Roy and I will take a third crack at discussing William Friedkin’s cultural touchstone of demonic possession, in honor of the film’s 50th anniversary. The most perverse Christmas movie ever, “The Exorcist” opened on December 26, 1973.
There will be rats in the attic and bats in the belfry on the next Roy’s Tie-Dye Sci-Fi Corner. Say hi to Captain Howdy in the comments section. We’ll have “Tubular Bells” on repeat, when we livestream on Facebook, YouTube, etc., this Friday evening at 7:00 EDT!
Okay, Halloween is past. It’s All Saints’ Day. Not only that, but it also happens to be the start of Spagvemberfest!
What’s that, you say? Why, it’s a month-long challenge to view a spaghetti western a day.
What exactly is a “spaghetti western?” It’s a term bestowed by American film critics on Italian-produced oaters. Characteristically, they are filmed by Italians, often in Spain, sometimes in the American southwest. They likely feature an international cast, with a recognizable rising or fading star as their lead or leads. All the voices are dubbed in post-production, often to humorous effect. The characters are motivated by revenge or a lust for gold. In terms of morality, only a few degrees tend to separate the hero and the villain. Often there is an adherence to the conventions of the American western, however with the intent of deflating the western myth. There is certainly a preponderance of stylized violence. And if it’s worth watching, it probably features Somerville, New Jersey’s own Lee Van Cleef (pictured).
Admittedly, the genre is an acquired taste. I don’t know about you, but I’m really going to need this, as we begin the inexorable slide toward the holidays.
Wholly by coincidence, I’ll be doing my part by presenting a heaping helping of spaghetti western scores for the birthday of composer Ennio Morricone on my radio show, “Picture Perfect,” on Friday, November 10, at 8 p.m. EDT.
Victoria de los Angeles was born 100 years ago today. For me, her rendition of Joseph Canteloube’s “Songs of the Auvergne” has always been one of the great rainy day records. I recommend the entire album, of course, but this is probably the most famous selection.
The sun rises on November 1st. Time to put away the vampires and get all saintly and thankful. Here’s Vaughan Williams’ “Sine Nomine” (“For All the Saints”), performed by the Choir of Trinity College, Cambridge, the composer’s alma mater.
The day began with a pumpkin doughnut, and now I am pondering weak and weary over what to add to my Halloween playlist. Universal monster classics vie with lurid Hammer horror, devil operas, and macabre comedies.
Readings from Poe have punctuated the season. I lay down last night with Fortunato being led into the catacombs to test a pipe of Amontillado and recalled how much fun I had reading this story for the first time as a kid.
I do miss being able to share some of my Halloween favorites with you as part of a live air shift. My impulse is to lend to the savor of the day by mixing the familiar and the unusual. Frederic Curzon’s “Dance of an Ostracised Imp” or Thomas S. Allen’s “Dance of the Lunatics” always put me in a proper trick-or-treat mood. So much “Halloween” music for all occasions and from all eras, and so little of it ever played. Quoth the Raven, “Nevermore.”
Well, at least I can still record.
How about you? Any good reading, listening, or viewing planned for the day? Any excuse to array yourself in widow’s weeds or motley?
Whatever your pleasure, I wish you a Happy Halloween!
