Wednesday, October 6, 2010
Tuesday, October 5, 2010
'The Seventh Victim' has more emphasis on mood than story coherence
The Seventh Victim (1944)
Starring: Kim Hunter, Hugh Beaumont, Tom Conway, Jean Brooks, and Mary Newton
Director: Mark Robson
Rating: Six of Ten Stars
Mary (Hunter) leaves school to find her older sister (Brooks), who has gone mysteriously missing after selling the family business. After a detective she hires is murdered, Mary turns to the man her sister was having an affair with (Conway) and her sister's husband (Beaumont) for help, but when it becomes apparent that her sister had become involved with a secretive cult of devil-worshipers, will there be anyone she can trust?
There is no question that "The Seventh Victim" is a highly unusual and artfully made horror film. Every scene, and nearly every frame, is full of horror, dread, and a mysterious dream-like quality. Almost every scene holds within it either a double-meaning, hidden meaning, or foreshadowing or illumination of a plot development that is so subtle that viewers may not catch it until they watch the film a second time. Like a dream, the film unfolds like a jumble of barely connected scenes and events, events that on the surface seem simple or perhaps a bit nonsensical, but each has a deeper meaning that ties them to one another and the overall theme of the movie.
And the theme of the film can best be described as "no one gets out alive." Although a simple mystery tale on the surface, the deeper thrust of the film is to present life as a journey that takes us from innocence, to corruption, and ultimately death.
Of course, I may be imposing something on the film that isn't actually there, because, like the dreams it seems to emulate, many of its elements are only half formed. The relationship between Mary and her sister remains murky to the viewer, despite Mary's insistence they are close; there are two romantic plots that are even more murky; the Satanic cult at the film's heart is a bizarre and ill-defined contradiction in that they abhor violence yet are committed to spreading death in the world; and it's never quite clear whether the Tom Conway character is a hero, villain, or something in between. That said, the fact that the first place Mary visits after leaving the all-girl's convent school she had been living at is a shady restaurant called Dante's, and the recurring themes of darkness and death throughout the movie provide more than ample support for my interpretation.
Like all of the films Val Lewton produced for RKO, "The Seventh Victim" is a remarkable and unique film. Although not as groundbreaking as "Cat People" or as intense as "The Body Snatcher", it is still fascinating to watch, especially because its vagueness of meaning and plot, and the way its various scenes don't seem to quite connect to one another, should be weaknesses yet become the very things that keep viewers engaged as chills run down their spines. It may not be the sort of film to show at a free-wheeling Halloween party, but anyone who claims to be a fan of "intelligent horror" needs to experience this movie.
Starring: Kim Hunter, Hugh Beaumont, Tom Conway, Jean Brooks, and Mary Newton
Director: Mark Robson
Rating: Six of Ten Stars
Mary (Hunter) leaves school to find her older sister (Brooks), who has gone mysteriously missing after selling the family business. After a detective she hires is murdered, Mary turns to the man her sister was having an affair with (Conway) and her sister's husband (Beaumont) for help, but when it becomes apparent that her sister had become involved with a secretive cult of devil-worshipers, will there be anyone she can trust?
There is no question that "The Seventh Victim" is a highly unusual and artfully made horror film. Every scene, and nearly every frame, is full of horror, dread, and a mysterious dream-like quality. Almost every scene holds within it either a double-meaning, hidden meaning, or foreshadowing or illumination of a plot development that is so subtle that viewers may not catch it until they watch the film a second time. Like a dream, the film unfolds like a jumble of barely connected scenes and events, events that on the surface seem simple or perhaps a bit nonsensical, but each has a deeper meaning that ties them to one another and the overall theme of the movie.
And the theme of the film can best be described as "no one gets out alive." Although a simple mystery tale on the surface, the deeper thrust of the film is to present life as a journey that takes us from innocence, to corruption, and ultimately death.
Of course, I may be imposing something on the film that isn't actually there, because, like the dreams it seems to emulate, many of its elements are only half formed. The relationship between Mary and her sister remains murky to the viewer, despite Mary's insistence they are close; there are two romantic plots that are even more murky; the Satanic cult at the film's heart is a bizarre and ill-defined contradiction in that they abhor violence yet are committed to spreading death in the world; and it's never quite clear whether the Tom Conway character is a hero, villain, or something in between. That said, the fact that the first place Mary visits after leaving the all-girl's convent school she had been living at is a shady restaurant called Dante's, and the recurring themes of darkness and death throughout the movie provide more than ample support for my interpretation.
