservation in the United States¬†National Film Registry.¬†Die Hard¬†has been named one of the¬†best action¬†and¬†Christmas-themed films ever made.¬†The film also ranks No.‚ÄĮ20 on¬†Empires 2017 list of the 100 greatest movies of all time. (Wikipedia)

I didn’t really care for the sequels, but I highly recommend checking out the original on the big screen at this 30th Anniversary screening. Find out where it’s showing in your area here.

iheart Halloween!ūüĎĽ

Halloween is my favorite holiday! It’s a day for self-expression. A day for fun and fantasy. A day for taking control of phobias and fears and turning your back on Freddy Krueger from A Nightmare on Elm Street (1984). Where’s your power now Fred? Way to shut that mess down.

It’s also a day to indulge in all your favorite classic, creepy, monster, sci-fi horror films.

Therefore, in the spirit of Halloween, let’s pay homage to the original man of horror. The “Man of a Thousand Faces”- Lon Chaney.

 Man of a Thousand Faces РLon Chaney

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Lon Chaney (April 1, 1883¬†‚Äď August 26, 1930), born Leonidas Frank Chaney

Born to deaf parents, Lon learned to express himself and communicate visually. He took his desire to become an actor and created an art form and space for himself that was revolutionary to the motion picture industry. His makeup artistry allowed him to transform and become grotesque characters in films like The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925). He’s regarded as one of the most important character actors of the silent film era.

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The original “monster maker”, he would scout out the daily call sheets for a studio finding out what types of extras were needed for that day’s shoot. He created a make-up toolbox of possibilities for him to achieve the look and characterizations needed to be chosen for a role. This talent was the impetus for his unparalleled reputation in the burgeoning film industry.

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This flick is by far my favorite Lon Chaney! 

Chaney’s alliance with Director Tod Browning was inspired! Browning was into the macabre and best known for his films Dracula (1931) and the cult classic Freaks (1932) and Lon Chaney had the acting and makeup skills to realize any twisted character¬†the director could come up with.

My favorite movie line is from their 1927 silent film The Unknown – “crack of your ass”. (okay, I can’t swear that’s what he¬†said) But, seriously, as Alonzo the Armless, he threatened his co-star Joan Crawford with bodily harm if she did not bend to his will. Remember Grandma Klump from Eddie Murphy’s The Nutty Professor(1996)? “You might walk over, but you limpin’ back! “Chaney totally went there. Check it out:

Let’s talk about the level of twisted in this movie:

A word of advice, if you’ve got a thing about someone that’s all consuming and you’d do anything to get with that person, forget about it!

Plot: This crazy man, Alonzo the Armless (Lon Chaney) has a knife throwing act using only his feet and is in love with Nanon (Joan Crawford) who”can’t bear to be touched.” He has arms¬†but pretends not to for his act and so Nanon will talk to him. When it’s discovered that he indeed has arms, he blackmails a low-rent surgeon to amputate them. Sick!

Nanon and Alonzo

lon and nanon

After his surgery, Alonzo returns to the circus and his knife throwing act. Hoping to rekindle his relationship, he strolls over to Nanon’s circus wagon to see his rival Malabar, the circus strongman, (Norman Kerry) with his hands all over his love. Holy crap, it’s on! Alonzo schemes to get his girl back by rigging the speed of Malabar’s horses in his act which will dislocate and sever his arms during the live circus performance.

Alonzo

lon feet

Alonzo’s sick plan is working until Nanon realizes what is happening and tries to stop the performance. And then boom! The”crack of your ass” line. As you saw in the clip, things didn’t really work out the way he saw it play out in his mind.

Malabar

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This documentary, Lon Chaney: A Thousand Faces is a great biography for more in-depth background information and presents a great opportunity to discover your own Lon Chaney gem.

Here it is, Lon Chaney: A Thousand Faces

Lon Chaney is also the father of Lon Chaney, Jr best known¬†for his role in Universal’s The Wolfman (1941).

