Saturday, December 31, 2022

72



"Those who fail to learn from the brutal stompings visited to them in the past are doomed to be brutally stomped in the future." 

  -Hunter S. Thomspon, Christmas Eve 1972

"Kill everyone now. Condone first degree murder. Advocate cannibalism. Eat shit." 

   -Divine on her political beliefs, Pink Flamingos

Four more years. Those three dreaded words. A second term for a dreaded presidential figure. It's not 1984. It's 1972. We are still in the Vietnam War. It was the year 5 White House operatives were arrested for burglarizing the offices of the Democratic National Committee. The US and the Soviet Union sign the Anti-Ballistic Missile Treaty. NASA's space shuttle program is launched. And a little movie adapted from a Mario Puzo novel is released. 

It's another banger of a year for film. Once again exemplifying the bounty that this decade had to offer. Action, comedy, blaxpoitation, samurai, heavy drama, thriller, psychological thriller, zombie flick, character study, and so forth. Many of which are rough around the edges. 


TOP 30 OF 1972

1. Aguirre: Wrath of God
Ants conquering a hill and calling themselves gods. A raft overtaken by monkeys. Opening and closing shots that tower among just about anything put to celluloid. A precursor to the indifference of nature we will see in movies like Sorcerer and Apocalypse Now. 

2. The Godfather
I was around 12 years old. It was a Friday night which meant I was going to my grandma's house. A place where I would retreat to the back bedroom and gorge myself on the SciFi channel. Back when it wasn't known for Asylum Pictures and instead for Twilight Zones and Mystery Science Theater 3000. In the room there was this dresser where upon I discovered a book. It was a yellow pulpy paperback. The title read 'The Godfather'. I flipped through it knowing that it was a prestigous movie. Before I took up reading as a hobby outside of school, this was a book that would never be assigned in class. "How cool!" 

I would eventually see the movie and, like everyone else who sees it, fall in love. My love reached far and deep. I soon had to know everything about the Corleone Family. I would print out a family tree and timeline of events in the Corelone Family Saga. The family member who I would come to find the most fascinating was the consigliere Tom Hagen. I still do to this day. Say all you want about Sofia Coppola in The Godfather Part III, the biggest missing piece of the puzzle to that movie was no Tom. 

Watching it again for it's 50th anniversary, I found Walter Murch's editing and specifically the use of scenes fading out/fading in over Carmine Coppola's score to give this haunting weight. There's the fadeout/fade in of Paulie's demise in the car over Michael sitting alone in the courtyard. The fade out/fade in of Sonny's corpse by the tollbooth over Tom Hagen sitting down in the office, waiting to break the tragic news to Vito. 

3. Deliverance
'It does for the woods what Jaws did for the beach'. This was before Jaws, but the sentiment is felt. Movies set in the woods or the jungle have an elemental pull for me. This may have been the one that kicked that off. The sequence this film is most well known for has etched it's false teeth into my nightmares.

4. Solaris
Tarkovsky made three masterpieces in the the 70s. This was the first of them. It's also the movie I would point anyone new to this master to. 

Solaris is a prime example of using the form to dive into our innermost selves so effectively and transformatively. Emotions and memories are culled to the surface. Like hs other work, I feel the film has yet to reveal its secrets to me. Which keeps me coming back to it. 

5. Play It Again, Sam
The best Allen film of the 70's was one he didn't even direct. The art gallery scene is canon for me. 

6. Pink Flamingos
True outsider cinema. When people say John Waters, the image that seems synonymous with him is Divine eating dogshit.  

7. Female Prisoner #701: Scorpion
The movie that made Meiko Kaji a star and a grindhouse icon. The Female Prisoner movies are all good but this is the best place to start. It's a pop art blood soaked nightmare that is loud, chaotic, and bleak yet offers opulent visual stylization to keep you entranced. 

8. The Bitter Tears of Petra Von Kant
Scott Walker's In My Room always comes to mind when I think of this movie. The staging of characters in a room that Fassbinder pulls off here is masterful. Looming paintings, twisted mannequins, confining spaces.  

9. Lone Wolf and Cub: Baby Cart At the River Styx/Baby Cart In Peril
The second in the Lone Wolf and Cub series picks up where Sword of Vengeance left off and ups the ante on just about everything. The villains are cooler, Daigoro (and his cart) actually get involed(!!!), and the arterial spray is even messier. The original badass father-son duo.  

The fourth installment is the first one not directed by Kenji Misumi. The action moves further away from villages and into wide open landscapes. The baby cart is basically turned into a military tank in this one. 

10. Images
Want to learn the importance of sound design? This should be on the shortlist for your syllabus. Right next to one of the great female performances of the decade in Susannah York. One of the thinghs I loved about Altman's run in the 70's was the stylistic diversity. We saw him tackle the mosaic film (Nashville), a western (McCabe and Mrs. Miller), neo-noir (The Long Goodbye), comedy (MASH). Here he tackles the psychological thriller and as per usual, succeeds. 

11. Top of the Heap
One of the many fascinating things about Black Cinema during this period were the myriad paths it took. It wasn't just blaxpoitation flicks. Top of the Heap sees Christopher St. John (Shaft) take the directing reigns of a study on the socio-political conditions of a violent black cop who carries out the orders of the man. Only to have his brain broken by this contradictory position, leading him to retreat into fantasy. 

12. The Discreet Charm of the Bourgeoisie
The trilogy of movies Luis Bunuel did in the 70's (this along with The Phantom of Liberty and That Obscure Object of Desire) is anarchic cinema at the height of its powers. Destroying class systems one surreal sequence at a time. 

13. Across 110th Street
Anytime Yaphet Kotto is in a movie, it is an indicator you are going to be watching something good. In it's 102 runtime, this thing packs a punch. The performances, writing, dialogue, soundtrack and New York city shots are all top notch here. The inner-department racism of the NYPD is as contemporary a headline as it was back in 1972. 

14. Don't Torture A Duckling
Fulci's poison pen hate letter to Catholicism. Soundtracked with a stellar Riz Ortolani score.

15. All the Colours of the Dark
A giallo that mingles with satanic blood orgies, hallucinations and stars the gorgeous Edwige Fenech. There's nothing not to love here.  

16. Sisters
DePalma's first use of split screen an it won't be his last. Mix Hitchcock, some Argento-esque giallo, and some of Polanski's apartment thriller paranoia and you get what DePalma was going for here. 

