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sherilynn fenn in 'two moon junction'
The former bit actor (born Zalman Lefkovitz in 1941) made his first big career splash in 1988 when he wrote and produced the softcore classic 9 1/2 Weeks.
That film’s success led to a career as America’s premiere erotic filmmaker of the time, with the minor classics Wild Orchid, Two Moon Junction (Sherilynn Fenn’s springboard to fame), and Delta of Venus (arguably a better Anais Nin adaptation than the higher-budgeted Henry and June).
Even before Henry and June‘s disappointing box office led Hollywood’s theatrical distributors away from sex flicks, King had branched out into late night cable shows, starting with the still-famous Red Shoe Diaries (David Duchovny’s springboard to fame).
In a sub-genre known for some of corporate media’s shoddiest production values, King’s shows and TV-movies stand out. They display lush (if clichéd) lighting/photography and poetic dialogue/narration. The sex scenes are choreographed to convey warmth more than “heat,” accompanied by King’s trademark fusion-jazz sax soundtracks. King helped fund these projects by distributing them on video, emphasizing distribution at Blockbuster and other outlets that didn’t carry hardcore porn.
A devoted family man in spite of his subject matter, his wife and two daughters were key members of his production team.
From time to time he branched out beyond the skin-flick genre, including documentaries about dancers and surfers. But those were sidelines to the sex stuff. Battling cancer in recent years, he kept producing and sometimes directing more TV-movies and series. A pay-per-view website for these was announced last year but never launched.
And yes, he died at the age of 69.
Update #1: The Komen Foundation backed down from its previous blackballing of Planned Parenthood cancer screening services—or did it?
Update #2: In yesterday’s rant about the Komen fiasco, I mentioned how the organization had attracted negative comments even before this. But I failed to provide a good link to those previous criticisms.
Here’s such a link. It goes to the trailer for Pink Ribbons, Inc., a National Film Board of Canada documentary investigating the group. It opened today in Canadian theaters; a Stateside run starts in March.
Director Lea Pool’s film (based on Samantha King’s 2006 book) had, of course, been shot, edited, and scheduled long before this week’s right-wing cave-in by Komen management.
The film’s gist: Komen management allegedly cares a lot more about promoting itself, attracting corporate partners, selling branded merchandise, and, of course, raising money than it is about detection, treatment, or “the cure.”
All-new item: A Seattle gun merchant announced a Komen-authorized pink handgun. Komen management now denies any authorization, involvement, or even pre-knowledge of this.
A few days late but always a welcome sight, it’s the yummy return of the annual MISCmedia In/Out List.
As always, this listing denotes what will become hot or not-so-hot during the next year, not necessarily what’s hot or not-so-hot now. If you believe everything big now will just keep getting bigger, I can score you a cheap subscription to News of the World.
1944-era logo of the first seattle star, now topping the new seattlestar.net
Still awaiting all your nominations for our 2012 MISCmedia In/Out list. Reply in the comments area below, you trendspotters you.
There’s a book coming out called 100 Cult Films.
Its authors count mainstream, major-studio products such as It’s a Wonderful Life and The Wizard of Oz among their pantheon of “cult” classics.
And, aside from treating all six Star Wars films as one work, the two authors list nothing made since 2003 (represented by The Room, Tommy Wiseau’s failed domestic drama later re-issued with a “so bad it’s good” angle).
Has nothing of late gained an avid-enough niche audience to be considered “cult”? And if not, why?
One might suggest a few potential reasons:
But I would suggest a deeper reason: the collapse of showmanship, of sincere, high-energy entertainment delivered with gusto. That’s all been replaced by rote formulae intended to appeal to demographic targets.
It will take the true independent filmmakers to bring real showmanship back.
To them I advise: Put your heart and soul into your works. And really mean what you say and do. Even, nay especially, when you’re making light comedy.
Filmmaker Ken Russell, who passed away over the weekend in England, was an “art film” director who also made (relative) box office hits, an bad boy whose works still stand up long after their shock value has faded away.
A couple of his most important films (Lair of the White Worm, The Rainbow) were executive-produced by SIFF cofounder Dan Ireland at the long defunct Vestron Pictures company. Too bad so many of the Russell Vestron product has never been on DVD. Perhaps this tragedy will spur Lionsgate, which now owns their rights, to get a move on.
Many other Russell works were made for, and are now controlled by, the Hollywood major studios. Those firms have also been slow on getting these modern classics onto disc.
'off the mark' by mark parisi
It’s no longer good enough for us to tell kids who are different that it’s going to get better. We have to make it better now, that’s every single one of us. Every teacher, every student, every adult has to step up to the plate.
jiyoung-s.blogspot.com/
(Told you I wouldn’t necessarily be providing these headlines every day.)
fanpop.com
denny hall, the uw campus's oldest building
satirical ad by leah l. burton, godsownparty.com
defunct connecticut strip mall, from backsideofamerica.com