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Over the years, she's talked with Kamau Bell, David Byrne, Kamala Harris, Tony Kushner, Armistead Maupin, Van Dyke Parks, Arnold Schwarzenegger and Tommie Smith, among others.\r\n\r\nBefore all this, she hosted \u003cem>The California Report\u003c/em> for 7+ years, reporting on topics like \u003ca href=\"https://soundcloud.com/rmyrow/on-a-mission-to-reform-assisted-living\">assisted living facilities\u003c/a>, the \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2014/12/01/367703789/amazon-unleashes-robot-army-to-send-your-holiday-packages-faster\">robot takeover\u003c/a> of Amazon, and \u003ca href=\"https://www.kqed.org/bayareabites/50822/in-search-of-the-chocolate-persimmon\" rel=\"noopener noreferrer\">chocolate persimmons\u003c/a>.\r\n\r\nAwards? Sure: Peabody, Edward R. Murrow, Regional Edward R. Murrow, RTNDA, Northern California RTNDA, SPJ Northern California Chapter, LA Press Club, Golden Mic. Prior to joining KQED, Rachael worked in Los Angeles at KPCC and Marketplace. She holds degrees in English and journalism from UC Berkeley (where she got her start in public radio on KALX-FM).\r\n\r\nOutside of the studio, you'll find Rachael hiking Bay Area trails and whipping up Instagram-ready meals in her kitchen.","avatar":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g","twitter":"rachaelmyrow","facebook":null,"instagram":null,"linkedin":"https://www.linkedin.com/in/rachaelmyrow/","sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["edit_others_posts","editor"]},{"site":"futureofyou","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"stateofhealth","roles":["editor"]},{"site":"science","roles":["editor"]},{"site":"food","roles":["editor"]},{"site":"forum","roles":["editor"]}],"headData":{"title":"Rachael Myrow | KQED","description":"Senior Editor of KQED's Silicon Valley News Desk","ogImgSrc":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/rachael-myrow"},"ralexandra":{"type":"authors","id":"11242","meta":{"index":"authors_1716337520","id":"11242","found":true},"name":"Rae Alexandra","firstName":"Rae","lastName":"Alexandra","slug":"ralexandra","email":"ralexandra@kqed.org","display_author_email":true,"staff_mastheads":["arts"],"title":"Staff Writer","bio":"Rae Alexandra is Staff Writer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Born and raised in Wales, she started her career in London, as a music journalist for uproarious rock ’n’ roll magazine, \u003cem>\u003ca href=\"https://www.kerrang.com/features/an-oral-history-of-alternative-tentacles-40-years-of-keeping-punk-alive/\">Kerrang!\u003c/a>\u003c/em>. In America, she got her start at alt-weeklies including \u003cem>SF Weekly\u003c/em>\u003c/a> and the \u003ca href=\"https://www.villagevoice.com/author/raealexandra/\">\u003cem>Village Voice\u003c/em>\u003c/a>, and freelanced for a great many other publications. Her undying love for San Francisco has, more recently, turned her into \u003ca href=\"https://www.kqed.org/arts/category/history\">a history nerd\u003c/a>. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture.","avatar":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twitter":"raemondjjjj","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"science","roles":["editor"]}],"headData":{"title":"Rae Alexandra | KQED","description":"Staff Writer","ogImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ralexandra"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13936087":{"type":"posts","id":"arts_13936087","meta":{"index":"posts_1716263798","site":"arts","id":"13936087","score":null,"sort":[1696879990000]},"parent":0,"labelTerm":{"site":"arts","term":140},"blocks":[],"publishDate":1696879990,"format":"aside","title":"‘Hitchcock’s Blondes’ Aims to See Old Hollywood Stars Outside of the Director’s Gaze","headTitle":"‘Hitchcock’s Blondes’ Aims to See Old Hollywood Stars Outside of the Director’s Gaze | KQED","content":"\u003cfigure id=\"attachment_13936092\" class=\"wp-caption aligncenter\" style=\"max-width: 946px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936092\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-09-at-12.12.24-PM.png\" alt=\"A black and white book cover depicting a blonde starlet wearing a 1950s-era gown.\" width=\"946\" height=\"1432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-09-at-12.12.24-PM.png 946w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-09-at-12.12.24-PM-800x1211.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-09-at-12.12.24-PM-160x242.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-09-at-12.12.24-PM-768x1163.png 768w\" sizes=\"(max-width: 946px) 100vw, 946px\">\u003cfigcaption class=\"wp-caption-text\">‘Hitchcock’s Blondes: The Unforgettable Women Behind the Legendary Director’s Dark Obsession’ by Laurence Leamer. \u003ccite>(Putnam via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though often lauded as one of the greatest filmmakers of all time, Alfred Hitchcock was also known for having a dark side, including his authoritarian tendencies as a director and sexually inappropriate behavior toward the women in his films. Tippi Hedren, who starred in \u003ca href=\"https://www.kqed.org/arts/13923159/the-birds-is-turning-60-whats-that-creepy-ass-song-the-kids-were-singing-anyway\">\u003cem>The Birds\u003c/em>\u003c/a> and \u003cem>Marnie\u003c/em>, has even alleged in recent years that the late director sexually assaulted her and threatened her career after she rejected his advances.\u003c/p>\n\u003cp>[aside postid='arts_13904911']For the famed auteur, women, and actors in general, were props to be controlled and molded with the sole purpose of realizing his vision.\u003c/p>\n\u003cp>In \u003cem>Hitchcock’s Blondes: The Unforgettable Women Behind the Legendary Director’s Dark Obsession\u003c/em>, Laurence Leamer seeks to divert the reader from seeing the female actors through the director’s gaze, constructing instead vignettes that attempt to memorialize these women as more than their captivating beauty.\u003c/p>\n\u003cp>\u003cem>Hitchcock’s Blondes\u003c/em> is part biography of the auteur, part crash course into his catalogue of movies. But mostly this book is just what it says it is: a survey of the women on whom Hitchcock relied to bring his artistry to life.\u003c/p>\n\u003cp>Although Leamer betrays a reverence and appreciation for the filmmaker, Hitchcock is very much the complicated antagonist of the story, the women the sympathetic stooges.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13923159']His warranted efforts to accentuate Hitchcock’s problematic behavior are sometimes executed at the expense of conveying a holistic picture of reality. Despite occasional references to their narcissism and ambition, Hitchcock’s blondes are often portrayed as wooden innocents with little agency or autonomy — objects at the mercy of the powerful director no matter how hard he pushed them or out of line he became.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Though at times meandering, \u003cem>Hitchcock’s Blondes\u003c/em> dishes sufficient old Hollywood gossip to keep interested readers entertained.\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":329,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":9},"modified":1705003262,"excerpt":"In his new book, Laurence Leamer constructs vignettes to memorialize these women as more than their captivating beauty.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"In his new book, Laurence Leamer constructs vignettes to memorialize these women as more than their captivating beauty.","title":"‘Hitchcock’s Blondes’ Aims to See Old Hollywood Stars Outside of the Director’s Gaze | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Hitchcock’s Blondes’ Aims to See Old Hollywood Stars Outside of the Director’s Gaze","datePublished":"2023-10-09T12:33:10-07:00","dateModified":"2024-01-11T12:01:02-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"alfred-hitchcocks-blondes-hollywood-starlets-abuse-laurence-leamer","status":"publish","templateType":"standard","nprByline":"Krysta Fauria, Associated Press","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13936087/alfred-hitchcocks-blondes-hollywood-starlets-abuse-laurence-leamer","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13936092\" class=\"wp-caption aligncenter\" style=\"max-width: 946px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936092\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-09-at-12.12.24-PM.png\" alt=\"A black and white book cover depicting a blonde starlet wearing a 1950s-era gown.\" width=\"946\" height=\"1432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-09-at-12.12.24-PM.png 946w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-09-at-12.12.24-PM-800x1211.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-09-at-12.12.24-PM-160x242.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-09-at-12.12.24-PM-768x1163.png 768w\" sizes=\"(max-width: 946px) 100vw, 946px\">\u003cfigcaption class=\"wp-caption-text\">‘Hitchcock’s Blondes: The Unforgettable Women Behind the Legendary Director’s Dark Obsession’ by Laurence Leamer. \u003ccite>(Putnam via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though often lauded as one of the greatest filmmakers of all time, Alfred Hitchcock was also known for having a dark side, including his authoritarian tendencies as a director and sexually inappropriate behavior toward the women in his films. Tippi Hedren, who starred in \u003ca href=\"https://www.kqed.org/arts/13923159/the-birds-is-turning-60-whats-that-creepy-ass-song-the-kids-were-singing-anyway\">\u003cem>The Birds\u003c/em>\u003c/a> and \u003cem>Marnie\u003c/em>, has even alleged in recent years that the late director sexually assaulted her and threatened her career after she rejected his advances.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13904911","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>For the famed auteur, women, and actors in general, were props to be controlled and molded with the sole purpose of realizing his vision.\u003c/p>\n\u003cp>In \u003cem>Hitchcock’s Blondes: The Unforgettable Women Behind the Legendary Director’s Dark Obsession\u003c/em>, Laurence Leamer seeks to divert the reader from seeing the female actors through the director’s gaze, constructing instead vignettes that attempt to memorialize these women as more than their captivating beauty.\u003c/p>\n\u003cp>\u003cem>Hitchcock’s Blondes\u003c/em> is part biography of the auteur, part crash course into his catalogue of movies. But mostly this book is just what it says it is: a survey of the women on whom Hitchcock relied to bring his artistry to life.\u003c/p>\n\u003cp>Although Leamer betrays a reverence and appreciation for the filmmaker, Hitchcock is very much the complicated antagonist of the story, the women the sympathetic stooges.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13923159","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>His warranted efforts to accentuate Hitchcock’s problematic behavior are sometimes executed at the expense of conveying a holistic picture of reality. Despite occasional references to their narcissism and ambition, Hitchcock’s blondes are often portrayed as wooden innocents with little agency or autonomy — objects at the mercy of the powerful director no matter how hard he pushed them or out of line he became.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Though at times meandering, \u003cem>Hitchcock’s Blondes\u003c/em> dishes sufficient old Hollywood gossip to keep interested readers entertained.