#john eberhardt

[milkymarble]

art i like

[loremori]

Martin Freeman (180/366)

CURIOSITIES: 1-MF has never hidden his admiration for Michael Caine: "He is one of the reasons I became an actor."

2-In 'Without a Clue' Michael Caine is Sherlock Holmes and Ben Kingsley is Dr. Watson. The film has the peculiarity that Dr. John Watson is the brilliant detective, while Holmes is an actor hired to impersonate the detective.

🎬| Without a Clue (1988) Directed Thom Eberhardt Written Gary Murphy Larry Strawther

3-MF was interested in Michael Caine to play his father in the series Breeders, which did not materialize due to the actor's health. The role would ultimately fall to Alun Armstrong, who performed wonderfully as Jim, Paul's father.

[brokehorrorfan]

Night of the Comet will be released on 4K Ultra HD + Blu-ray on September 12 via Scream Factory. Catherine Mary Stewart and Kelli Maroney star in the 1984 sci-fi horror comedy.

Thom Eberhardt (Captain Ron, Honey, I Blew Up the Kid) writes and directs.Robert Beltran, Sharon Farrell, Mary Woronov, and Geoffrey Lewis round out the cast.

Shout Factory offers an exclusive set with a second slipcover designed by Joel Robinson and two 18x24 posters with the theatrical art and Robson's art. Pictured below, it costs $44.98.

Night of the Comet has been newly scanned in 4K from the original camera negative with Dolby Vision (HDR 10 compatible). Special features are listed below.

Disc 1 - 4K UHD:

Audio commentary by actors Catherine Mary Stewart and Kelli Maroney

Audio commentary by director Thom Eberhardt

Audio commentary by production designer John Muto

Disc 2 - Blu-ray:

Audio commentary by actors Catherine Mary Stewart and Kelli Maroney

Audio commentary by director Thom Eberhardt

Audio commentary by production designer John Muto

Interview with actors Catherine Mary Stewart and Kelli Maroney

Interview with actor Robert Beltran

Interview with makeup effects creator David B. Miller

Theatrical trailer

Galleries - movie stills and behind-the-scenes photos

It's the first comet to buzz the planet in 65 million years, and everyone seems to be celebrating its imminent arrival. Everyone, that is, except Regina Belmont (Catherine Mary Stewart) and her younger sister Samantha (Kelli Maroney), two women who care more about fashion trends than the celestial phenomenon. Upon daybreak, when they discover that they're the only residents of Los Angeles whom the comet hasn't vaporized or turned into a zombie, they do what all good Valley Girls do… they go shopping! But when their day of malling threatens to become a day of mauling, they flee with killer zombies and blood-seeking scientists in hot pursuit!

Pre-order Night of the Comet.

[drzito]

Las 242 peliculas que he visto en 2023 (parte 1)

Tarzan y su compañera (Cedric Gibbons, 1934).

2. El fantasma y la Sra Muir (Joseph L Mankiewicz, 1947)

3. Odio entre hermanos (Joseph L Mankiewicz, 1949)

4. Testigo accidental (Richard Fleischer, 1952)

5. El rastro de la pantera (William A Wellman, 1954)

6. El tigre dormido (Joseph Losey, 1954)

7. El quinteto de la muerte (Alexander McKendrick, 1955)

8. 40 pistolas (Samuel Fuller, 1957)

9. La maldición de Frankenstein (Terence Fisher, 1957)

10. Ocho horas de terror (Seijun Suzuki, 1957)

11. The Trollenberg terror (Quentin Lawrence, 1958)

12. La Venganza (Juan Antonio Bardem, 1958)

13. Un golpe de gracia (Jack Arnold, 1959)

14. A todo riesgo (Claude Sautet, 1960)

15. La evasion (Jacques Becker, 1960)

16. El sabor del miedo (Seth Holt, 1961)

17. Detective bureau 2 3. Go to hell bastards! (Seijun Suzuki, 1963)

18. The white tiger tattoo (Seijun Suzuki, 1965)

19. A traves del huracan (Monte Hellman, 1966)

20. El Tiroteo (Monte Hellman, 1966)

21. La soltera retozona (Silvio Narizzano, 1966)

22. Dimension 5 (Franklin Adreon, 1966)

23. Los Productores (Mel Brooks, 1967)

24. Un hombre (Martin Ritt, 1967)

25. Sebastian (David Greene, 1968)

26. El Bastardo (Duccio Tessari, 1968)

27. El lagarto negro (Kinji Fukasaku, 1968)

28. La louve solitaire (Edouard Logereau, 1968)

29. Aquel dia frio en el parque (Robert Altman, 1969)

30. Corazones en fuga (Michael Powell, 1969)

31. La bestia ciega (Yasuzo Masumura, 1969).

32. El bosque del lobo (Pedro Olea, 1970)

33. El grito del fantasma (Gordon Hessler, 1970)

34. Drácula y las mellizas (John Hough, 1971).

35. ¡Que viene Valdez! (Edwin Sherin, 1971)

