Ahhhh.... Home, wine, The Devil Rides Out on the telly, and I see I'm just in time to catch my favourite line: "He didn't stay long, did he?" #thefilmcrowd #hammerhorror
Richard Eaton must be like the Duc de Richelieu in having so many cars they're neither here nor there to him. That one Rex just crashed into a ditch is never seen or mentioned again for the rest of the film. #TheFilmCrowd
I would so have loved to be an extra in this Satanic orgy scene! It looks like massive fun. James Bernard's driving, urgent music absolutely makes it. #TheFilmCrowd
Gosh, the reds are very bright in this print! I've seen it on Talking Pictures TV before, but don't remember noticing that about it. I wonder if they're using a different print this time? #TheFilmCrowd #CellarClub
I've always loved that sofa Mrs Eaton is sitting on, with its drop-down arms. I know it's in at least one other Hammer film, though I forget which now. Hound of the Baskervilles, perhaps? Or could be in Squire Hamilton's house in Plague of the Zombies? #TheFilmCrowd #CellarClub
Haha, that was a very good line to cut to the adverts from: "Now, we wait." 🤣 #CellarClub #TheFilmCrowd
The Duc de Richelieu: The lights. They... seem to be dimmer.
Everyone else: No they're not!
Me: Bloody hell, they are gaslighting Christopher Lee!
#CellarClub #TheFilmCrowd
The Angel of Death arrives! This film is often praised but with a regretful caveat about its special effects being dated. But I saw it in a cinema a few years ago, and the way the Angel looms above you from the screen there is very effective. #TheFilmCrowd #CellarClub
I only learnt recently, I think from @HammerGothic, that the house where Mocata has his HQ and where these climactic scenes take place also serves as Pelham House in The Satanic Rites of Dracula. It's a house called High Canons in Hertfordshire. #TheFilmCrowd #CellarClub
Because the films are set in different periods, of course, we can imagine they are the same house within their story-universes. After its use by Mocata in the 1930s, it could have passed to his disciples, who then turned to Dracula in the 1970s. #TheFilmCrowd #CellarClub
Aw, I'm sad that's over! Very definitely one of Hammer's greats. #TheFilmCrowd #CellarClub

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More from @pjgoodman

30 Sep
The discussion about this exhibition which I came down to take part in is finished now, ending very congenially over wine in the Great Court cafe. It was a new kind of event, put together by @wmarybeard in her role as trustee, bringing academics and museum curators into dialogue.
They wanted to know what we had got out of the exhibition, what an exhibition can do for us as academics, and we wanted to know about the decision-making process, the logistics shaping how it was put together, etc. I think both sides got a lot out of it.
Personally, I spend a lot of time trying to 'read' exhibitions about Augustus, mostly mounted by the long-dead, so it was fascinating to hear from a modern equivalent. E.g. they had to reduce all text in this exhibition by 20% to prevent people lingering too long due to COVID.
Read 23 tweets
30 Sep
A few thoughts about the Nero exhibition, then. Overall I think it's better than the catalogue made me expect, with some nice design and layout decisions and great artefacts. But the source material sure sets up a problem which I don't think any exhibition on Nero can escape.
This is the opening question of the exhibition, right by the ticket desk before any artefacts. It gets to the nub of the issue - Nero's reputation as a 'bad emperor'. Any scholar will want to point out that the sources painting that picture clearly have a hostile agenda.
But because the 'good emperor, bad emperor' dichotomy is so strong, if you say the sources painting Nero as a monster are biased, it sounds like you're saying he was good after all. This is the closing Q of the exhibition, which shows it is literally framed by that dichotomy.
Read 9 tweets

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