Sir, Have These Children Never Heard of Jesus?

I consider The Wicker Man to be the best horror film of all time. For a film completely devoid of archetypal madmen, killings, screaming and the grotesque this is quite an achievement. The original theatrical version joins us with Sergeant Howie as he travels to the secluded Summerisle. The journey is a protracted one which emphasises the distance we are travelling from the mainland and its safe haven. Our lone policeman arrives on the island and immediately we feel that the locals, although not hostile, are at least suspicious of this outsiders presence.

From this point we follow Howie, played exceptionally by Edward Woodward, as he investigates the mysterious disappearance of a young local girl Rowan Morrison. Early in the film I found it difficult to state my allegiance with either the locals or the protagonist as Howie’s  religious fervour can make you feel that his prudish behaviour and beliefs are to blame for his over-zealous interpretation of the regional customs. It does however become clear that forces are conspiring against the policeman who remains at least one step behind those he accuses throughout the body of the film.

Christopher Lee is given a sense of freedom by the character of Lord Summerisle. Set free from the constraints of the Hammer films which made him famous. As discussed during my previous blog, the character of Dracula has a tendency to capture the careers of those who become famous for their depiction. Lee has acknowledged The Wicker Man  as being one of his favourite career moments and it is clear he revels in the character. Summerisle seems no more than slightly eccentric a gentleman who looks to uphold the cultures and practices of old which are still practiced on his land that time (almost) forgot. That is until the celebratory processions which sees the town indulge in the rituals of a bygone era. It is no longer a lingering doubt of madness we feel apparent.  

Come. It is time to keep your appointment with the Wicker Man.

The ending is as horrifying as any ever put to film. The moral high ground has been absolute in its failure to protect Sergeant Howie as he is imprisoned and sacrificed as an offering to the Sun God in the hope of a successful crop the coming summer. The film concludes with a zoom into the setting sun as The Wicker Man and its contents burn.

The influence of The Wicker Man is hard to trace specifically. Problems with distribution hindered the original release and reception was lukewarm at best. Paul Giovanni’s soundtrack has been influential in the folk music genre but the film is so specific in time and depiction that it is difficult to reference for those in direct appreciation.

I have never seen the remake of this classic British horror. For me, the ‘British’ element is absolutely key to the success of The Wicker Man, as is the period. Director Robin Hardy is due to release what he has termed a “spiritual sequel” titled The Wicker Tree which is due for release in 2011.

In his notes for film, Ryan Gilbey states that “You never feel quite the same again after seeing The Wicker Man”. I concur.  

Gentlemen, We are Dealing with the Undead

Visiting my deeply religious grandmother around the age of 8 I was searching through the treasures of her spare room where I came across an extremely old, but well kept, copy of Bram Stoker’s Dracula. I read it from cover to cover in under a week and somewhat attribute this to the horror obsession that developed over the coming years. The book was not what I expected, I did not expect the diary entries or the subtlety of Count Dracula who I had always pictured as a more grotesque character than the original portrayed in Stoker’s timeless novel.  Bela Lugosi captures this perfectly in Tod Browning’s 1931 Universal classic Dracula.

I am Dracula. I bid you welcome

By no means the first film on the subject, Dracula is however the most recalling of the tone and feeling of the book. The story is so familiar to us, depicting the journey through eastern Europe and the Carpathian mountains to Castle Dracula to finalise the property deal that will see the Count relocate to our fine isles. Ignoring the advice of the locals, Renfield continues on his journey with the tales of vampires and a crucifix for protection, neither of which serve any purpose as Renfield is soon hypnotised by the mysterious nobleman. Renfield, now enslaved by the Count, assists in the transfer of Dracula, in coffin, across the ocean as the ships crew become food for the vampire. From this point forth the young ladies of London have no safe haven as they fall for the mysterious, and undead charms of Lugosi’s most refined characterisation. Recognised as a vampire due to a lack of mirror reflection the Count continues to visit the young Mina and Lucy as we follow the plight of Van Helsing and his merry men plotting the downfall of the Transylvanian immigrant.