36. Sangre en la tumba de la momia (Seth Holt, 1971)

37. El Otro (Robert Mulligan, 1972)

38. Hermanas (Brian de Palma, 1972)

39. Imagenes (Robert Altman, 1972)

40. Morgiana (Juraj Herz, 1972)

41. El ataque de los muertos sin ojos (Amando de Ossorio, 1973)

42. El programa final (Robert Fuest, 1973)

43. Flor de santidad (Adolfo Marsillach, 1973)

44. Lemora, un cuento sobrenatural (Richard Blackburn, 1973)

45. Messiah of Evil (Willard Huyck y Gloria Katz, 1973)

46. Una vela para el diablo (Eugenio Martin, 1973).

47. Daguerrotipos (Agnes Varda, 1975)

48. La noche de las gaviotas (Armando de Ossorio, 1975)

49. Picnic en Hanging Rock (Peter Weir, 1975)

50. El otro Sr Klein (Joseph Losey, 1976)

51. Terror al anochecer (Charles B Pierce, 1976)

52. El desafio del bufalo blanco (J Lee Thompson, 1977)

53. Largo fin de semana (Colin Eggleston, 1978)

54. El grito (Jerzy Skolimowski, 1978)

55. Los ojos del bosque (John Hough, 1980)

56. Alison’s birthday (Ian Coughlan, 1981)

57. Muertos y enterrados (Gary Sherman, 1981)

58. Wilczyca (Marek Piestrak, 1983)

59. En compañia de lobos (Neil Jordan, 1984).

60. Sangre Facil (Joel Coen, 1984)

61. Sole survivor: Unico superviviente (Thom Eberhardt, 1984)

62. Tasio (Montxo Armendariz, 1984)

63. El tren del infierno (Andréi Konchalovski, 1985)

64. El corazon del angel (Alan Parker, 1987)

65. Jovenes Ocultos (Joel Schumacher, 1987)

66. La chaqueta metalica (Stanley Kubrick, 1987)

67. El fluir de las lagrimas (Won Kar Wai, 1988)

68. Ensalada de gemelas (Jim Abrahams, 1988)

69. Kadaicha, la piedra de la muerte (James Bogle, 1988)

70. Pacto de Sangre (Stan Winston, 1988)

71. Avalon (Barry Levinson, 1990).

72. Misery (Rob Reiner, 1990)

73. La Teranyina (Antoni Verdaguer, 1990)

74. La Tutora (William Friedkin, 1990)

75. Morir Todavia (Kenneth Branagh, 1990)

76. La jungla de cristal 2 (Renny Harlin, 1990)

77. Solo en casa (Chris Columbus, 1990)

78. Alien 3 (David Fincher, 1992)

79. Mi novia es un zombi (Michele Soavi, 1994)

80. Nadja (Michael Almereyda, 1994)

81. Esto (no) es un secuestro (Ted Demme, 1994)

82. Dos Policias Rebeldes (Michael Bay, 1995)

83. El demonio vestido de azul (Carl Franklin, 1995)

84. Heat (Michael Mann, 1995)

85. Jovenes y brujas (Andrew Fleming, 1996)

86. Agarrame esos fantasmas (Peter Jackson, 1996)

87. Herbert's Hippopotamus: Marcuse and Revolution in Paradise (Paul Alexander Juutilainen, 1996).

88. La Roca (Michael Bay, 1996)

89. Tierra (Julio Medem, 1996)

90. 99.9. La frecuencia del terror (Agusti Villaronga, 1997)

91. Fallen (Gregory Hoblit, 1998)

92. Un plan sencillo (Sam Raimi, 1998)

93. El halcon ingles (Steven Soderbergh, 1999).

94. Ilusiones de un mentiroso (Peter Kassovitz. 1999)

95. Flores de otro mundo (Iciar Bollain, 1999)

96. Ravenous (Antonia Bird, 1999)

97. Wisconsin Death Trip (James Marsh, 1999)

98. Dagon: La secta del mar (Stuart Gordon, 2001)

99. Escalofrio (Bill Paxton, 2001)

100. Dracula: Pages from a Virgin's Diary (Guy Maddin, 2002)

101. 2 hermanas (Jee-Woon Kim, 2003)

102. Dos policias rebeldes II (Michael Bay, 2003)

103. Los Angeles Play Itself (Thom Andersen, 2003)

104. El reportero: La leyenda de Ron Burgundy (Adam McKay, 2004)

105. El Septimo Dia (Carlos Saura, 2004)

106. La vida que te espera (Manuel Gutierrez Aragon, 2004)

107. Los Edukadores (Hans Weingartner, 2004)

108. Misteriosa obsesion (Joseph Ruben, 2004)

109. Yo, Robot (Alex Proyas, 2004)

110. Hostel (Eli Roth, 2005)

111. Wolf Creek (Greg McLean, 2005)

112. Bajo cero (Frank Marshall, 2006)

113. El Inadaptado (Jens Lien, 2006)

114. Sheitan (Kim Chapiron, 2006)

115. The last winter (Larry Fessenden, 2006)

116. 30 dias de oscuridad (David Slade, 2007)

