VAULTCAST: Conversations in the Dark... w/Christine Hadden

I'm thrilled about this week's edition of Conversations in the Dark, because Italian horror is one of my favorite topics to discuss. And if there's anyone whose name is synonymous with Italian horror, it would be Dario Argento. Suspiria is one of my all-time favorite horror films, and Argento's signature style in other movies like Deep Red and Tenebrae have long fascinated me.

So of course, I had to bring in one of my favorite Argento fanatics, Ms. Christine Hadden of Fascination with Fear. Christine is more well-versed in Argento than myself--and so, seeking, as always, to make myself look good by surrounding myself with talented individuals, I invited Christine to join me this week. By listening in on the embedded player below, you can hear us wistfully sing the praises of Italy's ambassador of terror, as well as veer into Hitchcock, Deodato and all points in between.

You can also proceed directly to the official Vaultcast page and download the audio!



Fascination with Fear: http://fascinationwithfear.blogspot.com/
Twitter: http://twitter.com/slewfan77
Blood Sprayer: http://www.bloodsprayer.com/author/christine/

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The Lucky 13: Week Three: Demons, Witches & The Devil

The Lucky 13 is back at you for week number three--an unflinching journey into the occult! That's right, we're turning our attention to horror's satanic manifestations this time around, and choosing our favorite flicks pertaining to all things demonic. As always, this little undertaking is happening in conjunction with Brutal as Hell, and what's interesting this week is that all three selections here mirror selections made by members of the BAH crew--apparently there's a bit more agreement around here than usual, perish the thought!

Anyway, deviltry comprises horror's most tried and true sub-genre, going all the way back to the very first horror movie, Georges Melies' 1896 short film Le Manoir du Diable. Lots of hellish nightmares to choose from, so let's jump right in! (And P.S. how did no one on either site choose The Exorcist...???)

B-Sol on Suspiria

Suspiria is Argento at the very height of his powers. It's definitely the closest he comes to being the Italian Alfred Hitchcock, which I've always felt was his goal. The levels of genuine suspense, the ebb and flow of tension that he is able to create here is truly staggering. It really is all about the sensory feast Argento and his crew have cooked up for us. Luciano Tovoli offers up some truly sumptuous cinematography that epitomizes Argento's philosophy that horror can actually be beautiful. The lighting is intriguing throughout, with some truly breathtaking use of color--red being the theme, of course.

This is a rich, textured film, and I find I take away something new from it every time I watch it. I enjoyed it from the very first time I saw it, about 12 years ago, but I don't think I fully appreciated it until I started re-watching it. There's just so much being thrown at you, that I think first-time viewers can be a bit overwhelmed by it all. But this film is like a fine wine that ages wonderfully, and provides greater and greater pleasure over time.

It's also a perfect example of technique over content. It's a true filmmaker's film. While the script and acting are all adequate, that's not what keeps me coming back to this film over and over. Rather, it's Argento's enthralling style, the deft manner in which he crafted this gorgeous, gorgeous film. In addition to being a filmmaker's film, Suspiria is also a horror fanatic's horror film. It might not be the best to show someone who's only a casual fright flick fan, but for those more discriminating lovers of the cinematic macabre, Suspiria remains a titan of the genre. As a horror film, it is all but perfect.



From Beyond Depraved's Joe Monster on The Ninth Gate

The Ninth Gate is a film, in my opinion, that seemed to have gone under the horror radar back in 1999. I hardly ever bump into any genre fan who admits that they like it or have even seen it. This upsets me a bit. In a way I can understand; it is helmed by the same director who gave us Rosemary’s Baby, another more popular take on Satan’s rising. The Ninth Gate is a really fantastic film in its own right, though. It is cloaked in a palpable sense of mystery and foreboding that effects me every time I watch it. Roman Polanski’s mastery behind the camera creates one of the most engaging and disorienting pieces of cinema dealing with Evil incarnate.

Book detective Dean Corso (Johnny Depp) has been hired by the brooding Boris Balkan (Frank Langella) to authenticate his copy of The Nine Gates of the Kingdom of Shadows, a forbidden tome that is reputed to conjure up Lucifer himself. Corso must travel across the globe to compare Balkan’s volume with the only other two in existence. But as he investigates further into the cryptic engravings that adorn the book, Corso finds himself being followed not only by a mysterious Girl (Emmanuelle Seigner) but also a cult of devil worshipers and a killer who is intent on claiming the engravings to bring about the Dark Lord’s arrival.

