Camp David

CAMP DAVID DECEMBER 2005

By • Dec 1st, 2005 •

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QUEEN OF BLOOD, MUSE OF THE SPACE BOY

Having the disposition of a true romantic I wish my first celluloid encounter with Florence Marley had been TOKYO JOE set in a smoke filled cabaret somewhere in post war Tokyo with a sultry La Marley dressed in a low cut beaded gown seductively singing Cole Porter’s “These foolish things remind me of you” to a world weary Bogart. Instead the first glimpse I would have of Florence Marley on film She would be mute, her skin bright Avocado green not to mention her figure surreal, out of this world, in a skin tight leotard also avocado green…For The Countess Florence Von Wurmbrand Marley this character was tailor made, allowing her a tour de force as Velana the QUEEN OF BLOOD, draining her fellow astronauts including a very young Dennis Hopper of their red corpuscles as they journeyed back to Earth, not to mention laying her green eggs in aspic throughout the spaceship. The Countess created a unique character without dialog the centerpiece of Curtis Harrington’s cult film also known as PLANET OF BLOOD

The film would also create one of the most off the wall MUSICAL collaborations imaginable with The Countess joining forces with the great Frank Zappa to collaborate and record the song inspired by QUEEN OF BLOOD, the infamous “Space Boy.” There are two bootleg recordings of “Space Boy” with vocals by Florence Marley; one is “Mystery Box” the other “Beyond the fringe of audience comprehension” perhaps a good summation of the short film made by Marley and directed by Renate Dozuks whose claim to fame was her performance as “Lilith” in Kenneth Anger’s INAUGURATION OF THE PLEASURE DOME. The lyrics as sung by Marley go something like this:

Florence Marley as Velena the QUEEN OF BLOOD ART WAS USED FOR THE PAPERBACK MOVIE EDTION.

“Space Boy…Space Boy! Beware! Velana is waiting for you out there! Don’t cross the parallel of time and space — or you’ll die of love in a crueler place – Velana is the Queen and fate is her code. Velana the lover, sex without soul — Space boy! Space Boy!

The Countess made this short film in 1973, which incredibly found its way to a nomination for the Golden Palm at Cannes the same year! To give you some idea of what this short was like to watch imagine QUEEN OF BLOOD meets “Vegas in Space’ n’est pas??

Curtis Harrington would direct her one more time as a striking figure in his most accomplished feature GAMES. Florence made a diva-like entrance during the party sequence at the brownstone abode of James Caan and Katherine Ross.

Florence Marley possessed a rather feline exotic beauty that could betray itself creating a mask devoid of emotion, which made her appear ice cold if misdirected. By the time Marley arrived in Hollywood to film TOKYO JOE with Bogart, the studio was desperate to create another CASABLANCA, so TJ was cloned to be just that and failed at the box-office. The fine work she created in Europe with films like L’ALIBI for her first husband Pierre Chenal, or the war film some consider Rene Clement’s best work LES MAUDIT, for which she received a nomination for Best Actress at Cannes, these films enhanced her reputation for the moment, yet her time in the spotlight was numbered by a shocking comedy of errors with mistaken identity creating a tragic waste of talent – yet another example of the rise and fall of a glamour queen.

I came to know Florence Marley in what turned out to be the last year of her life. Curtis Harrington introduced us, as I kept after him until he made a call on my behalf (since I was still very much an agent then) for a film that I hoped to submit her name for the part of the madam in: FRENCH POSTCARDS. At this point I must stress that I assumed Florence still had that amazing figure from QUEEN OF BLOOD. It was Curtis being wicked that he neglected to tell me that the years following her work for him she put on a lot of weight and only her face and eyes remained recognizable. Florence had been barred from the United States from 1952 thru 1956 as she was confused with another woman who was deported for spying or some crime, costing Florence her chance to remain in Hollywood, which killed her career. The attention she received making QUEEN OF BLOOD gave her false hope for a second chance in Hollywood. As time marched on her weight and looks began to fade, so Florence just let go of her lifelong routines and suffered the consequences. Unaware of all this, I was quite unprepared for what awaited me at the Marie Antoinette apartment house in Westwood that summer evening in 1977.

