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...only other thing worth mentioning about Dracula--aside from the terrible Latex, greasepaint and collodion jobs on a few of the vampires, and the turn-of-the century, tradition vs. modernism theme Badham and Richter apparently tried to concoct in the visuals--is the great love scene that stopped the show on Broadway. As Dracula and Lucy begin to embrace, their figures dissolve into multi-colored silhouettes and recede into the distance, whereupon a bunch of shapely limbs wind and unwind to John Williams' less than austere music. The whole thing is modeled on the title sequences in the Bond...

Author: By David B. Edelstein, | Title: Staking the Wild Vampire | 7/31/1979 | See Source »

...bloody dead babies commence: let there be impalings, gougings, slashings, stakings, necks broken with an appetizing CRRRUNNCHH in Dolby stereo, John Williams conducting the London Symphony Orchestra, repeating the same goddamned nine-note musical motif like a lobotomized organ grinder, bats tearing faces and crucifixes burning the flesh of latex-scarred vampirellas. "It's a love story," explained Frank Langella...

Author: By David B. Edelstein, | Title: Staking the Wild Vampire | 7/31/1979 | See Source »

Despite problems over lack of paved roads, running water and communications, six factories have already been set up and more are abuilding. Some will make work gloves, tea bags and latex rubber threads, but most will produce garments for the U.S. market. Indeed, many companies have been attracted because the U.S. does not yet impose import quotas on Sri Lankan garments. Typically, Jeffrey Bogatin, owner of a New York-based garment business, was attracted by wage costs of 73? an hour and a five-year tax holiday. Says he: "I'm shocked that there is not more...

Author: /time Magazine | Title: Business: Score One for Capitalism | 6/25/1979 | See Source »

...dead rabbit and false eyelashes; and he also requested a personal guard to protect his equipment and handiwork from whatever hazards might lurk in the bush. In three 18-hour days, O'Bradovich fashioned a plaster head modeled from skull fragments, then used the head to mold a latex mask of a Homo habilis face. A Kenyan volunteer wore the mask for Fischer's cover photograph, taken in the desolate Rift Valley outside Nairobi...

Author: /time Magazine | Title: A Letter From The Publisher, Nov. 7, 1977 | 11/7/1977 | See Source »

...time. "I guess disappearing into my gorilla suit and thumping my chest has something to do with a transference of power. You really do feel pretty powerful down in there." Of course, it was not all mangoes and bananas for him. The temperature went over 100° inside his latex and bearskin outfit, and Baker sweated off 5 Ibs. every working day. Then, too he was not responsible for his own facial expressions. He had five different masks to wear, depending on Kong's basic mood in the shot. The masks could be made to change expression...

Author: /time Magazine | Title: HERE COMES KING KONG | 10/25/1976 | See Source »

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