The strength of the vampire is that people will not believe in him

Lugosi’s depiction could be considered part destiny, part accident. Nowhere near the first choice to play the part Lugosi had experience depicting the Count of the stage. Lugosi’s accent lent itself perfectly to the role and his look is that which has become synonymous with the character in the years since this films release. Unfortunately the success of the role led to Lugosi becoming horribly typecast in years to come which effectively left him unemployed, drug addicted and eventually dead (and buried in full Dracula clobber).

This film has an extremely important place in the history of the horror genre as its success was that which allowed Frankenstein (1932) and all the Universal horrors that followed to be produced. Without this we would not have been graced by the Hammer films or many of the horror genre staples. There have been many reissues of the film but for me the best version is the 1931 original. The original relies upon silence to build atmosphere which serves the film better than any soundtrack has been able to. Released on Valentines day in 1931, Dracula captures a romanticism of the of the unknown and the seduction of the young impressionable female by the worldly and exotic gentlemen. A fear of the unknown coupled with an erotic interest in the mysterious makes for, in my opinion, a more effective horror than it's production mate Frankenstein. Lugosi's Dracula versus Karloff's Frankenstein..? Lugosi for me every time.

 

Listen to them, the children of the night, what music they make. 
 

Things Go Bump in the Night

I have talked briefly before about the ‘found footage’ genre synonymous with the Blair Witch Project (1999) in a previous blog and today’s film(s) are now the flag bearers for this form of horror. For me this genre started with The Last Broadcast (1998) and Alien Abduction: The McPherson Tapes (1998) which were the first films of this type I remember seeing. The roots of the genre could however be traced further back to the 1980 video nasty Cannibal Holocaust, which was banned for some time due to its extreme content.

I initially remember reading about Paranormal Activity around 2007 when it was first being screened around the USA. The promotion followed the path laid by the Blair Witch Project  in its use of the internet and rumour. The most memorable advertising used for the film was the audience reaction films shot during early screenings. This built the hype of Paranormal Activity to the point that I recall a young female in the row behind me proclaiming her nausea at the thought of the film before the pre-movie adverts had even concluded.

The plot is a simple haunting as we have seen countless times over the years. It is the self shot nature of the film that differentiates it from its peers. The film is extremely effective in building an atmosphere however, can become slightly repetitive in it’s narrative cycle. I remember the relief felt in the cinema on daylight and the audible dread that ensued with nightfall. That said, some of the scares and jumps, although you knew they were coming, were excellent and generally in-keeping with the nature and budget of the rest of the film. This was important for me as over the top special effects could have spoiled the low budget effectiveness of the film. I found myself being sucked in by the narrative, made clear to me by my growing hate of protagonist Micah and his constant, and ill-informed, taunting of the ghost/demon.

One thing I felt let down by was the ending which for me changed the tone of the film. The ending I saw originally was the general release version depicting (spoiler alert) Micah’s body being launched at the camera prior to Katie’s demon-esque face lunging for the camera. Watching the two alternate endings immediately following I was happy that the police ending was not used as this didn’t seem to fit the film but was disappointed that in my opinion the most affecting ending, showing Katie slit her own throat after an off-screen altercation with Micah, was overruled. It is clear that the reason this ending was omitted was to make the sequel (and it’s ending) a possibility which is disappointing as, after seeing the sequel, I feel this ending could still have been used and still consider it to be the most appropriate conclusion.

Testament to the success of Paranormal Activity it is said to have made $198 million worldwide which, based on production costs, makes it one of the most profitable movies ever produced. When this amount of  money has been generated a sequel is almost always inevitable.

You cannot run from this- it will follow you. It may lay dormant for years. Something may trigger it to become more active and it may over time reach out to communicate with you.

