Twilight
December 5, 2008 by Brazilla R. Kreep
Filed under Kreep's Korner
Dear Love Thirsty Gothicans,
The notorious film Twilight, is a contemporary love story between a vampire and his human quarry starring Kristen Stewart as the exquisite Bella Swan. Deliciously directed by Catherine Hardwicke and based on the
best-selling novels by Stephenie Meyer, Twilight is a Gothic fairy-tale just ripe for all those young ladies and sensitive boys that adore living in angst-ridden shadows. Inspired more by Stephenie’s books, the
following ode honors the virgin emotions of falling in love for the very first bite. Enjoy.
in e†ernity,
Brazillia R. Kreep
In Twilight There
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In Twilight there
For nothing is as it appears
To be or not to be
That’s the riddle Shakespeare bled
So long ago for I was there
To see him in the mirror, then
In Twilight there
In Twilight
In Twilight
Twilight
there
In Twilight there
Is only us
two hearts beating feverishly
Beating, beating, rushing blood
To taste our own, to lick our tongues
Together while we run away
Live to fight another day
In Twilight there
In Twilight
In Twilight
Twilight
there
In Twilight there
Eyes locked
Climbing inside pupils
To see each other’s worlds
Walk hand in hand into the mist of it
See such wonder
Hear such thunder
Taste the salt that’s in the air
In Twilight there
In Twilight
In Twilight
Twilight
there
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The Exorcist
October 23, 2008 by Brazilla R. Kreep
Filed under Kreep's Korner
Dear Kreepy Krawlers,
I first saw William Peter Blatty’s The Exorcist, in a small suburban movie theatre nestled in the heart of Media, Pennsylvania–just West of Philadelphia. Afterwards, I slept with the lights on… for weeks. The idea
that the devil could just sweep into my body, and make me spew all over a priest had me absolutely terrified. I was an altar boy after all. I even knew where the Holy Water and the wine were stashed for goodness sake. I also hung around the priests, some old enough to remind me of the exorcist himself. While others had tales of actual exorcisms they had attended over the years. It was such a creepy existence after experiencing that
horror show.
The Exorcist, directed by Academy® Award-winner William Friedkin (The French Connection) is the scariest movie in the world. Period. I visit it only once in a blue moon after many glasses of wine or when I want to feel the warm release of my bowls. Such as after Regan (Linda Blair) walks backwards down the stairs like a spider in The Version You’ve Never Seen. Oh my God. I am sitting in a darkened theatre in Chicago, Illinois some thirty years later, knowing I can handle the scares because I know the film, I know it, every creepy nook and cranny. But when Regan runs down the stairs like an arachnid on speed I screamed along with several other unsuspecting souls. We all looked at each other. We were all going to be sleeping with the lights on… again.
So step on up, ladies and gentlemen! This is the original, the one and only most terrifying exorcism movie ever filmed. Watch it alone and in the dark, folks. I double-double-dare you.
In E†ernity,
The Kreep
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THE EXORCIST
Across the window pane an autumn leaf hovers
T’sway back and fourth
drop toward Boston street below
Float endlessly along concrete stairs
As hobgoblins n’ witches titter crosswalks
Whist beneath lamppost he stands in shadows
T’know duty holds him still
A Priest eyes the leaf,
Folding over n’ over
T’land at feet quite cold
How he knows what waits inside the girl
For it is endless
Without patience
All ego n’ bitterness scold
T’kill the slightest warmth
Bend most delicate devotion
Crush innocent soul
There in window peeking
Tiny leaf hitches another gust
T’disappear into the gloom
O’ exorcist t’cross himself
Stand more erect than his age permits
Removes his hat
T’approach such wickedness
Unyielding
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Halloween
October 10, 2008 by Brazilla R. Kreep
Filed under Kreep's Korner
Dear demented darlings,
Yes–being over 100 years old, Brazillia R. Kreep was old enough to have experienced John Carpenter’s brilliantly simple Halloween as it premiered in movie theatres all across America in late October of 1978. It terrified me, and my rather hefty assemblage of curious horror connoisseurs good n’ plenty (candy of choice). As I recall, our kreepy killer Michael Myers even sent some of the patrons running up the isles, and out into the lobby screaming, with a trail of spilt popcorn the only sign that they had attended this gory slash-fest. Of course such antics only added to the fun, and I knew in an instant that we were experiencing a horror cult classic of bloody-sized proportions.