117. Borderland. Al otro lado de la frontera (Zev Berman, 2007)

118. Diarios de la calle (Richard LaGravenese, 2007)

119. Frontera(s) (Xavier Gens, 2007)

120. Hostel 2 (Eli Roth, 2007)

121. Water Lilies (Celine Sciamma, 2007)

[sleepythug]

hey i think ur the perfect person to ask this question - was wondering if you can list all the movies from any time, that's horror but less gory/violent dark; more dreamy, atmospheric, noir, suspenseful, psychological, horror.

obv could stack it lynch, and kurosawa but too obv iykyk..

the black cat (edgar g. ulmer, 1934)

the leopard man (jacques tourneur, 1943)

I walked with a zombie (jacques tourneur, 1943)

personal shopper (olivier assayas, 2016)

inferno (dario argento, 1980)

the fog (john carpenter, 1980)

we're all going to the world's fair (jane schoenbrun, 2021)

let's scare jessica to death (john d. hancock, 1971)

carnival of souls (herk harvey, 1962)

messiah of evil (williard huyck, gloria katz, 1973)

alone (john hyams, 2020)

ghostwatch (lesly manning, 1992)

dead & buried (gary sherman, 1981)

next of kin (tony williams, 1982)

night of the hunted (jean rollin, 1980)

the signalman (lawrence gordon clark, 1976)

onibaba (kaneto shindo, 1964)

night tide (curtis harrington, 1961)

dark water (hideo nakata, 2002)

sole survivor (thom eberhardt, 1984)

antichrist (lars von trier, 2009)

[coryjohnstoffa]

United States Marine Corp “The Line” | Resident Creative Studio from Cory John Stoffa on Vimeo.

Post Production Credits • Resident Creative Studio – New York, NY

Executive Producer • Meredith Machial Creative Director • Serge Machial Art Director • Gregory de Maria Flame Artist • Bruno De La Calva 3D/CG Artists • Glenn Hernandez | Matthew Lane-Smith Graphic Designers • Cory John Stoffa | Curtis Eberhardt | Erik Rasmussen | Matthew Lane-Smith Compositing – Motion Design – VFX Artists • Cory John Stoffa | Curtis Eberhardt | Erik Rasmussen | Matthew Lane-Smith

© United States Marine Corp | 2010

[movienized-com]

Manodrome

Manodrome (2023) #JohnTrengove #JesseEisenberg #AdrienBrody #OdessaYoung #PhilipEttinger #SallieuSesay Mehr auf:

Jahr: 2023 (November) Genre: Drama / Thriller Regie: John Trengove Hauptrollen: Jesse Eisenberg, Adrien Brody, Odessa Young, Philip Ettinger, Sallieu Sesay, Ethan Suplee, Evan Joningkeit, Caleb Eberhardt … Filmbeschreibung: Ralphie (Jesse Eisenberg) ist ein Mann, der mit den Kräften von außen und den Dämonen in seinem Inneren ringt, als er auf eine geheimnisvolle Familie von Männern trifft,…

[brookstonalmanac]

Birthdays 2.17

Beer Birthdays

George Younger (1722)

Ernest Davis (1872)

John A. White Jr. (1878)

Wendy Littlefield (1956)

Marty Jones (1959)

Five Favorite Birthdays

Billie Joe Armstrong; rock musician (1972)

Arcangelo Corelli; composer (1653)

Joseph Gordon-Levitt; actor (1981)

Michael Jordan; Chicago Bills G (1963)

Denise Richards; actor (1971)

Famous Birthdays

Enrico Banducci; nightclub owner, "hungry i" (1922)

Red Barber; sportscaster (1908)

Michael Bay; film director (1965)

Noah Beery; actor (1882)

Jim Brown; Cleveland Browns RB (1936)

Buddy DeFranco; clarinetist, bandleader (1923)

Isabelle Eberhardt; Swiss explorer, writer (1877)

Dorothy Canfield Fisher; writer (1879)

Paris Hilton; celebutante (1981)

Hal Holbrook; actor (1925)

Barry Humphries; actor (1934)

Arthur Kennedy; actor (1914)

Friedrich Alfred Krupp; German manufacturer (1854)

Tobias Mayer; German astronomer (1723)

Valeria Mazza; model (1972)

Samuel Sidney McClure; publisher, writer (1857)

Loreena McKinnitt; pop musician (1957)

Mary Ann Mobley; actress (1939)

Lola Montez; Irish dancer (1821)

Huey P. Newton; political activist (1942)

Andre Norton; writer (1912)

Jerry O'Connell; actor (1974_

Lou Diamond Phillips; actor (1962)

Christina Pickles; actor (1935)

Wally Pipp; New York Yankees 1B (1893)

Gene Pitney; singer (1941)

Rene Russo; actress (1954)

Horace-Benedict de Saussure; Swiss physicist, founder of "Alpinism" (1740)

Margaret Truman; writer (1924)

Montgomery Ward; department store founder (1843)

Thomas J. Watson; businessman, IBM president (1874)

[agrpress-blog]

