Blog With A Cause Revisited: What Happened To The THREE IN THE ATTIC House?

One thing I’ve been bad about since I started this blog back in 2004 is following through on some series ideas. I start off with a post that I announce will be the beginning of a new series, then maybe do a second post then I let the series fall through the cracks.

Well, inspired by a thread on Facebook, I decided to revisit a subject from ages ago. Back in the late 2000s, I lived in the historic district of Chapel Hill, N.C. (my home town), and got involved in a small movement to save a house from demolition. The house, the Edward Kidder Graham House on the edge of the UNC campus, that served as the set of an obscure movie from the ‘60s: Richard Wilson’s bizarre 1968 comedy THREE IN THE ATTIC.

The movie concerns Christopher Jones as an unfaithful boyfriend whose three girlfriends (Yvette Mimieux, Judy Pace, and Maggie Threttlock) him in their sorority attic to punish him with more sex than he can take. I wrote about it in The Chapel Hill Newspaper, and on this here blog (read Part 1 & 2). In the summer of 2008, Ernest Dollar (executive director of the Preservation Society of Chapel Hill) asked me to host an outdoor screening of THREE IN THE ATTIC at the Horace Williams House (where I was the Caretaker).

Trouble was that the film was out of print and hard to find on video. I located a bootleg DVD of the teensploitation flick, and we showed that on a big bed sheet in the backyard. The audience appeared to really enjoy it as they laughed a lot throughout.

I introduced the movie by saying, “Durham has BULL DURHAM, what do we have? PATCH ADAMS (filmed in Chapel Hill in the late ‘90s)? No, we have THREE IN THE ATTIC!”

But what I never followed up on is what happened to the Edward Kidder Graham house. I moved to Raleigh in 2009, so I lost track of whether it attracted a buyer. I learned later that it was sold to Molly Froelich in 2010, and she started on the grand task of restoring the house. In 2013, it was sold to Martin and AraLu Lindsey, who finished the restoration. I have no idea if the flurry of activity around the house that the Preservation Society stirred up had anything to do with it, but I’m glad we did what we could to raise awareness of this cool historic home/movie location.

In the years since, THREE IN THE ATTIC has been re-issued on DVD along with its soundtrack (pictured at the top of this post). Although the DVD has gone out of print, the movie is available on Amazon Prime. In 2019, Quentin Tarantino’s ONCE UPON A TIME…IN HOLLYWOOD, which is set in 1969 as it deals loosely with the Manson murders, has several references to the film. Firstly, a THREE IN THE ATTIC TV spot shows on Brad Pitt’s television at his squalor-filled trailer.

Among other advertisements for the film we see this glitzy Pantages Theater marquee:

Finally an excerpt of Chad & Jeremy’s “Paxton Quigley’s Had the Course” from THREE IN THE ATTIC plays at one point and is featured on the soundtrack of ONCE UPON A TIME. Seems that this many shout-outs would greatly suggest that Tarantino is a fan of the largely forgotten film.

Such a fan that Tarantino offered Paxton Quigley himself, Christopher Jones, a part in PULP FICTION, but Jones turned it down apparently because he didn’t want to have to order Maynard to wake up the gimp. Since 1970, the James Dean look-a-like Jones’ career largely went quiet with his last film being Larry Bishop’s MAD DOG TIME (1996). He passed in 2014.

So the odd little legacy of THREE IN THE ATTIC keeps on keepin’ on. It’s no classic, or even really a cult classic, but it is a funny curio that captures Chapel Hill in the late ‘60s. I’m glad the house was saved and renovated whether the film had anything to do with it or not. And, of course, I sure hope they paid special attention to the attic.

More later…

ONCE UPON A TIME...IN HOLLYWOOD: The Film Babble Blog Review

Now playing at an vintage cinema palace near you:

ONCE UPON A TIME…IN HOLLYWOOD
(Dir. Quentin Tarantino, 2019)

Quentin Tarantino’s ninth film as director contains all of the elements that moviegoers have come to expect: snappy hipster dialogue, an ultra cool soundtrack of both classic and obscure pop and soul songs, eye-popping cinematography, stylish editing, multiple shots of women’s feet, and, of course, reams of gory, in-your-face violence.

Except for a sequence in Italy, the film is mainly set in Los Angeles in the summer of 1969, in which actress Sharon Tate (the pregnant wife of filmmaker Roman Polanski), and three of her friends, were murdered by members of the Manson family.

But Tarantino’s largely concerns the friendship between the fictional cowboy star Rick Dalton (a moody Leonardo DiCaprio), and his longtime stunt double Cliff Booth (a smug Brad Pitt). Dalton was formerly the lead of a Western television series called Bounty Law, but has been reduced to playing guest star heavies on a bunch of various TV shows.

The film also follows Sharon Tate (Margot Robbie) as she attends a screening of her next to last film, the Dean Martin comedy spy movie, THE WRECKING CREW, at the Bruin Theater. Meanwhile Booth picks up a hitchhiking hippy girl named Pussycat (Margaret Qualley), and takes her home to the Spaun Movie Ranch, where Charlie Manson, who doesn’t appear, and his hoard of followers reside. Booth is skeptical of the set-up as he used to work on the ranch and a visit with the ranch’s blind owner, George Ranch (Bruce Dern) doesn’t quell that.

Despite his doubting hesitation, Dalton, along with Booth travels to Italy to make several Spaghetti Westerns, and ends up marrying Italian actress Francesca Capucci (Lorenza Izzo).

When they return to Hollywood, the time of the murders approaches (times appear on the screen), and the killers approach in dark silhouettes that resemble the sinister shots of the four figures in the driveway in Jordan Peele’s US from earlier this year.

The climax is thrilling and funny in turns, but it might make the folks who found the instances of the intense, bloody, brutal action in THE HATEFUL EIGHT hard to stomach. It’s also an re-writing of history that recalls Tarantino’s sixth film, INGLORIOUS BASTERDS in its concept of wish fulfillment.

As usual, Tarantino has assembled an excellent ensemble that includes Al Pacino as producer/agent Marvin Schwarzs, Emile Hirsch as Jay Sebring, one of the victims of the murders; Timothy Olyphant as James Stacy, another Western actor; Dakota Fanning as Lynette “Squeaky” Fromme, and Kurt Russell as stunt coordinator Randy (Russell also doubles as the film’s narrator). But ultimately it's the terrific DeCaprio and Pitt whose movie this is.

ONCE UPON A TIME…is very enjoyable in stretches, but it has too many sequences in which characters just hang out (like in JACKIE BROWN, Tarantino wants us to hang out with the characters), and it has a rambling nature in which some scenes just go on and on – like the Spahn Ranch scene, for instance.

This is far from Tarantino’s greatest work, but it’s way better than his worst (meaning that it’s way superior to DEATH PROOF). With movie posters, lobby cards, and glossies covering nearly every wall, and segments from fictitious films rendered in the grainy, gritty film stock of the ‘60s-‘70s, the auteur filmmaker’s latest shows off his love of movies. It celebrates the era in which the golden age of cinema gave way to the exploitation movies that Tarantino takes many cues from.

Its effect is mostly infectious, but it doesn’t have much to say beyond “look kids, I can still bring it as a badass basher.” That’s great and all, but it’s way too meandering to come anyway close to being a masterpiece.

More later...