ShangOrama.com presents

Dario Argento's Goblin Trilogy!!!

Deep Red - Suspiria - Tenebre

In-Person Maurizio Guarini, doing 1-hr Q&A session & will then introduce each film. Maurizio is dee Goblin keyboardist & Argento's composer!!!

It will be a dark & stormy night!!! What better way to watch an Argento film, eh? -AND- Argento himself might even be in dee house folks? He's at a party @11 at Lee's Palace first, and then maybe here - after-all we are open until 8am? Shhhhh... have fun!!!

(((NB: We've moved dee programme back 1-hr to accommodate Argento's schedule: Q&A @at midnight to 8am. Stay tuned...)))

    

(L) GOBLIN Maurizio Guarini @The Gladstone Hotel (Fri, Aug 24/07). Rue Morgue's Festival of Fear opening-night VIP party. (Photo: MC SHanger)

(R) Carlo Coen, Kathleen Emerald, Maurizio Guarini & MC Shanger at dee same party!!! (Photo: Abuzar Chaudhary)

 

 

Listen to MC Shanger & Carlo Coen's 35' radio interview promoting this & dee Mario Bava event on CKLN's CINEPHOBIA show!!! (((88.1 FM)))

 

Saturday, August 25, 2007 --- MIDNIGHT to 8am (doors open at 11pm) - $5 cover

12:00am -  Q&A session with Maurizio Guarini  ( 60' ) - At my behest, Maurizio has programmed this horrific evening & will introduce every film tonight!!!

The band Goblin first came into being in 1975, and almost immediately emerged as a vital musical entity with its score for the cult thriller Deep Red, starring David Hemming's - who also played dee lead-role in Antonioni's Blow-up - as a detective investigating a series of gruesome killings. The film was also the first effort by director Dario Argento, with whom Goblin has had a long and mutually fruitful creative relationship. Maurizio is one of dee bands two keyboardist's. Ask Maurizio any nagging question about any Argento film. But you only have an hour. OK? MC Shanger will host this segment of dee programme. THEN, Maurizio  has programmed three Goblin-scored film, and at my behest, will do a 5-10 introduction to every film. Namely some behind-dee-scenes for each film. But that's totally up to him. Y'arr!!!

If Dario Argento comes here - please note the following:

Now because of numerous factors here, I have been told that Argento might be in-dee-house on this night-of-nights! See folks let me explain why? Working backwards here: last weeks Mario Bava event was scheduled as such because Argento is Bava's number-one protegee - even though Argento often down-plays that fact (I would add to that long-list: Tarantino, Scorsese, Tim Burton, John Carpenter as well, but Argento is certainly number-one on that list). Enough said for now on that score!!! Listen to dee CLKN radio interview for more on this. Y'arrr!!!  So, my little Droogie's your humble narrator will be in dee presence of greatness this Friday night at a special Rue Morgue magazines Festival of Fear VIP party to honor their number-one guest Dario Argento. Maurizio, as dee only Goblin - living right here in dee Tdot with his wife Cinzia for dee last 7-8 years - will be headlining that evenings musical entities. He has been rehearsing for dee last few weeks, with some local musician so it will be amazing. Your humble narrator is on that guest list of course (location I can not say since it's not even listed on dee official FOF programme), and there I will be introduced to Argento for dee first time by my very dear friend Maurizio - he's a Shanger folks!!! I'm told that at this Friday party, Rue Morgue's other guest are George A. Romero & (my hero) Malcolm McDowell (Welly, Welly Welly... well) will also be there. NOW, in preparation for this ShangOrama.com Saturday night all haste has been made to contact Argento's people in Rome to get him to this event. Until THAT is confirmed, all I can say now is that Dario Argento might be at this ShangOrama.com event. I imagine in dee end he will be here to support dee Shangin' cause because I am known as a filmmakers-filmmaker (I have made over 800 films and steadfastly refuse to distribute them until I'm good'n'ready - well I'm ready folks with ShangOrama.com up and runnning - you hand me a camera and I'll make you a film on dee spot). NOW folks that said, and this is very, very important here: IF Argento come's here I want him to be himself, SO, no autography-seekers, and no photo's unless Dario says it's OK - I would prefer you didn't ask - please just let him be himself here, so behave yourself!!! OK? He has enough scheduled events during Canada's largest horror expo (thousands attending), like Q&A, official autograph & photo sessions, and dee like that it's party time for him - he deserves a rest. (Dee Argento VIP pass to all his FOF-scheduled events is $200 btw.) If he comes, he will be here at his convience, and stay for as long as he wants. I want him to do nothing official here except party with his friends. This is Maurizio's night folks. One scenario is that he might come between 1am-ish (after his FOF party in his honour at Lee's Palace - begins at 11pm), and maybe stay for 15'-30', or stay as long as he wants folks. JUST LET DEE MAN BE FOLKS!!! All this info has been related to Argento's people in Rome. He does know of this event, and as a fellow Italian, Dario will try and support dee Shangin' cause (btw: my village is 2-hrs from Rome, enough said here). Stay tuned right here for all dee up-to-date info, including my photo's of dee Friday night party. Don't forget all ShangOrama.com events are produced, directed and hosted by MC Shanger - your humble narrator folks. Viddy well Droogie's. Viddy well....