Like all of the films Val Lewton produced for RKO, "The Seventh Victim" is a remarkable and unique film. Although not as groundbreaking as "Cat People" or as intense as "The Body Snatcher", it is still fascinating to watch, especially because its vagueness of meaning and plot, and the way its various scenes don't seem to quite connect to one another, should be weaknesses yet become the very things that keep viewers engaged as chills run down their spines. It may not be the sort of film to show at a free-wheeling Halloween party, but anyone who claims to be a fan of "intelligent horror" needs to experience this movie.
Monday, October 4, 2010
Mohammed Monday: Mo Goes for Coffee
Today's cartoon originally appeared at Daily Campello Art News.
The reason for "Mohammed Mondays" can be found in this post.
The reason for "Mohammed Mondays" can be found in this post.
Sunday, October 3, 2010
'Werewolf By Night' is one of Marvel's best
Essential Werewolf By Night, Vol 1 (Marvel Comics, 2005)
Writers: Gerry Conway, Len Wein, Marv Wolfman, Mike Friedrich, et.al.
Artists: Mike Ploog, Don Perlin, Tom Sutton, Gil Kane, et.al.
Rating: Eight of Ten Stars
"Essential Werewolf By Night, Vol 1" presents 500 pages from a series that ranks among Marvel's finest output during the 1970s, and that presented some of the best chillers from the House of Idea's horror wave. It also happens to be one of the best bit of pulp-style werewolf fiction ever produced, be it in movies, books, or comics.
The star of the stories is Jack Russell, a typical, upper-middle class 18-year-old who doesn't like his apparently over-judgemental step-father, but otherwise gets along with this family, namely his mother and his sister Lissa. On his 18th birthday, Jack discovers a problem bigger than his step-father... a family curse manifests itself, and Jack turns into a werewolf. From then on, for at least three nights a month, under the full moon, Jack turns into a beast-man and stalks the hills and streets of Southern California.
"Werewolf By Night" is a series that has weathered the passage of time well. While we have some references to swingin' singles and the occasional hippy finds his way into the series, most of the stories draw upon traditional sources of horror stories (like the aforementioned werewolves, ancient curses, psychics, demons, mad scientists, and even legendary creatures like the Wendigo). Two of the very interesting aspects of the stories in the book is Jack's flirtation with the movie industry--it is set in Southern California, so how could he not find a job with a movie studio?--and the shadowy Committee, which is pops up every now and then to threaten Jack's family and his furry alter-ego. The series pulls off a great mix of horror, adventure, and pulp-fiction sensibility.
Another reason for the book's timelessness is that it is brimming with top-notch stories where the creators are at their finest. Mike Ploog does some of his best work ever during the first six tales in the book, and his art continues to be top-notch on every story he illustrates. Similarly, Tom Sutton and Gil Kane turn in excellent work on the stories they illustrate, with Sutton doing some of the very creepiest work of his illustrious career. (Only one or two of his "I, Vampire" stories a decade later would even come close to the terrifying atmosphere he brought to the "Terror Beneath the Earth" story.)
Similarly, the writers on the strip do some of their best work, with Len Wein and Gerry Conway bringing Jack and the supporting cast around him to fully realized, three-dimensional life. Even many of the villains that Jack fights are intriguing because they have depth to them. The series also manages to maintain a tight control of its direction and continuity, something that the contemporaneous book "Ghost Rider" failed to do. In fact, the only time the sense of internal consistency and believability of the series falters is during its cross-over with "Tomb of Dracula." (There are just a few too many coincidences in the story, and the background for Jack's curse doesn't seem to quite fit with what we've learned previously.) This misstep is minor, however, and it hardly detracts from the over all excellence of the work that everyone did on these comics. Heck, even the team-up between the Werewolf and Spider-Man is a great read, something which I wouldn't have thought likely!
"Essential Werewolf By Night, Vol.1" is a high watermark for comics in general. I recommend it highly for all comics fans. (Sadly, it appears to have gone out of print.)
Writers: Gerry Conway, Len Wein, Marv Wolfman, Mike Friedrich, et.al.
