Tag Archives: Roger Vadim

Reading John Frankenheimer’s Seconds

Early in this excellent monograph on John Frankenheimer’s criminally underseen 1966 film, Seconds, by Jez Conolly and Emma Westwood, the authors ask the reader at what point they first viewed the movie and what they made of it. For me it was a random VHS store pickup on a slow Saturday night sometime in the late 1990s. I can remember being as confused as I was impressed by the sheer bizarreness of Seconds. I was particularly perplexed by the presence of Rock Hudson. What was this major American actor, best known for the series of romantic comedies he did with Doris Day, doing in a downbeat, existentially bleak fusion of science fiction, thriller and noir?Watching the film more recently, with the benefit of considerably more knowledge of film history and Hudson’s career, I was blown away by the brilliance of Seconds.  

Conolly and Westwood begin with the proposition that the film very much deserves a second life, a notion that is also central to its plot. Seconds concerns a bored, ennui riven middle class wage slave, who through an almost Faustian pact with a mysterious entity known only as the Company, is given a new body and face, and second chance at life. Escaping from everyday domestic responsibilities, particularly the possibilities for self-discovery and erotic adventure that this promised, would become a key topic of American film and literature from the mid-part of the 1960s onwards.… Read more

Suspiria, giallo cinema & the lure of the sensory: An interview with Alexandra Heller-Nicholas

Suspiria 3Alexandra Heller-Nicholas is a Melbourne-based film critic and academic, specialising in cult, exploitation and horror film. Her books include Rape-Revenge Films: A Critical Study, Found Footage Horror Films: Fear and the Appearance of Reality, and most recently Suspiria, on Italian director Dario Argento’s 1977 film of the same. Alex kindly agreed to talk to me about her new book, the phenomena of witches in film and the ongoing fascination with giallo cinema. And a warning, unless your film collection is as good as hers, it will be hard for you to get through the following interview without making a lengthy list of films you’ll want to locate and purchase.

Drink-&-CameraAlex, You open the book with a playful but terrific quote from US film critic Joe Bob Briggs, that Suspiria is ‘the Gone With the Wind of Eyetalian horror’. You call it ‘one of the most breathtaking instances of the modern horror film’. Why is Suspiria such an important movie, not just in the context of Italian film cinema but horror cinema, generally?

If you forgive my turn to the colloquial, Suspiria is at its very core a film that sincerely does not give a fuck about what a film is ‘supposed’ to be: this manifests in a spirit of true experimentalism, a genuine love of ‘art’ both as a general concept and the very materiality of cinema itself.Read more