The Countess was having a few “people” over for drinks so she invited me to come and get acquainted. This was to be one of my first Hollywood parties …The Countess Florence Von Wurmbrand Marley greeted me at the door of her abode in a bright orange tent dress with a long scarf, also bright orange, with a bit of white fur trim. She looked nothing like her screen self save her bearing and attitude which always remained that of a star, faded though she may have become. She had bags of charm and took me by the arm into her living room, which was populated with characters bearing titles I thought had long ago passed into history. There was Prince Alphonse de Bourbon of Spain; he was a mere child being schooled in Switzerland when Franco took power, leaving him somewhere in line for the Spanish throne if such a thing still existed: Baron Eric Von Bulow who was a special effects wizard famous for creating the Pillsbury doughboy: Alex De Arcy, the Egyptian actor and well known procurer of girls during the days of the contract players: and a few other titles I no longer can recall from this seventies time capsule…I do remember there were almost no women there except for her best friend the daughter of King Farouk, Princess Fawzia of Egypt. In time I would come to realize that Florence could not bear to be around working actresses, especially young and beautiful ones. I was prepared for a group of familiar character actors like a cocktail reception at the Academy, but not this travelogue of former rulers and their offspring!! It seems that Florence kept in touch with many of the exiles from her glory days at Cannes as well as the happier days as the Countess Von Wurmbrand. There was an atmosphere of failure in that room that was noticeable to even a novice at this kind of life in exile for people from the Golden age, not only of Hollywood but the world stage as well!

Florence was obsessed with her self-produced short film SPACE BOY. “It was shown at Cannes you know” so tonight she was planning to screen it especially for me from her own 16mm copy. The film was avant-garde in style and concept, with weird electronic music on the soundtrack. I would love to see it again today as it might just merit a revival after all.

She still had her figure in the film, although I would have chosen a hairpiece a bit more in keeping with her QUEEN OF BLOOD persona than the “Hot Voodoo” blond Afro wig she chose to wear for the camera! There was a rather cosmic portrait of her inspired by SPACE BOY that hung in her living room along with the coat of Arms of the Von Wurmbrands. Florence longed to be back in the spotlight, dismissing all the reasons why offers ceased to appear, and my advice to forget the past and try for character parts like the one I suggested for her in FRENCH POSTCARDS, a showy part of a once glamorous madam who enjoys life in the present without regrets. I reminded her of actresses like Diana Dors and Shelly Winters who let image and glamour go only to have second careers in character work. All Florence could see was her former self and simply refused to face reality in the changing face of Hollywood. In the next few months she would try and diet to prepare for any chance at a comeback. I was still so naïve at this aspect of handling damaged personalities, I spent a good deal of time escorting her to various parties around town when I should have made her realize her health required more attention to her diet and less on entertaining ghosts from the past. She did introduce me to one lady that I will talk about in more detail in a moment – the fabulous Hermione Baddeley. As we got into the beginning of 1978 the dieting was not working and Florence began to take trips to Mexico with Princess Fawzia and sometimes with Hermione to receive injections that were illegal in the states, as the FDA would not condone the dangerous effects such shots could put on the heart, especially in over weight people. Florence had just returned from such a visit when she began to feel the results of these injections and was advised to check into hospital immediately for tests.

Both the Princess and I begged her to listen to her doctors and prepare to be admitted…instead she insisted on having another one of those gatherings at her place as a kind of bon voyage to the hospital. I refused to go along with this and did not attend Florence’s party. It was not more than three days later Florence Marley suffered a fatal heart attack and died on November 9th 1978. At the funeral Princess Fawzia showed Polaroid’s of Florence from that final party and for what it is worth she looked like she had a great time…I must be a romantic after all as I now always think of her as she appeared in TOKYO JOE, singing “These foolish things remind me of you” to Bogart. The Countess was indeed foolish yet she lived her life on her own terms, surviving after losing everything. She returned to Hollywood and partied to the end.

BED KNOBS AND GIN BOTTLES

The only sour note in the celebrated careers of Angela and Hermoine Baddeley had to be the tunnel-vision of American casting directors, most of whom know little of the history of cinema and even less of theatre. They viewed the Baddeley sisters only as comic domestics on television. Angela received some of her best notices playing Mrs. Bridges for Upstairs/downstairs on the BBC. Yet she had worked with Gielgud and Olivier in many stage productions of Shakespeare. Television gave them both exposure but not the respect they deserved as artists.

