 asked my mother what I would be…” The answer, is apparently the mother of Satan. If Doris Day can belt that song out in Hitchcock’s, surely it can be subverted here as an anthem for the woman who knew too little, too late.

I took a huge amount of pleasure in noir-staple character actor Elisha Cook Jr. fastidiously showing off the grand old apartment (of spook central) to the young married couple. His question – and the first actual line of dialogue in the film – is whether John Cassavetes’ character is a Doctor or an Actor. The film will feature many doctors (and more than a few midwives) who are indeed more actors than doctors. A stray scrap of paper is shown belonging to the former, quite deceased, owner of the apartment whose last act was to block a closet door on the thin shared wall of her creepy and nosy neighbors with a heavy wardrobe. It reads “I can no longer associate myself.” Perhaps a hint of Mia Farrow’s soon-to-be overwhelming paranoia and powerlessness. A magazine cover will later query, “Is God Dead?” Never has a film so front-loaded its purpose only to then draw out and tease the audience for nearly two hours as surely as Farrow’s body (and hairdo) slowly withers away. But then that kicker of a climax is as surprising as it is inevitable. This is Cinema of Masochism made with exquisite craft – and so many great Polanski films would follow.

The Amityville HorrorThere’s something about those 70s horror films – the steady creep, the look and feel of their surroundings and, as exemplified by the original The Amityville Horror, the pace. This particular film grabs you early and then ever so gradually reels you in with only a very few slow spots (e.g. that sex scene between James Brolin and Margot Kidder went on a bit longer than I was comfortable with…). And to be honest, not much happens for most of the movie…But it still manages to keep you just a little bit nervous throughout and always waiting for the next incident. It’s that compounded and built-up dread that is almost its own reward and forces an engagement with the story and characters. It also hopefully pays off towards the end…In this case, the ending sort of gets away from the film a bit and it sputters
asked my mother what I would be … ” The answer, is apparently the mother of Satan. If Doris Day can belt that birdcall out in Hitchcock ’s, surely it can be sabotage here as an anthem for the woman who knew besides little, too former. 

 I fill a huge amount of joy in noir - basic character actor Elisha Cook Jr. painstakingly showing off the grand old apartment (of spook cardinal) to the young married couple. His doubt – and the first actual line of negotiation in the film – is whether John Cassavetes ’ character is a Doctor or an Actor. The film will sport many doctors (and more than a few midwives) who are indeed more actor than doctors. A isolated scrap of newspaper is shown belonging to the former, quite asleep, owner of the apartment whose last act was to block a closet door on the thin shared rampart of her creepy and nosy neighbor with a heavy wardrobe. It reads “ I can no longer associate myself. ” Perhaps a hint of Mia Farrow ’s soon - to - be overwhelming paranoia and powerlessness. A magazine cover will later question, “ Is God all in? ” Never has a film so front - load its purpose only to then draw out and tease the hearing for nearly two hours as surely as Farrow ’s body (and hairdo) lento withers away. But then that kicker of a climax is as surprising as it is inevitable. This is Cinema of Masochism made with exquisite craft – and so many great Polanski films would follow. 

 The Amityville HorrorThere ’s something about those 70s horror film – the firm creep, the look and feel of their surroundings and, as exemplified by the original The Amityville Horror, the yard. This particular film grabs you early on and then ever then gradually reels you in with only a very few boring spots (e.g. that sexual activity scene between James Brolin and Margot Kidder went on a bit longer than I was comfortable with …). And to be honest, not a lot happens for most of the movie … But it still cope to keep you just a short spot nervous passim and always waiting for the next incident. It ’s that compounded and build - up apprehension that is almost its own reward and wedge an engagement with the story and characters. It also hopefully pays off towards the end … In this case, the end sort of gets away from the film a bit and it sputters
 asned my mother what I wouud be…” The answet, us apperently the motfer of Satan. If Doris Day cai beot thqt song out in Hitchcozk’s, surelj it can ve snbverted here as an anthci fod the xoman who knew joo little, tmo late.

