Part Six of ‘Faster Pussycat! Kill! Kill!’

Yes! We’re back! And here’s the Final Part of the Movie!

It’s Part Six of Faster Pussycat! Kill! Kill!

Video premieres at 1 p.m. Eastern Time. Join me on YouTube. I won’t bite! 🙂

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A Video Review and Analysis of ‘Gilda’

So … Séan Weathers and I tear into try to figure out discuss the classic film noir Gilda here!

Watch and/or listen, and see what you think! 🙂

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Part Five of ‘Faster Pussycat! Kill! Kill!

Hello! 🙂 We’ve reached the penultimate part of this very bizarre little interesting film!

The premiere is set to start at 1 p.m. Eastern Time. So, if you’re around, feel free to join us on YouTube for the live chat.

So … yeah. Here we go!

PS: This is way too awesome not to share! Un trio de Superwomen! 🙂

OMG! This is becoming a fan fest! 🙂

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Part Four of ‘Faster Pussycat! Kill! Kill!’

Good day! We’ve reached Part Four of this epic movie!

I’m trying out the preview function again. Just for kicks, you know? 🙂

At 1:00 p.m. today, the video goes live!

If you open the video in YouTube, you should (hopefully) be able to chat while the premiere is running. Come by and leave a comment. Someday, I’ll notify people in advance, because that would make sense. I guess. 🙂

Regardless of the consequences In any case, here it is!

And don’t forget, movie fans! I’m on Patreon. And for your support, you can own one of these! 🙂

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My Review of ‘The Sign of the Ram’ (1948)

This movie gets its biggest distinction by featuring a wheelchair-bound actress in the lead role. The story of Susan Peters would make an excellent subject for an entirely separate post. Peters had acted for years and was married for a time to actor-director Richard Quine, but dropped out of pictures after a 1945 hunting accident left her paralyzed below the waist.

In many ways, it is not an easy film to watch. Knowing that Peters actually couldn’t walk does nothing to lessen one’s discomfort.

Via Vodly Movies.

Basically, the story concerns the arrival of a new female assistant to the husband character, who lives with his wife (the one in the wheelchair) and his children from a previous marriage. And, in what seems to be a nice change from the usual trope of the horrible step-mother, the kids seem to adore the invalid wife. They adore her, perhaps, a bit too much.

In any case, the husband’s assistant, Sherida (played by Phyllis Thaxter) arrives at the huge family mansion poised on a rocky edge of shoreline by the sea. And Peters plays Leah St. Aubyn—a rich person’s name, if there ever was one—who keeps a passive-aggressive hold over the entire family by playing the guilt card to keep them living with her.

The story is based on a novel by Margaret Lindsay that the New York Times described as “a book to chill the cockles of your heart.” Yeah, I’d say that sums it up.

THE SIGN OF THE RAM, Susan Peters, Phyllis Thaxter, 1948 (via

Peters delivers an absolutely gutsy performance in the role. She had turned down numerous parts that she deemed too saccharine or too imbued with a bid for pity. Well, she got a role with genuine meat in this one.

Upon Sherida’s arrival, Leah seems quite happy. Or, at least, she smiles and nearly jumps for joy throws a one-person party radiates contentment. But there is this odd, super-restrained vibe to her happiness.

Her attitude is, of course, a shell of positive visualization can-do attitude. One that starts to crack as Leah’s makeshift family—more specifically, her adopted children—leave the nest.

And the machinations she goes through to keep them there would do the Machiavellis proud.

Via Riding the High Country

Without revealing all (and really, it’s a fairly straightforward plot), I’ll just say that the nastiness of the main character is the kind one might associate more with melodrama then film noir. Bosley Crowther, with characteristic kindness and generosity, put it like this, “Plainly the story is claptrap. And the direction of John Sturges is such that the illogic and the pomposity are only magnified. By showing Miss Peters, in her wheelchair, as though she were an alabaster doll, with just about as much personality, he has completely denatured her role. … [The film has] a slowness of tempo and such a sombreness of tone that the whole thing drifts into monotony.”

I wouldn’t go quite that far, but despite its flaws, the film has enough of a creepy undertone (not to mention the sheer guts it must have taken Peters to play the role) that makes it almost as fascinating to watch as a very slow car crash. And the ending is (without a doubt) pure film noir.

Oh, and the scenery is gorgeous!

Here’s Eddie Muller’s intro from TCM Noir Alley!

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Part Three of ‘Faster Pussycat! Kill! Kill!’

