"A REALLY INTELLIGENT INTERVIEWER." -- Lance Henriksen "QUITE SIMPLY, THE BEST HORROR-THEMED BLOG ON THE NET." -- Joe Maddrey,Nightmares in Red White & Blue
With the 40th anniversary of what is arguably considered the most frightening horror film of all time--and unarguably the most financially successful--my intention has been to celebrate that milestone all year. Much like I did with the 25th anniversary of A Nightmare on Elm Street in 2009, the 50th anniversary of Psycho in 2010, the 30th anniversary of An American Werewolf in London in 2011 and the 90th anniversary of Nosferatu in 2012. Alas, my schedule has made this more difficult than I originally planned, but at long last I'm able to sit down and put together the first of my "Exorcist XL" series, commemorating 40 years since the release of the first horror film to be nominated for Best Picture...
Growing up as a Roman Catholic, The Exorcist was a film that has filled me with dread for as long as I can remember. On the sidebar of this very blog, I recount the traumatic experience of first being exposed to it at the tender age of 8. It was a film that had an aura of the forbidden, and seemed in many ways to be the literal embodiment of evil. However, over time, I've come to the conclusion that--far from the unholy terror it has often been portrayed to be--The Exorcist is actually a very pious work. In fact, I'd go so far as to call it pro-Catholic propaganda. And that's coming from someone with the utmost admiration for the film.
I've heard religious individuals condemn The Exorcist as being the work of the Devil, and of being an immoral and irresponsible movie that devout Christians should avoid at all costs. Never mind the fact that, to my knowledge, the Roman Catholic Church (nor any major religious group, for that matter) never came out openly against the film in any way. In fact, the film even had the full participation of the Jesuit order, and even lent one of their brethren, Fr. William O'Malley (a licensed exorcist) to not only consult on the film, but to even appear on camera as the character Fr. Dyer, close friend of Damien Karras.
Why would this be the case, if The Exorcist were in fact a Satanic, anti-Catholic movie? If anything, it is quite the opposite. Within the world of The Exorcist, the priests are the good guys--they are soldiers of Christ. In fact, the movie is almost medieval in its thinking, casting the scientists as misguided, ineffectual and even actively negligent in their inability to help Regan during her plight. God and the Devil are quite real here, and only the disciples of God can be of assistance. Von Sydow's Fr. Merrin knows this to be true, and calmly dismisses more secular approaches.
One can even go so far as to interpret Regan's possession as a punishment for her mother's atheism--a belief system that in the world of this film leaves her without the ability to protect her daughter in any way. Chris MacNeil must go on a journey that forces her to confront the existence of traditional spirituality--much like Fr. Karras must struggle with his own loss of faith. It is only when Karras abandons his nihilism and embraces the empathetic virtue of self-sacrifice that he is finally able to find a true solution that separates Regan and the demon (although one can argue his selflessness is not necessarily religious but simply humanist in nature.)
Those who choose to avoid The Exorcist because they consider themselves good Catholics are missing the whole point. The movie may portray things that are considered hideous and obscene sacrilege, but these are depicted solely to demonstrate the work of the Devil in all its explicit evil. The movie does not take the demon's side--if anything, it is the men of God whom we are most encouraged to root for. Regan's revolting words and actions are shown simply to make the defeat of the demon that much more satisfying. And there is nothing seen that cannot also be found in actual reports of exorcisms performed by Catholic priests. I do not believe the film glorifies these elements, but rather uses them to establish the significance of the threat.
In short, the world of The Exorcist postulates that God and the Devil exist, that radical good and evil also exist, and that Christian spirituality is better equipped to combat evil than man's 20th century secularism. In other words, it is an extremely traditional film in theme and philosophy, and not the sordid, blasphemous work its opponents have often characterized it to be. In fact, I'd go so far as to speculate that the film can be interpreted as alarmingly archaic in its traditionalism, eschewing modern humanistic developments for a very black-and-white, fire-and-brimstone Old Testament version of reality. Far from being a Satanic work, it could easily have been based on an ancient or medieval fable, intended to keep potential stray believers on the straight and narrow.
The Exorcist may make the Devil seem cool, but don't forget that in the end the Devil loses--and it's the power of Christ that compels him.
