A troika of talented Deceased Artistes: Helm, Finley, Frid

Too many talented folk are kicking off, and what I really want to do are tributes to some wonderful filmmakers who died recently. But since the departures are happening faster and furiouser, I’ll address the most "obvious" deaths — namely the three talented people who left this mortal coil in the last week. (No, not Dick Clark. He'll get his own entry, and I ain’t deemin’ him talented.)

We start out of, course, with Levon Helm of the Band. Other folks will do more complete tributes (while still others will simply write subtle and touching comments to adorn the YT vids of his work), so I’ll just go with the most obvious oldie that never wears too thin. (I’ve always loved the oddball reference to Spike Jones — who never sang, but did talk.) Oh, the wonders that were accomplished by “Marty DiBergi” back in those coke-fueled days:





and one TV appearance, backing his movie “daughter” Sissy Spacek on The Midnight Special.


*****

The second member of the troika was William Finley, who was best known for acting in films by his friend Brian De Palma. He did have a handful of other roles (including a pair of performances in forgotten Tobe Hooper movies), and I do remember seeing him on The Joe Franklin Show promoting his mid-Eighties book on the sport of “Racewalking," but, yes, whenever, he is remembered, it will be for the films with De Palma.

He met De Palma at Columbia University, and worked on his shorts Woton’s Wake and Murder a La Mod (as an actor in both, and a set designer in the former). The first feature in which he had a prominent role — a really prominent role — was Dionysus in ’69 (1970). Finley plays the title role in a production by the Performance Group of The Bacchae, and gets to end the film on the up note, “A vote for Finley in ’68 will bring you Dionysus in ’69!" See the whole movie here.

Finley’s next memorable appearance in a De Palma film came in the wonderfully entertaining Hitchcockian nightmare Sisters (1973). Finley’s most significant scene is here, but you can watch the whole film below.



Finley’s finest hour, one which has enshrined him as a cult icon of sorts (in a very imaginatively designed super-villain outfit), was his performance as Winslow Leach, “the Phantom of the Paradise.” Finley is just terrific in the movie, lending a high-melodramatic note to his performance and contributing to the overall comic-book effect of the piece.

I have declared my devotion to Phantom on the Funhouse TV show, and recently wrote here about how Twentieth-Century Fox “blocked” a clip on YouTube of my interview with Phantom costar Gerrit Graham, because it included a 50-second clip from the film.

So, I suggest, if you haven’t seen Phantom, you check it out ASAP. It seems *whole chunks* have been up for nearly two years. Here is the opening:



And another sizeable bit that includes the brilliant horror-rock sequences (that are post-Alice and decidedly pre-KISS):



I will set aside the grumbles at Fox and say farewell to Finley, whose gawky, haunted performance in that film will keep him alive for a long, long time to come.
******

And speaking of haunted horror figures, we just learned yesterday of the death of the actor who incarnated the first “guilty vampire,” Barnabas Collins himself, Jonathan Frid.

I outlined my utter love for Frid’s characterization at length in an entry I wrote about Dark Shadows this past Halloween. But now for the inevitable obit: Frid was a classically-trained stage actor from Canada who was never quite at ease with playing a vampire on a daytime soap — which, of course, worked perfectly for Barnabas’ haunted quality.

He was both a master ham and a performer who was able to carry off very emotionally complicated scenes. Sometimes he did this by confounding his fellow actors with his own made-up lines (my personal favorite “bloopers” on the show were when Frid did this, and you saw the look of dismay in his fellow actor’s face).

He did, however, look incredibly cool and regal as Barnabas and created a completely iconic character, who truly is important in the history of horror/fantasy. Barnabas was a cursed bloodsucker who time-traveled with ease (and Dr. Julia Hoffman), and constantly was in the throes of yet another dilemma.

I salute Frid for having embraced in his final years the role he was eager to shed — in the final months of the show he told Dan Curtis he would stay, but would no longer play Barnabas (thus, an odd storyline cribbed from Wuthering Heights, in which he was “Bramwell Collins”). However, odd (or just downright goofy) the new Tim Burton DS feature turns out to be, it can’t erase memories of Frid in his cloaked finery as Barnabas. He was one of the coolest vampires ever.

I linked to several great DS clips in my Halloween entry (some of which went down in the interim — I knew that fan wasn’t going to be able to post on YT the entire run of the series as he/she planned….). Herewith an equally nice sampling, but before I get to the embeds, I offer you Mr. Frid’s own site, a fan’s posting of rare DS photos, and a solid collection of Frid’s dramatic soliloquies on DS

The fan-generated material on DS is fascinating, as with this person’s “annotated” storylines from the show. Herewith, the relationship between Barnabas and his very own Renfield, Willie Loomis (John Karlen):



Frid on The Merv Griffin Show at the height of his fame:



Frid guests on the extremely corny time-capsule game show The Generation Gap. Prepare for your mind to be blown:



On to a pair of non-Barnabas clips, which I uploaded to YT a few years back. First, a wonderful Frid blooper that Oliver Stone kept in his debut feature, Seizure (1974). The film is, to put it plainly, kinda nuts.