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13936087/alfred-hitchcocks-blondes-hollywood-starlets-abuse-laurence-leamer","authors":["byline_arts_13936087"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_74","arts_75"],"tags":["arts_3669","arts_585"],"featImg":"arts_13936093","label":"arts_140"},"arts_13929006":{"type":"posts","id":"arts_13929006","meta":{"index":"posts_1716263798","site":"arts","id":"13929006","score":null,"sort":[1683828438000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1683828438,"format":"standard","title":"From ‘Psycho’ to a New Crop of Horror Movies, the Genre Has Some Mommy Issues","headTitle":"From ‘Psycho’ to a New Crop of Horror Movies, the Genre Has Some Mommy Issues | KQED","content":"\u003cp>If you’re stumped for how to spend this Mother’s Day, consider relishing a good scare. Since the genre’s inception, horror movies have tapped into the psychological trauma and terror that can only come from a mother, and a number of recent films are embracing that time-honored tradition.\u003c/p>\n\u003cp>[aside postid='arts_13928607']Take, for example, Brandon Cronenberg’s \u003cem>Infinity Pool\u003c/em>, which became one of the buzziest films to come out of this year’s Sundance Film Festival.\u003c/p>\n\u003cp>It’s no surprise it was replete with disturbing moments. The director, after all, has surely learned a thing or two from his filmmaker dad and giant of the genre, David Cronenberg.\u003c/p>\n\u003cp>In one talked-about scene, Gabi (Mia Goth) exposes her bare chest to James (Alexander Skarsgård) in an invitation to breastfeed, revealing a complicated tension between his actual mother and his understanding of Gabi as his new one.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PVnIMvVEkrA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the genre has often been dismissed as low-brow, Adam Lowenstein, a film and media studies professor at the University of Pittsburgh who specializes in horror, said it is well-suited for grappling with these kinds of deep-seated, psychological issues.\u003c/p>\n\u003cp>“Horror is, at its core, a very primal genre,” he said. “It makes absolute sense that things like family, sex, death would all be things that the horror film is constantly mining because those are primal fascinations and experiences.”\u003c/p>\n\u003cp>Perhaps the seminal example of mommy issues in a horror film is Alfred Hitchcock’s \u003cem>Psycho\u003c/em> (1960).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xWHYmNrAFlI\u003c/p>\n\u003cp>In it, the infamous Norman Bates of the Bates Motel develops a split personality after killing his controlling mom and her lover out of jealousy. His grief and guilt cause him to keep her corpse stashed away, and assume her personality when he commits violence against women he becomes attracted to.\u003c/p>\n\u003cp>[aside postid='arts_13904911']Part of what makes the maternal bond such a fertile one for exploring psychological trauma, Lowenstein said, is that it is so universal and freighted.\u003c/p>\n\u003cp>“We all have real mothers, just the way we have real constructs about motherhood that we subscribe to. And these things are very hard to separate,” he said. The gap between expectation and reality becomes fruitful territory for a good scare.\u003c/p>\n\u003cp>Zach Cregger’s \u003cem>Barbarian\u003c/em> (2022) also turns breastfeeding into a spectacle, not from an inviting yet depraved sexual partner as in \u003cem>Infinity Pool\u003c/em>, but from a monstrous maternal creature who forces her victims to feast.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BqQNO7BzN08\u003c/p>\n\u003cp>Other films let the dynamic between mother and child carry the drama. \u003cem>Evil Dead Rise\u003c/em>, now available to rent on streaming services, plays with the fear-inducing extreme of a mom being possessed by a demon.\u003c/p>\n\u003cp>“I think it’s very terrifying to imagine somebody so familiar to you in your world becoming a subversion of that, and becoming something really dangerous and evil,” said director Lee Cronin. “It just lent itself to this exploration of maternal fears and what it might mean if your mother was to turn on you.”\u003c/p>\n\u003cp>In Ari Aster’s new \u003cem>Beau is Afraid\u003c/em>, the central theme is the fear and pain that can come from the mother-child bond. The movie — about a man trying to get to his mom’s house — is as much a surrealist epic as it is a horror movie.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PuiWDn976Ek\u003c/p>\n\u003cp>And while Aster’s third movie is admittedly less scary than his \u003cem>Midsommar\u003c/em> or \u003cem>Hereditary\u003c/em>, another film that exploits the terrors of family dynamics and mother-induced trauma, it is safe to conclude by the end that Beau’s fear of his guilt-inducing mother was warranted.\u003c/p>\n\u003cp>“When I left \u003cem>Beau Is Afraid\u003c/em>, I heard a teenage woman ahead of me walking out of the theater saying to her friends, ‘That just made me want to call my mom and say I’m sorry for everything,’” Lowenstein recounted. “We think horror and we think fear and dread and haunting, but we don’t necessarily think guilt, shame, humiliation. And Ari Aster clearly understands the connection between these things.”\u003c/p>\n\u003cp>It is not insignificant that almost all of these scary movies about protagonists’ relationships with their mothers are directed by men.\u003c/p>\n\u003cp>[aside postid='arts_13923159']But Lowenstein maintains that the genre’s mommy issues began with a woman, and long before film: Mary Shelley’s classic 1818 horror novel, \u003cem>Frankenstein\u003c/em>, is often considered to be the inception of modern horror.\u003c/p>\n\u003cp>“Her story is about a man who wants to be God, but he also wants to be a mother. Really, he wants to create life without the intervention of women,” he said. “What Mary Shelley shows us is what a bad idea this really is, and how male hubris really does monstrous things with motherhood.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n","stats":{"hasVideo":true,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":856,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":22},"modified":1705005511,"excerpt":"Happy Mother's Day! Horror has long been preoccupied with mother-child dynamics. These are the movies that do it best.","headData":{"twImgId":"","twTitle":"From ‘Psycho’ to a New Crop of Horror Movies, the Genre Has Some Mommy Issues","socialTitle":"Horror Movies for Mother's Day %%page%% %%sep%% KQED","ogTitle":"From ‘Psycho’ to a New Crop of Horror Movies, the Genre Has Some Mommy Issues","ogImgId":"","twDescription":"","description":"Happy Mother's Day! Horror has long been preoccupied with mother-child dynamics. These are the movies that do it best.","title":"Horror Movies for Mother's Day | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"From ‘Psycho’ to a New Crop of Horror Movies, the Genre Has Some Mommy Issues","datePublished":"2023-05-11T11:07:18-07:00","dateModified":"2024-01-11T12:38:31-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"from-psycho-to-a-new-crop-of-horror-movies-the-genre-has-some-mommy-issues","status":"publish","templateType":"standard","nprByline":"Krysta Fauria","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13929006/from-psycho-to-a-new-crop-of-horror-movies-the-genre-has-some-mommy-issues","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re stumped for how to spend this Mother’s Day, consider relishing a good scare. Since the genre’s inception, horror movies have tapped into the psychological trauma and terror that can only come from a mother, and a number of recent films are embracing that time-honored tradition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13928607","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Take, for example, Brandon Cronenberg’s \u003cem>Infinity Pool\u003c/em>, which became one of the buzziest films to come out of this year’s Sundance Film Festival.\u003c/p>\n\u003cp>It’s no surprise it was replete with disturbing moments. The director, after all, has surely learned a thing or two from his filmmaker dad and giant of the genre, David Cronenberg.\u003c/p>\n\u003cp>In one talked-about scene, Gabi (Mia Goth) exposes her bare chest to James (Alexander Skarsgård) in an invitation to breastfeed, revealing a complicated tension between his actual mother and his understanding of Gabi as his new one.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PVnIMvVEkrA'\n title='//www.youtube.com/embed/PVnIMvVEkrA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the genre has often been dismissed as low-brow, Adam Lowenstein, a film and media studies professor at the University of Pittsburgh who specializes in horror, said it is well-suited for grappling with these kinds of deep-seated, psychological issues.\u003c/p>\n\u003cp>“Horror is, at its core, a very primal genre,” he said. “It makes absolute sense that things like family, sex, death would all be things that the horror film is constantly mining because those are primal fascinations and experiences.”\u003c/p>\n\u003cp>Perhaps the seminal example of mommy issues in a horror film is Alfred Hitchcock’s \u003cem>Psycho\u003c/em> (1960).\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xWHYmNrAFlI'\n title='//www.youtube.com/embed/xWHYmNrAFlI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In it, the infamous Norman Bates of the Bates Motel develops a split personality after killing his controlling mom and her lover out of jealousy. His grief and guilt cause him to keep her corpse stashed away, and assume her personality when he commits violence against women he becomes attracted to.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13904911","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Part of what makes the maternal bond such a fertile one for exploring psychological trauma, Lowenstein said, is that it is so universal and freighted.\u003c/p>\n\u003cp>“We all have real mothers, just the way we have real constructs about motherhood that we subscribe to. And these things are very hard to separate,” he said. The gap between expectation and reality becomes fruitful territory for a good scare.\u003c/p>\n\u003cp>Zach Cregger’s \u003cem>Barbarian\u003c/em> (2022) also turns breastfeeding into a spectacle, not from an inviting yet depraved sexual partner as in \u003cem>Infinity Pool\u003c/em>, but from a monstrous maternal creature who forces her victims to feast.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BqQNO7BzN08'\n title='//www.youtube.com/embed/BqQNO7BzN08'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Other films let the dynamic between mother and child carry the drama. \u003cem>Evil Dead Rise\u003c/em>, now available to rent on streaming services, plays with the fear-inducing extreme of a mom being possessed by a demon.\u003c/p>\n\u003cp>“I think it’s very terrifying to imagine somebody so familiar to you in your world becoming a subversion of that, and becoming something really dangerous and evil,” said director Lee Cronin. “It just lent itself to this exploration of maternal fears and what it might mean if your mother was to turn on you.”\u003c/p>\n\u003cp>In Ari Aster’s new \u003cem>Beau is Afraid\u003c/em>, the central theme is the fear and pain that can come from the mother-child bond. The movie — about a man trying to get to his mom’s house — is as much a surrealist epic as it is a horror movie.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PuiWDn976Ek'\n title='//www.youtube.com/embed/PuiWDn976Ek'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And while Aster’s third movie is admittedly less scary than his \u003cem>Midsommar\u003c/em> or \u003cem>Hereditary\u003c/em>, another film that exploits the terrors of family dynamics and mother-induced trauma, it is safe to conclude by the end that Beau’s fear of his guilt-inducing mother was warranted.\u003c/p>\n\u003cp>“When I left \u003cem>Beau Is Afraid\u003c/em>, I heard a teenage woman ahead of me walking out of the theater saying to her friends, ‘That just made me want to call my mom and say I’m sorry for everything,’” Lowenstein recounted. “We think horror and we think fear and dread and haunting, but we don’t necessarily think guilt, shame, humiliation. And Ari Aster clearly understands the connection between these things.”