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Showing posts with label mythology. Show all posts
Showing posts with label mythology. Show all posts

Sunday, October 3, 2010

The Shadow of Samhain: Dark Reign of the Fomorians

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 age of the Fomorians in Ireland was an evil time looked back on with dread. It lasted many generations, but at last approached its end with the arrival on the island of another race of beings, not quite as ancient as the Fomorians, but still older than humanity. They were the Tuatha Dé Dannan, a beautiful clan of god-like beings who wielded powerful magic, and whose coming was reportedly heralded by a mysterious fog that blanketed Ireland for days. Much as the Fomorians seem to have played a part in Tolkien's imaginings, so too did the Tuatha, resembling nothing so much as the majestic Elvish race described in the author's writings.

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

Tuesday, June 29, 2010

The Tuesday Top 10: Favorite Ray Harryhausen Creations

Can I admit something? There are nights I go to sleep sounder knowing that Ray Harryhausen is still out there somewhere. That such a titanic legend of the movies, and of genre entertainment in general, is still with us. The great Harryhausen turned 90 today, and to commemorate the birthday of the screen's most revered special effects man, this week I'm looking back at his greatest works.

The efforts of Ray Harryhausen brought me great joy as a child, and they still do. For example, back in the days before VCRs, I became so entranced by a showing of Jason & The Argonauts on TV that I checked the TV Guide (remember that?) to see what day and time it was, my naive six-year-old brain assuming the network would be showing it again each year, like they did with The Wizard of Oz. So that gives you an idea of how deeply I fell in love with the magic of Ray Harryhausen.

And so, this week for the Tuesday Top 10, I reached back through all my favorite Harryhausen flicks to come up with the specific stop-motion creations of his that thrilled me the most. Happy Birthday to Mr. Harryhausen, and thanks in particular for giving us the following...

10. The Kraken
Clash of the Titans (1981)

Why does the ultimate weapon of the gods rank so low? Well, between you and me, the infamous Kraken has never been at the top of my list because, as impressive as it is, the Greek mythology buff in me was always put off by how it looked nothing like the Kraken as traditionally described. In hindsight, since the Kraken is actually a giant squid, I suspect the change was made so the creature wouldn't too closely resemble the next entry in my list, one of Harryhausen's earlier triumphs...

9. Giant Octopus
It Came from Beneath the Sea (1955)
Harryhausen famously created an octopus with only six arms for the sake of manageability, but given the finished product, I can forgive him. The monstrous cephalopod that attacks San Francisco in Robert Gordon's classic giant-monster-run-amok movie is a sight to behold, made even more foreboding by the fact that we only see a bit of it here, and a bit of it there. As a proud Italian-American and sci-fi fan, I can honestly say this movie comes to mind anytime I'm enjoying a little polpo salad...

8. Flying Saucers
Earth vs. The Flying Saucers (1956)

At least up until Independence Day, this might have been the most iconic alien invasion ever put to celluloid, and the thanks for that is due pretty much entirely to Harryhausen. With all due respect to B-director extraordinaire Fred F. Sears and the mighty Clover Productions, it's Harryhausen's unforgettable fleet of spacecraft that everyone remembers to this day. What also makes this particular effort stand out is it's one of the only times that Harryhausen animated something other than living creatures.

7. Rhedosaurus
The Beast from 20,000 Fathoms (1953)

This particular monstrosity was the one that put Harryhausen on the map as the go-to man in stop-motion animation. And it's a matter of public record that there basically would've been no Godzilla without the influence of Harryhausen's work here, crafting a dinosaur that wreaks havoc in New York City. The final standoff in Coney Island is something to see--hell, every time this thing is on screen it's something to see. Quite literally the granddaddy of all movie dinos.

6. Kali
The Golden Voyage of Sinbad (1974)
Technically it's not actually the Indian goddess of death, but rather a wooden idol come to life, but that took nothing away from how much this demonic creature freaked me out. Sinbad and his men face a few different beasties in this, my second favorite Sinbad movie, but the six-armed Kali was definitely the one that most stuck with me.

5. Ymir
20 Million Miles to Earth (1957)

One of Harryhausen's most creative creations, the Ymir was a Venusian alien that crash-lands in Italy and grows bigger and bigger as the movie progresses. Today the Ymir is practically synonymous with Ray Harryhausen effects, as was proven when a statuette of the creature was packaged with a recent special edition DVD box set of Harryhausen films (which, with any luck, will be mine before too long...)

4. Medusa
Clash of the Titans (1981)

As if the original Harryhausen masterpiece wasn't enough, the Medusa was made even more wondrous in comparison to the ridiculous CGI failure of the recent Clash of the Titans remake. Harryhausen's brilliance came in taking a well-known creature of myth and making it his own--the snake body and bow and arrow, for example, were his concepts. And the manner in which he pulls off her famous mane of vipers is breathtaking, proving once again that the heart and soul he put into his work could outshine anything spewed forth from a computer.