“Hail, Hail Freedonia” – Try the Duck Soup!

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Duck Soup (1933)

I was first introduced to the Marx Brothers (Groucho, Harpo, Chico, and Zeppo) in one of my favorite classes at The University of Michigan – Cinema. It was more like an afternoon of fun at the movies since in our lecture all we did was analyze and critique classic films.

(top to bottom) Chico, Harpo, Groucho, and Zeppo 1931

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The Marx Brothers laugh riot film, “Duck Soup”, has to go down as one of the best and most hilarious political films of the century! Pure anarchy reigned as the¬†idiocy of war was laid bare and Rufus T. Firefly’s (Groucho Marx) rapid-fire one-liners were pure genius.

Enter Rufus T.

On¬†days we screened The Marx Brothers films, the lecture hall seemed a little bit fuller. I was also guilty of padding the room since I would tell my boyfriend what movie we were reviewing and the Marx Brothers quickly became his and my favorites. “Whatever it is, I’m against it.” Groucho in (“Horse Feathers”1932)

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Directed by Leo McCarey¬†and written by Bert Kalmar and Harry Ruby, the film was first released theatrically by Paramount Pictures on November 17, 1933. The storyline of “Duck Soup” involves the wealthy Mrs. Teasdale (Margaret Dumont) insisting that Rufus T. Firefly (Groucho) be appointed the¬†leader of the small, bankrupt country of Freedonia before she will continue to provide their much-needed financial aid. (Wikipedia)

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Groucho, Margaret Dumont, Louis Calhern, and Raquel Torres

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Meanwhile, neighboring country Sylvania is attempting to annex Freedonia. Sylvanian ambassador Trentino (Louis Calhern) tries to instigate a revolution while attempting to woo Mrs. Teasdale. To further tip the scale in his favor, he also tries to dig up dirt on Firefly by sending in bumbling spies Chicolini (Chico) and Pinky (Harpo).

I adore Harpo (Arthur Duer Marx born Adolph Marx; November 23, 1888 ‚Äď September 28, 1964), he is totally off the wall with his facial expressions and his manic pantomime sight gags! Harpo actually played the harp (hence his nickname) and there was usually a scene in the Marx Brothers movies that featured Harpo playing a beautiful piece on the harp.

Harpo Marx

Harpo playing the harp.

Margaret Dumont¬†is often described as not getting the Brothers humor. In fact, she did. In a 1940 interview, Dumont said, “Scriptwriters build up to a laugh, but they don’t allow any pause for it. That’s where I come in. I ad lib‚ÄĒit doesn’t matter what I say‚ÄĒjust to kill a few seconds so you can enjoy the gag”.

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Personally, I don’t know how she could keep a straight face working with Groucho.

Margaret Dumont would typically portray the rich widow that Groucho was always trying to dupe. He could simultaneously insult and make advances towards her. It was fabulous to watch since his wit and timing were impeccable.

Julius Henry Marx (October 2, 1890 ‚Äď August 19, 1977)

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Premiering during The Depression, “Duck Soup” was not initially received as well as their previous films. However,¬†critical opinion has evolved and the film has since achieved the status of a classic. “Duck Soup is now widely considered by critics to be a masterpiece of comedy¬†and the Marx Brothers’ finest film. (Wikipedia)

In 1990 the United States Library of Congress deemed Duck Soup “culturally, historically, or aesthetically significant” and selected it for preservation in the National Film Registry.

Chico and Zeppo round out the troupe. Chico was known for being the crafty con artist (who was usually teamed with Harpo) and for his broken Italian accent (although the Brothers were Jewish) and Zeppo, who always played the straight man. (This was also Zeppo’s last film with his brothers)

In the famous “mirror scene,” Pinky, dressed as Firefly, pretends to be Firefly’s reflection in a missing mirror, matching his every move‚ÄĒincluding absurd ones that begin out of sight‚ÄĒto near perfection. In one particularly surreal moment, the two men swap positions, and thus the idea of which is a reflection of the other. Eventually, and to their misfortune, Chicolini, also disguised as Firefly, enters the frame and collides with both of them.