Artists: Mike Ploog, Don Perlin, Tom Sutton, Gil Kane, et.al.
Rating: Eight of Ten Stars
"Essential Werewolf By Night, Vol 1" presents 500 pages from a series that ranks among Marvel's finest output during the 1970s, and that presented some of the best chillers from the House of Idea's horror wave. It also happens to be one of the best bit of pulp-style werewolf fiction ever produced, be it in movies, books, or comics.
The star of the stories is Jack Russell, a typical, upper-middle class 18-year-old who doesn't like his apparently over-judgemental step-father, but otherwise gets along with this family, namely his mother and his sister Lissa. On his 18th birthday, Jack discovers a problem bigger than his step-father... a family curse manifests itself, and Jack turns into a werewolf. From then on, for at least three nights a month, under the full moon, Jack turns into a beast-man and stalks the hills and streets of Southern California.
"Werewolf By Night" is a series that has weathered the passage of time well. While we have some references to swingin' singles and the occasional hippy finds his way into the series, most of the stories draw upon traditional sources of horror stories (like the aforementioned werewolves, ancient curses, psychics, demons, mad scientists, and even legendary creatures like the Wendigo). Two of the very interesting aspects of the stories in the book is Jack's flirtation with the movie industry--it is set in Southern California, so how could he not find a job with a movie studio?--and the shadowy Committee, which is pops up every now and then to threaten Jack's family and his furry alter-ego. The series pulls off a great mix of horror, adventure, and pulp-fiction sensibility.
Another reason for the book's timelessness is that it is brimming with top-notch stories where the creators are at their finest. Mike Ploog does some of his best work ever during the first six tales in the book, and his art continues to be top-notch on every story he illustrates. Similarly, Tom Sutton and Gil Kane turn in excellent work on the stories they illustrate, with Sutton doing some of the very creepiest work of his illustrious career. (Only one or two of his "I, Vampire" stories a decade later would even come close to the terrifying atmosphere he brought to the "Terror Beneath the Earth" story.)
Similarly, the writers on the strip do some of their best work, with Len Wein and Gerry Conway bringing Jack and the supporting cast around him to fully realized, three-dimensional life. Even many of the villains that Jack fights are intriguing because they have depth to them. The series also manages to maintain a tight control of its direction and continuity, something that the contemporaneous book "Ghost Rider" failed to do. In fact, the only time the sense of internal consistency and believability of the series falters is during its cross-over with "Tomb of Dracula." (There are just a few too many coincidences in the story, and the background for Jack's curse doesn't seem to quite fit with what we've learned previously.) This misstep is minor, however, and it hardly detracts from the over all excellence of the work that everyone did on these comics. Heck, even the team-up between the Werewolf and Spider-Man is a great read, something which I wouldn't have thought likely!
"Essential Werewolf By Night, Vol.1" is a high watermark for comics in general. I recommend it highly for all comics fans. (Sadly, it appears to have gone out of print.)
Saturday, October 2, 2010
Get Down Goblin!
Here's a black-and-white music video from the "so bad it's good [or at least amusing]" category, presented in anticipation of Halloween. Love it or hate it, you may find yourself humming song's refrain after you've watched it.
Friday, October 1, 2010
A rarely thought-of Halloween classic
October is here, and ghosts and goblins and creepy crawlies will soon be showing up all over the place. I'll be celebrating the Month of Monsters with reviews of some of the very best Creature Features to ever grace the silver screen all this month at Terror Titans--click here to check them out--and with a special series of Halloween-themed images on Picture Perfect Wednesdays, here.
However, I'm kicking it all off with one of the best yet often-overlooked Halloween-themed pictures I'm aware of.
Arsenic and Old Lace (1944)
Starring: Cary Grant, Jane Adair, Josephine Hull, Peter Lorre, Raymond Massey, Pricilla Lane, and John Alexander
Director: Frank Capra
Rating: Nine of Ten Stars
It's October 31, and on the very day celebrity theatre critic Mortimor Brewster (Grant) is to secretly marry his fiance (Lane), everything that can go wrong does go wrong. He discovers his spinster aunts (Adair and Hull) are serial killers who have been murdering lonely old men out of what they consider kindness, and that his uncle (Alexander), who believes he is Teddy Roosevelt, has been burying the bodies of in the Panama Canal he is burying in the basement. To make matters even worse, Mortimor's homicidal brother (Massey) shows up, along his unscrupulous plastic surgeon (Lorre) partner-in-crime.