It was at some point during the mid 1980s that I first became aware of a film that would eventually become synonymous with horror in my estimation. My dad, a perennial fright fan and instructor on my road to the dark side, found it on the racks one day at the local mom and pop video store (remember those?) and brought it home. I wasn't allowed to watch it at the time, but I can still remember listening in my bed to my mom's screams of terror emanating from our basement living room as my parents watched it that night. Needless to say, there was no greater enticement possible. I knew right from the start that it was something I simply had to see.
My dad had a knack for picking out the best horror flicks back then, in those days of lurid VHS box covers and giant cardboard cases. He prided himself on finding this gem of a film, still rather obscure at the time. He was so blown away by it that he tried in vain whenever he could to properly convey its horrific intensity to friends and family. And I listened, trying to imagine a horror movie that could be so utterly harrowing. My experience up to that point, after all, was pretty much confined to Frankenstein and Dracula.
And so, when at last I came of age, one of the first R-rated movies I made sure to rent at the video store was Sam Raimi's classic. Well OK, I wasn't exactly of age yet, but let's just say I was old enough that the guy behind the counter at the store didn't care anymore (Hey, Video Reflections in Bensonhurst went out of business about a decade ago, I doubt anyone's going to get into trouble over this one.) I giddily and anxiously watched the movie with my very best friend, at last able to partake in the cornucopia of horror I had heard so much about.
At the time, I imagined The Evil Dead as being the most gut-wrenching, unthinkably terrifying horror movie imaginable. And I'd have to say that, at the time, my expectations turned out to be right on the nose. It was, in my teenaged opinion, exactly what the back of the box boasted--the ultimate experience in grueling horror. The gore was beyond anything I had ever seen before. Every moment seemed to be electrified with the stuff of pure, undistilled nightmares. In short, it was a teenage boy's idea of a perfect movie.
For some years thereafter, The Evil Dead became a sort of litmus test for me; I would use it to test out my friends, to see if they could get through it. It became a badge of honor for those around me to survive a viewing of the film. I would show it to my girlfriends within the first few weeks of dating, just to see if they were cool enough to handle it. And I never got tired of it.
Fast-forward all these years later, and even though I may not watch it as religiously as I used to, there is still a very special place in my horror-lovin' heart reserved for it. While I may no longer call it a "perfect movie" per se, and there are many horror films which the movie critic inside me recognizes as being far superior, nevertheless it still retains an undeniable amount of raw power which makes it a joy to watch every time I take it down from the shelf. In fact, I did so most recently with Captain Cruella, and was reminded all over again why it had captured my imagination in the first place.
The reason I chose to rewatch it for the first time in years is that I'm privileged enough to be hosting a screening of the film at Saugerties, New York's Sugartown Vintage Boutique this weekend as part of the 2nd Annual Village Invasion Zombie Crawl. Needless to say, the opportunity to introduce this movie after worshiping it for so very long is the latest in a long line of wonderful experiences which The Vault of Horror has made possible for me.
What is it about this film that reaches into the souls of so many horror fans, possessing them much like the Deadites themselves? You will find the movie included on almost anyone's list of favorites, and its influence cannot possibly be underestimated. In a word, the film is seminal, and I would even go so far as to say that it has joined that elite group of movies which literally embody the concept of horror in cinema. And despite the fact that so many of us have watched it so many times that it often teeters on the brink of being passe or played out, it is only because we can't stop going back to it.
The Evil Dead was an integral part of my horror coming-of-age, helping to define the genre for me from a young age. It has been with me ever since, a dear old friend covered in gristle and viscera. I hope to see some of you next weekend as I get to watch it once again. And if you can't make it, just take it down from that shelf one more time and watch it for yourself. I know it's got to be there somewhere...
October is finally upon us, and I, for one couldn't be happier. But you'd expect that of me, wouldn't you--being the curator of The Vault of Horror, and all. In recognition of the month that brings us Halloween, the horror highlight of the calendar, I'm bringing you a special series that will explore the very heart of the holiday by taking a look at its distant history. You won't find anything here about Ben Cooper costumes or the Great Pumpkin, as awesome as those things may be. Rather, The Shadow of Samhain will be all about the pre-modern folklore, superstitions and traditions that have helped shape All Hallows Eve into what it is today.
Look for a series of special guest posts over the course of the next four weeks--but for now, I'll be starting things off myself with a look at an ancient legend that has long fascinated me...
