Official "Wisp" Launch!!

Today, April 13 (yes, the 13th) is the official book release day for my novel Wisp. It is available on Amazon in paperback and Kindle, and Barnes & Noble's website (www.barnesandnoble.com) in NOOK as well as on Smashwords in other ebook formats. So we're having a novel launch party for the rest of the week! Until Friday you can order a print copy of Wisp for only $13.00 INCLUDING shipping!

Let me tell you about Wisp: There is a psychotic killer on the loose in Ellerton. Sheriff Stan Murphy and his paranormal journalist nephew Alex Fiedler have their hands full trying to keep the townspeople calm while keeping the city officials satisfied with their progress. And the killer is not stopping. The bodies keep piling up and the physical evidence defies explanation. Something strange is afoot in Ellerton, and Alex isn’t the only one looking at other-worldly answers. Please feel free to comment, or check out my website at www.kevinrmaze.com. But this special price is only good until Friday, April 15. After that, like a wisp, they're gone...

Young Frankenstein

I was going to include this title in a previous segment of October Films, but ran out of room so I decided I would put it in Part 4. Then I had a comment from a friend who also suggested I add this one. It deserves its own article.
And why not? This movie is a classic, and although the term “classic” has appeared often in this blog series, it is the best word to define this 1974 comedy from director Mel Brooks.

Gene Wilder said he wrote the title down on a sheet of paper: Young Frankenstein; it was so funny he developed the story around it. The story, co-written with Brooks, is about the grandson of Victor von Frankenstein, Frederick, a neurosurgeon who has desperately tried to put the dreaded name of Frankenstein behind him even to the point of pronouncing it “Fronkensteen.” He inherits his grandfather’s castle and before too long finds Victor’s diary describing his work. Eventually, young Frederick realizes that “IT—COULD—WORK!”

But Frederick’s going to make sure his creation does not face the same fate as that of his grandfather’s; he’s going to use the brain of esteemed colleague Hans Delbrook. Of course, that doesn’t work out. However, there is a suitable replacement in a brain from an “Abbie Normal.”

Perhaps I should back up, particularly for people who (gasp!) have never seen Young Frankenstein. Gene Wilder is Frederick, Teri Garr is Inga, his assistant, and Marty Feldman is Igor (pronounced “Eye-gor”), Frederick’s… assistant (“My grandfather used to work for your grandfather… Of course, the rates have gone up”). And the creature is played by Peter Boyle, probably best known as Frank Barone, Ray Romano’s screen dad from the TV series Everybody Loves Raymond.

Brooks shot the movie in black-and-white and based the production design used in James Whale’s 1931 Frankenstein. One way he accomplished this was by acquiring Frankenstein’s original lab equipment from designer Ken Strickfaden. The scene when Frederick sees the secret laboratory for the first time feels like we have jumped back in time. That’s the mark of a great director. In that scene we even hear Victor Frankenstein’s voiceover as if the walls were talking. (However, that was not old audio of Colin Clive from 1931; it was director Mel Brooks.)

So the film is basically a comic variation of Universal’s Frankenstein with witty dialogue, sharp sight gags and lots of plain humor. “Stay close to the candles. The stairs can be quite treacherous,” and the candles are not lit. There’s even a song-and-dance number with Frederick and the creature performing “Puttin’ on the Ritz.” Young Frankenstein also has some of the most quotable movie lines of any film: “Help me with the bags.” “Fine. You take the blonde and I’ll the one in the turban!” Or, “Werewolf?” “There wolf. There wolf, there castle.” “Why are you talking that way?” “I thought you wanted to.”

Young Frankenstein is a rare film: It is a classic based on a classic. And it works. Even 35 years later, people watching this for the first time fall in love with it. Perhaps it’s because we almost feel like we’ve been transported to the 1930s, following in James Whale’s “vootstops” only to see jokes that are much more recent than that era. It’s a tribute that makes us laugh. And like the original movie it spoofs and honors, it is timeless. It’s a perfect movie for October, or any time of the year.

