The Beyond (1981)
Known in Italy as “E tu vivrai nel terrore! L'aldilà” which literally means “And you will live in terror! The afterlife”, The Beyond is the second entry in the so-called “Gates of Hell” trilogy by director Lucio Fulci. However, all three films are not connected in any way and simply share supernatural themes and graphic violence. Something Lucio Fulci became synonymous with in the latter part of his career. The Beyond is one of the director’s better films, in so far as it has good production values and is set in rural Louisiana. It has a lot of visual flair and a great soundtrack by composer Fabio Frizzi. However, the story is not a traditional linear narrative. Instead, after establishing a basic premise of a hotel built on one of the seven gates of hell and a vengeful dead warlock, The Beyond becomes mainly a series of elaborate and ghoulish set pieces, designed more for visual impact rather than logical sense.
Known in Italy as “E tu vivrai nel terrore! L'aldilà” which literally means “And you will live in terror! The afterlife”, The Beyond is the second entry in the so-called “Gates of Hell” trilogy by director Lucio Fulci. However, all three films are not connected in any way and simply share supernatural themes and graphic violence. Something Lucio Fulci became synonymous with in the latter part of his career. The Beyond is one of the director’s better films, in so far as it has good production values and is set in rural Louisiana. It has a lot of visual flair and a great soundtrack by composer Fabio Frizzi. However, the story is not a traditional linear narrative. Instead, after establishing a basic premise of a hotel built on one of the seven gates of hell and a vengeful dead warlock, The Beyond becomes mainly a series of elaborate and ghoulish set pieces, designed more for visual impact rather than logical sense.
Starring English actress Catriona McColl (Hawk The Slayer), as the beleaguered hotel owner Liza Merril and New Zealand ex-pat David Warbeck (A Fistful of Dynamite), as Dr. John McCabe, The Beyond quickly descends into mayhem. An odd job man has his eye gouged out by the zombified corpse of a dead warlock. An architect researching the hotel’s original plans, falls from a step ladder and has his face eaten by tarantulas. Dead bodies from the local morgue get up and attack the living. It’s all very grim, ghoulish and bombastic with lurid makeup effects by Gianetto De Rossi. Fulci turns everything up to eleven, the proceedings are handsomely shot and not a moment is wasted. However, despite the director taking it all very seriously, the cast are not so committed. There’s a scene towards the end when David Warbeck escapes in a lift from advancing zombies. While reloading his gun you briefly see him putting a bullet directly into the end of the gun barrel for a joke.
Following its initial release around Europe, critical opinion on The Beyond was polarised. Many found it gory and confusing. Forty years later, retrospective criticism has been a lot kinder, praising the film’s surrealistic qualities, production design, musical score and cinematography. Some have gone on to claim that Fulci made the proceedings intentionally disorienting, as part of a subtle commentary upon traditional cinematic style. I am not so sure that is the case and believe that Fulci simply was content to create a horror film that focused on style over narrative. Cinematic analysis aside, The Beyond is a striking piece of Italian horror and does manage to hold your interest, despite its lack of internal logic. Spiders tend not to eat people’s faces but it’s cool when they do. And for those expecting a happy ending, think again. The denouement is bleak but suits the tone of the film perfectly.
El Orfanato AKA The Orphanage (2007)
Laura García Rodríguez is adopted from an orphanage as a child. 30 years later, adult Laura (Belén Rueda) returns to the now closed orphanage, accompanied by her husband, Dr. Carlos Sánchez Rivera (Fernando Cayo), and their seven-year-old son, Simón (Roger Príncep). They plan to use the orphanage as a facility for disabled children. In the meantime, Simón talks about a boy named Tomás. He draws pictures of his new friend as a child wearing a sack mask. A social worker, Benigna Escobedo (Montserrat Carulla), visits Simón, as he has been adopted by Laura and Carlos. Simón is HIV positive. Angered by Benigna's unscheduled visit, Laura asks her to leave. She later finds Benigna in the orphanage's coal shed, but Benigna gets away. Simón becomes more enamoured with his imaginary friends but becomes angry when he learns from Tomás that Laura is not his birth mother, and he is terminally ill.
