Welcome to the last Mystery Photo of 2019. This will be the 47th Photo we posted this year. Didn’t make it for a full 52 shots, but we were pretty close. Over the last decade, we’ve gone through 438 Mystery Photos. That is a lot of images that I’ve put in your brain. I also think it is some of these images that got me unfriended by some people, including my own family! I want to thank everyone that takes a peak at the photos I post, and to those that send in your guesses. I hope that those of you have haven’t seen the film the photo is posted from, once you learn what it is, that maybe you seek it out. That is, after all, my master plan! Hopefully it is working. But, as always, before we get to our last photo for the year, let’s review last week’s photo. It was a little easier but figured I’d throw you a bone for the holiday! It was from the 1974 film Madhouse, starring Vincent Price, Peter Cushing, and Robert Quarry. For a film that had a great cast, an interesting story, and some beautiful (and creepy) images, it is a shame the film isn’t better. But kudos to the following for sending in the correct answer: Hoby Abernathy, Gregory Avery, Todd Barwick, Craig J. Clark, Dave Fronto, Troy Howarth, Antoinette Keen, Doug Lamoreux, Michael Shields, Todd Warren, and Greg Wojick. Well done!
Okay, let’s get to our very last photo for this decade. This is going to be a tough one. As in up until a few months ago, I had never even heard of this film, so if you don’t know it, don’t fee bad. But once we reveal the title, I would suggest everyone to see it, if only for their Horror History! Anyway, give it a peek and see what you can come up with. As always, please remember not to post your answer in the comment section. Those do get posted when you do that and I’d like to let others have a chance at guessing. So don’t post it, but just send us an email to firstname.lastname@example.org with your answer. Good Luck!
Born Jan. 10th, 1927 – Died June 14th, 2008
Sometimes referred as the “Italian Peter Lorre”, Pigozzi is more like the Italian Michael Ripper, because if you watch any amount of Italian films, whether it be westerns, horror, giallo, or any type of exploitation films, you will probably see Pigozzi in there somewhere. And like both Ripper and Lorre, he was always entertaining to see on screen.
Appearing in more than 100 films, sometimes billed under the name Alan Collins, one of his first genre roles was in the 1961 film Lycanthropus, which was re-titled under the more exploitive title Werewolf in a Girl’s Dormitory. But he can also be seen in several of Mario Bava’s films, such as The Whip and the Body (1963), Blood and Black Lace (1964), and Baron Blood (1972), as well as plenty of titles from director Antonio Margheriti, who he was good friends with. He also appeared in some of the more cheesy Italian fare, such as Yor, The Hunter from the Future (1982) and Exterminators of the Year 3000 (1983).
So the next time you’re watching an older Italian film, keep an eye out in the opening credits for Pigozzi (or Collins), or look for that wonderful and easily recognizable face. Then you can impress your fellow movie friends by shouting out “Hey! That’s Luciano Pigozzi!”
Even though this book was released October of 2018, this is the first time I’ve come across it, or at least that I’m remembering! Of course, being on Hammer Films, I know I’m going to need to add it to my library. But at only 96 pages, it does raise some concerns on the content. Sure, I’ll be ordering it anyway, if only to be able to review it here and let other Hammer fans out there know whether it is worth their $25!
According to the blurb from the publisher, author Alistair Hughes gives us “Everything you ever wanted to know about Hammer’s horror films is contained in this incredible graphic guide. Charts, templates, diagrams and illustration take you through all the facts and figures. From the relative heights of Frankenstein’s Monster, to the actors to have played Dracula … no stone is left unturned in this compelling and fascinating look at the films which redefined ‘Horror’ for a generation.”
Not sure if everything I ever wanted to know about Hammer’s horror films could be contained in only 96 pages, but we’ll see.
I can remember being in a theater back in 1990 and watching a screening of Hardware, by a young filmmaker, who showed me a post-apocalyptical world like I hadn’t seen before. But also one filled with amazing colors and sounds. I was so excited to see what this guy was going to do next. Then two years later, he gave us Dust Devil (though it took a few years to see the full version of the film!). And then we get to the tragedy that was The Island of Dr. Moreau, where he was fired and replaced, after bringing that film from the very beginning. That was well documented in David Gregory’s Lost Soul: The Doomed Journey of Richard Stanley’s Island of Dr. Moreau (2014). Ever since then, besides some crictially acclaimed documentaries, he has never made a full lenght feature film since that debacle. Until now.
Next month, with the release of Color Out of Space, we’ll see the glorious return of Richard Stanley to feature films. Starring Nicholas Cage, Stanley has adapted the 1927 tale from H.P. Lovecraft, about a meteor from space that starts to… change things around where it landed. Continue reading
From everyone here at the Krypt, we wish all of you and yours a very Happy Holidays. No matter what you believe in, or don’t believe in, the one thing that we all should is the simple act of being kind. I’ve always said that as a species, humans suck for the most part. The way our government works, the medical system, everything about getting to the top, no matter who you’re stepping on to get there. Damn shame really. But until our Lord Cthulhu shows up, there are still those out there that really do try and tilt the scales, showing that we do have the capacity to do good and to care for our fellow man.
