The master of Italian horror Dario Argento is teaming up with one of the world’s most energetic punk icons Iggy Pop in an attempt to darken the holidays with horror. In an effort to keep his next film as pure as possible (maybe due to studio intrusion on his previous effort, the lackluster Dracula 3D) Mr. Argento has started a crowd-funding campaign for this new project.According to the pitch, this crowd-funded film will be a tribute to the films of Argento and his entire career, a chance to put a juicy horrific cherry on top of a long and storied career. Casting Iggy Pop in the lead role is just the chocolate sauce on top of the cherry.The Sandman is based on a German short story dating back to 1816, originally told by author E.T.A. Hoffman. According to this legend, The Sandman was someone who stole the eyes of any children that wouldn’t just close them and go to sleep, then he’d go feed them to his hungry children on the moon.It sounds like a great role for Iggy Pop, running around snatching out the eyeballs of children. Bring in the passionate direction of Dario Argento, and it begins to shape up as a film any horror fan definitely would like to see. The director says he is “tired of Christmas movies showing goodness. Beauty, snowflakes, sleds pulled by reindeer. I’m tired of these things. I’d rather have a Christmas movie where there is also strength, violence, horror, and this is what I am going to do.”
Berlinger is the sorty of two men who grow up together in pre-war Germany; when Roeder's parents die, Berlinger's father takes the orphanedboy under his care. As the two boys approach adulthood, their contraddictory temperaments lead them along different paths: the idealistic young Berlinger, a brilliant chemist, refuses to give his father's factoy over to the Nazi war effort, much to the dismay of his friend Roeder, who has been managing the plant for him and has joined the Nazi party. Depsite the pressure Roeder puts on Berlinger to accede, such as threatening the lives of Berlinger's wife and child, nothing can coerce the staunch individualist to douse his spirit, and he takes his only recourseby escaping to Latin America and leaving his wife and child behind. Thirty years later Berlinger returns, still the stubborn ninconformist, mad about fying and filled with dreams of building a fleet of zeppelins in the now ramshackle factory. Roeder too is unchanged with an austerity similar to the skyscraper offcie from which he manages his company. Once more the ambitions of the two men clash: Roeder depends on Berlinger to sell his land in order to successfully conclude his property development schemes.