From the oceans off Northern Africa they came--a twisted and evil race of sea-faring demons whose origins are lost to the mists of time. In Celtic lore, they were believed to have been the first settlers of the Emerald Isle of Ireland, and they ruled it once with cruel fists of iron. They were the Fomoire, or Fomorians; and their story is tied in directly with the Celtic festival of Samhain, precursor to Halloween. In fact, it can be argued that the linking of Halloween with all things frightening may actually find its origin in this terrible and horrifying race of monsters.
A breed of malformed and misshapen atrocities whose existence was believed to have far predated that of man himself, the Fomorians were a bizarre mix of human, animal and otherwise unnatural elements. They were varied in appearance. Some might possess the head of a horse and the body of a man, for example; others might appear to be giant fish with legs to walk on land with; some boasted a multitude limbs or eyes, while others might have only one of each; and still others might actually appear beautiful to the human eye, although their souls were just as black as those of their uglier brethren.
They were a warlike species--an inspiration, in some respects, for the race of orcs found in the writings of J.R.R. Tolkien--and legend had it that any people attempting to settle in Ireland were forced to contend with them and their bloodthirsty ways. The first to try were a group called the Partholons, who met their ghastly end when the Fomorians unleashed a deadly plague upon them. Next were the Nemeds, a tribe which found itself immediately enslaved by the monstrous masters of Ireland.
The connection of the Fomorians to Samhain begins here, as it was believed that each year on this day, October 31, the Fomorians demanded their annual tribute from the Nemedian people living amongst them. This tribute would typically include not only cattle but also small children, sacrificed to keep the Fomorian demons at bay. Thus, the practice of animal and human sacrifice many believe was once part of Celtic Samhain ritual was in part a commemoration of the days when the Fomorians came around to collect their yearly payment and satisfy their bottomless bloodlust.
The Tuatha managed to co-exist with the Fomorians for a time, dividing the land amongst them, and even intermarrying with the ghastly creatures on occasion in order to further diplomatic relations between the two groups. Nevertheless, all this was a ploy, as the Tuatha awaited the opportunity to rid the land of the tyranny of their demonic neighbors.
This opportunity came in the form of one Lugh of the Long Hand, grandson of the hideous cyclops Fomorian chieftain, Balor of the Strong Blows. The result of a union between a comely Fomorian and a Tuatha, Lugh was beautiful in appearance, and discarded upon birth by Balor, who believed the child a threat (a common trope in ancient folklore). Taken in by the Tuatha, Lugh grew to become their savior.
The routing of the Fomorians from Ireland came on the day when Balor's detachment of tribute gatherers appeared at the castle of the Tuatha, demanding their unspeakable payments of cattle and children. Lugh butchered the Fomorians where they stood, leaving only a handful to skulk back to Balor's tower stronghold, located on a small island off the northwest coast, to tell the tale. Enraged, Balor mustered his Fomorian armies to make war against the mighty legions of the Tuatha, led by his own grandson.
That would be the final Samhain on which the Fomorians would ever lay claim to any Irish land. On the plain at Mag Tured, in the Connacht region of Ireland, the Fomorians and the Tuatha De Dannan waged a fierce, epic battle. The demons took an early advantage, slaying many of the proud Tuatha, until Lugh slaughtered his grandfather in one-on-one combat. Leaderless, the Fomorians fled, and were completely wiped out by the Tuatha, save for a mere four of them, forced to take refuge in Balor's tower.
Ireland had at last been freed from the yoke of these unspeakable creatures, and on the very feast day of Samhain on which they had wreaked their worst yearly terrors upon the land. The remaining four would stay far off the coast in Balor's stronghold--bizarre, ancient curiosities to be avoided by any sailing those waters; a lurking remnant of the fearsome hordes that had once ruled Ireland without mercy. The Tuatha would come to rule from then on, and after they eventually vanished into obscurity and legend, man would at last come to live on the land once fought for by gods and demons.
Among the Celts, and particularly the Gaels who would come to dominate Ireland in the Iron Age, the harvest festival of Samhain was associated always with the Fomorians. Whatever its origin in reality, whether inspired by some tyrannical human tribe, or fabricated completely out of thin air, the legend of the Fomorians loomed large over Gaelic culture. The horrifying tribute collected each year; the bloody battle of Mag Tured--Samhain was an annual reminder of these things. Perhaps then, despite the many positive aspects of the festival, this was why there was also such an element of deep-seated terror attached to it. A "race memory", if you will, of events that existed only in the realm of folklore. Or did they?