\u003c/p>\n\u003cp>It is not insignificant that almost all of these scary movies about protagonists’ relationships with their mothers are directed by men.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13923159","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But Lowenstein maintains that the genre’s mommy issues began with a woman, and long before film: Mary Shelley’s classic 1818 horror novel, \u003cem>Frankenstein\u003c/em>, is often considered to be the inception of modern horror.\u003c/p>\n\u003cp>“Her story is about a man who wants to be God, but he also wants to be a mother. Really, he wants to create life without the intervention of women,” he said. “What Mary Shelley shows us is what a bad idea this really is, and how male hubris really does monstrous things with motherhood.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13929006/from-psycho-to-a-new-crop-of-horror-movies-the-genre-has-some-mommy-issues","authors":["byline_arts_13929006"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_3669","arts_977","arts_4813"],"featImg":"arts_13929009","label":"arts"},"arts_13923159":{"type":"posts","id":"arts_13923159","meta":{"index":"posts_1716263798","site":"arts","id":"13923159","score":null,"sort":[1678463130000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1678463130,"format":"standard","title":"‘The Birds’ Is Turning 60 — What’s That Creepy-Ass Song the Kids Were Singing Anyway?","headTitle":"‘The Birds’ Is Turning 60 — What’s That Creepy-Ass Song the Kids Were Singing Anyway? | KQED","content":"\u003cp>\u003cem>The Birds\u003c/em> turns 60 on March 28, and the film remains just as unnerving now as it was when it came out in 1963. Based on a \u003ca href=\"https://en.wikipedia.org/wiki/The_Birds_(story)\" target=\"_blank\" rel=\"noopener noreferrer\">1952 Daphne du Maurier story\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13904911/bay-area-horror-movies\" target=\"_blank\" rel=\"noopener noreferrer\">inspired by a real-life incident\u003c/a> in which \u003ca href=\"https://www.mercurynews.com/2015/12/07/this-hitchcock-movie-was-inspired-by-crab-toxin-frenzy-in-capitola/\" target=\"_blank\" rel=\"noopener noreferrer\">residents of Capitola were attacked\u003c/a> by unhinged seabirds, the Hitchcock classic remains a Bay Area favorite.\u003c/p>\n\u003cp>In case you’re one of the three people here who hasn’t yet seen it, the story goes a little something like this: After San Francisco gal-about-town Melanie Daniels (played by Tippi Hedren) goes to Bodega Bay (for what can only be described as a thirsty prank), the small community is subjected to increasingly violent attacks by a variety of birds. Chimneys are invaded! Windows are smashed! Eyes are pecked out! Teachers are murdered! As the attacks increase in severity, Melanie is transformed from a confident practical joker into a shell of herself.\u003c/p>\n\u003cp>[aside postid='arts_13904911']At Melanie’s side is the Brenner family. There’s her love interest, Mitch (Rod Taylor), Mitch’s mom Lydia (Jessica Tandy) and his little sister Cathy (Veronica Cartwright). Try to ignore the fact that the math in this family makes no sense at all. Lydia is in her fifties, Mitch is in his thirties, but Cathy is \u003cem>just\u003c/em> turning 11? (Talk about a 1950s miracle baby!)\u003c/p>\n\u003cp>At one point, after the first avian-inflicted deaths start to occur, Melanie goes to collect Cathy from school. What follows is probably the most iconic scene in the whole movie. As Melanie waits on a bench outside, smoking a cigarette, crows eerily gather on a climbing frame behind her. All the while, the children inside can be heard singing a folksy refrain, heightening the sense of impending doom.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=19r7ctge2lI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Given that \u003cem>The Birds\u003c/em> has no musical score and is soundtracked almost entirely by the sound of screeching birds, the children’s song carries a particular sense of foreboding. Their repetitive little ditty has creeped me out since I was a child myself, and it continues to do so. In part, because it sounds like a song that is intrinsically designed to drive you mad if you listen to it for long enough.\u003c/p>\n\u003cp>So where the hell did this thing come from?\u003c/p>\n\u003cp>It’s called “Risselty Rosselty” and the version that we hear in \u003cem>The Birds\u003c/em> goes a little something like this:\u003c/p>\n\u003cblockquote>\u003cp>I married my wife in the month of June,\u003cbr>\nRisselty rosselty, now, now, now,\u003cbr>\nI brought her home by the light of the moon,\u003cbr>\nRisselty rosselty, hey Johnny Dosselty,\u003cbr>\nNickety nackety, rustical quality,\u003cbr>\nWillickey wallackey now, now, now.\u003c/p>\u003c/blockquote>\n\u003cp>In subsequent verses, while the more nonsensical lines remain roughly the same, the first and third lines often change to push the song’s narrative along.\u003c/p>\n\u003cp>In the second verse, we find out that the wife “combed her hair but once a year,” and that “with every stroke, she shed a tear.” In the fifth we hear that she “swept up the floor but once a year,” and “said that brooms were much too dear.” In the seventh, the wife churns “butter in her dad’s old boot,” and “for a catch, she used her foot.” In the seventh, things get even grosser: “The butter, it came out a grisly grey,” and “the cheese, it took legs and ran away.” In the ninth, her husband finally tries to put his foot down and fails. “I asked my wife to wash the floor,” this verse goes, “she gave me my hat and she showed me the door.”\u003c/p>\n\u003cp>The version of “Risselty Rosselty” that we hear in \u003cem>The Birds\u003c/em> is actually a sanitized rendition of a 19th century Scottish folk song called “Wee Cooper O’Fife,” in which a wife is failing to perform her household duties.\u003c/p>\n\u003cp>Sample verse:\u003c/p>\n\u003cblockquote>\u003cp>She wadna wash, nor she wadna wring,\u003cbr>\nNickety, Nackety, noo, noo, noo,\u003cbr>\nFor the spoiling o’ her gowden ring,\u003cbr>\nHey Willy Wallacky, hoo John Dougal,\u003cbr>\nA lane, quo’Rushity, roue, roue, roue.\u003c/p>\u003c/blockquote>\n\u003cp>In this original, wee Cooper (the husband), frustrated by his wife’s vanity and laziness, takes to physically abusing her to teach her a lesson.\u003c/p>\n\u003cp>Yeah.\u003c/p>\n\u003cp>At one point he lays “sheep’s skin” on her back before beating her.\u003c/p>\n\u003cblockquote>\u003cp>The Cooper has gane to his woo’ pack,\u003cbr>\nNickety, Nackety, noo, noo, noo,\u003cbr>\nAnd he’s laid a sheep’s skin on his wife’s back,\u003cbr>\nHey Willy Wallacky, hoo John Dougal,\u003cbr>\nA lane, quo’Rushity, roue, roue, roue.\u003c/p>\n\u003cp>It’s I’ll no thrash ye for your gentle kin,\u003cbr>\nNickety, Nackety, noo, noo, noo,\u003cbr>\nBut I will thrash my ain sheep’s skin,\u003cbr>\nHey Willy Wallacky, hoo John Dougal,\u003cbr>\nA lane, quo’Rushity, roue, roue, roue.\u003c/p>\u003c/blockquote>\n\u003cp>(No wonder \u003cem>The Birds\u003c/em> didn’t go with the original.)\u003c/p>\n\u003cp>“Wee Cooper O’ Fife,” it turns out, originally arrived in the United States sometime at the turn of the 19th century, and was later recorded by a variety of American folk artists including \u003ca href=\"https://www.youtube.com/watch?v=QFb_xMF5GTI\" target=\"_blank\" rel=\"noopener noreferrer\">Burl Ives\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=dagbxOZ9D5Q\" target=\"_blank\" rel=\"noopener noreferrer\">Glenn Yarbrough\u003c/a>. The version we hear in \u003cem>The Birds\u003c/em>, however, is more closely based on a rendition by Pete Seeger from 1957 that erased all of that uncomfortable domestic violence stuff.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mzguForOrjI\u003c/p>\n\u003cp>(Seeger’s sister \u003ca href=\"https://www.youtube.com/watch?v=nzB_EjRA5j0\" target=\"_blank\" rel=\"noopener noreferrer\">Peggy also recorded a version\u003c/a>.)\u003c/p>\n\u003cp>[aside postid='arts_13921101']“Risselty-Rosselty” wound up in \u003cem>The Birds\u003c/em> almost by happenstance. Legend has it that Alfred Hitchcock asked the movie’s scriptwriter \u003ca href=\"https://en.wikipedia.org/wiki/Evan_Hunter\" target=\"_blank\" rel=\"noopener noreferrer\">Evan Hunter\u003c/a> to come up with an appropriate song to soundtrack Melanie’s anxiety as she waits for Cathy outside the schoolhouse. For inspiration, Hunter asked his three sons about songs they were singing at school and “Risselty-Rosselty” happened to be one of them. Hunter picked up the lyrics from a teacher at his sons’ school in Westchester, New York, and updated them to better fit the movie, and the times.\u003c/p>\n\u003cp>The scene of course culminates in \u003ca href=\"https://www.youtube.com/watch?v=hplpQt424Ls\" target=\"_blank\" rel=\"noopener noreferrer\">scores of children getting attacked by the crows\u003c/a>, as they run screaming from their school. Gloriously, the original schoolhouse still stands in Bodega Bay, albeit with a fence around it and a request from its residents not to approach the front door.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Should you wish to pay it a visit, you know what the soundtrack should be.\u003c/p>\n\n","stats":{"hasVideo":true,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1103,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":26},"modified":1705005760,"excerpt":"‘Risselty Rosselty’ is the only song in an otherwise scoreless movie. So where did it come from?","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"‘Risselty Rosselty’ is the only song in an otherwise scoreless movie. So where did it come from?","title":"‘The Birds’ Is Turning 60 — What’s That Creepy-Ass Song the Kids Were Singing Anyway? | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘The Birds’ Is Turning 60 — What’s That Creepy-Ass Song the Kids Were Singing Anyway?","datePublished":"2023-03-10T07:45:30-08:00","dateModified":"2024-01-11T12:42:40-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"the-birds-is-turning-60-whats-that-creepy-ass-song-the-kids-were-singing-anyway","status":"publish","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"articleAge":"0","path":"/arts/13923159/the-birds-is-turning-60-whats-that-creepy-ass-song-the-kids-were-singing-anyway","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Birds\u003c/em> turns 60 on March 28, and the film remains just as unnerving now as it was when it came out in 1963. Based on a \u003ca href=\"https://en.wikipedia.org/wiki/The_Birds_(story)\" target=\"_blank\" rel=\"noopener noreferrer\">1952 Daphne du Maurier story\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13904911/bay-area-horror-movies\" target=\"_blank\" rel=\"noopener noreferrer\">inspired by a real-life incident\u003c/a> in which \u003ca href=\"https://www.mercurynews.com/2015/12/07/this-hitchcock-movie-was-inspired-by-crab-toxin-frenzy-in-capitola/\" target=\"_blank\" rel=\"noopener noreferrer\">residents of Capitola were attacked\u003c/a> by unhinged seabirds, the Hitchcock classic remains a Bay Area favorite.\u003c/p>\n\u003cp>In case you’re one of the three people here who hasn’t yet seen it, the story goes a little something like this: After San Francisco gal-about-town Melanie Daniels (played by Tippi Hedren) goes to Bodega Bay (for what can only be described as a thirsty prank), the small community is subjected to increasingly violent attacks by a variety of birds. Chimneys are invaded! Windows are smashed! Eyes are pecked out! Teachers are murdered! As the attacks increase in severity, Melanie is transformed from a confident practical joker into a shell of herself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13904911","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>At Melanie’s side is the Brenner family. There’s her love interest, Mitch (Rod Taylor), Mitch’s mom Lydia (Jessica Tandy) and his little sister Cathy (Veronica Cartwright). Try to ignore the fact that the math in this family makes no sense at all. Lydia is in her fifties, Mitch is in his thirties, but Cathy is \u003cem>just\u003c/em> turning 11? (Talk about a 1950s miracle baby!)