To this day, Robert Wise's "The Haunting" reigns supreme as the definitive haunted house movie. It has paved the way for such memorable classics as "The Innocents," "Burnt Offerings," and "The Others." However, not many people seem to remember a 1973 flick that came out months before "The Exorcist," a film called "The Legend of Hell House."
Dr. Lionel Barrett is a physicist who is hired by an old man named Rudolph Deutsch to find the answer to one question: Is there life after death? This isn't particularly his job, but since he is getting paid 100,000 bucks, he is glad to take it. But he isn't all for the choice of area in which he'll be studying the subject assigned to him: the Belasco House, aka Hell House.
Known to many as the "Mount Everest of haunted houses," Barrett takes the job, and brings with him three people: Ann, his wife, Florence Tanner, a mental medium, and Benjamin Fischer, the one and only survivor of the previous experiments in Hell House. The owner of the house, Emeric Belasco, was a madman, a sadist obsessed with everything shockingly violent, ranging from cannibalism to murderous alcoholism. So, if any house in England is truly haunted, it's quite obvious that this would be it. And once the team is inside the house, the supernatural occurrences start right away. Lionel, Ann, Florence, and Ben will find out that the Belasco mansion is truly a Hell House.
"The Legend of Hell House" was scripted by Richard Matheson, who wrote the novel that inspired the film as well as "I Am Legend," "Duel," and "The Box." I have read "Hell House" and while the movie follows the book very closely, it is not nearly as graphic or disturbing as the novel. That is totally understandable. If Matheson included everything from the novel, the film would have been X-rated.
While the movie doesn't include all of the sexuality and the violence of the book, it manages to be a very effective ghost story. Like "The Haunting," "Hell House" chooses to abandon most special effects and terrify the viewer through the imagination. No ghosts are seen here, but there's plenty of activity. Matheson has weaved a story that lets your imagination go wild, and I personally think it is his best novel.
The thing that is most fascinating about this haunted house is that one way it haunts the occupants is by digging into what gets to them most. Lionel's wife, Ann, is sexually repressed, and when she expects love from her husband, he turns away, and Ann exhibits her activeness in one of the creepiest sleepwalking scenes ever filmed.
When we first enter the Belasco House, we know instantly that we should turn away and never come back. But our mind tells us not to and to go in to find the answers to the supernatural phenomena that occurred there.
The cast is well-chosen. Clive Revill is good as the non-believing Lionel, as well as Gayle Hunnicutt as Ann. But Pamela Franklin(of "The Innocents," and "And Soon the Darkness") and Roddy McDowall("Fright Night," and "Planet of the Apes") give the best performances here as Florence and Benjamin, who firmly believe that the house is haunted.
Direction went to John Hough, who had directed "Escape to Witch Mountain" and several episodes of "The Avengers." Hough knows that what you don't see is scarier than what you do see, and proves himself worthy as a horror film director.
The ending is sort of a letdown, but the rest of the movie remains flawless. It's not as great as "The Haunting," but it is a worthy follow-up that is atmospheric, eerie, and shocking, and pushes the boundaries beyond what we think a haunted house movie really is. Never does it come off as campy, and if "The Legend of Hell House" doesn't give you the creeps, than you don't know what horror is.
Sunday, January 30, 2011
Sunday, January 23, 2011
Good, Old-Fashioned, Black And White Horror!
Sometimes, we need to take a break from the more recent horror movies of our time. If you're a real fan of the genre, check out this piece on some of the greatest black and white horror films of all time.
1) Carnival of Souls (1962)- Herk Harvey directed this tale of a woman named Mary Henry, who gets into a car accident with her friends after a failed drag race. She survives the accident, and doesn't remember anything. A while after the accident occurred, Mary leaves her town and heads over to an area where she will take the job of a church organist. Soon, she begins to experience hallucinations and see ghostly apparitions that constantly haunt her. "Carnival of Souls" is certainly a B-movie. The acting is just so bad it's good. However, as B-grade as it is, there is just something about it. The atmosphere is tremendous and inescapable, and there are moments of undeniable creepiness, especially when we see that creepy man with the wide eyes that is haunting Mary Henry. The acting isn't all that, but if you're looking for something that is ambiguous and strange, you've found it here.
