Come join our very first watch party to celebrate Halloween Haiku’s two year anniversary!
Come join our very first watch party to celebrate Halloween Haiku’s two year anniversary!
Today we celebrate Women in Horror, with a tribute to a legendary queen of horror, Sigourney Weaver, star of enduring Alien franchise.
In Ridley Scott’s 1979 sci-fi horror masterpiece Alien, Sigourney relished the chance to bring a smart, no-nonsense, powerful leader to movie audiences during a time when women yearned to see a strong female presence on the big screen. Lt. Ellen Ripley proved to be way more than just the final girl, and in the 1986 sequel Aliens, Sigourney continued to portray Ripley, this time as a badass survivor and the voice of reason in this crazy new world. In her final action-packed showdown with the queen mother of all Xenomorphs, Ripley emerged as one of the greatest female kickass heroes on film, period.
For the full recipe and cooking instructions, please visit here: https://feastinthyme.com/alien-xenomorph-eggs/
For some insight on Sigourney’s thoughts on playing Ripley, check out this video:
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.”
Curse of Frankenstein (1957)
I’ve harmed nobody, just robbed a few graves!
Hammer Film’s first incursion into the Frankenstein mythos, Curse of Frankenstein, spawned several sequels, all of them starring soon-to-be horror icon Peter Cushing as Victor Frankenstein. Directed by Terence Fisher, in what would be the first of many films that Fisher would make for Hammer Films, the film also starred a young Christopher Lee, playing the Monster, before he would go on to don Dracula’s cape for the next three decades.
Universal Films fought vehemently to protect their own Frankenstein film and its rights, which reflected heavily on many decisions Hammer made during filming. Make-up artist Phil Leaky created a brand-new look for the monster, and several key scenes from the novel were cut due to a limited budget. Despite its limitations, Curse of Frankenstein impressed many with its art direction, costuming, camera work, and the stellar cast, which also included English actor Hazel Court, (just starting out in her lengthy career as a horror queen), and Scottish stage and TV actor Robert Urquhart.
This story revolves around Frankenstein himself, rather than his creature, choosing to show the Baron as a more ambitious, egotistical and ruthless man; at the start of the story, he awaits execution for several murders. Hammer’s version of Dr. Frankenstein is a villainous man, willing to commit crimes, set up a man’s accidental death, aka murder, to obtain the parts he needs to create his creature, and even use the poor creature to kill opponents standing in the way of greatness. Since, the brain was damaged, it becomes apparent quickly that the monster has little intelligence and is too far too violent to control, thus, Frankenstein is forced to destroy his greatest creation. With the evidence gone, fate comes down to his younger associate Dr. Paul Krempe, the only witness to the experiments.
Colin Clive may have had the most memorable line in horror history, but it was Peter Cushing who was highly praised for the truly unforgettable performance of Victor Frankenstein, for fleshing out the character that audiences deemed charming and intriguing, in spite of his villainy. It was Cushing that helped inspire the mad scientist archetype and motivated Hammer to continue his story all the way into the 70s.
Curse of Frankenstein was Hammer’s first color film and considered by many to be the first truly gory film. The deep red blood and guts appeared gorier on screen than any other horror film of its time, causing a bit of uproar and scathing reviews. It even received an X rating for a time, when it opened at the London Pavilion in 1957. Despite receiving the lukewarm reviews from critics, audiences seemed to really like the film, grossing nearly $8 million, thus, putting Hammer Films squarely on the map.
The Old Dark House (pre-code 1932)
“Have a potato.”
Kicking off Tuesday Terror is black/white classic The Old Dark House from 1932. Once considered a horror film, really, it’s more a thriller-comedy about a group of travelers, who on one violent stormy night, find themselves stranded in the mansion of an eccentric Femm family and their creepy mute butler.