Frid plays a writer whose creations (a dwarf, played by Herve Villechaize, a “queen of evil,” played by the always sexy Martine Beswicke, and an African-American giant) come to life and try to kill the guests he’s invited over for the weekend. I spoke to Frid about the film briefly at a DS convention, and he said it was terrible, Oliver Stone was a horribly un-subtle director (he felt the same way about Dan Curtis, incidentally — check out the over-the-topness of the House of Dark Shadows feature.

Perhaps he was sorta mad that Stone used his haunted (and sometimes bewildered) quality so acutely in his first (admittedly very sleazy) feature. Here is the blooper that was left in the film — it is a gem:



Seizure does work on a very odd sleazy level. Perhaps one of its weirdest scenes not involving Herve Villechaize is this forced knife duel between Frid and the very sexy young Mary Woronov:



Now, I turn to prime Dark Shadows. First, the kitschy side, with the bloopers that are extremely amusing but all the more so because each one of them actually aired on the show. DS was a very low-budget production, and so they rarely did retakes — unless Frid began to curse (but more about that when I finally get around to posting a clip from my interview with the show’s costar Kathryn Leigh Scott). Thus, a LOT of odd moments were broadcast as part of the show:



Fan-created videos are of course the bulk of the DS tributes on YT (now that MPI has indeed pulled down the posters who were attempting to put the entire DVD library up on the site). There are fan-made music videos like “The Return of Barnabas Collins,” but nothing quite compares to the serious “meller” quality of the music-vids created by an engineer here in NYC when the show ran on public television.

They perfectly capture the mixture of emotions that DS provoked during its initial run and still can provoke today: an amusement at its highly melodramatic tone and also a fascination for its very tightly scripted (and yes, quite well-acted, under the *no-budget* circumstances) storylines.



Farewell and thanks a lot, Mr. Frid. You were an indelible presence on daytime TV. I only hope that the coffin isn't chained like last time. Willie should be along any minute now to let you out.... (Couldn't resist.)

Remembering a classic TV horror series: "Dark Shadows"

To celebrate Halloween and preserve my fondly held memories of the original 1966-’71 ABC TV series in the time before the Burton-Depp big screen reworking of the show comes out (and is either an absolute joy or a big-budget embarrassment), I hereby present an appreciation of the gothic soap opera Dark Shadows. The series scared the hell out of me as a child, but I still collected the trading cards, the comic books, and even the daily cartoon strips. As a young adult I was able to consume ample amounts of the show in reruns and found that it was both a really terrific horror TV show and a delightful piece of Sixties camp (that decade, as I note frequently on the Funhouse TV show, is the “gift that keeps on giving, and giving, and…”).

First, the horror: the series began in June 1966 as a classic Rebecca/Jane Eyre-style narrative about a governess, Victoria Winters (Alexandra Moltke), who comes to the town of Collinwood to mind a child in a creepy old New England mansion.

In its first few months, some ghosts appeared, but the most interesting supernatural plot twist involved a character who was a “phoenix” (Diana Millay) and wanted to bring her son (the boy being cared for by the governess) to immortal life. “Laura the Phoenix” was a pretty odd creation for a daytime soap, but was topped in March ’67 by the opening of a coffin that let loose vampire Barnabas Collins (Jonathan Frid).

At the end of ’67, the show introduced its first time-travel storyline, in which Vicky Winters was sent back (by a séance) to 1795, before Barnabas was a vampire. At that time he intended to marry his beloved Josette (Kathryn Leigh Scott), but was cursed for eternity by seductive witch Angelique (Lara Parker). After Barnabas' “origin story” ended, the show quickly went into horror-overdrive, introducing a Frankenstein plot, a werewolf saga, The Turn of the Screw, a gypsy curse, Druid-like figures, and a plague that wiped out the Collins family.

The time-travel got more and more frenzied as the show continued, but it all seemed to make sense, since DS was after all a soap and had five half-hours each week to delineate its plotline. The time periods covered after the original “origin story” was over went from ’68-’69 to 1897, to ’69-’70 and then “1970 parallel time,” to 1995 (!), back to 1970, and then to 1840 and “1841 parallel time.”

