70×70: Psycho and Touch of Evil at The Cinema Museum

Updated:

Still not too late:

http://www.cinemamuseum.org.uk/2014/iain-sinclair-touch-of-evil-psycho/

Throughout his 70th birthday year, writer and psychogeographer Iain Sinclair has been curating a season of 70 films that have appeared in his novels, presented in cinemas and venues across the capital.

Here he describes the two films that he and Anne Sinclair will be introducing at this evening’s screening: Touch of Evil (1958), directed by Orson Welles and Psycho (1960), directed by Alfred Hitchcock, with an underscore by Mordant Music.

Lurid poster for Touch of Evil showing couple in clinch, with an older man looking-on“A film that has been a point of reference since I saw it on its original release (as a second feature) at the Paris Pullman. Now I appreciate the fact that it was produced by Albert Zugsmith, who also produced – one year later – the exploitation quickie The Beat Generation. From Welles, Charlton Heston, Janet Leigh to Steve Cochran, Mamie van Doren, Ray Danton. Films at the end of cycle carry a particular freight. This one shadows the much more  successful (financially) Psycho. Motels with gimpy weirdo handymen. Janet Leigh threatened with gang rape or butchered. I lose interest in Psycho after the death of Leigh: it devolves into television. The opening represents Hitchcock’s response to European cinema and the French critics who championed him. The end reverts to his early German influences, now calculated for architectural shock-horrors.

Alfred Hitchcock holding a clapperboard labelled 'Psycho'But what strikes me, years later, when we hit the San Diego Freeway is how new this landscape is and how trivial the human interventions. Oil donkeys nod on low hills. We are in the Mexico of Hank Quinlan. Orson Welles created a sleazy border town out of Venice Beach for his Hollywood swansong. Death comes, with wheezing Shakespearean flourish, among the fouled ponds of the speculative oil field. Nodding donkeys, pumping away, day and night, take the place of actual animals. ‘Your future,’ as Marlene Dietrich said, ‘is all used up.’ In Los Angeles they dig for oil where other cities have allotments.”

Doors open at 18.30 for a 19.30 start. Refreshments will be available in our licensed café/bar.

 

Website: http://www.cinemamuseum.org.uk/2014/april-to-june-events-in-brief/

 

 

 

70×70 re-scheduled

Screen Shot 2014-05-11 at 22.12.39

 

 

[CANCELLED] 70×70: The Cutting, Iain and Brian Catling in talk

Just received the following:

“If there’s anything on the site regarding tonight’s King’s screening, please duly erase. We’ve had to cancel due to unforeseen circumstances.”

 

 

As part of the 70×70.
23rd April, another 70×70: King’s College. Talk with Brian Catling for his film ‘The Cutting’.
Shown with ‘The Act of Seeing with one’s own Eyes’ by Stan Brakhage
https://www.kcl.ac.uk/cultural/culturalinstitute/showcase/current/whatson/screenings/Cutting-eyes.aspx

70×70: The Long Good Friday

18th April, Hackney Picture House.

I’m ‘in conversation’ with Barry Keeffe, who wrote the screenplay for ‘The Long Good Friday’. Which, by serendipity, will be shown on Good Friday.

http://www.picturehouses.co.uk/cinema/Hackney_Picturehouse/film/The_Long_Good_Friday/

70×70: Niagara (1952) & Cul de Sac (1966) at The Cinema Museum

Iain’s and King Mob 70×70 arrives south of the river at The Cinema Museum.

Webpage: http://www.cinemamuseum.org.uk/2014/iain-sinclair-niagara-cul-de-sac/#more-12615

Please check the link above for time details.