ATLRetro

By Jennifer Belgrad
Contributing Editor

All right, it’s down to the wire. Do you know what you’re getting your Kool Kat? No ideas? Don’t Panic. I got you. In no particular order, here are five fantastic and local gift suggestions for your special someone:

Plaza Theatre Memberships: What could be more perfect? A whole year of date nights taken care of in one fell swoop and you support Atlanta’s oldest continuously running independent cinema, which opened in 1939! There’s even a deal for a couple’s membership. Done!
Film Fan: $45 – Membership card, Plaza T shirt, one free movie pass, 1.50 off one regular admission Sunday – Thursday*, one invitation to our annual membership party. ($29 is tax deductible)
Double Feature Fan: $80 – Two membership cards, two Plaza T shirts, two free movie passes, 1.50 off regular admission for Two Sunday – Thursday*, Two invitations to annual membership party. ($48 is tax deductible)
Cast and Crew: $250 – Two tickets to the Silver Scream Spook Show + Two membership cards, two Plaza T shirts, four free movie passes + 1.50 off regular admission for Two every day*, Two invitations to annual membership party.  ($182 is tax deductible)

R. Land Art: Personally, I like to buy art for my guy. It’s something special and no home is complete without it. R. Land is ARTlanta’s favorite son. He will not steer you wrong. BUNNY FOO FOO is a classic, but it’s hard to beat AHA SPECKLES (<—– My not so subtle hint).

PIGMATA: One of my local heroes, Jim Stacy, brings us more salty goodness. For foodies he’s best known for serving up corndogs through Pallookaville and PBS’s GET DELICIOUS, but now there’s PIGMATA. Artisan meats, cured and smoked, homemade Brunswick Stew, fresh Half Sour Pickles, Corndog Casseroles, and whatever his fabulously fiendish mind dreams up next. Are you hungry yet?  Like it on Facebook to see updated specials or email Jim (laffo@pallookaville.com) for goods available right now.

Photo credit: Jennifer Belgard.

The Beer Growler: I know, I know.  I’ve already written about them, but their growlers are a seriously great gift (especially paired with anything from PIGMATA). Some Valentine’s-inspired options include:  Original Sin’s Hard Cider (dry traditional cider made with two types of champagne yeast), Ommengang’s Aphrodite (Aphrodite has champagne-like carbonation. Plus enchanting flavors with whispers of raspberry and pear, and hints of funk and tartness created by the Brett yeast. Grains of paradise are infused into the nectar, and when poured Aphrodite is crowned with a luxuriously shimmering rose-pink head), or Southern Tier’s Choklat (Belgian bittersweet chocolate is combined with dark malts to make this rich chocolate stout).  Your sweetie a teetotaler? No worries. They also carry Abita Root Beer (Sweetened w/ pure Louisiana cane sugar, the resulting taste is reminiscent of soft drinks made in the 1940s and 1950s, before bottlers turned to corn sugar and fructose. Caffeine-free). So good!

Chocolate F/X: It wouldn’t be right to skip the chocolate on Valentine’s Day. Atlanta RollerGirl Demi Gore whips up these badass confections named Best Local Chocolate in the AJC’s Best of the A 2011. There’s TAKEN (Be a Prisoner of Love with this heart-locket chocolate with the word “Taken” scrolled across the front. Packaged with 12 assorted truffles); FROM ANOTHER GALAXY for the STAR WARS lover (Includes one white chocolate with chile-spiced praline pecans Storm Trooper; one milk chocolate, peanut butter and pink Himalyan sea salt Yoda; and one dark chocolate with dried cherries and chipotle peppers Boba Fett in a gift box. Totally out of this world!), and, of course, YOU’RE THE S#!T! (Molded chocolate pile o’ poo comes with writing on it in a nifty red keepsake box. A fun, loving gesture for that special someone in your life!).

See?  That wasn’t so bad.  If you’re lucky, maybe you’ll get some (tee hee). Happy Valentine’s Day!

Pirita (Mirjami Kuosmanen) takes a bite from the throat of an unsuspecting hunter in THE WHITE REINDEER (1952).

THE WHITE REINDEER (1952); Dir: Erik Blomberg; Starring Mirjami Kuosmanen; Introduced by Professor Morte (Silver Scream Spookshow) including ticket giveaway to Days of the Dead horror convention; a short audience discussion will follow the film by GSU Prof. John Decker; Sat. Jan. 14  7:30 p.m.; $8; Plaza Theatre;  Trailer here.

Art, foreign, horror and classic fantasy film buffs all will get a rare treat when lost award-winning 1952 Finnish movie THE WHITE REINDEER (“Valkoinen Peura”) gets an extremely rare return to the big screen at the Plaza Theatre on Sat. Jan. 14 at 7:30 pm., courtesy of the Scandinavian-American Foundation of Georgia (SAFG) and the Mythic Imagination Institute (MII). The first significant post-World War II Finnish film, THE WHITE REINDEER won a 1953 Golden Globe Award for Best Foreign Film and the Fairy Tale Award at the Cannes Film Festival from a jury led by Jean Cocteau (LA BELLE ET LA BETE). However, despite its critical acclaim and beautiful cinematography, the movie only had a limited U.S. theatrical release in the late 1950s and since then has been largely forgotten other than a recent appearance on French DVD (it’s not available from Netflix!), perhaps due to its unusual and enigmatic subject matter blending an art film sensibility, the shamanism/folklore of the indigenous, nomadic Lapland (Sami) people and the unlikely themes of shape-shifting and vampirism.