Photo Credits The Fomors by John Duncan, 1912 The Fomorii by Andrew L. Paciorek Daghda by A. Fantalov, 1998 Lugh by Mickie Mueller Combat of Balor and Lugh Lamfada by Miranda Gray, 1995 Fomorian by Rowena Morrill
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.
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.
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.
As I've stated in the past, Paranormal Activity may be the most divisive horror film of the year--or of recent years, in fact. Some, like myself, were bowled over by it--while others were very much let down. It seems to be a matter of extreme subjectivity.
I recently had an email debate on the subject with a fellow blogger, Katiebabs of the literary blog Babbling About Books. A devout fan of horror (atmospheric horror in particular, in fact), she was nevertheless disappointed with Paranormal Activity. Here is our conversation in its entirety:
KB: What made you want to see Paranormal Activity?
B-Sol: I had heard so much about it online, what horror fan wouldn't be intrigued? It was getting such a cult following so quickly. Also, that story about how it freaked out Steven Speilberg kind of sold me. I was very curious to see if it really was as genuinely frightening as people were saying.
KB: The hype surrounding Paranormal Activity was too strong not to ignore. I am also a fan of the underdog, those who don’t have a million-dollar payroll when making a movie, and creating a film that will put most big name Hollywood types to shame. And I am with you about Steven Speilberg. And since I have become a bit disillusioned with the latest in horror movies, I thought Paranormal Activity would be interesting to see. How do you feel about the comparisons others are making with Paranormal Activity to The Blair Witch Project? (which coincidentally came out ten years ago almost the to the day of Paranormal Activity’s release)
B-Sol: Yeah, that’s weird, isn’t it? Well I have to say, I was never a fan of Blair Witch, and have been more and more puzzled over the years as it has come to be regarded as a modern horror classic. I distinctly remember a lot of disappointment surrounding it when it first came out—not unlike with P.A., come to think of it. Personally, I found P.A. to be a far superior film.
KB: This is where I disagree. Blair Witch worked for me on so many different levels. The hype and history behind The Blair Witch was more planned. They made sure to use the internet in a great way as well as a companion book that I recommend everyone read before they see The Blair Witch. Because I read the book, I knew certain things that were happening to the three kids in the woods. Their desperation was more real because they had nowhere to go. In Paranormal Activity there were so many ways out, where they could have been saved. Of course, all these things would have ended the movie in a less than thrilling way. But I will say that P.A. was very real, from the way it was filmed to the relationship between Katie and Micah. I felt as if I was witness to their life and the intimate aspects, such as the way they hung out together in their living room, to even at night in bed together. I didn’t feel as if they were acting at all. How about you?
B-Sol: One of the things that killed Blair Witch for me was the shaky camera stuff. Not to sound like an old codger, but I just couldn’t deal with it. And thankfully, that’s absent from P.A. I think that was intentional, like they were trying to avoid the problem Blair Witch had. Also, there was a really great Sci-Fi Channel mockumentary that came out right before Blair Witch, that I actually enjoyed more than the movie. The only part of Blair Witch that really got to me was the ending, whereas with P.A. the sense of dread was pervasive, and grew steadily through the movie. And yes, the acting in P.A. was very convincing! A big part of what made it so effective.
KB: So, what did you think was effective? What scenes gave you the chills?
B-Sol: I liked how it built up, and got progressively creepier. In the beginning it’s so mundane, and slowly but surely, the shit starts to hit the fan. The first time you see her standing there by the bedside for like two hours without moving… Jesus Christ. The photo in the attic. The Ouija board scene. The giant shadow across the bedroom door. The powder footsteps. And then of course, towards the end, it goes completely batshit crazy. The movie amazed me by getting the maximum amount of scares out of a minimum amount of on-screen “stuff”. The economy of that was impressive to me. Almost like what Robert Wise did with The Haunting, although admittedly far less artfully than he did.