17. Fat City
John Huston does Leonard Gardner's gritty novel of down and out boxers justice with Jeff Bridges, Stacy Keach and Susan Tyrrell all giving knockout performances.  

18. Frenzy
Hitch's last good film always leaves a lingering aftertaste. What if he was his age in 50's that he was in the 70's? Would the studio limitations he was under then no longer shackler him in the 70's? What work would we have? The closest we have to an answer is Brian DePalma picking up where Hitchcock left off. 

19. Tombs of the Blind Dead
Coolest looking zombies ever? Amando de Ossorio's Knights of the Templar are certainly in the running. This is the second film that is a part of a series. The thicking rolling atmosphere, the abandoned temple ruins, slow motion zombies on horseback. This is the type of shit I salivate over. 

20. Cabaret
The way Fosse shows how Nazi propganda slowly takes over German culture is truly chilling. It's all about that ending.  

21. What's Up Doc?
The first Bogdonavich I saw which endeared him to me. Not much of a Streisand fan, but she nails her role here. One of the highlights of the piece is a San Francisco chase scene that clearly influenced the chase scenes in Wayne's World, Blues Brothers and The Sandlot. 

22. Bone
Larry Cohen's incendiary debut is another one of those "will never get made today" movies. He gives us a gift we always wanted: Yaphet Kotto in a lead role. Cohen's brand of satirical horror is on full display here even when it's not attached to genre. 

23. The Getaway
McQueen's last true star vehicle was this 1972 Peckinpah flick opposite Ali McGraw. It plays out in an almost proto-Michael Mann way. Add to that a Walter Hill penned screenplay with brutal twists and turn that reveal the complexities of the characters and you have a winning formula. 

Forget the Baldwin/Basinger remake and watch this one.  

24. What Have You Done to Solange?
More like What Have You Done to Fabio Testi's hair? One of the best looking giallos produced during the explosion of the subgenre. Another giallo that deals with Catholicism. 

25. Un Flic
The last film from Jean-Pierre Melville. Over any director from French cinema during the 50s and 60s, Melville always stood out to me as the most exciting. Plus, Alain Delon is just beautiful to look at. 

26. Tales From the Crypt
British horror at this time was divided into two studios: Hammer and Amicus. The latter saw a release of a number of anthology films. Most notably, Asylum and this one in the same year. There isn't a particularly weak story here, which is why it's my favorite Amicus production. Doesn't hurt that it's based off the very thing that got me into horror in the first place. 

27. Death Line
Gary Sherman's career is underrated to the point of tears. Raw Meat aka Death Line is his first good work. "Mind the doors, please."

28. The Night Stalker
In the pantheon of good TV-movies, The Night Stalker is a worthy feature from a TV Series I would catch on the Sci-Fi channel.

29. Prime Cut
Michael Ritchie was on a hot streak from 1969 to 1975, directing movies that included Downhill Racer, The Candidate, Smile, The Bad News Bears and this movie starring Lee Marvin, Gene Hackman, Sissy Spacek, and a chase sequence featuring one of the biggest pieces of farm equipment I've seen.

30. Horror Express
As Hammer was pumping out movie after movie, the studio stable actors Christopher Lee and Peter Cushing still found time to star in something like this together. 

Sunday, December 11, 2022

Jeanne Dielmann, Sight and Sound, and the Discourse


 
Well, it happened.For the second time in a row. Every ten years since 1952, film publication Sight and Sound asks a group of film professionals what the best movies of all time are. A list of ten is selected by each. The first poll conducted had The Bicycle Thieves (1949, Vitorrio De Sica) top the list. From 1962 through 2002, the reigning champion was Citizen Kane (1941, Orson Welles). Then in 2012, Hitchcock's 1958 masterpiece Vertigo- unrecognized as such at the time of its release- toppled the mighty Kane to place 1st on the list. Both of these films are major works in film history. Welles inventing many techniques with his 1941 debut that would be utilized in the future. While Hitchcock crafting what is viewed by many to be th ultimate tale of obsession. This years sees feminist masterwork Jeanne Dielman, 23, quai de Commerce, 1080 Bruxelles (whew) top the list. 

The criticism of Jeanne Dielman being on #1 borders on laughable and absurd. Some of the comments I've come across: 

"The Critics List has officially jumped the shark."
"The day the cinema stood dead." (My personal favorite. The thought of something standing while dead is amusing.)
"RIP Sight and Sound poll"
"The majority of critics decided to sacrifice art to the altar of political correctness and woke ideology." 

Even Paul Schrader got in on the action. Calling Dielman topping the list a case of 'distorted woke reappraisal.'

Then there were the additions of Get Out, Portrait of A Lady On Fire, Moonlight and Parasite. Four movies from the past 10 years that were deemed unworthy because of how recent they were. With Shrader's logic, would these films- which focus on the black experience, LGBTQ and class struggle- be woke reappraisal? Films like Battleship Potemkin and Battle of Algiers are fervently political but they still manage to make the list. Why are those film not considered 'woke' but more recent films are? I've always been repulsed by identity politics but in the case of art, the notion of rejecting a film like Parasite because it is too recent or too woke kind of crumbles when you consider that, in 1952, the film that topped the poll was a film from 1949. Should we just put a stop-gap on any films made after 1980? The entire argument is missing the point. We are no longer looking at the films themselves. Instead, we're looking at the social issues the films tackle and whether or not they are released within an acceptable time frame. 

The best part of this list is the individual results rather than the collective. Did Michael Mann's list change from the last time? What about the new directors who were polled like Ari Aster and Robert Eggers? Lists like these are always helpful when navigating new stuff to watch. 


The potential to dismiss something that you are uncomfortable with doesn't cross my mind. Shunning people or making people feel stupid is a good way to perpetuate this toxic discourse. The more we hold people to an untenable standard, the more cinephiles you will see out there saying "fuck Jeanne Dielmann, never heard of it". The problem here is that no one wants to show that person the film or educate them as to why it is important. 

Jeanne Dielman is not an easy film to just throw on and watch and if you were to tell someone it is, you would be lying. You don't start with something like that if you want to get a taste of what the filmmaker Chantal Akerman is about. You start small. Start with her New York films like Hotel Monterrey or News From Home. Or start with other French filmmakers making films during Akerman's time. Agnes Varda for example. To tell someone they don't understand a 3+ hour long foreign film and just go watch it, then have them sit through it all only to have them say they didn't like it is missing the important cultural context and place in film history the film belongs. Akerman was turning a sharp left while even some of her more radical contemporary peers (Like Welles and Hitchcock) were still turning right.