Hermoine on the other hand became a household name with American audiences, made serious money, and garnered raves for her work on “Maude” as the boozy Mrs. Naugatuck, yet few here in Hollywood realized what a towering dramatic actress Hermoine had been in her prime. Tennessee Williams recalled in his memoirs the bravura performance Hermione gave as Flora Goforth at Spoleto of his play “The Milk Train doesn’t stop here anymore,” where the great Anna Magnani, having witnessed her performance, insisted on going backstage where she knelt down and kissed the hem of Hermoine’s dress – a tribute from one great actress to another. In her film work she would receive an Oscar nomination for ROOM AT THE TOP, losing the award but acquiring the star of the film, Laurence Harvey, as a lover. She once confided to me that her relationship with Harvey was so intense “there was a fire within Larry compelling him to work non-stop, he devoured life as if he knew it might be cut short”

Her time spent in Hollywood kind of set the stage for her image as a loveable domestic with roles in MIDNIGHT LACE for Ross Hunter and the two Disney films that created her image in the eyes of American audiences MARY POPPINS and THE HAPPIEST MILLIONAIRE.

It was Florence Marley who first brought me to Hermione’s house, which at that time was high above Sunset Blvd not far from George Cukor’s busy address. We attended the first of many parties that Hermione would throw over the next eight years I was to know her. At this point in my life I was always looking for personalities to represent. I had recently opened my own Talent agency – Del Valle, Franklin and Levine – which had just taken offices on the thirteenth floor of Century Park East. Securing names like Hermione made it possible to get lesser clients in the door of the major network-casting directors. These were the days of TVQ…all actors were rated on how much exposure they had on Television in a given year, and having a regular from a Norman Lear production was pure gold.

The task of signing Hermione Baddeley as a client was a challenge to say the least! She would always say yes “please take care of things, be my rock” then repeat the same gesture with the next agent that asked to represent her. I remember trying to negotiate her contract for a ‘Love Boat’ appearance only to have the casting agent ask me “Why is Mark Levin submitting her as well?” It seemed Hermione met Mark at Bea Arthur’s house and told him to see what he could do for her. When I confronted her with this all she did was laugh and say “Well darling, lets see who gets the most money out of them.” After a fashion I decided it was far better to be her pal and not try to manage her career. She was highly sought after to do voice over work for commercials, and animated features as well! Hermoine would be in demand till the end of her life, such was her talent.

Hermione always seemed to be at cross purposes with her life at home and what was required of her at the studios. Yet none of life’s realities seemed to matter much to her as most of the challenges to be found in acting were behind her now. Hermione wanted to party and have fun when she was not working. By the time I knew her she had already stopped working on “Maude” and was free lancing on shows like “Little House on the Prairie”, Wonder Woman” and of course “The Love Boat”

Hermione’s only constant companions during the time I knew her were “a summer stock” version of the charismatic young man. Enter Johnny Rebel, who was handy as houseboy and driver when needed. It was only much later that I would learn he was much more than that! The other was a delightfully intoxicated English woman known as “Lady Jane.” This woman was never, and I mean never, sober. However Lady Jane was a good companion for a character like Hermione as she was loyal, howlingly funny, and dear.

I am blessed with so many memories of these two arriving at parties watching Jane slowly gravitate to the kitchen or wherever the bar was set up and remain near the booze until time to say goodnight.

Christmas time with Hermione could be considered the cocktail hour version of ‘A Christmas Carol’ (remember Hermione played Bob Cratchets wife in what I consider the best film version with grand old Alistair Sim as Scrooge). Christmas Day was always spent at the Cock and Bull bar and grill on Sunset Blvd. A favorite watering hole for both veterans of Hollywood not to mention the British film colony, the drinks were generous and the lighting as cave-like as possible. One could spot John Carradine in conversation with Murray Matheson or see Natalie Shafer ordering more roast beef with Eve Arden. The grill section of the bar always prepared a Christmas buffet unsurpassed for brunch. Hermione would carry a large handbag which she would fill with roast beef and turkey legs for her six or seven pugs she had waiting for her at home. Sometimes we would arrive back at the house and before she could put the bag down they were off and running with it. I often wondered if the bag itself, having held so much food over the years, would be considered the first doggie bag??

Once, during one of my little parties, Lady Jane asked me to make Champagne punch, so I prepared a large punch bowel using her recipe. When they arrived, Lady Jane kept refilling one glass after another, finally telling Hermione to come into the kitchen as she could act as a waiter no longer! A few minutes later I saw the two of them sitting by the punch bowl with two large milk shake straws draining the contents with schoolgirl abandon. Oh for a photograph of that!!

