Friday, October 31st, 2008


Year: 1963

Director: Robert Wise

Cast:Julie Harris, Claire Bloom, Richard Johnson, Russ Tamblyn, Fay Compton, Rosalie Crutchley, Lois Maxwell, Valentine Dyall, Diane Clare, and Ronald Adam

The Haunting is just that, haunting.  It is not a slasher.  It is not gory, It has a strong atmosphere.  This is a film that relies heavily on stimulating emotions and getting those little hairs on the back of your neck to stand on end.  It allows the imagination of the viewer to run wild, creating an experience that is uniquely creepy for every member of the audience.
 
It follows a scientist into a home that is apparently haunted.  He brings a small group of people he has hand selected to the home who have had supernatural experiences in the past.  Most of them take the experience in stride but one of the young participants, Eleanor Lance becomes increasingly distressed by the home.  Eleanor Lance is played by Julie Harris whose performance carries this film.  Claire Bloom also stands out at the only other female in the house.  She comes across as simultaneously supportive to Eleanor Lance and at the same time judgmental and condescending.  There also feels like there is a certain tension between the two that is enjoyable to watch.
 
Another element of the film that is especially impressive is the cinematography and the sound design.  This is a film that utilizes the skills of a expert filmmaker to deliver the chills, not gory encounters and CGI like so many films that have been released since The Haunting was released in 1963.  This is a ghost story for those who love the medium of film in the purest sense.  In some respects this strength of the film may also be its weakness, since many modern audiences crave explicit content in horror films.  This reviewer, relishes a film that is able to creep an audience out without simply relying one hundred percent on gore and violence.
 
As a side note, fans of early Bond films will enjoy Lois Maxwell (Moneypenny, from so many of the earliest Bond movies) in The Haunting, who has a key, but small role in the film.
 
Also, fans of the rock band White Zombie will notice a line from the film that was sampled and utilized at the beginning of the song Super-Charger Heaven on the album Astro-Creep: 2000

 

Year: 1965

Director: Roman Polanski

Cast: Catherine Deneuve, Ian Hendry, John Fraser, Yvonne Furneaux, Patrick Wymark, Renee Huston, Valerie Taylor, James Villiers, Helen Fraser, Hugh Futcher, Monica Merlin, Imogen Graham, Mike Pratt

 

Repulsion gets under your skin. Polanski pushes the limits with this movie that for its time was surely seen as extremely explicit, crass, sexually candid, violent, and intensely disturbing. The stunningly beautiful Catherine Deneuve is absolutely riveting in her performance, which relies on her body and facial expressions often times to tell the story, with very little dialogue written for her part, Carol.

Carol is a young attractive woman. She is a woman with a problem that some girls would envy. It seems she attracts men. All kinds of men. In fact, every man it seems. Every man she has ever come in contact with. That is her problem. See, unlike so many young woman who enjoy male attention, Carol doesn’t like the affections of men. The question is, why? That, Polanski leaves up to the audience to deduce. It is this reviewers belief that the reason for Carol’s struggles can be found in the very last shot of the film. Her glance, reveals the root of her problems.

This movie is a simple movie in many respects, as it simply attempts to capture insanity visually, filmically. Many events take place that demonstrate insanity.

However, it is left up to the audience to try to deduce why the things witnessed are shown. What, exactly is the cause?

Visually stunning, this movie is worth a look, despite the pace of the film which younger viewers will find slow. The use of symbolism in the film has great impact. Especially, the apartment Carol spends much of her time in, which physically manifests her mental state. Polanski is clearly a master of film, the art of telling a story visually. He even opts to not include sound at key moments of dramatic impact. Also, there is little dialogue in this film, compared to most, which adds to its eerie feel. It is very detailed in its style, and it is wise to not miss a frame while viewing it. It is a movie that I believe is meant to be felt, not just watched. In many respects it would seem the film maker is more interested in evoking an emotional response from the audience rather then explaining the intricacies of the plot points in the story. No matter what conclusions are drawn by the audience, all who see are bound to feel exactly what the director intends. Like I said, it gets under you skin and festers, rotting your insides, until the final frame, when the audience is left alone, much like Carol herself. Alone and disturbed.

Halloween is finally here! So now I will finish my list of scary movies I love to watch on Halloween.

I Married a Witch
Not exactly a “scary” movie, but it is a great watch for Halloween. It’s the movie I always take to work to watch. Veronica Lake plays a witch who’s trying to get Fredric March to fall in love with her. The movie is a really funny romantic comedy, with a strange atmosphere that makes it perfect for Halloween viewing. Veronica Lake is pretty much the most adorable thing ever. If you want a light movie to enjoy this Halloween, I Married a Witch really is something you should look into.

