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31 Days of Horror Cinema

Hooptober / 31 Days of Horror 2021

Prior Hooptober/31 Days of Horror Lists on Letterboxd.com: 2015 / 2016 / 2017 / 2018 / 2019 

After taking a COVID-break last year (8yo being remote-schooled next to me would have received a very interesting brand of education based on some Jean Rollin I’d planned to watch), I’m refreshed and ready to Hoop it up in 2021. Not familiar with Hooptober? Here’s a primer. The Cinemonster started Hooptober on Letterboxd.com as a way for horror fans to come together during this holiest time of year. The rules of engagement? Watch 31+ horror movies during the month of October (starting September 15th because we’re adults and we can do what we want) and write a review on Letterboxd.com for each and every flick. I’ll be documenting my progress here and on Letterboxd. More words here. Short bits there. Each year The Cinemonster comes up with some specific parameters to direct viewing and highlight filmmakers and subgenres.

I always attempt to watch as many new-to-me movies as possible. Cinema Shame demands it. I must broaden my horizons… even if they’re the more unsavory horizons. It makes me a better and more respectable human to watch as much Eurotrash as possible. I will assault innocent bystanders with conversations about Jess Franco and Sergio Martino. Inevitably, some old favorites sneak into the mix because goddammit, yes, I want to watch An American Werewolf in London again, okay?!?

CINEMONSTER’S 2021 HOOPTOBER 8 GUIDELINES:

6 countries
8 decades
2 folk horror
4 films from 1981
2 films from your birth year
2 haunted house films
The worst Part 2 that you haven’t seen and can access. (I realize that this will take a little work)
1 film set in the woods
1 Kaiju or Kong film (not the new K v. G)
2 Hammer films
3 films with a person of color as director or lead. (excluding Asian)
3 Asian horror films.

And 1 Tobe Hooper Films (There must ALWAYS be a Hooper film)

***FOR THOSE THAT LIKE TO DO EXTRA WORK: WATCH JD’s Revenge, The Skull and The Scooby Doo Project

30Hz/CINEMA SHAME 31 DAYS OF HORROR 2021 ROSTER

Prior #31DaysOfHorror Shame-a-thons: 2013 | 2014 | 2015 Part 1 | 2015 Part 2 | 2016 | 2017 | 20182019

*rewatch

American Werewolf in London (1981)*
Attack of the Killer Tomatoes (1978)
The Black Cat (1981)
The Blood on Satan’s Claw (1971)
Bones (2001)
The Boogens (1981)
Cat People (1942)*
The Curse of Frankenstein (1957)*
The Curse of the Cat People (1944)
Dark Night of the Scarecrow (1981)
The Fly II (1989)
Gamera, the Giant Monster (1965)*
Ganja & Hess (1973)
Ghost Story (1981)
The Girl With All The Gifts (2016)
The Howling (1981)*
The Howling II (1985)
Invaders from Mars (1986)
Lake of the Dead (1958)
The Legend of the 7 Golden Vampires (1974)
Murder Obsession (1981)
Mystics in Bali (1981)
The Old Dark House (1932)*
Patrick (1978)
The Pit (1981)
Suddenly in the Dark (1981)
Tales from the Crypt: Demon Night (1995)*
Thirst (2009)
Ugetsu (1953)
Venom (1981)
Viy (1967)
Wolfen (1981)

MY UP-TO-DATE HOOPTOBER ROSTER ON LETTERBOXD

What’s your list? What’s your plan for horror movie watching this year? If you’re keeping a list or participating in the Hooptober challenge, I’ll link to your Letterboxd list or blog in the header for my posts. Just leave a note with a link in these comments. Together we shall overcome… or we’ll be the losers knocked off in the first act to establish the killer’s indomitable menace. It’s more comforting to know you’re not doing this alone.

Categories
Cinema Cinema Shame

The Bellboy (1960): Cinema Shame

the bellboy posterI’m playing a bit of double catch up with this viewing. Technically, I’m playing catch up on a movie I had on my Shame Statement from 2019 and I’m playing catch up because The Bellboy turns 60 this year. That’s a lot of catch up. What do you do with all that catch up? Make hot dogs, probably. But I don’t put ketchup on my hot dog, so the whole thing is moot. Sauerkraut, mustard, relish, onions. These are all acceptable hot dog toppings. Honestly, my feelings about ketchup mirror my feelings about Jerry Lewis. I’m glad they exist, but I can do without both.

My prior exposure to Jerry Lewis came with a side of Dean Martin to wash it down. That’s my preferred method of ingestion.