Paranormal Activity 2 has been top of the UK box office since it’s recent release and has received many positive reviews. I tweeted immediately after seeing the movie to say that, although their were a few scares to be had, I felt that the sequel struggled to build the same atmosphere as the original. This was always going to be difficult as Paranormal Activity, although not necessarily a new idea, seemed fresh on first viewing. The larger budget for the sequel shows in the quality, number, of cameras and the increase in special effects and shocks. Paranormal Activity 2 relies more upon these shocks and effects more than the atmosphere built in the original. More events occur in the daytime which means that the audience cannot feel safe in the light which is particularly efficacious. The main problem with the sequel is in the regurgitated occurrences from its predecessor. This gives a slightly derivative feature to the film which is unfortunate as with the bigger house, bigger family and bigger budget I feel that more, and more originality, was a possible achievement. That being said I still recommend seeing both films, particularly at this time of year. Try and see it in the cinema where it is most effective, if that is not possible it has to be at midnight with the lights out.

For better or worse discussions are ongoing regarding the potential of a third movie.

Official Site - http://www.paranormalmovie.com/

Witchfinder General

I am covering specific films for the month of October but following this I intend to delve deeper into genre, studio, movement and actor. For the moment the focus remains on horror so if you are not interested in all things scary then come back in November!

 Still Here? Good decision…

Filmsite.org offers the following definition

Horror Films are unsettling films designed to frighten and panic, cause dread and alarm, and to invoke our hidden worst fears, often in a terrifying, shocking finale, while captivating and entertaining us at the same time in a cathartic experience

Michael Reeves’ 1968 film Witchfinder General, starring horror icon Vincent Price, fit’s the above description to the letter. Witchfinder General does not rely upon gruesome images but instead a nihilistic atmosphere more horrific than any camp jaunt through another serial killer spree. 

 To offer a historical perspective within the constraints of this short blog would be to do the subject an extreme disservice. It is however difficult to underestimate the influence of Witchcraft, or at least those supposed of the dark acts, on this period of history. Anyone who has read the Malleus Maleficarum will testify to that.  Character General Oliver Cromwell offers the following

The year is 1645, England is in the grip of bloody Civil War. On the one side stand the Royalist party of King Charles, on the other, Cromwell's Parliamentary party: the Roundheads. The Structure of law and order has collapsed. Local Magistrates indulge their individual whims, justice and injustice are dispensed in more or less equal quantities, without opposition. An atmosphere in which the unscrupulous revel, and the likes of Matthew Hopkins take full advantage of the situation. In a time where the superstitions of country folk are still a powerful factor, Hopkins preys upon them, torturing and killing in a supposed drive to eliminate witchcraft from the country, and doing so with the full blessing of what law there is

Vincent Price plays the part of Matthew Hopkins of whom very little is actually known. A figure who appeared and disappeared from history with equal question. Price depicts the character straight, no hint of the camp apparent throughout some of his better known performances. It is Price’s portrayal that helps make the film so effective. Witchfinder General utilises its English setting perfectly and offers a form of torture porn so far removed from that offered by the more modern like of the Saw and Hostel series’.


Made for a very small budget, of under £100,000, Witchfinder General was largely censored on its release due to the sadistic nature of the content. Hopkins is effectively a con-man. He swindles money from the local magistrates for ridding their towns of the witches they didn’t know were threatening their citizens. It’s the root of all great professions, convince someone they need a service before offering your services to assist.

The ending of Witchfinder General is mentally difficult to comprehend in that we get exactly what we wanted, and what we expected, however we are not pleased by it. You should feel satisfied but instead it is that heightened nihilism that reigns.

My favourite review of Witchfinder General was offered by Alan Bennett in a column for The Listener who proclaimed this film to be

The most persistently sadistic and morally rotten film I have seen. It was a degrading experience…

Although probably not one for a Halloween all nighter I found Witchfinder General to be a deeply affecting movie, one which remains with you for some time after viewing. It is difficult to say exactly what stays with you but it feels somewhat like dirt that can’t be washed from your skin. The more recently released extended cut features an increased level of torture and, if you are going for the full experience, this is the one I recommend.