1:00am -  Deep Red   ( Profondo Rosso:  1975, 126', 35mm [2.35], Technicolor, mono, Italy - w/subtitles ) - oooooooooooh!!!

Writer/Director: Dario Argento; co-Writer: Bernardino Zapponi; Exec Producer: Claudio Argento (Dario's younger brother); Producer: Salvatore Argento (Dario's Dad); Original Music: Giorgio Gaslini and the "Goblins" (aka, Maurizio Guarini, Walter Martino, Fabio Pignatelli, Claudio Simonetti), music played by the "Goblins"; Cinematography: Luigi Kuveiller; Editor: Franco Fraticelli; Production Design: Giuseppe Bassan; Set Decoration: Armando Mannini; Costume Design: Elena Mannini.

CAST: David Hemmings (Marcus Daly; also stared in, Antonioni's Blow-up); Daria Nicolodi (Gianna Brezzi, Argento's wife folks); Gabriele Lavia (Carlo); Macha Méril (Helga Ulmann); Eros Pagni (Supt. Calcabrini); Giuliana Calandra (Amanda Righetti); Piero Mazzinghi (Bardi); Glauco Mauri (Prof. Giordani); Clara Calamai (Martha, Carlo's mother); Aldo Bonamano (Carlo's father); Liana Del Balzo (Elvira, Amanda's maid).

Profondo Rosso is the first Argento film to show signs of the direction that his work would take him in the future, lots of set pieces, joined together by a plot that does not bear great scrutiny. However, storylines are not what makes his films special, it is the look and feel of the finished product that are more important. The jump editing and roving camera, the stylistic flourishes, the disturbingly haunting melodies that accompany all of his films and the sense of unease as the pace meanders and then bursts into sudden scenes of violent action. There are two versions of this film. The original US release was trimmed by around 20 minutes to speed things up. The complete version contains many scenes between Hemmings and Nicolodi in which the relationship between the two is explored more thoroughly with some delightfully comic moments. After the death of a medium (Meril) who 'saw' the event shortly before the axe wielding killer burst through the door, Hemmings and journalist Nicolodi - Argento's wife - become involved in, and start to investigate, a series of murders which lead them to a psychotic piano player (Lavia) and his demented mother (Calamai).

The quest starts as Hemmings witnesses a murder and Calamai is decapitated by an elevator. Along the way, a body has been found bricked up and a fresco depicting a strange murder, a nursery rhyme and teeth being knocked out has taken the plot into the world of childhood fantasy. All the now traditional Argento trademarks are present, the wonderfully tense atmosphere, the use of colour and imagery, the roving camera, close ups and of course plenty of blood. The music, by Argento stalwarts 'Goblin', deserves a special mention being highly memorable and fitting the film perfectly. This was the start of a long partnership. Hemmings and Nicolodi put in well balanced performances and are totally believable. See this film and find out why he is one of the greatest horror film directors of all-time. Dario Argento once said, "Deep Red is my favorite movie. The character `David Hemmings' plays is very much based on my own personality. It was a very strong film, very brutal, and of course the censors were upset. It was cut by almost an hour in some countries." Tonight we will show the full directors-cut version folks!!!!

  3:30am -  Suspiria  ( 1977, 98', 35mm [2.35], Technicolor, stereo, Italy - w/subtitles ) - 30th anniversary screening!!!!

Writer/Director: Dario Argento; co-Writer: Daria Nicolodi (based on book, "Suspiria de Profundis" by Thomas De Quincey); executive producer: Salvatore Argento; Producer: Claudio Argento; Original Music by the: "Goblins" (aka, Maurizio Gaurini, Massimo Morante, Fabio Pignatelli, Claudio Simonetti), with the collaboration of Dario Argento; Cinematography: Luciano Tovoli; Editer: Franco Fraticelli; Production Design: Giuseppe Bassan; Costume Design: Pierangelo Cicoletti.

