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Did you see the version with the skeletal-insectoid alien as the Watcher in the climax? Without that great 'payoff,' the movie ends in an unsatisfying way (speaking as one who has seen both versions).
<blockquote>other possibilities . . . demons don't exist and neither do Mothmen.</blockquote>
In <b>the world of this particular movie</b> they <i>do</i> exist since the dark creature is plainly shown right before Mary's car crash. And nothing in the rest of the film suggests that it was a hallucination or whatever.
Arguing whether or not they exist <b>in real life</b> is a separate topic.
Inspired by or homage to, one or the other.
Grand Canyon
The Big Chill
Wild Wild West
The rottweiler was owned and trained by the priest (since Mary wouldn't be able to own one in the asylum). I suspect he was the biological father of the twin girls and took Mary's side in the eventual split of the two daughters. He was angry at Julia for forsaking her family, as observed in his sermon. Being a Roman priest and therefore sworn to celibacy, he had to hide the fact that he was their true father, but the duplicity drove him mad, apparently.
Another reason he was on crazy Mary's side, is because Julia's dream at the beginning suggests that <i>she</i> was the one who permanently disfigured Mary's face when they were kids to get back at her for being an abusive "master" (remember, she described her relationship with Mary as that of slave and master respectively). Mary was subsequently taken to the institution and Julia blocked out that she disfigured her face in a rage. So, when Father James (the girls' literal father) meets Julia at the hospital to finally see Mary after like fifteen years, he lies to her about why her face is disfigured.
Sorry you didn't like it. I agree with you, but thought it had enough points of interest to make it worth checking out for fans of old, low-budget slashers, like being a period piece of late 70's Manhattan, the grungy side.
The big twist was that the priest was in cahoots with the crazy twin sister.
But why was he so attached to the sisters in the first place? It's possible that he <i>was</i> their biological father, but had to hide it to keep his occupation since Roman priests have to be celibate. The duplicity perhaps drove him crazy.
Why was he on crazy Mary's side rather than Julia's side? Because Julia's dream at the beginning of the movie suggests that she was the one who permanently disfigured Mary's face while she was sleeping to get back at her for being an oppressive "master" (remember, Julia later described her relationship with Mary as that of slave and master respectively). Julia obviously blocked out that she did this and so, years later when she went to visit Mary at the mental institution, Father James (their literal father) lied to Julia about the reason why Mary's face is disfigured.
...except that this was shot in Savannah, Georgia, with American Actors. So, technically, an Italian-American joint operation.
The underrated "Hideaway" from 1995.
He proved he could deliver the goods as the leading man, but the film failed to acquire an audience at the box office.
They knew how to cut out the fat in songs back then.
Bruce is a'right, but his weakness is that he's too one-dimensional; too samey-sounding. At least DiAnno knows how to change his voice to fit the needs of the song, which can be observed in his post-Maiden projects, like Killers. Listen, for example, to his work on 1994's MENACE TO SOCIETY (<url>https://www.youtube.com/watch?v=nSoQPKh6Rdk&t=1921s</url>).
Wow, I didn't know she died so young. I looked it up and it was due to leukemia.
Interesting stuff; I'll be seeking out that documentary.
I've never heard of it, but am interested.
It's been 5 years since I've watched it so I don't remember that claim, but I take your word for it. Obviously, they should've cited the deaths while stressing they weren't due to violence. It's curious that they didn't.
I haven't seen "Creating Woodstock," but I'll put it on my watchlist, thanks.
KILLERS is their best album, easily; although "Hallowed Be Thy Name" is their greatest song.
It's open to interpretation, but it just didn't seem like lesbianism was painted in a positive light.
Being shot in late 1963, it was kinda late in the game for a major American film to be shot in B&W to save on expenses. It's said that director John Huston believed B&W would be superior in conveying the Tennessee Williams' themes of isolation and desperation, as well as the raw emotions of the characters. I heard there was tension with the producers on this choice.
As you know, two of the deaths involved overdoses and the other one was an accident involving a tractor riding over a 17 year-old guy sleeping in a field (I edited my post to note the two overdoses, rather than one). Because none of these were due to malevolent violence (like Altamont), they deemed the event "3 days of love & Peace" for the 450,000 people.
You can't beat the cast and the Southern Gothic ambiance is great, plus the flawed characters are nicely fleshed-out. Despite the legit criticisms, it's a quality enough drama/crime thriller for me to rate it 7/10.
With 20 minutes to go, it becomes fairly clear that Wayne is the killer, which just made me roll my eyes. I was like, 'Please don't let him be the murderer.' It's just such a Hollywood cliché to have the most seemingly innocent individual end up being the killer. On top of that, the movie provokes the viewer to hope for Annie and Wayne to find happiness together as a family since they clicked in a warmhearted way. So, it's not just the cliché, it's having that 'stolen' from the viewer by the contrived writing.
Nevertheless, I thought about it and see your perspective. It's a quality movie and makes a worthy point (despite the banality of who the slayer ends up being) -- <i>sometimes</i> the most likely suspects are innocent of the crime in question while the least likely one <i>is</i> the culprit.
And black people can never EVER be racist. My professor told me.