3. Cyclops
The 7th Voyage of Sinbad (1958)

Speaking of classic monsters of myth, here's another one brought vibrantly to life by the master. This was the first time his work would be shown off in a full color feature, and we couldn't possibly have asked for a cooler creature to show off with than this nightmarish behemoth. There have been many Harryhausen creations that impressively embodied the man's artistry, but this may very well be the one for which he's best known.

2. The Skeleton Army
Jason & The Argonauts (1963)

It was very tough not making this my number one, as the sight of this ghoulish battalion of undead warriors is something I will always cherish as a lover of film in general. In fact, talk to any died-in-the-wool Harryhausen fanatic, and it won't be very long before this incredible scene is brought up. The interaction between the human characters and stop-motion figures is particular outstanding, and there's no doubt this climatic combat was the most deftly staged of all Harryhausen effects sequences.

1. Talos
Jason & The Argonauts (1963)

Yes, Jason & The Argonauts is my favorite Harryhausen picture, and so it gets the top two spots on my list. As much as I adore the skeletons, Talos will always be the one creation that best represents the talent of Ray Harryhausen for me, personally. That initial viewing of this movie all those years ago was highlighted most of all for tiny B-Sol by the emergence of this terrifying, towering bronze killing machine. The movement, the design, the sound effects--it all added up to pure movie magic. And that's what the body of work of Ray Harryhausen is all about.

Wednesday, November 11, 2009

Hump-Day Harangue: So Apparently, Ray Harryhausen Sucked...

Titans will clash, indeed. Look, I know that movies about Greek mythology are only very tangentially horror-related, but you'll just have to bear with me on this one. I'm steamed. And I've run out of refills on my antacid medication, so this is not good at all.

I had been hearing a lot of hullabaloo about the new Clash of the Titans trailer, and so I thought I'd search for it online. The first page I found that contained the video was from the website for the New York Daily News, with an article on the subject by one Gina Salamone.

Oh Gina, Gina, Gina. You may have the Italianized version of my last name that I always wanted, but this will not save you from my vitriol. Readers, here's a passage from Ms. Salamone's piece:

The fantasy film based on the Greek mythic hero, Perseus, was a box office hit in 1981, grossing $41 million in the U.S. from a budget of $16 million, largely thanks to a shirtless Harry Hamlin. Over the years, it's gained a cult following for its charmingly clumsy special effects.

From reading the entire article, I will make the assumption that Salamone has never heard of Ray Harryhausen, since his name is never mentioned. What I did learn is that she believes Harryhausen's work to be "charmingly clumsy", and better yet, that she believes the film's "cult following" shares that opinion.

You know what I think is "charmingly clumsy"? The Daily News' prose style. As for Harryhausen, how uninformed does it make a journalist appear when she doesn't even have the wherewithal to research the topic she's writing about? If she did so, she would've discovered that Harryhausen is one of the most respected and influential figures in the history of movie special effects. And that his work was absolutely cutting edge in its day, and continues to impress film lovers worldwide.

Again, I do not know our Gina, but I will assume she is not what I would call a cinema aficionado, judging by a laundry list of previous hard-hitting articles on such topics as Pamela Anderson's new fragrance line, Aerosmith's rumored breakup, Chris Brown's MTV interview, and the dangers of texting while driving. I'm going to guess she's probably never even seen Clash of the Titans, but ran it by a questionable coterie of Gen-X jackasses in the office to get the gist she came up with.

Sadly, however, Salamone's piece is not the first time I've run across this blissfully ignorant denigration of Harryhausen. I distinctly remember Clash of the Titans being included in one of those insipidly addictive VH1 "I Love the '80s" gimmicks, in which some bright light who wasn't Michael Ian Black or Mo Rocca discussed the film's "cheesy claymation effects". Sigh. So I guess Harryhausen worked with clay now. I was never aware of that--thank you, razor-sharp pop culture pundit. Because Jason and the Argonauts looks no different than the California Raisins, right?

Apparently, we're supposed to believe that the CGI which abounds in special effects films of today is such an amazing improvement over the "clumsy" and "cheesy" effects of a Harryhausen. Well, you know what? I watched the trailer, and it looks nowhere near as cool as the Desmond Davis original. It's the same goddamn cookie-cutter CGI we get in every "FX blockbuster", lacking any of the character and distinctive look of the original. Yes, CGI can be quite convincing when done right, but 90% of the time it's just as "non-real" looking as stop-motion. So come off it.

And by the way, I sincerely hope that Creed-like music is not actually featured in the movie--that better not be what replaces Laurence Rosenthal's exhilarating score.

In short, I politely disagree with the Daily News' dismissive assessment in its headline for Salamone's opus that this remake has "better effects". That would be like a newspaper glibly declaring that an upcoming remake of The Godfather looked to have "better acting". I find it a sadly ignorant and uninformed comment to make, and simply couldn't just let it go. Thanks for listening.
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