Those supernatural aspects have earned  THE WHITE REINDEER a cult reputation among classic horror movie fans, making it an extra special treat to have an intro by Professor Morte of the Silver Scream Spookshow, and if you need extra incentive, he’ll be handing out a few passes to Days of the Dead, the big horror con in Peachtree City March 9-11. However, as noted, don’t get scared off if you’re more intrigued by art and foreign films or the anthropology and folklore of Sami shamanism. The art and mythic elements will get their due in a short audience discussion after the film led by John Decker, assistant professor of art history at Georgia State University, whose academic interests range from religious and devotional imagery to the zombie apocalypse.  “Tales both of people transforming into deer and of vampirism span many cultures from Europe to Native Americans,” points out Honora Foah, president and creative director of the Mythic Imagination Institute. “Films are the folklore of our times, and we’re hoping this movie will launch an ongoing Mythic Movie series.”

It’s easy to see why Cocteau was drawn to THE WHITE REINDEER. The plot itself is a simple and archetypal tale of love lost and a spell gone tragically wrong.  A lonely and heartbroken Sami woman, Pirita (Mirjami Kuosmanen, who incidentally was the wife of director Erik Blomberg), turns to a shaman for help in reigniting the love of her husband, Aslak, who is more interested in herding reindeer than romancing his wife. But thanks to being born under the curse of the Midnight Sun, the sacrifice she must make to activate the love potion instead transforms her into a vengeful “White Reindeer,” a tantalizing prize for hunters who soon find themselves the prey as she reveals herself as a beautiful vampire.

A haunting reindeer graveyard in THE WHITE REINDEER (1952)

Vivid and vibrant may seem strange terms to describe a black-and-white movie, but Finnish director Erik Blomberg knows his cinematography (he has more credits for that on IMDB than directing). Vistas of the Sami people herding the reindeer in the snow, a sled race and a traditional wedding transport one effortlessly into the world of this Nordic culture which he has also covered as a documentarian. It’s also perhaps worth remembering that the Sami themselves dress colorfully, often in navy blue, trimmed with yellow, green and red.

But it’s Mirjami herself, as Pirita, who steals the screen with her haunting, emotive eyes. Perhaps the performances are a little over-emotional at points, like that of a silent film, and indeed, dialogue is sparse and simple consistent with the stoic Finns. Still, in the context of the fantastic theme and landscape, it’s easy to see those qualities as strength rather than weakness. If you do classify THE WHITE REINDEER as a vampire classic, that silent movie but with minimal sound visual quality is more reminiscent perhaps of Carl Theodor Dreyer‘s VAMPYR (1931), an early talkie which also has very little dialogue,  than of, say, the closer-to-contemporary Universal horror classics, Bela Lugosi’s eyes aside. Incidentally, Dreyer was Danish.

It's easy to forget Bela Lugosi's Eyes when you see Mirjami Kuosamanen in THE WHITE REINDEER (1952).

Finally, if there’s one more good reason to attend: proceeds benefit the two nonprofit sponsors, SAFG and MII, and the Plaza, Atlanta’s oldest continuously operating independent cinema, open since 1939, which is also a nonprofit organization. It runs just 67 minutes, too, so there’s still plenty of time to catch a band, such as the triple-header of The District Attorneys, featuring this week’s Kool Kat Drew Beskin, Tedo Stone and Modern Skirts at The Earl. In fact, you’ll see me at both The Plaza and The Earl, and most likely dining at the Majestic beforehand, too.

By Philip Nutman
Contributing Writer

Silver Scream Spookshow Presents MAD MONSTER PARTY (1967); Dir: Jules Bass; Screenplay by Harvey Kurtzman, Arthur Rankin Jr., Len Korobkin and Forrest J. Ackerman (uncredited); Starring Boris Karloff, Phyllis Diller, Allen Swift, Gale Garnett, Ethel Ennis; Sat. Dec. 31;  kids matinee at 1 PM (kids under 12 free & adults $7) and adult show at 10 PM(all tickets $12); Plaza Theatre; Trailer here.

As much as I love all the Rankin/Bass Xmas specials, for my money, the best “Animagic” (stop-motion) show they ever made was the crazy, wonderful MAD MONSTER PARTY.

C’mon! Boris Karloff voicing Boris Von Frankenstein?  Phyllis Diller as the Monster’s Bride (she is smarter); a script by MAD magazine’s founder Harvey Kurtzman and creature designs by legendary fellow MAD cartoonist/illustrator, Jack Davis ­ what’s not to love?

There are classic monsters gla[gore] (bad pun intended) ­ The Creature from The Black Lagoon, Count Dracula…IT (actually KING KONG, but R/B couldn’t use the name “Kong” for legal reasons). Name ‘em ­ they’re here!

The Baron gathers his gruesome guests for a diabolical dinner in MAD MONSTER PARTY (1967). Courtesy of Lions Gate Pictures.

Songs to learn and love and sing! (The delightful soundtrack is available from Percepto Records; music by R/B stalwart Maury Laws/lyrics by Jules Bass.)

The film is available on DVD from Lions Gate (go to Amazon; there’s a special edition! And Blu-Ray!). BUT…don’t be a couch potato if you live anywhere near Atlanta ­ there’s nothing like seeing a superb print on the *Big Screen* at the Legendary Plaza Theatre!!! (And it’s a SILVER SCREAM SPOOKSHOW presentation brought to you by Professor Morte and his pal Shane Morton!)

YAAAAAAAHHHHH!!!! (ATLRetro is happy to end 2011 on such a mad monster note of sheer fun and grimly fiendish frolics!)

OK, the New Year is about passing the torch and moving in the future, but at ATLRetro, we think you ought to be able to do that with vintage style. Here are our top seven picks for counting down 2011 and toasting 2012 while partying like it’s 1999 or earlier.

1. Disco ain’t dead. No decade knew how to get down like the 1970s and no DJ knows how to play that funky music than the Funk Godfather himself, Romeo Cologne. Plus since the venue is the sensationally seedy Clermont Lounge, for extra points, wear a bit of blue velvet with your silver lame and have a David Lynchian flashback to the ‘80s. All night long; $6 cover 10-11 pm; $10 cover after 11 p.m.