\u003c/p>\n\u003cp>At one point, after the first avian-inflicted deaths start to occur, Melanie goes to collect Cathy from school. What follows is probably the most iconic scene in the whole movie. As Melanie waits on a bench outside, smoking a cigarette, crows eerily gather on a climbing frame behind her. All the while, the children inside can be heard singing a folksy refrain, heightening the sense of impending doom.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/19r7ctge2lI'\n title='//www.youtube.com/embed/19r7ctge2lI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Given that \u003cem>The Birds\u003c/em> has no musical score and is soundtracked almost entirely by the sound of screeching birds, the children’s song carries a particular sense of foreboding. Their repetitive little ditty has creeped me out since I was a child myself, and it continues to do so. In part, because it sounds like a song that is intrinsically designed to drive you mad if you listen to it for long enough.\u003c/p>\n\u003cp>So where the hell did this thing come from?\u003c/p>\n\u003cp>It’s called “Risselty Rosselty” and the version that we hear in \u003cem>The Birds\u003c/em> goes a little something like this:\u003c/p>\n\u003cblockquote>\u003cp>I married my wife in the month of June,\u003cbr>\nRisselty rosselty, now, now, now,\u003cbr>\nI brought her home by the light of the moon,\u003cbr>\nRisselty rosselty, hey Johnny Dosselty,\u003cbr>\nNickety nackety, rustical quality,\u003cbr>\nWillickey wallackey now, now, now.\u003c/p>\u003c/blockquote>\n\u003cp>In subsequent verses, while the more nonsensical lines remain roughly the same, the first and third lines often change to push the song’s narrative along.\u003c/p>\n\u003cp>In the second verse, we find out that the wife “combed her hair but once a year,” and that “with every stroke, she shed a tear.” In the fifth we hear that she “swept up the floor but once a year,” and “said that brooms were much too dear.” In the seventh, the wife churns “butter in her dad’s old boot,” and “for a catch, she used her foot.” In the seventh, things get even grosser: “The butter, it came out a grisly grey,” and “the cheese, it took legs and ran away.” In the ninth, her husband finally tries to put his foot down and fails. “I asked my wife to wash the floor,” this verse goes, “she gave me my hat and she showed me the door.”\u003c/p>\n\u003cp>The version of “Risselty Rosselty” that we hear in \u003cem>The Birds\u003c/em> is actually a sanitized rendition of a 19th century Scottish folk song called “Wee Cooper O’Fife,” in which a wife is failing to perform her household duties.\u003c/p>\n\u003cp>Sample verse:\u003c/p>\n\u003cblockquote>\u003cp>She wadna wash, nor she wadna wring,\u003cbr>\nNickety, Nackety, noo, noo, noo,\u003cbr>\nFor the spoiling o’ her gowden ring,\u003cbr>\nHey Willy Wallacky, hoo John Dougal,\u003cbr>\nA lane, quo’Rushity, roue, roue, roue.\u003c/p>\u003c/blockquote>\n\u003cp>In this original, wee Cooper (the husband), frustrated by his wife’s vanity and laziness, takes to physically abusing her to teach her a lesson.\u003c/p>\n\u003cp>Yeah.\u003c/p>\n\u003cp>At one point he lays “sheep’s skin” on her back before beating her.\u003c/p>\n\u003cblockquote>\u003cp>The Cooper has gane to his woo’ pack,\u003cbr>\nNickety, Nackety, noo, noo, noo,\u003cbr>\nAnd he’s laid a sheep’s skin on his wife’s back,\u003cbr>\nHey Willy Wallacky, hoo John Dougal,\u003cbr>\nA lane, quo’Rushity, roue, roue, roue.\u003c/p>\n\u003cp>It’s I’ll no thrash ye for your gentle kin,\u003cbr>\nNickety, Nackety, noo, noo, noo,\u003cbr>\nBut I will thrash my ain sheep’s skin,\u003cbr>\nHey Willy Wallacky, hoo John Dougal,\u003cbr>\nA lane, quo’Rushity, roue, roue, roue.\u003c/p>\u003c/blockquote>\n\u003cp>(No wonder \u003cem>The Birds\u003c/em> didn’t go with the original.)\u003c/p>\n\u003cp>“Wee Cooper O’ Fife,” it turns out, originally arrived in the United States sometime at the turn of the 19th century, and was later recorded by a variety of American folk artists including \u003ca href=\"https://www.youtube.com/watch?v=QFb_xMF5GTI\" target=\"_blank\" rel=\"noopener noreferrer\">Burl Ives\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=dagbxOZ9D5Q\" target=\"_blank\" rel=\"noopener noreferrer\">Glenn Yarbrough\u003c/a>. The version we hear in \u003cem>The Birds\u003c/em>, however, is more closely based on a rendition by Pete Seeger from 1957 that erased all of that uncomfortable domestic violence stuff.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/mzguForOrjI'\n title='//www.youtube.com/embed/mzguForOrjI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>(Seeger’s sister \u003ca href=\"https://www.youtube.com/watch?v=nzB_EjRA5j0\" target=\"_blank\" rel=\"noopener noreferrer\">Peggy also recorded a version\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13921101","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Risselty-Rosselty” wound up in \u003cem>The Birds\u003c/em> almost by happenstance. Legend has it that Alfred Hitchcock asked the movie’s scriptwriter \u003ca href=\"https://en.wikipedia.org/wiki/Evan_Hunter\" target=\"_blank\" rel=\"noopener noreferrer\">Evan Hunter\u003c/a> to come up with an appropriate song to soundtrack Melanie’s anxiety as she waits for Cathy outside the schoolhouse. For inspiration, Hunter asked his three sons about songs they were singing at school and “Risselty-Rosselty” happened to be one of them. Hunter picked up the lyrics from a teacher at his sons’ school in Westchester, New York, and updated them to better fit the movie, and the times.\u003c/p>\n\u003cp>The scene of course culminates in \u003ca href=\"https://www.youtube.com/watch?v=hplpQt424Ls\" target=\"_blank\" rel=\"noopener noreferrer\">scores of children getting attacked by the crows\u003c/a>, as they run screaming from their school. Gloriously, the original schoolhouse still stands in Bodega Bay, albeit with a fence around it and a request from its residents not to approach the front door.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Should you wish to pay it a visit, you know what the soundtrack should be.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13923159/the-birds-is-turning-60-whats-that-creepy-ass-song-the-kids-were-singing-anyway","authors":["11242"],"categories":["arts_1","arts_7862","arts_74","arts_69"],"tags":["arts_3669","arts_11374","arts_10278","arts_977","arts_2415","arts_5087","arts_5292"],"featImg":"arts_13923309","label":"arts"},"arts_13904911":{"type":"posts","id":"arts_13904911","meta":{"index":"posts_1716263798","site":"arts","id":"13904911","score":null,"sort":[1635466236000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1635466236,"format":"standard","title":"7 Bay Area Horror Movies For Your Halloween Viewing Pleasure","headTitle":"7 Bay Area Horror Movies For Your Halloween Viewing Pleasure | KQED","content":"\u003cp>If your idea of a perfect Halloween is turning off all the lights, tucking yourself under a blanket, and snuggling up next to a bag of fun-size candy for a horror movie marathon, you’re not alone. It’s a strategy that effectively removes the pressure of coming up with a costume idea and picking a party to attend. But it does present one pretty major quandary: what the hell to watch?\u003c/p>\n\u003cp>To aid you in this decision, we’ve come up with a list of classic horror movies—all filmed in the Bay Area, all available to stream or rent, and all liable to make your Halloween better.\u003c/p>\n\u003ch4>\u003cem>Cujo\u003c/em> (1983)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=vFUD8b-BZCc\u003c/p>\n\u003cp>An entire generation of ’80s kids is still walking around with a lifelong phobia of St. Bernards because of the sheer terror wrought by \u003cem>Cujo. \u003c/em>It’s a simple but disarmingly realistic concept: a large dog gets rabies from a bat bite and descends into madness, ambushing humans as he goes. One mother and son get caught in his proverbial crosshairs, trapped in their broken-down car with no escape.\u003c/p>\n\u003cp>Filmed in locations around the North Bay (Petaluma, Santa Rosa, Glenn Ellen and Mendocino), the movie was given a different (less bleak) ending than Stephen King’s original text. Despite this—and the fact that in some “attack” scenes the dog is transparently trying to cuddle screaming actors—\u003cem>Cujo\u003c/em> remains one of the better Stephen King movie adaptations. Dee Wallace’s performance will stay with you long after the credits roll.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>‘Cujo’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cstrong>\u003cem>It Came From Beneath the Sea\u003c/em> (1955)\u003c/strong>\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=oEm1c-sBRfY\u003c/p>\n\u003cp>If you’ve ever wanted to see a giant radioactive octopus throwing its tentacles around downtown San Francisco, this is the film for you. Having had its habitat in the Philippines destroyed by thermonuclear tests, and after authorities repeatedly attempt to electrocute it, the poor, unfeasibly massive octopus arrives in the city and promptly goes berserk. It wrecks buildings! It squishes men! It squeezes the Ferry Building’s clock tower to death! It even wraps itself around the Golden Gate Bridge like it wants to make babies with it. Yes, it’s completely preposterous, but if you can’t watch a giant furious octopus suction-cupping bystanders to death on Halloween, when can you?\u003c/p>\n\u003cp>\u003cem>‘It Came From Beneath the Sea’ is available to rent on YouTube or Amazon Prime.\u003c/em>\u003c/p>\n\u003ch4>\u003cstrong>\u003cem>Burnt Offerings\u003c/em> (1976)\u003c/strong>\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=Oo_6Fb5k2lo\u003c/p>\n\u003cp>In its earliest stages, it’s tempting to view \u003cem>Burnt Offerings\u003c/em> as just another bog-standard haunted house movie. Don’t be fooled. By the time the story has spiraled to its (absolutely bananas) climax, you’ll realize the filmmakers have lulled you into a false sense of security on purpose, only to pull the antique rug out from under you.\u003c/p>\n\u003cp>[aside postid='pop_106535']Filmed in Oakland’s Dunsmuir House (a location with \u003ca href=\"https://en.wikipedia.org/wiki/Dunsmuir_House\" target=\"_blank\" rel=\"noopener noreferrer\">a tragic real-life history\u003c/a>), the home here—like the one in Netflix’s \u003cem>Haunting of Hill House\u003c/em>—has a character and motivation all of its own. All of which is compounded by some spectacular over-acting by Oliver Reed, Karen Black and Bette Davis. The moral of the story? Don’t take on a summer rental if it comes with an old lady in the attic that you’re obliged to feed.\u003c/p>\n\u003cp>\u003cem>‘Burnt Offerings’ is available to rent through Amazon Prime.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Phantasm\u003c/em> (1979)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=RIRVOepV9Ik\u003c/p>\n\u003cp>Reanimated corpses. Hell portals. Severed fingers that turn into insects. Flying silver spheres with spikes. Horny teens getting stabbed in cemeteries. Evil minions that may or may not have been inspired by \u003cem>Star Wars\u003c/em> Jawas. Absolutely nothing about \u003cem>Phantasm\u003c/em> makes any sense at all. (\u003cem>At all\u003c/em>!) But if you want to see Dunsmuir House again, while also feeling like you’ve taken strong hallucinogens, this is a good one to watch back-to-back with \u003cem>Burnt Offerings\u003c/em>.