Preservation” devoted an entire broadcasting day to motion pic­ tures saved from oblivion. Actu­ ally, the day’s schedule was virtually identical to their “First Annual Salute,” including Cecil B. DeMille’s THE SIGN OF THE CROSS (1932), FOR WHOM THE BELL TOLLS (1943) and a wide­ screen presentation of John Wayne’s first star vehicle, THE BIG TRAIL ( 1930). All of the prints looked beautiful... but all of the prints were also ruined by the recurring superimposition of a telephone number that viewers could call to make a contribu­ tion to film preservation!


Glitterature The folks at Glittering Images,


who prepared the extraordinary, scandalous and deluxe DIVA CIN­EMA 1951-1965 [reviewed VW 6:5], continue to corner the mar­ ket on kinky coffee table books. Among their most recent offer­ ings are two “pictorial antholo­ gies,” THE COSMICAL HORROR OF H.P. LOVECRAFT and MARQÜIS DE SADE, which chronicle the im­ pact of these reclusive creators on the worlds of literature, comic art and motion pictures. The Lovecraft volume contains


such highlights as two different comics adaptations of “Cool Air” (by EC’s Graham Ingels and Berni Wrightson), pages from a fumetti edition of Vernon Sewell’s CURSE OF THE CRIMSON ALTAR and Federico de Zigno’s look at Lovecraftian cinema, which ac­ commodates such “unofficial” titles as CALTIKI THE IMMORTAL MONSTER (whose titular creature resembles Lovecraft’s “Dunwich Horror”) and aquanoids like THE MONSTER OF THE PIEDRAS BLANCAS. Of equal, if not greater, interest is the Sade folio, which includes a survey of Sadean cinema from THE SKULL to


6


Artist Carlo Ambrosini fantasizes an alternate version of BLACK SUNDAY in DIVA CINE-SEX-STAR.


OLGA’S GIRLS to SALO and be­ yond, a ravishing color section of Sade-related movie posters from all over the world, as well as fumetti pages from Franco’s DEADLY SANCTUARY anda thor­ ough filmography. Both volumes are unbelievably lavish, contain sexually explicit artwork and pho­ tographs, and are priced at 60,000 lire each. On a less literary but equally


libidinous front, Glittering Images’ latest DIVA books are an updated “new edition” of DIVA BLUE (a survey of miscellaneous erotic cinema, including chapters de­ voted to Stroheim, Buñuel, Borowczyk and hardcore) and DIVA CINE-SEX-STAR. The latter, subtitled “Our Beloved Sex Stars of the 1950s, 1960s and 1970s,” contains hundreds of sexy por­ traits (many in color) of the likes of Anita Ekberg, Erika Blanc, Sophia Loren, Lina Romay, and (Jschi Digart, as well as chapters devoted to the “ultrabreasted- vixens” of Russ Meyer, Dyanne Thorne and Italian sex queens from Laura Antonelli to Edwige


Fenech. But the book’s highlight is unquestionably “Una Streghe a Cinécittà,” a hilarious four-page tribute to Barbara Steele, in which comics artist Carlo Ambrosini fan­ tasizes hardcore versions of BLACK SUNDAY, THE HORRIBLE DR. HICHCOCK and CASTLE OF BLOOD! Even Barbara loves it! Handsomely produced, all of


these books contain text in Ital­ ian, French and English. For more information, write Glittering Im­ ages at Via Giovanni da Montorsoli 37/39, 50142 Firenza, Italia. Or for quicker results, phone or fax them at 011-39-55-717880.


Kennel Rations On this side of the pond, a


couple of VIDEO WATCHDOG con­ tributors have shepherded books into print, just in time for the Holidays. PaulM. Sammon’s THE CHRISTMAS CAROL TRIVIA BOOK ($8.95/CISA, $11.95/Canada) may look like an impulse-buy item, but it’s actually a serious, heartfelt appreciation of Charles

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