2. Get back to the roots. The Variety Playhouse serves up a double portion of roots, rhythm & funky blues, rock and country with JJ Grey & Mofro and Honey Island Swamp Band. The former hail from Jacksonville, Fla., and are proudly influenced by classic soul heroes and other native Southern sounds. Founded by New Orleans musicians stuck in San Francisco after Hurricane Katrina, the latter play a Bayou Americana sound that is both their own and yet forged in the spirit of a heady blend of Little Feat, Taj Mahal, Earl King, Jerry Garcia, Clarence “Gatemouth” Brown and Jimmy Reed. Doors at 8 p.m., Show at 9 p.m.; $35-40.

3. Ring the Holiday Inn. Relive the glamour of a 1930s/1940s New Year’s Eve with Atlanta’s biggest band, the Atlanta Symphony Orchestra. Michael Krajewski conducts an eclectic line-up of music ranging from Offenbach’s “Orpheus in the Underworld” (Can-Can) to Gershwin, Berlin and Rodgers and Hammerstein.London and Broadway stage stars Joan Hess and Kirby Ward dance to the swing classics in a tribute to Fred Astaire and Ginger Rodgers. 8 p.m.; $30-$68.

4. Do the Monster Mash. Greet the New Year in ghoulish and goofy style with Professor Morte and the Silver Scream Spookshow gang at the Plaza Theatre. In addition to the antics of their always entertaining stage show, on the big screen is a rare special treat—MAD MONSTER PARTY (1967). This stop-motion puppet story was the only feature made by Rankin-Bass, the same folks that created RUDOLPH THE RED-NOSED REINDEER and so many beloved holiday specials, but features a cast of classic creatures such as Dracula, the Werewolf, the Creature from the Black Lagoon and more. Boris Karloff voices Baron von Frankenstein and Phyllis Diller is his creation’s Bride. Proceeds benefit Atlanta’s longest continuously running vintage art deco (and now nonprofit) cinema, which is currently up for sale. Let’s not let the Plaza become another lost landmark of Atlanta’s past. Evening show starts at 10 pm (tickets are $12), plus if you’ve got glamorous evening plans or don’t want the kids to stay up too late, there’s also an afternoon matinee at 1 pm (kids free; adults just $7).

5. Who Knows Where the Time Goes? It’s been three decades since Guadalcanal Diary formed in Marietta, but one of metro Atlanta’s top seminal alt-rock bands regrouped last summer at Athfest and Smith’s Olde Bar and tonight they are “Bringing It on Home to The Strand,” the art deco former movie palace in Marietta’s Square, along with special guests Flamingo Royale and the Dex Romweber Duo. If you missed our feature interview with lead singer/guitarist Murray Attaway last summer, catch up on your reading here. The all ages show has doors at 7 p.m.; tickets are $30 for concert only, $20 for after-midnight party only, and $45 for both show and party, with proceeds supporting fine and performing arts in City of Marietta Schools.

6. Lady Sings the Blues. Classic blues and jazz chanteuse Francine Reed brings her powerhouse vocals to Blind Willie’s with The Shadows and special guest Houserocker Johnson. $50 gets you party favors and champagne. Doors at 7 p.m.

7. Carry on, Way Downtown. Seventies superstar rockers Kansas headline Peach Drop 2012, the Southeast’s biggest NYE celebration at Underground Atlanta. Festivities test your stamina by starting at 11 am Dec. 31 with loads of family-friendly activities from carnival rides to photos with exotic birds, and running until 3 am on Jan. 1.There’s also a slew of other bands on two stages.  It’s free if you’re willing to brave the crowds and the likely chill of being outdoors.

By Melanie Magnifique
Contributing Blogger

FEMALE TROUBLE (1974); Dir: John Waters; Writer: John Waters; Starring Divine, Mink Stole, Edith Massey; Taboo-La-La Series hosted by Blast-Off  Burlesque at Plaza Theatre, Sat. July 23; 10 PM; free makeup, meatball sandwiches (while supplies last), costume contest, Filthy Fashion makeovers with prizes from Libertine! Special guests include Patricia Lopez, Poly Sorbate, Babydoll & Baltimore’s own Elle Devene; age 18 & over only; trailer here.

This Saturday night, Blast-Off Burlesque will serve up a veritable cornucopia of camp while hosting John Waters‘ dark comedy, FEMALE TROUBLE at the Plaza Theatre as part of their sin-sational new cinema series—Taboo La-La! Before viewing the film in its original 35mm format, moviegoers will be able to compete for fantastic prizes in costume and makeover contests, as well as enjoy performances by Blast-Off and their very special guests, Patricia Lopez, Poly Sorbate, Babydoll and Baltimore’s own Elle Devene.

Released in 1974, FEMALE TROUBLE tells the story of Dawn Davenport (played by infamous drag queen, Divine), a bratty bad-girl who lives a hard-knock life of juvenile delinquency, experiencing sexual assault, subsequent single motherhood, employment in the sex industry, obsession with fame and victimization by sensationalists masquerading as artists. Did I mention that it’s rated NC-17?

Blast-Off’s Co-founder (and ATLRetro Kool Kat), Barb Hays, says the film’s caustic content fits right in with the sprit of Taboo La-La. “You know, the Plaza Theatre used to show adult films, so we decided that we would host a series which paid homage to its roots,” she explains. “They can’t show X-rated stuff anymore, but there’s plenty of great films out there which push the boundaries of societal taboo as decreed by the MPAA.”