Donald Pleasence (Dracula, Buried Alive) and Jamie Lee Curtis (The Fog, Prom Night) turn in bona fide gut-wrenching performances as the robotic murdering Myers turns their little town of Smiths Grove, Illinois bright red for All Saints Eve. But it was Carpenter’s score that took on a sinister personality of its own, alerting audiences that our brutal ripper was about to step out of the shadows for the kill. The theme song would become as famous as Bernard Herman’s Psycho and the Exorcist Tubular Bells theme.
Kreepy Krumbs:
Originally billed as The Babysitter Murders, Halloween received its now famous title before shooting began thanks in part to its producer Irwin Yablans (Halloween II, Halloween III), who discovered that no other film to date had used the infamous holiday for its title.
Michael Myers’ trademark mask was a last minute dime store find of a $1.98 Captain Kirk Halloween mask: eyes cut out, hair teased wild, and spray-painted all white by Production designer Tommy Lee Wallace.
Favorite standout performance: P.J. “Totally” Soles (Carrie, The Devil’s Rejects) who would go on to scream-queen stardom throughout the late 70’s and early 80’s.
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PRINCE OF HALLOWE’EN
A tinkling of boo ivory
Booming base t’deafening scream
Proclaims Michael Prince of Hallowe’en
T’splatter shameful sister dear
Strip her dreams
T’stab n’ shear
Expose all inward crimson sight
Then dawn a mask throughout the night
Unsuspecting lovers fierce
Teenies destined for the pierce
Rip thy flesh
Ribs t’heart
Bleed the naughty from the start
As the music echoes on
Count dead bodies all night long
For Michael Prince of Hallowe’en
The perfect murdering machine
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The Hunger
October 1, 2008 by Brazilla R. Kreep
Filed under Kreep's Korner
Dear delectable vamps,
Tony Scott’s stylish cross genre tour de force The Hunger staring David Bowie (The Man Who Fell To Earth), Catherine Deneuve (Dancer in the Dark), and Susan Sarandon (Igby Goes Down) opened to critical disdain in 1982 followed by a cult following to rival The Rocky Horror Picture Show. Before the scores of “new” vampire spins hit the literary scene, thanks to the gifted Anne Rice and her Interview With The Vampire fable, this small, yet extremely powerful horror thriller tapped into that vain, presenting a mythical creature full of philosophical angst, social complexity, and bisexual passions–deliciously modern all around.
Mr. Scott’s The Hunger succeeds in combining a sensual, rhythmic soundtrack, seasoned art direction, along with a crisp kinetic editing style that appealed to the ever-growing MTV crowd. A younger, hipper audience now wanted their stories revealed in more ethereal, more contemporary luminosity. So, for their adolescent sins, Mr. Scott delivered unto them the perfect cinematic “eye candy” based on Whitley Strieber’s best selling novel by the same name.
Every frame in The Hunger is so stunning to look at, and so beautiful t’behold. This is a film about immortality, after all, and as the vampire’s fade into the dust of their ruination, so we too are reminded that it is the fate of all human beings to be ashes t’ashes n’ dust t’dust. For it is not only blood the vampire desires most of all, but love of the heart, and it’s insatiable thirst for more.
The Hunger is a perfect commencement for this year’s dark n’ dreamy Hallowe’en. May you watch it with an autumn breeze through open windows, turning your billowing curtains into ghosts, with an exquisite soul mate wrapped gently in your arms, and a shared hunger that will lead to the sheets before the final reel.