CAST: Jessica Harper (Suzy Bannion); Stefania Casini (Sara); Flavio Bucci (Daniel); Miguel Bosé (Mark); Barbara Magnolfi (Olga); Susanna Javicoli (Sonia); Eva Axén (Pat Hingle); Rudolf Schündler (Prof. Milius); Udo Kier (Dr. Frank Mandel); Alida Valli (Miss Tanner); Joan Bennett (Madame Blanc).

This is without doubt the best known of Argento's films and with very good reason. It is definitely not a film that you forget in a hurry. From the very first scene, when Susie Banyon (Jessica Harper) walks through Freiburg airport and the automatic doors open to a wet and wild night and a haunting melody on the soundtrack, you feel that this is going to be a bit special. Susie gets a taxi to take her to the Ballet Academy where she is expected. This journey all happens to a magnificently eerie soundtrack, composed by Argento himself and played by Goblin, with some beautiful cutaway shots of running water on the journey through the city. There is a wonderful use of colour, especially red, right from the start. It is in the airport and again when Susie is in the taxi, lighting up her face as she tries to dry herself. When she arrives at the Academy, a beautiful, red, baroque building, a girl rushes out into the storm and runs away. Susie tries to get someone to let her inside but they tell her to go away. On the journey back to town the girl who ran away is seen running through the trees as if being chased. This girl arrives at another large building where she finds her friend.

Whilst drying off, she looks out of the window and sees a pair of eyes staring back at her. Then an arm smashes through the window and presses her face against the glass until it breaks. She is then graphically stabbed several times and is finally hung by a clothes line as she smashes through the glass ceiling of the building and her friend gets caught in the falling glass and metalwork. And all this happens in the first 15 minutes!

Freiburg was the home of a witch, the 'Black Queen' and when strange things start happening at the Academy it doesn't take too much imagination to work out that the coven still exists and where it is based. This is one of the most beautiful horror films ever made. Every scene uses colour magnificently, from backlighting characters with different colours to the wonderfully stylised architecture of the Academy with its red and blue halls and corridors. This all helps to conjure a surreal atmosphere where you just know things are not quite what they seem. Argento uses imagery, light and sound in such a way that it builds up an almost unbearable feeling of claustrophobia and tension. This combined with some memorable set pieces - the room full of barbed wire, a trunk full of maggots, the seeing eye dog ripping it's owners throat out and of course the grand finale where the Academy goes up in flames, make one of the best horror films of all time. If you have not seen this film, you do not know how beautiful horror can be.

  5:30am -  Tenebre  ( Unsane:  1982, 110', 35mm [1.85], Technicolor, mono, Italy - w/subtitles ) - aaaaaaaaaaaaah!!!

Writer/Director: Dario Argento; Executive Producer: Salvatore Argento; Producer: Claudio Argento; Original Music: "Goblin" (aka, Maurizio Guarini, Massimo Morante, Fabio Pignatelli, Claudio Simonetti); Cinematography: Luciano Tovoli; Editor: Franco Fraticelli; Production Design: Giuseppe Bassan; Set Decoration: Tommaso Barbi, Maurizio Garrone; Costume Design: Pierangelo Cicoletti, Carlo Palazzi, Franco Tomei.

CAST: Anthony Franciosa (Peter Neal), Christian Borromeo (Gianni); Mirella D'Angelo (Tilde); Veronica Lario (Jane McKerrow); Ania Pieroni (Elsa Manni); Eva Robin's (Girl on Beach); Carola Stagnaro (Detective Altieri); John Steiner (Christiano Berti); Lara Wendel (Maria Alboretto); John Saxon (Bullmer); Daria Nicolodi (Anne); Giuliano Gemma (Detective Germani).

In Tenebre, the plot is considerably more important to the movies function than it was in Suspiria and Inferno. An American detective story writer (Franciosa) visits Rome on a promotional tour and finds himself embroiled in a series of murders of young women, seemingly imitative of his most recent novel. Coming under suspicion, he starts to play sleuth himself, aided by his agent (Saxon), who subsequently is himself murdered. In the end, it proves that though the murders were initiated by a deranged TV personality (Steiner), Franciosa has himself continued them out of psychopathic misogyny. Franciosa apparently commits suicide by cutting his throat, but his action seems to have been faked, and he subsequently murders the investigating policeman (Gemma) and is about to claim another victim (Nicolodi) when he is picturesquely killed by tripping over an elaborate steel sculpture. Some elements of the material recall Dressed to Kill (1980) but Argento's film is in its own way considerably more effective.