Il grande attore britannico, interprete di film quali Gandhi di Richard Attenborough, Tradimenti di David Hugh Jones, L’isola di Pascali di James Dearden, Bugsy di Barry Levinson, Schindler’s List e A.I. Intelligenza artificiale di Steven Spielberg, Oliver Twist di Roman Polanski e molti altri, compie ottant’anni. Nato nello Yorkshire - in Inghilterra - nel 1943, Krishna Pandit Bhanji - meglio noto come Ben Kingsley -, studia al Pendetlon College e si avvicina giovanissimo al teatro debuttando all’Aldwych Theatre, per poi entrare a far parte della Royal Shakespeare Company con la quale, dalla fine degli anni Sessanta e poi per i quindici anni successivi, sarà interprete prevalentemente shakespeariano. Nello stesso periodo lavorerà anche in film e serie tv. Esordisce al cinema in un ruolo secondario all’inizio degli anni Settanta in Gli ultimi sei minuti (1972) di Michael Tuchner, per poi tornare, per circa un decennio, sul palcoscenico e in televisione. Il suo vero esordio cinematografico avviene all’inizio degli anni Ottanta, quando è superlativo protagonista di Gandhi (1982) di Richard Attenborough, con cui vince un meritatissimo Oscar come Miglior Attore Protagonista. Uno di quei casi in cui, anche al di là della bravura dell’attore, la fusione fra personaggio e interprete è tale che lo spettatore/spettatrice, pensando al personaggio, automaticamente pensa anche al suo interprete (come avviene nel caso di Vincent Van Gogh/Kirk Douglas in Brama di vivere di Vincente Minnelli, Onassis/Anthony Quinn in Il magnate greco di Jack Lee Thompson, Nelson Mandela/Morgan Freeman in Invictus di Clint Eastwood, Daniel Day-Lewis/Abramo Lincoln in Lincoln di Steven Spielberg). Seguono numerosi ruoli cinematografici e televisivi, che dimostrano abbondantemente l’inesauribile talento di uno fra i più grandi attori della sua generazione. Fra le pellicole più significative Tradimenti (1983) di David Hugh Jones, L’isola di Pascali (1988) di James Dearden, in cui offre una prova di grande magnetismo nel ruolo di un inascoltato informatore dell’impero ottomano alla vigilia della guerra, la commedia gialla Senza indizio (1988) di Thom Eberhardt, Bugsy (1991) di Barry Levinson, con Annette Bening. Negli anni Novanta due fra le sue migliori performances, ovverosia il contabile Stern in Schindler’s List (1993) di Steven Spielberg, con Liam Neeson e Ralph Fiennes, e il misterioso dottor Miranda in La morte e la fanciulla (1995), tratto dal dramma teatrale omonimo di Ariel Dorfman e diretto da Roman Polanski, in cui esprime perfettamente l’ambiguità di un personaggio che oscilla fra vittimismo e spietatezza. Molto significative anche le sue apparizioni in A.I. Intelligenza artificiale (2001) di S. Spielberg, Il trionfo dell’amore (2001) di Clare Peploe, Oliver Twist (2005), tratto dal romanzo omonimo di Charles Dickens e diretto da Roman Polanski, in cui, con barba rossa e semisdentato, interpreta il vecchio usuraio Fagin, e nel ruolo di un gangster in Slevin - Patto criminale (2006) di Paul McGuigan. Fra gli altri film ricordiamo Tartaruga ti amerò (1985) di John Irvin, Harem (1985) di Arthur Joffé, Maurice (1987) di James Ivory, Testimony (1988) e The Children (1990) di Tony Palmer, Slipstream (1989) di Steven Lisberger, Una vita scellerata (1990), Quinto macaco (1990) di Eric Rochat, I signori della truffa (1992) di Phil Alden Robinson, con Robert Redford e Sidney Poitier, Dave - Presidente per un giorno (1993) di Ivan Reitman, In cerca di Bobby Fischer (1993) di Steven Zaillian, Specie mortale (1995) di Roger Donaldson, La dodicesima notte (1996) di Trevor Dunn, The Assignment – L’incarico (1997) di Christian Duguay, Fotografando i fantasmi (1997) di Nick Willing, The Confession (1998) di David Hugh Jones, Da che pianeta vieni? (2000) di Mike Nichols, Regole d’onore (2000) di William Friedkin, La casa stregata (2002) di William Sachs, Tuck Everlasting - Vivere per sempre (2002) di Jay Russell, La casa di sabbia e nebbia (2003) di