In E†ernity,
The Kreep
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THE HUNGER (IS TOO MUCH)
The hunger is too much
Unyeilding n’ forever
No end
No quench
No nothing, my love
But you
The hunger is too much
Too many
Too far
Too near, my sustenance
T’be in moon shadows
Seen or unseen
I will drink of thee, my thirst
This hunger is too much
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Blade Runner
September 25, 2008 by Brazilla R. Kreep
Filed under Kreep's Korner
Dear Kreep Kritters,
Blade Runner is my favorite of two stellar science fiction films. The second grounder-breaker being Alien, of course, as both futuristic offerings were directed by the supreme agnostic Ridley Scott. Needless t’say, I believe Ridley Scott t’be one of the eminent visionaries of genre films. His astral mind’s eye has created worlds we can still see, live inside of, embrace as unfeigned, knowing the hustle bustle of these futuristic imaginings still thrive somewhere in the heart of Hollywood Land. Ridley took the super clean, multicolored spandex space environment with shag carpeted space creatures and delivered a cosmos in all its gritty, multiethnic, super virtual, and fossil fuel burning glory. He did this with an amazing “eye” for detail and with an ensemble of brilliant actors and technicians, many of which had never worked with the British born director–and he even lived t’tell the tale.
Whilst hanging in the village of New York, attending classes to learn the finer points of acting (helping me t’read my poetry to the small, yet devoted following I had in the mid eighties,) I happened upon a darling pair of sisters attending the Michael Bennett, Tommy Tune, and Ron Field headed Broadway workshops: Sean and Kathy Young.
Sean was a breathtaking match for her sassy sister Kathy with her way too honest observations and gorgeous frame, she floated through the rooms of her East Village apartment as if she was born t’be a movie star. I will never forget Sean’s enthusiasm for filmmaking, and even though I heard stories of her antics since her rise t’fame, I’ll never forget her gentle spirit, sitting on her ragtag sofa while showing me her scrapbook of personal Polaroid’s of Ridley Scott’s Blade Runner. I think now as I thought then that here was a incredibly young girl thrust into super stardom at an age most where trying to figure out how t’survive High School. If she displayed attitudes inappropriate, I would have dismissed it as adolescent angst, not insanity. But alas…
I saw Blade Runner in New York city on opening in 1982, and my mouth literally hung open. Of course Sean Young was an absolute vision, a star on the rise, but so was the entire film. It had a look n’ feel that would forever change the way the future of our world would be depicted on film. If Aliens was “Jaws” in space, Blade Runner was the classic “1984”. It simply and most sincerely took me by surprise. I believed in Ridley’s world. And even more than the film’s leading man Harrison Ford, a supporting role emerged as the heartbeat of the motion picture: Rutger Hauer’s portrayal of the super android rebel Roy Batty. In that performance alone was the celluloid glue needed t’hold Blade Runner together. It was a performance of sincere passion, grace, and savage brutality as the iconic sensitive n’ sexy rogue was born. Opposite Harrison Ford’s understated Rick Deckard, Hauer gave us an android we could embrace as full of circuitry and gears, super warmth, super charms, and a sense of humor akin a rock star. This was a performance t’go down in cinematic history. Is it no wonder I present t’you my ode t’Ridley Scotts’ Sci-Fi masterpiece entitled Time T’die… enjoy.
In E†ernity,
The Kreep
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TIME T’DIE
Never thought that I would weep
For androids counting electric sheep
T’close mine eyes upon the eve
Experience quantum make-believe
Souls t’be or not t’be
O’ how I yearn vivacity
Sing O’ symphonies serene
My plastic wakened state of me
Things you people wouldn’t see
Attack ships burning,
souls bereaved,
Tap Orion n’ watch C-beams
Glitter in my misty dream
Alas Tan Hauser Gate supreme
All those… memories
Lost in time’s own mysteries
As doth tear drops melt in rainy seas
Time t’die in reverie