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‘Tis the season for young bats to get lost. And find their way into my room. It’s actually over a year since the last time this happened – that was early July. Suppose I’ll see about a rabies booster. Sigh…

On the plus side, I’m getting more skilled at getting rid of them using the Shorts of Bat Entanglement. Although I did think for a while that I had activated the Portal function again, as the bat appeared to have completely vanished in the attic stairwell. However, just as I was coming back upstairs from reopening all the inside doors, I spotted the little bugger resting on the floor in a dim nook behind a couple of Kestrell’s books. With patience, care, and ruthless ignoring of the offended shrieking noises, I managed to fully entangle the bat in the shorts. It was then a relatively straightforward manner to bring it out to the backyard and release it. After a moment to recover, it flew off into the jungle, and I returned to a (hopefully) bat-free house.

In the silver lining department, everyone else seems to have slept through this.

Oh wait -- it just occurred to me. I can blame April for this! Her birthday gift of a (metal) bat to Kestrell yesterday clearly summoned this live bat through sympathetic magic! :-)
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My current gaming obsession is The Witness. I have not yet discovered all of its secrets, but I have found enough to want to talk about it, and to highly recommend it.

In form, The Witness owes a significant chunk of its DNA to Myst. You find yourself upon an apparently deserted island with some beautiful scenery, some puzzling mechanisms, and a few hints that there is a larger narrative story behind it all. The puzzles, however, are more structured than those in Myst. The first door you come to teaches you to draw a line from an open circle to an endpoint. Every other puzzle is an elaboration upon this. There are the expected variations of size and shape, a variety of symbols which impose constraints on how the line must be drawn, and so on. What I was not expecting, however, was the way in which the… level upon which the puzzle solving happens changes multiple times over the course of the game.

The game encourages, sometimes in audio or video format, but more significantly in terms of the gameplay itself, a mix of scientific and Zen thought. It carefully teaches you how to make and test hypotheses – and also how you must sometimes abandon hypotheses in favor of perceiving the actual world in front of you. Eventually, you will come to expect certain things from the game. Most of them are there, somewhere, or the game will teach you to stop expecting them. Play this game enough, and you will begin to see the world in different ways (and not just through the desire to draw lines on everything!).

I do have to dock a few points for accessibility. There are a few puzzles based on sound; even if you have good hearing, as I do, these may prove quite difficult/impossible if you are not good at identifying pitch. Some other puzzles require fine-grained color differentiation which will cause problems for some varieties of colorblindness. A very few puzzles near the end of the game contain elements of flashing light which might be dangerous for some kinds of epilepsy. And a very few puzzles contain timed elements, requiring not just cleverness, but speed. That said, several of these difficulties can be mitigated by judicious use of Internet spoilers.

I do recommend resisting spoilers. There are only rare situations where a single puzzle is a bottleneck. Most of the time it is quite viable, when apparently stuck, to employ the “go do something else and come back later” strategy without even leaving the game. And, indeed, I frequently had the experience of a seemingly-insoluble puzzle cracking instantly when I came back to it.

There are a mere two achievements on Steam. The first is titled “Endgame”, which is a lie. It does commemorate a significant landmark, and you could stop there if you wanted, but there is much left to discover. Steam tells me I got that achievement at the 24 hour mark; I have now played for 48, and think I may be closing in on “completely done”. I still haven’t gotten that second achievement. There are many puzzles and story elements that I don’t think are actually accessible until after “Endgame”. If you haven’t both “walk through the credits” and spent a goodly time listening to “Hall of the Mountain King”, then you definitely aren’t done yet. The vast majority of that time was racked up in 30 minute chunks, so even as a busy adult, it should be playable.

The Witness is available on multiple platforms. It sometimes comes around on the Humble Bundle (which is how I got it). It is Highly Recommended.
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This is one of the sub genre that Kestrell refers to as “two islands over from Summerisle”. Like The Wicker Man, it’s a 70s British film that was (mis-)marketed as horror for want of any better category, contains some cool folk music, and has an ambiguous relationship with the supernatural.