Even within those films like Vertigo, it's important to understand just how different a genre film made today differs from something like Vertigo. Everything is hyper stylized. The editing is more frenetic. Sitting in a theater nowadays, there are more cuts in the trailers leading up to a movie than the entirety of JFK. Now compare that to a handful of cuts in a movie over 3 hours long. 

From a personal standpoint, what made me love Jeanne Dielmann was how it managed to slow time down to the point where the everyday routine of a woman bordered on an action film. What differs from the first time she makes veal to the next time? Well her hair is disheveled. Or she pours the water to make tea slightly different than the last time. By focusing on the minutaie, we are able to extract the details that carry us along the runtime. 

Process has always been something of a fascination to me. As a kid, I'd love watching the capsules get sucked up the tubes at a bank drive thru. I would even imitate the sound of my grandparents garage door opening and closing. This led me to begging my mom to buy me a little gingerbread house contraption so I could mimic the opening and closing of the little door to my hearts content. This fascination with process would carry over into my love of film. I was attracted toward police procedurals, docudramas and even a show like The Wire. Bresson's films like A Man Escaped and L'Argent would follow and while they would examine things like how a prisoner escapes or the transaction of a dollar bill across characters, nothing would prepare me for what I would get myself into. 

When I first saw Jeanne Dielmann, I felt like I hit the goldmine. This was the ultimate movie about process. More than that, the experimentation with narrative was of a kind I never saw before. Up there with when I first saw Eraserhead or 2001

To give some context, Chantal Akerman, born in Belgium, moved to New York in 1971. A place where she would begin her craft. She was exposed to the avant garde filmmaking of Michael Snow and Jonas Mekas which she said were "the most determing factor on my cinematography." It was during this time, that Akerman discovered that cinema could be unshackled from traditional narrative, that one doesn't need to tell a story to generate suspense and emotion from images. 

The films she made during that time often consisted of few set ups and long takes. Hotel Monterey being crucial in the lead up to Jeanne Dielman. The film takes place in a run down Upper West Side hotel. The shoot would last night, around fifteen straight hours. It would be her first experiment in duration. Getting the viewer lulled into the passage of time as well as the boundaries of space. We see this explode in Jeanne Dielman, where she pushes that experimentation to its limits. She was only 24 when she made it. 

In the BFI Classics book on the film, Catherine Fowler posits that of all the traits the movie shares, being 'contrary' is the one that is most prevalent. "This is because it puts on display the ambivalence that strongly accompanies the work of the housewife and the mother. Those who saw the film on its first release agreed that it shows actions hardly ever seen before in cinema, and what is more it shows them in excruciating detail." Fowler continues "It accomplishes something that very few other films have managed: it makes the housewife and mother see,"

Being led to a film like this requires a sense of nurture in discovery and discourse We were all budding movie fans at one point. The more we are able to put ourselves in someone else's shoes, someone who was at the same point we were, the better the discourse. 


Here's what my list would be:

The Devils (1971, Ken Russell)
Sorcerer (1977, William Friedkin)
Eraserhead (1977, David Lynch)
2001: A Space Odyssey (1968, Stanley Kubrick)
Magnolia (1999, Paul Thomas Anderson)
GoodFellas (1990, Martin Scorsese)
A Brighter Summer Day (1991, Edward Yang)
The Mirror (1975, Andrei Tarkovsky)
The Battle of Algiers (1966, Gillo Pontecorvo)
Possession (1981, Andrzej Zulawski)


What would your list look like? 

Thursday, December 1, 2022

Down the Hall, Toward the Light

PART 1

OCTOBER 22- 28
The Music Box held its 24 hour horror marathon every year around this time. Music Box of Horrors is what they called it. Vendors were set up, sleeping bags in tow, coffee flew off the concessions like hotcakes. 24 hours of gut munching zombies, chain-wielding cenobites, bloodthirsty vampires, killer kids, a possessed hand and one ugly troll awaited me. But the sickness on screen wouldn't infect me the way the virus would 24 hours removed from the event. 

By the 3rd to last movie (The Oracle), I was fighting tooth and nail to stay awake. The man next to me was a talker so I made point to move immediately after the feature was over. The last 5 or 6 features of the night, all seats are up for grabs. The people who I had sitting next to me left and I was given an unlucky card from the deck. I went over to concessions, bought a coffee and recharged for the final two. I had experienced this before. I ended up breaking thought this invisible wall of sleep into powering through the remaining films. Flesh Eater and Ernest Scared Stupid were two movies I had already seen and thoroughly enjoyed, so even with that boost, the final two proved a nice cap to a long day. My left ass check begged to differ. It swelled in soreness.

By the time it was over, I decided to text my girlfriend Charlotte and let her know I was on the way back to the apartment. I stopped at Jeni's Ice Creams to get something to eat then took the Brown Line back. When I reached her apartment, I felt fatigued. Well obviously it had to be from having no sleep for 24 hours. But something else set in. I didn't feel quite right. The plan was to hang out after the fest with Charlotte. Now I just wanted to go home. 

I would go to urgent care the next day and they would find that it's a common cold. No antibiotics prescribed. Fine and well, I went on my way. 

The next day I woke up to urinate and found an alarming development: my urine is blood red. Urgent care would ask me to give a urine sample, which I did. They told me to come back in the morning for the results, which I did. They did a test and found trace amounts of blood in my urine. Nothing indicating kidney problems or a urinary tracht infection. "If it happens again." the nurse said "Make sure you come back." I left the urgent care and went to work. That was that. My routine of going to work was back in full swing and everything was back to normal. Or so I thought. 

PART 2
THURSDAY 11/17
I awoke at around 2 am covered in sweat. Echoing the feeling I once had a couple years ago around this time. A fever in November. Always fucking November. Turning to my left, then the right, the front, and finally into a fetal position under the covers. Fifteen minutes must have passed before I got out of bed and went to the kitchen, feeling a bit dizzy as my feet landed on the floorboards alongside my bed. I got a glass out of the cabinet and had some ice water. At this time, when I can't sleep, I usually look out the window to see who is on the road at this hour. Watch the nocturnal travelers of the night roam the roads, driving to whatever destination they intend to. I couldn't fucking care less at this moment. I just wanted to get back to my bed. Any pleasure I had was sapped by the misery I was feeling. 