Films for October-- Part 3

Continuing a blog of dependable classic suspenseful films, this is part 3 in a series on October Films:

Shadow of a Doubt (1943): Alfred Hitchcock called this his favorite film. Little Charlie (Teresa Wright) is happy because her favorite uncle Charlie (Joseph Cotten), whom she named after, is coming to visit her in the small town where she lives. But is it possible he is really the hunted serial killer known as the “Merry Widow Murderer?” One of Hitch’s best!

Psycho (1960): Another Hitchcock classic, this one features a woman on the run, a reclusive motel owner and his overbearing mother, and a creepy old house. This movie still has people locking their doors when taking a shower! And Bernard Herrmann’s often-imitated score—using only stringed-instruments—adds the perfect touch to this gem.

Frankenstein (1931): After mentioning the 2004 Hallmark version we would be remiss to not suggest this Universal classic. Not to use the term “classic” too loosely, but this film has great atmosphere as well as Colin Clive as the definitive doctor, Boris Karloff as the definitive creature, and Dwight Frye (Dracula’s Renfield) as Fritz, the good doctor’s hunchbacked assistant. Don’t worry that this movie barely resembles the novel or is only an hour and eleven minutes long; director James Whale uses the time to craft a taut suspenseful movie for all time.

Bride of Frankenstein (1935): Four years later, Universal reunited Whale, Clive and Karloff in this sequel that, in many ways, is superior to the first film. Universal stock player Frye also returns as Karl, a grave robber, and Elsa Lanchester as the title character (and Mary Shelley in a prologue recounting the young lady’s idea for a sequel).

Horror of Dracula (1958): If Universal Studios set the standard for classic horror, then England’s Hammer Films redefined the gothic genre. This film, one of their first and best, is a loose retelling of Bram Stoker’s tale set in Germany with no shortage of colorful sumptuous production values. Peter Cushing is Dr. Van Helsing and Christopher Lee is the count, and both appear in several Hammer movies reprising the same roles.

The Thing (1982): This film is being chosen over its tamer first version for two reasons: (1) Master horror director John Carpenter behind the camera, and (2) this film is closer to John W. Campbell, Jr.’s story “Who Goes There?” about a shape-shifting alien who infiltrates a science research base in the arctic and kills the members one by one. But how do you fight a creature that could be your best friend standing next to you? And who do you trust? The movie keeps the same character names from the story (unlike the first film version, The Thing from Another World, although many feel is vastly superior), but delivers several scary moments although some of them are gory. Not for the faint of heart. But a must-see for fans that like a good story while being scared out of their wits. (Rated R)

Plan 9 From Outer Space (1959): Okay, seriously, how can we discuss classic suspenseful movies and not bring this up? Or, how could we bring this up? Arguably one of the worst movies ever made, Ed Wood’s ultimate classic of alien resurrecting the dead has it all: Bela Lugosi (who died two days into filming), a stand-in who covers his face because his forehead was so much like Bela’s, falling cardboard tombstones, pilots who fly without hands on the controls, wooden acting, stock footage, an incoherent police detective, hubcap alien ships dangling from fishing line and corny dialogue. It’s so bad it’s funny. A great cheesefest when in the mood for a late, late movie.

Films for October-- Part 2

This is part 2 in a series on October Films, a look at dependable classic suspenseful films:

Dracula (1931): Tod Browning’s classic starring Bela Lugosi stands as THE definitive Dracula movie. It introduced the line “I don’t drink… wine” that did not appear in Bram Stoker’s novel, but appeared in countless incarnations of the Transylvanian count on film.

Frankenstein (2004): Yep, that date is right. I’ll probably catch flak for it, but as good as James Whale’s 1931 classic was, this 2004 Hallmark (?!) mini-series is the best version of Mary Shelley’s put on film. The 3-hour story captures Shelley’s novel in a way Branagh missed and gives enough time in its 19th century setting to set up the characters. Next thing you know, our well-meaning doctor has slipped to a place beyond his control. Yes, it is available on DVD. Stars William Hurt, Donald Sutherland, Alec Newman (SciFi's Dune and Children of Dune) as Victor Frankenstein and Luke Goss (One Night with the King) as the Monster.

