31 Days of Horror: Halloween (2007)

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John Carpenter’s original Halloween (1978) didn’t invent the slasher genre. It has its roots in the Italian Giallo and films like Black Christmas (1974) came out earlier and contain all the elements of the genre. But Halloween really set the template for what slavers would become, and its immense popularity meant that it would be copied over and over again throughout the next decade.

It remains the greatest slasher ever made and is a truly great horror film. Much of this comes down to Carpenter’s economic direction. In just over 90 minutes he tells a complete story without an ounce of fat. It isn’t that the film is nonstop thrills either. There is a lot of exposition, we spend a lot of time just hanging out with the characters. But Carpenter makes them count. He lets us get to know the characters, especially Laurie Strode (Jamie Lee Curtis in a career-defining role), which allows us to actually care for them when the horror comes.

As Doctor Loomis (a wonderful Donald Pleasence) constantly lets us know Michael Myers is evil personified. The film doesn’t provide a back story. We don’t learn anything about who he is or why he kills. We don’t need to know.

Rob Zombie’s 2007 remake of Halloween is a terrible film. It takes all that makes Carpenter’s film great and chucks it out the window, then stomps on it with its dirty boots.

A good half of the film is filling in Michael Myers’s back story (played by Daeg Faerch as a ten-year-old boy and Tyler Mane as an adult). His mom is a stripper, her boyfriend is an alcoholic, abusive cripple. He’s bullied at school. Etc., etc., and so forth. It is all basic, boilerplate reasons for becoming a psychopath.

Here he doesn’t just kill his older sister as a child, but his entire family (excluding his baby sister, of course). We then spend a bunch of time with him at the mental institution where Doctor Loomis (Malcolm McDowell) tries to cure him. Or at least show him some kindness. Or at least talk to him. His mom visits every week, but Michael shrinks back into himself. He stops talking but continues to make little paper masks to put over his face and hide his true self from the world.

None of this is very interesting and it is all superfluous. Again, we don’t need to know why Michael Myers is a killer. Trying to give him human reasons for being who he is takes away the horror of who he was in the original.

When we finally arrive at Halloween night in the present (where the original film spends most of its time) I’d stop being interested in what this film was trying to do. Unfortunately, I had to keep watching for another hour.

Scout Taylor-Compton plays Lauri Strode in this version and all apologies to the actress, but she is not good. Jamie Lee Curtis portrayed the character as kind and good (it literally began the trope that the Final Girl in these films would be virtuous and a virgin), but also tough, a fighter. She’s innocent, but not naive or weak. Taylor-Compton turns her into a mostly whiny brat. Her girlfriends are even more obnoxious.

In the original, the teens do a bit of drinking and sexing, but Carpenter’s camera never leers at them. Zombie’s camera is nothing but leers. It lingers on the sex scenes, is zooms in on the nudity. There is a rape scene early on in the asylum that is as gross as it is gratuitous. The violence is more visceral as well, and not in a good way. I love horror movies and I’ve seen more than my fair share of gore and gratuitous sex. Maybe I’m just getting older, but so much of this film just felt like way too much.

I first watched this film in 2008 while living in Shanghai, China. In those days you could buy bootleg DVDs super cheap. There were literally guys on the street corners with boxes full of them. As soon as a film came out in the States we would get flooded with copies (usually cam copies where folks literally filmed the movie inside the theater). Sometimes we’d get weird cuts of films. After watching Halloween over there I was looking up reviews and realized I had seen a different cut than everyone else.

Apparently, there are three different versions of the film. There is a theatrical cut, a director’s cut, and an original version that was sent to test audiences. That last version didn’t do very well so they added some scenes and cut some things out. At a guess, I’d say what I originally saw was that first version. But I really don’t remember.

I believe what I watched tonight was the Director’s Cut. Whatever I watched, it was bad. Really bad. Just terrible actually.

I only watched it because the only film in the entire franchise I’ve never seen is the sequel to this. I was hoping to watch it on Halloween night. I guess I still will, but now I’m not looking forward to it.

