Welcome to William Schoell's GREAT OLD MOVIES blog. Feel free to leave a comment regardless of the date the review was posted -- I read 'em all. Or if you prefer -- and especially if you have any questions directly for me -- email me at email@example.com and I'll get back to you as soon as I can. Click on a label link (labels can be found at the bottom of each post) to find other movies from that year, the star, that director or genre and so on. Or enter a title, director, genre, star or supporting player in the small Blogger "search blog" box at the far left up above and click search blog. [NOTE: While this blog mostly reviews films -- and TV shows -- that are at least twenty-five years old, we do cover films up until the present day.] HAVE FUN AND THANKS FOR DROPPING BY. William.
Thursday, January 10, 2013
RICHARD MATHESON ON SCREEN
While perhaps not a household name like Stephen King [whom he influenced], Matheson has secured a reputation among genre fans for his works "The Shrinking Man" [filmed as The Incredible Shrinking Man], "I Am Legend" [three disappointing film versions so far], "Hell House" [filmed as The Legend of Hell House], among others, including numerous short stories, and his screenplays for The Night Stalker, Roger Corman's Poe adaptations such as Pit and the Pendulum, and other horror-fantasy works. Matheson's non-genre contributions include The Morning After telefilm, with Dick Van Dyke as an alcoholic, and De Sade starring Keir Dullea. Like King, Matheson's first prominent novel became a highly popular film, and there has been a synergistic relationship between his film and literary work ever since. Bradly looks not only at the films whose screenplays were written by Matheson, but also at the film adaptations of his work that were written by himself and others. His book is bolstered by interviews with and comments from Matheson himself and others who worked on the films. In addition to being an excellent reference source, Richard Matheson on Film creates an interest in many of Matheson's print and film works, and also serves to illustrate the often maddening twists and turns that occur during the knotty path from book to movie, as well as the disasters that often result when one person's vision doesn't jell with another's. Ironically, one Matheson movie [which he scripted from his novel "Bid Time Return."] that has become a cult item is Somewhere in Time, probably because of John Barry's evocative score, as Jeannot Szwarc's direction is mediocre at best. Even if you're not as enthusiastic about Matheson's work as Bradley is -- and he doesn't rave about everything -- you''ll find this book a good, entertaining and noteworthy film study. Illustrated.
Verdict: Exhaustive and informative. ***1/2.