So thank you to those that go the extra mile to help a friend in need, even if that means lending a caring ear. Those that donate time and money to a worthy cause. Those that spend time with their families. Or those that are just kind to one another. Those are the people give me hope, and are constant reminders of who I want to be.
Here’s to you and yours… wishing you a Very Scary Christmas from the Krypt!
While there weren’t a ton of correct answers sent in for our last photo, we did get a few, which thrills me to no end! This is definitely a Turkey Day film and is a lot of fun as well. The film was re-titled a couple of times as Blood Waters of Dr. Z and Attack of the Swamp Creatures, but the original title was simply Z.A.A.T. (1971). Produced on a very low budget in Florida, this little monster movie never made it big, but is still fondly remembered by a some. I mean, how could you forget a movie about a half man/half catfish? Congrats to the following that sent in the correct answer: Hoby Abernathy, Aaron Christensen, John-Paul Checkett, Bob Hartman, and William Wilson. Well done!
Now on to this week’s photo. The title of this movie is something that many of you have probably experienced the last week or so doing your holiday shopping. As always, please remember not to post your answers here so that others can have a guess at them. Just send your guess to us in an email to email@example.com. Good Luck!
Fans of classic Hitchcock and soundtracks will be thrilled to hear that the score for his 1954 thriller, that has been painstakingly re-recorded under the direction of William Stromberg, recorded in Glasgow’s new state-of-the-art recording venue. They wanted to make sure that with this new recording, they were able to make it feel like Dimitri Tiomkin’s original.
This release also includes both used and unused “intermission cards” for the 3-D presentations, an alternate main title, as well as unused arrangements. With 15 tracks and a total running time of 65 minutes, I think this a must for any Hitchcock fans, as well as composer Tiomkin. You can get it directly from Intrada (click HERE) or from Screen Archives Entertainment (click HERE).
Released by Milan Records
13 Tracks with a Total Running Time of 36 min.
Music by Mark Korven
This film is the tale of two lighthouse keepers trying to retain their sanity while isolated on an island off the coast. I have not seen this film as of this writing, so I’m reviewing this soundtrack strictly on the score alone. Since I do know the premise of the movie, it does give me some pre-conceived notions about the score. Right from the opening note, we have a loud reverberating sound, then coupled with another one, and then another, but it immediately creates a strange sense of danger. Other tracks, like 3 & 4 that sound like they could have been created by an accordion that has been slowed down, distorted, or altered in some sort of way, giving it a feel of some kind of sound from a sailor out on the sea. I could be wrong, but that is the feeling I got.
This is another score that is mainly ambient sounds rather than an actual musical score. But like The Void, this one feels the listener’s ears with atmosphere. With slow moving sounds, low and vibrating, sometimes picking up the pace that builds the tension, it really creates different moods while listening to it. There are some tracks that sound like there are muffled voices or moans coming out of the speaker, that again, just adds nicely to the mood it sets, almost like something you’d hear coming out of a dream.
Mark Korven scored Eggers first film, The Witch (2015), and is back again for another round. Korven also did the score for Vincenzo Natali’s Cube (1997) and the more recent In the Tall Grass (2019).
The Wind (2018)
Released by Lakeshore Records
32 Tracks with a Total Running time of 64 min.
Music by Ben Lovett
Within the first note, it feels like composer Lovett went old school for this score. Since the film takes place in the old west, the first sound we hear is strings, from a violin or cello (I’m a music fan, but not an expert!), that sets the mood. In the film, we get a sense of wide open plains with nothing out there for as long as you can see, and Lovett brings that feeling through with this music.
I was surprised at some of the more faster tempos on some of the tracks, like #2 Demons of the Prairie, but he still using the strings, along with some percussions to keep that tension raised. Then when you get to tracks like # 6, We Shall Be Monsters, we get more of a quiet sound, with some wind instruments in there, as well as strings, creating a creepy mood, as if something is out there in the dark.
We first came across Lovett’s work in the 2007 low budget film The Signal and then more recently with The Ritual (2017). This score isn’t going to win you over by melodies or themes, but for an atmospheric piece that usually stays on the somber side, pounding up the tempo occasionally, it works well on its own. And even more so in the film itself, which I had seen before reviewing this score.
Happy Monday! Sorry for the lack of updates this month, but with the holidays coming up, plus working on a lot of stuff for my Year End Reviews, it is taking more time than I planned! But hopefully it will be worth it. Okay…enough of that, lets get to the Mystery Photo! Our last photo was from the film Terror is a Man (1959). Congrats to the following for sending in the correct answer: Hoby Abernathy, Michael Shields, and Vincent Simonelli. Well done!
So this week’s photo is a fun one, so hopefully a few of you out there recognize it. As always, please remember not to post your answers here so others can have a chance at it. Just send us your guess in an email (firstname.lastname@example.org). Good Luck!