\u003c/p>\n\u003cp>\u003cem>‘Phantasm’ is streaming now on Peacock, Pluto TV and Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Birds\u003c/em> (1963)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=ydLJtKlVVZw\u003c/p>\n\u003cp>Let’s be real. If seagulls and their tiny evil faces decided tomorrow that humans needed to be eradicated, they could probably pull it off. Throw every other bird on Earth into the mix and, as one Bodega Bay bystander states at the start of this Alfred Hitchcock classic, “Why, if that happened, we wouldn’t have a chance.” (It’s worth also keeping in mind that \u003ca href=\"https://www.mercurynews.com/2015/12/07/this-hitchcock-movie-was-inspired-by-crab-toxin-frenzy-in-capitola/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Birds\u003c/em> was inspired by a real-life event\u003c/a> in which a Northern California town was attacked en masse by seabirds, in 1961.)\u003c/p>\n\u003cp>[aside postid='arts_13904118']Witnessing San Francisco’s Melanie Daniels (charmingly played by Tippi Hedren) slowly devolve from a self-assured, independent practical joker to a traumatized shell is genuinely perturbing here. And not a little harrowing now that we know about \u003ca href=\"https://variety.com/2017/film/news/tippi-hedren-alfred-hitchcock-the-birds-sexual-harassment-1202637959/\" target=\"_blank\" rel=\"noopener noreferrer\">Hitchcock’s appalling treatment of Hedren\u003c/a> in real life. But the lure of \u003cem>The Birds\u003c/em> remains (Bodega Bay continues to be a hotspot for Hitchcock tourists), as does the lore. Unsubstantiated rumors persist that the Bay Area’s crow population increased enormously after Hitchcock released the birds into the wild at the end of filming. Just pray they don’t turn on us one day…\u003c/p>\n\u003cp>\u003cem>‘The Birds’ is streaming now on Showtime.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Fog\u003c/em> (1980)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=fUyunS1hGyQ\u003c/p>\n\u003cp>\u003cem>The Fog\u003c/em> is the kind of unintentionally hilarious horror movie that is best watched in groups, with some sort of drinking game fashioned after it. Drink every time someone says “Mrs Kobritz”! Drink every time a dead body lands on Jamie Lee Curtis! Drink every time some idiot doesn’t notice there’s a rotting, hook-handed pirate ghost directly next to them? Primarily filmed in Point Reyes (with some Bodega Bay and L.A. thrown in), \u003cem>The Fog\u003c/em> is a movie that came really close to making some salient points about the sins of our forefathers, only to sacrifice it all for plumes of dry ice and a hearty amount of face-stabbing.\u003c/p>\n\u003cp>\u003cem>‘The Fog’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Invasion of the Body Snatchers\u003c/em> (1978)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=vc_0dlmSq7I\u003c/p>\n\u003cp>Did the disturbing \u003ca href=\"https://www.imdb.com/title/tt0049366/?ref_=fn_al_tt_3\" target=\"_blank\" rel=\"noopener noreferrer\">1956 classic\u003c/a> \u003cem>need\u003c/em> a more high-tech do-over? Not really. But boy oh boy, did it get a good one. The casting for the 1978 remake was damn near perfect (hello, young Jeff Goldblum!), and paranoia and panic is so thoroughly seeped into every scene, you can’t help but feel completely immersed in the characters’ nightmare, as one-by-one they’re replaced with alien replicas.\u003c/p>\n\u003cp>\u003cem>Invasion\u003c/em> is also that rare San Francisco movie that includes Things That Locals Like, including Sutro Tower, Bimbo’s, the Broadway tunnel, and even (\u003cem>gasp!\u003c/em>) the Tenderloin. Plus! It contains the Donald Sutherland scene—\u003ca href=\"https://tenor.com/view/donald-sutherland-pod-people-podpeople-body-gif-10811761\" target=\"_blank\" rel=\"noopener noreferrer\">you already know the one\u003c/a>—that launched a thousand gifs. A true horror classic and a scary little love letter to San Francisco.\u003c/p>\n\u003cp>\u003cem>‘Invasion of the Body Snatchers’ is streaming now on YouTube. (The 1956 original is also free on Pluto TV, should you fancy a double feature.)\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Happy Halloween, horror fans!\u003c/p>\n\n","stats":{"hasVideo":true,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1250,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":23},"modified":1705007547,"excerpt":"Skipping the parties for a movie marathon? Watch these locally filmed scary classics, available to stream or rent.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Skipping the parties for a movie marathon? Watch these locally filmed scary classics, available to stream or rent.","title":"7 Bay Area Horror Movies For Your Halloween Viewing Pleasure | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"7 Bay Area Horror Movies For Your Halloween Viewing Pleasure","datePublished":"2021-10-28T17:10:36-07:00","dateModified":"2024-01-11T13:12:27-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"bay-area-horror-movies","status":"publish","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"path":"/arts/13904911/bay-area-horror-movies","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If your idea of a perfect Halloween is turning off all the lights, tucking yourself under a blanket, and snuggling up next to a bag of fun-size candy for a horror movie marathon, you’re not alone. It’s a strategy that effectively removes the pressure of coming up with a costume idea and picking a party to attend. But it does present one pretty major quandary: what the hell to watch?\u003c/p>\n\u003cp>To aid you in this decision, we’ve come up with a list of classic horror movies—all filmed in the Bay Area, all available to stream or rent, and all liable to make your Halloween better.\u003c/p>\n\u003ch4>\u003cem>Cujo\u003c/em> (1983)\u003c/h4>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vFUD8b-BZCc'\n title='//www.youtube.com/embed/vFUD8b-BZCc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An entire generation of ’80s kids is still walking around with a lifelong phobia of St. Bernards because of the sheer terror wrought by \u003cem>Cujo. \u003c/em>It’s a simple but disarmingly realistic concept: a large dog gets rabies from a bat bite and descends into madness, ambushing humans as he goes. One mother and son get caught in his proverbial crosshairs, trapped in their broken-down car with no escape.\u003c/p>\n\u003cp>Filmed in locations around the North Bay (Petaluma, Santa Rosa, Glenn Ellen and Mendocino), the movie was given a different (less bleak) ending than Stephen King’s original text. Despite this—and the fact that in some “attack” scenes the dog is transparently trying to cuddle screaming actors—\u003cem>Cujo\u003c/em> remains one of the better Stephen King movie adaptations. Dee Wallace’s performance will stay with you long after the credits roll.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Cujo’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cstrong>\u003cem>It Came From Beneath the Sea\u003c/em> (1955)\u003c/strong>\u003c/h4>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oEm1c-sBRfY'\n title='//www.youtube.com/embed/oEm1c-sBRfY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you’ve ever wanted to see a giant radioactive octopus throwing its tentacles around downtown San Francisco, this is the film for you. Having had its habitat in the Philippines destroyed by thermonuclear tests, and after authorities repeatedly attempt to electrocute it, the poor, unfeasibly massive octopus arrives in the city and promptly goes berserk. It wrecks buildings! It squishes men! It squeezes the Ferry Building’s clock tower to death! It even wraps itself around the Golden Gate Bridge like it wants to make babies with it. Yes, it’s completely preposterous, but if you can’t watch a giant furious octopus suction-cupping bystanders to death on Halloween, when can you?\u003c/p>\n\u003cp>\u003cem>‘It Came From Beneath the Sea’ is available to rent on YouTube or Amazon Prime.\u003c/em>\u003c/p>\n\u003ch4>\u003cstrong>\u003cem>Burnt Offerings\u003c/em> (1976)\u003c/strong>\u003c/h4>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Oo_6Fb5k2lo'\n title='//www.youtube.com/embed/Oo_6Fb5k2lo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In its earliest stages, it’s tempting to view \u003cem>Burnt Offerings\u003c/em> as just another bog-standard haunted house movie. Don’t be fooled. By the time the story has spiraled to its (absolutely bananas) climax, you’ll realize the filmmakers have lulled you into a false sense of security on purpose, only to pull the antique rug out from under you.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_106535","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Filmed in Oakland’s Dunsmuir House (a location with \u003ca href=\"https://en.wikipedia.org/wiki/Dunsmuir_House\" target=\"_blank\" rel=\"noopener noreferrer\">a tragic real-life history\u003c/a>), the home here—like the one in Netflix’s \u003cem>Haunting of Hill House\u003c/em>—has a character and motivation all of its own. All of which is compounded by some spectacular over-acting by Oliver Reed, Karen Black and Bette Davis. The moral of the story? Don’t take on a summer rental if it comes with an old lady in the attic that you’re obliged to feed.\u003c/p>\n\u003cp>\u003cem>‘Burnt Offerings’ is available to rent through Amazon Prime.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Phantasm\u003c/em> (1979)\u003c/h4>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RIRVOepV9Ik'\n title='//www.youtube.com/embed/RIRVOepV9Ik'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Reanimated corpses. Hell portals. Severed fingers that turn into insects. Flying silver spheres with spikes. Horny teens getting stabbed in cemeteries. Evil minions that may or may not have been inspired by \u003cem>Star Wars\u003c/em> Jawas. Absolutely nothing about \u003cem>Phantasm\u003c/em> makes any sense at all. (\u003cem>At all\u003c/em>!) But if you want to see Dunsmuir House again, while also feeling like you’ve taken strong hallucinogens, this is a good one to watch back-to-back with \u003cem>Burnt Offerings\u003c/em>.\u003c/p>\n\u003cp>\u003cem>‘Phantasm’ is streaming now on Peacock, Pluto TV and Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Birds\u003c/em> (1963)\u003c/h4>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ydLJtKlVVZw'\n title='//www.youtube.com/embed/ydLJtKlVVZw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Let’s be real. If seagulls and their tiny evil faces decided tomorrow that humans needed to be eradicated, they could probably pull it off. Throw every other bird on Earth into the mix and, as one Bodega Bay bystander states at the start of this Alfred Hitchcock classic, “Why, if that happened, we wouldn’t have a chance.” (It’s worth also keeping in mind that \u003ca href=\"https://www.mercurynews.com/2015/12/07/this-hitchcock-movie-was-inspired-by-crab-toxin-frenzy-in-capitola/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Birds\u003c/em> was inspired by a real-life event\u003c/a> in which a Northern California town was attacked en masse by seabirds, in 1961.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13904118","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Witnessing San Francisco’s Melanie Daniels (charmingly played by Tippi Hedren) slowly devolve from a self-assured, independent practical joker to a traumatized shell is genuinely perturbing here. And not a little harrowing now that we know about \u003ca href=\"https://variety.com/2017/film/news/tippi-hedren-alfred-hitchcock-the-birds-sexual-harassment-1202637959/\" target=\"_blank\" rel=\"noopener noreferrer\">Hitchcock’s appalling treatment of Hedren\u003c/a> in real life. But the lure of \u003cem>The Birds\u003c/em> remains (Bodega Bay continues to be a hotspot for Hitchcock tourists), as does the lore. Unsubstantiated rumors persist that the Bay Area’s crow population increased enormously after Hitchcock released the birds into the wild at the end of filming. Just pray they don’t turn on us one day…\u003c/p>\n\u003cp>\u003cem>‘The Birds’ is streaming now on Showtime.