The best parties were the ones that Hermione organized personally to celebrate a friend’s birthday or someone getting a job. On these occasions she would cater the party and spend ample time up in her bedroom preparing her grand entrance after the guests arrived. Hermione would come down the stairs with a feather boa around her neck and a large smoking cigar lit at full flame as she puffed her way down to her waiting guests. I remember meeting author Robert Nathan, whose work I admired, with his wife, the actress Anna Lee, a grand dame in her own right. The legendary Stan Lee was a regular at her soirées and after a few drinks would take me out on the veranda which overlooked Los Angeles would begin his speech to me about producing…”Remember David if you want to be a producer start telling yourself that you are a producer; it is that simple…” Stan always thought being an agent was not my cup of tea and he was right on the money with that observation.

The divine Martha Raye came to many of these parties. What a remarkable talent she was, and so down to earth. One could see why Chaplin admired her work in comedy so much.

Why not tonight? poster for Hermione's revue

Martha loved to play off Hermione when they would get near a piano. They usually got Gavin Macleod’s wife Patti to play while they took turns doing their favorite music hall ballads and randy tunes. Hermoine was a favorite with Sir Noel Coward as well; he wrote several songs for her revues over the years. That evening she sang two of them ‘I’m the wife of an acrobat’ and ‘Poor little rich girl.’ The room burst into applause. This encouragement led to Hermione reviving her Music Hall act as a revue entitled “Why not Tonight?” She worked very hard on this revue, the result being a tour de force for a woman of her advancing years. The material was a bit dated for the Los Angeles crowd yet her humor and drive overwhelmed any real criticism beyond her choice of material. Hermione is credited with being the first to sing about a sex change in a revue. The song entitled ‘I changed my sex a week ago’ is still a giggle and a wink for Hermione and her legion of gay admirers who were there on opening night to support this legend in English revue. She sang some of her old favorites like ‘Missing the bus’ and ‘Winter in Torquay,’ signing off with ‘Old Girls.’ ‘Why Not Tonight’ ran only for a handful of performances, as it was a trial run for a tour if she thought the show as well as its star would be able to pull off a long city-by-city tour. I have forgotten the exact reasons she chose not to tour – perhaps the expense, as well as being out of circulation for voice-over work, which was paying the bills at the moment, made her say no. It would be one of her last live appearances on stage.

Martha Raye would sometimes organize a visit to Laguna Beach for an impromptu songfest at a club called “The Little Shrimp” where the two old-timers would pull out all the stops for a limited audience of admirers. My favorite experience with the two of them was not in Laguna Beach but right in West Hollywood at a tacky, dark leather bar on Santa Monica Blvd called The Eagle. It seems the bartender there kept an autographed picture of Martha over the cash register, so one night Hermione called me and said “Darling, we are all going to meet Maggie over at this club to see why they don’t have my picture up there as well.” By the time we all converged on the “Club” it was wall to wall men, yet never underestimate the power of celebrity. Both ladies walked in and owned the place as drinks were on the house and Maggie got introduced to ‘Poppers,’ a recreational form of amyl nitrate. From that night onward there was always a vial in Maggie Raye’s purse for a night out. After about an hour in the place a very rough looking guy with a beer gut and leather cap and pants walked up to Hermione and Maggie and said “I want to meet you both.” He looked at Maggie and said “I watch you and Chaplin on tape back in Munich at our little film club.” Maggie asked if he was in the business and he replied “Well yes, I direct films. My name is Rainer Fassbinder.” The name meant little to them but I was stunned, until the bartender explained that Fassbinder liked the club so much that they gave him the back room to act as a sort of office whenever he was in Los Angeles. At that moment I knew this is as good as it gets.

There would be more good times with Hermione and Lady Jane including a trip or two down to Newport Beach. I was in New York when I heard that Hermione had suffered a series of strokes at home and was taken to hospital where she was kept alive until her daughter could fly in from London to take charge. That was the end of an era in my life, for no matter how many stars or personalities I would come to know in this business, there would always be just one Hermione Baddeley.

GOODBYE DOLL

As some of the readers of Camp David may recall, I lived for a time in Palm Springs where I hosted a radio program entitled “Tales from the Closet” from October 1999 to the summer of 2001. During this time I became quite friendly with the grandson of Lon Chaney Jr, a very likable guy…Ron Chaney. He was a guest on my show, spending nearly three hours talking about his family legacy. At some point in the year 2000 he asked me to act in a special theatrical presentation for Universal studios to be called THE CHANEY HOUSE OF HORRORS. Ron decided to do a tribute to his grandfather’s classic film THE WOLFMAN. I was to play the Claude Rains role of Sir John Talbot.