So Jerry Lewis is Always Jerry Lewis Even When He’s Not

The Bellboy makes me actively frustrated — not because I disliked it, but because I would have loved it had most every scene not concluded with a hammy shot of Lewis mugging facial contortions for the camera. His schtick seems to function akin to a sitcom laugh track. In case you missed the joke, here’s a face you can’t overlook. I loved the setting. Fountainbleu Miami Beach, just a few years before James Bond and Auric Goldfinger cross paths in the very same hotel. Photographed by someone named Haskell B. Boggs, the hotel becomes an omnipresent character in Lewis’ farce. The winding staircase (also seen in The Marvelous Mrs. Maisel), the corridors, the ins and outs, the cavernous gathering spaces where Jerry Lewis runs amuck as a bellhop named Stanley (and as a comedian named Jerry Lewis).

the bellboy 1960

I felt the influence of Jacques Tati’s Mr. Hulot through every perfectly calculated movement, every stumble down a step, every gesture, every glance. Jerry Lewis exclamation point face! He’s a meticulous performer, but that’s not an observation. There’s nothing about his performance in The Bellboy that doesn’t feel calculated and choreographed like a Fred Astaire tap number, which makes the moment that he breaks the spell all that much more aggravating. It happens as often as it doesn’t.

Lewis wrote and directed The Bellboy (his debut), and the film’s tone and precision reflects a tightly controlled production. It opens with a studio executive (played by Jack Kruschen in an uncredited role) describing the aimless exploits of a single bellboy. It feels more like a pre-apology to American audiences who wouldn’t have been expecting a plotless comedy featuring sequences of ridiculous situations stacked one on top of the other. I wouldn’t exactly classify them as “blackout gags” in the strictest sense — which I’ve always associated with Rowan & Martin’s Laugh In. Rapid-fire, vaudevillian, abruptly transitioned. Jerry Lewis spends more time developing a visual joke before abruptly moving on to another transitory vignette.

jerry lewis mugs with a sleepy lady in the bellboy

Aside from Tati (and Harpo Marx and a dash of Charlie Chaplin while we’re at it), Lewis creates an obvious through-line to Laurel and Hardy. He’d consulted his friend Stan Laurel about perfecting a kind of silent pantomime and even included a Stan Laurel lookalike character, played by Bill Richmond, who appears randomly throughout the film. Other than causing some amusing asides from the already amusing asides, the visual homage doesn’t contribute a great deal. That speaks to how I felt about most of the film.

Jerry Lewis conducts an absent orchestra
In one of the best “bits” in the Bellboy, Stanley (Jerry Lewis) conducts a persnickety and non-existent orchestra.

The Bellboy Final Verdict

Generally amiable, sometimes obvious, intermittently genius, and inevitably followed by an unwelcome round of mugging, The Bellboy succeeds and irritates in equal amounts. I did, however, cue up another viewing of Four Rooms (1995), a film obviously inspired by in part by The Bellboy. I’m happy I have more Four Rooms context and I’m happy I finally got around to giving Jerry Lewis some more of my time, but I’m just as happy that I finally get to scratch it off my list of Shame.

Watch The Bellboy on Amazon Prime. 

Categories
Cinema Cinema Shame

2020 Cinema Shame Statement: So This Time It’s Totally Serial

For the uninitiated, Cinema Shame is site that emboldens cinephiles to finally watch those nagging classics pinging the back of your brain every time you ask yourself “What am I going to watch tonight?” Our diet doesn’t need to be a steady stream of certified Grade-A classics, but we also shouldn’t be afraid of them. I also host the podcast that gives viewers the opportunity to share their thoughts about how these movies stand the test of time and hype. Every year Penitent Moviewatchers create a new Cinema Shame Statement to help direct their viewing schedule.

I’ve done a Cinema Shame Statement or two over the years and my 2019 has the rare distinguish of being the only one I ignored for the duration. Congrats, 2019, you’re totally shameful! It’s not that I was a lazy moviewatcher (Letterboxd tells me otherwise), I just got sidetracked by #Watch1989. And for the uninitiated, #Watch1989 was my year-long marathon of movies released in – that’s right – 1989. I watched more than 70 1989 movies, first-timers and rewatches included.

For this year’s Cinema Shame Statement, I’m going to try a slightly different method that helps direct my monthly moviewatching trends (but also makes that DVD/BD watchpile a little less embarrassing). I tend to get sucked into self-inflicted marathons and really enjoy sticking with a theme… it prevents me from staring at my library for hours on end wondering what to watch next.

Once again I consulted my favorite tomes: EW Guide / The Best Film You’ve Never Seen / Danny Peary’s Cult Movies. And away we go….

