THE NANNY: A CLASSIC MONSTERS OF THE MOVIES TRIBUTE

The Nanny is an often overlooked Hammer, psychological thriller, but thanks to scribes Nige Burton & Jamie Jones, this black-and-white gem receives the exposure it deserves via Classic Monsters of the Movies. 

Directed by Seth (Blood from the Mummy's Tomb/Taste of Fear/Danger Route) Holt and adapted by Hammer's top scribe, the uber-prolific Jimmy Sangster (based on Evelyn Piper/Merriam Modell's novel), the 1965 feature holds a misleading pitch. At first, it reflects The Bad Seed, with focus on the mischievous William (Doctor Doolittle) Dix's Joey Fane, who's spent time at a behavioral clinic, due to his sister's drowning, and ends up at heated odds with his nanny, played by Bette Davis. (BTW: No official name is ever ascribed to Davis' character.) Though Joey tells his dysfunctional clan that the nanny conceals a dark side, his warning fall on deaf ears, with danger mounting as a result. 

Burton & Jones perform an admirable service covering the movie's development, behind-the-scenes drama and quality contributors, including its cast, which in addition to Davis and Dix, features Pamela (Legend of Hell House/Necromancy/Food of the Gods/Satan's School for Girls) Franklin; Wendy (The Mind Benders/The Worst Witch) Craig; Jill (The Skull/The Haunting of Julia/For Your Eyes Only/The Nanny: British, television series) Bennett; James (Blood from the Mummy's Tomb/The Damned/Asylum/For Your Eyes Only/Gene Roddenberry's Spectre) Villiers; Maurice (Countess Dracula/The Mark/The Day of the Jackal) Denham; Alfred (Children of the Damned/Night Caller From Outer Space/The Man Who Finally Died) Burke ... and in her sole, cinema role, little Angharad Aubrey. 

The authors also parenthesize the issue with enlightening, trivia blocks and appreciated quotes, emboldened by phenomenal photos and publicity tie-ins.

Without question, this is a special edition for a special movie that requires special revisitation. Thanks to Burton & Jones, it's receiving just that. One can enjoy the fruits of their labor at  

https://www.classic-monsters.com/shop/product/the-nanny-1965-ultimate-guide-magazine/

HAPPY BIRTHDAY, DONNA: HAVE A MAGIK-AL DAY!

 

USPS GOOFS UP AGAIN

USPS, based on its tracking system, claims its driver was unable to deliver a package (a birthday gift for my wife) due to our home being blocked by snow. I and my next-door neighbors cleared that snow many days ago. My sidewalk and porch are clear. The street, though neglected by our "magnanimous" bureaucrats, is also clear, even if a tad muddied. UPS (USPS' prime competitor) delivered a small package to our home earlier that same day, with no evident complaint or concern. 

I've now learned that after one alleged, USPS attempt, my wife's gift is being returned to the company of origin. Why? We're right here, at the same damn address; why not, in the least, give us another try, this time evading the silly alibi? On the other hand, it could be that the package was damaged. For what it's worth, on those rare occasions when we do receive mail, such is generally creased, smashed, punctured ... mutilated. 

It's the same old song and dance with USPS. As I stated in an earlier post, the company requires a severe overhaul; the sooner, the better. There's no reason for this ongoing ineptitude. USPS receives customer fees (from patrons and companies) to conduct a service. If it can't fulfill that pledge, it has no business staying in business. 

PINUP TIME: TRACI LORDS

 

I SAW EPIC: ELVIS IN CONCERT

Director Baz (Moulin Rouge!/The Great Gatsby '13/Jehanne d'Arc) Luhrmann, who brought us the Austin Butler mega-hit, Elvis, now gives us EPIC: Elvis in Concert. 

