Would love to hear details of this, for anyone who feels like sharing.  Sounds like great fun!  I would love to know the technical specs of what they screen.  It would be great if it were a gorgeous new 35 mm print of the movie.  If the owners decide to make it available, maybe our local rep house (founded among others by Thayer David!) will screen it one of these days.

G.

Glad you found it, Claude darling!

G.

Dear Taeylor,

Yes, there is a post on Humbert's IMDB page about Jenny's memorial service.  So very sad.  The individual who posted knew her as a friend-of-a-friend, I guess.  He says that Humbert was too ill to attend the memorial service himself.

There is also a long post from the late Craig Hamrick dated 2006 about his interview with Humbert which has yet to be published.  Again, very sad, although it sounds as if Humbert's wit was in full form throughout the interview.

Best wishes,

Steve

*cough* Cousin Taeylor might have some competition for the supreme honor of Grayson's Number One Fan *cough*

For Her fans are Legion, and We are Many!  *cue creepy music*

heh heh,

Steve

I don't think these photos were ever used in the mag.  That may by why they're available in their online archive now.  I tried really hard to find a photo, any photo, of Grayson on set during the NotI shoot in the blitz of pubs back in 1963-64.  I made multiple library trips and looked at anything I could find in all the major mags of the day and there was never any sign of her, anywhere.  She was referred to in passing here and there in some of the articles (most memorably in a quote from Burton that obviously referred to her--it irked me that the journo described her as "venerable" when she was only 41 years old!).  It's poetic justice that she won the lone Oscar nom from the film since she was pretty much treated as a non-entity in the press coverage.

There's a big splashy article about the torrid Taylor-Burton romance in the current Vanity Fair (with brief mentions of their time in PV on the NotI shoot).  The reporter says that Burton was nominated for an "Oscar" 9 times but never awarded one.  It's clear that actual acting talent has very little to do with taking home one of those glittery little statuettes.

G.

A second relay of viewing notes from the final reel:

Old Barnabas really is one of the most fabulous ghouls of the silver age of horror (the Sixties/Seventies period, which pretty much ends with Texas Chainsaw Massacre and the takeover of the genre by splatter nasties).  Frid's body movements in this role are so subtle, and add to the menace, as does Arthur Ornitz's camerawork.  There are signs here of DC's love of excess starting to take over, which really kicks in once we get to Lockwood Matthews.

I'm stunned at what the art director was permitted to do at Lockwood.  I mean, he dragged what seems to be an early 19th century cannon into the drawing room!  It all looks as if days, if not weeks, must have been required for cleanup.  But the results look superb on screen.  What I recall so well was being completely confused at this point in the story as to where we were.  They needed at least a snippet of dialogue about their having been an abandoned monastery on the island.  There's only a brief establishing shot of the house, with an ominous sting on the soundtrack.  I had no idea what that house was or why Barnabas et al had retreated there, on my first viewing.

Josette's wedding dress always looks more Spanish than French to me.  I love how her dreamlike descent to the waiting Barnabs is filmed.  And his line, when he takes her hand and speaks of how long he has waited for her, is a very poignant moment.  It would have helped a lot if the character had been allowed any time to speak about his motives, or express remorse for some of his obviously disastrous temper tantrums (the whole Carolyn thing--when you think about it, Barn seems to have been acting out of pure headstrong impulse with no consideration at all for consequences).

My biggest complaint about the big showdown is the same now as it was forty years ago.  That overdone use of echo chamber FX and the Sam Peckinpah slo-mo thing makes this sequence so very cheesy.  The one element that I thought gave it an air of tragedy was the beautiful "lament for Barnabas" composed by Cobert, I think originally for this scene (and re-used subsequently in the Jack Palance Dracula and I think a number of other DC projects).  Even as a 12 year old I was very disappointed in the cheesiness of how the climax was filmed and edited.  I can understand why Frid felt he had been doing "pornography" once the project had been completed--and why he strenuously refused to do a sequel.

I had missed one final flourish of FX at the very end of the credits roll.  When the bat flies up, there's actually a camera trick where Barn's corpse disappears, leaving only the mist weaving around the coffin.

It's really too bad that the tag scene, included in the novelization, wasn't filmed.  It would have helped give more of an air of resolution to the proceedings.   That feels very badly needed in the wake of how the picture wound up ending in the final cut.

G.

i'm delighted to see that the slide shows are continuing!  It was delightful to log on and see a capture of Vicki as she contemplates the beginning of her journey.

Happy 44th Birthday, DS!

G.

Wow, Charles!  That second shot is KILLER!

There can be no doubt who the STAR of that film was!

Thanks so much!

G.