KB: The most effective and chilling thing was the very end of course, but when Kate would just stand near the bed and look off into space was very scary. And the one scene where he is pulled down the hallway. That made me jump in my seat. I also think the photo in the attic was pretty great, even though I though Micah was crazy the way he wanted to take a look up there knowing that there may be something up there that is out to harm him. I really blame Micah for the whole thing because he bought the camera, the Ouija board and because he was fighting with Kate, all that negative energy came into the house and helped bring out more paranormal events. If there was anything you would change or recommend to make P.A. a better viewing experience, what would you do?
B-Sol: Good question. I guess if I could change anything, there is probably a bit of mundane filler here and there that could go to tighten the movie up a bit. But then again, that only serves to help the tension build, in my opinion. To be honest, I’m pretty happy with it! Maybe they could’ve given the viewer a little more to go on over the course of the movie, because those early scenes do require a bit of patience to get through. But that’s about it.
KB: I would have loved to see more shocking spookiness going on. Perhaps more of a back story dealing with Kate. I did enjoy the build up but I felt something was lacking. And I assume there is a lot more unseen footage. I checked IMDB.com and there are some characters mentioned that didn’t make the cut in the final version. What I can say is that for a budget of less than $15,000, the creators of P.A. have shown Hollywood that you don’t need a big budget, big names or expensive effects to make a movie a great viewing experience.
B-Sol: Yes, I suppose a little more backstory might have gotten us even more invested in the characters, but I have to admit, I was pretty invested already thanks to their very naturalistic performances. I did hear that there was an alternate ending floating around, but from what I’ve heard it sounds like the one in the theatrical version was better.
KB: I would be definitely interested in seeing the outtakes or alternate endings when the DVD comes out! So, in closing, what would your final grade be, and who would you recommend P.A. to?
B-Sol: I’d have to give it a solid A. It’s just one of those rare horror movies that truly and genuinely had the power to creep me out, and it’s well-made for what it is. I’d recommend it to those who enjoy a truly scary ghost story or haunted house tale, and those who prefer their horror psychological, as opposed to explicit.
So there I was, fresh out of the 92Y Tribeca screening of the delightful and charming Zombie Girl: The Movie, enjoying a few beers with the equally delightful and charming Tenebrous Kate and Baron XIII. And yet I could not completely relish the moment, because hanging over my head was the knowledge that I was minutes away from experiencing--by myself--the one horror film everyone had been telling me not to see by myself.
Granted, I wouldn't technically be by myself, since I would be joined by a packed, sold-out house. It was this exact sold-outedness that had prevented Kate and her beau from joining me. Being the paranoid lunatic that I am, I had managed to purchase my tickets to Paranormal Activity mere moments before it sold out--they, unfortunately, had not.
And so I had a solo ticket to the hottest show in town. The newest indy horror sensation, playing at just one theater in the city of New York, at midnight. Steeling myself for what was to come, I made my way up to Times Square, and took my seat a scant four rows back from the gigantic screen. And while I quickly determined that I was in the midst of a "Girrrrrlll---don't go in that room!!" type of audience, that didn't bother me in the end. Because the impact of Paranormal Activity ran over these unsuspecting souls with all the force of a runaway Peterbilt. It was a hell of a ride, and we were all along for it.
Simply put, Paranormal Activity is what The Blair Witch Project should have been. I make no bones about being sorely disappointed in that film when I first saw it a decade ago. I literally felt as if I had been mugged of my ticket money as I left the theater that night, realizing how a brilliant internet marketing campaign (one of the first of its kind) had gotten me to see this decidedly mediocre and forgettable experiment.
But not this time. This time, as I sat there staring blankly at the pitch black screen that took the place of closing credits, I can honestly say I was in a state of momentary shock at what I had witnessed.
What Paranormal Activity gets right is it creates a growing, gnawing sense of tension and dread that burrows deeper and deeper inside you as the moviegoing experience continues. As opposed to the rather dull and disjointed montage of "amateur" footage that made up Blair Witch, and gave very little payoff until the very end, Paranormal Activity rations out the fear, like a steady drip from a horror I.V. It's also peppered with a liberal dose of natural humor, which breaks things up here and there, just enough to heighten the tension even more when it does return.
Unlike the expendable cardboard characters of Blair Witch, Katie and Micah are people we become invested in. We may not always like them--particularly the bone-headed Micah, who is also the main source of the humor--but we are interested in what will happen to them. And little by little, we are drawn into their situation.
Along the way, there are little payoffs here and there, just enough to keep us wanting more. An unsettling sound; something glimpsed out of the corner of our eyes; and other things I will not give away so as not to soften the grip this film will place on you when you see it.