EPIC is marketed as a documentary, and to a degree, it is just that: a document of Elvis Presley's charismatic moves and vocalizations, but then as most know, other sources have already touched upon such at great, adoring length: Elvis: That's the Way It Is, Elvis on Tour, This is Elvis, Elvis '56, Elvis: '68 Comeback Special, Elvis - Aloha Hawaii, Elvis Presley: From the Beginning to the End, He Touched Me: Elvis Presley, Elvis Home Movies, Elvis Presley Lives On, among others. 

So, is Lurhmann's take a mere elongation of the aforementioned? Maybe, but not entirely. Like those mentioned movies, the director does incorporate behind-the-scenes and lead-in segments (many culled from the once lost reels of That's the Way It Is and Elvis on Tour) to bracket Presley's presiding stature (i.e. his humility, humor and dedication to his craft). However, the juxtaposing footage for this IMAX extravaganza creates a distinct, if not surreal structure, similar to Brett Morgen's David Bowie: Moonage Daydream, where the past flows into the future and back again (in this case, from rehearsal to concert to rehearsal...), building an ebbing tapestry of different phases that's more an overriding impression than what one would find in traditional documentaries. 

Though EPIC is meant for IMAX projection, some footage does seem to slip from its promised, colossal proportions, but the unorthodox formatting isn't as jarring as one might think. If anything, the switching invokes a living-breathing scrapbook, which Presley's fans will appreciate, since many of them have constructed such compilations of their idol over the years, though this scrapbook is pasted by Elvis' actual words (and on occasion, intersected by the always omniscient Colonel Tom Parker). 

The movie hits its real stride when Presley and his backup performers take full, cinematic charge about midway through the colorful procession. That means his face, his gyrations, his costumes become ubiquitous, as if the combination has been bestowed by a Mt. Olympus god or superhero (and we all know how much Presley appreciated Captain Marvel Jr.), who wishes to flaunt his sublime skills with his faithful admirers, whether they're Vegas gathered or viewing his feats from some unassuming grandstand. Simply put, Presley stuns one and all. 

By the end, Presley's mesmerizing draw becomes all the more obvious in light of the below-average "musical" performances that are peddled as creme de la creme these days. If you don't believe me, check out the bulk of this year's bland, Grammy contenders. And what should appear to drive home this profound point? Ah, yes, EPIC! 

Presley, in popularity and impact, isn't fading away, ever. That's been obvious since his death, which launched his legend to even higher heights. EPIC is but another entrenched case in point, and like Luhrmann's acclaimed, 2022 biopic, it proves that, while most performers tend to fade into obscurity, the King remains eternal. 

TERRIFIC TEAM-UP IMAGE: DAREDEVIL & BLACK WIDOW

 

REMIND MAGAZINE (MARCH '26) THE AWESOME EIGHTIES RETURN!

 

ReMind is back, with its March 2026 issue, which celebrates the totally awesome 1980s!

The cover says it all, with Madonna (from Who's That Girl) as the centered-cover celebrity, joined by Prince, Michael Jackson, Cyndi Lauper, Phil Collins, Whitney Houston and George Michael. But that's not all. Additional celebrities occupy this issue's many, prolific pages, including Adam Ant, Duran Duran, Billy Idol, Rod Stewart, Boy George, the Pretenders, Tina Turner, David Bowie, Freddie Mercury, the Talking Heads, Ozzy Osbourne, Peter Gabriel, the Stray Cats, Lionel Ritchie, Bon Jovi, A-Ha, Eric Clapton, Dire Straits ... the Buggles and yes, even more.

MTV was a huge part of the colorful period that ReMind celebrates, guided by its personable VJs (J.J. Jackson, Martha Quinn, Alan Hunter, Mark Goodman and Nina Blackwood), who ReMind has been wise to highlight, since they not only shared the scoops on our favorite artists, but became our around-the-clock friends.  

In addition to this issue's thematic fanfare, the March installment features games, puzzles, trivia and prizes, supplemented by fond, fan articles on Scott Baio and Dick Van Dyke, in addition to a sweet memory involving a sports car.  

To obtain this historic issue (and/or to subscribe), visit ReMind at 

https://www.remindmagazine.com/