Ava Gardner, then 47 years old but still glamorous, plays “Mickey”, an aging billionaire who surrounds herself with a court of young hippies in order to keep herself young. (Literally? Metaphorically? Take your pick.) Her current lover, amateur photographer Tom Lynn, is played by Ian McShane, far younger, handsomer, and less craggy than his recent portrayal of Mister Wednesday. (Digression: while this movie contains no bare breasts, McShane’s shapely bum is handsomely displayed on a few occasions.) Tom is perfectly content in this decadent, dissipated existence – until he happens to meet the vicar’s daughter, Janet (Stephanie Beacham). Tom decides to run away with Janet, even after being warned of the way many of Mickey’s ex-lovers have met with fatal accidents. Mickey eventually accepts his departure – if he will play one final game with her…

As you may have noticed, the plot hews well to the well-known ballad. It continues to do so right up until the end, though how it manages to do so without explicit magic, I will not spoil. (Every so often, in the background music, Pentangle will sing a few verses appropriate to the current action.) Despite this hewing to the classic plot, the movie is very much of its time, often in surprising ways. At one point Janet, having “gotten in trouble” pays a visit to the local wise woman who, these days, gives referrals to a London abortionist without passing any moral judgment.

The film is also a visual feast. Beautiful Scottish countryside, beautiful sets and set decorations, beautiful people, and 70s high fashion which ranges from the beautiful to the astounding. I strained my vocabulary to the limit to describe the clothes of the Fairy Queen, leading Kestrell to conclude that she wanted all of it. Also some interesting directorial choices, such as playing the meeting between Tom and Janet largely as a series of still images with no dialogue.

Speaking of directorial choices, the director of this gem was none other than Roddy McDowall (in between Planet of the Apes films). This was his sole stint behind the camera, and was excellent enough I wish there had been more. Sadly, like Charles Laughton, his initial foray bombed and he never did any more.

It’s got some rough edges and I wouldn’t rate it as an all-time fave, but it’s a very good film that deserves more than the obscurity it has received. If you wish to check it out, it is available on YouTube.

Raccoons!

Jul. 28th, 2017 01:23 am
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 On my way back from Poke-hunting tonight, at half past midnight, I saw a pack of four or so critters crossing the street about a block ahead of me. Two more stragglers crossed a minute later, by which time I had gotten close enough to positively ID them as raccoons. As much as I love squirrels, it's nice to occasionally spot something bigger in the wild.
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Girl Asleep is a delightful recent entry in the sub genre “girl on the cusp of womanhood who is confused by her changing life (and body) and learns to deal with it via a fantasy universe”, like Labyrinth and Mirror Mask. (I’m sure there must be more examples, but I’m having difficulty recalling them. Anyone want to add to the list?)

This particular girl, Greta, is growing up in Australia in the late 1970s. This is, in itself, more than a little fantastical, and the boundaries between the real and the visionary remain porous throughout the film. (I particularly liked the “integrated captions” for the scene changes, such as focusing on a bucket of fried chicken with a logo on the side reading “later that day”.) Her mother means well, but doesn’t understand her introvert daughter. Her father is little better, and over indulges in dad jokes (and an impressively 70s ‘stache). Her older sister is clearly thinking about moving out and has a dangerously sexy boyfriend. The family has moved to a new town, so Greta has to deal with the new school and all that entails. The only kid at school who seems to want to be friends with her is incredibly dorky (and adorbs). But a gang of archetypical “mean girls” also offers her membership – with unclear but intimidating strings attached. And then mom takes it into her head to invite all her little classmates to Greta’s 15th birthday party. The horror, the horror!

The party starts out okay, but piles stress upon stress until either reality or sanity fractures (there’s enough ambiguity that you may have your pick). Greta becomes lost in the woods, which are inhabited by wonders, but also by Big Bad Wolves. (And a friendly huldra. Don’t see too many of them around…) It all comes to a head in a climactic battle that I was quite charmed by, alternating seamlessly between hair pulling and pillow fights on the one hand, and advanced martial arts movie moves on the other.

The story had its genesis as a stage play, but the film fully embraces the possibilities of its new medium. While the film doesn’t seem to have a huge budget, it used that budget to excellent effect, creating many beautiful and memorable images. What I think it brings most from the stage is a “theatrical” sensibility, where the creative staff are willing to trust the audience’s suspension of disbelief, presenting images that work on multiple levels simultaneously, and respecting the audience’s ability to interpret. Both Kestrell and I were reminded of the excellent work of Lifeline Theater in Chicago.

It’s available on DVD and on Amazon video. Highly recommended.