I drove to work thinking maybe I could make it. By the time I got there, I regretted even getting out of bed. It took all of 15 minutes for me to get out of my car, walk through the parking lot, tell the manager I was not feeling good. I ended up driving back home and crashing on my bed. Didn't get behind the wheel of my car again. 

The urgent care that didn't give me any antibiotics wasn't in the options list for me. I made a means to avoid that one. So I went to one down the street. They were closed. On the door, they listed two other Urgent Care centers. 

When I arrived at the Urgent Care, I waited for a probably 30 minutes before getting called. No big thing. "What brings you in today?" the nurse asks. "I have congestion, a cough and a slight fever." She took my blood pressure and temperature. Then took a COVID/Flu test and swabbed my nostrils. I waited some more for the next nurse to come in. When she did, she asked my permission to perform a chest X-Ray. I said yes. I was then led down a hall to a small waiting area where I sat for no less than 1 minute before the X-Ray specialist came and got me. 

When I entered, the X-Ray machine was against the wall next to me. In the center of the room was a upraised bed. I was instructed to stand facing the wall with my arms out. "Take a deep breath. Exhale". The procedure lasted about a minute. After it was over, I was led back to the room to wait for the results. A focal density was located on my lungs it would say. A CT scan is reccomended. "I recommend going to the hospital in Hazel Crest. Christ Hospital is next to us but you will be waiting a long time if you got there." I left and went back home and got a snack to munch on before going out into the vast night. Not knowing how long I will be occupying a chair in a hospital waiting room. Couldn't be more than 2. I could do 2. 

"7 hours. At Christ Hospital, the wait is 14 hours." a worker said.

"Fuck that" I thought. I am one to want things like this over and done with. No use dragging it out. But 7 hours was just too much. Best to come back in the morning. 

The dilemma I was facing was one I'm sure many Americans face. I was at a point where I had no primary doctor. I am on public aid because the insurance offered by my work was too much. 

FRIDAY 11/19
When I woke up I tried to make coffee. This is my daily ritual. Closest thing I have to a devotional. I used a V60 pourover on some new beans I recently got. After the pourover dropped down into the pot, I poured myself a cup and tasted it. It was bad. Well, not bad. My tasting pallette was on the fritz. Coffee just wasn't in the works for me. For the rest of this illness, it was bottled water. 

My parents took me to the hospital in Hazel Crest. When we got there we were told to register. Waiting in line, a nurse came up and asked what brings me in. I explain to her that the urgent care I was at took a chest X- ray was performed and they found something. "A focal density" as they called it. The nurse said a CT scan was not urgent if I was just having a fever and congestion. 

After registration, I was asked to take a COVID test. Out came the swab and into the nostrils it went. I sat with my parents in the lobby area. I brought along some books to keep me occupied. Hunter S. Thompson's Fear and Loathing On the Campaign Trail was the one I was currently reading. Transporting to myself from an anaesthetized waiting room to being in the midst of an election with the inventor of gonzo journalism was what I needed. Reading about the George McGovern campaign, what went wrong, what lessons (if any) were salvaged from the campaign and applied to the campaign trail today. The 2022 Midterms were in the rearview mirror by this point. I made a considerable dent in the book before my name was called. All told: the wait was 3 hours. 

When I got to the little room, a nurse was seated next to a monitor. We would go over my symptoms. At this point, I felt like I was reading from a script. Auditioning for "The Great Sick" 

Int. Nurse's Office

Nurse
You COVID test came back negative so that is good news. What are your symptoms?

Luke
I have a slight fever and a headache. I also feel congested. Stuffy nose. 

Nurse
Any coughing or vomiting?

Luke
I have a bit of a cough. I haven't been vomiting.

The nurse enters the information on her computer. 

Luke
So I am not going to have a CT scan

Nurse
No not right now. It is important you find a primary care doctor. I am going to set one up for you so when you have the appointment, I recomend an MRI. 

Luke nods. He knows very well that he needs a primary care doctor because all of the urgent care appointments could have been prevented had he had one. 

Nurse 
What have you been taking for your symptoms?

Luke
Advil and Tylenol

Nurse
I recommend Afrin to clear your sinuses, Cough syrup and continue taking Advil for your headache and fever. 

Luke realizes that once again, no antibiotics will be prescribed and will have to make do with over the counter drugs. He gets up, thanking the nurse and exits the room. He feels a sense of relief that there will be no CT scan and that this whole thing only took 3 hours instead of 7. Finding comfort in the little things. 

End scene. 

After I leave that area. I discuss what just happened with my parents. I wait a bit and am called into an office with a doctor who tells me I have an upper respiratory infection. He advises me to drink lots of fluids. A date was made for a primary doctor- December 20th. So far away. 


SATURDAY 11/19
I wake up and decide to take some Advil. The moment I put it on my tongue though, I gag. Luckily enough a sink is right by me. I puke into it. The bathroom is a few strides away and I run and end up puking into the toilet. The scale of "Should I Go to Work" and "Hell no man, you just puked. Call Off!" moved drastically to the right. I got some rest. Chinese food was ordered. A favorite. I tried to eat fried rice and only got half way through the bowl. First coffee, now Chinese food. 

HOSPITAL

SUNDAY 
When I got up I went to the bathroom to find an unpleasant development: there was blood in my urine again. This is just what I needed. I crawled back into my bed aching. I tried to go back to sleep but it just wasn't happening. My chest hurt, my head was pounding. All in all, I was feeling miserable. At that point, my upper chest felt like a a handful of hot daggers were being pressed into it. I was screaming for help. My mom heard me and asked if I wanted an ambulance called. I said yes. I got dressed and lay down on the couch in the front room and my mom made the call. In record time, I heard the sirens down the street. The front door open and a bunch of paramedics came in to lead me from my house to the ambulance. Two followed me into it. One of the them was a dead ringer for Jesse Plemmons. Was this research for the role of a medic he would be playing a new feature? My immediately drifted from Todd from Breaking Bad and slammed back as fast as the ambulance door slammed behind me. A question and answer session commenced. 

"Are you on any medications?"
"Paxil for anxiety."
"Have you been taking anything for what you are experiencing?"
"Advil, cough medicine, Afrin"

Around the same time, a female paramedic was beside me, taking my blood pressure, pricking my finger to check my sugar levels. 

"Do you want to go to Little Company or Christ?" 
I hesitated in answering. I chose Little Company. 