I will say that the film's only main flaw comes due to the inherent weakness of these documentary-style "reality" horror flicks. Specifically, the sheer mundanity of life itself, with its daily repetitions, does threaten occasionally to undermine the terror that is underlying the proceedings. In the end, there's something to be said for the artificial, heightened reality of traditional film-making--we must admit it's far more fascinating than real life as it actually is.
That said, Paranormal Activity does an infinitely better job of balancing out this low-key monotony with just enough of the unusual and unexpected to keep us interested--whereas Blair Witch became so concerned with seeming realistic that it only succeeded in manufacturing the tedium of everyday reality, and what scares there were felt faked (until the very end, which I will reiterate, I've always found to be very strong).
Clearly, Paranormal Activity writer/director Oren Peli has learned from the lessons of Blair Witch, as he manages to make it all so very convincing, both the reality of the characters, and of the unnatural horror they face. For this reason, I cannot stress enough that if you chance to see this film and find yourself losing a bit of patience in the beginning--trust me, stick with it. The pacing of this film is of the utmost importance, and things get hairier and hairier as we move along.
Case in point: The bedtime footage that dominates much of the movie. See, Micah installs a video camera in their bedroom to record what goes on while they sleep, in an attempt to catch the titular activity on tape. And while these scenes were among the sources of the slightly annoying repetition for me, they also are of crucial importance, as things slowly get worse and worse during these specific times. In the beginning I found myself regarding the beginning of each of these scenes with frustration, since nothing much was happening--but later, I would greet each one with a sense of dread, since I didn't know what might be happening next. And in the end, I think that evolving reaction was perfectly appropriate.
As for the ending, it was reminiscent of Blair Witch in the way it strove to leave the viewer with a truly bizarre, terrifying and unexplainable finish to the events of the movie. And it does so--but to much greater effect, since it involves characters with whom we feel much better acquainted. Also, the over-the-top ostentatiousness of it is that much more powerful in contrast to the subtlety of most of the preceding 100 minutes. Yet it doesn't go too far and show too much--rather, it's just enough. Just enough to leave you sitting perfectly still and having to remind yourself to breath once it's finally over.
A couple of unfortunate and rather vocal idiots in my audience expressed their disapproval once it was over, I will admit. These are the same types who did so with the ending of Blair Witch--resumably they were expecting something more along the lines of Friday the 13th or Saw, with all the subtlety and finesse of a Coney Island hot dog eating contest. But they were quickly drowned out by the recovered masses who saw fit to applaud the film--in part, one would assume, out of a need to counteract the mumblings of the detractors.
If you're looking for a film to genuinely frighten you, this is certainly it. Paranormal Activity lives up to the hype in that regard. It's a rather low-key, patient, yet masterfully executed fright film, that in the end delivers exactly what it's supposed to. See it if you can, and yes, I will now agree that it is most definitely better not to see it alone.
Driving home from Manhattan to Connecticut on a Friday night is never fun--but doing it by myself after seeing this thing was decidedly less so. I've always felt that those who are naturally predisposed to liking horror are the same people it seems to profoundly effect and disturb the most; whereas the ones who don't like or "get" it tend to be those for whom it has no power to frighten. If you are one of the "predisposed", then you can rest assured that this is going to be a film that stays with you.
I don't usually like to do posts with only regional appeal, but this is just too cool not to plug. If you happen to be anywhere near the vicinity of Connecticut, in particular the city of Stamford in Fairfield County, then ye olde Avon Theatre has a few treats up its sleeve for you come this October. The Avon has been pleasing cinephiles with showings of great old flicks for years now, but this time they've outdone themselves in the horror department.
I just came back from checking out their newly announced fall lineup, which includes:
NEAR DARK - Thurs. Oct. 1, 9 p.m. The Bill Paxton/Lance Henriksen cult vampire fave that was actually thought at one time to have no surviving film prints, despite being a mere 20 years old.
THE CALL OF CTHULHU - Wed. Oct. 7, 7 p.m. Yes, I'm talking about the rare, silent film that is still the only screen adaptation of Lovecraft's most famous story. Plus, it will be hosted by the one and only horror critic extraordinaire, Maitland McDonagh. RayRay, you really need to come up to CT for this one, my man...