Melanie Magnifique. Photo credit: March Turnley

Hays adds that now is a crucial time to support the Plaza Theatre. This week Plaza Owners Jonathan and Gayle Rej announced that they are looking for a buyer forAtlanta’s oldest cinema, adding that they do not wish to close, and are seeking individuals or organizations which might preserve the landmark theater as a historical site. Since purchasing the theater in 2006, the Rejs have focused on event-centered films with live audience-interactive elements, including Splatter Cinema, the Silver Scream Spookshow, Flicks & Giggles, Summer Camp, Art Opening and a Movie and Taboo-La-La! In 2009, the Plaza Theatre received nonprofit status.

Supporting the Plaza Theatre is a rare chance to do something special for this community and gifts of all sizes will make a big difference. The Plaza Theatre Foundation is a 501(c)(3) organization and all gifts are tax  deductible. All funds generated will be used toward restoration, furnishings, equipment, operations and community initiatives for The Plaza Theatre.

Saturday’s events kick-off at 10 p.m., and the first 50 people in the door will receive free makeup! They can also eat meatball sandwiches (while supplies last), and the most beautiful, glamorous audience member in the costume contest will win a basket of makeup! The winner of the Filthy Fashion makeovers will win prizes from Libertine!

Are you willing to die for Art? As Dawn Davenport says, “Being executed will make you famous, like winning an academy award.” Put on your biggest hair and your cha-cha heels! The bad girls are back in town!

When DEAR GOD NO! launched its world premiere at the Plaza Theatre last month, the Star Bar must’ve been empty. But while cast, crew and Kickstarter contributors filled many seats, the enthusiastic crowd also included plenty of curiosity-seekers, wondering if this homegrown homage to ’70s exploitation movies could deliver the over-the-top shocks it promised. From the enthusiastic audience response, it did and then some, making even this blogger, who has a high tolerance for cult flick violence, want to shout “DEAR GOD NO! they didn’t go there!” Now those who didn’t make it out will another chance to see it on the big screen when it starts a one-week run at the Plaza Theatre this Friday Oct. 21 through Thursday Oct. 27.

Shot in 16mm with ’70s period-authentic effects, DEAR GOD NO! follows outlaw motorcycle gang The Impalers on a tri-state rape and murder spree which culminates in a bloody massacre with rival club Satan’s Own in a dive bar (actually Tucker Saloon) with the added bonus of strippers in Richard Nixon masks with machine guns. Still keen to continue their rampage, the survivors invade a mountain cabin occupied by a scientist and his geeky daughter. And that’s when the depravity really begins as the bikers realize the scientist is mad, his wife is madder and the monster that lurks in the wilderness outside is maddest of all. Those who’ve been around the Atlanta alt-garage, Redneck underground and horror movie scene for a while will recognize plenty of familiar faces in the cast and crew including Shane Morton (Silver Scream Spookshow, Gargantua, Atlanta Zombie Apocalypse), Jett Bryant (Bigfoot), Nick Morgan (Splatter Cinema), Bill Ratliff (Truckadelic), Madeline Brumby (if you missed last week’s Kool Kat on Madeline, which includes her DEAR GOD NO! experience, read it here), Jim Stacy (Starlight Drive-In, Palookaville, Get Delicious!, AM Gold) and many more.

For the uninitiated, B-movies date back to the beginnings of film-making, but the ’60s/’70s variety – also called “grindhouse” movies thanks to the seedy cinemas they often played (when they weren’t at the dying drive-ins) – pushed the limits of onscreen sex and violence in such an audacious way that they gained a cult following and a new generation of contemporary imitators from Quentin Tarantino, who, with Robert Rodriguez, even produced a double-feature called GRINDHOUSE, to the makers of last year’s HOBO WITH A SHOTGUN. It may be tempting to dismiss DEAR GOD NO! as just the latest in that subgenre, but the level of affection, craftsmanship and fun (yes, strange words perhaps to be paired with an ultraviolent flick) elevate it – that is, if you have a strong stomach and buy into the filmmakers’ sense of humor. Yup, this movie is NOT for everyone.

Since last month’s opening, director/screenwriter/executive producer James “Jimmy” Bickert has taken DEAR GOD NO! out on the road to two festivals and it’s won at least one award.  We caught up with Jimmy recently to find out more about how DEAR GOD NO! is exploding Atlanta onto the underground film map, go behind-the-scenes during production and find out what’s next for the movie and its makers.

ATLRetro: Since the sold-out world premiere in Atlanta on Sept. 9, you’ve taken DEAR GOD NO! to two film festivals. What’s been the reaction there?

Insane. I knew a party would break out with the home team, but the reaction in Tucson & Las Vegas was equally outrageous. People were sneaking in cocktails, yelling, laughing, cheering, applauding and even giving me free beer and shots in appreciation. We picked up an award for Best Exploitation Film at the Arizona Underground Film Festival. I received so many handshakes and pats on the back in Vegas [Pollygrind 2011] it felt like we were running for office. Haven’t heard if we won anything there yet. I just got back. It’s starting to gain momentum as an ultimate party movie. Film festivals are rescheduling us at midnight, and that’s perfect for an exploitation film.

Let’s start in the beginning, what’s the story behind how you came up with the idea for DEAR GOD NO! and got it off the ground?

Shane Morton, Nick Morgan and I were tossing around some ideas and came up with the idea of a Bigfoot vs. Biker crossover exploitation film. Something you would see at the end of a genres cycle. Originally we were going to attempt to make a lost film from the ‘70s that had somehow resurfaced on DVD, but as I began writing it, the pacing was too fast for a ruse. It almost becomes an action film. I’ve always been a big fan of ‘70s exploitation trailers so I tried to create something that would incorporate the fun ballyhoo they delivered and sustain it for a feature-length running time. DEAR GOD NO! gives you bikers, horror, sexploitation, cool cars, blood, laughs, gross outs, explosions, boobs, Nazis, Bigfoot, lofty themes, crazy dialoguw and incestual lesbian rape! Never seen that one before? Well, we got it. According to the reviews, it all works. Whew!