This brought up a memory I had years ago. When I fell through my neighbors basement glass door and my wrist was cut. I staggered to my house to the shock of both my parents. "Company or Christ?" my dad said. The question didn't fully register to me. I was still in shock myself. Why the hell were they asking if they wanted company over? Quite the time for a family get together, eh? I'd say I needed Christ in that moment rather than company. His Divine Presence would be a little more comforting. The second of confusion cleared itself up when I realized they were asking what hospital they should take me to. 

After all the questions were done, the ambulance took off towards the hospital. 

When we arrived I was put in a wheelchair and wheeled down to a place where I registered my name, social security and insurance. My parents arrived about 10 minutes later. 

The security guard opened two sliding glass doors and I was wheeled into a room with a bed. 

The nurse came in and I was given a hospital gown. She was my height, brunette, her hair in a ponytail. Her name hinting a Middle Eastern ancestry. It escapes me now, but it was as unique. She had a good bedside manner and charm. It made the next handful of hours go by quicker. 

When I get in the bed my parents are outside the door. I say it's ok to come in and there is no response. Resting on the bed, I start wondering why they haven't come in yet. The door opens just a crack and there is the sound of larvae dragging itself across the ground. I could see a thin trail of viscous trailing out from the door. I clutch the bed in abject terror at this unknown organism that could be on the floor. Half naked and vulnerable with nowhere to go. I hear it's slimy body skirt up the bed, poking its head as if to say 'hello'. It had an elongated snout like some alien ant eater. I could feel it at the bottoms of my feet, deciding that if I lay perfectly still it should scurry away. The thing started crawling up my sheeted legs and toward my belly, making a left toward my arm. It had three flippers on each side. All of which started to grab on to my arm to secure the position of this unknown organism. It's head rested on my arm, elongated snout toward the bend of it. A slight sting was felt and a sucking sound was heard. It was draining me of my blood. 

This didn't happen of course. But when you see an IV put inside you, the sheer length of it, your mind starts to wander toward the imaginative. It was the first of many pokes. 

Down the hall, I heard a commotion going on with one of the patients. "Do you believe in God? You don't. I can tell. I am a true believer." There was a pattern to this woman's behavior that would last for around 3 hours. "Lord, please don't take me away from my kids. I am a good mother. I am NOT crazy." She would say. After this, she would sing religous hymns, praising Jesus. The orderly across from her would tell her to keep it down because other patients are on the floor. Then she would hum the hymns. A nurse or doctor would enter her room and start a dialogue. One doctor in particular calmed her down and her cadence remained neutral. Her voice rising in excitement when she'd get to a piece of her life she most cherished. 

I didn't see this happen, but my dad did. There was a broken sanitizer dispenser on one of the carts in the hallway. This woman, let's call her Mary, said she'll fix it. And she did. The orderly was amazed. Her cycle of behavior went on for some time before she was taken away on a stretcher. My dad was outside seeing it all happen. Tears streaming down her cheeks, the woman was frightened. "God's looking over you." my dad said. "He is?" the woman said in a hopeful voice. She strapped herself into the stretcher, gave a thumbs up, and was taken away. 

One of the other things that soundtracked those first handful of hours was an announcement that the west wing fire alarm system was down. "For access, call extension 5315." This lasted the entire time I was at the hospital.

I would give a urine test and find out the reason for the blood in my urine was me being constantly bed ridden. The blood flow in my system wasn't broken up. 

My blood was drawn into various vials. This was done from the IV. After the blood was drawn the nurse left. An antibiotic ended up being pumped through it. I stared at the chart on the wall with 6 faces on it.

0 No Hurt
2 Hurts Little
4 Hurts Little More
6 Hurts Even More
8 Hurts Whole Lot
10 Hurts Worse

I was at an 8.

The doctor came in and said I will be undergoing a CAT scan. I've never had one before, so I was a bit nervous. There was a TV in the room and a control that allowed me to call the nurse if needed. I flipped it on to see what was playing. Christmas Vacation was on TBS. I watched a bit of it. All the way to the part where Clark Griswold is watching home movies while trapped in the attic. The CAT scan specialist came into the room, let me know about the procedure and wheeled me through the hallways. She said that I will be injected through my IV with a liquid that will light up my insides. I will feel a metallic taste on my tongue and a warm sensation on my bottom.  

When I arrived at the room, I saw a massive machine. One I recalled from pop culture. This was in The Sopranos and Breaking Bad. Though I am nowhere near the circumstances that brought Tony Soprano or Walter White to this machine in those shows. I was transferred from my bed to a bed that led into the machine, a giant half circle above me. "The machine will be asking you to take a deep breath and hold it in. It will then ask you to exhale." the specialist said. My IV was hooked up to two metallic tubes to the right of my head. I felt the liquid run through and experienced it exactly as she described. Metallic taste, warm sensation on my bottom. I heard a click and the bed I was on moved forward until I was under the half circle. "Take a deep breath and hold it" the machine asked of me. I complied. This happen a couple times. A whirring sound emitted from the machine and I watched something spinning inside above me. "You were awesome." the specialist said. "All done." 

The specialist took me back to my room and I awaited the results of my CT scan. A doctor would come in and tell me that I was going to have to stay overnight. They found that my right lung was collapsed. They would like to perform a bronchioscopy to have a clearer picture of what caused my lung to collapse. I was taken from the room through the halls to an elevator. I was then wheeled into a new room where I would stay until they decided to discharge me. 

Through all of this, I wasn't feeling the pain I was feeling that morning. A loosening of the limbs, a relaxation of the chest and hands, breathingdeep knowing that I was here for the long haul.  Those antibiotics started to kick in. Come to think of it, from that scale of pain I was staring at earlier, I was at a 4.

                                                             ~~~~~~~~~~~~~~~~

With the new room, came a new nurse. There were four nurses assigned to the floor and each nurse had a maximum of six patients. It was usually four patiemts, but call offs gave them the extra two. 

My nurse came in introducing herself. She had glasses, was modestly built and was Latina. She informed that around midnight, I was to no longer consume any fluids or eat anything because of the bronchioscopy being performed the next day. I was took toward the next thing any overnight patient was given next- hospital food. It was a turkey sandwich with graham crackers. I finished both in record time as that was the only thing I had to eat all day. 

The view from the window was relaxing and peaceful. The small town of Evergreen Park was lit up and on occasion, the sound of a plane could be heard headed toward O'Hare airport. It was the type of view I envied. What I wouldn't give for an apartment with a night time view like this. 