The Friday Night Horror Movie: The Wicker Man (1973)

The Wicker Man

A very conservative and deeply Christian police Sergeant receives a letter stating that a young girl has gone missing from a small, remote island off the coast of Scotland. He travels there by himself and discovers a strange pagan community where the children are taught about the phallic symbolization of the May Pole, where teenagers dance naked around a fire, and adults openly fornicate in a park in the evening.

The Sergeant, Neil Howie (Edward Woodward) is utterly shocked by all of this, but he’s a dutiful police officer and stays until he gets to the bottom of things. Not only are the villagers engaged in a litany of sins, but they are utterly unhelpful to his investigation. At first, they claim they have never seen the girl in their lives, but then it changes to how she was on the island but died tragically, and then…well it is best not to spoil things.

The Wicker Man has become a cult favorite and one of the premier films in the subgenre known as Folk Horror. It is also a truly strange little film. It is almost a musical as the villagers often break into goofy little folk songs and dance about (often naked). There is a very real sense of dread flooding the film. The camera is often tilted at odd angles making everything just slightly off. The villagers are ever so strange and are led by Lord Summerisle (Christopher Lee is one of his most interesting performances) who seems to take glee in making the Police Sergeant feel out of sorts.

There is a scene in which a woman puts a frog inside a child’s mouth to help her with a sore throat. A shop owner has a bottle full of foreskins. Britt Ekland plays the pretty daughter of the pub proprietor and at one point she sings a silly song whilst dancing in her room stark naked as an attempt to seduce the Sergeant. She beats wildly on his wall while he, soaked in sweat attempts to resist.

It is all a bit off-putting at first, but if you can roll with what it’s doing it is a rollicking good time. Not at all scary in the traditional sense, but it creates a wonderful sort of mood.

Connections

I’ve always loved the idea of sharing shows with some connection to each other. An obvious and easy connection are shows within the same time period – a year, or a tour, or a run of shows at the same venue. But I really love trying to find slightly more obscure, or at least different connections.

Mainly I get bored throwing up random shows and I like to find ways to make this blog interesting (at least to me anyway).

Trouble is all of that takes time and a little research.

I have a terrible memory. Unlike some folks in this hobby, I don’t have an immediate recollection of who played bass guitar for Bob Dylan in the fall of 1982. I don’t even know if he played a show in the fall of 1982. I don’t know what Neil Young was doing in the spring of 2001, or if Van Morrison was at the top of his game (or the bottom of it) in 1994.

I’m probably most knowledgeable with the Grateful Dead and even then I can only speak in generalities. I know about the tour of Europe in 1972 and the Wall of Sound in 1973 but I can’t tell you which shows are best.

That’s just the way my dumb brain works (or rather how it doesn’t work.) That means I have to do a little thinking and a little research to find some connective tissue for shows I might want to post. Then I have to actually try to find recordings of those shows.

All of this takes time which is why I’ve talked about this idea fairly often, but very rarely actually done anything about it.

I’ve been feeling antsy lately so I thought I’d give this a go. Obviously, I did Bob Dylan’s Fastbreak Tour yesterday. I’m working on a short tour Jerry Garcia did in 1994 right now.

I’d definitely love to hear any of your suggestions. It can be a time period or a bunch of shows from throughout an artist’s career at the same venue, or anything really. I’m just trying to mix it up a bit.

Lorna the Exorcist (1974)

lorna the exorcist bluray

Sorry for the lack of posts over the last couple of days. I had a really lousy weekend and that bled into Monday. And then I got some really great news Monday night. I’m still trying to wrap my head around it all.

I took a break from writing my 31 Days of Horror reviews because of this and now I’ve got to get back into that groove. Noirvember is coming soon and I do want to write a lot about it.

I also decided to change things up a bit with my bootleg posting. I’m not sure how long it will last, but I’m hoping to do something slightly different that will also be fun, but will also mean maybe I don’t post every day. But we’ll see how it goes. I may go right back to my old ways after a week or two.

Anyway, I wrote a review of this weird little horror film for Cinema Sentries and you can read it here.