FRIDAY THE 13th - Thurs. Oct. 15, 8 p.m. Needless to say, we're talking about the original here. And on-hand that night for a special Q&A? Everybody's favorite cable-knit sweater wearing momma, Ms. Betsy Palmer herself!
ZOMBIE & DEMONS - Thurs. Oct. 29, 9 p.m. For Halloween--a double feature of Italian horror goodness. First Fulci, then Bava. Cose di pazze!
And it ain't all about horror, because the Avon also has scheduled showings of Full Metal Jacket (12/3), True Romance (11/12), Life of Brian (12/17), and Witness for the Prosecution (10/22, hosted by Gene frickin' Wilder!). Check out their website for more info. You better believe I'm going to be heading out to check out as many of these as Mrs. B-Sol--I mean, my schedule--will allow. Anybody else in the CT area (I'm lookin' at you, J-Rock and Maweanne), come down and join me, won't you?
Despite being one of horror's most unique characters, and certainly the most unorthodox and original of the classic movie slashers, Freddy Krueger does indeed have his origins as a fictional creation. Wes Craven himself has on occasion spoken of the Germanic and Teutonic folklore that partially inspired the character, and is the reason for the writer/director giving him the German name of Frederick Krueger in the first place.
And so, if we delve into the area of such Germanic folklore, we do find evidence of the concept of the dream demon--a figure which bears more than a passing resemblance to everyone's favorite movie maniac. Often referred to as an incubus, an alp, or a mare (hence, nightmare), these creatures have persisted in the cultural memory of the same region of Europe which gave us vampires, werewolves, and so many other staples of modern horror.
Alp is typically the name associated with the kind of creature that inspired Mr. Krueger. Kind of a cross between an incubus and a vampire, amongst the only distinguishing characteristics of the alp are its propensity for attacking children during their sleep, and its trademark hat (sound familiar?) The alp also commonly has the ability to shape-shift.
It is almost always male, and chooses as its main target a female victim. An alp attack, known as an alpdrücke, stems from the alp's ability to enter its target's mind and create horrible nightmares. The alp was believed to very literally "feed" on dreams, much like its cinematic descendant. It is also known to sit atop the sleeping victim, creating intense pressure that will either awaken the person, or kill her. Some have indicated that this may have been an early explanation for what is now diagnosed as sleep apnia. Unlike the incubus, alp attacks were rarely reported to be sexual in nature.
The belief that nightmares were the result of demonic intervention was fairly common in the ancient world. The mare was a creature thought to take the shape of a decrepit old woman. Like the alp, it was believed to press on the chest of its victim and impede breathing. The French referred to this creature as a cochemar. The Swedes called it a mara, and such a being was thought to have taken the life of King Suercher of Sweden in the 12th century.
The French peasantry believed that pregnant women were particularly susceptible to the attacks of the cochemar, which interestingly enough, ties into Freddy's actions in the fifth Nightmare on Elm Street film, The Dream Child.
Like a rogue character from one of the fairy tales of the Brothers Grimm, Fred Krueger represents a direct link between our modern-day movie monsters and the more ancient, mythic evils that once inspired dread in the days long before they became sources of entertainment. Maybe this basic, primal connection is part of what has given the character such an undeniable appeal. Much as he is to the protagonists whose dreams he haunts, perhaps Freddy is somehow present in all our minds, in one form or another...
Chalk this up as one of the more...unusual genre pairings of recent months. Former adult film star and current Tito Ortiz girlfriend Jenna Jameson will be the subject of her very own horror comic book, Shadow Hunter. Jameson will appear in the book as Jezzerie Jaden, a scantily clad swordswoman who must protect the earth from demonic invasion. Think Van Helsing in thigh-highs. Published by Virgin Comics (stop snickering...), the series will be written by Witchblade scribe Christina Z in collaboration with Jenna, with covers by Marvel cover artist Greg Horn and internal art by Mukesh Singh, who also worked on Guy Ritchie's Gamekeeper comic for Virgin. Go here for more info. Meantime, check out the trailer: Jenna Jameson's Shadow Hunter: Trailer
The Vault of Horror train just keeps on barrelin' down the tracks, people. Everyone loves a good "Top 10" list, and starting today, I'll be contributing one each week to that hallowed home of horror movie news, Bloody-Disgusting. Be sure and check it out! That is all.