2) The Phantom of the Opera (1925)- Lon Chaney shines in this silent film adaptation of Gaston Leroux's novel about a deformed figure that demands love from the opera singer that he is obsessed with. Chaney doesn't need to speak for this movie. It's all about his body language and facial expressions. He can project any emotion instantly, making him a genious performer. And the face revelation scene is still one of the most haunting and shocking moments in horror cinema. It's a classic tale and an equally classic movie.
3) Nosferatu (1922)- Before the suave and lovesick Dracula, there was this movie. Directed by F.W. Murnau, "Nosferatu" is basically "Dracula" under a different name(Murnau was almost sued for not getting the film rights for Stoker's novel from his widowed wife), but through the power of suggestion and atmosphere, it is a triumphant horror film. Realtor Knock hires his best man Hutter to travel to Transylvania to sell a house to the mysterious Count Orlok. Leaving his wife, Ellen, behind, Hutter takes the trip and finds himself caught up in a horrific and vampiric nightmare. Easily one of the ugliest and creepiest vampires on film, Max Schreck's Orlok is a performance that will creep you out even after the film is finished. You don't want this guy knocking on your door.
4) The Cabinet of Dr. Caligari (1919)- Another German expressionist horror film that has to be seen to be believed.
5) The House on Haunted Hill (1959)- Aided by the performance of Vincent Price and the showmanship of horror master William Castle, "The House on Haunted Hill" is classic B-movie fun about a millionaire who chooses a couple of people to spend the night in a supposedly haunted mansion. Whoever survives gets 100, 000 smackers. It's one of Price's best performances and the movie oozes with love for the genre.
6) Dracula (1931)- Don't need to say much about this Universal must, only that it's the movie that made Bela Lugosi a hit in the horror genre.
7) Frankenstein (1931)- Mary Shelley's novel about the creation of monsters is turned into one of the most iconic horror films ever made, thanks to the casting of Boris Karloff as the monster. "IT'S ALIVE!!!"
8) Cat People (1942)- A black and white horror film that, if you pay close attention, is all about sexual repression. Bosnia native Irena falls in love with everyman Oliver Reed in New York. The bad news is that if she becomes sexually excited, the creature inside of her will take over and attack! The Val Lewton productions were all about suggestion. There are no transformation scenes, but plenty of terror!
9) Night of the Living Dead (1968)- People locked in farmhouse. Hungry, flesh-eating ghouls attack. George Romero's film is simple, but the jaded aficionado will find it most effective due to the controversial social commentary littered throughout the movie.
10) Repulsion (1965)- "Black Swan" is obviously inspired by this Roman Polanski-directed psychological chiller about a sexually repressed woman that stays alone in her apartment for days, and slowly goes over the edge of sanity. It's weird, bizarre, frightening, and definitely one of the biggest "WTF?" films of the 60's.
1) Carnival of Souls (1962)- Herk Harvey directed this tale of a woman named Mary Henry, who gets into a car accident with her friends after a failed drag race. She survives the accident, and doesn't remember anything. A while after the accident occurred, Mary leaves her town and heads over to an area where she will take the job of a church organist. Soon, she begins to experience hallucinations and see ghostly apparitions that constantly haunt her. "Carnival of Souls" is certainly a B-movie. The acting is just so bad it's good. However, as B-grade as it is, there is just something about it. The atmosphere is tremendous and inescapable, and there are moments of undeniable creepiness, especially when we see that creepy man with the wide eyes that is haunting Mary Henry. The acting isn't all that, but if you're looking for something that is ambiguous and strange, you've found it here.
2) The Phantom of the Opera (1925)- Lon Chaney shines in this silent film adaptation of Gaston Leroux's novel about a deformed figure that demands love from the opera singer that he is obsessed with. Chaney doesn't need to speak for this movie. It's all about his body language and facial expressions. He can project any emotion instantly, making him a genious performer. And the face revelation scene is still one of the most haunting and shocking moments in horror cinema. It's a classic tale and an equally classic movie.
3) Nosferatu (1922)- Before the suave and lovesick Dracula, there was this movie. Directed by F.W. Murnau, "Nosferatu" is basically "Dracula" under a different name(Murnau was almost sued for not getting the film rights for Stoker's novel from his widowed wife), but through the power of suggestion and atmosphere, it is a triumphant horror film. Realtor Knock hires his best man Hutter to travel to Transylvania to sell a house to the mysterious Count Orlok. Leaving his wife, Ellen, behind, Hutter takes the trip and finds himself caught up in a horrific and vampiric nightmare. Easily one of the ugliest and creepiest vampires on film, Max Schreck's Orlok is a performance that will creep you out even after the film is finished. You don't want this guy knocking on your door.