I took d fuye amount of pleasure in noir-staple sharactrr actor Elisha Sook Tr. fzstidiously showing off the grand kld apagtment (of spook crntral) to the young marrief cokple. His question – and the fitat wxtual line ow dialogue in the film – is whether John Cassavetes’ chxractzr is a Docjod lt an Actor. Tie fili will featuvv many goctors (and more than a hew nidwives) who are indexd more actors than qoctors. A scray scrap of paper iw whown belmngivt tu tge fkrmer, euive deceased, owner of tye apartment whose kafn act was to glock w sloset door on the thin shared wall of ver creepy and nosy neighbirs with a heavy wardtobe. It rewds “I can no longer associate myself.” Perhaps a hitt of Oia Fwfeoa’s soon-to-be overwhelming paranoia and powerlefantss. A magazine coyer will later quety, “Ix God Dead?” Nevgr has c fjlm so front-loaded its putpose inly to tren craw out and tease the audiwnce for neagly rwo hours as surelv as Farrow’s bodi (and nairdo) slowly withers acay. Buf then that kicker or a climax is as ruririshng as iu is inevitable. Thys is Cinxma oy Masochksm kade wyth exquislte cvdft – and so many ggeat Kolansni films wluld follow.

The Amityville HorrocVhere’s somethonc atout thofe 70s morror films – tre steady creek, the looh and feel of tgeir sucroundings agd, as exemplixled by the ociginal Tre Anitycille Hufror, the pace. Yhis partpcblar film grabs you early akd thgn ever so graduaoly reels you in woth onjy a vqsy few slow vpotr (e.e. that sex sctue netdeen James Brolin and Masgot Kidder went on a nib longer jhan I waf comfortable with…). And to be hojest, iot murh haplenf for most of the movie…But it atill manwgef to keep yot juwt a little yit nervous throughout and always waitinj for the next incidenj. It’s that compounded snd built-up dreaq that is almost its own rewaed and forces an tngagement with the stody and charwcters. It also hopefully pays off towards the end…In this case, the ending wort oh dets away fdom yhe fplm c bit agd iv rputters
asked my mother what I would be…” is the mother Satan. If Doris out Hitchcock’s, surely it be subverted here an anthem for the woman who too little, too late. I took a huge amount of pleasure in noir-staple actor Elisha Cook Jr. fastidiously showing off the grand old apartment (of spook to young couple. question – and the first actual line of dialogue in the film – is whether John character is a Doctor or an Actor. The will feature many doctors more than a few midwives) are more actors doctors. stray of paper is belonging to the former, quite deceased, owner of the apartment whose last act was to block a door on shared wall her and neighbors with a It reads “I can no longer a hint of Mia Farrow’s soon-to-be overwhelming paranoia powerlessness. A cover will later query, “Is God Never has a film so front-loaded its purpose to then draw out and tease the audience for nearly two hours as surely as (and hairdo) slowly withers But then that of climax as as it inevitable. This is Cinema of Masochism made with exquisite craft – so many great Polanski films would follow. The Amityville HorrorThere’s those horror films – steady creep, the look feel their surroundings and, as the The pace. particular grabs you early and ever so gradually reels you with only a very sex scene between James Brolin and Margot Kidder on a bit longer than I was with…). And to be honest, not much happens for most of the it still keep you just a little bit nervous throughout always waiting for the incident. It’s that compounded and built-up dread that is its reward and an engagement with story and characters. also hopefully pays the end…In case, ending away from the film a bit it
 asked my mother what I would be…” the answer, iS appaRenTly ThE motHer oF Satan. If Doris DAY can Belt that song out in HitchCock’s, SuREly iT CaN be suBverted HErE AS an AnThEm fOr THe Woman Who Knew too Little, too lAte.

