Label: Chinstrap Music - Chin15 • Format: 7x, File MP3, Unofficial Release 320 kbps • Genre: Stage & Screen • Style: Score
The relentlessly sententious dialogue begins to make almost cosmic sense by the end of the picture. This movie is just so boring, and so terribly bad. The only good thing is Vincent Price. If he was not there, I think that movie could be worst.
Only for Vincent Price fans. However, the few modern critics who have bothered to comment hold it in high esteem. Jonathan Rosenbaum went so far as to include it in his list of the one hundred greatest American movies. The film has an inarguably impressive cast and crew behind it. The music was handled by the prolific B-movie composer Albert Glasser. It is additionally notable as one of the few American films from the period to have a predominantly Asian cast.
And of course, it stars the venerable Vincent Price. Who, or rather what, is Vincent Price, and how does his presence function in the film? But his playing an opium-eater is unsurprising, considering the kinds of characters he normally plays: raving madmen, deranged geniuses, pensive aesthetes. Price played Dr. Unfortunately, being a Vincent Price character of the stoic sort, he is not easily unsettled.
So, naturally, he decides to lock himself in his lab, drop acid, and freak out. He becomes paranoid and disturbed, and screams madly when he has a hallucinatory vision of the skeleton in the corner of his laboratory, thus damning his research by shrinking his tingler. Price, whose spectral voice was already legendary after his s horror films, at his best lingers somewhere between the sublime and the ridiculous, a quality that can often make one forget one is watching a low-budget B movie.
But he was a man of great intelligence, on screen and off, and certainly knew the ludicrousness of many of these productions. Clarence is the one who drowns in a vat of malmsey. Phibesfor instance, where Price — an undead organist hell-bent on annihilating a team of English surgeons by means of, among other things, a catapulted brass unicorn — intones his ludicrous dialogue through a vocoder attached to the side of his neck.
Vincent Price is a weapon that is deployed, a vocoder operated through the central nervous system, a cinematic virus that eats at the frame. The character is simultaneously pure surface, pushed through the movie like a ball winding through a Rube Goldberg machine, and pure mystery.
He, like all stars, brings a web of associations with him, but Price has the advantage of bringing by means of his voice alone a sense of the mysterious, the macabre, and, yes, the campy and the A Boat In The Fog And A Battle - Albert Glasser - Confessions Of An Opium Eater.
It is another layer of pure affect that blooms out of the meager skeleton of this film. And at least for a time Gilbert is a recognizably Pricean character. He begins with his trademark charm and sense of aloof condescension, and his perspicacious self-possession, but as he progresses through the film he increasingly resembles a rat in a maze or on a hook, or in a cage. His charm may appear efficacious, but only leads him into deeper trouble, as when he appears to seduce Ruby Low only to end up unconscious in a bamboo cage.
Much of this heritage was from the cinema itself. Considering the spectacular popular appeal of the opium den, it is not surprising that the earliest filmmakers quickly took up the theme. Two figures recline on their sides, pipes in hand, on bunk beds, smoking with appropriate languor. Paul, are a few notable examples. The quasi-colonialist language is telling. Lascars, Chinese, Moors, Negroes, were met at every step. He only knew of the work from a description given by fellow addict Samuel Taylor Coleridge, but both men conceived of the work as the closest analogue to their opium visions.
These huge vaulted spaces, high and wide as they are, have always an opening to some yet higher vault; every staircase has another further staircase running beyond it to a more distant recess; through every arch you see another arch, which opens on to a third; and oubliettes open in the floor, to show that downwards too there is more and ever more space.
There is no end to these prisons, but nor is there any way out. Each vast enclosure of space communicates only with another huge sealed crypt. This limitless and yet claustrophobic expansion of space is perceived and conveyed with an agony of hyperaesthesia.
We open on the sea, the oneiric mood of the film settled instantly with a serene shot of a ship coming in beneath the hypnotic intonations of Vincent Price. I dream, and I create dreams — out of the opium pipe. I see sailing into our vision a junk.
Its cargo: women. Women bought or stolen from all over the mysterious Orient. Their destination, and mine: the human auctions in Chinatown. But so far from being an impediment, I think this in fact makes a positive contribution to our dream-fugue. The grain washes through like a haze of smoke, actually serving to heighten the immersive, hallucinatory air of the film. And so, on our dirty, grainy sea, we begin our journey.
Already, the territory is De Quinceyan: water and the sea are recurring motifs for him, and aquatic imagery comprises one of the three categories into which he divides his initial opium dream-world the others being dreams of architecture and human faces.
Out of the mist Luz A Nos - Michel Freidenson - Parque Cósmico A Boat In The Fog And A Battle - Albert Glasser - Confessions Of An Opium Eater , the ship comes upon a beach, with enemies lying in wait.
Here we have our first action scene. The bodies just move about and collide in something resembling combat, where neither the combatants nor the audience are very clear about what is going on. In the early stages of my malady, the splendours of my dreams were indeed chiefly architectural.
Chinatown is almost a character in the film: opaque and exotic, an orient within which reproduces all of the classic Orientalist fantasies, but as manifestations of an internal contagion within the metropolis.