Men sometimes have strange motives for the things they do.

Circle of Fear

In the lead up to October 31st I am going into horror overdrive climaxing with a 3 day, 3 blog extravaganza to end the month and herald All Hallows Eve.

Horror has always been the genre that inspired the most passion in me. From an early age I was enticed by the characters, the sets, the narratives and also the feeling of watching a film marked for 18 and over. I couldn’t get enough of it, slasher, possession, psychological, it didn’t, and doesn’t matter. Things haven’t changed much in that regard. I find myself drawn to the classics of the genre and allow continual disappointment by offering the opportunity of my affection to new releases which rarely satisfy. Apart from the above it is difficult to state what it is exactly that keeps me coming back. When I think about the reasons that people often avoid the genre I find it is this that best explains the key elements for me.

I want to start this series of blogs with the now well known 1998 Japanese horror Ring. I was introduced to this film when it was screened shortly after its release on Channel 4 as the scariest movie of all time. One of the most effective manners to scare the masses is to take an everyday object or situation and have the horror omit from this. Ring selects the television and videotape which is extremely effective in its universal appeal due to its position as the focal point of millions of households throughout the world.

Ring is simply a ghost story centring on a mysterious videotape. What sets it apart from its peers is the atmosphere built around the inexplicable images and the deaths of the viewers within seven days of witness. The videotape itself is a surrealist collection of images, seemingly unrelated (initially), culminating in an extended long shot of an apparently innocuous water well.

Director Hideo Nakata centres on the efforts of Reiko Asakawa to find a break for the curse of the videotape which she establishes was involved in the deaths of her niece and many others. Uncovering a history of child abuse and with a heightening tension as the clock ticks towards the end of Asakawa’s seven days to live the sense of dread is achieved masterfully through the pace and sound of the film.

Or maybe it isn't our fear, maybe it's what we secretly hope is true.

Looking deeper into the films symbolism could lead you to deduce that the film also contains an element of technological backlash. If a device relied upon for entertainment is subverted to the extent that it becomes an instrument of death then horror is behold, manifest and lasting. The final scene of horrific content has become iconic in the years since the films release and Sadako’s emerging from the well and subsequently the television set is the one that stays with you long after the final credits. 

The influence of Ring has been huge in the horror genre since its release in 1998 and is clear in films such as The Eye (2002), A Tale of Two Sisters (2003) and Ju-On (2002) amongst other. The success and effectiveness of Ring led to a sequel, a prequel and both Korean/American remakes. Nothing matches the effective horror of the original.

Tattooed Teardrops

With a long established affection for the fashion, culture and music of the 1950’s I often approach films reminiscent of the period with a slight trepidation caused primarily by the term ‘retro’ which seems to trivialise, and for a short moment bring into fashion, the iconography of the decade. The 50s heralded the birth of teenage rebellion and rock n’ roll music. For the first time teenagers began to act, dress, dance and sing in a manner not approved by their elders. John Waters, who clearly shares my appreciation of this time in history tackles the subject in his 1990 ‘Square’ bashing Crybaby. 

What a sad vision of today's youth.

Crybaby tells the story of a gang of Drapes and their aversion to the authoritarian, and status-quo adhering, Squares. A pre super stardom Johnny Depp is Wade Walker, the central figure who shares

a nickname with the film title through his ability to shed a solitary tear on command. This ‘skill’ is strangely alluring for the teenage females who are driven to distraction by his longing vulnerability. Depp and his gang of misfits are the archetypal 50’s rebels; leather jackets, quiffs and motorbikes. The music is rock n’ roll pastiche which fits perfectly with the era portrayed. The film has it all, musical performances, comedy and pitch battles between youths (then called a rumble and infinitely more endearing than today’s gang fights).