London After Midnight
Sadly, the only print of this film was destroyed in a fire in the 1960s. But there’s a pretty good reconstruction using stills from the film and the original script. It’s not really eerie or scary since it’s really just pictures, but you can tell that the story is a bit creepy. It is a Lon Chaney movie, after all. And his makeup looks pretty amazing. Mostly, though, it is just something that has to be watched as an historical oddity. And we can hope that maybe, someone somewhere has a print of this, hidden in their attic, without realizing it. The remake, 1935’s Mark of the Vampire is worth watching, but it’s not a great movie.

Mad Love
Peter Lorre could be a really creepy dude when he wanted to be. And clearly in Mad Love, he wanted to be. It’s not a ghost story. It’s one of those films that’s a horror film based on its atmosphere, and the horrible actions of its main character. Lorre is a crazy doctor who falls in love (or, really, just becomes obsessed) with a beautiful actress. When her paino player husband’s hands are damaged in an accident, Lorre replaces them the the hands of a murderous knife thrower. It’s just  strange, completely creepy movie that’s excellent for Halloween viewing.

And there you have it. My Halloween recommendations.

Here’s the link for Part 1, in case you missed it.
https://obscureclassics.wordpress.com/2008/10/01/zombies-and-witches-and-ghosts-oh-my/

By Katie Richardson

Year: 1932

Director: William J. Cowen

Starring: Walter Huston, Lupe Valez, Conrad Nagel, Virginia Bruce, C. Henry Gordon, Mitchell Lewis, Forrester Harvey, Curtis Nero

Though more forgiving of films that are reductionist and stereotypically bigoted towards different cultures from the 20s through 50s, I still have a difficult time dropping all my own biases and beliefs to appreciate films made in an era where it was acceptable. This gets in my way of my appreciation of Kongo, an otherwise creepy and sweaty horror tragedy that bleeds atmosphere. Though it does not aim for shocks or scares, it aims to disgust and repel the viewer with it’s degradation of the human body and spirit. It twists and contorts our perception of humanity through the mangled body of the twisted protagonist, Flint , a man so driven by the desire to revenge he degrades not only his own existence, but that of a young woman who he believes is his enemy’s daughter.

Set in the depths of Africa, Flint has convinced the natives that he is a voodoo God through the use of a few simple magic tricks. It’s all part of his master plan to avenge the man who crippled and stole his wife 20 years ago, though he attests it’s not for these actions, but rather his “sneer”. Brought to life by Walter Huston, reprising his Broadway role, it’s clear that the horror comes as much from the man’s paralyzed body as his disturbed mind. Horror has always been deeply rooted in “perversions” of the human body, from Frankenstein to Cronenberg’s The Fly, there is little more that is upsetting than a body that isn’t as it should be. Though Flint is only paralyzed, the film emphasizes the grotesque nature of his disability, by having him crawl around and have Huston constantly fussing and bringing attention to his legs. This reminds me very much of Freaks, where entire conversations seemed entirely superfluous to the audience watching one of the “freaks” perform some sort of task like in a slideshow. Though, this film never aims to sympathise with Flint’s condition, it’s just a display of his frightening body.

The film’s greatest horror is the treatment of Ann. When she was born, Flint had sent her to a convent in order for her to be brought up “pure” and right, only to rip her away at 18, to destroy her spirit and take away her purity. Though mentioned only in passing or hinted at, his degradation seemed to have included rape and sending her to a madhouse in Zanzibar. There are also implications that she worked as a prostitute and now, dying of some disease, he medicates her with alcohol only to worsen her condition.

The film’s saviour, is quite ironically, a junkie who just happens to stumble by. He’s also a doctor, and on that virtue alone, is kept to eventually treat Flint for the pain in his legs. The man comes to love Ann and vows to save her, though ironically, is first saved from his addiction by Flint himself.

Though most of the horror comes from degradation and humiliation, the film also has a very strong atmosphere that actually is very reminiscent of Val Lewton’s work in the 1940s. Darkness and fragmented lighting is used, particularly Venetian blinds. Though the treatment of Voodoo and African culture is extremely problematic, the use of obscure traditions (some of which are still alive today unfortunately, notably the practise of Sati in Hinduism), and strong music adds to the creeping atmosphere.

By Justine Smith