Harlan Ellison: Dreams with Sharp Teeth

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Harlan Ellison.

“You have somebody who is one of the greatest writers of the twentieth century.”

Neil Gaiman on Harlan Ellison, and so say all of us. The quote comes from a trailer for Dreams with Sharp Teeth, a new documentary about Ellison’s life and work which, as far as I can tell, has yet to acquire any distribution. Given Ellison’s reputation you have to wonder why it’s taken this long for someone to make a substantial film about such a great artist and natural performer.

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“Repent, Harlequin!” Said the Ticktockman, from a 1978 portfolio by Jim Steranko.

But it doesn’t arrive a moment too soon given the quantity of recent web discussion which seems to have forgotten his huge body of work and sees him solely as a person who gets into arguments all the time. He’s always been argumentative, of course, splendidly so, and his take-no-prisoners attitude did much to shake up the conservative world of American science fiction in the late Sixties and early Seventies. As a political commentator he’s always been at the Hunter S Thompson level with a great line in witty vituperation. The filmmakers seem to have caught both sides of Ellison, the writer who doesn’t so much read as perform his texts from memory, and the tightly-wound ball of fury who won’t take shit from anyone. The film site has nearly an hour of clips to watch, including a tremendous speed-reading of Prince Myshkin, and Hold the Relish.

And while we’re on the subject, I’ll give another plug to the landmark collection of HP Lovecraft-derived art due to appear soon from Centipede Press. This features a number of my Lovecraftian works and an introduction from Mr Ellison himself.

Previously on { feuilleton }
• The Bradbury Building: Looking Backward from the Future
• Revenant volumes: Bob Haberfield, New Worlds and others

Cormac and the Coens

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CM, JC & EC photographed by Eric Ogden.

First an Oprah interview, now a feature in TIME; the famously reclusive Cormac McCarthy is almost becoming gregarious. The TIME piece is only a short sit-down between CM and the Coen Brothers which serves to promote the forthcoming film of No Country for Old Men but it’s still something this Cormac fan is happy to see. A shame it isn’t longer, I’d love to hear a tape of the full meeting. Thanks to Steve MacEacheran for the tip!

Previously on { feuilleton }
• Still No Country for Old Men
• Cormac and Oprah
• No Country for Old Men

Deborah Kerr, 1921–2007

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The Innocents.

A great British actress died this week. She was also something of a movie star in the Fifties, rolling in the surf with Burt Lancaster in From Here to Eternity (1953) and standing up to Yul Brynner in The King and I (1956). Prior to that she starred in two films for Michael Powell and Emeric Pressburger, The Life and Death of Colonel Blimp (1943) (where she played three roles) and Black Narcissus (1947). But for me she’ll always be the (literally) haunted Miss Giddens in The Innocents (1961), Jack Clayton’s superb adaptation of The Turn of the Screw. Still one of the most effective screen ghost stories; try and see it this Halloween.

Previously on { feuilleton }
• Freddie Francis, 1917–2007

Karel Zeman

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Inspiration (1949).

Karel Zemen (1910–1989) is a filmmaker I’m often telling people about but whose work isn’t easy to see, so it’s good to find that YouTube has gained some clips of his animations and examples of the partly-animated adventure films he made in the Fifties and Sixties. Zeman was yet another great Czech animator, and the YouTube collection includes his most celebrated short, Inspiration, which gives life to glass figurines, an unyielding medium that he moves as expressively as if it were clay or plasticine.

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The Fabulous Baron Munchausen (1961).

The adventure films are predominantly based on Jules Verne and place live actors into animated settings, many of which are taken directly from (or intended to imitate) the engraved illustrations of the original novels. The animation enabled Zeman to fill his films with dirigibles, submarines and various steam contraptions which would be too expensive to create otherwise. Zeman’s The Fabulous Baron Munchausen took the Gustave Doré illustrations for its visual style which is something this particular Doré enthusiast appreciates, and the film is closer to the spirit of the Raspe novel than the Nazi adaptation of 1943 or Terry Gilliam’s later version. The results are a lot more artificial than the seamless blend of animation and live action attempted by Ray Harryhausen in his own Jules Verne film, Mysterious Island, but the artificiality gives the films a distinctive charm.

• A Deadly Invention aka The Fabulous World of Jules Verne (1958)
• The Fabulous World of Jules Verne trailer (1958)
• Excerpts from Baron Munchausen (1961)
• The Special Effects of Karel Zeman pt. I | pt. II

Previously on { feuilleton }
• Zeppelin vs. Pterodactyls
• Jan Švankmajer: The Complete Short Films
• Taxandria, or Raoul Servais meets Paul Delvaux
• Barta’s Golem
• The Hetzel editions of Jules Verne