"Arsenic and Old Lace" is one of the best comedies ever made. It's a dark screwball comedy that's driven by its sharp, witty dialogue and characters so loveable you forgive them for being insane serial killers.
Technically, the film is also a masterpiece of direction and staging. The multi-layered routines that take place at several points in the film are gut-busting hilarious, with the one where Grant is describing a bad play he once reviewed to Lorre, while the action of the plot he is relating unfolds behind him. It's even more spectacular the way the film hits the ground running and never stops to catch its breath until the final, snicker-worthy scene. It also doesn't let the audience catch their breath, but keeps viewers giggling and laughing as the film's pace grows more and more frenetic.
Everyone in the cast is perfect, with the interplay between Grant and the two murderous little old ladies--with Grant becoming increasingly agitated and panicky, and Adair & Hull growing increasingly confused because they see nothing wrong in what they do--being particularly hilarious. In fact, Grant's comic timing was probably never more perfect than in this film, and that even includes the one I rank as my favorite comedy starring him, "Bringing Up Baby".
Special mention also needs to go to Lorre, who mumbles his way through his part with hilarious, drunken obliviousness; and to Massey, who manages to be funny and menacing at the same time, in his Boris Karloff-spoofing role.
With its October 31 setting, its dark subject matter, its intelligent script, its perfect staging, and top-notch performances by some great actors, "Arsenic and Old Lace" is great Halloween viewing no matter what sort of movies you're into. (I don't think it makes for good party viewing/background noise, as it's a film that deserves and requires your attention, but it's a definate must-see.)
However, I'm kicking it all off with one of the best yet often-overlooked Halloween-themed pictures I'm aware of.
Arsenic and Old Lace (1944)
Starring: Cary Grant, Jane Adair, Josephine Hull, Peter Lorre, Raymond Massey, Pricilla Lane, and John Alexander
Director: Frank Capra
Rating: Nine of Ten Stars
It's October 31, and on the very day celebrity theatre critic Mortimor Brewster (Grant) is to secretly marry his fiance (Lane), everything that can go wrong does go wrong. He discovers his spinster aunts (Adair and Hull) are serial killers who have been murdering lonely old men out of what they consider kindness, and that his uncle (Alexander), who believes he is Teddy Roosevelt, has been burying the bodies of in the Panama Canal he is burying in the basement. To make matters even worse, Mortimor's homicidal brother (Massey) shows up, along his unscrupulous plastic surgeon (Lorre) partner-in-crime.
"Arsenic and Old Lace" is one of the best comedies ever made. It's a dark screwball comedy that's driven by its sharp, witty dialogue and characters so loveable you forgive them for being insane serial killers.
Technically, the film is also a masterpiece of direction and staging. The multi-layered routines that take place at several points in the film are gut-busting hilarious, with the one where Grant is describing a bad play he once reviewed to Lorre, while the action of the plot he is relating unfolds behind him. It's even more spectacular the way the film hits the ground running and never stops to catch its breath until the final, snicker-worthy scene. It also doesn't let the audience catch their breath, but keeps viewers giggling and laughing as the film's pace grows more and more frenetic.
Everyone in the cast is perfect, with the interplay between Grant and the two murderous little old ladies--with Grant becoming increasingly agitated and panicky, and Adair & Hull growing increasingly confused because they see nothing wrong in what they do--being particularly hilarious. In fact, Grant's comic timing was probably never more perfect than in this film, and that even includes the one I rank as my favorite comedy starring him, "Bringing Up Baby".
Special mention also needs to go to Lorre, who mumbles his way through his part with hilarious, drunken obliviousness; and to Massey, who manages to be funny and menacing at the same time, in his Boris Karloff-spoofing role.
With its October 31 setting, its dark subject matter, its intelligent script, its perfect staging, and top-notch performances by some great actors, "Arsenic and Old Lace" is great Halloween viewing no matter what sort of movies you're into. (I don't think it makes for good party viewing/background noise, as it's a film that deserves and requires your attention, but it's a definate must-see.)
