Edward Judd, 1932–2009

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Like the creations of the late Oliver Postgate, Edward Judd haunts my childhood imagination via the handful of very British science fiction and sf/horror movies he starred in during the 1960s. He did a great deal of acting before and after this—in the Seventies he was a very ubiquitous TV character actor—but it’s his run of genre films which remains notable. In these roles he was always the stalwart Everyman, usually with another older actor as co-star who supplies the requisite scientific explanations.

The first of these, The Day the Earth Caught Fire (1961), was a Val Guest production which followed the success of Guest’s Quatermass films in visiting another space-born calamity upon the world, this time an unprecedented heatwave caused by nuclear tests which throw the earth off its orbit. The film opens with a Ballardesque view of the River Thames parched to a thin stream, and features some great shots later of Judd stumbling through an abandoned, dust-strewn capital. The location work in the Daily Express building on Fleet Street adds to the realism, as does a strong script and decent performances.

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Franciszek Starowieyski, 1930–2009

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Not only Philip José Farmer but Polish poster artist Franciszek Starowieyski also died this week, something I probably wouldn’t have known had it not been for the indefatigable Jahsonic. I mentioned Starowieyski’s stunning work earlier this month since he produced the poster for Hour-Glass Sanatorium by Wojciech Has. There’s a further link to Bruno Schulz with another of his posters appearing very briefly at the beginning of Street of Crocodiles by the Brothers Quay.

• Starowieyski poster galleries I | II

Elsewhere on { feuilleton }
The fantastic art archive

Previously on { feuilleton }
The Hourglass Sanatorium by Wojciech Has
Czech film posters
The poster art of Richard Amsel
Bollywood posters
Lussuria, Invidia, Superbia
The poster art of Bob Peak
A premonition of Premonition
Perfume: the art of scent
Metropolis posters
Film noir posters

Philip José Farmer, 1918–2009

top left: artist unknown (1969); top right: Patrick Woodroffe (1975)
bottom left: Peter Elson (1988); bottom right: artist unknown (1995)

The great science fiction writer Philip José Farmer died today. I wrote about his more excessive works back in August 2007 and that post is as good an obituary as I could offer now. A Feast Unknown remains a favourite for pushing extreme content to a degree which would give William Burroughs pause whilst still functioning as a rollicking page-turner. Few writers could work on both those levels and do much more besides. Feast seems to be out of print today, which isn’t a surprise. Publishers are still a timid bunch for the most part and Farmer never pulled his punches.

Elsewhere on { feuilleton }
The book covers archive

Previously on { feuilleton }
Philip José Farmer book covers

Lux Interior, 1946–2009

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Lux on stage in Glasgow, 1990.

Lux Interior, co-founder of the Cramps and the group’s singer, lyricist, cultural archaeologist and a superb stage performer. Also one of the few people who could successfully enthuse about the delights of female sexuality while wearing nothing more than a pair of high heels and a black G-string.

That exhilarating manifestation of deviant intent and skull-denting impact remains Lux and Ivy’s exclusive domain. Where punk rock was a barrage of refutation that fomented rabid exultation, the Cramps reclaimed the hillbilly power long since flushed down the Mersey. Through a self-stated “disdain for the myth of musical progress,” they melded their mutant propensities to emerge as a guiding voice in the wilderness, a commanding force that redefined the rock & roll spectrum while outgunning almost everyfuckingbody in the game. Jonny Whiteside, LA Weekly.

The Cramps’ Lux Interior: A life in pictures
• The Cramps on The Tube, 1987: part 1 | part 2 | part 3

John Martyn, 1948–2009

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John Martyn on stage in 1975 with ubiquitous spliff.

Given a choice, I’d probably pick his 1977 opus, One World, as a favourite although everything he did in the 1970s is worth hearing. Great songs and great collaborators, especially bassist Danny Thompson. His use of echo and volume pedal to extend the range of his guitar gave him a unique sound, closer to Manuel Göttsching’s Inventions for Electric Guitar than anything in the folk world where he started out. The last song on One World is the marvellous nocturnal ballad Small Hours which features a muted drum machine, a Steve Winwood keyboard solo, and flock of Canadian geese. There’s a great live performance of that here.