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losteyeways in Master of Terror
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Ale55andra in My Life as a Monster
Ale55andra in The Boris Karloff Bl...
losteyeways in The Boris Karloff Bl...
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pickpocket83 in Master of Terror
pilloledicinema in Master of Terror
losteyeways in The Boris Karloff Bl...
Ale55andra in Master of Terror
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Ale55andra in My Life as a Monster
Ale55andra in The Boris Karloff Bl...
losteyeways in The Boris Karloff Bl...
utente anonimo in The Boris Karloff Bl...
pickpocket83 in Master of Terror
pilloledicinema in Master of Terror
losteyeways in The Boris Karloff Bl...
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Blog Superfluo
C'era una volta il cinema
Cani Arrabbiati
Caratteristi.it
Ciak...si cinema!
Cinedelia
Cinedrome
Cinemasema
Cineroom
Coccinema
De profundis
eXXagon's reXtricted
Eyes Wide Ciak!
Fascination Cinema
Gente di rispetto
Il teatro dei vampiri
La settima arte
La settima arte
Movie's Home
Moviezone
Nocturno
Odorama
Pollanet Squad
Profondo Thrilling
The gory avenger
The reign of horror
Tre Rose
Un certain regard
Un lento apprendistato
Videoarcheologia
Women in prison
Zona Cult
Boris Karloff Blogathon | 23-29 Novembre 2009
Karloff credeva sinceramente che fosse responsabilità del regista creare opere governate da "gusto e intelligenza". Il suo articolo My life as a Monster, pubblicato nel Novembre del 1957 sulle pagine di Films and Filming, include il suo pensiero sull'argomento:
I believe the British Censor cut a scene from "Bride of Frankenstein" because of what he thought in his own mind were necrophile tendencies. I must say that I have never been in a scene that was objectionable to good taste. Some of my films have been stupid and silly, because they did not have good stories; but they have never been distasteful. I am opposed to censorship in any form. Censorship always seems to me to be a mistrust of people's intelligence. I believe that good taste takes care of license. Is is also worth remembering that one does not have to go and see a film. Naturally, good taste plays a very important part in the telling of a horror story on film. Some have taste, others regrettably have not. As there are no rules laid down to give an indication of good taste it is up to te film's makers. You are walking a very narrow tightrope when you make such a film. It is building the illusion of the impossible and giving it the semblance of reality that is of prime importance. The "horror" has to be done for the sake of the story and not, as a few films have done, have a story outline just for the sake of injecting as many shocks as possible.
I believe the British Censor cut a scene from "Bride of Frankenstein" because of what he thought in his own mind were necrophile tendencies. I must say that I have never been in a scene that was objectionable to good taste. Some of my films have been stupid and silly, because they did not have good stories; but they have never been distasteful. I am opposed to censorship in any form. Censorship always seems to me to be a mistrust of people's intelligence. I believe that good taste takes care of license. Is is also worth remembering that one does not have to go and see a film. Naturally, good taste plays a very important part in the telling of a horror story on film. Some have taste, others regrettably have not. As there are no rules laid down to give an indication of good taste it is up to te film's makers. You are walking a very narrow tightrope when you make such a film. It is building the illusion of the impossible and giving it the semblance of reality that is of prime importance. The "horror" has to be done for the sake of the story and not, as a few films have done, have a story outline just for the sake of injecting as many shocks as possible.
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Boris Karloff Blogathon | 23-29 Novembre 2009
Coltivare fiori era uno degli hobby preferiti di Karloff, il quale a volte arrivava a mostrare una cura maniacale per il suo giardino. Charles Starrett, star del B-western che interpretò l'antagonista di Karloff in The Mask of Fu Manchu (1932) ricorda:
I'll never forget, before we worked together in "The Mask of Fu Manchu", during the summer we had a terrible drought. Boris was making Frankenstein. I lived above him in Coldwater Canyon. One evening, I was driving home when I suddendly nearly drove my car into a ditch - there in the beautiful gared was the Monster itself, tenderly watering the roses. Boris was such a dedicated gardener, he was afraid he'd lose the roses to the heat, so had rushed home without taking off his makeup to catch them at sundown - the best time for watering... It was quite a sight.