Wednesday, September 29, 2010
Picture Perfect Wednesday: Gloria Stuart
Gloria Stuart was one of the untold number of talented actresses who came close to stardom, but who never got that perfect part to launch from. She appeared in a couple dozen movies in the 1930s and 1940s, mostly from Twentieth Century-Fox and Universal Pictures before leaving the film business to return to stage acting and, later, a successful career as an artist. She returned to screen fame late in life when she had a role in James Cameron's mega-hit "Titanic."
Born on July 4, 1910, Stuart passed away on September 26, 2010. Matthew Coniam posted a nice farewell to her at Movietone News.
Tuesday, September 28, 2010
Hitchcock revisits early style in 'Stage Fright'
Stage Fright (1950)
Starring: Jane Wyman, Richard Todd, Michael Wilding, Marlene Dietrich, and Alastair Sim
Director: Alfred Hitchcock
Rating: Eight of Ten Stars
A flighty acting student (Wyman) tries to help a friend she thinks she's in love with (Todd) when it looks like he is being drawn into a murder cover-up by a manipulative diva (Dietrich). Things get even more complicated when she realizes she is actually in love with the police detective working to solve the murder (Wilding) and when she comes to fear that her friend was more than just an innocent bystander in the murder plot.
Although made in 1950, "Stage Fright" feels more like the movies Hitchcock made in the 1930s like "Young and Innocent" rather than his other films from around this same time, such as "Strangers on a Train". Maybe it's because of the English setting and characters, but for some reason, the mix of humor-to-suspense, the pacing of the story, and even the outcome, gives the film a tone that Hitchcock will never again use. Perhaps, as is suggested on the DVD commentary track, this film was Hitchcock's "goodbye" to England and that early part of his career, even if it came roughly a decade after his relocation to Hollywood. Everything I found so pleasant, charming, and oh-so-early-20th-century British about Hitchcock's early films are present in this
Some viewers may not like the quaintness of the film's characters, most of whom feel like they belong in an Agatha Christie novel, or perhaps even a detective novel directed at teenaged girls what with the central character been an independent-minded, if a naive and prone to over-romanticising everything, girl who is out to do the right thing, her way. (Although as far as that goes, this may well be one of the more "girl-friendly" mystery movies I've come across.)
However, it is that very quaint, old-fashioned nature of so many of the movies characters that make the villains seem all that more evil and twisted when their natures and motives come to light. The character played by Richard Todd--our young heroine's original love interest--seems all the more terrifying and threatening when his full psychopathic nature comes to light because he is surrounded by such otherwise gentle and fundementally well-mannered people. It is one of the most intense scenes in any Hitchcock film.
Another thing that works far better than it has a right to is the insta-romance featured in this picture. I've complained about this plot device in many films before--the one where characters meet and instantly fall in love because supposedly their Fated to be True Loves but in reality it's Dictated By Plot Needs--but here it actually works. Maybe I can buy into the sudden and complete romance between our heroine and the police detective because of the old-fashioned atmosphere that permeates the film, or maybe it's because of the clumsy and realistic way their relationship gets its start, but it was for once one I could buy into, and one that I found myself caring about when it looked like it was going to fall apart.
It could also be that I buy into the insta-romance because Jane Wyman's Eve and MIchael Wilding's "Ordinary" Smith are so likable both in the way they are acted and the way they are written that even my cynic's heart gave way to well-wishes and romantic impulses. The characters are charming and the actors have great on-screen charisma. Wyman and Wilding make perhaps one of the best couples to ever grace a Hitchcock film.
There is really only one downside to "Stage Fright", and it's one that critics and Hitchcock himself has slammed it for. The film opens with a "flashback" that we later learn isn't entirely true. Hithcock reportedly stated that he later regretted starting the movie that way, and critics have commented that a film should never include a flashback that's a lie. Personally, it didn't bother me that much, although I would have liked there to have been a clue or two that demonstrated the lie before it is explained to us so that I might have figured it out on my own, but perhaps my perspective is informed by the fact that I've sat through entire movies that turned out to be lies, such as "The Usual Suspects."
If you love the early Hitchcock movies, you need to check out "Stage Fright". Like so many of his British pictures, this is a sorely under-appreciated effort.
