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Archive for September 23rd, 2009

Greetings fellow cinephiles, horror buffs and afficiandos, and everyone who just loves movies —

I would like to invite you all to participate in the Italian Horror Blog-a-Thon October 19-31 at my site Hugo Stiglitz Makes Movies.  This is my first attempt at hosting a blog-a-thon, so I am sending out this email well in advance to see if anyone would be interested in participating either through writing an original piece, submitting something they’ve already written about an Italian horror film, or would just like to help me out by promoting the blog-a-thon on your site (another email with sidebar banners to help advertise is coming in a week or so). 

For those that read my blog you no doubt know by now my affinity for Italian horror.  So, the purpose behind this email is just to make you all aware of the blog-a-thon and to try and gauge interest.  Some of you I know quite well, some of you have horror themed blogs that I sometimes comment on, and others either follow my blog or I follow yours…so here’s a good way to introduce ourselves.

Anyway, I just wanted to get the word out.  My hope is that this will be a lot of fun for people to write about.  If you’re unfamiliar with Italian horror, but love horror films and are thinking that you’d like to write something for the blog-a-thon, but don’t know where to start, I suggest beginning with Mario Bava’s seminal slasher film Bay of Blood, or Argento’s Deep Red or Suspiria.  If zombies are your thing you can’t go wrong with the kind-of-good Fulci stuff like Zombi 2 or City of the Living Dead…if you want absurdly good cult fare that Tarantino himself has quoted then look no further than Umberto Lenzi’s Nightmare City (starring Hugo Stiglitz!). 

Thanks for letting me bug you all about this.  I hope you all will join me the last two weeks of October as we look at an array of Italian horror films.  Please reply if you think you would be interested in submitting a piece and contributing to the blog-a-thon, or if you just want more information so you can help promote it.  I will be thrilled and honored by either form of participation.  I will send an email in another week or so with all of the details and how the format will be (and how you can go about helping me promote this thing)…as for now I just wanted to test the waters to see if anyone besides me will want to participate.

Thanks again for your time,

Kevin J. Olson

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Alexander

(Sweden 1982 309m) DVD1/2

Aka. Fanny och Alexander

One role follows another

p  Jörn Donner  d/w  Ingmar Bergman  ph  Sven Nykvist  ed  Sylvia Ingemarsson  m  Daniel Bell  art  Anna Asp  cos  Marik Vos

Pernilla Allwin (Fanny Ekdahl), Bertil Guve (Alexander Ekdahl), Jan Malmsjö (Bishop Edvard Vergerus), Ewa Fröling (Emilie Ekdahl), Gunn Wallgren (Helena Ekdahl), Allan Edwall (Oscar Ekdahl), Boerje Ahlstadt (Prof.Carl Ekdahl), Christina Schollin (Lydia Ekdahl), Jarl Kulle (Gustav-Adolph Ekdahl), Pernilla Wallgren (Maj), Mona Malm (Alma Ekdahl), Gunnar Björnstrand (Filip Landahl), Erland Josephson (Isak Jacobi), Harriet Andersson (Justina), Lena Olin (Rosa), Anna Bergman, Kirsten Tidelius,

Ingmar Bergman’s final masterpiece has been called many things; a childhood rhapsody, an elegy to the past, a subtly intricate family saga, a compendium of his entire oeuvre and a ravishing recreation of turn of the century Sweden.  In truth it’s all these things and much more.  All Bergman’s favourite themes run through its five hours, from life and death to love and sex, from food and drink to fidelity and marriage, from faith and truth to pleasure and lies, from childhood and family to grief and joy, with more than a little time for dreams and ghosts.  It’s not only a masterpiece but a summation of one man’s brilliant career.  As Bergman himself has said, “Fanny and Alexander is the sum total of my life as a filmmaker.”

            The tale covers the lives and loves of the Ekdahl family in the small town of Uppsala, beginning in Christmas 1907.  During this family gathering, which was very much a Scandinavian institution, the servants mingle with the gentry and the gentry eye up the maids.  However, the almost detached reality of this holiday period is soon shattered when the father of the two eponymous children dies suddenly of a heart attack and his bereaved mother agrees to marry a local puritanical bishop.          (more…)

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