31 Days of Horror: Castle of Blood (1964)

castle of blood

Alan Foster (Georges Rivière), a journalist meets Edgar Alan Poe (Silvano Tranquilli) at a pub. In the film’s reality, Poe is not a writer of fictions, but a documentarian of actual supernatural occurrences. He tells Foster this, but the journalist is a skeptic. Poe makes him a bet that he cannot spend the night in a haunted castle. Foster agrees.

Once there he is accosted by the usual haunted house trappings – spooky noises, candles getting blown out, strange sounds, and paintings that seem to stare back at him.

Then the ghosts come.

Luckily two out of the three ghosts are beautiful women (Barbara Steele and Margarete Robsahm), the other is a handsome, musclebound man. They were each murdered on the premises sometime in the past and now, once a year they must take the soul of a living human in order to remain in existence.

Ah, but Barbara Steele’s character falls in love with our hero and decides to help him survive the night, even though that will mean her own destruction.

Castle of Blood is pretty light on plot, but oh is it heavy on atmosphere. The camera investigates and lingers on every gothic inch of the castle. It is cobweb-filled, shadow-dense, and incredibly creepy. It longingly gazes at Barbara Steele who has a face custom-built for films like this. She is both incredibly beautiful and eerily terrifying.

This is the type of horror film my squeamish wife can watch with me. It is exactly the type of film I love.

31 Days of Horror: Murders in the Zoo (1931)

murders in the zoo

Here’s another Pre-Code film that couldn’t have been made just a few years later. Murders in the Zoo is an astonishingly violent film for its time, I’m rather surprised it got a full release even if it was made before the Production Code was in full effect.

It begins with a man getting his mouth sewed closed (and as you can see the film delightfully gives us that image) because he dared kiss another man’s wife. Several other people are murdered by snake bite and one woman is tossed into an alligator pit where she’s ripped to shreds.

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Obviously, there isn’t a lot of gore in this film made some 90 years ago, the blood and guts are decidedly off-screen, but that’s still a lot of violent deaths for such an early Hollywood film.

Lionel Atwill is Eric Gorman, our murdering psychopath. He’s a big game hunter and zoo owner who is insanely jealous of his wife Jerry (Gail Patrick). Admittedly, she regularly seems to have affairs and wants to divorce him, but that doesn’t quite call for brutally murdering everybody who looks longingly in her general direction.

Randolph Scott is the doctor who comes up with an antidote for the snake venom (something that will come in handy when he gets bit). Oh, the snake is a super poisonous mamba. Gorman brings one back from Africa and uses it to kill a couple of his wife’s suitors.

Charlie Ruggles is Peter Yates a newly hired press agent who is scared silly of pretty much all the animals in the zoo. He’s ostensibly our hero and very much the comic relief.

The story is mostly silly, and the comedy mostly didn’t work for me, but it gets good use out of its animals. There are big cats, and alligators, and snakes, and the film gets its money’s worth out of them.

What really makes the film worth watching is just how much they got away with. I’m not a big fan of acting like modern audiences are more sophisticated, or intelligent, or even less prudish than audiences from times before. There were intelligent, sophisticated people 90 years ago. They understood violence. The papers were full of it. And yet, the violence on screen in this film does seem shocking. That opening scene where the guy gets his eyes sewn shut is wild. You know it is happening off-screen and watching it I sat there wondering if they would actually show it, thinking there was no way we’d get something like that in a film from 1933.

And then he came out, eyes shown shut.

That’s one of the many reasons I love Pre-Code cinema.

Barbie is the Pick of the Week

barbie

My wife is obsessed with dolls. It began with our daughter when she was young. We’d buy her baby dolls, Monster High Dolls, My Little Pony Dolls, etc. and so forth, and yes we bought her lots of Barbie dolls. My wife always enjoyed playing dolls with our daughter (whereas I always tended to make them fight each other) and the obsession grew out of that.

My wife also enjoys sewing. She used to sew for herself and then when our daughter was born she’s make all sorts of cute dresses for her. But my daughter no longer likes dresses. She’s more of a cargo pants and sweatshirt girl these days. So, the wife started sewing for the dolls. At first, it was just a few dresses for fun and then it turned into something else.