Although its appearance in Duck Soup is the best-known instance, the concept of the mirror scene did not originate in this film. Max Linder included it in Seven Years Bad Luck (1921), where a man’s servants have accidentally broken a mirror and attempt to hide the fact by imitating his actions in the mirror’s frame.¬†Charlie Chaplin used a similar joke in The Floorwalker (1916),¬†though it did not involve a mirror. (Wikipedia)

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“Just Wait ‘Til I Get Through With It” parodies the ridiculous state of politics and sounds all too familiar.

I admit to being a political junkie and the Marx Brothers humor and point of view ring true in how ludicrous¬†and corrupt the political system is. We know it’s a racket, the Brothers know it’s a racket and they have no compunction¬†with sticking that fact right in your face.

Bravo!

If you’re interested in binge-watching The Marx Brothers,¬†Universal Home Video has released Duck Soup on DVD, unrestored but uncut, as part of a six-disc box set The Marx Brothers: Silver Screen Collection, which includes the Brothers’ other Paramount films, The Cocoanuts, Animal Crackers, Monkey Business, and Horse Feathers. Definitely worthy of the buy.

 

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Happy Viewing!

 

“Here ’tis, Mama’s Favorite 285 lbs of Jam, Jive and Everything!”ūüé∂

Fats suffer

Fats Waller 

(May 21, 1904 – December 15, 1943)

The title sums it up. “Jam, Jive and Everything!.” ¬†Thomas Wright “Fats” Waller is one of the most charming, talented and prolific artists to ever tickle the ivories of a¬†stride piano.

We share a birthday РMay 21st.  His last recording session was in Detroit, Michigan Рhome of my birth. I guess it was destiny that his music and spirit would come to bring me such joy!

What excites me about Fats?

When I was a kid and first saw the groundbreaking musical Stormy Weather (1943) I was familiar with its star Lena Horne because my father loved him some Miss Lena. But for me, the wonderful surprise of the film was Fats Waller.

Fats Waller and Lena Horne

When you see him you’re totally invested. ¬†His personality jumps off the screen. ¬†People talk about presence. ¬†Fats created “presence!”

Fats is credited with advancing the musical style – stride piano. ¬†Although known for his two most famous compositions: ¬†“Ain’t Misbehavin'” and “Honeysuckle Rose”, he penned many more uncredited hits such as “I Can’t Give You Anything but love, Baby” and “On the Sunny Side of the Street”.

Waller copyrighted over 400 songs and began his professional career as a pianist at the age of 15, working in cabarets and theaters.

His life and artistry became the Broadway musical revue “Ain’t Misbehavin‘ produced in 1978. ¬†(The show and star Nell Carter won Tony Awards.)

Aintmisbehavin

Recordings of Fats Waller were inducted into the¬†Grammy Hall of Fame¬†which is a special¬†Grammy Award¬†established in 1973 to honor recordings that are at least 25 years old and that have “qualitative or historical significance”.

 

Here ’tis, a tribute to Fats’ brilliance¬†and charm:

 

Fats Waller – Ain’t Misbehavin’ – Stormy Weather (1943)

 

This song cracks me up!

Fats Waller – Your Feet’s Too Big! (1936)

 

Fats Waller – Honeysuckle Rose (1929)

 

Thanks, Fats for the jam, jive, and everything!

If It’s Saturday It Must Be The Blob!ūüďļ

Maybe I’m just a wee bit set in my ways, but the day of the week dictates the genre that I watch. Monday thru Friday are pretty wide open, however, Saturday and Sunday must stick to my criteria. Saturday afternoon is definitely B-horror/Sci-fi flicks and Sunday is reserved for Melodrama film classics.

