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Tag Archive: Vertigo


Review by C.J. Bunce

The ideas and situations in Steven Savile’s new novel Glass Town could hardly be more enticing:  In 1922 Alfred Hitchcock began, but did not finish, a film called Number 13. One of the sought-after lost films of Hitchcock, little is known but some film stills and production information, leaving an opening to take the film as a linchpin for a noir mystery.  Savile takes that film and several fascinating ideas and blends them into what becomes a horror story that incorporates compelling visuals from many possible sources: Dead Again, Laura, Vertigo, Portrait of Jennie, Hugo, The Illusionist, The Prestige, and even an element of Tron.  The story doesn’t quite live up to all its antecedents, but it provides some interesting concepts for genre readers willing to dabble in a story full of sex, violence, and grotesque horror along the way.

The grand ideas ultimately are in need of a more refined and pared down plot and possibly a more compelling lead character–Josh is a descendant of a line of men who spent their lives infatuated with a lost actress who appeared in the Number 13.  On Josh’s grandfather’s death he is reeled into a world of his own family connections and a history that he learns about and shares with us along the way as he, too, becomes infatuated with the missing actress and the interworkings of his family, tied into a well-known crime lord.  But we never learn much about Josh and why we should care about him.  Early London cinema and 1990s London don’t quite come through visibly, and the lack of more detailed world building results in a story that could be about a Boston or Chicago or Irish mob family as opposed to the familiar Victorian London of so many classic Gothic novels.  We encounter many bleak and unsavory characters and over-the-top situations–the kind of grotesque fantasy of a Clive Barker movie instead of what could have been a more accessible mainstream mystery interweaving the aura of magicians, the historical authority you might find in a Connie Willis novel, or the command of the details of early film technologies you might find in a Kim Newman story.

The only known image from the making of Alfred Hitchcock’s lost film titled Number 13.

Yet many great ideas come into play.  Josh uncovers and meets a lost and long-dead magician who was able to pull off the ultimate spectacle–hiding an entire town in a glass lens.  An evil ancestor of Josh used the magician to trap the actress he was so fascinated with in this world, a world where a day in this Glass Town can equal a week in the real world.  The story’s bad guy can even manipulate characters within the films of the silent era to do his bad deeds in our world, and we first meet the famed actress as a ghost as she attempts to find a secret talisman of glass in Josh’s home.  Much of the imagery is excellent–a walking and moving actress straight from the beginnings of filmmaking appearing in your living room, incorporating the flickering image of old film as she moves about.

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Fathom Events and Turner Classic Movies has just revealed the titles of 13 classic movies that will return to cinemas across the country during the yearlong 2018 TCM Big Screen Classics series.  They are (drumroll, please!):

January:  The Treasure of the Sierra Madre — “Badges? … I don’t have to show you any stinkin’ badges!”  John Huston directs Humphrey Bogart and father Walter Huston.  On the National Film Registry and *six* American Film Institute “best of” lists.

February:  The Philadelphia StoryGeorge Cukor directs Katherine Hepburn, Cary Grant, and Jimmy Stewart in the classic romance comedy.  On the National Film Registry and *seven* American Film Institute “best of” lists.

March:  VertigoJimmy Stewart and Kim Novak star in one of Alfred Hitchcock’s best thrillers.   On the National Film Registry and *six* American Film Institute “best of” lists.

April:  Grease The favorite musical of the 1970s with the bestselling soundtrack.  On *seven* American Film Institute “best of” lists.

May:  Sunset BoulevardGet ready for your close-up!  Billy Wilder’s creepy noir mystery starring William Holden and Gloria Swanson.  On the National Film Registry and *four* American Film Institute “best of” lists.

June:  The Producers — Mel Brooks directs Zero Mostel, Gene Wilder, Dick Shawn, and Kenneth Mars in the classic comedy.  On the National Film Registry and *two* American Film Institute “best of” lists.

July:  Big — Okay, but I get to be on top.  Pull out your FAO Schwarz floor keyboard.  Penny Marshall directs Tom Hanks in the fantasy coming of age classic.  On *five* American Film Institute “best of” lists.

August: The Big Lebowski — The Coen Brothers direct Jeff “The Dude” Bridges and an all-star cast in the fan fave, cult classic, crime comedy.

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Sandman-Overture-CV1

Just as Comic-Con celebrated the 20th anniversary of Jeff Smith’s Bone comic book series in 2011–and every year seems to bring another landmark to celebrate something–Neil Gaiman will be attending panels at Comic-Con this year promoting the 25th anniversary of his popular Sandman series, which ran until its 75th issue published ten years ago.  Comic-Con will be featuring artwork by original Sandman artist Dave McKean on a new convention T-shirt and his work will be featured on the cover of the 2013 SDCC Program Guide, handed out to guests with one of several giant swag bags as with past years.  Tied to the anniversary, DC Entertainment’s Vertigo imprint has amped up the promotion of a new six-issue prequel series to Sandman, titled Sandman: Overture.

Another follow-on to a classic comic book property?  The difference between Sandman: Overture and Before Watchmen is Gaiman’s participation–he is not only endorsing the concept but unlike Alan Moore’s absence and disapproval of Before Watchmen, Gaiman is writing the story, with artwork by the stylish Batwoman artist J.H. Williams III and covers by both Williams and McKean.  “This is the one story that we never got to tell,” Gaiman said in a Vertigo press release. “In Sandman #1 Morpheus is captured somehow.  Later on in the series, you learn he was returning from somewhere far, far away – but we never got to the story of what he was doing and what had happened.  This is our chance to tell that story, and J.H. Williams III is drawing it.  It’s the most beautiful thing in the world.”

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A missed opportunity across the country is the failure to establish a regular, ongoing market for old movies being shown on modern theater screens.  Only recently (OK, the late 1990s so not that recently) mass audiences were able to go back and see the original Star Wars trilogy in the theater and in the past year we were able to see more recent, but still years old, films in the theater well after their initial release, including The Lord of the Rings trilogy, The Avengers films, and the Batman franchise.  But for decades now “art house” theaters from time to time get old releases and screen these old films for a few weeks at a time.  Usually the quality is poor, yet it gives new audiences as well as the older crowd that saw the films in their initial release an opportunity to discover or enjoy the films again.

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