![\"\"](\"http:\/\/mondomark.com\/wordpress\/wp-content\/uploads\/2013\/02\/Experiment_terror_LSP2442.jpg\" "\\"Experiment_terror_LSP2442\\"")
<\/a>Is anyone getting shades of Bava from those dismembered mannequins?<\/p><\/div>\n
\u00a0<\/p>\n
\u00a0Today is Family Day, the Ontario-wide holiday where\u00a0unfortunately some parents\u00a0must work \u2013 i.e., those not part of a provincial or bank institution – and must find alternative means to manage the kids that Premier Dad wanted you to spend time with\u2026 which kind of makes the entire holiday as a fully democratic concept a bit of a dud. Maybe the next Premier can fix things up and spread the leisure time to all edges of society instead of bureaucrats.<\/p>\n
One of the activities which helped take my mind of this cold bug (winding down, but technically, it\u2019s now Day Eight) this past weekend was watching Experiment in Terror<\/strong>, Blake Edwards\u2019 underrated and perhaps forgotten mini-masterpiece newly released on Blu-ray from Twilight Time, starring Glenn Ford, Lee Remick, and\u00a0Ross Martin.<\/p>\n I first caught the film on Buffalo\u2019s Channel 29\u00a0years ago (long before the transmitter-challenged indie became a Fox affiliate), and always remembered one scene that was truly creepy: the film\u2019s serial blackmailer (Martin) confronting his victim (Remick) in the washroom, and Henry Mancini\u2019s ugly bass chord \u2013 a motif the composer used with great effectiveness in telling audiences when things were going to get nasty.<\/p>\n For 1962, Experiment<\/strong> is hardly graphic, but it\u2019s sufficiently unsettling for what\u2019s implied, especially the blackmailer\u2019s violent past, and the ever-present potential to brutalize his victims in the top three tiers: physically, emotionally, and sexually. It\u2019s a pretty risky film, yet according to film historian Julie Kirgo, Experiment<\/strong> was somewhat forgotten due to the power of another \u201962 classic, rival shocker\u00a0Cape Fear<\/strong>.<\/p>\n I can\u2019t help feeling a little sad that Edwards spent so much time directing increasingly tiresome derivations of his farcical template instead of regularly alternating between comedy and something new, be it drama, horror, suspense, westerns, and maybe sci-fi.<\/p>\n I\u2019ll always argue Edwards wasted a chunk of his energies on door-slamming montages instead of character pieces, because he was a strong director with a notable experimental streak. The scene transitions within High Time<\/a><\/strong> [M<\/a>] certainly illustrate his ability to transcend fairly generic material, but when left alone and given carte blanche after the series of box office hits during the sixties \u2013 Breakfast at Tiffany\u2019s<\/strong> (1961), Days of Wine and Roses<\/strong> (1962), The Pink Panther<\/strong> (1963), A Shot in the Dark<\/strong> (1964), The Party<\/strong> <\/a>(1968) \u2013 he chose the bloated Darling Lili<\/strong> (1970). He did take a poke at the western \u2013 The Wild Rovers<\/strong> (1971) \u2013 and the espionage romancer \u2013The Tamarind Seed<\/strong> (1974) \u2013 but with the exception of his masterpiece Victor Victoria<\/strong> (1982), and maybe the small bittersweet drama That\u2019s Life! <\/strong>(1986), most of what followed were banalities, if not a waste of his talent.<\/p>\n So starting from that point, we jump to a rather lengthy review of Experiment in Terror <\/a><\/strong>[M<\/a>], which sports an isolated score track of Henry Mancini\u2019s great score. I\u2019ve also uploaded a mobile version of Ransom!<\/a><\/strong> [M<\/a>] the 1956 Glenn Ford kidnapping drama that Needs To Be On Blu-ray<\/span>.<\/p>\n Happy Family Day.<\/p>\n .<\/span><\/p>\n .<\/span><\/p>\n Mark R. Hasan<\/strong>, Editor Yes, it’s Family Day, that elitist holiday that doesn’t guarantee a day off for the eloctorate at large, except those under the provincial and banking employ. On this otherwise standard working day for regular stiffs, I’ve uploaded a long and windy review of Blake Edwards’ underrated suspense classic Experiment in Terror (1962), newly released by Twilight Time in Blu-ray, sporting a clean stereo isolated score track of Henry Mancini’s excellent music.<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[6,5],"tags":[224,1448,225,575,1871],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-23w","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/7906"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=7906"}],"version-history":[{"count":0,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/7906\/revisions"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=7906"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=7906"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=7906"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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