Three Films Make A Post: Satan Has Returned For Her!

The Devil’s Daughter (1973): I’m not usually in a mind to enjoy movies for their camp factor, but Jeannot Szwarc’s unofficial, “twenty-five years later” TV move sequel to Rosemary’s Baby has some moments in this regard that make it very, very difficult to stick to my guns there. I blame the combination of delicious scenery chewing by Shelley Winters and – of all people – Abe Vigoda as middle-aged Satanists with the glorious words of “Hail Diana, Princess of Darkness” and the very sensible looking orgy full of old people, as well as the hysterically melodramatic tone in which the tiniest little problems are presented. Also of note is an incredible final shot of Joseph Cotton as the Big Demon Daddy himself.

The Brasher Doubloon (1947): This John Brahm adaptation of a Philip Marlowe story by Chandler is not generally canonized as one of the great ones, but it is a rather delightful hard boiled detective tale, with the mandatory extremely convoluted plot and central mystery, and many a scene of our hero coping with the very peculiar people he encounters. Unlike in many other Chandler adaptations, there’s a certain sardonic humour to the film’s sense of the grotesque; it also features a romance – between Marlowe and a character played by Merle Davis – that permanently wavers between what we’d read as “problematic” today and something quite interesting and original. I could take or leave George Montgomery as Marlowe, but he certainly has his own idea of how the detective works; that it’s not always an idea I share isn’t his fault, and doesn’t negate his performance.

Cha Cha Real Smooth (2022): On one hand, I understand the general praise this Apple TV original wavering between comedy and coming of age drama has acquired. Writer/director/lead actor Cooper Raiff certainly knows what he’s doing in all three of his roles, presenting surprisingly complicated ideas in a very slick and entertaining way while also subverting some of the tropes of the romantic comedy (and his audience’s knowledge of them) in a controlled manner. Plus, Dakota Johnson again proves that she’s rather woefully underpraised by most critics.

On the other hand, I despair at a world where young filmmakers don’t make blistering paeans to Big Romantic Love anymore, but argue for bourgeois domestication as the one and only way to properly grow up; hell, I’m not happy with a world where young filmmakers believe properly growing up is a good thing. These kids really should leave that particular kind of nonsense to their elders.

Three Films Make A Post: Descend into Fear

Black Water: Abyss (2020): Two couples plus one go on a caving expedition and find themselves stranded thanks to a shock flood, as well as threatened by a very hungry large crocodile. Survivalist standards and soap operatic character stuff ensue. Andrew Traucki’s belated not-really sequel to his decent 2007 evil crocodile movie Black Water is an okay enough film, if you’re in the market for decently – the film’s no The Descent that’s for sure - realized caving horror with a hungry animal. If the filmmaking were sharper, some of the shots wouldn’t suggest that it’s mostly dark down there because it’s cheaper to shoot, and the character stuff were a bit less annoyingly superficial, this would probably even be worth an actual recommendation. As it stands, you might as well go and watch one of the better survivalist animal horror films out there.

The High Note (2020): On the other hand, when it comes to feel good movies about the music biz with a romance plot and some genuinely thoughtful scenes on how race can play into the question of commercialism versus art, and a ridiculously happy ending, you can do much worse than Nisha Ganatra’s The High Note. Plus, unlike quite a few films about music and musicians I’ve seen in the last year or so, I have the impression that someone involved actually likes and gets music (even in its most commodified forms).

Also recommended for an expectedly nice performance by Dakota Johnson (who apparently can do no wrong for me after her incredible work in Suspiria), Tracee Ellis Ross giving a character that could be a cliché life, Ice Cube doing a really fun cliché manager, and a late and lovely side turn by Bill Pullman.

Keeper of Darkness aka 陀地驅魔人 (2015): Doing a bit of the very Hong Kong genre mixture of horror, ghost romance, melodrama and comedy, Nick Cheung Ka-Fai’s (who is also his own star), film is not always successful in every genre it tackles – especially some of the comedy is pretty risible and badly timed – but has an – I assume purposeful – air of a bit of a dirge for this kind of HK film, films wilder, less slick and more alive than what the rules of mainland China cinema seem to allow right now, interesting even when they are not exactly good.


This melancholic undertone works very well with the human/ghost romance (while not as much with the human/human romance) too, the film’s subtext making the somewhat kitschy text it has little to do with otherwise rather more impactful than it should be.

Some Thoughts On Suspiria (2018)

Now finally having seen it, I am a bit confused by the lukewarm critical reception Luca Guadagnino’s “remake” (really, it’s a film that uses some motives and character names and does its very own thing with them) of one of Dario Argento’s masterpieces got. Sure, the “this isn’t real horror” brigade, I can understand, even if I disagree, but the other critical main tenor about this being “self-indulgent” and difficult to understand? Nope. Although the film’s two and a half hour running time isn’t for the faint of heart. And for the kind of viewer that can’t cope with films eschewing irony and winking self-consciousness, a film taking itself and what it is doing quite as seriously as this one does even though a lot of what it is doing is inherently strange will not be the thing they’ll be able to appreciate. So, now that I think about it, I indeed do understand the reception, I just don’t share it.

The thing is, this view of Suspiria feels so alien a reaction to the absolutely riveting, aesthetically thoughtful and intelligent, and thematically rich film I’ve seen, I find myself shaking my head a little. This isn’t really an attempt of a deep dive into the film at hand at all, for I believe this one’s really better off seen without too many preconceptions and a willingness to go where it leads.

So, let me just gush a little about some things I loved about the film. There is, for one, Dakota Johnson’s intense, physical performance at the film’s human core that finds ways to express states of mind and personality and intensity through body language even in a film as heavily stylized and aestheticized as this one; she also keeps up with Tilda Swinton in wonderful form, without ever letting any strain show. Speaking of Swinton, in one of the film’s seemingly more eccentric decisions, she is playing – one under heavy make-up – both parts of the film’s inimical witch cult leaders, as well as pseudonymously that of grieving old psychiatrist Klemperer. I say seemingly because on the film’s metaphorical and occult level, a single actress portraying the three poles of the film’s thematic discussion concerning guilt, innocence, the kind of dances you can dance after Auschwitz (to paraphrase Adorno now surely rotating in his grave), and change and the manner in which to achieve it, is actually a brilliant decision.

Also rather brilliant is Guadagnino’s handling of the film’s setting in Berlin, 1977, which at first seems like a gimmick but quickly turns out to be deeply important for the concerns I just mentioned. Guadagnino quite correctly understands divided Berlin and West Germany in this stage of RAF terrorism as still lying under the shadow of Nazism, the political state of the times still a consequence of World War II. In fact, the division in the film’s coven and what is happening in the Berlin surrounding it are very much coming from the same place, still working through the same things, which to me is a huge part of the film’s point.

All of this and quite a few things more concerning female awakening in sexual, political and spiritual ways the film expresses through an often brilliant visual language that, when taking place outside of the dance academy has a wonderful grip on how to present a time and place in telling detail without overindulging in said detail, and when taking place inside uses crosscuts, gliding camera work and moments of sudden surrealism to create a nightmare mirror of the outside world. It is, and I suspect very much on purpose, a bit of an as above, so below approach to speaking of the world, though I leave it to any given viewer to decide what here is above and what below.


And if that sounds like the sort of thing that will float your boat, you owe it to yourself to run, not walk, and watch Suspiria.