The last move occurred when Frid, now the series’ superstar, demanded that he didn’t want to play Barnabas any more, and thus was indulged with a Wuthering Heights-ish plotline in which he became “Bramwell Collins.” The show unfortunately was cancelled during that flashback — with only a TV Guide article by one of the scripters (Sam Hall, married to the show’s “Dr. Julia Hoffman,” Grayson Hall) to explain where it would’ve gone after that.

Dark Shadows was thus an incredibly ambitious series and its creator, Dan Curtis, was wisely aware of what pieces of literature (all safely in public domain!) he could pilfer from to juice up the storyline. The show was indeed scary as fuck for its time, since it was done live on videotape and thus to monster-movie-fan kids like me, it had a “reality” that the old Universal b&w films didn’t have.

It had extremely primitive special effects, but they were extremely disturbing for that era — the best example being a scene where Angelique was burned alive, with Lara Parker (right) emoting wildly as a fire effect was overlaid in front of her. (This isn’t the scene, but it’s another example of that effect.)

Today that scene would be taken as nothing by kids who’ve seen far more realistic fire effects in movies and TV, but back then this was traumatic viewing for young people, if only because of the screams of pain from the character — and the fact that this was also on in a “comfortable” afternoon timeslot, as afterschool viewing! Lara Parker attributed the show’s over-the-top acting style to its directors in an interesting comment made at one of the DS conventions.

Like every soap, the show was contingent upon secrets that would be revealed in seemingly endless two or three-character conversation scenes, but DS actually offered a payoff of sorts to these chat-filled encounters with the attacks by “cursed” characters and the weird incantations and rituals that became a part of the various storylines.

In the years since, various soaps have gone out on a ledge storywise — off the top of my head, I think of the “weather wizard” plot on General Hospital, an amazing exorcism plot on Days of Our Lives, and the very strange lengths to which the show Passions went with its witch character, played by Juliet Mills.

DS was comprised almost entirely of these sort of plot twists — the normal world of cheating spouses and nefarious schemes that has fueled the soaps since the Thirties on radio was nowhere in evidence on the show. It was a high-key endeavor that did require that you not miss any episodes, but also that you were willing to go with the weirdness as it cropped up.

At points, they went into places that flopped in my estimation (the whole “Adam and Eve” Frankenstein plot was just awful), and at others they introduced characters in one plotline (the heartthrob “Quentin” played by David Selby was originally a ghost in the Turn of the Screw story) and then threw them into another thread (he was also a werewolf!).

And yes, there was the campiness. The Sixties was a time when “gimmick” series ruled — flying nuns, spies who talked into their shoes, cars that had the souls of old ladies in ’em (not forgetting the uber-campy Batman, natch). Dark Shadows ran with this as well — even though the show was played straight, its sometimes-outlandish plot twists were of a piece with the “camp revolution” going on in pop culture at the time. This made the show even more of a weird creation — an over-the-top gothic horror soap with elements that could be laughed at and others that were genuinely kinda creepy, all underscored with the “what comes next?” mechanisms that drive the soap opera format.

The show has of course developed a massive cult and has the distinction of being the ONLY soap to come out on VHS and DVD in its entirety (of course, we’re only talking five years here, as opposed to the lifespan of Guiding Light, but still that is 1,225 episodes, all on disc!). It also was the first soap to widely be seen in reruns (a little research reveals that a Canadian show inspired by DS, called Strange Paradise got there first….)

The show’s producer and creator Dan Curtis, who was also behind the cult telefilms The Night Stalker and Trilogy of Terror, definitely had a knack for TV horror. He also definitely knew how to cast — one of the lingering joys of Dark Shadows is its cast, who continue to appear at the conventions that honor the show, and who have aged incredibly well (most of the cast members look as if maybe two decades or so have passed since the series bit the dust; instead it’s been exactly 40 years).

For evidence of that I need only point you to the websites of Lara Parker, David Selby, and Kathryn Leigh Scott (pictured), a Funhouse interview subject who has kept working as a performer, but is also an author and publisher.

Okay, enough with the reverie and on with the clips. I found it utterly fascinating in doing research for this blog entry that not only is the entire run of DS out on DVD, but the owners of the copyright have apparently had no problem with LOADS of episodes and special features from the DVDs being on YouTube.

I offer the cream of the crop below. For those who already are familiar with the original series (the 1991 “revival” is available on YT, but I didn’t find that particularly interesting, except for the casting of Barbara Steele as Julia Hoffman), you can watch the first episode of the show from 1966 here and the first 370 episodes are all up (really!) here.