Although erroneously marketed as an action-packed film in the vein of End of Days, The Ninth Gate very well could have been made in the '40s as one of Val Lewton’s psychological shockers. The film exposes the monsters present in the human soul while taking place in a world populated by looming shadows and the glowing eyes of watchers unseen. There are little visual nuances and clues that adorn the proceedings, much like the pictures of the diabolical book’s pages.

One of the enjoyable aspects of this movie is noticing things that have gone unseen in previous viewings. People are seen out of the corner of the eye, occult images are hidden in the background, and the overwhelming sense of ominous events to come never leaves. It’s a film that gets under your skin and makes you feel uneasy in the best possible way. We can’t help but feel that the Devil is center stage the entire time, slinking in the shadows of a hallway or heard between the whispers of a book’s turning pages.

The performances only enhance the atmosphere of the film. Corso is reminiscent of the antiquarian heroes of Lovecraft’s stories, albeit a more cynical, greedy and self-absorbed variant of H. P.’s protagonists. Langella simply oozes presence as the film’s main villain, and his deep voice is enough to make you realize that this guy is serious when he’s speaking. Rounding out the leading players, Seigner is both mysterious and infuriating as the girl Corso calls Green Eyes. The writing and Seigner’s elusive performance combine to confuse the viewer, constantly making you unsure of her motives and perplexed as to her unexplained protection of Corso.

The Ninth Gate is a fascinating puzzle, one that may leave the viewer with more questions than answers. Figuring everything out is half the fun. The question is, though: are you brave enough? Dare you seek the Devil out? The film is a descent into darkness, an exhilarating journey where your very soul may be on the line. I think it’s worth the trip.



Cinema Suicide's Bryan White on Prince of Darkness

Before I'm through, I'll probably have cited several John Carpenter flicks as my favorites. He is head and shoulders above the rest as my favorite director, and Escape From New York tops the list of my favorite movies. Carpenter started to slip after Big Trouble In Little China, but before the decade was up, he would kick out a couple more sweet flicks before everything went black: They Live and Prince of freakin' Darkness.

A scientific research team is summoned by the clergy of a burned-out old Los Angeles church to investigate the church's dark secret, a vat containing a constantly swirling liquid which is said to be the physical manifestation of Satan. The team finds out the hard way that it is, indeed the devil, but rather than being a malevolent personality in the form of beast or man, Satan is a primal force whose energy and matter has a corrupting influence over everyone around it. Its ultimate goal, however, is to bring an even bigger, more powerful and evil force trapped in another dimension into ours.

I'll be straight with you. Prince of Darkness doesn't make a lot of sense, but it has a lot of great ideas that play nicely together. It stars a couple of Carpenter favorites, Victor Wong and Donald Pleasance, and graces us with a cameo from horror rocker supreme, Alice Cooper. The movie is also creepy as all get-out. It marked a strange period for Carpenter when he was given especially small budgets to make movies, but with those budgets came complete creative control.

What you got was hare-brained goodness, and a love letter from Carpenter to another demonic favorite of mine, Quatermass and the Pit (aka 5 Million Years To Earth). The plots, though taking place in different settings and under different circumstances have a lot in common, namely the wicked discovery of an ancient, lost artifact that exhibits a corrupting influence upon everyone who comes into contact with it and the only thing capable of stopping it is SCIENCE! The script, by Carpenter, is actually credited to one of his many name-dropping pen names, in this case, Martin Quatermass. The researchers also hail from Kneale University, so-named for the writer of the Quatermass series, Nigel Kneale, who also wrote Halloween III.



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Head over to Brutal as Hell to see what Marc Patterson and his crew have come up with. And if you're interested in taking part in the future, just give Marc or myself a holler.

Week 1: Grindhouse & Exploitation
Week 2: Creature Features & Monster Movies

Join us next week, when it'll be all about the red stuff. That's right, time for gore movies!

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Retro Review: Suspiria

Apparently, I'm in some kind of an Italian horror mood, as can be evidenced by the Catriona MacColl edition of Woman of the Week I contributed to Day of the Woman earlier today. Now, I'm continuing that theme with a special look at a movie which I strongly feel is one of the absolute modern masterpieces of the genre, Dario Argento's shining jewel, Suspiria (1977).

Argento can be a frustratingly erratic director, but generally speaking, he is one of the modern masters, and Suspiria is Argento at the very height of his powers. It's definitely the closest he comes to being the Italian Alfred Hitchcock, which I've always felt was his goal. The levels of genuine suspense, the ebb and flow of tension that he is able to create here is truly staggering.

Based loosely on Thomas de Quincey's 19th century novel Suspiria de Profundis, the movie tells the story of an innocent new student at a ballet academy who makes the terrifying discover that the school is merely a front for a bizarre coven of witches. But you know what? I'm tempted not to say it, since it sounds like a knock, but Suspiria is the kind of a movie where the plot points are somewhat irrelevant.