Vadim Perelman, con cui ottiene una nomination all’Oscar come Miglior Attore non Protagonista, Thunderbirds (2004) di Jonathan Frakes, Il risveglio del tuono (2005) di Peter Hyams, L’ultima legione (2007) di Doug Lefler, Transsiberian (2008) di Brad Anderson, Fifty Dead Men Walking (2008) di Kari Skogland, Shutter Island (2010) e Hugo Cabret (2011) di Martin Scorsese, Il dittatore (2012) di Larry Charles, Walking With the Enemy (2013) di Mark Schmidt, Medicus (2013) di Phillip Stoltz, War Story (2014) di Mark Jackson, Exodus - dei e re (2014) di Ridley Scott, e il cortometraggio All Hell he King (2014) di Louis Esposito. In epoche più recenti è apparso in film come The Walk (2015) di Robert Zemeckis, Autobahn - Fuori controllo (2016) di Eran Creevy, Il tenente ottomano (2017) di Joseph Ruben, War Machine (2017) di David Michod, Giochi di potere (2018) di Per Fly, Shang-Ci - La leggenda dei dieci anelli (2021) di Destin Daniel Cretton, ispirato al personaggio omonimo dei fumetti Marvel Comics, Dalìland (2022) di Mary Harron , ispirato alla vita di Salvator Dalì, Jules (2023) di Marc Turtletaub, e nei cortometraggi La meravigliosa storia di Sugar (2023) e Veleno (2023) di Wes Anderson, con Ralph Fiennes. Molto attivo anche in televisione, a partire da fine degli anni Sessanta/inizio Settanta appare in numerosi film tv - A Misfortune (1973) di Ken Loach, Antonio e Cleopatra (1974) di Jon Scoffield,  Thank You, Comrades (1978) e The War That Never Ends (1991) di Jack Gold, Le allegre comari di Windsor (1982) di David Hugh Jones,  Kean (1982) di Raymund FitzSimons, Camille (1984) di Desmond Davis, Silas Marner: the Weaver of Raveloe (1985) di Giles Foster, Il treno di Lenin (1988) di Damiano Damiani, Murderers Among Us: the Simon Wiesenthal Story (1989) di Brian Gibson, Giuseppe (1995) e Mosè (1995) di Roger Young, Weaponof Mass Distraction (1997) di Stephen Surjik, La bottega degli orrori di Sweeney Todd (1997) di John Schlesinger, Delitto e castigo (1998) di Joseph Sargent, Alice nel paese delle meraviglie (1998) di Nick Willing, Mrs. Harris (2005) di Phyllis Nagy - ed in alcuni episodi di serie e miniserie.

[philadelphiapalawyerlawfirm]

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[docrotten]

THE RETURN OF DRACULA (1958) – Episode 136 – Decades Of Horror: The Classic Era

“There is only one reality, Rachel, and that is death. I bring you death, a living death.” Living death? Oxymorons abound in vampire flicks. Join this episode’s Grue-Crew – Chad Hunt, Daphne Monary-Ernsdorff, and Jeff Mohr, along with guest host Dave Dreher – as they take in this alternative version of the bloodthirsty Count as depicted in director Paul Landres’s The Return of Dracula (1958).

Decades of Horror: The Classic Era Episode 136 – The Return of Dracula (1958)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

ANNOUNCEMENT Decades of Horror The Classic Era is partnering with THE CLASSIC SCI-FI MOVIE CHANNEL, THE CLASSIC HORROR MOVIE CHANNEL, and WICKED HORROR TV CHANNEL, which all now include video episodes of The Classic Era! Available on Roku, AppleTV, Amazon FireTV, AndroidTV, Online Website. Across All OTT platforms, as well as mobile, tablet, and desktop. https://classicscifichannel.com/; https://classichorrorchannel.com/; https://wickedhorrortv.com/

After a vampire leaves his native Balkans, he murders a Czech artist, assumes his identity, and moves in with the dead man’s American cousins.

  Director: Paul Landres

Writers: Pat Fielder (story) (screenplay)

Music by: Gerald Fried

Selected Cast:

Francis Lederer as Bellac Gordal / Count Dracula

Norma Eberhardt as Rachel Mayberry

Ray Stricklyn as Tim Hansen

John Wengraf as John Meierman

Virginia Vincent as Jennie Blake

Gage Clarke as Reverend Whitfield

Jimmy Baird as Mickey Mayberry

Greta Granstedt as Cora Mayberry

Enid Yousen as Frieda

Charles Tannen as Mack Bryant (uncredited)

William Fawcett as Eddie – Station Master (uncredited)

Belle Mitchell as Cornelia (uncredited)

The Return of Dracula, from Gramercy Pictures and United Artists, was chosen by Dave Dreher because of the effect it had on him while watching at his grandmother’s house as a young boy. He was mesmerized by the silhouette of a man with just his eyes bathed in light. The silhouetted man, the hand coming out of the coffin, the coffin filled with smoke, and other haunting images became the keystone of what he thinks of as classic horror and motivated him to go back and watch the Universal Horror offerings. To this day, he still holds The Return of Dracula in high regard.

Daphne describes the film as “wonderful.” She loves the ordinary folks placed in this bizarre situation and atmosphere and applauds Francis Lederer’s performance as the devilish, but debonair Count. Chad describes The Return of Dracula as answering the question, what if we dropped Dracula into the middle of a 1950s sitcom? From the outside, the film looks like a throwaway Dracula movie, but it is amazingly well-written by Pat Fielder and is well worth a watch. He describes Francis Lederer’s performance as stealing the show. He really believed this charismatic and magnetic personality as this evil slimy villain against the dichotomy of this wholesome family backdrop. You might think The Return of Dracula is a bit lame if you’re not paying attention, according to Jeff, but he too loves Francis Lederer as well as the family dynamics and the great character actors. Topping it off is the excellent writing from Pat Fielder.

Anyone viewing or listening to a podcast on classic horror will most certainly enjoy The Return of Dracula. At the time of this writing, the film can be streamed from Dailymotion or a Vudu PPV option and is available on physical media as an Olive Films Blu-ray.