House on Haunted Hill (1959): Another classic remade as a failure. And another William Castle classic. Vincent Price offers $10,000 each to five strangers if they spend the night in his creepy house. And that’s before the credits roll! A fun film to watch with someone late at night.

Dr. Jekyll and Mr. Hyde (1941): There are several versions of this film, but this one is distinctive because of the casting choices. Spencer Tracy as the good doctor and his evil counterpart, Lana Turner (the femme fatale from The Postman Always Rings Twice) as the kind Beatrix Emery and Ingrid Bergman (Ilse from Casablanca) as the fleshly-minded Ivy. But it works, especially in the hands of director Victor Fleming (The Wizard of Oz and Gone with the Wind).

The Stand (1994): Stephen King wrote the screenplay based on his epic novel about an apocalyptic battle between good and evil. Available on DVD and originally shown as a 4-part mini-series, this 6-hour opus has everything: great characters, suspenseful plot and cameos by King, Ed Harris (Needful Things) and Kathy Bates (Misery). (Not rated, but not suitable for the very young)

The Wolf Man (1941): Another Universal classic (like Dracula, Frankenstein, The Mummy and Creature from the Black Lagoon) about a man who turns into the titular creature. One of the first films to popularize the werewolf, but few later efforts captured the tortured soul like Lon Chaney, Jr. as the tormented Lawrence Talbot. Also stars Claude Rains (Universal’s The Invisible Man), Ralph Bellamy and Bela Lugosi as… Bela.

Vertigo (1958): Considered by many to be Alfred Hitchcock’s masterpiece, Jimmy Stewart redefines “obsessed” as an ex-cop-turned-private-eye while following the woman who may (or may not) be the reincarnation of her ancestor. Stewart’s character also battles acrophobia (the fear of heights), which naturally, interferes with the case. Great stuff remastered in all its full-color glory.

North by Northwest (1959): One year after Vertigo, Hitch gives us Cary Grant as the “wrong man” in the ultimate mistaken identity story. An ad man is innocently confused for a secret agent and is chased across the country, including one famous scene by a cropduster, and culminating in a chase at Mt. Rushmore. Also includes the lovely Eva Marie Saint, James Mason and a young Martin Landau.

Films for October-- Part 1

It’s October, a time when leaves change colors, when the weather gets cooler and people get ready for Halloween. Now I don’t celebrate Halloween myself, but I must admit I like suspenseful, scary movies; particularly the classics. I’m not talking about torture porn or bloodfests (basically, very little from the past 10 years). The fun thing about a lot of these movies are that you can watch (most of) them with your family (not the very young, of course, who will probably just get bored since most are in black-and-white). And many of them are playing on Turner Classic Movies this month (http://www.tcm.com/). Check the schedule as well as Netflix and your local video store.

Invasion of the Body Snatchers (1956): This was remade in 1978 and again in 2007 as The Invasion, but nothing can top the original with Kevin McCarthy who, through a bookend framework, explains that aliens are replicating the inhabitants of a small town. One of the best of the 1950’s spook shows.

The Phantom of the Opera (1925): Yes, the silent film with Lon Chaney. Is the phantom psychotic or misunderstood, villain or victim? In this version, he's not the victim. And that unmasking scene still packs a jolt.

Nosferatu (1922): F.W. Murnau’s haunting classic was the first filmed version of Dracula (and done so without permission of the Stoker estate). Forget about Edward Cullen, Lestat or even Nick Knight; Count Orlock (whom Leonard Maltin calls “the ugliest vampire in film history”) is the reason we still look over our shoulders late at night.

The Blob (1958): Okay, how can you take a movie about a red gelatinous mass terrorizing a city seriously? It’s difficult, but our hero is Steve McQueen in his star-making role in the film whose theme song was written by Burt Bacharach! You could do better, but you could also do much worse.

Cat People (1942): Again, NOT the 1982 remake. This movie delivers some genuine thrills and suspense, mainly due to Nicholas Musuraca’s cinematography and Jacques Tourneur’s direction.

Part Two coming soon!