The video label MPI put out some themed video compilations that come in handy for those who have never seen the show. The first one that deserves a spotlight is “The Scariest Moments of Dark Shadows”:



Another intriguing MPI vid-comp is here, called “Vampires and Ghosts”:



Another shows you the series’ trippiest moments. It is called “Nightmares and Dreams” (I’m telling you, DS was a VERY strange program for its era…):



Finally, since the bulk of the media attention concerning the new Burton film is devoted to Johnny Depp, not Burton, here are his feelings about Frid’s performance in the original series. And here, to refresh your memory as to what Frid did that made him so “iconic,” is another MPI vid-comp, this one called “The Best of Barnabas”:



It does seem like every extra from every DS DVD has been put up on YT, so here are a few of my faves, all vintage items featuring Frid when he was considered a “teen idol” (he was at this point a man in his mid-40s, much like Patrick Macnee when The Avengers hit). Here he is in 1970 on What’s My Line? in his full Barnabas regalia:



And here he is in 1969, doing a very sober-minded interview (about vampires, coffins, and teen adulation) on The Merv Griffin show (seated between Barbara Bouchet and Rocky Graziano!):



The helpful souls who comment on YT vids supply a lot of information. I had wondered at what point the “Dark Shadows Music Videos” (yet another MPI vid-comp that is not online in one piece) had been created. It turns out they were put together initially for the airing of DS here in NYC on the late, lamented WNYC-TV (Ch. 31) by Alan Matlick, a broadcast engineer, to make the reruns “longer.” Here is the first of the bunch, the super-melo “I Barnabas”:



In closing, I leave you with one of the most unique aspects of the show: the fact that its “bloopers” weren’t outtakes, they actually aired on the program. Dark Shadows, like most soaps, was produced on a shoestring budget, and so retakes were not allowed (unless someone cursed — but that’s a story for another time).

Thus, the actors’ line-flubs, scenery mishaps, and major screw-ups all aired on ABC, making it even more impressive that DS was still scary — since you could see its main vampire and matriarch regularly blowing their lines, supernatural fires going out at the worst possible minute, and doors opening and closing randomly during scenes.

The “blooper” reel for the show has been released on DVD and is not only amusing, it’s also an amazing record of a time when a major network show included fumbles, because the producers were pinchin’ pennies:



A final note about the upcoming Burton film: in the clip I linked to above, Depp had noted that they would stay close to the iconic look that Frid created for the role, but the one on-set photo released thus far shows Johnny in wacked-out mode again. That could be a great thing, if indeed Tim Burton is going to do something seriously creative in “re-imagining” the show.

Burton has also stated his admiration for the original series, which is reassuring to hear, because it was entirely evident that he wasn’t a fan of Batman comics from his Batman pictures, and he obviously wasn’t a fan of the Planet of the Apes movies from his big-budget effort to resurrect that franchise.

Truth be told — although I did really like his Sweeney Todd — Burton hasn’t made a film project that he originated (and thus has seemed “personal”) since Edward Scissorhands, and he’s now at the point of doing a feature version of one of his old short projects, the one-joke Frankenweenie.

Aside from fascinating, unconventional items like Ed Wood and Big Fish, he has been applying the “Tim Burton touch” to remakes and adaptations of very familiar works for two decades now. Let’s hope that his Dark Shadows brings back the sense of innovation and imagination he displayed in his early features. Although, with the kooky, crazy makeup, I’m sorta having my doubts. (I’d be happy to be proven wrong….)

The mind does strange things: Oliver Stone's Seizure

Oliver Stone has made some great films in his career and some underwhelming ones. But landing squarely in the pantheon of mind-warping camp is his debut feature Seizure (1974), which stars Jonathan Frid (Barnabas Collins himself) as a horror novelist whose characters invade his house while he is having friends over for a weekend vacation. The trio of characters are a giant black man, cult-movie goddess Martine Beswicke as “the Queen of Evil,” and the immortal Hervé Villechaize as… I don’t know, some little jester guy who speaks in a thick accent and will kick your ass even though he comes up to your thigh. Do not fuck with Hervé (this was attested to in my interview with Carol Lynley).

I felt that Seizure needed to be represented on YouTube (if only to attest to the wonderful chemicals folks used to ingest in the Seventies), and so uploaded some choice clips. First, a Frid blooper that Stone kept in the film — either because he thought it “seemed real” or because he was pissed off at Frid. Jonathan was known for losing his lines on Dark Shadows and making up new ones that paralyzed his fellow actors. He also cursed to occasionally make the tape stop (outside of cursing, there was no way the directors of the low-budget soap were going to stop tape — actors regularly lost their lines and the take in question aired). The slip occurs at about :24 seconds in:



Hervé’s best moments:



And the film would be utterly insane and still memorable without them, but a little sex appeal never hurt, so here we have the amazing Martine and her ruby lips, and Ms. Woronov and her amazing gams: