Captive Eye Steve Head

On episode 46 of Captive Eye, David Kleiler, Jean-Paul Ouellette and Steve Head consider the enduring qualities of James Whale’s Bride of Frankenstein (1935), and bring to light some rarely talked about stories from its making and original release.

Hiroshi Teshigahara’s 1964 film Woman in the Dunes, adapted from the novel by Kobo Abe, is fascinating and disturbing.

The film’s protagonist is a man trapped by villagers, in a dilapidated house at the bottom of a sand pit; the sole occupant of which is a woman. He soon realizes that there is no escape from the pit for either of them. As time passes, the couple must contend with the futility of their situation, and the ever encroaching sand. And, as the man becomes settled in his new-found purgatory, he realizes that escaping the pit may not be the way to freedom.

On this episode of Captive Eye, David Kleiler, J. P. Ouillette and I consider the varied nuances of Woman in the Dunes, which was recently released on Blu-ray by the Criterion Collection.

When Martin Scorsese brought Michael Powell’s Peeping Tom back from its longtime purgatory, the word on the street was that it was a piece of transgressive cinema from an acclaimed director, *before* Psycho, which caught a lot of hell it didn’t deserve, and largely ended its creator’s career.

What lingers about Peeping Tom is its sense of tragedy: its betrayal of trust. The magnificently dramatic collision of Anna Massey’s devoted and naive Helen, and Karlheinz Bohm’s Mark, an introverted, outsider (literally, he’s from another country) with a psychotic urge instilled in him by his father.

Peeping Tom wasn’t created with broad appeal in mind. When you get right down to it, Peeping Tom is essentially a rebellious statement made at a turning point in Powell’s career. It’s an obliteration of expectations; and career-wise a costly one.

On this episode of Captive Eye (formerly Diabolique Webcast), writer/producer/director J. P. Ouillette and Prof. David Kleiler join me to discuss director Michael Powell’s intriguingly meticulous 1960 classic.

Someday someone will make the definitive documentary about the making of The Terminator (1984). Until then we’ll have the periodic cast and crew interviews. Until then we’ll have their stories.

On this special episode of the Diabolique Webcast, Jean-Paul Ouellette, the second unit action director on The Terminator, adds some never-before-shared behind-the-scenes stories from the making of the film. The episode consists of two parts. In the first part, I discusses the film with David Kleiler and J-P Ouellette. In the second part, J-P and I hold an in-depth discussion on the making of the film.

Earlier this year, when Shout Factory announced their Blu-ray release of John Carpenter’s Village of the Damned, I can’t say I was enthusiastic about the news. It mostly served to remind me how much I wanted to like the film and that I found it hugely disappointing. Sure, it’s neatly stylish, and even cool at times. But it’s a colorfully lackluster endeavor that sure doesn’t stand up to director Wolf Rilla’s black-and-white original—a film more worthy of appreciation.

On this episode of the Diabolique Webcast, J. P. Ouellette, David Kleiler, and I discuss the 1960 original Village of the Damned, which needs the well-produced-Blu-ray-release treatment afforded its remake.

The Tenant isn’t the first film I think of when the name Roman Polanski is mentioned. The director’s 1976 film strikes me more as a curiosity. Does its central character, Trelkovsky, out of all the characters in Polanski’s films, most represent the the real Roman Polanski? Parallels are easily drawn; it seems certainly a strong case of a filmmaker’s identification with a character. And that’s The Tenant’s attraction. We could well be watching a surreal impression of Polanski’s timorous life.

On this episode of the Diabolique Webcast, J. P. Ouillette joins David Kleiler and me to discuss The Tenant (which will hopefully someday be released on Blu-ray; until then, there’s Paramount’s 2002 DVD release).