The killings are staged with a perhaps dubious relish, but visual detail - gloved hands, keys turning in locks - is brilliantly orchestrated to jangle the nerves, and in one extraordinary sequence the camera airily surmounts walls and glides through the windows as it undertakes a prowling inventory of an apartment house where a murder is about to be committed. Argento's now habitual use of a recurring melody is as effective as usual and accompanies several flashback sequences featuring a woman in red shoes. The on-camera fake suicide might also be seen as a teasing objectification of the director's preferred technique of fooling his audience with sheer technical trickery. Well worth watching, the climax features a scene which WILL make you jump. Lamberto Bava, director of Macabro (1980), acted as assistant to Argento on this film.

 

Thanx to Carlo Coen & CKLN's "Feedback" for their live on-air help in programming this evening. As always, MC Shanger will host & produce this evenings festivities!!!

Enjoy folks & stay well-hydrated!!! Y'arrr!!!

 

(((Dario Argento might even be in-dee-house folks? It's a long story, so stay tuned here for updates)))

 

See you here @MAJLIS: 163 Walnut Ave.

---MAJLIS is between Richmond & Adeliade; 1-bk W. Niagara [2-Little Lights W. Bathurst]---[[[View Map]]]

 

 

Remember, our Shanger & Daughter Cafe is just here for some of your shangin' comfort needs. OK? Shang! Shang! Shangers!!!

 

 

Dario Argento

 

"I love Russian cinema. Dziga Vertov is my favorite. Andrei Tarkovsky, so-so. I prefer the fantasy of Sergei M. Eisenstein's October (1928)."

"The process of writing and directing drives you to such extremes that it's natural to feel an affinity with insanity. I approach that madness as something dangerous and I'm afraid, but also I want to go to it, to see what's there, to embrace it. I don't know why but I'm drawn."

"Horror is the future. And you cannot be afraid. You must push everything to the absolute limit or else life will be boring. People will be boring. Horror is like a serpent; always shedding its skin, always changing. And it will always come back. It can't be hidden away like the guilty secrets we try to keep in our subconscious."

"We had many good directors - John Carpenter, Brian De Palma - but things have become polluted by business, money and bad relationships. The success of the horror genre has led to its downfall." - all above quotes are by Dario Argento

"Argento's imagery is bizarre, almost surreal; he thrives on aggressively inappropriate juxtapositions. A lightbulb glows until its glass skin is shattered by a straight razor; a puff of smoke and then the darkness. A man's drawn face is reflected in a pool of blood; a young woman reaches into a shallow puddle where her keys have fallen only to see her arm vanish into the water upto her elbow. A woman's shiny red high heel in a boy's screaming mouth, the blue sky above, the white sand below."- Maitland McDonagh (from her book, Broken Mirrors/Broken Dreams, 1991)

 

"Dario Argento was born in Rome in 1940, the son of influential film producer Salvatore Argento, and established Brazilian photographer Elda Luxardo. While these parental influences assured Argento's filmic fascination from an early age, he assimilated influences from a wide range of the fantastic arts. These included the films of Alfred Hitchcock, Fritz Lang, F.W. Murnau and Walt Disney, as well surrealist painting, the macabre literary works of Edgar Allen Poe and the delirious writings of Thomas De Quincy. In later years Salvatore Argento's cinematic influence would be directly seen on the production credits of many of his son's films, along with those of Dario's brother Claudio, who acted as producer on many of his works.

As a director, Dario Argento very quickly established the status of a cult film phenomenon, whose works were praised and condemned in equal measure. Since 1970 he has directed 16 films, whose convoluted plotting, excessive visual style and unconventional gender twists have repeatedly upset established definitions of cinematic taste. Argento's films are all marked by an elaborate use of camera work, lighting and musical score. However, any artistic labels applied to these images are complicated by his insistence on using them as backdrops to scenes of sexual violence. His reputation as a European master of the macabre willing to push on-screen images of violence to the limit has been confirmed by his high profile roles as script consultant/producer on celebrated gore classics such as George A. Romero's Dawn of the Dead (1978) and Lamberto Bava's Demons (1986), as well as the writer of Lucio Fulci's posthumously completed project The Wax Mask (1997).