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My first pass of annotating Alan Moore's Voice of the Fire is complete. There is more that could/should be done, of course, but that will never cease to be true; "Art is never finished, only abandoned". Not that I'm abandoning this, but I am mostly moving on for the time being, having gotten this project to a point that I am proud of. Additions and corrections still happily accepted, of course!

I'm particularly pleased that the last note was for the phrase "full stop" :-)

[Obligatory Patreon link]
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It’s been three months, as suspected. The finale of Providence wasn’t as time-consuming as feared, but on the other hand, the last chapter of Voice of the Fire is proving to be quite dense. Plus, gardening season started, and, sadly, weeding still pays better than scholarship. That said, plenty has been annotated.

I’ve also gotten a good start on the final chapter of Voice of the Fire, featuring Moore himself. Next update should feature that, another issue or two of Cinema Purgatorio, and the first few sections of “Round the Bend”. Be seeing you!

[My Patreon]

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Kestrell and I watched a nifty movie yesterday, an obscure Gothic horror from 1998, written and directed by Michael Almereyda. “The Eternal” is the name we saw it under, but as often seems to be the case with low-budget horror movies, it had several other titles as well: Trance, The Mummy, and Eternal: Kiss of the Mummy – possibly others.

All this mention of a mummy is perhaps deceptive, though not false. Our setting is not Egypt, but Ireland; the body emerging not from a pyramid, but an ancient peat bog. Also featured are Druids, witchcraft, transmigration of souls, terrorists, guns, explosives, whiskey, broken glass, broken hearts, broken promises… Plus most of your traditional Gothic elements: the creepy, isolated old house, the family secrets, the madwoman in the attic, the creepy girl, the thunderstorms. No individual ingredient was anything we hadn’t seen a million times before, but the sheer quantity of volatile moving parts meant that we had NO idea where the plot was going to go next.

The film ended up on our radar because it has Christopher Walken in it. As is often the case, his role was relatively small, though important to the plot. His faltering attempt at an Irish accent was perhaps the weakest element of the film, but that didn’t get in the way of my enjoyment.

So, what’s the basic set up? A loving couple of alcoholics bring their son to Ireland and the ancestral house. Ostensibly, so he can meet his grandmother, but possibly also to try and stop drinking. (The script does acknowledge that going to Ireland to dry out is perhaps not the wisest choice.) Such family as remains alive within the ancestral house mostly accuse each other of having “lost the bucket” (apparently the Irish equivalent of losing one’s marbles – there seems to be a series bucket shortage in their neighborhood). Uncle Bill (Walken) is perhaps most obviously bonkers, since he’s spending a lot of his time hanging out in the basement with a remarkably well preserved 2000 year old corpse that he seems to think might be able to be revived.

One thing that particularly pleased me about this movie was that the script did not depend on anyone holding the idiot ball. At various times, characters are inattentive and miss details that one wishes they had not, and there are no shortage of poor life choices, BUT no one wastes any time denying the evidence of their senses (once they notice the weird shit), and they make reasonable efforts to get out of danger, even if these don’t always work. There is a character who looks for a while as if he will be a traditional Fatal Boy, but he does not fall into that trap, and even makes effective use of his one real life-skill (partying hard) before the end.

Many reviewers panned this on the sadly-traditional basis that it is a horror movie without a huge amount of blood, or even that large a body count. For those (like me) who like their horror with a lot of atmosphere and characterization, it’s an overlooked gem. Recommended.
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The strawberries are in bloom, which means it must be weeding season. Progress is happening at a goodly rate. Nonetheless, the project is eternal. Estimating from both my progress and observed growth rates, I should have the spider wort vanquished by approximately 2020. And by “vanquished”, what I actually mean is “cut back to the point where I can keep it away from the strawberries with ONLY constant vigilance”. Slow and steady wins the fruit.
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I found this film on YouTube (split into 12 parts, not sure why) as part of my great Thelma Todd binge. She’s only got a supporting role in this one as “the bad girl rival”, but does quite well in it. The film stars Charles “Buddy” Rogers, one of Todd’s classmates in acting school, and the only other member of her class to have a significant Hollywood career. Nancy Carroll plays the female lead, a local golf champion in competition with Thelma Todd for both trophies and for Rogers’s affection. The lead couple aren’t called upon to do much of a dramatic range, but do carry out their roles pleasingly. Also notable in the cast is a pre-Tin Woodsman Jack Haley, whose face I did not recognize but whose voice I did, in an extremely silly role. Matching him in silliness is Zelma O’Neal; the romance between her and Haley is delightfully off-kilter.