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Fog\u003c/em> (1980)\u003c/h4>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fUyunS1hGyQ'\n title='//www.youtube.com/embed/fUyunS1hGyQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Fog\u003c/em> is the kind of unintentionally hilarious horror movie that is best watched in groups, with some sort of drinking game fashioned after it. Drink every time someone says “Mrs Kobritz”! Drink every time a dead body lands on Jamie Lee Curtis! Drink every time some idiot doesn’t notice there’s a rotting, hook-handed pirate ghost directly next to them? Primarily filmed in Point Reyes (with some Bodega Bay and L.A. thrown in), \u003cem>The Fog\u003c/em> is a movie that came really close to making some salient points about the sins of our forefathers, only to sacrifice it all for plumes of dry ice and a hearty amount of face-stabbing.\u003c/p>\n\u003cp>\u003cem>‘The Fog’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Invasion of the Body Snatchers\u003c/em> (1978)\u003c/h4>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vc_0dlmSq7I'\n title='//www.youtube.com/embed/vc_0dlmSq7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Did the disturbing \u003ca href=\"https://www.imdb.com/title/tt0049366/?ref_=fn_al_tt_3\" target=\"_blank\" rel=\"noopener noreferrer\">1956 classic\u003c/a> \u003cem>need\u003c/em> a more high-tech do-over? Not really. But boy oh boy, did it get a good one. The casting for the 1978 remake was damn near perfect (hello, young Jeff Goldblum!), and paranoia and panic is so thoroughly seeped into every scene, you can’t help but feel completely immersed in the characters’ nightmare, as one-by-one they’re replaced with alien replicas.\u003c/p>\n\u003cp>\u003cem>Invasion\u003c/em> is also that rare San Francisco movie that includes Things That Locals Like, including Sutro Tower, Bimbo’s, the Broadway tunnel, and even (\u003cem>gasp!\u003c/em>) the Tenderloin. Plus! It contains the Donald Sutherland scene—\u003ca href=\"https://tenor.com/view/donald-sutherland-pod-people-podpeople-body-gif-10811761\" target=\"_blank\" rel=\"noopener noreferrer\">you already know the one\u003c/a>—that launched a thousand gifs. A true horror classic and a scary little love letter to San Francisco.\u003c/p>\n\u003cp>\u003cem>‘Invasion of the Body Snatchers’ is streaming now on YouTube. (The 1956 original is also free on Pluto TV, should you fancy a double feature.)\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Happy Halloween, horror fans!\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13904911/bay-area-horror-movies","authors":["11242"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_3669","arts_928","arts_10278","arts_977","arts_1206","arts_1143","arts_3231","arts_1146","arts_2721","arts_585"],"featImg":"arts_13905395","label":"arts"},"arts_13864462":{"type":"posts","id":"arts_13864462","meta":{"index":"posts_1716263798","site":"arts","id":"13864462","score":null,"sort":[1566242024000]},"parent":0,"labelTerm":{"site":"arts","term":140},"blocks":[],"publishDate":1566242024,"format":"standard","title":"Now Playing! Twin Killings at the Castro","headTitle":"Now Playing! Twin Killings at the Castro | KQED","content":"\u003cp>Before air conditioning, apartment living in the summer was oppressive, if not downright dangerous. Patricide and fratricide may not have been common half a century ago, but they weren’t unheard of. By the time late August crawled along, anyone and everyone seemed capable of murder.\u003c/p>\n\u003cp>Strangers were the biggest threat, unsurprisingly. The Boston Strangler, as the newspapers dubbed him, murdered his first blameless woman in July of 1962. Richard Speck’s July 14, 1966 killing spree of eight student nurses in a South Chicago townhouse was even more shocking. Ten years later to the month, David Berkowiz began shooting random New Yorkers (and terrorizing the rest, thanks to the tabloids) in a year‐long horror known as the Son of Sam killings. The Zodiac killer has something to say on the subject, too.\u003c/p>\n\u003cp>Filmmakers are naturally attracted to crime stories, especially when they involve the collision of innocence and evil, and the spiraling of trust into paranoia. Richard Fleischer’s 1968 take on Gerold Frank’s sensational (in every sense) bestseller, \u003cem>The Boston Strangler\u003c/em> (\u003ca href=\"https://www.castrotheatre.com/p-list.html#aug21\" rel=\"noopener\" target=\"_blank\">Wednesday, Aug. 21, at the Castro Theatre\u003c/a>), marked one of the first times that a major star (in this case, Tony Curtis) was willing to play an unredeemable killer.\u003c/p>\n\u003cfigure id=\"attachment_13864470\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Frenzy.INline-800x492.jpg\" alt=\"A still from Alfred Hitchcock's 'Frenzy.'\" width=\"800\" height=\"492\" class=\"size-medium wp-image-13864470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Frenzy.INline.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Frenzy.INline-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Frenzy.INline-768x472.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Alfred Hitchcock’s ‘Frenzy.’ \u003ccite>(Courtesy Castro Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alfred Hitchcock got into the game with 1972’s \u003cem>Frenzy\u003c/em> (\u003ca href=\"https://www.castrotheatre.com/p-list.html#aug21\" rel=\"noopener\" target=\"_blank\">also at the Castro on Wednesday, Aug. 21\u003c/a>), and it may seem natural and inevitable that the prime purveyor of daylight frights would cheerfully expose the mass murderer next door. But there was widespread doubt at the time that Hitch had the stomach and chops to confront both the explicit brutality of real‐world serial killers and the new landscape of blood‐soaked movies.\u003c/p>\n\u003cp>Coming after several disappointing films suggesting that Hitchcock’s time and talents had passed, \u003cem>Frenzy\u003c/em> is an unequivocal masterpiece of character, pacing, audience engagement and (in one perfectly succinct and perfectly horrific sequence) sound design. Most memorably, the movie pierces the facade of male charm to reveal the depths of misogyny in a way that still shocks. It taps into that universal dilemma of urban life, namely the dangerous attraction of strangers, and the even more dangerous anonymity of the strangers we don’t see or meet—until it’s too late.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":397,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":7},"modified":1705022292,"excerpt":"Richard Fleischer's 'The Boston Strangler' and Alfred Hitchcock's 'Frenzy' screen at the Castro Theatre.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Richard Fleischer's 'The Boston Strangler' and Alfred Hitchcock's 'Frenzy' screen at the Castro Theatre.","title":"Now Playing! Twin Killings at the Castro | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Now Playing! Twin Killings at the Castro","datePublished":"2019-08-19T12:13:44-07:00","dateModified":"2024-01-11T17:18:12-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"now-playing-twin-killings-at-the-castro","status":"publish","templateType":"standard","featuredImageType":"standard","sticky":false,"path":"/arts/13864462/now-playing-twin-killings-at-the-castro","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before air conditioning, apartment living in the summer was oppressive, if not downright dangerous. Patricide and fratricide may not have been common half a century ago, but they weren’t unheard of. By the time late August crawled along, anyone and everyone seemed capable of murder.\u003c/p>\n\u003cp>Strangers were the biggest threat, unsurprisingly. The Boston Strangler, as the newspapers dubbed him, murdered his first blameless woman in July of 1962. Richard Speck’s July 14, 1966 killing spree of eight student nurses in a South Chicago townhouse was even more shocking. Ten years later to the month, David Berkowiz began shooting random New Yorkers (and terrorizing the rest, thanks to the tabloids) in a year‐long horror known as the Son of Sam killings. The Zodiac killer has something to say on the subject, too.\u003c/p>\n\u003cp>Filmmakers are naturally attracted to crime stories, especially when they involve the collision of innocence and evil, and the spiraling of trust into paranoia. Richard Fleischer’s 1968 take on Gerold Frank’s sensational (in every sense) bestseller, \u003cem>The Boston Strangler\u003c/em> (\u003ca href=\"https://www.castrotheatre.com/p-list.html#aug21\" rel=\"noopener\" target=\"_blank\">Wednesday, Aug. 21, at the Castro Theatre\u003c/a>), marked one of the first times that a major star (in this case, Tony Curtis) was willing to play an unredeemable killer.\u003c/p>\n\u003cfigure id=\"attachment_13864470\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Frenzy.INline-800x492.jpg\" alt=\"A still from Alfred Hitchcock's 'Frenzy.'\" width=\"800\" height=\"492\" class=\"size-medium wp-image-13864470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Frenzy.INline.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Frenzy.INline-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Frenzy.INline-768x472.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Alfred Hitchcock’s ‘Frenzy.’ \u003ccite>(Courtesy Castro Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alfred Hitchcock got into the game with 1972’s \u003cem>Frenzy\u003c/em> (\u003ca href=\"https://www.castrotheatre.com/p-list.html#aug21\" rel=\"noopener\" target=\"_blank\">also at the Castro on Wednesday, Aug. 21\u003c/a>), and it may seem natural and inevitable that the prime purveyor of daylight frights would cheerfully expose the mass murderer next door. But there was widespread doubt at the time that Hitch had the stomach and chops to confront both the explicit brutality of real‐world serial killers and the new landscape of blood‐soaked movies.\u003c/p>\n\u003cp>Coming after several disappointing films suggesting that Hitchcock’s time and talents had passed, \u003cem>Frenzy\u003c/em> is an unequivocal masterpiece of character, pacing, audience engagement and (in one perfectly succinct and perfectly horrific sequence) sound design. Most memorably, the movie pierces the facade of male charm to reveal the depths of misogyny in a way that still shocks. It taps into that universal dilemma of urban life, namely the dangerous attraction of strangers, and the even more dangerous anonymity of the strangers we don’t see or meet—until it’s too late.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13864462/now-playing-twin-killings-at-the-castro","authors":["22"],"programs":["arts_140"],"categories":["arts_74"],"tags":["arts_3669","arts_6476","arts_1118","arts_1006","arts_596","arts_1334"],"featImg":"arts_13864467","label":"arts_140"},"arts_13831929":{"type":"posts","id":"arts_13831929","meta":{"index":"posts_1716263798","site":"arts","id":"13831929","score":null,"sort":[1526310048000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1526310048,"format":"standard","title":"Now Playing! Kim Novak, America’s Sweetheart and Jimmy Stewart’s Nemesis","headTitle":"Now Playing! Kim Novak, America’s Sweetheart and Jimmy Stewart’s Nemesis | KQED","content":"\u003cp>What becomes a legend most? Olivia de Havilland, you may have heard, is devoting much of her 11th decade on Earth to suing the producers of the F/X series \u003cem>Feud\u003c/em>. Another centenarian, Kirk Douglas, keeps a much lower profile, as do the nonagenarians Sidney Poitier and Harry Belafonte (though look for the latter in \u003cem>BlackkKlansman\u003c/em>) and the octogenarians Gene Hackman, Sophia Loren, Sean Connery and Shirley MacLaine. But you know which Hollywood Golden Ager still enjoys the limelight? \u003ca href=\"https://www.ticketfly.com/event/1645627\" rel=\"noopener\" target=\"_blank\">Kim Novak\u003c/a>.\u003c/p>\n\u003cp>Alfred Hitchcock’s iciest blonde object of obsession made a splash with an exhibition of her paintings at the San Francisco Museum and Historical Society’s 2012 fundraiser at the Old Mint. She returns to her favorite city this Sunday, May 20, to celebrate the 60th anniversary of her double-edged, two-faced tour de force, \u003cem>Vertigo\u003c/em>. S.F.’s premiere star wrangler and silver-screen showman, Marc Huestis, has lined up singer Paula West and dancer Rory Davis to entertain the Castro crowd and salute Ms. Novak before she takes the stage for a spill-the-Tinseltown-beans interview with Noir City boss Eddie Muller.