2020 Shame Statement consultants
Three of my go-to books for finding movies I should have watched by now.

Theme #1: Unwatched Criterions

I love buying movies almost as much as I love watching movies. (Okay, we’ll call it a draw.) The flaw inherent to the system is that it takes me much less time to buy movies than it does to watch them. Hence, I have a lot of Criterion Collection discs I had every intention of watching… at some point… in the near-to-immediate future. I plan to watch at least one of these beauties per month. After consulting EW’s surprisingly non-traditional lists in The Greatest Movies Ever Made, I selected 12 candidates I already have in my possession.

2020 cinema shame statement

Blow Out (Brian de Palma, 1981) – #85 Drama
Detour (Edgar G. Ulmer, 1945) – #91 Drama
Local Hero (Bill Forsyth, 1983) – #28 Comedy
Beyond the Valley of the Dolls (Russ Meyer, 1970) – #96 Comedy
The Man Who Fell to Earth (Nicolas Roeg, 1976) – #55 Sci-Fi
Don’t Look Now (Nicolas Roeg, 1973) – #65 Horror
Kagemusha (Akira Kurosawa, 1980) – #80 Int’l
Fellini’s Satyricon (Federico Fellini, 1969) – #11 Int’l
Viridiana (Luis Bunuel, 1961) – #26 Int’l
Ikiru (Akira Kurosawa, 1952) – #23 Int’l
One Eyed-Jacks (Marlon Brando, 1961) – Sleepers
High & Low (Akira Kurosawa, 1963) – Sleepers

Theme #2: #Watch1990

I won’t tackle #Watch1990 with the same zeal as #Watch1989 because the movies aren’t nearly as good and honestly I’ve seen a much larger percentage. I turned 12 in 1990 and I could walk to the Woods 6 in Grosse Pointe just about whenever the mood stuck me. A moment ago I scanned the list of Top 50 moneymakers from 1990 and I’d seen 48 of them (only Internal Affairs and Child’s Play II missed the bus and I’m not in a hurry to see the latter. Talk to me again during October). I really had nothing else to do, apparently. Here are Internal Affairs and 11 others that I missed. There’s some rhyme and reason to the movies below — except Side Out. I have no explanation for choosing that. Some movies just cry out for attention.

Cry-Baby 1990

Internal Affairs (Mike Figgis, 1990)
Where the Heart Is (John Boorman, 1990)
Love at Large (Alan Rudolph, 1990)
The Ambulance (Larry Cohen, 1990)
Side Out (Peter Israelson, 1990)
Cry-Baby (John Waters, 1990)
Blue Steel (Kathryn Bigelow, 1990)
I Love You to Death (Lawrence Kasdan, 1990)
Chicago Joe and the Showgirl (Bernard Rose, 1990)
Henry & June (Philip Kaufman, 1990)
Avalon (Barry Levinson, 1990)
State of Grace (Phil Joanou, 1990)

Theme #3: Taking Care of (Old) Business

I’ve seen that James Belushi classic from 1990 a few times, but it seemed thematically relevant to this 2020 Cinema Shame Statement. If we are unable to keep our word, there’s nothing separating us from the beasts who think that the only stuff worth watching is on Netflix. That might be overly dramatic. I’m just saying that I’m going to atone for the sins of my Cinema Shames past. These are the movies I promised to watch over the previous years and just never did…

The Conversation 1974

Dangerous Liaisons (Stephen Frears, 1988)
The Verdict (Sidney Lumet, 1982)
Aquirre, The Wrath of God (Werner Herzog, 1972)
Can’t Stop the Music (Nancy Walker, 1980)
The Last Waltz (Martin Scorcese, 1978)
Cinema Paradiso (Giuseppe Tornatore, 1988)
Victor/Victoria (Blake Edwards, 1982)
Tarzan the Ape Man (W.S. Van Dyke, 1932) & Tarzan and His Mate (Cedric Gibbons, 1934)
Patton (Franklin J. Schaffner, 1970)
Shane (George Stevens, 1953)
She Wore a Yellow Ribbon (John Ford, 1949)
The Right Stuff (Philip Kaufman, 1983)
The Bellboy (Jerry Lewis, 1960)
The Conversation (Francis Ford Coppola, 1974)

…and… it wouldn’t be a Cinema Shame list without the empty promise to watch…

Henry: Portrait of a Serial Killer (John McNaughton, 1990)

 

That’s a lot of goddamn movies. Own up, friends. Let’s make a promise to watch some excellent movies in 2020. Not much is going right in the world, but we can definitely tend our own gardens, watch great movies and talk about them on the Internet.