4) The Cabinet of Dr. Caligari (1919)- Another German expressionist horror film that has to be seen to be believed.
5) The House on Haunted Hill (1959)- Aided by the performance of Vincent Price and the showmanship of horror master William Castle, "The House on Haunted Hill" is classic B-movie fun about a millionaire who chooses a couple of people to spend the night in a supposedly haunted mansion. Whoever survives gets 100, 000 smackers. It's one of Price's best performances and the movie oozes with love for the genre.
6) Dracula (1931)- Don't need to say much about this Universal must, only that it's the movie that made Bela Lugosi a hit in the horror genre.
7) Frankenstein (1931)- Mary Shelley's novel about the creation of monsters is turned into one of the most iconic horror films ever made, thanks to the casting of Boris Karloff as the monster. "IT'S ALIVE!!!"
8) Cat People (1942)- A black and white horror film that, if you pay close attention, is all about sexual repression. Bosnia native Irena falls in love with everyman Oliver Reed in New York. The bad news is that if she becomes sexually excited, the creature inside of her will take over and attack! The Val Lewton productions were all about suggestion. There are no transformation scenes, but plenty of terror!
9) Night of the Living Dead (1968)- People locked in farmhouse. Hungry, flesh-eating ghouls attack. George Romero's film is simple, but the jaded aficionado will find it most effective due to the controversial social commentary littered throughout the movie.
10) Repulsion (1965)- "Black Swan" is obviously inspired by this Roman Polanski-directed psychological chiller about a sexually repressed woman that stays alone in her apartment for days, and slowly goes over the edge of sanity. It's weird, bizarre, frightening, and definitely one of the biggest "WTF?" films of the 60's.
Friday, January 7, 2011
The Last Exorcism: A Big, Super-Creepy Surprise!
After seeing "Paranormal Activity," I decided to take a break from the "found footage" horror film. That's right. I decided to skip "The Last Exorcism" when it was in theaters. However, the critical praise poured in and the hype started to build. So, I finally watched the film on DVD. And I gotta say, I was so surprised.
Reverend Cotton Marcus is an evangelist minister. He's done his fair share of exorcisms, but he sees them as a bunch of bull. Cotton gets a letter to come down to another part of Louisiana to perform an exorcism. He accepts, and decides to bring a camera crew with him to film the footage of what is to be his last exorcism. Enter the farm of the Sweetzer family: Religious father Lewis, his weird and rude son Caleb, and his sweet 16 year old daughter, Nell. Nell is the one that is supposedly possessed and could be the one killing the livestock. Cotton sees Nell's actions, and he dismisses them as the behavior of an insane, abused young girl. But what if he's wrong?
We've had plenty of possession flicks, ranging from the profane and disturbing classic "The Exorcist" to the recently well-done court drama/horror film "The Exorcism of Emily Rose." Going into this one, the audience gets a feel that they've seen this before. How wrong they were. "The Last Exorcism" is a possession flick, but it's so much more well-done than you'd expect it to be. And it's scarier too.
After such movies as "The Blair Witch Project," "Quarantine," and "Paranormal Activity," "The Last Exorcism" does follow the "found footage" formula like those before it. Like Oren Peli, director Daniel Stamm has a keen and sensational visual eye, offering up a healthy dose of suspense, terrifying "BOO!" moments, and the gut-wrenchingly violent and frightening behavior of Nell Sweetzer.
Screenwriters Huck Botko and Andrew Gurland have written a script that avoids the classic horror movie clichés and pulls out all the stops. Once the story gets going, there's no stopping it. Nell's actions start off strange and grow increasingly more horrific as the movie goes on. I don't know if Hitchcock was a fan of demonic horror, but he would be proud with the story Botko and Gurland have weaved.
Next to the "found footage" concept, what elevates "The Last Exorcism" above others is its music. Usually, in order to achieve the raw "home camera" feel, there is never any music in a horror film like this. However, Nathan Barr composes some truly creepy music that gets under your skin as equally as the movie does.