As with many of Europe's leading post war directors, Argento began his career as a film critic for the Rome newspaper Paesa Sara before becoming a screenwriter for popular '60s genres including westerns such as Une Corde un colt (Cemetery Without Crosses, 1969) and such war movies as The Commandos (1968). It was his screenwriting contribution to Sergio Leone's Once Upon the Time in the West (1968) that brought him to the attention of Gofredo Lombardo of the established Titanus Distribution company. Lombardo asked Argento to fashion a screenplay for what was to become his first film: The Bird With the Crystal Plumage (1970).

Although now categorised as a ”horror” director, The Bird with the Crystal Plumage is actually part of the detective fiction tradition popularised in Italy under the label of giallo. The term (which refers to the yellow dust jackets placed around detective novels) became synonymous with a series of films detailing the fate of amateur detectives who find themselves compromised by their involvement in crime and, as a result, are forced to go outside of the law to mount and unofficial investigation in order to prove their innocence.

While Deep Red demonstrated Argento's ambition to incorporate the investigative drive of the giallo alongside elements of the supernatural, these elements were even more pronounced in his most famous film, Suspiria (1977). Here, this preoccupation with discovering the identity of a brutal murderer is spliced into the theme of a coven of witches dominating a German dance academy. Although the film's supernatural setting signified a radical departure from his earlier giallo productions, Argento retained his favoured theme of ineffectual men who are dominated by aggressive women. This is seen in the film's pattern of male characters who are dependant on the evil school governess and her female assistants. Argento presents these characters as responsible for some of the most shocking murders ever depicted in the history of horror cinema. For instance, a woman is stabbed to death and her mutilated body forced through a plate glass window (killing her companion in the process), a blind pianist is stalked and then savaged by his own guide dog, while another victim becomes painfully entrapped in a room full of coiled wire before having her throat cut.

While the uncompromising nature of these murders ensured its shock value and instant cult status, Suspiria is also famous for the excessive visual style that Argento created as a backdrop to these grisly murders. In particular, the film highlighted the director's by now trademark features of disorientating camera work, vivid use of lighting and elaborate musical score (composed by his own house group Goblin). As with all art cinema, Suspiria is a film that requires contemplation. Its surreal compositions emulate the feel of an artist's canvas, with individual scenes being more aesthetically pleasing than the film as a whole. In characteristic Argento style, the most cinematically charged sequence is the opening murder scene, which is saturated with primary colours and a near-hysterical soundtrack. Both of these features are so overpowering as to distract the viewer from the gory activities that the scene details. The unnerving force of the scene is once again testament to the director's ability to manipulate every aspect of cinematic technology in his quest to expand the boundaries of horror cinema.

In Suspiria, the distinctive visual style was achieved through the use of outdated Technicolour film stock, which, in flooding the image track with an unnatural, unrealistic sheen, confirmed Argento's wish to give the film a fairytale-like quality. In the later Opera (1987), Argento constructed disorientating, panoramic camera operations to emulate the attack of vengeful ravens against a theatre audience harbouring a perverted killer.

With his most recently released film Sleepless (2000), Dario Argento experienced a triumphant return to the giallo, in a film that detailed the dark legacy of a dwarfed detective fiction writer wrongly accused of murdering a series of young women. With its frenetic opening chase and murder sequence onboard a speeding train, the film recalled the slick and stylised murder scenes from Suspiria, while the film's swooping autonomous camerawork was also reminiscent of earlier Argento arthouse horror experiments such as Deep Red. This film seemed to confirm Maitland McDonagh's earlier view that “The world of Dario Argento is one of twisted logic, rhapsodic violence, stylised excess…Argento's camera is alternately enthralled and repelled by ripe flesh and blood drenched fantasy.” It remains to be seen if Argento's forthcoming film Card Dealer (2003), which deals with a serial killer dispatching female victims live on a webcam broadcast, will consolidate his reputation as a director able to take the horror genre to new heights of stylistic complexity through the fusion of atrocity and artifice. - [Sense of Cinema]

IMDB Dario Argento filmography!!!

