Friday, May 07, 2010

This Week on 42nd Street -- 1982



Here are the double and triple features that played the Deuce twenty-eight years ago this week. Theaters are listed in east-to-west order.

North Side of the Street

Rialto: [schedule unavailable]

Victory: DELICIOUS / SCENT OF HEATHER / FAT AND SWEET

Lyric: DOCTOR BUTCHER, MD / SLITHIS

Times Square: FASTEST FIST ALIVE / ENFORCER FROM DEATH ROW

Selwyn: DRAGON'S INFERNO / BLACK FIST


South Side of the Street

New Amsterdam: BRUCE LI VS. THE BROWN BOMBER / SHOGUN MASTERS

Cine 42
Theater 1: KUNG FU ZOMBIE / KUNG FU EXECUTIONER
Theater 2: RENEGADE MONK / TWO GRAVES TO KUNG FU

Harris: PARTNERS / PROPHECY

Liberty: LADY CHATTERLEY'S LOVER / BODY AND SOUL

Empire: MISSION KISS AND KILL / STRANGER AND THE GUNFIGHTER / THE BODYGUARD

Anco: SOME KIND OF HERO / AIRPLANE!

Thursday, May 06, 2010

The Endangered List (Case File #69)



THE LARDFATHER (1972)

Article by Merikaye Presley
(New Orleans Times-Picayune, DIXIE, November 19, 1972, p. 46-52)

It was early Sunday morning, and the sun had not yet penetrated the sky’s gray haze when long black Cadillacs approached the toll booths of the Mississippi River Bridge and deposited an assortment of threatening, sinister-looking characters.

They wore ‘40s-style suits, trenchcoats and broad-brimmed hats pulled low on foreheads. With Thompson submachine guns bulging under their coats and fat cigars protruding from their lips, they drew curious stares from motorists crossing the bridge.

The whole setting resembled a scene from “The Godfather” – precisely as intended. The Sunday “mobsters” belong to a group of local residents who are spending weekends filming their own version of the gangland smash hit, a satire which they have dubbed “The Lardfather.”

New Orleans attorney Anthony J. Russo, who is writer, director and producer of the amateur production, recruited a 150-member, predominantly Italian cast. “The categories of the cast are relatives, friends and clients,” he explained. Russo’s mother plays the Lardfather’s wife; his wife is Kay; uncles are Mafia family heads; and in-laws and friends portray a variety of “good and bad mobsters.”

Russo has two other films to his credit: “Dial D for Draw,” a take-off on murder mysteries, and “As the Worm Turns,” a soap-opera spoof.

The amateur movies started as a novel way to have a party, Russo said. He would film a movie including all his friends, then invite them to a gala world premiere to show it in final form.

His first two efforts also proved successful in raising some money for charitable causes, so Russo set out to film “The Lardfather,” his most elaborate production to date, with this end in mind.

Several Catholic charities have already asked to show the film for benefits when it is released next spring. Russo is planning a world premiere of the approximately two-hour film during Academy Award week in April, when “The Godfather” is expected to win several Oscars.

When Russo first saw “The Godfather,” he thought it would be the perfect target for a humorous satire. He saw the movie seven or eight times and wrote a script, jocularly following the sequence of “The Godfather,” but with an original ending. In Russo’s version, the Lardfather’s family name is Baccausa – Italian slang for a small, much-used room in the house – and the names of the other four families are all Italian ice creams – Spumoni, Taranchina, Tortoni and Cassati.

Russo purposely made only two complete copies of the script, so the members of the cast wouldn’t know all the punchlines in advance of the premiere date.

Russo’s friends were enthusiastic about the film and scoured their attics for the proper post-World War II clothing and effects. Many of the men and women in the cast bought new clothes which followed the revival of ‘40s styles and were appropriate for the movie.

One of the cast members, who owns a limousine service, provided Cadillac limousines for the outside shots and also loaned authentic Thompson submachine guns from his private collection.

Russo estimates that the film will cost $500 to produce, the bulk of that being film and processing costs. Incidentals, such as 20 rounds of ammunition expended at the police firing range to effect realistic closeup shooting scenes, added to the cost.

