from the abyss, comes madness
from the abyss, comes madness
“Some said the thunder called the lurking fear out of its habitation, while others said the thunder was its voice.” – H.P. Lovecraft
In this volatile world filled with ominous creatures and unknown dangers, the fine line between madness and reason evaporates with the arrival of the lurking fear.
Curious humans stumble upon Mother Nature’s guardians, as they watch over the gates of the abyss, only to become prey to Summer’s haunting season.
Head on over to Instagram and post your favorite pics/photos representing June Gloom. Both art pics and photos are allowed this time around. Don’t forget to credit the artists when you can.
Join in any day and don’t forget to tag your pics using #junegloompicchallenge
Celebrating May Day with a 25-day photo challenge. Head on over to Instagram and post your favorite photos representing Spooky Spring. Join in any day!
Don’t forget to tag your pics using #spookyspringphotochallenge
rivers of blood
war on Christmas
stranger in my house
Today, I’d like to give thanks for all the Halloween fans and curious souls who have stopped by my little web blog to share in the love for Halloween. Be sure to check us out in December, when we’ll celebrate the dark and spooky side of the holidays.
Author, illustrator, storyteller, and filmmaker Steven Soenksen a.k.a. Gris Grimly grew up inspired by classic horror films, comics, art, and all the great horror writers like Edgar Allan Poe, Edward Gorey, and H.P. Lovecraft. After college, he moved to Los Angeles and fell into illustrating children’s books and built a successful reputation for his dark yet whimsical characters. Grimly was hired to draw illustrations for retellings of classic stories, such as, The Legend of Sleepy Hollow, The Halloween Tree, Wicked Nursery Rhymes, Pinocchio and Frankenstein, a story which holds personal meaning to him.
In 2005, Grimly wrote, produced and directed a horror short called Cannibal Flesh Riot! with his good friends, which received good reviews and toured the festival circuit that year. The film’s success led to other opportunities, making other short films and music videos, including a video for Texas psychobilly fiends, Ghoultown, starring the Mistress of the Dark herself, Elvira.
Artist: Gris Grimly
Where to Purchase Goods: horror conventions, specialty stores, special events, and online store (although temporarily closed as of October 2019, while it’s being revamped, check back later)
Website: http://www.madcreator.com/ or http://grisgrimly.com/
Social Media: Instagram- https://www.instagram.com/grisgrimly/
Why we love them: Handsome, rock-a-billy, tattoed and super talented, what’s not to love? I’ve met Gris Grimly a couple of times at horror conventions and he’s incredibly nice. He recently moved his family back to the home state of Nebraska and looks like, he’s already working on a new book. I can’t wait to read it.
The Pit and the Pendulum (1961)
No one shall ever enter this room again.
Pit and the Pendulum was a film of many seconds for director Roger Corman. It was the second film adapted from an Edgar Allan Poe story, written by author and screenwriter Richard Matheson, who penned such successful novels such as I am Legend and the Incredible Shrinking Man. It was second big hit for distributor American International Pictures, grossing over $2 million USD from a measly $300,000 budget. It was also the second time that Corman would work with Vincent Price and Barbara Steele, each of whom would go on to become horror icons based on their work in numerous horror films.
Loosely based on Edgar Allan Poe of the same name, the story revolves around a tenacious Englishman Francis Barnard who goes to foreboding castle in Spain, after hearing word that his sister Elizabeth has died. He confronts his brother-in-law Don Nicholas Medina, demanding to know how she died. While there, Barnard finds the grieving don is slowly losing his mind, convinced that his late wife is haunting the castle, a site once used in the Spanish Inquisition. The don’s sister and personal physician try to sooth Barnard’s suspicions that Nicholas had anything to do with the sister’s death by revealing the tragic childhood trauma (shown in color-tinted vignette style flashbacks) that inflicts the don, but as the dark night drags by, it becomes apparent that a more sinister plot is afoot.
Richard Matheson creates magic here by fleshing out the Poe’s torture chamber story bringing in the doomed Don Nicholas Medina, who already believes he’s cursed with same madness that drove his father to inflict unspeakable horror on the Spanish population, as well as his own family. In some ways, Matheson’s story is better than Poe’s gothic tale, giving audiences a backstory into understanding the horror the Poe wrote about.
The Merchant of Menace, Vincent Price, is at his best here, playing both a grieving man losing his sanity and his sinister father in flashbacks. His acting is somewhat melodramatic but entirely encouraged by dark dreamy orchestral score by Les Baxter. The always beautiful and haunting bright eyes of Barbara Steele turn in another wicked performance, cementing her legacy as a horror vixen, and John Kerr, Luana Anders and Antony Carbone also give strong memorable performances.
Despite the low-budget, Corman’s gothic adaption looked like million dollar film, with its vibrant color, gorgeous costuming, intricate set design, and carefully planned wide-angle shots by Floyd Crosby, the lusciously filmed Pit and the Pendulum only took 15 days to film. Shot entirely on a sound stages in California, Corman’s meticulous pre-production with his team, in particular, set designer, Daniel Haller, who created a real pendulum for the movie’s nightmarish ending sequence. The imposing pendulum was 18-feet long, weighed over 2,000 lbs and hoisted thirty-five feet in the air at the top of the sound stage above the actors. The blade was made of rubber, but a real metal blade covered in steel paint was switched out for the close shots, giving John Kerr some serious anxiety, which shows in his perspiring face during the final scenes.
This is my favorite Roger Corman and Vincent Price collaboration. It’s the scariest and best overall production, an absolute epitome of gothic horror, inspiring dozens of other filmmakers, from Hollywood to the Italian gallo films of the 60s. Horror at that time was changing in a way that the scares were no longer implied. Horror master Stephen King remembers the Pit and the Pendulum scene which Price’s don Medina finds the decayed corpse of his dead wife, as having changed the horror landscape, King says “the most important moment in the post-1960 horror film, signaling a return to an all-out effort to terrify the audience…and a willingness to sue any means at hand to do it.”