Little Company of St. Mary's Hospital was established in Evergreen Park in 1930. Three sisters traveled to Chicago from Rome and set up a convent with the help of a civic leader, Charles Mair. These sisters would go to the various residences on Chicago's South Side providing nursing care and spiritual guidance. They would soon find there were more people than they were able to care for.  Their dream of opening a hospital was finally established in the winter of 1930. When I entered my room, I was reminded the hospital was a Catholic premises and the nurse asked if I wanted a chaplin. I said no thanks.  

Visiting hours were from 8 am to 8 pm, so I said goodbye to my parents until tomorrow. After which I was alone with my thoughts. Silence filled the room only to be interrupted by the announcement of the west wing fire alarm not working properly. Feint voices carried through the hallways. Followed by the footfalls of nurses and aides. 

MONDAY

There is a small bathroom kit complete with a toothbrush, toothpaste, comb, deoderant, body lotion. I went to the bathroom and set all of this up. Taking a hand full of water, the other hand was a no go due to an intravenous needle sticking into the crook of my arm, and splashed it on my face. I brushed my teeth rigorously and got back into bed. The nurse arrived with an antibiotic and was followed by the pulmonary doctor about an hour later. He introduced himself and went onto to detail the procedure.

"The lung is in three rings and the bottom two are fine. The upper one is collapsed.The procedure you are going to go through will today will help us determine what caused the collapse. There is a chance it could be pneumonia." Then he said something that shook me to my bones. "Or it might be cancer. But people your age normally don't get cancer." 

"We are going to insert a camera down there to see what is causing it. We will sedate you through all of this so you won't feel anything." 

"Do you have any questions?"

"No I don't." 

"Alright. See you in an hour." he said, giving me a fist bump. 

The hunger in me was starting up. Just one more hour, I thought. My parents came in around this time. A half hour later, it was time. A nurse came in and wheeled me down the halls to a room where a large desk that formed a half circle was in the middle. Various doctors, aides and other workers millied about on computers. Along the wall, separated by curtains, were patients laying in their hospital beds. I was wheeled into one of those sections. I overheard a nurse giving a fresh patient intravenous drip. "You never are bothered about the needles until it's you." the patient said to the nurse. "OK, slight pinch." 

A doctor of Asian descent approached my bed. Told me about the sedation. I was going to la-la land he said. Can't wait. 

They wheeled me into the room where the bronchioscopy would take place. A technician, aide and specialist were in the room. The technician getting everything prepared. The pulminary doctor who I said about an hour ago came in ready to perform. Gloves on and all. Before the sedative was used, I was given a breathing mask that would pump smoke in and out. It was used to help open up my lungs. I felt like a dragon for a minute, smoke going in and out each time I breathed. 

"You are going to experience twilight." the specialist said. 

I recalled a song at that moment. Twilight Time by The Platters.

Heavenly shades of night are falling, it's twilight time
Out of the mist your voice is calling, it's twilight time
When purple-colored curtains mark the end of day
I'll hear you, my dear, at twi-- 

                                                             ~~~~~~~~~~~~~~~

Out of it. Woke up a just a little bit to see a doctor talk to my parents. I was back in the area with the other patients. Foggy memory. Remember the pulminary doctor saying I did great. My dazed condition offering up a smile. Back to sleep. Woke up back in my room. "How long was I gone?" I asked my parents. "An hour and a half. We were told it would only take 30 minutes." my mom said. 

If I were to walk into a vault of memories, where aisles expanded as far as the eye could see and rows upon rows of books documented my conscious being, the chapter written from 1:30 to 3 pm on Monday, November 21st, 2022 was redacted. Missing. Flung into the ether. 

The biopsy that was performed on me had them extract three specimens. The doctor said because of the holidays, the results are going to take a while. 

I settled back into the bed in my room. Dinner was served and it was tasty. A burger with sweet potato fries. My parents brought me some books. Cinema Speculation by Quentin Tarantino and Liberation Day: Stories by George Saunders. I figured I needed a dose of fiction to go along with the movie book I was reading at the time. Anything to escape. 

A new nurse came in and introduced herself. Said she would be taking over. An antibiotic was given to me intravenously. This specific antibiotic would take 30 minutes. Upon which it was done, the nurse would come back and inject the IV with solution that would make sure all the antibiotic went in. 

She told me that I was going to have to get a Heparin shot. This would be in order to prevent blood clotting from sitting in a bed this whole time. These would be given every 8 hours. I would have to change up where I would get the shot. I chose my right arm for the first one. 

I flipped on the television for a bit and they had a Seinfeld mini-marathon. The episode currently on was the one where George was given women's glasses and Elaine gets bit by a dog. "She's foaming at the mouth!" Step Brothers was on one of the other channels. Comedy is always a good medicine. 

Going to bed, I continued sweating. Beads dripped down my forehead. I couldn't go through enough of the kleenexes on the desk next to me. Sleep would eventually catch up to me. Around 4:30, I awoke. My head rising out of what felt like being submerged underwater. My bed was soaked. 

TUESDAY

Around 5 am, a blood technician came in to draw blood. She had tattoos on her arms. The only worker in the hospital who I saw that had tattoos. That were visible, at least. She put a band around my arm to make the vein on my arm pop out. A slight sting. It was over. Back to trying to sleep. 

A new nurse came in. She had glasses and was older than the last two. Seemed to be in her mid 40s. Had a cheerful demeanor. She let me know breakfast would come shortly. Something I looked forward to. 

I read a good chunk of Cinema Speculation throughout the day. Along with three stories from the George Saunders story collection. Didn't even feel like watching the television. Helped that there was nothing of interest on. Rather just get lost in my books. 

I went to the bathroom to find that my urine was no longer blood red. I was pissing normally. Thank God. Walking back to the bed, the footfalls of the nurse sounded louder and louder. I anticipated her coming in. It wasn't the nurse but a doctor. "Your blood work so far is all good. There will be an Infections Specialist coming to see you in a bit. So far everything is looking good for." 

"Does it look I will be released soon?" 

"If all continues to go well, you should be released tomorrow." 

The relief flooded my body. 

The infections specialist would stop by. Tell me everything is ok with my body and there was no spread. This was in the evening. 