She makes all sorts of amazing outfits for the Barbie dolls, then poses them and takes some really cool photos. She got herself an Instagram account and posts the best ones there. Apparently, there is a whole doll world on Instagram (called Dollstagram naturally) where fans create stories, and swap ideas and whatnot. It is all beyond me, but she loves it and I think that is awesome.

Naturally, we went to see the Barbie movie in the theaters. I gotta admit, I really enjoyed it. The film is clever and funny and it has something to say beyond “you should buy more dolls.” Some of its messaging is a little on the nose and that monologue everyone is talking about felt a little too preachy to my ears (though admittedly it is all true), but mostly it is quite good.

It came out on Blu-ray today in a variety of formats and versions and it is absolutely my Pick of the Week.

Also, out this week that looks interesting:

The Last Voyage of the Demeter: Bram Stoker’s Dracula has been adapted, remade, and reimaged a million times. What this film does is it takes one tiny part of the story (Dracula’s voyage from Carpathia to England) and makes an entire movie of it. Results are mixed.

Haunted Mansion: A Disneyland ride is turned into a kid-friendly, star-studded, and somewhat enjoyable movie.

Todd Browning’s Sideshow Shockers: The Criterion Channel is releasing three early films from Dracula (1931) director Tood Browning. The films are The Mystic (1925), The Unknown (1927), and Freaks (1932). I’ve only seen Freaks but it’s terrific.

The Way We Were (50th Anniversary Edition): Robert Redford and Barbara Streisand star in this Sydney Pollack-directed drama about two people in love who are driven apart by their political convictions.

The Walking Dead Complete Collection: This show should have been right up my alley. I love zombies. I’ve read (some of) the comics. I enjoyed the first season but found the second one a dreadful bore and couldn’t make it through the first half of the third season. I’m surprised it was so successful and launched so many spin-offs. Obviously, some folks love it and now you can have the entire series.

The Desperate Hours: Humphrey Bogart stars in this terrific crime flick as a desperate convict on the lam who hides out inside a house owned by Frederic March.

The Wicker Man: Best Buy recently announced that they will no longer be selling movies of any sort in their stores or online. With this package, they are going out with a bang. This classic horror film is being exclusively sold by Best Buy in a new 4K edition chocked full of extras.

31 Days of Horror: Murder Rock: Dancing Death (1984)

murder rock

Lucio Fulci is often called The Godfather of Gore, and it is true, he did make a lot of horror films with copious amounts of violence, buckets of blood, and tons of gore. But he worked in many other genres throughout his long career including westerns, sword and sandal epics, and even comedy. What one would not expect from him is a musical, which is exactly (well, more or less) what he made with Murder Rock: Dancing Death.

It isn’t technically a musical since the characters don’t actually sing, but there is a lot of music (which was written by Keith Emerson) and a whole lot of dancing. But it is really a horror movie. Actually, it is the best-looking Giallo Fulci ever made.

It takes place at a New York City dance studio where one by one the female dancers are being stabbed through the heart with a long, needle-like hairpin by a black gloved killed. The studio is so hardcore that after the first girl is killed, the instructor basically tells the other dancers to stop whining and get back to work.

Meanwhile, Candice (Olga Karlatos) begins having dreams of being murdered by a man she’s never seen before. When she sees the dream man’s face on a billboard she tracks him down only to discover he’s a disheveled drunk. Instead of shrugging it off or running away in terror, she decides to sleep with him.

The film is filled with red herrings and a cop (Cosimo Cinieri) who is both lackadaisical about the whole thing and rather sadistic. It is all a bit complicated and rather silly, but I really kind of loved it. I mean most Giallos are complicated and silly, but this one pushes it to the edge and then some.

But it is stunningly gorgeous to look at. Fulci and his cinematographer have lit the heck out of it and filled it with beautiful, colorful images. The music and dancing give it an unusual energy and it’s just a lot of fun to watch.