Ron organized the show, including most of the casting as well.

The first night of rehearsals, Ron introduced me to the woman he’d chosen to play the gypsy, Maleva, in the show – veteran actress Jean Carson whose distinctive voice was all I needed to hear…I asked if she was indeed the same Jean Carson that made such an impression on Television as Daphne the ‘fun girl’ on the classic Andy Griffith show in the early sixties. All Jean had to do was say, in that deep smokers voice of hers, “Hello Doll,” and I knew exactly who she was…. The uncanny coincidence about all this was my long time friendship with the late Joyce Jameson, who played the other ‘Fun Girl’ on the show. Joyce had become despondent over her career and killed herself ten years earlier. Jean became a close personal friend from that moment on…The Wolf Man skit was unforgettable as Jean refused to memorize her speech as the gypsy whose werewolf son had bitten Lon Chaney Jr turning him into the wolf man… She was supposed to say “The way you walked was thorny through no fault of your own, and as the rain enters the soil…” etc. Well the first night we did it for an audience Jean said “The way you walked was horny…” sending me into the giggle box and of course breaking character.

Jean and I became like the two musketeers for the next year or so, going to parties at Carroll Baker,s house as well as other characters that only inhabit a place like Palm Springs.

One of My favorite memories with Jean was the night she invited me, and my good friend Russ Lanier who was visiting me from Houston, to a party at Colin Watson Webber’s house out in the flatlands near the Racquet Club … There we were late at night driving in circles because Jean couldn’t remember the address. Jean had one habit that she would never break and that was smoking. If she couldn’t light up in the car then she kept chewing- tobacco in her purse for emergencies. Several phone calls and two hours later we arrive at the party where she takes control as soon as we hit the door. “Hello Doll,” to one and all… it was amazing to see her work the room and remember everybody’s name. We might as well have been in Mayberry.

After a year or so I decided to return to LA, losing touch with Jean as one does living a hundred miles away. Jean Carson was a remarkable woman not only because of her talent, but also for her courage as a survivor of Alcoholism. Jean had been sober 25 years when we met, yet she still attended regular AA meetings, and more importantly helped others get through this dreadful disease. Jean had pretty much retired from acting in television and films, yet she did theater in Palm Springs most of the time she lived there. Her fans always remained loyal from not only her Andy Griffith appearances but from such films as I MARRIED A MONSTER FROM OUTER SPACE and THE PHOENIX CITY STORY story not to mention her Twilight Zone entitled ‘A Most Unusual Camera,’ written for her by Rod Serling himself!

After being out of touch for nearly a year I discovered that Jean Carson had passed away on November 9th of this year at the age of 82 in Palm Springs …. Goodbye Doll! I miss you already.

ORGASUMS ARE YANG!

In the last column I profiled the Taylor/Burton film BOOM, deeming it perhaps the ultimate in excess and camp you are likely to experience from watching an Elizabeth Taylor film. This film was conceived during that ‘not to be believed’ period of Taylor films from 1960-1975. However THE DRIVER’S SEAT, made in 1973, has GOT to be the hands down winner for the honor of representing the entire Taylor ‘bad taste oeuvre’ with a completely bizarre performance from a jaw-dropping script. This is not an easy film to find and the chances of a DVD release are not on the horizon at the moment, YET IT CAN BE FOUND ON VHS! Please rest assured I would love to see the film make it to DVD. This is Euro trash at its zenith!! BOOM was adapted from a play, and this film is adapted from a novel by Dame Murial Spark, a respected writer who enjoyed great success with the film version of her novel THE PRIME OF MISS JEAN BRODIE, winning its star Maggie Smith an Oscar.

Dame Spark commented recently about the adaptation of THE DRIVER’S SEAT and its star: “Elizabeth Taylor chose to play ‘Lise,’ the protagonist in my favorite novel ’The Drivers Seat,’ about an unhappy girl who wants to be killed. Elizabeth could never look like she wanted to die; in fact Elizabeth looked like she wanted to drink.” Leave it to the author to tell it like it is! This twisted flick has a marvelous surreal quality of flash-forwards, different points of view, all the qualities we have come to expect from a failed art film financed as a co-production in Italy.