Directed by James Whale and produced by Carl Laemmle, Jr. at Universal Pictures Corp., who were still riding the wave of success from the horror sensation, Frankenstein, the film starred soon-to-be-leading man Melvyn Douglas, English actors Ernest Thesiger, Eva Moore and Lilian Boyd, and was the first Hollywood film for both British star Charles Laughton and Canada’s Raymond Massey. The film gave up-and-coming starlet Gloria Stuart her first starring role as well, and oddly enough, the film hottest star at the time, Boris Karloff, received his first credited starring role (Karloff’s name was not printed on Frankenstein publicity packages).
The Old Dark House is one of the first atmospheric, dark, creepy house movies. The lightening and cinematography and dreadful, menacing music sets the tone perfectly: cold, dark and wet. While it has its moments of creepy melodrama, particularly towards the end, I found the movie quite humorous. The script was brimming with funny lines and sardonic wit, remember, this is pre-code too, so there’s drinking, smoking, and a very thinly dressed leading lady.
As for the scares, it’s an entertaining build to the end, and then, it gets real dark and weird. Most of the horror is contained to the audience not knowing the motivations of the hulking mute butler, Morgan, played by Boris Karloff, in a role so similar to Frankenstein’s monster, the movie company issued a notice in the first frame that this movie is not the Frankenstein movie released in 1931. Unlike the sympathetic monster, Morgan is a nasty piece of work here, a mean drunk who terrorizes Gloria Stuart’s Margaret, navigating her way in the dark like a delicate gazelle.
There’s some real laugh out loud moments and charming interactions between the travelers, as well as a rushed love story, or maybe I’m just too cynical to believe two people can indeed fall in love in ten minutes. Despite not knowing whether to laugh or hide under the covers, it’s those bizarre and charming characters that really make the film worth watching. The film was even marketed on the strength of its cast and for being weird.
One of the highlights is Ms. Rebecca Femm played by the veteran stage actress and women’s suffrage activist, Eva Moore. Her turn as a cantankerous religious fanatic going deaf is both creepy and hilarious. Rebecca hates the idea of opening up her home to strangers (“No beds! They can’t have beds!”) and seizes several moments to insult her guests, especially the young and beautiful Margaret.
In 1957, Universal lost the rights to the film and the William Castle was hired to direct the remake in 1963 for Columbia Pictures. The original film was considered lost for many years until found by director Curtis Harrington, who discovered a negative print in the Universal Vaults in 1968. The first reel was in such bad shape, the famed George Eastman House was brought in to help restore the film.
With lukewarm reviews, the pic didn’t do much box office business in the US but broke some records in the UK, due in part to the talented English cast. Now, The Old Dark House is just an underrated thriller with a cult following.
Don’t forget to join us for Tuesday Trivia: http://halloweenhaiku.freeforums.net/thread/8/random-classic-horror-movie-trivia
Happy September! School is back in session, summer is winding down, and that recent holiday in the sun is now a distant memory. Everyone knows vacations can sometimes be more stressful than relaxing. Between the airlines losing luggage and hotel rooms not looking anything like the brochure, to pricey tourist traps or flat out being robbed, the reality of exotic trips not living up to their expectations is a top reason why people just stay home. Let’s be honest, a lot of the disappointment could’ve been solved with better research and a Lonely Planet travel guide.
No matter how awful your trip was, just be glad you weren’t a character in an Eli Roth movie.
Camp Crystal Lake, Friday the 13th (1980) dir. by Sean S. Cunningham
Years after a child’s accidental drowning, a group of young camp counselors prepare for the summer camp’s reopening, only to be stalked and murdered by an unseen force.
This one almost didn’t make the list because for all its posturing and preparation for summer visitors, Camp Crystal Lake never actually opened to the public. That’s right, no vacations were had, which is a good thing because after all those brutal murders, they never would have survived the Yelp reviews. The locals called it ‘Camp Blood’ for short. I mean, can you imagine the BBB rating on this place? “One star for the blood-stained bunk beds!” Never before has the mere uttering of a vacation destination sparked so much fear, because no one steps foot in a forest these days without hearing Jason’s theme ‘ki-ki-ki-ma-ma-ma‘ in their head.