\u003c/p>\n\u003cfigure id=\"attachment_13832108\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200.jpg\" alt=\"Kim Novak in 'Vertigo.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13832108\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kim Novak in ‘Vertigo.’\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a movie on the bill, as well, set in a city on a hill, that stars Jimmy Stewart as a pathetic detective played for a sap by a beautiful dame (and her string-pulling husband). Stewart is balls-out brilliant – and downright terrifying, in a pivotal scene – in one of the most humiliating roles ever played by a star of the studio era. For her part, Ms. Novak, as first the enigmatic agent of his destruction and then the romantic opening for his return to civilization (for no place was more civilized than San Francisco in the ‘50s), is simply unforgettable.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":305,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":6},"modified":1705027876,"excerpt":"Hitchcock’s iciest blonde object of obsession takes the Castro stage and screen.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Hitchcock’s iciest blonde object of obsession takes the Castro stage and screen.","title":"Now Playing! Kim Novak, America’s Sweetheart and Jimmy Stewart’s Nemesis | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Now Playing! Kim Novak, America’s Sweetheart and Jimmy Stewart’s Nemesis","datePublished":"2018-05-14T08:00:48-07:00","dateModified":"2024-01-11T18:51:16-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"now-playing-kim-novak-americas-sweetheart-and-jimmy-stewarts-nemesis","status":"publish","sticky":false,"path":"/arts/13831929/now-playing-kim-novak-americas-sweetheart-and-jimmy-stewarts-nemesis","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>What becomes a legend most? Olivia de Havilland, you may have heard, is devoting much of her 11th decade on Earth to suing the producers of the F/X series \u003cem>Feud\u003c/em>. Another centenarian, Kirk Douglas, keeps a much lower profile, as do the nonagenarians Sidney Poitier and Harry Belafonte (though look for the latter in \u003cem>BlackkKlansman\u003c/em>) and the octogenarians Gene Hackman, Sophia Loren, Sean Connery and Shirley MacLaine. But you know which Hollywood Golden Ager still enjoys the limelight? \u003ca href=\"https://www.ticketfly.com/event/1645627\" rel=\"noopener\" target=\"_blank\">Kim Novak\u003c/a>.\u003c/p>\n\u003cp>Alfred Hitchcock’s iciest blonde object of obsession made a splash with an exhibition of her paintings at the San Francisco Museum and Historical Society’s 2012 fundraiser at the Old Mint. She returns to her favorite city this Sunday, May 20, to celebrate the 60th anniversary of her double-edged, two-faced tour de force, \u003cem>Vertigo\u003c/em>. S.F.’s premiere star wrangler and silver-screen showman, Marc Huestis, has lined up singer Paula West and dancer Rory Davis to entertain the Castro crowd and salute Ms. Novak before she takes the stage for a spill-the-Tinseltown-beans interview with Noir City boss Eddie Muller.\u003c/p>\n\u003cfigure id=\"attachment_13832108\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200.jpg\" alt=\"Kim Novak in 'Vertigo.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13832108\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kim Novak in ‘Vertigo.’\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a movie on the bill, as well, set in a city on a hill, that stars Jimmy Stewart as a pathetic detective played for a sap by a beautiful dame (and her string-pulling husband). Stewart is balls-out brilliant – and downright terrifying, in a pivotal scene – in one of the most humiliating roles ever played by a star of the studio era. For her part, Ms. Novak, as first the enigmatic agent of his destruction and then the romantic opening for his return to civilization (for no place was more civilized than San Francisco in the ‘50s), is simply unforgettable.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13831929/now-playing-kim-novak-americas-sweetheart-and-jimmy-stewarts-nemesis","authors":["22"],"categories":["arts_74"],"tags":["arts_3669","arts_1118","arts_977","arts_1006","arts_596"],"featImg":"arts_13832107","label":"arts"},"arts_13828633":{"type":"posts","id":"arts_13828633","meta":{"index":"posts_1716263798","site":"arts","id":"13828633","score":null,"sort":[1522905052000]},"guestAuthors":[],"slug":"on-the-air-rachael-and-sahbas-do-list-picks-for-apr-7-2018","title":"On the Air: Rachael and Sahba's Do List Picks for Apr. 7, 2018","publishDate":1522905052,"format":"audio","headTitle":"On the Air: Rachael and Sahba’s Do List Picks for Apr. 7, 2018 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Rachael Myrow here, pinch-hitting for Cy Musiker this week. Naturally, I picked a co-host from Palo Alto — visual artist and salon organizer \u003ca href=\"http://sahbashere.com\" target=\"_blank\" rel=\"noopener\">Sabha Shere\u003c/a> — and we talked about the upcoming concerts and exhibitions we’re most excited about.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6–8\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828634/science-parties-with-pop-culture-at-silicon-valley-comic-con-2018\" target=\"_blank\" rel=\"noopener\">Science Parties With Pop Culture at Silicon Valley Comic Con 2018\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828637/kronos-quartet-plays-live-to-a-found-footage-homage-to-hitchcock\" target=\"_blank\" rel=\"noopener\">Kronos Quartet Plays Live to Green Fog, a Found Footage Homage to Hitchcock\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 9–14: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828645/other-minds-festival-celebrates-cerebral-and-witty-sound-poetry\" target=\"_blank\" rel=\"noopener\">Other Minds Festival Celebrates Cerebral and Witty Sound Poetry\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Mar. 24– Aug. 12\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828651/cult-of-the-machine-explores-the-magnetic-pull-of-industrial-design\" target=\"_blank\" rel=\"noopener\">Cult of the Machine Explores the Magnetic Pull of Industrial Design\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Mar. 30– Apr. 29:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828662/in-a-time-of-economic-extremes-shakespeares-timon-recast-as-a-silicon-valley-ceo\" target=\"_blank\" rel=\"noopener\">In a Time of Economic Extremes, Shakespeare’s Timon Recast as a Silicon Valley CEO\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828695/haim-plays-the-greek-theatre-on-the-road-to-coachella\" target=\"_blank\" rel=\"noopener\">Haim Plays at the Greek Theatre in Berkeley on The Road to Coachella\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 20–22\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828705/the-classic-chicano-novel-reimagined-as-an-opera\" target=\"_blank\" rel=\"noopener\">The Classic Chicano Novel ‘Bless Me, Última’ Reimagined as an Opera\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Apr. 27-28\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828723/epic-tale-from-the-ancient-indian-ramayan-takes-flight-in-san-francisco\" target=\"_blank\" rel=\"noopener\">Epic Tale From the Ancient Indian Ramayan Takes Flight in San Francisco\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"The Do List highlights what we're most excited about in April, including Silicon Valley Comic Con, Bless Me, Ultima and Green Fog.","status":"publish","parent":0,"modified":1726771171,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":175},"headData":{"title":"On the Air: Rachael and Sahba's Do List Picks for Apr. 7, 2018 | KQED","description":"The Do List highlights what we're most excited about in April, including Silicon Valley Comic Con, Bless Me, Ultima and Green Fog.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"On the Air: Rachael and Sahba's Do List Picks for Apr. 7, 2018","datePublished":"2018-04-04T22:10:52-07:00","dateModified":"2024-09-19T11:39:31-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/thedolist/2018/04/TDL20180404.mp3","sticky":false,"path":"/arts/13828633/on-the-air-rachael-and-sahbas-do-list-picks-for-apr-7-2018","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rachael Myrow here, pinch-hitting for Cy Musiker this week. Naturally, I picked a co-host from Palo Alto — visual artist and salon organizer \u003ca href=\"http://sahbashere.com\" target=\"_blank\" rel=\"noopener\">Sabha Shere\u003c/a> — and we talked about the upcoming concerts and exhibitions we’re most excited about.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6–8\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828634/science-parties-with-pop-culture-at-silicon-valley-comic-con-2018\" target=\"_blank\" rel=\"noopener\">Science Parties With Pop Culture at Silicon Valley Comic Con 2018\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828637/kronos-quartet-plays-live-to-a-found-footage-homage-to-hitchcock\" target=\"_blank\" rel=\"noopener\">Kronos Quartet Plays Live to Green Fog, a Found Footage Homage to Hitchcock\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 9–14: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828645/other-minds-festival-celebrates-cerebral-and-witty-sound-poetry\" target=\"_blank\" rel=\"noopener\">Other Minds Festival Celebrates Cerebral and Witty Sound Poetry\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Mar. 24– Aug. 12\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828651/cult-of-the-machine-explores-the-magnetic-pull-of-industrial-design\" target=\"_blank\" rel=\"noopener\">Cult of the Machine Explores the Magnetic Pull of Industrial Design\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Mar. 30– Apr. 29:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828662/in-a-time-of-economic-extremes-shakespeares-timon-recast-as-a-silicon-valley-ceo\" target=\"_blank\" rel=\"noopener\">In a Time of Economic Extremes, Shakespeare’s Timon Recast as a Silicon Valley CEO\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828695/haim-plays-the-greek-theatre-on-the-road-to-coachella\" target=\"_blank\" rel=\"noopener\">Haim Plays at the Greek Theatre in Berkeley on The Road to Coachella\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 20–22\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828705/the-classic-chicano-novel-reimagined-as-an-opera\" target=\"_blank\" rel=\"noopener\">The Classic Chicano Novel ‘Bless Me, Última’ Reimagined as an Opera\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Apr. 27-28\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828723/epic-tale-from-the-ancient-indian-ramayan-takes-flight-in-san-francisco\" target=\"_blank\" rel=\"noopener\">Epic Tale From the Ancient Indian Ramayan Takes Flight in San Francisco\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13828633/on-the-air-rachael-and-sahbas-do-list-picks-for-apr-7-2018","authors":["251"],"programs":["arts_140"],"categories":["arts_1","arts_966","arts_74","arts_69","arts_75","arts_967","arts_70"],"tags":["arts_3669","arts_3419","arts_1942","arts_1414","arts_879","arts_1210","arts_3607","arts_1118","arts_2244","arts_3772","arts_2265","arts_626"],"featImg":"arts_13828738","label":"arts_140"},"arts_13828637":{"type":"posts","id":"arts_13828637","meta":{"index":"posts_1716263798","site":"arts","id":"13828637","score":null,"sort":[1522885770000]},"guestAuthors":[],"slug":"kronos-quartet-plays-live-to-a-found-footage-homage-to-hitchcock","title":"Kronos Quartet Plays Live to a Found-Footage Homage to Hitchcock","publishDate":1522885770,"format":"standard","headTitle":"Kronos Quartet Plays Live to a Found-Footage Homage to Hitchcock | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>We don’t spend a lot of time these days thinking about San Francisco as an icon of noir, but with the fog and the hills and the crazy quilt-like streets, it was very much that when the great Alfred Hitchcock made the classic 1958 film \u003cem>Vertigo\u003c/em>.