 

(L-R) MC Shanger, Maurizio Guarini (Argento/Goblin composer), Carlo Coen, Cinzia Cavalieri (Argento's music editor & consultant) & Kathleen Emerald (back to us)

@ Jackie Brown's birthday party... (on one wild Sudbury Saturday night in dee Tdot, Aug 11, 2007) - (Photo: Carlos Weisz)

 

About Maurizio Guarini:

He's a Shanger folks, and a dear friend. As Goblin keyboardist, Maurizio one of three longest reining Goblin's, who collectively have composed about eight films for Dario Argento. Three of which will be shown on this night. For more info on Maurizio Guarini @IMDB, and while you are there check out his wife's page: Cinzia Cavalieri. Y'arrr!!!!

About MC Shanger:

"Gio. Shanger” was born in Australia in 1959. Son of Italian parents, they soon moved to Italy, and eventually settled in Toronto in 1969. A 1986 film studies degree from Ryerson Polytechnical Institute in Toronto, led to a Sr Motion Picture Technologist position in that department, where he worked until 1996. He left to pursue his full-time experimentations in new ways of approaching documentary filmmaking. As a result, he has made film history with Ice Rushes: An Icelandic Odyssey, an experimental-documentary about the spirituality and freedom in Iceland. For the first time, the visuals have been shot "1:1", that is everything that he shoots, in the order that he shoots it in, is the final film and then wrote a sound design which was recorded in front of a live audience, all in one take, with no overdubs! He permanently moved to Iceland between 2000-04 as a result of making his film Ice Rushes – the second film of his Rushes trilogy, which he conceived of as an exploration into his "1:1" style, by means of a tribute to his three mentors. The first film is Rail Rushes: A Railroad Odyssey (a tribute to Stan Brakhage) and the last is New York Rushes: A Stanley Kubrick Odyssey (both remain unfinished). Ice Rushes is a tribute to my number one filmmaker and the one that has influenced my work the most, Robert Flaherty. An Angry Black Dog Farts at Midnight is the epilogue to the Rushes trilogy. It’s strange stereo filmmaker approach to making a film, It’s premise is simple: can two filmmakers make a 1:1, with one camera. The answer folks is NO! So we used two cameras. Enough said there folks!!!

The Rushes Trilogy is the result of over twenty years of experimentation in his "1:1" style. He has made only eighty S-8 & 16mm films over that time, but has amassed over 700 "films" on video, mostly documenting the live performance arts in Toronto since 1980 until the present-day. Yes folks I have made almost 800 films (please don’t call dee Guinness folks). As a hermit filmmaker, he almost always works alone. Ice Rushes and ...Black Dog... are only his second and third films that he has allowed to tour on the film festival circuit; where he never applied, but rather, was asked by astute programmers. "One hundred years from now, I will be the last filmmaker on earth. Traveling with my film projector and trusty dog, I would be hand-processing the film that I shot that-day, and narrating my films at night to anyone that wants to remember what film was like – since by then we will all have holodecks."

On Oct 11, 2006 he started ShangOrama.com, which is an extension of all the film exhibition experimentations of The Bio Reykjavik Film Collective (Iceland), of which he co-founded in 2002, and was it’s head for its first three years. Hence why ShangOrama.com is dee world’s only Icelandic cinema outside Iceland. Enjoy this evening folks!!! Y’arrr!!! Oh, he authored two books: Kubrick: A Biothon Biography, and dee 36-hr Stanley Kubrick Biothon programme (over 4000 Icelanders showed up for this one, that's 1.5% of dee whole 280,000 Icelandic population folks; "Biothon" means "movie marathon" in Icelandic). For dee last three-years he has been working on a mammoth book on just Frank Zappa dee filmmaker (tentatively) called, Studio Z: dee Frank Zappa filmmaker-filmography!!!

 

Listen to MC Shanger & Carlo Coen's 35' radio interview promoting this & dee Mario Bava event on CKLN's CINEPHOBIA show!!! (((88.1 FM)))

 

Browse our archives:

Event #6 - "MC Shanger's 'Rushes Trilogy'" (Sat, Sept 29, 2007)

Event #5 - "Dario Argento's Goblin Trilogy" (Sat, Aug 25, 2007)

Event #4 - "a 20-hr Mario Bava mini-me Movie Marathon" (Fri&Sat, Aug 17&18, 2007)

Event #3 - "Remember Our Fallen Filmmakers Night!!!" (Sat, Nov 11, 2006)

Event #2 - "2 Banned Hell-o-ween Films" (Tues, Oct 31, 2006)

Event #1 - "12-hr 'Friday dee 13th' Movie Marathon" (Fri dee 13th of Oct, 2006)

CONTACT & Mailing List additions: shanger@shangorama.com

 

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© 2007 Gio. Shanger!!!