By Danny Peary
Eraserhead to Blue Velvet to The Rocky Horror photograph exhibit to Harold and Maude—midnight videos maintain you up well beyond your bedtime, no matter if you’re curled up at the sofa or in a theater filled with like-minded fanatics. They invoke responses starting from “Why am I looking at this?” to “I can’t think I’m staring at this!” during this number of 37 essays drawn from his respected Cult Movies sequence, cult movie expert Danny Peary examines, dissects, defends, and exalts nighttime videos from his detailed and fascinating standpoint. His writing is a cornerstone of the cult movie tradition that keeps to flourish this day. New to this booklet sequence are Danny Peary’s cult motion picture checklists for every style. each middle of the night motion picture fan will stroll away with newly stumbled on gem stones to monitor, and a newfound appreciation of his or her favorites.
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Extra resources for Cult Midnight Movies: Discover the 37 Best Weird, Sleazy, Sexy, and Crazy Good Cinema Classics
J knew as I stood there that I would return one day to make a film. Had I never seen the windmills, I would not have made the connection between this fantastic landscape and the von Arnim story, which I read only later on. In Signs of Life there are long shots of the incredible landscapes of Crete. The opening credits, for example, hold for an unusually long time with a single shot of a mountain valley. It gives you time to really climb deep inside the landscapes, and for them to climb inside you.
Z, for the complete Oberhausen Manifesto, and Chapter One of Thomas Elsaesser's New German Cinema (Rutgers University Press, 1989) for a summary of the manifesto's impact on film in West Germany. 17 The Kuratorium was 'explicitly charged with putting the proposals of the Oberhausen Manifesto into practice' (Elsaesser, 1989, p. z z ) by advancing 'German film-making and stimulate a renewal of the German film in a manner exclusively and directly beneficial to the community'. It was non-profit-making and was funded by the Ministry of the Interior.
So I ended up penniless and was pushed around from place to place for weeks until finally I was picked up on a country road by the Franklin family. The mother had six children between seventeen and twenty-seven, her husband had died and there was a ninety-three-year-old grandmother. I owe them so much, this wonderful, crazy family who put me up in an attic where I lived for six months. Of course I needed to earn some money, so I started to work on a project that was part of a series of films for NASA.