What classic exploitation and horror films served as inspirations for DEAR GOD NO!?

It’s hard to pinpoint all of them because many are subconscious. The ones I’ve noticed the most coming through are DEATH WEEKEND (a.k.a. HOUSE BY THE LAKE) and I DRINK YOUR BLOOD. But there are some moments from Something Weird Video collections of stag loops, SAVAGE SEVEN, WEREWOLVES ON WHEELS and NIGHT OF THE BLOOD BEAST. We even rip on SCHINDLER’S LIST. The film is packed with obscure exploitation references, but they only enhance the script. If you don’t catch a reference, it won’t hinder the experience. Visually there are many pop culture influences like E.C. Comics and Men’s Adventure pulp magazines.

With DEAR GOD NO!, you push the limits for onscreen violence, nudity and gore. What were your parameters for what was too extreme, does anything in the movie make you uncomfortable, and is there anything you filmed that went on the cutting room floor because it was too much even for you?

I don’t feel anything is off limits if it fits the story. DEAR GOD NO! has ‘60-‘70s style nudity and gore so it may push the boundaries for what some people expect from that time period, but it never enters the realm of what critics currently call the torture porn genre. We crossed over into that realm with one scene involving a pregnant character. I kept enough in to give the audience a good jolt but most of it hit the cutting room floor. There has to be a good balance to keep things fun for the crowd and it was starting to push into nausea. The genre is packed with that stuff now and it’s not what DEAR GOD NO! is about. We’re more John Waters than HUMAN CENTIPEDE 2. It’s suds cinema for drunken friends and not porn for loners in raincoats.

OK, bikers and Nazis are classic ingredients for exploitation movies, but why Bigfoot?

Bigfoot is a staple of the Southern drive-in, and I wanted to cast him in a good movie for a change. He has been getting crappy roles since NIGHT OF THE DEMON. Atlanta has the ultimate Sasquatch/Yeti in Jim Stacy, so we had to exploit him.

What was your favorite scene in the movie to shoot and why?

The squibs were the most fun to shoot because the extras love it. There is such a look of shock when it goes off and everyone on set breaks into applause. I could shoot squibs all day. It doesn’t get old. My favorite scene in the film is when the inebriated biker gang runs across a hillbilly kid who has them completely perplexed. Even after seeing it 100 times, I cannot watch a festival screening without laughing out loud.

Why did you decide to shoot DEAR GOD NO! all in Super 16mm with equipment from the ‘70s? Were there any specific effects which you’re particularly proud to have accomplished in the traditional way, versus CGI?

I wanted it to be authentic as possible, and we really immersed ourselves in things from the era. There were props that didn’t make it on screen from the ‘70s, but it helped create the illusion that we were making a film in 1973. I want to go back as soon as possible. We were all pretty proud of our van explosion. That’s a classic practical effect that Hollywood has been getting away from by using computer overlays in After Effects. There’s a poorly [executed] CGI explosion in MACHETE when a car blows up but doesn’t move or fall apart. We couldn’t have that, and what good Southern film doesn’t have an explosion in it? Not much that I want to see.

The cast and crew boasts a who’s who of Atlanta grassroots indie scene of actors and artists including many of the same folks behind the Silver Scream Spookshow, Atlanta Zombie Apocalypse, Splatter Cinema, Starlight Drive-In, etc. You’re the writer/director/exec producer, but are you proud to share the credit with a homegrown team, especially as DEAR GOD NO! gets screened across the country and around the globe?  

When we show up at a festival, people know we are from the ATL. We ran up such a large tab at the gay bar next door to PollyGrind 2011, the owner said he should change his theme by replacing the rainbow flag with an Atlanta Falcons banner. Shane Morton and I drank a torture porn crew from L.A. under the table in Tucson. We even had an 8-hour start on them. Yeah, they know where we are from and we’re proud of it.

There are a ton of talented people in this town. I’m still amazed we got them all together. One of the aspects of DEAR GOD NO! that I’m most asked about is the music by The Forty Fives and the score from Richard Davis of Gargantua. There is a whole cast of musicians like Johnny McGowan, The Biters, The Booze, Adam McIntyre and Kris Dale involved that essentially come from The Star Bar including our lead actor Jett Bryant from the band Bigfoot and actor Billy Ratliff from Truckadelic. Just about everyone from Dusty Booze and The Baby Haters was involved. You will see a ton of Atlanta musicians as extras and Gargantua’s Creepy Kenny even built us a flame wand now in use at The Atlanta Zombie Apocalypse. There is a very big Star Bar connection with this film.

Seems like typical movie investors might get squeamish funding something this extreme, so it’s not surprising that to hear you used Kickstarter to raise some of the money and pulled some out of your own pocket. What was the budget and how was it funded?

You’re right. We had cast and crew drop out because they didn’t understand what we were attempting. Many people thought we were making porn or God knows what. It’s hard to convey that you are making a unique exploitation film when they don’t understand any of the references. Even worse if you’re asking someone to invest money.

It’s hard to really gauge the budget because so many talented people contributed time for free. Jonny Rej (Atlanta Zombie Apocalypse /The Plaza) gave us some free film and equipment, Slopes BBQ fed us, Fuji North America gave us ½ off on film stock for shooting a feature. It went on and on. It was a very quick shoot with a massive amount of preplanning between A.D. Michelle McCall, cinematographer Jonathan Hilton and I which helped keep cost, time and favors down. We didn’t wear out our welcome too bad. I do have a budget number, but I save that information for when someone buys me a beer.

After the Plaza limited engagement, what’s next for DEAR GOD NO! More festivals? Is there a distribution deal and when will it be commercially available on DVD/download? Is it true there’s going to be a sequel?

