William Mortensen’s Salomés

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Joyzelle Joyner as Salomé.

Two undated photographs by William Mortensen (1897–1965) which use the Salomé theme as a possible disguise for motives that have little to do with Biblical storytelling; looking at this collection of Mortensen’s work he evidently had a thing for arty erotica. Joyzelle Joyner was an American actress who appeared in minor roles in a number of silent films. Her lascivious scene in Cecil B. DeMille’s The Sign of the Cross (1932) was deemed scandalous enough to later be cut from the film by censors. Watch it here. (Tip via Beautiful Century.)

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Elsewhere on { feuilleton }
The Salomé archive

The Mysterious Explorations of Jasper Morello

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This animated short by Anthony Lucas isn’t exactly obscure but I’ve only just noticed that the distributor has the whole film available for viewing on YouTube. The Mysterious Explorations of Jasper Morello blends silhouetted characters and decor with elaborate steam-powered machinery in a manner that looks like the kind of thing Lotte Reiniger might have produced if she’d exchanged her fairy tales for Jules Verne. Impossible to watch Lucas’s film now without thinking “steampunk” but Jasper Morello was made in 2005 and so pre-dates the ongoing explosion of interest in Victoriana, dirigibles and coal-powered contraptions. For the past couple of weeks I’ve been working on two new steampunk projects which is what brought this to mind. More about those projects later.

Previously on { feuilleton }
Three Fragments of a Lost Tale
Brothers Quay scarcities
Achilles by Barry JC Purves
The Torchbearer by Václav Švankmajer

Lucifer Rising posters

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Lucifer Rising: A Love Vision by Kenneth Anger (1967) by Rick Griffin.

The status of Kenneth Anger’s Lucifer Rising as a kind of poly-cultural crossroads even extends to its poster art. The original poster by Rick Griffin dates back to the earliest drafts of the film, and with its swipe from Gustave Doré makes me think it’s the kind of thing Wilfried Sätty might have produced for Anger had he been asked. (They were both living in San Francisco at this time.)

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The San Francisco poster artists happily plundered the past for unusual images; Doré was a popular choice since his images are frequently striking and copies of the books (or reprints) would have been easy to find. This is one of the illustrations from the Purgatorio section of his illustrated Divine Comedy (1867) showing Dante being ferried up Mount Purgatory (“like Ganymede”) by a giant eagle.

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From Dante and Virgil to Virgil Finlay, one of whose illustrations was used on this promo sheet advertising a limited run of Bobby Beausoleil’s soundtrack for the film.

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Earth’s Last Citadel (1950) by Virgil Finlay.

The illustration this time is for a reprint of Earth’s Last Citadel by CL Moore and Henry Kuttner in Fantastic Novels Magazine for July 1950. I’ve never seen any mention of William Burroughs meeting Kenneth Anger which is a shame since they had acquaintances in common and Burroughs occasionally showed an interest in some of Aleister Crowley’s ideas. The Henry Kuttner connection in this case would provide a link to some of the borrowings Burroughs himself made from Kuttner’s writing. But no, it’s too much of a reach.

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Lucifer Rising (1980) by Page Wood.

After all that the final poster is an original piece of work by Page Wood for a premier screening at the Whitney Museum, New York in 1980. The art avoids the overt occultism in favour of making a resolutely low-budget piece seem like a Hollywood epic. Given Anger’s lifelong obsession with Hollywood’s myths and tragedies I think he would have appreciated that.

Previously on { feuilleton }
Externsteine panoramas
San Francisco by Anthony Stern
The art of Alia Penner
Missoni by Kenneth Anger
Anger in London
Arabesque for Kenneth Anger by Marie Menken
Edmund Teske
Kenneth Anger on DVD again
Mouse Heaven by Kenneth Anger
The Man We Want to Hang by Kenneth Anger
Relighting the Magick Lantern
Kenneth Anger on DVD…finally

Weekend links 115

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Untitled painting by Suzanne Van Damme (1901–1986).

Eric Berkowitz, author of Sex and Punishment: 4000 Years of Judging Desire, chooses five books for The Browser.

Venus febriculosa is running another competition: Design a new cover for Brian Eno’s Music For Films.

• Paul Mayersberg and Tony Richmond on making The Man Who Fell to Earth.

When a good idea occurs, it has been prepared by a long time of reflection. But you have to be patient. We all have what I call the invisible worker inside ourselves; we don’t have to feed him or pay him, and he works even when we are sleeping. We must be aware of his presence, and from time to time stop thinking about what we are trying to do, stop being obsessed about answers, and just give him the room, the possibility, to do his work. He is tenacious, you see. He never loses hope.

Screenwriter Jean-Claude Carrière discusses his remarkable career. Related: The Discreet Charm of the Bourgeoisie revisited.

Tragic Time Capsules: Capturing the Decay of Forgotten Olympic Venues.

Louis Menand on “The Puns and Detritus in James Joyce’s Ulysses“.

• Saul Bass’s original ending for Phase IV unearthed in Los Angeles.

Katherine Lanpher uses witchcraft to find a New York apartment.

Italo Calvino’s adolescence – that in-between time.

• The early film posters of Waldemar Swierzy.

Psychedelic nano-art in oils and ferrofluids.

David Toop has a blog.

Callum James Paper.

Bodies of Water (1995) by David Toop

Tomorrow Never Knows

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Episode 38 of The Beatles (1967).

The Beatles’ Yellow Submarine was released on Blu-ray earlier this month. The quality is as good as you’d expect, it looks and sounds fantastic with the songs really benefitting from their remixes and high-definition audio. The film atoned for Al Brodax and George Dunning’s earlier role as producers of the lamentable The Beatles animated TV series which ran for 39 episodes from 1965 to 1967. The series as a whole may be cheap and nasty but the penultimate number is notable for being the only one featuring two of John Lennon’s songs inspired by his acid trips: Tomorrow Never Knows and She Said, She Said. These tiny eruptions of psychedelic culture into children’s film and television have always fascinated me, and this is one example I’d missed until now. No wonder it had to end, the Fab Four were getting far too weird. Okay kids, sing along now: “I know what it’s like to be dead…”

Previously on { feuilleton }
The Dukes declare it’s 25 O’Clock!
Yellow Submarine comic books
A splendid time is guaranteed for all
Heinz Edelmann
Please Mr. Postman
All you need is…