O’Neal and Haley had both been in the Broadway show that this film was based on. With a well tested story, and some of the actors already very familiar with their roles, I found the film more successful than the average of this era.

Of technical interest, this is one of the very first Technicolor films. They were still working the kinks out, so the whole thing has a fairly muted palette, but the history-of-technology geek in me found that neat to see.

In addition to the romantic comedy, it’s also a musical, mostly using pre-existing pop music of that era. The songs are well sung, if not enduring classics. Most of the choreography is either quite restrained, or looking very much like a stage number that was filmed. That said, there is one bizarre exception. A production number late in the film (section 8 of the split up YouTube version) “I Want to be Bad” starts out with some fairly nifty pyrotechnics and what could plausibly be practical effects. But it just keeps going more and more over the top, with angels descending literally from heaven and getting caught in the flames of hell, cupids in the clouds summoning astral fire engines, and things like that. I have to wonder if they borrowed young Busby Berkeley to choreograph that section. If they didn’t, I have to believe it was an influence on him.

Overall, a pleasant bit of fluff, and mildly recommended. But Sovay, you should at least check out that one song.
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Had a dream that I waa reading _Finder_ by Carla Speed McNeill. (Well, earlier, I was watching an old Babylon 5 tape, but in the manner of dreams, the experience shifted.) There was a memorable incident where someone was meeting and negotiating with a tribal chief. I don't remember his name, so I'll call him X. X was a very big man, and had his (rather ancient) wife next to him during the meet. After the negotiations were over, and the foreigner had left, X removed the outer layer of his robes to reveal that "he" was actually three slender women!

It seems that, a while back, this tribe had a difficult situation. Tribal law dictates that the chief must be male (mostly due to the neighboring tribes being sexist). The original Chief X, when he died, had three daughters, but no sons. None of the daughters had married (partially due to the fact that any husband might end up Chief, and they didn't see any acceptable candidates in the dating pool). Faced with this conundrum, X's wife managed to convince the tribal Council to accept the legal fiction that X's daughters, collectively, *were* X, and could maintain "his" Chieftan-ship.

That seemed like a nifty enough idea to be worth sharing. I'm not a fiction writer, so if anyone wants to pick it up and run with it, feel free.
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The kestrel-cam in Boise, Idaho is active again. There are five eggs in the box, despite a long hiatus after the first two, possibly caused by an unseasonable snowstorm at that time.

Right now, mama-bird is sitting on the eggs determinedly, as wind blows snow hard enough that there are drifts inside the box with her. Brrrrr!
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Yesterday, Kestrell and I watched a bunch of YouTube videos from the British Film Institute, mostly ones connected with their “GOTHIC” film festival from a few years ago. Which may have had something to do with the incredibly odd film I dreamed last night.

I was at a… party? At any rate, there were a lot of friends around, and we were snowed in. I was channel surfing looking for something interesting to watch. I eventually landed on a PBS station from out of state, which seemed to be showing this movie repeatedly and/or in random order. I can’t be quite sure, because the snowstorm was intermittently knocking out the signal, so what bits I did see were in random order at any rate.

The overall antagonist of the piece was Godzilla, but he was attacking Victorian England. In order to combat this threat, Sherlock Holmes had enlisted the help of Dracula, Jack the Ripper, and others (maybe Frankenstein’s Monster?). Near the end of the film, Jack had a speech about how he envied Godzilla for having spent most of its life in a world without humans.

Much earlier in the film (probably the opening scene) a prehistoric tribe of white furred hominids are about to be trampled by rampaging woolly mammoths. We focus in on one of them as he closes his eyes and prepares to die – but he doesn’t die, though blood splatters across him. A ghastly roar is heard above the noise of the trampling mammoths. He opens his eyes and sees (though we do not) the towering form of Godzilla, chomping down on the mammoths, inadvertently saving the ape man’s life. His name is Zaius, and he will become the shaman of his tribe.