Starring: Jane Wyman, Richard Todd, Michael Wilding, Marlene Dietrich, and Alastair Sim
Director: Alfred Hitchcock
Rating: Eight of Ten Stars
A flighty acting student (Wyman) tries to help a friend she thinks she's in love with (Todd) when it looks like he is being drawn into a murder cover-up by a manipulative diva (Dietrich). Things get even more complicated when she realizes she is actually in love with the police detective working to solve the murder (Wilding) and when she comes to fear that her friend was more than just an innocent bystander in the murder plot.
Although made in 1950, "Stage Fright" feels more like the movies Hitchcock made in the 1930s like "Young and Innocent" rather than his other films from around this same time, such as "Strangers on a Train". Maybe it's because of the English setting and characters, but for some reason, the mix of humor-to-suspense, the pacing of the story, and even the outcome, gives the film a tone that Hitchcock will never again use. Perhaps, as is suggested on the DVD commentary track, this film was Hitchcock's "goodbye" to England and that early part of his career, even if it came roughly a decade after his relocation to Hollywood. Everything I found so pleasant, charming, and oh-so-early-20th-century British about Hitchcock's early films are present in this
Some viewers may not like the quaintness of the film's characters, most of whom feel like they belong in an Agatha Christie novel, or perhaps even a detective novel directed at teenaged girls what with the central character been an independent-minded, if a naive and prone to over-romanticising everything, girl who is out to do the right thing, her way. (Although as far as that goes, this may well be one of the more "girl-friendly" mystery movies I've come across.)
However, it is that very quaint, old-fashioned nature of so many of the movies characters that make the villains seem all that more evil and twisted when their natures and motives come to light. The character played by Richard Todd--our young heroine's original love interest--seems all the more terrifying and threatening when his full psychopathic nature comes to light because he is surrounded by such otherwise gentle and fundementally well-mannered people. It is one of the most intense scenes in any Hitchcock film.
Another thing that works far better than it has a right to is the insta-romance featured in this picture. I've complained about this plot device in many films before--the one where characters meet and instantly fall in love because supposedly their Fated to be True Loves but in reality it's Dictated By Plot Needs--but here it actually works. Maybe I can buy into the sudden and complete romance between our heroine and the police detective because of the old-fashioned atmosphere that permeates the film, or maybe it's because of the clumsy and realistic way their relationship gets its start, but it was for once one I could buy into, and one that I found myself caring about when it looked like it was going to fall apart.
It could also be that I buy into the insta-romance because Jane Wyman's Eve and MIchael Wilding's "Ordinary" Smith are so likable both in the way they are acted and the way they are written that even my cynic's heart gave way to well-wishes and romantic impulses. The characters are charming and the actors have great on-screen charisma. Wyman and Wilding make perhaps one of the best couples to ever grace a Hitchcock film.
There is really only one downside to "Stage Fright", and it's one that critics and Hitchcock himself has slammed it for. The film opens with a "flashback" that we later learn isn't entirely true. Hithcock reportedly stated that he later regretted starting the movie that way, and critics have commented that a film should never include a flashback that's a lie. Personally, it didn't bother me that much, although I would have liked there to have been a clue or two that demonstrated the lie before it is explained to us so that I might have figured it out on my own, but perhaps my perspective is informed by the fact that I've sat through entire movies that turned out to be lies, such as "The Usual Suspects."
If you love the early Hitchcock movies, you need to check out "Stage Fright". Like so many of his British pictures, this is a sorely under-appreciated effort.
Monday, September 27, 2010
Mohammed Monday: Women's Rights
Here's another dreaded cartoon of blasphemy. It originally appeared at Jesus and Mo.
The long-running "Jesus and Mo" cartoon strips have been collected in book form. Click here to see the listings at Amazon.com
.
If you would like to submit an original Mohammed cartoon to appear in this space, email it to me as a jpg or gif attachment. Your contribution will be as anonymous or as attributed as you choose.
(This week's post is dedicated to Imam Anwar al-Awlaki,
without whom this special series would never have happened.)
without whom this special series would never have happened.)
The long-running "Jesus and Mo" cartoon strips have been collected in book form. Click here to see the listings at Amazon.com
.If you would like to submit an original Mohammed cartoon to appear in this space, email it to me as a jpg or gif attachment. Your contribution will be as anonymous or as attributed as you choose.
Subscribe to:
Posts (Atom)
.jpg)