De Quincey arrives, from China, as a kind of mercenary, hired to find and retrieve a woman who has escaped the sex trade for a man named Ling Tang.
We follow Vincent Price through Elation - Various - Popsport Finalisten Seizoen 08/09 labyrinth without knowing why, or even really caring.
On a first viewing, the layout of the spaces was Years - Change unclear; the detailed outline I have here required immoderate reliance on the pause button. The idea of the city as labyrinth is an ancient one, but the particular idea of Chinatowns teeming with tunnels and trapdoors utilized for illicit purposes dates from the late-nineteenth and twentieth-century in the western cities of North America.
In cities from Vancouver to Mexicali, locals spread rumors of tunnels dug by the Chinese, for dwelling, smuggling, smoking, gambling, and kidnapping. Several opium joints were known to be operating in Tacoma. And there was no question in the minds of many people that the narcotic was smuggled in through tunnels from their dens to cleverly hidden exits near the waterfront.
They were also convinced that the tunnels were dug by Chinese, either as a personal enterprise or at the behest of white men of the underworld, as no white workmen would burrow the devious mole-like passageways and keep their labors secret. About thirty years ago a rumor had settled on Mexicali that the Chinese were harbouring a vampire down there. He is instantly transformed upon meeting her, as if she were a sorceress. It is a moment of destiny, an epiphany:. Chained, locked inextricably together: arms, brains, heart pulsations, unable to free, unable to break apart.
Sinking, sinking through the A Boat In The Fog And A Battle - Albert Glasser - Confessions Of An Opium Eater depths of time. We laugh, but a lot of this language is a faithful pastiche of De Quincey. This, however, did not disturb me so much as the vast expansion of time. After his meeting with Ruby Low, the Tong war begins in earnest, and the film proper begins.
A flag falls over the frame like a theater curtain, and Ruby rushes into an alley and through a door, which mysteriously closes with a shutter in front of De Quincey. This is our departure from classical or smooth space, in which one enters and leaves rooms through clearly marked and defined thresholds.
Once Price breaks in through the window, each space is connected to every other space by an altogether different logic. Upon entering this room, he hears cries, coming apparently from a closet. When he enters this, he can see from closet into another room. Another man comes through the first window, behind Price, and so he flees into the room with the girl.
A door closes behind him, blocking the way back. The number of doors that have closed by their own volition in the films of Vincent Price is incalculable, and these motifs seem to stalk the actor through his career. Soon, men crash in through both the window and a skylight, so Price takes the girl into the wardrobe, which we now learn contains. Now we proceed into the depths, the subterranean world with all the mythological and psychological associations it brings with it.
Moreover, it is a sewer, which reinforces the water motif. But the men come here too, from both directions. Price, feeling inventive, builds a bridge, and A Boat In The Fog And A Battle - Albert Glasser - Confessions Of An Opium Eater to escape, but is hit on the head with a board. This prompts the first of his several bouts A Boat In The Fog And A Battle - Albert Glasser - Confessions Of An Opium Eater unconsciousness. He drifts in and out at times, further confusing his and our relationship with the space around him.
This is also a brutal relative of the liminal states of consciousness and sleep associated with opium. He wakes hanging from a hook, but manages after a little chat to get down and follow his captors down through a trap door, which he has to go up a short flight of stairs to get to. Here, he finds the slave women locked up in bamboo cages. The dwarf — Yvonne Moray in a delightful performance — leads him to a view of another room.
He is led down a hall, up a set of stairs, and Hazy Hills Manor - William Csorba - The Bear Creek Child Cemetery (CD, Album, MP3, Album) a door — which, as always, is not differentiated very sharply from the surrounding wall — into the bath house, which resembles that old stand in of Sino-exploitation cinema, the Chinese laundry.
The door to the auction house is pointed out, but it is guarded by two men with swords, as if this were A Boat In The Fog And A Battle - Albert Glasser - Confessions Of An Opium Eater 8-bit RPG the spatial configurations, on the whole, are highly comparable to those in fantasy video games, which try to establish similar moods and states of consciousness.
Via a not-very-subtle ruse which involves another brawl, Price manages to access the room while the guards are distracted, and leaps onto an ascending cage, which lifts him up to another level. Here, he fights off one of the swordsmen, and ducks into a bathroom. As he hides, another man comes in, and enters a room, which has a secret entrance in the back of a bathroom stall. This is our opium den, which if I count correctly, required the passing of no fewer than eight doors, not to mention the more unusual methods of traversing thresholds we have witnessed.
Tu Es Toute Ma Vie - René Doré - Au Ranch O as absurdly tucked away as it is, the den can be put forth as a phony imitation. The specter of the ersatz was present Angel Of Love - Joe Meek - The Joe Meek Story in the early British accounts, as a modernizing London public increasingly unfamiliar with their rapidly sprawling metropolis searched for concrete bastions of authenticity, trying to find the real in the strange, and hoping not to be disappointed by imitations.
The opium experience absorbs sexuality and partially substitutes for it. As the opium begins to do its work, the film reaches its aesthetic climax, the brief hallucination montage and the slow-motion sequence in the den which follows.