Please check out these Decades of Horror: The Classic Era’s podcasts on other vampire movies:

DRACULA (1931) – Episode 20

NOSFERATU (1922) – Episode 21

VAMPYR (1932) – Episode 55

CURSE OF THE UNDEAD (1959) – Episode 73

(HORROR OF) DRACULA (1958) – Episode 109

SON OF DRACULA (1943) – Episode 132

Gruesome Magazine’s Decades of Horror: The Classic Era records a new episode every two weeks. Up next in their very flexible schedule and chosen by guest host Richard Klemensen, the owner and publisher of Little Shoppe of Horrors: The Journal of Classic British Horror Films, will be Hammer’s The Brides of Dracula (1960). Also joining us will be Alistair Hughes, author and illustrator of Infogothic: An Unauthorised Graphic Guide to Hammer Horror and frequent illustrator for Little Shoppe of Horrors. This should be a fun episode. You won’t want to miss it!

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans: leave them a message or leave a comment on the Gruesome Magazine YouTube channel, the site, or email the Decades of Horror: The Classic Era podcast hosts at feedback@gruesomemagazine.com

To each of you from each of them, “Thank you so much for listening!”

Check out this episode!

[outweek30]

Is adoption an alternative for lesbians and gays seeking legally-sanctioned relationships?

When John and Craig met in an Upper East Side bar in September, 1980, it could have been another classical Manhattan tale of two tricks passing in the night. The pair had little in common. Craig Burns was blond, boyish, 23. He was between jobs, visiting friends in New York. John Eberhardt, 58, was a Fire Island pioneer, having hammered together scores of beach houses in Cherry Grove during the 1940s before constructing his own wedding cake of a mansion, The Belvedere.

Nonetheless, John and Craig did what mismatched people often do. They fell in love. The next week John invited Craig out to the island and, as Craig recalls, "I kinda never left." This past spring, months shy of their ninth anniversary, the couple went one step further to acknowledge their relationship; Craig Burns became Craig Eberhardt. In a judge's chambers in West Palm Beach, John legally adopted his lover. Craig became his son.

* * * *

Adoption is yet another alternative for gays and lesbians who seek legal recognition of their relationships. Many do it to ensure financial protection for lovers in the event of their death; others see it as the only same-sex union likely to be sanctioned by the law in this era.

But adoption is not a foolproof shelter against the bigotry of our legal system. In the early 1980s in New York State, gay adoptions caused a stir in the legal system, challenging the definition of adoption and provoking progressive decisions in two important cases: Adult Anonymous I and II.

In the latter, handled by Lambda Legal Defense Fund's William J. Thom and heard in 1982, a 32-year-old male petitioned to adopt a 43-year-old. Partial motivation was financial; the building where the pair lived was going co-op and the landlord was evicting those not on the lease. Initially dismissed by Family Court, City of New York, the petitioners appealed the case to the State Supreme Court Appellate Division. The decision was reversed and petition granted, since the Family Court decision was based on its narrow interpretation of the nature of family, not the adoption statute itself, which expresses no limitations. "The 'nuclear family' arrangement is no longer the only model of family life in America," the decision challenged.

In addition, constitutional law was cited, where homosexual relations in private are protected in New York under the right to privacy. Through some circuitous logic, it was proposed that a petition for a father-son adoption by two homosexual men raised the spectre of technical incest. However, it was ruled that "incest in general involves blood relatives." More facetious was the subsequent observation: "And, of course, the taboo against incest, grounded in eugenics, has little application in a relationship which can hardly result in offspring."

However, these legal strides were to be reversed two years later. The New York State Court of Appeals, filtering decisions through a screen of homophobia, effectively put a halt to overtly homosexual same-sex adoptions by lovers. In the Matter of the Adoption of Robert Paul P. in 1984, a 57-year-old man was denied his petition to adopt his 50-year-old lover, although they had lived together continuously for 25 years.

Michael Lavery, a New York City lawyer and co-founder of the Lambda Legal Defense Fund, handled the case. Lavery, a consistent fighter for gay and lesbian rights, has argued cases for Dignity, the gay Catholic group, and Integrity, the Episcopal sect. He acknowledges the misstep made by the two lovers: they did not attempt to hide the sexual nature of their relationship. The legal gay-bashing continued; the court questioned the validity of adoption as a way to halt an eviction. "It is nothing more than a cynical distortion of the function of adoption."

Most damning of all is this paragraph: "Adoption was never intended as a haven where parties might shelter emotional relationships for which no statutory provision has been made. If the homosexual relationship is to receive legal sanction as a family unit, such recognition must come from the legislature, and not the courts through the guise of adoption."

* * * *

John and Craig were inseparable during the first three months together. In December, the pair were visiting John's cousin, who is also gay, in California. Walking through the celebrated Forest Lawn Cemetery one sunny afternoon, observing the gaudy sculpture and meticulous landscaping, John and Craig came upon a small stone bench. Carved into the decoration was an Irish quotation about true love lasting forever. The lovers impulsively joined hands and recited the quote. "From then on, we decided we were a married couple," Craig said.