In fact, this is a property of many of the best Italian horrors. And in the case of Suspiria, it really is all about the sensory feast Argento and his crew have cooked up for us. Luciano Tovoli, who in later years would shoot such American films as Reversal of Fortune, Single White Female, and Kiss of Death, offers up some truly sumptuous cinematography that epitomizes Argento's philosophy that horror can actually be beautiful. The lighting is intriguing throughout, with some truly breathtaking use of color--red being the theme, of course.

There are shots in this film, for example much of those making up the stunning opening murder sequence, that really should be studied by film students everywhere. I'd say it's the kind of movie you could totally watch and enjoy with the sound off, but then you'd be missing out on another major reason the movie works so well--the insistent, profound and off-putting score by Italian progressive rock band Goblin. Their music washes over the film, bathing it in atmosphere.

This is a rich, textured film, and I find I take away something new from it every time I watch it. I enjoyed it from the very first time I saw it, about 12 years ago, but I don't think I fully appreciated it until I started rewatching it. There's just so much being thrown at you, that I think first-time viewers can be a bit overwhelmed by it all. But this film is like a fine wine that ages wonderfully, and provides greater and greater pleasure over time.

In addition to that classic opening sequence, with its unforgettable heart stabbing, there are so many moments that stay with me. The strongest one for me has always been the sequence involving the one unfortunate student who flees frantically from her pursuer, only to find herself plunged into a room filled with razor wire. This is among the most memorable scenes I have witnessed in any horror movie, and I find myself referencing it often. A truly nightmarish scenario brought brilliantly to life by Argento, Tovoli, and Argento's favorite editor, Franco Fraticelli.

Some point to the surrealistically bright red blood employed by special effects director Germano Natali as a negative, but I think those who grasp what Argento is doing know that realism is never what he's going for. The blood itself is beautiful in a strange way, adding to the aesthetically appealing brutality that is Argento's stock-in-trade.

For as much as I love Lucio Fulci, and as underrated as he was in his ability to create a mood, nothing he ever did rivaled the masterful work accomplished here by Dario Argento. As horror films go, Suspiria is an absolute gem, and a true pleasure to watch, in a way that few horror movies are.

Suspiria is also a perfect example of technique over content. It's a true filmmaker's film. While the script and acting arer all adequate, that's not what keeps me coming back to this film over and over. Rather, it's Argento's enthralling style, the deft manner in which he crafted this gorgeous, gorgeous film. Some may say it's a self-conscious style, but I eat up with a spoon every time. I never find it overbearing or pretentious--rather, I only wish all of Argento's work could live up to the quality of this picture. Although I also love films of his like Deep Red and Tenebre, there is only one Suspiria...

In addition to being a filmmaker's film, Suspiria is also a horror fanatic's horror film. It might not be the best to show someone who's only a casual fright flick fan, but for those more discriminating lovers of the cinematic macabre, Suspiria remains a titan of the genre. As a horror film, it is all but perfect.

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Suspiria Remake May Not Suck

I've sometimes been criticized for being overly optimistic when it comes to movies, but something I read today about the impending remake of Dario Argento's Suspiria (yes, it's happening) has me in a hopeful mood. Or, it could just be the Effexor.

Anyways, ShockTillYouDrop managed to corner the remake's director David Gordon Green at Comic-Con today, and what he had to say makes it sound like maybe, just maybe, we can expect a little more out of the new Suspiria than, say, the myriad soulless reboots currently being spit out by Michael Bay's Platinum Dunes company:

"The script is finished. We're out trying to find the right supportive financial institution who wants to take a risk and make a really bold, distinctive and unique horror film. It's not the obvious... it doesn't slip naturally into the niche market of contemporary horror movies. It's something that I think has the potential to be classic and a lot more artistically-inclined than a lot of the contemporary horror stuff."

In other words, it sounds like Green has some genuine respect for the original, and is actually trying to craft a remake that at least attempts to recapture what made it so good in the first place, instead of trying to fit a square peg into a round hole (of course, that begs the question of why do you need to remake it in the first place--but then the obvious answer is, as it always has been, money.)

Interestingly, Green also notes that it's an Italian production company that's spearheading the project, so at least it isn't a case of an American company trying to cash in on a foreign classic it doesn't understand (ie. Godzilla or The Wicker Man). An American distributor will be found once the film is complete.

Maybe it's that optimistic streak, but count me in on this one. True, the horror remakes have gotten out of hand and need to stop. But this one and The Wolf Man could wind up being for this decade what The Thing and The Fly were in the 1980s.

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