Meanwhile, in Victorian England, criminals are taking advantage of the chaos of a Godzilla attack at night to break into a bank vault – but Sherlock Holmes has anticipated this! Sadly, his near-superhuman speed is not sufficient to stop the criminals, who escape in a waiting coach. Several of them were dressed as cowboys (Including Billy the Kid?) but most of them were uniformed Bobbies. Some sort of government conspiracy at work?

I was telling someone else at the party about this incredible film I’d been watching, when I woke up enough to realize I wanted to tell all of YOU about it. And now I have.
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Given the latest round of shenanigans, I'll be largely abandoning LiveJournal going forward. I'm not personally worried, so I'll be maintaining crossposting for the time being, though really just for the further-crosspost-to-Facebook functionality. But I won't be reading LJ, so if you expected me to see something there, try another means of communication.
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An idea occurred to me the other night, which I am not currently in a position to use, so I release it freely to the world. It is suitable for RPG campaigns in a fantasy or historical milieu which have been going for a while and perhaps need something different to shake up the players.

The party encounters a group of small children (mixed genders and ages) who dress and talk strangely, and who seem to know the party members. These kids are the protagonists of a Magical Adventure story, in the mode of Edward Eager or E. Nesbit. By means of some magical McGuffin, the kids have been transported here to meet their favorite Heroes, in the midst of one of their greatest adventures!

The kids should all have distinct personalities. These don’t need to be (and arguably shouldn’t be) terribly complex, just enough to keep them distinct, and possibly provide extra conflict. Possibilities include but are not limited to: the Brat, the Responsible One, the Shy One, the Worrywart, the Skeptic (who doesn’t believe this is happening), the Boy who thinks Girls Are Icky, the Girl who CAN SO do anything a Boy can, the Snitch, the Gushing Fan…

The kids, of course, know all the players’ characters intimately, potentially including significant secrets, almost certainly including details of their futures. The older children probably have some notion about paradoxes which will incline them not to talk about such things too much, but the GM should totally use this opportunity for foreshadowing and/or awkward reveals. Of course, while the kids have read all the way to the end of the “book”, that’s not to say that the book was necessarily accurate…

Naturally, the kids will get in trouble, and the players will have to rescue them. Possibly repeatedly. (If your players are the sort who are too callous to rescue hapless children, make sure to spring this subplot on them in a circumstance where powerful NPCs will pressure/force them into it.)

Depending on how meta the GM wants to get, the “book” which the kids have been transported into (and which the players inhabit as their own reality) may be classified as History or Fiction. Depending on the past behavior of the players, it may be appropriate to classify them as favorite Villains instead of Heroes.

The magical McGuffin which brought the kids here may perhaps be a McGuffin which the player characters either own, are seeking to own, or are seeking to destroy – though at a later point in the McGuffin’s own timeline. Even if none of these seem to apply, the kids should certainly possess a few artifacts of a much higher Tech Level (or magical equivalent) then are prevalent in the campaign. Not necessarily things which adventurers would typically find useful, just interesting and/or hilarious. (And if the players DO come up with some devastatingly powerful use for such a thing, let them get away with it once or twice, but remember that there are no batteries or repair shops that will let them use it indefinitely.)
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Well, my prediction of managing a Patreon update every other month seems to be holding true. Since last time, I have:Looking forward, the next update should include another Cinema Purgatorio, the conclusion of Providence, and possibly the last few chapters of VotF, depending on how much effort Providence #12 turns out to be. After that, on to Jerusalem!
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Speaking of both frugality and fun, I recently picked up the latest Humble Mobile Strategy Bundle. Some I had played before and enjoyed (Kingdom Rush especially), but two are new to me and are proving particularly fun.

Hero Generations is a sort of highly condensed RPG. Each move takes a year of your current character’s life. When your lifespan runs out, it’s game over – unless you acquire enough fame before then to win a mate; if you have, the game continues with their adventures, starting with a hand-me-down item or two, or perhaps some other advantages. Each generation takes only a few minutes to play, so it can be rewarding in small chunks. However, there is clearly an overarching plot which will take a significant number of generations to complete. While a few things are constant, much of the world is randomized each game, so there is plenty of replay value.