Filming began in the fall, and Russo worked first to complete all of the outside shots, such as the lavish wedding reception, before cool weather began. He hopes to finish all filming by the end of the year, then splice together the film and add sound tracks of dialogue, background music and sound effects.

Lining up locations to resemble those in “The Godfather” took some ingenuity, but Russo managed fairly well. A lakefront mansion was the site of the wedding reception, and the old Hotel Dieu hospital was where the felled Lardfather was cared for. A Chalmette Catholic church provided an authentic interior for the baptismal scene, and the Sicily footage was shot in Belle Chasse, where the levee – filmed at a low camera angle – was used to approximate rolling hills.

The actors assembled on the bridge for his recent Sunday filming listened to Russo as he described the scene they were about to shoot, the ambush murder of Sonny at the toll booth. He directed Vincent Marinello, an attorney who plays Sonny, to “really ham it up” during the death scene.

“I want a real hard dying scene,” Russo said. “When I finally tell you to die, roll over and die and then I still want a little jerk with the leg.”

Since members of the cast have all seen “The Godfather” more than once, they know pretty much what is expected in the various scenes, and directing is minimized.

After a couple of dry runs, Russo filmed the scene in successive takes. Marinello was doused with liberal squirts of catsup from a red squeeze bottle, and to add realism, bullet hole decals were pasted to the windows and body of Sonny’s car.

Production was temporarily halted when the container of decals was upset and its contents swept to the wind. Russo groaned, “I spent two hours last night cutting those out. Did Cecil B. DeMille ever have to go through this?”

Finally the guns were aimed and Sonny clutched his chest, stumbled from the car, staggering from the impact of the imagined bullets, then fell to the ground, rolled over on his back and died a quivering, exaggerated death, his legs jerking a couple of times before he lay still.

Russo shouted “cut!”, and the rest of the cast and onlookers applauded Marinello’s graphic performance.

Russo and his assistant producer, Claude Maraldo, simultaneously shoot all sequences as a safeguard against camera failure and so they can choose the best footage for the finished film.

After finishing at the bridge, the “gangsters” climbed into cars and drove to the French Market; scene of the attempt on the Lardfather’s life (There was more than one wisecrack about Italians frequenting the French Market). Once there, the cast attracted crowds of spectators from among tourists and shoppers.

In this scene, the Lardfather, portrayed by Bill Knowles, is gunned down as he walks to his limousine after buying some fruit.

Knowles, a research and design expert at Avondale Shipyards Inc. and a New Orleans jury commissioner, wore a specially-constructed mouthpiece which makes him a near ringer for Marlon Brando. “My dentist made it (the mouthpiece) identical to the one made for Marlon Brando,” Knowles said. “He saw a picture and description of it in a dental journal.”

Besides giving him a puffed-jowl look, Knowles said, the device hinders his smiling and impedes his speech, aiding his gruff, mumbling characterization of the Lardfather.

For the French Market scene, a real produce dealer was recruited on the spot for the segment. The Lardfather shuffled up to his stand, perused the assortment of fruit and swiped an apple (an ad libbed part) before buying a sack of oranges. (The oranges had been provided ahead of time by Russo who also serves as prop and make-up man.)

While shooting the fruit stand scene, one of the waiting “hit men” was heard to grumble impatient, “Come on, let’s shoot him. I’ve got to go play baseball.”

The Lardfather finally left the market and was slowly making his way to the limousing when he was shot from behind. He lurched backward, then staggered forward, falling on the hood of the limousine and scattering oranges in all directions.

After a second take, Russo announced that filming had ended for the day. As the cast began to leave, one member methodically picked up all the oranges from the pavement, commenting, “This is a low budget movie. This is our lunch.”

TRIVIA: Russo made THE LARDFATHER TOO a few years later.

Monday, May 03, 2010

Mystery Movie: KISS THE TEACHER GOODBYE! (1975)

The Internet Movie Database (IMDb) claims KISS THE TEACHER GOODBYE! is the "promotional title" of TRIP WITH THE TEACHER, but the official Crown International Pictures ad slick above - from the summer of '75 - blasts that theory in the ass by featuring both of those titles on the same triple bill. Please note the lack of an MPAA rating for our mystery movie, a possible tip-off that it isn't rated R like the other two films on the bill. In fact, we have several newspaper ads for KISS THE TEACHER GOODBYE that sport a PG rating, leading us to believe that it's a re-titling of THE YOUNG GRADUATES, a GP-rated Crown release from '71 in which a romance between teacher Tom Stewart and student Patricia Wymer leads to a pregnacy scare and is the catalyst for the latter's runaway road trip to Big Sur. But that's just an educated guess. Anyone know for sure what this is?

Sunday, May 02, 2010

One-Sheet of the Week: FUGITIVE KILLER (1974)


FUGITIVE KILLER (1974)

Re-released as FUGITIVE WOMEN

Wednesday, April 28, 2010

GONE WITH THE POPE at the George Eastman House on May 6th!



Our friends at the George Eastman House have landed one of the very first public showings of Duke Mitchell’s GONE WITH THE POPE (from Grindhouse Releasing), so if you live anywhere near Rochester, N.Y. you’ll want to be at the Dryden Theatre on May 6th for what promises to be a slam-bang great time. We really wish we could attend, especially since the Eastman House very kindly provided us with their archival print of THE NAME OF THE GAME IS KILL for our screening at the Cinefamily last month (and Grindhouse head honcho Bob Murawski was there to show his support), but it just isn't possible. We'll have to catch GONE WITH THE POPE at the Landmark Sunshine in N.Y.C in early June, but for those of you in the Rochester/Syracuse/Buffalo area, we urge you to attend the showing at the GEH, 'cause their Dryden Theatre is a really great venue. You'll find more info on the screening here.

Here's the full schedule of GONE WITH THE POPE playdates so far:

May 6 - George Eastman House, Rochester, NY
May 10 - Doc Films, Chicago
May 15 - Alamo Drafthouse Lake Creek, North Austin, TX
May 21 & 22 - E Street Theatre, Washington, D.C.
May 28 & 29 - Bridge Theatre, San Francisco
June 4 & 5 - Sunshine Cinemas, NYC
June 11 & 12 - Uptown Theatre, Minneapolis
June 18 & 19 - Main Art Theatre, Detroit
June 25 & 26 - River Oaks, Houston
July 2 & 3 - Inwood Theatre, Dallas
July 7 - Alamo Drafthouse, Austin, TX
July 23 & 24 - Esquire Theatre, Denver
August 6 & 7 - MADCAP Theaters, Tempe, AZ
August 14 - Tower Theatre, Salt Lake City


Tuesday, April 27, 2010

Now showing at a shoe store near you!



The now-defunct Edison Brothers Company owned a number of shoe store chains (including Chandlers, Bakers, and Leeds) and had already been a leading retailer for nearly 50 years when, in 1972, they launched a humorous ad campaign that at first appears to have been geared towards hip movie fans but now comes across like an early experiment in meta-advertising. On the surface, the Edison ads were parodies of popular movies, not unlike what Mad, Cracked, National Lampoon and other humor magazines were doing at the time, except that here the parodies are actually being used as legitimate advertising to sell a product that, unless you’re a foot fetishist, falls totally outside the realm of arts & entertainment. However, a closer look reveals something else entirely: that these newspaper ads -- for shoe stores, don’t forget! -- were actually spoofing the newspaper ads of THE POSEIDON ADVENTURE, SUPER FLY, THE TOWERING INFERNO, THE MARATHON MAN, ANNIE HALL and other popular movies of the day by mimicking their fonts, tag lines, billing blocks and artwork. Best of all, Edison had the chutzpah to ride the joke all the way to its logical punchline by “opening” each ad in the weekend movie sections of Friday newspapers, slipped in almost subliminally among real movie ads -- sometimes adjacent to the very same ones they were parodying.

And this wasn’t an occasional publicity stunt, either. Edison ran these ads two or three times a month for nearly 10 years! A few of the movies, like PLAY IT AGAIN SAM, were even spoofed twice.


Some of the ads work brilliantly -- I nearly choked on my bubblegum the first time I saw Edison’s take on THE CANDIDATE -- while others seem like rush jobs or missed opportunities (CLOGGY II), and one or two fall so woefully short of the target that you gotta wonder if the designers had any idea what they were aiming at to start with ("Don Ripples" in EASY STRIDER?). I think my favorite is THE TIE THAT LOVES YOU, which begins with "Wedger More as Tan Funning's 007½B" but then seems to make a bizarre visual reference to SHERLOCK HOLMES IN NEW YORK! I get a kick out of finding new ones (the gallery below is far from complete) and I'm unashamed to admit that the “collect them all” quality of the Edison ads reminds me of the first time I tore into a pack of blue STAR WARS trading cards.

According to Martin K. Sneider, former president and CEO of Edison Brothers (1987-1995) and currently an adjunct professor of marketing at the Olin Business School at Washington University in St. Louis, credit for this unique and entertaining campaign should go to the late Morrie Pearlmutter, who ran the company's advertising department for many years. Bravo, Morrie! We'd like to extend our thanks to Mr. Sneider, whose self-published memoir Toast: How a Leading Retailer Went from Toast of the Town to Just Plain Toast (Four Penny Press, 2009) is now available. You can read more about it here. For more information about the Edison Brothers, check this out.


EDISON BROTHERS AD GALLERY

(A work in progress)


September 22, 1972


September 22, 1972


September 29, 1972


October 6, 1972


October 6, 1972


October 13, 1972


February 23, 1973


April 6, 1973


April 27, 1973


May 11, 1973


August 17, 1973


August 31, 1973


October 12, 1973


October 26, 1973



August 24 & 25, 1974


September 6, 1974


October 11, 1974


October 25, 1974


November 8, 1974


March 14, 1975


March 21, 1975


April 11, 1975


May 2, 1975


May 16, 1975


November 25, 1976


September 2, 1977


September 16, 1977


November 25, 1977


December 9, 1975


May 5, 1978


September 8, 1978


November 10, 1978


March 16, 1979


April 27, 1979


May 25, 1979


August 17, 1979


August 31, 1979

Sunday, April 25, 2010

One-Sheet of the Week: REVENGE OF THE ZOMBIES (1981)


GOU HUN JIANG TOU / BLACK MAGIC II (1976)

U.S. release in 1981 as REVENGE OF THE ZOMBIES

Saturday, April 24, 2010

One Bat Review of GOTHIC GROTESQUES



Dead PA. Actor Nick Reads Grotesque Book On A Bette -- Blows The Thing To Adams!

Or,

Mary Shelley Was Such A Bat Cook,
She Made Hot Dogs,
Served Them That Night In Bier Mugs,
& Called ‘Em Franks‘N Steins!

-- One Bat Review Of GOTHIC GROTESQUES by Brian Stableford --

(Twas A Frank & Steiny Night’s Read: Dr. John Found This Poli-adorable, Byron Threw It Into The Fire & Yelled “Ghouled **** choke **** Lord!” ... While Percy, Not One to Take It E.C., Went "The Shelley Witch It!" Mary? She Went “Goth? Ick!”)

by
The Keeper of the Pit

Since I haunt one to give out bat depress or call someTHING Lugoseedy, after reading this I decided to share reviewing duties with a fellow Pennsylvanian, the late, lamented Nick Adams. Caught him just as he was about to catch the 3:10 to Johnny Yuma tomb-a.


Oh, sure, fear reader, you’re thinking, “Nick Adams? Why Nick Adams?” Well, for one, he’s, uh, daid, and scare gore, I SAID therefore perfect for handling out grave reviews. For twomb, being from PA., the Nickster had to have been big on horror movies, since he was in enough of ‘em. Plus he probably grue up watching such scare fare in these parts, since my old buddy Frankie Muldoon over at the Black Diamond Theater in Coletown used to tell me: any movie emporium in the state coulda run horror movies every day and fright of the year. That being as long as ya left one week for Kirk Douglas in ACE IN THE HOLE, especially if you had a deal at the snack bar that made everything cheaper for miners.


Bedside witch, I mean, besides which, Adams’ monster movie gigs include one of the first big scream versions of H. P. Lovecraft, whose works are mentioned frequently in Gothic Grotesques, which shall be called GG from here oh-pun. Plus the Nickster starred opposite the biggest star in the world at that or any other time: Godzilla. Oh, Nick and Godzie on the set in Japan, the stories they must have Toho’d!


Now this is not to cast sneaky, snaky poisoned asp-ersions at Mr. Stableford. I fondly recall reading his straight sky-fi back in the early 70’s, seems like only back in the DAWn of time. Many folks might not know this, but Mr. S. was then quite the young musician of the starways, well known for many a sweet Hooded Swan song.


Ah, but somewhere past the Heinlein door into ‘70’s summers I made like Samuel R. Delany and done Spindrift-ed, rather lost in space touch with Stableford’s work as I got gore and more into horror in print and on film. Particularly whenever horror and sky-fi crossed under a star-tossed drive-in skies. For all his eso-terroric word-building in this creature-featured collection of articles on fantastic literature and film, I don’t believe Mr. S. much finds that often the beasts way to eeek!-merge sky-fi and horror is by creature featuring monsters. Lots and ROTS of monsters. Especially when they’re reely “B”ig and car speaker or radio active, performing outdoor screen Giant Ants From Space gig-antics. On that, my word is my Blondie.


Oh, Campbell’s “Who Goes There” gets mentioned. But even then, Stableford herein would rather play deep THINKer than THINGer … I say Kurtly, "B"lieving horror movie fans might find these Gothy Groties a hard Russell.


Worse, there’s tons of words. Words in loonnnnngggg paragraphs of one sentence. To, let’s be Frankenstein, quote the young Madeline Kahn, “Whoof!” Makes me wanna read or watch some bullets and babes type of thriller, say, where the gal with her own low saxophone theme song … and a pair the male reader’d love to grab … asks Philip Marlowe what HIS book would be filled with, and he sez “Short sentences.”


Gunbutt I digress. GG also contains essays on: Vampires, their kiss and kin, from Polidori to wicked monsterous weddings of old ghoul school and new, morgue grew some vampire fiction, where probably the beast idea at the ceremony would be: “Throw Rice!”


Also herein: the beginnings of sky-fi mixed with horror via Mary Shelley, with what would in the 20th Century become, Universally, a Whale of a terror tale by any body’s bolt.


And although there’s a piece on Last Man On Earth stories, where’s the first man on Earth horror story, where Adam met Evil? Or the first sky-fi story ever, where the first homo sap said, “Madame, I’m Atom.” But, Ah’m a-getting-on…I shall, froth witch, try to be more nuclear.


Also here: horror and H. G. Wells at his most Moreau-se. Granted, every time I read ISLAND OF DR. MOREAU its worldview is so depressed I wanna jump off a tall building, Kongsistently. Why, jest seeing the cover of that old Classics Illustrated FOOD OF THE GODS comic book, with its mutantly enlarged bird, still gets me appreHENsive. I mean, abat every subject's here in GG horror folks should expect. Unless they’re giant chickens, then it’d be ex-pecked. So, why can’t I scream to get eggs-cited? Or even rooster'ed up?


What lurky lurches within? Well, there’s alien take-overs representing the loss of man’s very identity, sure, often in a fight to the Finney-ish. Yet I kept reading GG and, couldn’t help it, my mind wandered to any version of THE BODY SNATCHERS. Started thinking scumthing' Stableford perhaps never Ed Wood: when the heroine’s jest about to turn all outer spacey from another PLANT IT? That’s when she should say, “Sorry, hon, it’s time for me to go poddy.”


There’s also an epic piece on heavy metal thru goth music and beyond. Me, I’m Steppen out to say “heavy metal thunder” started with the Yardbirds, any guitarist: Jeff at Samwell-Smith’s Beck and call, Jimmy tuning the next Page, the first guy leaving while he was still getting claps by the ton. Stableford gets so densely into the since those days scenes I want to call Siouxsie up, find out if by now from her concerts she’d want to ban shes. One way to cut down on paragraphs too crowded.


Spooking of banning shes, we of curse get long and windy words on, say, Carmilla, where after awhile I got to hoping for the following dialogue to be Hammer movie hammered out:

She #1 (standing in front of crypt): “Should we do this inside, or out?”

She #2, drunkenly: “Oh, less’ be in.”


Although, if ya told such lines onstage, who knows with what overly ripe veggies, hexactly, so inclined disgruntled undeadettes might Fanu? Or what they'd hoodoo, uh, necks't. Fangfully, if such lines hexist, Mr. S. neglects to men shun it.


My maim GG gripe is these essays are way too academic rather than horror fan eeeek!-atom-ick. THING is, this book's a bounce it off the waller AND call the friggin' corner-or. Yep, the kind witch would make even the brain of Dr. Frankenstein’s hunchback Frye! Hecate, it jest fright even give Colin the Clives! And I say that as a person who has been reading factoidly fright film pieces since Carlos Clarens’ ILLUSTRATED HISTORY, wayback when my idea of hell was: whenever some Poe kid’s mom burned all his Castle of Frankensteins. Now THAT was what you call Joe Dante’s Inferno!


Lord Byron knows, it’s not like I don’t ape-reciate essays on the history of the horror form as GG goes on about. Ah, but if only once in a grue moon B.S. would break down and -- rat hair than GG go on & yawn -- ghoul on, abat any unholy THING. I demean, last week I finished the Hooblers’ THE MONSTERS, MARY SHELLEY & THE CURSE OF FRANKENSTEIN, witches gloom and doomy and strait-jacket laced as never get out, yet I found it quite enjoyable and so Woolstonecrafted as to be, in the battles against the powers of mortality, an over Godwinner.


What IT is, is...had no problems with the Hooblers, so what's the problem I have with GG here? And why hoodoo I get this feeling if Mr. S. had been a historical crime and court reekporter, the style would have come out all cut and Dreyfussed?


Worst of all, a book on fantastic lit and film cries for help from pictures tomb break the monster rot tomby. Like Bert I. Gordon might have said, one pic of Maila Nurmi melting away like butterscotch fudge on a Black Sundae is always worth a thousand MAGIC SWORDs. I "B"lieve I'm gore-wrecked to slay that even the most literate spinners of HAUNTING words turned to chillers...of whom there's gore than some critics stink...on the big scream would agree. And that’s for Shirley, Jackson!


Yes, fear reader, you’re quite a fright, I mean, right! I too think I may need a second opinion steada pun yawn. Could be my widdle bwain’s Pit-tweetpotrezeebin’ from all those Flavo’s shrimp rolls at the Mu-Way Drive-in. Honest, I’m slow overwhelmed with GG’s words that even now my said sad brainPanics In The Year Zero. You know, like the old sky-fi stories and futuristic flicks where the whole world’s blown to atoms…Wait, Adams! Whew, my old buddy’s name came back to me in the Nick of time and space!


Like I started to say, I hustled some Gothic Groties up to Burke, PA, where Mr. Adams is buried, took some sample pages of what I’d read for him to site. Luckily I caught him in a mood when he wasn’t feeling REBEL yell-ious.


His first reaction, some ways in? “Nertz, even I have one heckuva LOT more plot!”

“Uh, Nick,” I said, “me and you, we’re boat from nordern PA. Think NUN fiction!”

He paused. “So, I should knuckle under, huh?”

“Yah, man,” I agreed. “Nuns ruler!”


Way the ground shook I could tell he wanted to perogie-school-kill me. I said, ‘Down, boy, down,” and he said, “Downer I can’t get!”

“C’mon," I coaxed, "hoodoo it for the sisters!” Ground kept moving, so I quick and the dead said, “I mean, the local sisters. Rite here. I been listening here waiting for ya, and all the gals underground ‘round here say you make ‘em hot tomb plot!”

Well, that calmed him down some. Don’t wanna mention I kinda thought he was wrutching around some with a stiffly stiffie. Finally he said, “Lemme some pages.”

“Sure, thanks, Nick.” I laid some more Grotie Gothies on him, started walking. Clouds fell, lightning rumbled, and Nick yelled to my back, “No, stupid, I meant BETTIE Pages.”


I turned. “You ain’t heard she died?”

“What?”

“Uh huh. Tell ya what, you read some’a this stuff, I come back I’ll try to have dug up her telle-bone number. But if you don’t have something I can use ‘bout these here pages of Mr. Stableford’s I’ll tell the nuns over in Nanny Coke ya been a knotty boy.”

Well, that did it. Being knotty witchout sources, the next week I brought him Bettie P.’s number. I know, her being passed on I shoulda jest got her eeek!-mail. Still, Nick was so grateful, uh, dead I asked him if maybe he’d give bits of Mr. S.’s copy to one of Nick’s old co-stars to review. “Who, X-act-ly?” he asked, I said, “Uh, Mr. Karloff?” He went “Gimme a sec,” yelled “Hey, ole Bill! Hey butt!” That’s, I guess, Coletown speak gone spook.


Next week I came by, no one home. There was, though, a note, said, “Got ole Bill Karloff to read a lil that book. He wants to know if the guy’s deliberately trying to Boris!”


Next visit still no Nick. This time I left him a note, asked if he’d sample a few GG pages to Godzilla. I mean, ya never know when the Big G. is only sleeping, or dead for reels...


No Nick in spirit next time, ether. Another note was there, though, complete with a big slimey and green footprint that had obviously been used as a STAMP! Note said, “Godzie tried to read it, says he’d rather torch it than touch it! Also says ya couldn’t pay him enough to read more, and that’s from a Big G. G.uy who works for scale. And even THAT’s only when he feels the friggin’ yen.”


Following week Nick was there, but still not in spirit. Hey butt, instead I found another, more heart-felt note:

“Hey, kid, me and Bett say thanks for getting us in touch. In fact, reason we haunt here? We’re off on our honey booin’! Eeee-yowser, and I thought those gals up in Scrant-‘un could really tie one on!”


Yeah, for a dead ‘50’s and ‘60’s movie star he sure hepcat helped out! In fact, just for me he writ it up like top taglines on old horror movie posters, like over at the Black Diamond, or down at the M-W D-I at Pummeled Dwarf! And yeah, unlike myself or a Mu-Way dusk-to-DONNA THE DEAD, he kept it short.

It reads:
“Just tried to read the Groty book again all deady!
It hain’t CANNIBAL STEWpendous!
It hain’t AMAZING or COLOSSAL, MAN!
FROM HECATE CAME! GG Book’s So GD Dull, Even The Sisters Up In Wilkes-Barr Say It’s DIE, MONSTER, DIE-dactic!”


Under that, it read: “The guy does one of these next time, give it to the next TOMB! We Borgo Pass.”

Note was signed, that is, slimed the way he always does for me: “Nick’s Atoms.” Under that, in different writing, were words from a feminine hand more enchainedting. They said, “What he said. Trussed me!”


Wotta gal. And wotta guy Nick, sorry, remains. Even in the state he’s in, and I don’t demean PA., he always finds a way to be up in atoms AND, no matter the weather, Adams balmy!


Still and all, last time I “saw” Nick, he had for the first time, “on a Bette,” seen one’a Brian De Palma’s early horror flicks and said I should send a DVD of it “Over tomb da SISTERS.” That Nick, such’a Kidder! He also told me to tell the “folks out scare” that Bettie and himself still think Mr. Stableford does “humorless paragraphs that go on for PAGEs!”


Oh, they also said that no matter GG’s horror subjects, “X-personally, we think a whole other book of such paragraphs might give even a werewolf in the longest Stephen King book ever … howl to slay … serious PAWS!”


Way to gone up to heaven go-go, guy and good goil coiled! Fangs a rot, you’ve urned it! (And yeah, I’m still trying to sell youse guys’ script to D.Ceased Comics!)