I got a visit from the pulmonary doctor. He told me that what he found was a lesion on my lung that was blocking a passageway. He called it a papilloma. For reference, he had a picture of my lung with the foreign agent. It looked like an enlarged wart. "I'm going to schedule you to see someone at Christ Hospital in a week." 

Another appointment. Another procedure. Another waiting room. At this point, I wanted it all to be done with. Poked and proded like a pin cushion. The needle itself didn't even bother me. It was the accumulation of it all that felt like carrying a boulder up a hill. Eat your heart out Sisyphus. 

It was the end of the shift for the nurse in her mid 50s. To my surprise, the first nurse I had on Monday, the Latina one, came in. The normal procedures were done. 30 minute antibiotic, Hefrin shot (this time on my right abdomen).

Around 10:30 pm I decided to get some sleep. Sweat started to trickle down my forehead. It was something that scared me. I prayed that it would stop. "Please God. Please. Let this fever pass." I pleaded. I couldn't bear waking up soaked in my own sweat again. Thankfully, the sweat stopped and I was able to get much needed rest. 

WEDNESDAY

It is the day before Thanksgiving. A blood technician came in with a cart full of blood vials. She was different from the last one. She drew blood from my hand. I elected to watch the blood go through the tube. Wonder how much lighter I am with all of this blood now in little vials? 

The nurse came in again and gave me what was to be the last needle inserted into my skin. It was the final Heparin shot. This time it was my left arm. 

It was 8 am, the beginning of visiting hours and my parents would come in. They looked as exhausted as I was but relieved that I would be coming home with them today. The doctor came in with my discharge papers. The best thing I saw all week. She went over them, give us her name and number if we needed to discuss anything. The results from my bronchioscopy would be coming in in a week. The delay being because of the holidays. 


We walked down toward the lobby. Passing a statue of a saint and a window display showcasing historical photos of nurses who worked at the hospital. My dad went out to the parking lot to get the car. 

Walter Cronkite said "America's health care system is neither healthy, caring, nor a system." The staff at Little Company, from the nurses, the aides, doctor, various specialists all treated me wonderfully. But I couldn't help but think, had an ambulance not been called, would I have been dumped into a waiting room? Chest full of pain, head full of throbbing, waiting for my name to be called. Populated with people whose ailments I don't know, but look uniformly unhappy at the slow grinding process they were going through.  

The sliding glass doors opened. I stepped out into the daylight and a gentle breeze enveloped me. 










Thursday, October 27, 2022

Gas Station Carnivals: a lesson in uncertainty

She awakens from the nightmare screaming. She thinks it's over. Only to find a zombie- or any variation of a monster- sleeping next to her. She awakes again. "Holy shit" she says. The scene ends. Perhaps the first example of the 'double nightmare' scare is from An American Werewolf In London. In which David dreams of horribly disfigured zombie Gestapo officers massacring his entire family and slitting his throat. He awakes to the nurse. She goes over to the window to open the curtains and behind them is one of zombie troopers from his nightmare, stabbing her repeatedly. He awakens for real this time. "Holy shit." This has been used again and again in horror films and television shows since then. The nightmare within a nightmare.  

Dreams contain disconnected memory fragments. Pieces of nostalgia from our childhoods that remain intact. This is where Freud departs and Ligotti takes over. He's much more interested in the memory itself. 

Before I go further, I implore you to listen to the full story.






The setting of the story is the Crimson Cabaret. The unnamed narrator is seated at a table and is joined by art critic Stuart Quissler, who tells of his childhood memories of gas station carnivals. The rides are peculiarly small and all are out of order. The 'performers' at these carnivals are usually the gas station attendants dressed in an unconvincing get-up. There is one exception: The Showman. Quissler tells of how him and his parents would go to see The Showman perform. His back turned to the audience. Instead of having this piece of the story take over the story itself, starting with Quissler as a child and building a climactic confrontation with The Showman, it is presented as a secondhand anecdote. 

The narrator dismisses the story. Only to replace it with an equally bizarre explanation. He relates it to art magic. A theme Ligotti would use in several of his stories. 

Everything in the story thus far has a sense of vagueness. The unreality of the characters are implied by withholding their names. The name of the club this takes place in is The Crimson Cabaret and the owner is The Crimson Woman. The sideshow performer is The Showman. Then there is the matter of the title of the story. Gas stations are only meant to be places you travel through. The carnival by contrast, has no function except being itself. "Let's go to the carnival except it isn't a carnival, just a gas station with some extras." 

At some point, the art critics leaves. The next day they meet and the narrator asks Quissler about the meeting they had last night. Only Quissler says he was home that night and never went out. Quissler mentions that the last time the narrator was at the Crimson Cabaret, hr insulted the Crimson Woman by telling her to take down her paintings. The narrator goes back to the Cabaret and asks the Crimson Woman about this. The Crimson Woman tells him he did not insult her. It was the waitress who convinced her to take down her paintings so she could get her paintings on the walls. 

Weird fiction author Michael Cisco writes on this story: "The narrator presses on, and no we might believe we are uncovering the real plot of the story, the revenge of the crimson woman. The narrator does not seem to notice or care that his plot is also pretty hackneyed, but, by linking magic to art, Ligotti is roping us into the curse, since we are currently reading a work of art. The artist makes you believe things that aren't true, but- as Lovecraft wrote in "The Silver Key", since all we know of reality is just pictures in the brain anyway, there's no reason to prefer one set of pictures over another. The terrifying possibility of the story is that line between dreams or delusions and reality is something that can only be lost, it can never be found." 

People are lost in their own delusions throughout this story. Every character has a theory about who is doing what but nobody is certain. That creates this pool of doubt they all springboard into. What if what I see is not real? Every wake up from a dream where you were certain what you saw in that dream was real? In Ligotti's world, there is no reprieve. No breath of relief where the nightmare is over. There is only uncertainty of the waking world. 

Monday, October 24, 2022

You've got to pick up every stitch, must be The Season Of The Witch


  Halloween III has been beloved for so long that it's no longer 'underappreciated' - time has been kind so now it's a fan favorite; people love an underdog. 

  Halloween Ends isn't an Anthology film like Season Of The Witch but it does have that let's-switch-it-up spirit. 

  From its great opening needle drop and slanted blue font leading us into its cold open, Ends instantly carries itself differently. Much like Part III, it's unshackled itself from the cultural weight of Michael Myers as an Icon and focused more on him as peripheral Myth. Kills was a massively messy clunker so my expectations were fucking nil for Ends and that yielded some intense surprise for me.