We currently have a quite a few distributors interested from all over the world. At the end of our festival run, we’ll sit down and start seriously negotiating which rights and territories we want to part with. We currently have festivals lined up in Raleigh, Erie, Mobile and Bogotá, Colombia. Theatrical screenings (mostly midnight) are booked in Portland, Ottawa, Toronto, Hamilton, Las Vegas and London. We’re adding screenings every week, and people can keep up to date by liking our Facebook page or checking the website at www.deargodnomovie.com. If you live in a town that shows midnight movies, ask for us or send me information about the theater.

It’s true there is a sequel in the works called FRANKENSTEIN CREATED BIKERS. It will have your jaw on the floor….again.

All art and photos courtesy of Big World Pictures.

By Philip Nutman
Contributing Blogger

Silver Scream Spookshow Presents THE HAUNTED PALACE (1963); Dir: Roger Corman; Screenplay by Charles Beaumont; Starring Vincent Price, Lon Chaney Jr., Debra Paget; Sat. Oct. 15;  kids matinee at 1 PM (kids under 12 free & adults $7) and adult show at 10 PM(all tickets $12); Plaza Theatre; Trailer here.

Vincent Price is back to haunt The Plaza in THE HAUNTED PALACE (1963) another H.P. Lovecraft adaptation, and Halloween’s on its way! Cthulhu bless The Silver Scream Spookshow! Yes, yet another chance to see classic AIP/Roger Corman cinematic madness on the big screen in 35mm this Sat. Oct. 15! More Professor Morte and his madcap gang of monsters and monster babes! Oh, and some old Spookshow family members may return, too. Yowza!

THE HAUNTED PALACE was promoted as another Corman-Price-Edgar Allan Poe film, but while the title comes from a line in a Poe poem, it’s actually a very loose adaptation of Lovecraft’s THE CASE OF CHARLES DEXTER WARD, one of his more famous novellas. If you’ve never read it, you should. But more importantly, you should make a date for seeing the film at The Plaza this weekend because it’s the fifth anniversary of the Spookshow, it’s a terrific print of the movie, and Professor Morte is promising a magical event (literally).

“THE HAUNTED PALACE has become a favorite movie here at Morte Manor,” the Professor cackled to ATLRetro from his crypt in his secret batcave. “I watch this movie once a week, and I listen to the soundtrack [composed by Ronald Stein], which is amazing, all the time.” Before laying back down in his coffin, Atlanta’s favorite master of the macabre whispered in ATLRetro’s ear that there will be some stunning legerdemain this weekend (that means magic tricks, as in sleight-of-hand, as in smoke and mirrors, gang), including a certain supernatural experience which, if we understood Morte’s whisper correctly, has never happened live on stage before…

Now, back to the movie. THE HAUNTED PALACE is one of the best Lovecraft adaptations to make it onto celluloid. Not only does it star Saint Vincent Price, it also features everyone’s favorite Wolfman, Lon Chaney, Jr., and hot babe, Debra Paget, from THE TEN COMMANDMENTS and who smooched with Elvis in LOVE ME TENDER (both 1956). The excellent script was written by the late, great Charles Beaumont, one of the finest short story writers of his generation, who penned over two dozen classic episodes of Rod Serling’s THE TWILIGHT ZONE TV show (He also wrote the screenplay for the Zsa Zsa Gabor turkey, QUEEN OF OUTER SPACE [1958], but, hey, no one’s perfect).

So, there’s only one place to be this Saturday: The Plaza Theatre! And as Professor Morte says, “be prepared to be scared!”

ATLRetro terrifying trivia:

• THE HAUNTED PALACE was Debra Paget’s last movie before she retired after marrying a Chinese millionaire and later became a devout Christian.
• Charles Beaumont is the subject of a terrific documentary by Jason V. Brock, CHARLES BEAUMONT: THE SHORT LIFE OF TWILIGHT ZONE’S MAGIC MAN (2010).
• Beaumont’s birth name was Charles Leroy Nutt.

As Halloween creeps close and THE WALKING DEAD returns to TV next Sunday, Atlanta Zombie Apocalypse (AZA) arises for its own second season with new sets and a new storyline at Safety Wolf, the vast paintball combat complex off Moreland Avenue, just south of I-285 (open Thurs.-Sun. nights through Oct. 31). Set in and around a two-story abandoned motel, this approximately 100,000-square-foot attraction was nightmared up by the maniacal minds of local horror Renaissance man/make-up artist Shane Morton (Silver Scream Spookshow, Gargantua, etc.) and Jonny Rej (Plaza Theatre). Not just your traditional walk-through haunts with jump-out monsters, AZA delivers a total immersion “experience” with a distinct plotline that lands visitors right in the middle of the zombie plague, interacting along the way with a variety of human characters from scientists and bureaucrats at the Center for Disease Development (CDD) (but can you trust them?) to commandos fighting the zombies with automatic weaponry (reminiscent of last year’s Mack and Johnson) to a twisted carnival of human scum who thrive in the chaos, reminiscent of John Carpenter’s ESCAPE FROM NEW YORK.  It’s sometimes hard to know who to trust but if someone says “run,” let’s just say you can be sure zombies are around and if you don’t, you may get bitten and infected with the plague yourself or worse eaten for your brains!

To get the scary scoop, ATLRetro caught up with Madeline Brumby, a brunette with a machine gun who is no mere scream queen but a key cast-member and also this year’s pinup girl for the “hero” side of the AZA. But that’s not the only place you can see this monster-loving maiden this October. She’ll also be acting in the 5th Anniversary Silver Scream Spookshow this Saturday Oct. 15 at the Plaza Theatre – and you know Prof. Morte and Co. will be pulling out all the tricks and treats given that it’s their Halloween show and the movie is a rare 35mm print of the Vincent Price/Lon Chaney Jr. (not to mention H.P. Lovecraft) 1963 classic HAUNTED PALACE (Read our Retro Review here). Then she’ll be taking to the streets for this Sunday’s Zombie Walk Atlanta, organized by Luke Godfrey (Splatter Cinema, Chamber of Horrors) and cosponsored by AZA, and again with the AZA group at the Little 5 Points Halloween Parade on Sat. Oct. 22. Finally Madeline also will be up on the Plaza’s big screen later this month (Oct. 22-27) as one of the stars of DEAR GOD NO!, a hard-edged/no-holds-barred homage to ‘70s grindhouse features about a hellraising motorcycle gang, a mad scientist and a sasquatch on the rampage. Yeah, the name makes total sense when you see the movie!