I'll never forget, before we worked together in "The Mask of Fu Manchu", during the summer we had a terrible drought. Boris was making Frankenstein. I lived above him in Coldwater Canyon. One evening, I was driving home when I suddendly nearly drove my car into a ditch - there in the beautiful gared was the Monster itself, tenderly watering the roses. Boris was such a dedicated gardener, he was afraid he'd lose the roses to the heat, so had rushed home without taking off his makeup to catch them at sundown - the best time for watering... It was quite a sight.
pubblicato da losteyeways alle 17:21
permalink | commenti (1)
categorie: citazioni, attori, storie del cinema
permalink | commenti (1)
categorie: citazioni, attori, storie del cinema
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Boris Karloff Blogathon | 23-29 Novembre 2009
"He taught us about death: that's what he was there for. I doubt very much that, early in life, he guessed that that would be his function, to help us make do with some dreadful facts.
Some realities are so terribly real that they are too much to assimilate all at once, so first we must take them on through various of the arts. If anything as fancy as that had been suggested to Mr. Karloff even this late in the day, he might not have laughed, but I think he would have smiled.
The temptation is to put too much weight upon fantasy or not enough. We must balance our scales somewhere between.
In any event, there isn't enough good teaching about death in any age. Or the mysteries and myths that collect up around death and the life we lead moving toward mortality.
There are many writers we could list, Mary Shelley, Bram Stoker, Edgar Allan Poe among them, but few actors who, in a way, dedicated their lives to inking in the shadows on the wall even as the shadows fell there from some grotesque reality.
Boris Karloff was one of those rare few. And he was very special." (Ray Bradbury)
Some realities are so terribly real that they are too much to assimilate all at once, so first we must take them on through various of the arts. If anything as fancy as that had been suggested to Mr. Karloff even this late in the day, he might not have laughed, but I think he would have smiled.
The temptation is to put too much weight upon fantasy or not enough. We must balance our scales somewhere between.
In any event, there isn't enough good teaching about death in any age. Or the mysteries and myths that collect up around death and the life we lead moving toward mortality.
There are many writers we could list, Mary Shelley, Bram Stoker, Edgar Allan Poe among them, but few actors who, in a way, dedicated their lives to inking in the shadows on the wall even as the shadows fell there from some grotesque reality.
Boris Karloff was one of those rare few. And he was very special." (Ray Bradbury)
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Immagine da "La chute de la maison Usher" di Jean Epstein
"Ci sono momenti in cui penso che, tra tutti i generi, il cinema horror è quello che più ha bisogno del silenzio. Il genere western beneficia dei dialoghi, i musical ed i film noir sono impensabili senza le parole. Ma in un classico film dell'orrore, praticamente tutto ciò che si può dire sarà superfluo o ridicolo. Notate con quale attenzione i Dracula dei film sonori devono scegliere le loro parole per evitare grasse risate. La perfetta situazione horror è quella riguardo la quale non si possa dire nulla. Quali parole sono necessarie in The Pit and the Pendulum?
La caduta della casa Usher abita dentro il suo proprio mondo sigillato, come fosse sepolto vivo." (Roger Ebert)
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Edgar Allan Poe (Boston, 19 gennaio 1809 – Baltimora, 7 ottobre 1849)
"Mi hanno chiamato folle; ma non è ancora chiaro se la follia sia o meno il grado più elevato dell'intelletto, se la maggior parte di ciò che è glorioso, se tutto ciò che è profondo non nasca da una malattia della mente, da stati di esaltazione della mente a spese dell'intelletto in generale." (Edgar Allan Poe)
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