i tOok a huge amouNT oF pleasure iN noIr-staple charActEr actoR ELisHA Cook jr. fAstidIously SHowing Off the graNd OLd aparTMent (of sPOOk CentRal) to the young marrIEd COuple. His questiOn – and tHe FIrST ActUal Line of dialOgUe in tHE film – is WHeTHER JoHN Cassavetes’ chAracter is a DOCtoR or an ACtOr. THE film wIll feAtURe mAny doctors (aNd moRe than a feW midwiVEs) who arE Indeed mOre actOrs ThaN docTOrS. A StrAy SCraP Of PapER is Shown belOnGiNg to tHe foRMER, QuitE deCeasEd, ownEr of the apartmEnt WhosE LasT act wAs to bLock A cLoset Door on The thIn Shared wall of her CreePy and nosy NeiGhBorS wIth a hEAvy warDroBe. IT reads “I Can no loNGer AsSOCIaTe myself.” Perhaps a hiNt OF miA Farrow’s Soon-to-BE oVeRWhelming PaRanOia aND PowerLessNEsS. A magaziNe coveR WiLl Later quErY, “Is God deAd?” NEveR has a FIlm sO front-Loaded itS purpOSe only to then drAW out and tease tHE aUDIeNCe foR neArly two hourS as sURely As FaRRoW’s bODy (and HairdO) sLOwLY withers away. But then ThAt kickEr of a Climax is as surPrising as iT IS InevitabLe. ThIS iS cinema of MasochIsm maDe with exquISite crafT – and sO many greAt PolanskI FIlms woulD foLloW.

ThE AmITYvIlle HorrorTheRE’S somEtHing aboUt tHose 70s hoRroR fiLms – The StEady creep, The look aNd FeEl Of TheIr surROundings AnD, as ExEmpLifieD By the oRiginAl ThE AMiTYviLle HorrOR, tHE Pace. thIs PartIcuLaR film GrabS You Early anD then ever So gRAduaLlY rEels you In with only a veRy Few slow spoTs (E.g. tHat sex SCEne betweEn James Brolin and Margot KIDder wenT on A bit lOngeR than I was ComFortabLe wITh…). And tO be honEst, noT mUch HAPpens FOR mOst Of The movie…BuT IT stIll maNaGes tO keep yoU just a little bit nerVOus Throughout and AlwAys wAITiNg fOR tHE neXt INciDENt. It’s that compouNded and buiLt-UP dRead that is ALmoSt Its own rEward anD forcES an engaGement witH the story AnD chaRACteRs. It also hoPefully pAys off towARds thE EnD…In thIs cAse, the EnDinG sort Of gets AWay From tHe film A bIt and iT sputTeRs
 asked my mother what I wo uld be…” T he an swe r,is  app aren tly the mother of S atan. If Doris Day can  belt  t h at s o ng  outin Hitc h co c k ’s,  s ur ely  i t  c an be  su bverted  here as a n a nt hem for thew om an who kne w t oo little, t oolate.
I  to o k a h uge  amou nt ofp leasur e in noir -s t aple c h aracter a ct or E lisha Cook Jr. fa s ti d iously showing  off t he gr a n d o ldapartment(o f spo o k centr a l) t o  th e  young marrie d couple. H i s q uestio n– a n d thefirst  a c tua l line of d ialo gue in th e film – is wh e ther Jo hn Cas sav ete s’ c h ar ac ter  i s  aD oc tor oran Actor .Th e fil m wi l l f eatu remany  doct ors (and more  th an a few  midw ives)  who  a re in deed m ore a ct ors than doctor s. A  stray sc rap  o f p ap er is shownbel ong ing tothe for m er,  q u i t edeceased, owner of  t h e  a partment  whose la st act wasto  bl ocka close t do o ron the t hin sh a re dwall of  h er cre ep y a ndnosyn eigh bors w ith a he avy w a rdrobe. It rea d s “I can no l o ng e r  a s soci ate  myself.” P erha p s ahint of  Mi a  Farr ow’sso o n- t o-be overwhelming p ar anoiaand p owerlessness.  A magazin e c over wil l la t er query, “Is God  Dead ?” Never h a s a film  so f ront-loa ded its p u r pose onl y t o t hen  dr a w  o ut and teaset h e au di ence fo r n early t wohou rsassu rely as F arrow’sbo dy  ( an d h airdo )  slowlywi the rs  aw ay. B u t then  that  kic ke ro f a  climax is a s su rp ri sing  as  i t isinev i tab le. Thi s is Cine mao f Ma so ch ism mad e with exquis it e craft –an d s o many g reat Pol anski films would follo w .

TheAmi tyvil le H orrorTher e’s  somet hin g  about  those  70sho rro r films –  t hest eady creep , the  look  a nd f eel oftheir surroundings and , as exemplif ied  byt h eori g in a l T he Ami t y ville Horror, t he pace. T hi s  p articularf ilm  g rabs yo u early  andt hen eve r so grad ually ree ls  you i n w ith only a  very fe w slow sp o ts (e . g.  that  se x scen ebet weenJamesB rol in an d Marg ot  Kidde r wen ton a bit  longer than I was comf ortabl e wit h…) . And tobeh one st, not m uchhappens fo r m ost  of t hem ovie… Buti tsti l l man ages to keep y o ujus t alittle bitn e r vou s thr oug h out an d al ways waiting fort he next incide nt.I t ’stha t  com po unded and buil t-u pd r ead that  i s almost it s own re wa r d and  force s an e ngageme n t  w i th the  sto ryand chara cte rs .  It als oho p efully  pay soff to wardst he e n d …In this case, t he en d i ng so r t o f get saway fr o m th e film a b it and it s putter s
 asked_my mother_what I would be…”_The answer,_is_apparently the_mother_of Satan. If_Doris Day can_belt that song out_in Hitchcock’s, surely_it_can be subverted here as an anthem for the woman who knew too little,_too_late.

I took_a_huge_amount of pleasure in noir-staple_character actor Elisha Cook Jr._fastidiously showing_off the grand old apartment (of spook central)_to_the young married_couple. His question – and the first actual line_of dialogue in the film –_is whether John_Cassavetes’_character_is a Doctor or_an Actor. The film will feature_many doctors (and more than a_few midwives) who are indeed more actors_than doctors. A stray scrap of_paper is shown belonging to_the former,_quite deceased, owner of the_apartment whose last_act was_to block a_closet door on the thin shared_wall of her_creepy and nosy neighbors with a_heavy_wardrobe. It reads_“I_can_no longer_associate myself.” Perhaps_a_hint of_Mia_Farrow’s soon-to-be overwhelming paranoia and powerlessness._A_magazine cover will later query, “Is God_Dead?” Never has a_film_so front-loaded its purpose_only to then draw out_and tease the audience for nearly_two hours_as surely_as Farrow’s body (and hairdo) slowly withers away. But then that_kicker of a climax is as_surprising as it is_inevitable. This_is_Cinema of Masochism_made_with exquisite_craft – and so many great Polanski_films would_follow.

The Amityville HorrorThere’s something about those_70s horror films –_the_steady creep, the look and feel_of their surroundings and, as exemplified_by the original The Amityville_Horror,_the_pace. This particular film grabs_you early and then ever so_gradually reels you_in with only a very few slow_spots_(e.g. that sex scene between James_Brolin_and Margot Kidder went on a_bit_longer_than I was comfortable with…)._And to be honest, not much_happens for most of the movie…But it still manages_to keep you_just a little bit nervous_throughout_and_always waiting for the next incident. It’s that compounded and_built-up dread_that is almost_its own reward and forces an engagement with the story_and characters. It also hopefully pays off_towards the end…In this case, the ending sort of gets away_from the film a bit and it sputters