But both knew that a two-minute wedding in a cemetery held no legal weight. And as the years passed, and John and Craig grew closer, they began thinking about events that could separate them. The question of a legal relationship became more insistent this past year. A friend of the couple, a septuagenarian psychologist from Manhattan had successfully adopted his 54-year-old lover in order to pass on his magnificent Riverside Drive apartment after he passed on. At the age of 65, John was still hardy and working on constant improvements to The Belvedere. But the issue of a successor loomed, he recalled. Who would look after his 26-room palace?

"For one thing, passing on this empire" — Eberhardt assumes a mock hauteur to his voice — "it takes the right kind of person. I don't know who could do it, except for someone who is talented and capable. My older brother or sister just couldn't manage this, what with the milieu of the town, this gay world." Craig was the only choice.

Craig's concerns about a legal relationship with John were just as keen. "In the case of catastrophic illness, I would be John's next of kin and would have the say about his care and well-being, as opposed to a family throwing me out on the street and putting him in a nursing home." In addition, the pair learned that real estate passed on from father to son is taxed differently than it would be for a commercial transaction. John and Craig were amassing a list of basic rights afforded heterosexuals and denied homosexuals. After several talks with their attorney, who is gay, the two agreed to file papers for adoption.

John recalls the day he and Craig went to the courthouse for their petition, accompanied by their attorney. Amongst rows of mothers and fathers with their small children, John and Craig sat: a smiling gray-haired man of 67, with twinkling mischievous eyes, and a solid, big-limbed blond hunk of 32. Once inside the judge's chambers, Craig recalls, "I told the judge our relationship is like father and son." The matter of ownership of The Belvedere was sidestepped. "They seem to frown on people [petitioning adoption] for financial reasons. They prefer to have people doing it for emotional reasons." The issue of homosexuality was not broached.

Craig required written consent from his parents to agree to the adoption. "They knew that it was, in no way, a slighting of them. I still consider them my parents and our relationship is just as good as it's ever been. This was just a way for John and I becoming legally married like my sister and her husband." In deference to his folks, Craig Richard Burns legally changed his name to Craig Burns Eberhardt. The Burns knew of their son's homosexuality; he had come out to them at age 18 as a prelude to the announcement that he had fallen in love with a man and was moving in with him. The relationship lasted three months.

The final legal step in adoption is the destruction of Craig's original birth certificate, which resides in Chicago. Another one will be issued naming John as his legal parent. Ultimately, there will be no legal record of Craig ever being related to the Burns family.

* * * *

In the case of Robert Paul P., the court avails itself of the same self-reflexive homophobia that was employed in the Hardwick sodomy decision back in 1986. Observing that legislation did not include homosexuals in adoption laws any time since the laws were enacted in 1873, the court questions why the status quo should be upset. Another absurd leap of logic observes that since New York sodomy laws were overturned just in 1980, it seems unlikely that the same legislature would want homosexual relationships themselves acknowledged through adoption. Another decision went so far as to term the notion of sexual intimacy between adopter and adoptee as "utterly repugnant."

In most cases, the court expresses itself carefully in gay or lesbian issues. "Court people are sophisticated enough not to be overt," Lavery said. "The less overt are the ones most difficult to pin down and accuse of anti-gay decisions. No one will say, ‘We're not going to allow this adoption because they're a couple of fags.’”

But read between the lines. The court criticized the men for looking to adoption as a way to legally share a lease and prevent an impending eviction. The legal jargon was merely a smokescreen; once again the court was enacting laws that refused to acknowledge a same-sex relationship. In fact, Lavery points out, "the concept of adopting children is a product of the post-Victorian times." Beginning during the ancient Roman era, adoption was a legal tool for economic, political and social objectives, especially when a wealthy man did not have a natural heir.

But the issue of gay adoption prompts mixed reactions. Paula Ettelbrick, Lambda's legal director since 1985, considers it a flawed strategy, and a compromise to receiving basic gay and lesbian rights. "The effort of our community should be to obtain recognition for our relationships as they are, not subverting nor distorting them into parent-child relationships."

Lavery also has a diplomatic party line. Quietly, he suggests that same-sex couples who maintained the parent-child charade have had their petitions for adoption granted. "One should not assume that after the 1986 Court of Appeals decision, there have been no gay adoptions." After all, he points out, when there is no hitch to the proceedings, the request for adoption is kept confidential. There is no record of successful homosexual adoptions. It is only when the initial petition is denied and the decision appealed that the case finds its way into public record.

Lavery recalls one case where a successful professor in his mid-40s asked to adopt a man in his mid-20s after they had lived together five years. The older man presented himself as advisor and mentor; a role model that the younger man lacked as a child. When challenged as to whether their relationship was actually of a sexual nature, the younger man grimaced and told the court, "No way!" The petition was approved.

He offers an unsettling clarification: "If you were rich and powerful, [lover adoptions] probably could be done," but not for the average guy on he street. Lavery alludes to an internationally- known operatic composer who adopted his young lover, as well as a successful entrepreneur from Chicago who followed suit.