All of this sounds like horror heaven to us, so we had to make Madeline Kool Kat of the Week…

AZA 2011 T-short design by Dave Cook.

ATLRetro: This year’s AZA has the same basic concept but a totally new pathway and set of characters—loved the R.I.P. Mack and Johnson graffiti on the back wall. Without giving too much away, what’s new and different?

Madeline Brumby: We are all extremely excited about the new format. Of course, I’m sad to see Mack and Johnson go, but this year’s show is the sequel to the Mack and Johnson story. The versatility of the AZA to create and continue an apocalyptic scenario is really what gives the unique feel to the experience this year. And for years to come!

One of the cool things about AZA is every character seems to have a back story. Who do you play, and what’s yours?

Definitely! We had a patron come through the other night who was totally impressed that we had “real” actors with “real” stories. I’m a resistance paramilitary character. My troopers and I are rebels fighting for the survival of the uninfected and the destruction of the Center for Disease Development.

Some of the zombies have pretty intense make-up—i.e. they’re not freshly dead. How long does it take the zombies to get into make-up and how many make-up artists are on the team?

As much as we try to make the apocalypse real, the AZA is still a show. With not much light, our zombies have to be highly detailed for a spine-chilling scare. The process is down to a fine science—taking about 7 minutes per zombie. We have a team of about eight artists, myself included, headed by Shane Morton. First they are outfitted and receive a prosthetic. Once the prosthetic is dry, they are base-coated, detailed with additional colors, blood-splattered and hungry for BRAINS!

What zombie movies and books were most influential in planning AZA, and did a certain TV show set in Atlanta and featuring the CDC influence AZA at all in this year’s planning?

Haha! That’s funny. Last night Shane and I watched THE WALKING DEAD for the first time, and I thought it was pretty weak. CGI blood is a NO-NO! Our blood gags are far more realistic and they’re LIVE! And I’m pretty sure we were using the CDC gimmick first(?) as our show opened before the first episode aired. As far as most influential, WORLD WAR Z, I AM LEGEND [Ed. note: original Richard Matheson novel, not Will Smith move], LAST MAN STANDING and ESCAPE FROM NEW YORK provide the main inspirations.

Were you involved in any of the planning and construction? What can you tell us about that – how does AZA come together and who are some of the key behind-the-scenes masterminds, whom readers might not know about?

I’ve been out on builds from January to October and helped with some big scares in the courtyard. The primary innovators are Jonny Rej (co-owner of the Plaza Theatre) and Shane, with the major help of Dusty Booze in the construction department.

What’s a cool piece of trivia about AZA that isn’t widely known?

It is HAUNTED!

Professor Morte (Shane Morton) and Madeline Brumby in Silver Scream Spookshow.

Can you share any history about the AZA site? It was an abandoned motel, wasn’t it?

It used to be one of the busiest trucks stops ofAtlanta. At some point the owners ran into financial trouble and it shut down. Pirates ransacked the place and absconded with all the copper! When the property was purchased by Safety Wolf, I think they found EIGHT dead bodies during clean-up in the motel.  Shane and Jonny sure found some scary stuff when they were cleaning…

In addition to the main AZA experience, there’s a photo op, the opportunity to shoot zombies with paintball weaponry and some tasty food vendors, aren’t there? What might readers want to know in advance about what else is going on?

What better way to remember your apocalyptic experience than a photo with a zombie and a weapon of choice! The Zombie Shoot is even better this year and don’t let your taste buds miss out on Jim Stacy‘s famous Palookaville eats! His pickle is amazing! (insert joke here)

You’ve also become a regular in the Silver Scream Spookshow. Can you give us a little sneak peek into this week’s stage show and what makes HAUNTED PALACE such a special treat?

We definitely have some comedy gold in store for this week’s show! It’s the 5th year anniversary, so we’ve got some of the older characters like Persephone (Plaza co-owner Gayle Rej) and some of the new ones like Quozzy mixing it up for a spooktacular monster mash with more onstage illusions than ever. The score of HAUNTED PALACE is what makes the movie special to me, so I’m excited to see and HEAR it in the wonderful Plaza Theatre.

Will AZA be in the L5P Halloween Parade this year? Just zombies or how does one decorate an undead float?

We’ll be there! Undead and Alive! I think the only “float” we’ll have is a blood-splattered car.

You’re also starring in DEAR GOD NO!, an over-the-top neo-‘70s exploitation film featuring tons of local talent and playing at the Plaza Oct. 22-27. Can you tell us a little bit about that movie and the part you play?

Jimmy Bickert‘s DEAR GOD NO! is the ultimate grindhouse film. It is disturbing, offensive, hilarious, horrifying and amazing. You can’t even call it a tribute. It was shot on super 16mm film and all the effects are practical. I play Edna Marco who is the daughter of the mad scientist that has created something terrible. She transforms from submissive to empowered. Developing her went beyond all expectations. I channeled some deep dark emotions into my character and it has definitely been one of my proudest roles.

DEAR GOD NO! pushed a lot of boundaries and isn’t for everyone. What advice do you have for who should see it, especially the gals?

Take it for the art that it is and expect to be offended.

You also are acting as one of Dracula’s wives in Rob Thompson’s highly anticipated DRACULA: THE ROCK OPERA, which premieres next April at 7 Stages. Do you have anything you’d like to share about that role and experience?