-major spoilers ahead-


 
  Despite how I feel about Kills and Halloween (2018), what I mostly took away from those movies was Carpenter's score. The trailer for Ends didn't make me feel much of anything beyond this feeling that Carpenter had yet another banger of an album on the way and this rollout to promote it includes another movie tie-in (same with that Firestarter remake). But Ends blew me away in terms of having actual resounding synthesis with Carpenter's score. For the first time in the whole Blumhouse Trilogy the composers aren't overqualified; every track is nocturnal and eerie but there's a spacious melancholy to them too, which fits Haddonfield's whole atmosphere now.

  Also, for the first time since the '78 original, Michael Myers is spooky again. Every new movie in the franchise's many timelines ratcheted up his relentless barbarity but here he's presented as more haunting, a lurking spectre we rarely see - Green making good on the original's ending. When we finally do see him in his sewer hideout his mask is rotting and caked in mud, surrounded by sewer rats and spider webs. My favorite part of this dwelling, that still gives me the creeps, is how the facial features of his mask are molded into the Earth. It's never explained and we only see it once but with roots twining out around it, it drives home this feeling that he's part of Haddonfield (and not in a limp metaphorical way; this shit is grossly literal).



  More than that, The Shape is more interesting here than he's been in...ever. His 'team-up' with Corey after 'infecting' him is as fascinating to watch as it is invigorating to this Halloween fan. Their whole dynamic erects new 'lore' without any hard-and-fast exposition; it's all implied and vague, in the best possible way (Thorn-free). It makes every single action by Michael interesting and engaging (especially when he lets Corey wrestle him in the sewer, a jawdropping scene because of how bold it is).

  Taking an idea set up at the end of Part 4, that was ultimately abandoned in Part 5, this is my favorite kind of 'remake,' one that doesn't set out to honor the original, but improve upon it. At the end of Part 4, Jamie Lloyd, 'infected' with Michael Myers' 'evil' after touching his hand, stabs her foster Mom and stands menacingly atop the stairs as Dr. Loomis screams "No!" until the credits roll. It's an exciting ending to an otherwise boring movie. Even Danielle Harris got excited to play The Boogeyman's Sidekick! ...but in Part 5 she's no longer evil, just cursed with the ability to see what Michael does (and is also inexplicably mute[?]). It failed to deliver.


  Ends takes that half-baked idea, hones the recipe, and simmers it until meat is falling off the bone.

  I had to watch it multiple times to confirm I wasn't just drunk on giddiness and low expectations or high on the audacity of Green and his writers, or some unholy in-between. Nah, dude, can confirm: this movie rules.

  Any and all criticisms people have of it, especially those bemoaning it as "the worst of the franchise!," I point to every single movie that preceded it and ask you to reflect. T
he dialog is bad? Okay, tell me you love the dialog between Annie and Linda in the original - or, fuck, any of the sequels (especially 6 and Resurrection). We barely see Michael? Okay, he has less screentime in the original than he does here - ever seen Jaws? It's not a good ending to this trilogy? Thematically, it ties everything up.

  The biggest criticism I see is: Michael Myers is 'weak' and gets his ass kicked by Corey? Well, he's in a body that's over 60 years old. He was beaten, stabbed, and shot multiple times in 2018 and, four years later, hasn't had as many victims to 'reinvigorate' him. I buy that Corey, a strapping dude in his 20s who's now imbued with The Shape's 'power,' is able to overpower Michael. And you also have to consider: no matter how many times Corey knocks him down, he comes right back up. Not to mention, in the original, he was stabbed and knocked down by Laurie multiple times. You can't say Michael never stopped enduring.

  But, snark aside, if you expected one kind of movie and got this, your feelings are valid since the marketing is misleading: Corey isn't highlighted but Michael and Laurie are. David Gordon Green said that he and the other writers had "no interest in a Laurie vs. Michael showdown" but the trailers and posters paint a different story. The marketing is most likely not Green's fault, it's either Universal's and/or Blumhouse's deception. It's not fair, I get that you feel duped.

  But underneath that, doesn't it thrill you? Plus, like...what's the alternative? ANOTHER movie where Laurie and Michael get into a cat-and-mouse game while he slaughters random people until one or both of them die at the end? That's the 2018 movie. You want Michael to be a badass and rack up bodies for a Kill Count video? That's Halloween Kills (the Fire Department massacre, alone, is him at his most barbarically cool and that's right at the start of the movie. He goes on to turn Haddonfield into a slaughterhouse). And even if you hate Corey wearing the mask, he has two of the most ghoulish kills of this or any franchise.
 


  I didn't want what the marketing promised so I got something refreshing and weird that made me shift my weight in the theater seat. I was leaning forward intrigued, perplexed, confused, exuberant, and engrossed in a tale of learned helplessness.
 
Corey's tale is a look at forgiveness, redemption, misinformation, cancel culture, true crime spectacle, co-opting tragedy, and nature vs. nurture

  It's a flawed movie, for sure, but its strengths elevate it so much. I could write a whole post about how dynamic a character Corey Cunningham is, his parallels with Michael and Laurie, Allyson's arc, Rohan Campbell's performance, the dense thematic layering and tightly woven narrative. There are even unexpectedly poignant scenes where Laurie acts like a teenager again, crushing on Frank Hawkins, which is such a welcome contrast to her absolute misery the past three movies. And that romance comes full-circle for a satisfying ending that's not entirely sweet so much as finally content.

 
  Since this is the final part of a trilogy that totally whiffed it in the second movie, it feels like a thoughtful rebuild after reckless destruction. And what it builds is an ending that's confidently character-driven and reflective - how do you not appreciate that? This movie is special because it's risky, fun, and thoughtful.

  And, just like with Part III, time is gonna be kind to it. Right now it's underappreciated but ...people do love an underdog.

Album Covers: Where Horror Meets Metal

The fine folks at Bennett Media are throwing a Heavy Metal Halloween. So, in the spirit of the season, I thought I'd toss in some stuff into the candy bag.

Let's face it: metal bands have the best album art. Anytime I go into a record store I tend to gravitate toward the metal section. Not just to go to a specific band or album I'm looking for, but to just gaze at these precious works of art. These covers deserve as much wall space as a horror movie poster. Sometimes they can be overwrought. Sometimes though, they strike that perfect balance. 

I'll let the art speak for itself. 


Runner up: Spiritual Healing

Runner up: Live After Death, Somewhere In Time