Crybaby is essentially a love story, set in small town Baltimore, with undertones of Romeo & Juliet in the forbidden love of Walker and his girl Allison. Attempts to keep them apart fail miserably and Crybaby shares an extended embrace with Allison who has taken like a duck to water to the lifestyle of the Drape. Our main character Walker ends up in the clink for defending his turf and his woman where he decides the time is right to make his defining feature permanent with the refrain. This scene leads to my favourite musical piece in the film with the pleading ‘Please Mr. Jailor’.

I've been hurt all my life, but real tears wash away. This one's for Allison and I want it to last forever!

The film ends in the manner that all disagreements were addressed in the 1950’s; through a ‘chicken race’. Walker, issues resolved, ends in the arms of his beloved and we know that the world would be a better place if we all learned to accept others in the same way. Crybaby is often labelled a parody of teen musicals however, over the top acting and scripting aside, this is a film that is quite successful in provoking emotion as the story base is one so familiar. Later adapted into a (not hugely successful) stage musical, Crybaby has aged well and does not feel particularly dated. Depp is excellent as Wade Walker and Iggy Pop’s extended cameo is worth the price of admission alone. If like me you are not quite ready to let go of a sense of teenage rebellion then join me in living vicariously through the teary eyes of king Crybaby. Remember

Juvenile delinquents are everywhere.

Official Site - http://www.crybabydvd.com/

Where is the Horror? - Bubba Ho-Tep

Already a Bubba Ho-Tep (2002) convert I remember my happiness when the film was added to the all night Halloween horror night at the old Odeon cinema in Glasgow a few years back. About 40 minutes into the film a dear young lady decided that she would take film criticism into the realm of the playground and bellow “where is the horror”? It was apparent where the horror was… it was etched across my face! Did she not appreciate that we were witnessing the true story of what became of our heroes?  Anyway…

Directed by Don Coscarelli (of Phantasm fame), Bruce Campbell flawlessly depicts Elvis, or Sebastian Huff - the name of the man who swapped identities to become the King, bound to a nursing home in Texas suffering from various ailments and counting the time until he meets his maker (did God make Elvis or did Elvis make God???).

Ask not what your rest home can do for you. Ask what you can do for your rest home. 

Alongside Campbell is Ossie Davis as Jack, aka JFK, one problem… his skin colour. We remember JFK as the great white hope huh? Well as the victim of a conspiracy he has been the victim of a skin dying. These two characters form the most (un)likely of tag-teams to take on the might of an ancient Egyptian mummy who has been terrorising their fellow patients. Not for the first time in history it falls to the hands of JFK and Elvis to save the world (of the Shady Rest Convalescence Centre in Mud Creek). The price of failure..? The removal of ones soul from a lower orifice. What is worth fighting for more than your soul?

Some of the highlights include the exchanges between Huff and his long suffering carer, the battle between our protagonists and a huge cockroach, and the sense of purpose you share with Jack and Sebastian as they feel reason again, something missing from their lives for some time. Huff asks the question we would all ask Jack Kennedy given the opportunity which leads to the exchange

Elvis: Come on, Marilyn Monroe? How was she in the sack?
JFK: That is classified information! Top Secret! But between you and me... Wow!

As stated before Campbell is excellent as Elvis; he gets the look, the accent and the mannerisms perfect. My favourite depiction of the King. He longs for the fame he willingly gave up but also reminisces for contact with his family. We can accept the ending because we get the feeling early on that both characters would happily give up there current existence for one more shot at the big time. One more opportunity to prove their worth. 

The film is actually a moving depiction of loss, regret and friendship which is given true quality through the depictions offered by the two main performers. Do we believe the two old men’s stories about their identity, think about it, it really does not matter. The film works on both levels. I can’t recommend this enough but I won’t hide the scorn on my face if you return to ask me “where is the horror”?

Don't make me use my stuff on ya, baby!

Go here to play Stab the Scarab and view the trailer 
http://www.bubbahotep.com/