A mostly unknown cast of actors give performances to remember, especially Patrick Fabian and Ashley Bell as Cotton and Nell. Sure, Cotton has faith, but he doesn't believe in the devil. The character could have come off as extremely obnoxious. But Fabian gives the role a fantastic third dimension that allows you to care about Cotton. Bell's portrayal of Nell Sweetzer is absolutely unbelievable. Like Jennifer Carpenter in "Emily Rose," playing a possessed teen is not easy. Bell gives the role all of the layers it needs to look real. She is sweet when she has to be, and the same goes for when she's pure evil. Also, Nell's body-cracking movements don't come off as CGI. It looks like Bell is doing all the work, making her performance just as good.
During the movie, I chose not to compare it to "Paranormal Activity," and it works better that way. "The Last Exorcism" and Oren Peli's film equal each other out. This film doesn't offer up a slow build up, and just sends you on a roller coaster ride unlike any other. "The Last Exorcism" is one of the best nail-biters of 2010, and call me crazy, but it comes pretty close to being the "Exorcist" of our generation. It is incredibly scary, and for a PG-13 horror movie, it gets away with a lot of stuff. It will stay with you long after you've left the theater or turned off your DVD player, and it will leave you with questions. Was God anywhere when needed? Was Nell really possessed or just crazy? You'll soon find out. And I don't care what anybody says. The ending is a stunner!
Reverend Cotton Marcus is an evangelist minister. He's done his fair share of exorcisms, but he sees them as a bunch of bull. Cotton gets a letter to come down to another part of Louisiana to perform an exorcism. He accepts, and decides to bring a camera crew with him to film the footage of what is to be his last exorcism. Enter the farm of the Sweetzer family: Religious father Lewis, his weird and rude son Caleb, and his sweet 16 year old daughter, Nell. Nell is the one that is supposedly possessed and could be the one killing the livestock. Cotton sees Nell's actions, and he dismisses them as the behavior of an insane, abused young girl. But what if he's wrong?
We've had plenty of possession flicks, ranging from the profane and disturbing classic "The Exorcist" to the recently well-done court drama/horror film "The Exorcism of Emily Rose." Going into this one, the audience gets a feel that they've seen this before. How wrong they were. "The Last Exorcism" is a possession flick, but it's so much more well-done than you'd expect it to be. And it's scarier too.
After such movies as "The Blair Witch Project," "Quarantine," and "Paranormal Activity," "The Last Exorcism" does follow the "found footage" formula like those before it. Like Oren Peli, director Daniel Stamm has a keen and sensational visual eye, offering up a healthy dose of suspense, terrifying "BOO!" moments, and the gut-wrenchingly violent and frightening behavior of Nell Sweetzer.
Screenwriters Huck Botko and Andrew Gurland have written a script that avoids the classic horror movie clichés and pulls out all the stops. Once the story gets going, there's no stopping it. Nell's actions start off strange and grow increasingly more horrific as the movie goes on. I don't know if Hitchcock was a fan of demonic horror, but he would be proud with the story Botko and Gurland have weaved.
Next to the "found footage" concept, what elevates "The Last Exorcism" above others is its music. Usually, in order to achieve the raw "home camera" feel, there is never any music in a horror film like this. However, Nathan Barr composes some truly creepy music that gets under your skin as equally as the movie does.
A mostly unknown cast of actors give performances to remember, especially Patrick Fabian and Ashley Bell as Cotton and Nell. Sure, Cotton has faith, but he doesn't believe in the devil. The character could have come off as extremely obnoxious. But Fabian gives the role a fantastic third dimension that allows you to care about Cotton. Bell's portrayal of Nell Sweetzer is absolutely unbelievable. Like Jennifer Carpenter in "Emily Rose," playing a possessed teen is not easy. Bell gives the role all of the layers it needs to look real. She is sweet when she has to be, and the same goes for when she's pure evil. Also, Nell's body-cracking movements don't come off as CGI. It looks like Bell is doing all the work, making her performance just as good.
During the movie, I chose not to compare it to "Paranormal Activity," and it works better that way. "The Last Exorcism" and Oren Peli's film equal each other out. This film doesn't offer up a slow build up, and just sends you on a roller coaster ride unlike any other. "The Last Exorcism" is one of the best nail-biters of 2010, and call me crazy, but it comes pretty close to being the "Exorcist" of our generation. It is incredibly scary, and for a PG-13 horror movie, it gets away with a lot of stuff. It will stay with you long after you've left the theater or turned off your DVD player, and it will leave you with questions. Was God anywhere when needed? Was Nell really possessed or just crazy? You'll soon find out. And I don't care what anybody says. The ending is a stunner!
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