Guild of Dungeoneering has many similar qualities: each session is relatively short, but the over game could take a long time, and there’s plenty of replay value. The theme is a little like the old PC game Majesty, in that there are lots of adventurers in the world, but you don’t directly control any of them. Instead, you act as a sort of Game Master, laying out dungeon tiles, treasure, and monsters in a way which hopefully will entice the adventure into challenges which will level them up successfully so that they can defeat this particular dungeon’s quest. The combat mechanic is a simple card game, but each character class has a different default deck, and what loot you pick up inside a dungeon also affects the cards in your deck, so it’s got a little bit of deck-building character as well.

Both games are recommended. If you like playing on an Android device, and act soon, you can get both of them and many more besides for a whopping five dollars. I expect (though have not checked) that these games are also available on other platforms, though you might have to pay retail.
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So, you know that thing about the Evil Republican who said poor people are going to have to decide between new iPhones and health insurance? I’ve seen many arguments go by about how many cell phones it takes to equal the cost of health insurance, and similar arguments on an economic or factual basis. The same sort of dialogue is happening about the National Endowment for the Arts, and many other recent political issues.

But I think there is a moral argument worth having here, also, which seems to be largely overlooked.

One of the moral stances implicitly held by many people on the Right (though they are usually too canny to come right out and say it), is that if you spend ANY money on something that isn’t a necessity, you are Not Really Poor. Or, to look at it from another perspective, anyone who is actually poor does not deserve to spend any of their meager resources on entertainment.

This, I find abhorrent. A life which is entirely spent on the bare means of survival is worse than that of most mammals. A life in which one is not allowed to EVER choose enjoyment is a life not much above that of a slave.
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Thelma Todd has a fairly small, thankless role in this as a tough society dame who has the misfortune of not being nearly AS tough as headliner Clara Bow. But Bow, in her apparently-best talkie role, is riveting. In this, her penultimate film role, she demonstrates that she definitely still has IT.

The story is purely melodrama, but it is pre-code melodrama, with lots of room for implied salaciousness. Bow plays a young lady named Nasa, who has a fiery temper and a wide emotional range. By the time she’s out of finishing school, the tabloids have nicknamed her “Dynamite”, and she’s earned it. Her character arc brings her all over the map; from rich society girl, to destitute single mother prostitute, back to riches, and finally (perhaps) true happiness with the one who quietly loved her all along. Along the way, she rides horses (and men), whips rattlesnakes (and men), has knock-down drag-out fights with Thelma Todd (and men), and enjoys lots of offscreen sex with men (just men, though I gather the original novel had rather more range).

One notable historic tidbit: this film apparently contains the first not-even-coded depiction of gayness. At one point, Bow goes slumming to a cabaret with mincing waiters singing a saucy song about sailors! Like many incidents in the film, it’s hideously offensive by modern standards, but historically interesting.

I can’t say it’s a GOOD film, but I mostly enjoyed it.
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Seven Footsteps to Satan (1929) is the earliest Thelma Todd film I have found. Indeed, it is so early that it is a silent movie (apparently one of the last silent horror films).

While I found it interesting enough to finish watching and to write about, let me be clear up front: this is not a good movie. Not much plot, unevenly paced, poorly directed. The acting is passable. And, though this is not a fault of the original makers, the existing print that this was restored from is incredibly washed out, lacking nearly all visual detail. The ending is a narrative cheat that is only half a step above “it was all a dream”.

The story begins with a somewhat nebbishy leading man who is practicing marksmanship in his secret lab, so that he will be well prepared to go exploring in “darkest Africa”. Soon, he gets tangled up with robbers and then he and his girlfriend are suddenly kidnapped. So far, so pulp.

But then the film takes a sharp left into dream logic. Our heroes find themselves in a huge mansion that seems not unrelated to Castle Frank-N-Furter. It is packed to the rafters with secret passages, thugs in tuxedos, tortured damsels in distress, mysterious dwarfs, screeching apes, inscrutable Orientals, men with Exceedingly Strange facial hair, femmes fatales, ominous shadows, groping hands, and orgiastic cultists whose cult leader is named Satan. This is not a complete list.

Our hero keeps insisting that he just wants to go home, in the apparent belief that this will have any positive effect. But things keep happening. It’s never really clear why he has been brought there at all, what Satan wants with him, which of the weird characters are actually on his side, or much of anything really. (At least until the last few minutes, whose existence I deny.) It’s very nearly Lynch-ian. If you’re a fan of the surreal, I recommend starting at the 20 minute mark, and turning it off at 1:10 (just as the clapping starts).

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Alexx Kay

August 2017

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