BobHope Tagged Articles at Cinematical

Well, usually this works the other way around, but for once, a modern film is getting a classic update...at least when it comes to the trailer, anyway. This time, a dedicated fan by the name of whoiseyevan has made a trailer for the Ghostbusters movie that could have been...if it had been made in 1954. Taking over the roles made famous by Harold Ramis, Dan Aykroyd, and Bill Murray are crooner Dean Martin as Dr. Ray Stantz (Aykroyd), Fred McMurray as Dr. Egon Spengler (Ramis), and who else but Bob Hope could fill Murray's coveralls as the smart-a**, Dr. Venkman?

All those classic 'busting' touches are there, which is probably what made this fan-trailer such a success. Then again, I might be biased because they managed to work in one of my favourite lines from the film in one of the title cards. So even if you aren't impressed with the result, you have to hand it to whoiseyevan and his knowledge of spook and spectre movies from the 40s and 50s. Heck, he's even got a line of dialogue with Martin calling himself a Ghostbuster! Now that's what I call a happy coincidence.

After the jump: Ghostbusters 1954 Vs Ghostbusters 1984...

Even the weirder artists of the twentieth century have been attracted to the allure of Hollywood filmmaking, and Salvador Dali was no exception. In the fall of 1941, the surrealist painter hosted a masquerade party at Pebble Beach during one of his regular visits to the town. Called "Surrealism Night in An Enchanted Forest," the fundraising event, intended to assist European refugee artists, brought out a number of stars, including Bob Hope and Ginger Rogers. It was here, the story goes, that Dali became attached to a major studio production called Moontide. The great German emigre Fritz Lang was hired to direct the movie, and asked Dali to create a three-minute nightmare sequence for the film. Unfortunately, after the incident at Pearl Harbor later that year, Twentieth Century Fox deemed the project too bleak. Lang was replaced, and Dali's nightmare sequence went with him.

Although inspired by the movies, Dali didn't always have the easiest time making them. He would get another chance to inject his hallucinatory vision into American cinema with the hypnosis scene in Alfred Hitchcock's Spellbound, but it's his unrealized projects that truly indicate the scope of the painter's ambition. So many ideas, such little time. Dali: Painting and Film, a breathtakingly unique exhibit currently on display at the Museum of Modern Art in New York, surveys Dali's completed cinematic works in addition to tidbits from the ones that never came to fruition. Marvelously structured to show how his paintings were intentionally cinematic, the exhibit contains all the obvious highlights from Dali's movie career alongside lesser-known productions. The importance in film history of his collaborations with Luis Bunuel remain uncontested; two large screens in separate rooms showing Un Chien Andalou (where the opening eye splicing retains its original gross-out impact) and L'Age D'Or attest to that. Fewer visitors, however, might know about Dali's collaboration with the Marx Brothers on a deliriously strange movie that sounded too good to be true.