If you’ve read my About Page you know that as a kid the Saturday Matinee had a big influence on my love of B-horror/Sci-fi movies and William Castle.

The Blob, The Incredible Shrinking Man and The Tingler. Now that’s good stuff!

 

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 The Blob (1958)

The Blob, directed by Irvin Yeaworth, was Steve McQueen’s first leading role before he got his own TV series – Wanted: Dead or Alive (1959). McQueen was called “The King of Cool” and starred in such popular films as The¬†Magnificent Seven and The Thomas Crown Affair. He received an Academy Award nomination for his role as Jake Holman in The Sand Pebbles.

The Blob plot revolves around what happens when an old man pokes a stick at a piece of a meteor and it cracks open releasing an oozy substance that starts to crawl up the stick. He tries to shake it off but ends up with “the blob” all over his hand. (This is why you don’t poke at things that drop from the sky. Yeesh!)

Steve (also his character name) and his girl Jane, after almost hitting the old man who has run onto the road, take him to the local doctor. Cutting to the chase: while Steve and Jane ( Aneta Corsaut, who eventually plays Andy Griffith’s TV girlfriend Helen) leave the doc’s office to look for clues to what’s on the old man’s hand, The Blob absorbs the old man, the doc and his nurse. Next thing you know it’s at the midnight horror movie. Cue the fleeing and screaming and holy crap how do we stop it. Phew, that was exhausting.

 

 

The theme song, written by Burt Bacharach and Mack David (who wrote some of the top hits of the sixties) is a catchy little gem. “It creeps and leaps and glides and slides across the floor…beware of the blob.” Catchyūüėä

 

The Incredible Shrinking Man (1957) 

The Incredible Shrinking Man

Directed by Jack Arnold

I’ve watched this movie a hundred times and the ending always makes me cry. This thought-provoking Science Fiction classic taps into an anxiety of our purpose and what exactly is the meaning of life. Scott Carey (Grant Williams) is dusted by a radioactive mist while on a boating vacation with his wife Louise (Randy Stuart). A few weeks later he starts to notice his clothes are fitting looser and he also appears to be losing height. After visiting a specialist, it is confirmed that he is indeed shrinking.

Reduced to living in a dollhouse and eventually fighting for his life against the family cat and then battling it out with a big, hairy tarantula living in the basement, Scott finally shrinks to an infinitesimal size, entering the realm of the unknown.

For me, this movie is so much more than just another Saturday afternoon B-Movie flick. The closing monologue makes the point by concluding that¬†no matter how small, we still matter in the universe because, to God, “there is no zero.”

 

 

The film won the first Hugo Award for Best Dramatic Presentation¬†in 1958 by the World Science Fiction Convention.¬†In 2009 it was named to the National Film Registry by the Library of Congress for being ‚Äúculturally, historically or aesthetically‚ÄĚ significant and will be preserved for all time.

The Tingler

Producer/Director William Castle delivers his finest in The Tingler (1959), his third collaboration with writer Robb White. The film stars the incomparable Vincent Price as Pathologist, Dr. Warren Chapin who researches and discovers the existence of The Tingler.

Percepto is my favorite William Castle gimmick. There comes a time in the movie when the Tingler (a parasite that feeds on fear) is loose in the theater and to save your life you need to scream! For grins, in select seats in the theaters, Castle placed the Percepto system which made the seat vibrate to simulate the feeling of fear you feel in your body when The Tingler strikes.

Man do I wish I could have been there in 1959 when The Tingler attacks the projectionist, the film strip breaks and The Tingler appears on the screen. If that’s not enough, the lights go out and you hear the voice of Vincent Price declaring that The Tingler is loose in the theater so scream, scream for your life! Awesome!!

Just think of it, being in the movie theater watching The Tingler scene and ending up participating in the experience in your Percepto seat, with lights out and the sound of Price’s voice. I love it!!!