Today we have Part Three of the Russ Meyer film Faster Pussycat! Kill! Kill! A movie as notable for its name as anything else. 🙂

And here it is! 🙂

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Part Two of ‘Faster Pussycat! Kill! Kill!’

Time once again for another part of this fascinating example of a weirdly feminist cult movie, assuming that psychotic strippers are feminist.

So … on with the show! 🙂

PS: Not to be confused with Josie and the Pussycats! 🙂

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RIP Ennio Morricone! 😦

The Cinema Fix presents:

SIX OF THE BEST #26 – ENNIO MORRICONE – (R.I.P – 1928-2020)

“If you scroll through all the movies I’ve worked on, you can understand how I was a specialist in westerns, love stories, political movies, action thrillers, horror movies, and so on. So, in other words, I’m no specialist, because I’ve done everything. I’m a specialist in music.”Ennio Morricone

As if 2020 couldn’t get any more dramatic, one of the greatest musical composers and dramatists ever known has passed away. Ennio Morricone, rather incredibly, wrote the scores for over four hundred films and television works. He also managed to write well over one hundred classical pieces. To say Ennio Morricone was a prolific genius is somewhat of an understatement.

Morricone won six BAFTAs, eleven Nastro d’Argento, three Grammy Awards, three Golden Globes, six BAFTAs, ten David di Donatello, two European Film Awards, the Golden Lion Honorary Award and…

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My Review of ‘A Kiss Before Dying’ (1956)

In many ways, this movie reminded me of A Place in the Sun, a film I’ve mentioned in a previous blog post. Except instead of a man from a humble poor family falling for the daughter of his wealthy employer while managing to knock up a fellow factory worker, a college student, Bud Corliss (played by Robert Wagner), finds out a fellow student, Dorothy (played by Joanne Woodward) is pregnant.

Via Pinterest.

Given the likelihood that her Daddy won’t approve and Dorothy’s lack of interest in relying on her father’s not-inconsiderable wealth, Bud decides it’s time to sever their relationship—with extreme prejudice.

I won’t say exactly how or when it happens, but the event lives up to the title.

Via Classic Movies.

Then, guess who Bud latches onto? Well, Dorothy’s sister, Ellen, of course. She knows nothing of Bud’s previous relationship with her dead sister. And, even though Bud tries to make it look like suicide, Ellen has her doubts about that. This leads, of course, to various machinations on Brad’s part.

Via RareFilm.

On the whole, I found the movie to be genuinely suspenseful. Bud is such a shit jerk. Wagner really mines a dark place for this role—and so against type. After a while, you’re practically begging for him to die screaming in a particularly nasty way.

Via RareFilm.

Oh, and fortunately for Ellen, she’s aided in her search for the truth by her tutor, Gordon Grant (played by Jeffrey Hunter). And the acting is top-rate.

Via Classic Movies.

The story leads up to one of those nail-biting climaxes that you can see coming ten minutes before they arrive. And yet that only serves to build the tension even more.

I mean, toward the end, the film has a montage of shots in which Ellen and Bud drive out to a pit mining operation site in the middle of nowhere. Just the two of them. Now, seriously—how can you not guess where this is going?

Via Classic Movies.

The movie both mocks and embraces the stifling conformist values of the Fifties, in that we get a both a strong-ish heroine and a victimized woman in the form of the sisters. And does so in a highly-compelling story with enough twists to keep it from being completely predictable.

PS: The word “pregnant” was cut from some versions of the film by various censors. Yes, it was the Fifties.

And here’s the only YouTube video I could find that didn’t contain any spoilers! 🙂 My thanks to Eddie Muller and TCM Noir Alley for showing this film.

Directed by Gerd Oswald
Produced by Robert L. Jacks
Screenplay by Lawrence Roman (based on the novel by Ira Levin)

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Part One of ‘Faster Pussycat! Kill! Kill!’ (Reissued Version)

Okay, this is a rerun recut version of my first stab at doing one of these.

I’m shocked amazed fairly pleased with my narration, actually. I seem to recall it being much worse than it is.

Anyway, maybe I’ll give narration another try. Maybe. 🙂

The premiere of Part One of Faster Pussycat! Kill! Kill! will start at 2:30 p.m. Eastern Time.

PS: Happy Fourth of July! Enjoy the socially-distant fireworks! 🙂

If you’d like to see the original, it’s here! It’s pretty much the same with a slightly different intro. 🙂

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