What makes this or any film with Elizabeth Taylor eminently watchable is her focus and dedication to the project no matter how outrageous it may become. Her Oscar Winning performance in WHO’S AFRAID OF VIRGINIA WOOLF proved when given material worthy of her talent, she delivers the goods!

On paper THE DRIVER’S SEAT may well have seemed like quite a worthwhile project, with her character being psychotic and paranoid. Perhaps Taylor saw an acting challenge. It is in the execution of said material that we journey into Art film Hell. The director, Giuseppe Griffi was known overseas for an adaptation of John Ford’s ‘Tis a pity she’s a whore’ with Charlotte Rampling. THE DRIVER’S SEAT is so confusing and fragmented that one must just sit back and watch Taylor run amok. All the characters respond to her either sexually or violently, with the exception of Mona Washbourne, who plays it straight as an innocent bystander caught up in the bizarre flight of fancy that brings our Liz to Rome. This is a Rome filled with terrorists, oversexed auto mechanics, and Ian Bannen as the macrobiotic sex freak who gives Liz all the best lines save for his now infamous “Orgasums are yang!” He meets her on the flight into Rome explaining that he eats only rice for his diet and must orgasum once a day! Taylor responds with great aplomb: “When I diet, I diet. When I orgasum, I orgasum. I don’t like to mix the two cultures!” No other actress could say those lines AND GET AWAY WITH IT!

Andy Warhol happened to be in Rome visiting the sets of his 3-D Dracula and Frankenstein films when he was asked to do a cameo as an English Lord who hands Liz a pocket book he thought she had dropped. It is a very uncomfortable moment for both of them and it shows. Another camp moment for life imitating art has to be when Taylor gets in a taxi in Rome and asks to be taken to the Hilton, of all places! How could the public forget her early marriage to Nicky Hilton, not to mention the consequences? All of this twisted behavior is brought on by a death wish Taylor’s character is obsessed with once she arrives in Rome. Prior to that she seems to be on vacation with the plan of spending most of it with her boyfriend. The reality of the situation is that she is alone, looking for a man to kill her, thus enabling her to find the ultimate happiness free from all pain and doubt.

All I can say at this point to recommend a viewing is THE DRIVER’S SEAT has Elizabeth Taylor in a bizarre psychedelic dress that is not stain resistant. She even allows a semi-nude scene at the onset of the picture, wearing a see-through bra while trying on the aforementioned dress. Taylor is constantly applying bags of eye make-up and wearing high teased hair-dos, in spite of which she still looks stunning in several close-ups!! Shortly before his death, Richard Burton said that in time Elizabeth would be recognized for her talent – assuming her place as one of the great screen actresses. Her performance is totally over the top here, yet you cannot take your eyes off her. This mystery is reason enough why films like THE DRIVER’S SEAT …HAMMERSMITH IS OUT! …NIGHT WATCH.. and BOOM have such power to entertain. That mystery is Elizabeth Taylor.

UNTIL DAWN

From the birth of the movies, where photographs began to move, immortalized by the celluloid in light, a Pandora’s box of fantasy and horror spilled onto the psychic hinterland. It is then with the images in ‘Until Dawn’ that we can gaze with fascination at the films of the fantastic that transcends the superficial limitations of genre headings or aesthetic theory.

As an avid collector of photographs for the last twenty-five years it is with great pleasure to announce my first exhibit of photographs from the very beginning of the cinema.

“Until Dawn” was the phrase spoken by Cesare in that landmark film THE CABINET OF DR. CALIGARI to describe how much time the heroine had to live. I thought it appropriate to name our exhibit after the first classic of the Horror genre. Most all of the images are from that period of filmmaking. HAXAN – WIATCHCRAFT THROUGH THE AGES, NOSFERATU, THE MAGICIAN directed by the great Rex Ingram with the first Mad Laboratory on film years before FRANKENSTEIN. Not to mention photographs from early Germanic versions of ‘Dorian Gray’ as well as ‘Jekyll and Hyde.’ The majority of these images have never been presented before in any form. All photographs will be available for sale to the public.

‘Until Dawn’ will have its opening reception from 6pm until 10pm on January 21st . The exhibit will run through February 11th 2006. The location is 2121 North San Fernando Road, Suite 3, Los Angeles, 90065. You can email us at drkm@mac.com or visit our website: www.drkrm.com phone: 323-223-6867

I look forward to seeing as many of Camp David’s readerships in the Los Angeles area as can make it down to the gallery on January 21st!

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