 

Break out the¬†popcorn and let me know your faves in the comments!¬†ūüćŅūüćŅūüćŅūüćŅūüćŅ

Favorite Trailers That Make The Cut!ūüé¨

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I was working on a post the other day and the TV show Nothing but Trailers was on in the background. It got me thinking about some of my all-time favorites and what constitutes a great trailer.

First of all, it can’t just be a series of scenes from the movie. That really irks me! What’s the point of me going if you’ve already given me your best shots? Just lazy.

An excellent trailer peaks your curiosity¬†gets your heart-stirring and demands that you’re first in line to see it. An incredible trailer gives you minimal information but builds the anticipation with atmospheric music, punctuation¬†shots, and an ending that¬†elicits the core emotion of the film.

This is the criteria I applied to the following trailers and is the basis for them being some of the most memorable.

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Number One has got to be the 1979¬†sci-fi classic – Alien. “In space, no one can hear you scream.”

Starring Sigourney¬†Weaver, director Ridley Scott scared the crap out of me and the little boy sitting in front of me at the theater. Oh, and to make matters worse, I was pregnant at the time. Yikes! (if you’ve seen it you understand if you haven’t, what?? You must!) And my girl Sigourney Weaver showed the world what a badass woman in space looks like.

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Sigourney Weaver

This is the epitome of an incredible trailer. Little bits and moments and truly haunting music. My heart was racing and I had no idea of what I’d just seen.

The visuals were outstanding! There was absolutely¬†nothing familiar in the images coming off the screen.¬†The Alien and its accompanying elements were designed by Swiss surrealist artist H. R. Giger. (I don’t know how he slept with those images in his head) The film¬†received both critical acclaim and box office success, receiving an Academy Award for Best Visual Effects.

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Number Two is the sci-fi thriller –The Dark Knight¬†(2008) – “Why So Serious?”

First of all, Heath Ledger. Second of all, Heath Ledger!! Even in the trailer, his intensity shines thru. He draws you in and you’re compelled to see more. His Oscar-winning¬†performance was incredible and the most talked about that year.

Ledger¬†almost made a¬†complete sweep of over twenty awards for acting, including the Academy Award for Best Supporting Actor, Screen Actors Guild Award for Best Supporting Actor, the Golden Globe Award for Best Supporting Actor ‚Äď Motion Picture, and the BAFTA Award for Best Actor in a Supporting Role.

Heath Ledger

Unfortunately, we lost him, but his genius as The Joker lives on. Starring Christian Bale as the caped crusader and directed by Christopher Nolan, when I saw this trailer I knew where I was going to be on opening night. Totally lived up to the hype.

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And, Now Presenting… “The Master of Suspense”!

In 1960, Alfred Hitchcock shocked the world with his groundbreaking thriller. Unsuspecting moviegoers stood in lines that wrapped around the block with no one being allowed admittance after the movie began. Intensifying the anticipation, each patron’s directive was to NOT reveal the ending.

Watch this legend pull on your tension string. From the “Master of Suspense”, Sir Alfred Hitchcock’s¬†– Psycho (1960)¬†“…she just goes a little mad sometimes.”

This trailer shows Alfred Hitchcock taught the world just how horror is done. Fits all my criteria for an incredible movie trailer and then some. Starring Janet Leigh and Anthony Perkins, my heart is racing right now re-visiting this magnificent piece of cinema.

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Sir Alfred Hitchcock – (13 August 1899 ‚Äď 29 April 1980)

Hitch’s stylistic trademarks include the use of camera movement that mimics a person’s gaze,¬†forcing viewers to engage in a form of voyeurism.¬†In addition, he framed shots to maximize anxiety, fear, or empathy¬†and used innovative forms of film editing. (Wikipedia)

To quote me, “An incredible trailer gives you minimal information but builds the anticipation with atmospheric music, punctuation¬†shots, and an ending that¬†elicits the core emotion of the film.”

An unquestionable classic!

alfredhitchcockpsycho

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Now that I’ve shared some of my faves, I’d love to hear some of yours! ūüėé

 

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