Aside from being a great opportunity to look at 50 years of wonderful poster art and titles to die for, today is trash-horror-exploitation maestro Roger Corman’s 91st birthday. The legendary Pope of Pop Cinema started life as an engineer but lasted just 4 days in the job. After a spell studying literature and reading scripts for Hollywood studios he got into the whole filmmaking thang himself and created a company that eventually served as a film school for some of the most notable directors in American cinema, from Francis Ford Coppola to Martin Scorsese, Stephanie Rothman to Joe Dante, Peter Bogdanovich to Penelope Spheeris. The most acclaimed of his work is the Edgar Allan Poe series, adapted by top-class scenarists like Richard Matheson and Robert Towne. His own best work as director (The Intruder) was so controversial he steered clear of such subject matter (racism) again and passion projects like Von Richthofen and Brown aka The Red Baron eventually gave way to serial producing: his last directorial effort was a quarter of a century ago (Frankenstein Unbound). He audited acting classes with blacklistee Jeff Corey to understand performance and meet talent – which is how Jack Nicholson got his break in Cry Baby Killer and Robert Towne started writing screenplays. What I love about his early work is the way the women come to the fore: June Kenney, Fay Spain, Beverly Garland and Susan Cabot are some of my favourite ladies and some of his alumni like Paul Bartel, Ron Howard and Demme have called upon him to act in small character parts in their mainstream successes. I once presented him with a project on biker movies and it was returned to me with the dry comment ‘Very accurate.’ High praise indeed! A scattering of my own fave raves from this renaissance man would include Gunslinger, Sorority Girl, A Bucket of Blood, The Pit and the Pendulum, The Wild Angels and Cockfighter. So much choice! Happy Birthday Mr Corman!