\u003c/p>\n\u003cp>So imagine a modern day homage to \u003ci>Vertigo\u003c/i> stitched together from 200-plus snippets of found footage like a crazy quilt. Instead of panels, the quilt it made up of scene from TV and movies that are classic in their own right, like \u003cem>The Lady From Shanghai\u003c/em>, \u003cem>The Conversation\u003c/em>, and \u003cem>Basic Instinct.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sffilm.org\" target=\"_blank\" rel=\"noopener\">San Francisco Film Society\u003c/a> and \u003ca href=\"https://live.stanford.edu\" target=\"_blank\" rel=\"noopener\">Stanford Live\u003c/a> co-commissioned \u003cem>Green Fog\u003c/em> from filmmaker \u003ca href=\"https://vimeo.com/user4895266\" target=\"_blank\" rel=\"noopener\">Guy Maddin\u003c/a>, as well as a new score from composer \u003ca href=\"http://jacobgarchik.com/?page_id=8\" target=\"_blank\" rel=\"noopener\">Jacob Garchik\u003c/a> for the \u003ca href=\"http://kronosquartet.org\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a> to play live with the film. The first performance was at the 2017 San Francisco International Film Festival.\u003c/p>\n\u003cp>Chris Lorway, Executive Director says this has been making the film festival rounds for good reason. He says when he and Noah Cowen of SFFilm cooked up this idea a little over a year ago, “we had no requirements but that it had to be a love letter to the city.”\u003c/p>\n\u003cp>As Maddin’s interns combed through archival footage and found lots of chasing across rooftops and steep hills, “they realized they could put together the plot of \u003cem>Vertigo\u003c/em>,” Lorway notes, making \u003cem>Green Fog\u003c/em> a love letter to San Francisco, but also Hitchcock.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J4LTz4OC3pA\u003c/p>\n\u003cp>Lorway also says the new score delivers a tip of the hat to Bernard Hermann, who wrote the soundtrack to \u003cem>Vertigo\u003c/em>. Ummm, maybe? Some critics say you might hurt your brain trying too hard to make the connections between the originals and the homages, but what is unarguable is that you will be entertained.\u003c/p>\n\u003cp>“It’s pretty fun,” Lorway adds. “It’s got a tongue-in-cheek element to it that was a bit surprising to me.”\u003c/p>\n\u003cp>The Kronos Quartet and throat singer Tanya Tagaq perform live with the movie \u003cem>Green Fog\u003c/em> on April 6 at the Bing Concert Hall. \u003ca href=\"https://live.stanford.edu/calendar/april-2018/kronos-quartet\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\n\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"Don't go to 'Green Fog' expecting Alfred Hitchcock and Bernard Herman. Go with curiosity to see inspired artists responding to the classic film 'Vertigo.'","status":"publish","parent":0,"modified":1726771176,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":372},"headData":{"title":"Kronos Quartet Plays Live to a Found-Footage Homage to Hitchcock | KQED","description":"Don't go to 'Green Fog' expecting Alfred Hitchcock and Bernard Herman. Go with curiosity to see inspired artists responding to the classic film 'Vertigo.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Kronos Quartet Plays Live to a Found-Footage Homage to Hitchcock","datePublished":"2018-04-04T16:49:30-07:00","dateModified":"2024-09-19T11:39:36-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13828637/kronos-quartet-plays-live-to-a-found-footage-homage-to-hitchcock","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>We don’t spend a lot of time these days thinking about San Francisco as an icon of noir, but with the fog and the hills and the crazy quilt-like streets, it was very much that when the great Alfred Hitchcock made the classic 1958 film \u003cem>Vertigo\u003c/em>.\u003c/p>\n\u003cp>So imagine a modern day homage to \u003ci>Vertigo\u003c/i> stitched together from 200-plus snippets of found footage like a crazy quilt. Instead of panels, the quilt it made up of scene from TV and movies that are classic in their own right, like \u003cem>The Lady From Shanghai\u003c/em>, \u003cem>The Conversation\u003c/em>, and \u003cem>Basic Instinct.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sffilm.org\" target=\"_blank\" rel=\"noopener\">San Francisco Film Society\u003c/a> and \u003ca href=\"https://live.stanford.edu\" target=\"_blank\" rel=\"noopener\">Stanford Live\u003c/a> co-commissioned \u003cem>Green Fog\u003c/em> from filmmaker \u003ca href=\"https://vimeo.com/user4895266\" target=\"_blank\" rel=\"noopener\">Guy Maddin\u003c/a>, as well as a new score from composer \u003ca href=\"http://jacobgarchik.com/?page_id=8\" target=\"_blank\" rel=\"noopener\">Jacob Garchik\u003c/a> for the \u003ca href=\"http://kronosquartet.org\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a> to play live with the film. The first performance was at the 2017 San Francisco International Film Festival.\u003c/p>\n\u003cp>Chris Lorway, Executive Director says this has been making the film festival rounds for good reason. He says when he and Noah Cowen of SFFilm cooked up this idea a little over a year ago, “we had no requirements but that it had to be a love letter to the city.”\u003c/p>\n\u003cp>As Maddin’s interns combed through archival footage and found lots of chasing across rooftops and steep hills, “they realized they could put together the plot of \u003cem>Vertigo\u003c/em>,” Lorway notes, making \u003cem>Green Fog\u003c/em> a love letter to San Francisco, but also Hitchcock.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/J4LTz4OC3pA'\n title='//www.youtube.com/embed/J4LTz4OC3pA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Lorway also says the new score delivers a tip of the hat to Bernard Hermann, who wrote the soundtrack to \u003cem>Vertigo\u003c/em>. Ummm, maybe? Some critics say you might hurt your brain trying too hard to make the connections between the originals and the homages, but what is unarguable is that you will be entertained.\u003c/p>\n\u003cp>“It’s pretty fun,” Lorway adds. “It’s got a tongue-in-cheek element to it that was a bit surprising to me.”\u003c/p>\n\u003cp>The Kronos Quartet and throat singer Tanya Tagaq perform live with the movie \u003cem>Green Fog\u003c/em> on April 6 at the Bing Concert Hall. \u003ca href=\"https://live.stanford.edu/calendar/april-2018/kronos-quartet\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\n\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13828637/kronos-quartet-plays-live-to-a-found-footage-homage-to-hitchcock","authors":["251"],"programs":["arts_140"],"categories":["arts_74","arts_69"],"tags":["arts_3669","arts_2308","arts_977","arts_1315","arts_3772","arts_2265"],"featImg":"arts_13828643","label":"arts_140"},"arts_13819427":{"type":"posts","id":"arts_13819427","meta":{"index":"posts_1716263798","site":"arts","id":"13819427","score":null,"sort":[1516237179000]},"parent":0,"labelTerm":{"site":"arts","term":140},"blocks":[],"publishDate":1516237179,"format":"standard","title":"On the Big Screen, Noir Tales From the Cold, Hard Streets","headTitle":"On the Big Screen, Noir Tales From the Cold, Hard Streets | KQED","content":"\u003cp>One of our favorite events in San Francisco is an annual celebration of mystery and intrigue: the Noir City festival, getting underway this year on Jan. 26 at the Castro Theater. This year’s lineup of film noir includes \u003cem>The Big Heat\u003c/em> with Glenn Ford & Gloria Grahame; \u003cem>The Underworld Story\u003c/em>, about a small-town newspaper; and Veronica Lake and Alan Ladd in a terrific pair of films, \u003cem>Blue Dahlia\u003c/em> and \u003cem>This Gun for Hire\u003c/em>.\u003c/p>\n\u003cp>Noir City is one of those festivals that you almost can’t go to just once. The screenings are full of backstory and context from presenters, and there are always movies that even the most hardcore film buff hasn’t ever seen. Of course, the familiar movies are fun to watch too; I love \u003cem>Shadow of a Doubt\u003c/em>, filmed in my hometown, Santa Rosa, in the 1940s. With so many changes going on in Santa Rosa lately — the Courthouse Square reunification, the SMART Train, and of course the fires — it’s a fantastic capture of what the city used to be like in 1943, dark underbelly and all. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HHEu5vXUusc\u003c/p>\n\u003cp>But Noir City is really all about the obscure noir films that slipped through the cracks – the festival organizers even fund restorations of 35mm prints. This year brings the debut of a restoration of \u003cem>The Man Who Cheated Himself\u003c/em>, with Lee J. Cobb and Jane Wyatt, from 1950 (above). The 16th annual Noir City Festival runs Jan. 26–Feb. 4 at the Castro Theatre. \u003ca href=\"http://www.noircity.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","stats":{"hasVideo":true,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":266,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":5},"modified":1705028750,"excerpt":"The Noir City festival returns to the Castro with gritty tales of dashing dames and deals gone bad.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"The Noir City festival returns to the Castro with gritty tales of dashing dames and deals gone bad.","title":"On the Big Screen, Noir Tales From the Cold, Hard Streets | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"On the Big Screen, Noir Tales From the Cold, Hard Streets","datePublished":"2018-01-17T16:59:39-08:00","dateModified":"2024-01-11T19:05:50-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"on-the-big-screen-noir-tales-from-the-cold-hard-streets","status":"publish","sticky":false,"path":"/arts/13819427/on-the-big-screen-noir-tales-from-the-cold-hard-streets","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of our favorite events in San Francisco is an annual celebration of mystery and intrigue: the Noir City festival, getting underway this year on Jan. 26 at the Castro Theater. This year’s lineup of film noir includes \u003cem>The Big Heat\u003c/em> with Glenn Ford & Gloria Grahame; \u003cem>The Underworld Story\u003c/em>, about a small-town newspaper; and Veronica Lake and Alan Ladd in a terrific pair of films, \u003cem>Blue Dahlia\u003c/em> and \u003cem>This Gun for Hire\u003c/em>.\u003c/p>\n\u003cp>Noir City is one of those festivals that you almost can’t go to just once. The screenings are full of backstory and context from presenters, and there are always movies that even the most hardcore film buff hasn’t ever seen. Of course, the familiar movies are fun to watch too; I love \u003cem>Shadow of a Doubt\u003c/em>, filmed in my hometown, Santa Rosa, in the 1940s. With so many changes going on in Santa Rosa lately — the Courthouse Square reunification, the SMART Train, and of course the fires — it’s a fantastic capture of what the city used to be like in 1943, dark underbelly and all. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HHEu5vXUusc'\n title='//www.youtube.com/embed/HHEu5vXUusc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But Noir City is really all about the obscure noir films that slipped through the cracks – the festival organizers even fund restorations of 35mm prints. This year brings the debut of a restoration of \u003cem>The Man Who Cheated Himself\u003c/em>, with Lee J. Cobb and Jane Wyatt, from 1950 (above). The 16th annual Noir City Festival runs Jan. 26–Feb. 4 at the Castro Theatre. \u003ca href=\"http://www.noircity.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13819427/on-the-big-screen-noir-tales-from-the-cold-hard-streets","authors":["185"],"programs":["arts_140"],"categories":["arts_74"],"tags":["arts_3669","arts_3670","arts_977","arts_596"],"featImg":"arts_13819441","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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