The recent State Court of Appeals case involving Miguel Braschi was a landmark case insofar as acknowledging gay and lesbian relationships. Braschi was awarded his deceased lover's lease after their 10-year union, but this decision will have no impact on the adoption issue, Lavery offered. The courts pulled their punch, he added, in extending the ruling to rent-controlled apartments, not rent-stabilized buildings. Gays and lesbians will still find the need to petition for adoption to maintain cohabitation or property ownership.

The gay psychologist who adopted his younger lover agrees on that count. The man, who requested anonymity, suggested that a real estate pressure group influenced the legislature in the Braschi case. "They've stopped people from using adoption as a way around the problem of losing your apartment if your name is not in the lease. Adoption should be a freedom."

When his lover of 25 years died, the man was left alone in the six-room penthouse apartment on Riverside Drive. Eventually he met his second lover, who moved in six months later. A rash of abusive letters from the man's landlord began to come, insisting that the lover move out since he was not on the lease. "They persecuted us for three years. That was the trick in those days," he said. "They thought the only way to get me out of the apartment was to separate me from my lover. We said 'fuck you' and went through the channels of adoption."

Officially, Lavery will not handle an adoption case where the same-sex petitioners are involved in a sexual relationship. The case is doomed, he insists. NMostcases I handle are done pro bono. It's not worth the time and effort if the case is denied without any advancement." The strategy of gay adoption "is not a winnable battle at this time," he added "A gay sexual relationship will not meet the legal definition of adoption."

"It's necessary to convince heterosexual judges, as well as other gays, that two gay men can have a relationship that is not necessarily sexual." The unspoken message here is: keep a lid on intimacy in court and the petition will sail through. Acknowledge your lover relationship and prepare for rejection. What advice does Lavery give his clients in this situation?

"There's a thin line between deception and downplaying," Lavery says. "If [the partners] can't be frank when the question comes up, it could be disastrous."

Ettelbrick points out alternatives to adoption, adding, "There are ways that we can take care of our vulnerabilities under the law." These include wills, power of attorney designation and conservatorships.

Lavery is guarded in his appraisal of the future of gay legal rights and the recognition of homosexual unions. “We have some ways to go; we are still too conveniently overlooked, unless somebody is waving a sign in your face, saying, ‘What about us?’”

* * * *

John and Craig are sitting in the breakfast nook off the kitchen of The Belvedere, taking a breather from last-minute renovations. By November 1, they will close up the castle and head to Florida to run another guest house called Villa Fontana. Craig ponders the longevity of their relationship, and feels it stems, in part, from a respect for fidelity during sexually liberated days. "We've always been just a monogamous couple," he explained, "and I think that's why it's worked for us this long. We made a commitment to each other, and this year we reinforced the commitment to each other."

— Jay Blotcher, OutWeek Magazine No. 18, October 22, 1989, p. 36.

[80smovies]

[mariocki]

Night of the Comet (1984)

"We do not cross against the light."

"Are you nuts, Auntie Regina?"

"You may as well face the facts, Samantha; the whole burden of civilisation has fallen upon us."

"What's that supposed to mean?"

"It means we do not cross against the light."

[screamscenepodcast]

Dracula is... coming to America! Warn the housewives and use that white picket fence for making stakes -- it's THE RETURN OF DRACULA (1958) from director Paul Landres!

The film stars Frances Lederer, Norma Eberhardt and John Wengraf with music by Gerald Fried.

Context setting 00:00; Synopsis 15:47; Discussion 25:38; Ranking 39:45

[dreamcastingbroadway]

Dreamcasting Broadway: THREE SISTERS

“I often think: what if we could begin life over again, consciously? The life we’d lived before would be a smudgy rough draft, and the new life would be clean — the book itself! Then we wouldn’t repeat our old mistakes, we’d at least invent for ourselves a new setting: a room full of flowers and masses of light!”

Dreamcasting Broadway: Three Sisters

Uzo Aduba as Olga Sergeyevna Prozorova

Daniela Vega as Masha Sergeyevna Kulygina

Margaret Qualley as Irina Sergeyevna Prozorova

Brian Tyree Henry as Andrei Sergeyevitch Prozorov

Patti Harrison as Natalya (Natasha) Ivanova Prozorova

Manik Choksi as Fyodor Ilyich Kulygin

Pedro Pascal as Aleksandr Ignatyevich Vershinin

John Glover as Ivan Romanovich Chebutykin

Caleb Eberhardt as Baron Nikolai Lvovich Tuzenbach

Ray Nicholson as Vassily Vasilyevich Solyony

Lee Aaron Rosen as Alexey Petrovich Fedotik (Vershinin u/s)

Miles Barbee as Vladimir Karlovich Rodé (Tuzenbach u/s)

Robert Ariza as Soldier/Voice of Rodé (Soldier/Voice of Tuzenbach u/s)

Youn Yuh-jung as Anfisa

Dakin Matthews as Ferapont

Aubie Merrylees as Standby (Andrei, Kulygin, Rodé)

Baize Buzan as Standby (Irina, Natasha)

Heath Saunders as Standby (Solyony, Fedotik)

Jennifer Ikeda as Standby (Olga, Masha)

Michael Bryan French as Standby (Chebutykin, Ferapont)

Susan Lawson-Reynolds as Standby (Anfisa)