Well, it’s definitely a musical that isn’t lame. My poor brother didn’t realize that Dracula’s wives were semi-nude and felt a little weird seeing that much of his sister. Haha! But, I don’t think it bothered anybody else too much. From musicians, score, and performers, the show is oozing talent and potential. I hope we do play in Prague this summer.

Any other acting roles or creative endeavors that you’d like to share with ATLRetro readers?

I hear there’s going to be a sequel to DEAR GOD NO! Hopefully we start shooting in the Spring.

Finally, you lived in England and have a science degree from Georgia Tech. Not that it wouldn’t be our dream/nightmare job, but how did you end up being a B-monster attraction/spookshow/movie actress?

Life’s a journey, right?

Plaza Manager/Projectionist Ben Ruder loves film so much it even tastes good.

By Philip Nutman
Contributing Writer

Ben Ruder is one of the unsung heroes of Atlanta.

As chief projectionist and manager of The Plaza Theatre, he’s a cinephile who keeps the art and pleasure of movie-going alive in an era of digital downloads, streaming and DVD boredom. You can train a monkey to run the 16 digital projectors at a chain-run multiplex; but knowing how to repair an actual film print, especially an old one, and project it properly is a skill that’s sadly coming to the end of the reel. Ruder is one of that dying breed – a real projectionist who cares about the experience patrons have when they see a movie at The Plaza. Now, along with other like-minded lovers of celluloid, he’s starting to program CONTRABAND CINEMA, an ongoing, eclectic selection of rare films in a variety of formats (Super-8, 16mm; everything from avant garde to rare, archival, educational films, and personal Underground artistic expressions). The first show is this Thursday, October 6 at 8 p.m. at The Plaza – and that’s why he’s our Kool Kat of the Week.

Ben took time out from his busy schedule to share the details on what promises to be a fascinating kick-off for a series of eye-treats for Atlantans who are tired of the same old Studio produced rubbish cluttering up area multiplexes. He also shared a little bit about his company RUDERMEDIA, his personal love affair with film on film and why helping owners Jonathan and Gayle Rej to preserve the Plaza is such a passion.

ATLRetro: How did CONTRABAND CINEMA evolve?

BEN: Contraband Cinema is an Atlanta-based micro-cinema safehouse based on, inspired by and executed under the guidance of Craig Baldwin‘s Other Cinema in San Francisco – an ongoing series of experimental film, video and performance. Contraband Cinema strives to select the best work locally and around the world, transplant it to the south, and nurture it through close collaboration with regional filmmakers, curators and established film institutions.

Contraband Cinema is operated by Marcus Rosentrater and Gideon Kennedy. Marcus and I have talked about doing something together for a while, as he is a regular volunteer for us at the Plaza. We are both big fans of the medium of film and wanted to share hard-to-obtain materials with other cinephiles. Through my company RUDERMEDIA, I am assisting Marcus with locations, equipment, and providing “Film Education” programming which takes a look at educational shorts shown in the classroom, as well as teaching the attendees lessons on how 16mm projection works as well as what goes into film preservation and restoration. I secured The Plaza for this first event, but we’ll be in several nontraditional screening spaces for future shows.

This month we’ll also have a “photobooth” set up in the lobby before and after the screening where you get 5 seconds of time in front of a Super 8mm camera which will be screened at a future event, as well as posted online after processing.

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DragonCon may be Atlanta’s best known and biggest pop culture convention, but this weekend more than 10,000 Japanese anime fans will descend on Cobb Galleria Centre and the Renaissance Atlanta Waverly Hotel next door for Anime Weekend Atlanta (AWA). The four-day pop culture convention kicks off tonight and runs through Sunday afternoon (Sept. 29-Oct. 2,2011).

While all ages attend, the AWA crowd tends toward the young (predominantly high school and college) and effusively enthusiastic in their costuming and passion for anime (for the uninitiated, a uniquely Japanese genre of animated TV shows and movies). Go, SPEED RACER aside, you might not think there’s much Retro about AWA. However, while some kids do go to lock themselves up in a room and watch anime 24 hours a day, thanks to the creativity of the con’s organizers, such as Event Director Jason Merrill, even casual anime fans like us can have a great time. After all, where/when else in Atlanta can you pretend you’re shopping a Tokyo flea market for vintage kimonos and Godzilla and Ultraman toys without spending a fortune on a plane ticket, as well as enjoy live concerts with bands from Japan, a burlesque show, a black-tie ballroom dance with a string quartet and a Saturday night vintage jazz Bebop Lounge?!

ATLRetro recently caught up with Jason to find out not only why anime has such a passionate following but also to get the full scoop on the many fabulous Retro connections and happenings at AWA. To find times and locations for the many fun things he mentions, check out the full weekend schedule here or download the new AWA app for Apple iPhone/iPad or an Android browser version.

How did Anime Weekend Atlanta get started, and how does today’s AWA compare to your early days discovering and enjoying anime?

My brother, Dave Merrill, and I grew up watching PRINCE PLANET, SPEED RACER, STAR BLAZERS, ULTRAMAN and SPACE GIANTS. It was hard to find new items unless you had the right connections. Dave got very active in the tape trading and convention communities so he had a steady stream of new and unusual anime to watch. He and his friends used to gather at my parents home to watch anime. That group became the fan club Anime X, which later threw the first Anime Weekend Atlanta, 17 years ago. I have to admit, I’m kind of glad they decided to throw an actual convention, because I don’t think my parent’s family room could survive this kind of thing.

The difference is night and day. Just the technology alone has made the entire experience so far removed from the old days. We would get untranslated anime on fifth-generation videotapes with bad tracking issues months (if not years) after the show first ran. So keeping up with the action would take a lot of effort. Now shows appear subtitled within a week of the original air date.

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