August 2010

Death Bed: It's as Incredible as It Sounds

One of the first things I thought about while watching Death Bed: The Bed That Eats was Andres Serrano's Piss Christ. The photograph is pretty simple – as simple as the title of this here film. There’s a crucifix floating around in piss, it’s yellow color perhaps indicating the photographer’s need to hydrate. But the reason that image spring into my mind – and it’s not from reading this, although a startling coincidence – was the coloration of whatever liquid lives inside the bed and is capacious of melting/devouring just about anything.

It’s that dark, yellow color, which no doubt exists elsewhere in nature. In my mind, though, it’s only in the bed and in that photograph. And the toilet.

Francis Ford Coppola's Dementia 13: A First Effort

Francis Ford Coppola could spend the rest of his living years making the most atrocious, unwatchable and worthless films – or even made for tv movies – and he’d still be revered as one of the seminal American directors coming out of the second half of the twentieth century. Yeah, The Godfather films have pretty much everything to do with that. And while the franchise petered out eventually, the first two installments ostensibly made Coppola a figure who demands and gets pretty much whatever he wants in Hollywood.

Fulci's Gore: Touch of Death (1988)

Most of Lucio Fulci’s career is comprised of odd dichotomies. Work earlier than the 1988 film Touch of Death attempted to retain the gore inherent in the director’s American counterparts in low budget horror films, but still worked towards a sense of being present and engaged in current times and trends.

Touch of Death isn’t detached from modern problems – the protagonist has a nasty gambling habit which serves as the impetus for most of the action here. But the film does ape a tone that’s confusing when contrasted with the nature of Lester Parson, the flick’s hero/killer, problem.