Laura García Rodríguez is adopted from an orphanage as a child. 30 years later, adult Laura (Belén Rueda) returns to the now closed orphanage, accompanied by her husband, Dr. Carlos Sánchez Rivera (Fernando Cayo), and their seven-year-old son, Simón (Roger Príncep). They plan to use the orphanage as a facility for disabled children. In the meantime, Simón talks about a boy named Tomás. He draws pictures of his new friend as a child wearing a sack mask. A social worker, Benigna Escobedo (Montserrat Carulla), visits Simón, as he has been adopted by Laura and Carlos. Simón is HIV positive. Angered by Benigna's unscheduled visit, Laura asks her to leave. She later finds Benigna in the orphanage's coal shed, but Benigna gets away. Simón becomes more enamoured with his imaginary friends but becomes angry when he learns from Tomás that Laura is not his birth mother, and he is terminally ill.
El Orfanato includes many of the classic hallmarks of supernatural cinema. There is a suitably gothic building, near to a beach. The cliff has secret caves that flood at high tide. Then there are the ghosts themselves who remain hidden for much of the film. Director J. A. Bayona uses sound and sleight of hand to build the atmosphere. There are a few shocks, that although not excessively graphic, are jolting due to their skillful execution. Children are represented honestly and credibly, and the story does not shy away from showing both their inclusionary and exclusionary proclivities. Too many US films depict children in a saintly manner, especially when a dying child is used as a plot device. Both Belén Rueda and Fernando Cayo excel as parent’s dealing with an impossible situation. Again, the emotional strain upon their relationship is shown realistically.
Screenwriter Sergio Sánchez touches on several classic themes that frequently occur within the horror genre. The stigma of deformity and of difference, as well as the cruelty of children. This is depicted both in the way Simón is treated when others find out about his illness and in a subplot regarding his ghostly friend Tomás. The story also deals with regret, guilt and a mother’s love. However, all of which is handled in an intelligent, nuanced and remarkable unsentimental manner. Instead, we are present with genuine tragedy, pathos and melancholy. Despite such bleak subject’s cinematographer Óscar Faura imbues the proceedings with great beauty. The conclusion is quite radical and not what you would call a “Hollywood ending”. Yet it is an emotionally honest outcome. El Orfanato is a fine example of “kinder horror” and an exceedingly well-crafted film that conspicuously avoids the contrived sensibilities of US cinema. It is an emotionally raw and moving film but also a very rewarding one.
The Last Voyage of the Demeter (2023)
Based on a single chapter, the Captain's Log, from Bram Stoker's classic 1897 novel “Dracula”, The Last Voyage of the Demeter takes place aboard a Russian schooner which is chartered to carry a private cargo of unmarked wooden crates, from Carpathia to London. The film details the strange events that befall the doomed crew as they attempt to survive the ocean voyage, stalked each night by a terrifying presence on board their ship. When it finally founders and wrecks near Whitby Harbour, the ship is found to be derelict. There is no trace of the crew. (IMDb synopsis)
After some research, it becomes clear that this film’s journey from concept to final release has neither been easy or straight forward. Numerous writers have tinkered with the script and multiple directors have been associated with the project over the last decade. The film was completed in 2021 and has been awaiting a cinematic release ever since. Such issues can often lead to a studio losing confidence in a film. However, The Last Voyage of the Demeter is a perfectly serviceable horror adventure, albeit one that owes a lot to Alien. Yet many horror films follow a pattern and explore common themes. Ultimately it comes down to providing a new perspective. The Last Voyage of the Demeter achieves this and offers an entertaining two hours. Is it perfect? No. Is it poorly made, dull and lacking in suspense? No. If you paid a lot to see it at the theatre then you may be a little underwhelmed. But as an evening’s scary home entertainment, it is fine.
Based on a single chapter, the Captain's Log, from Bram Stoker's classic 1897 novel “Dracula”, The Last Voyage of the Demeter takes place aboard a Russian schooner which is chartered to carry a private cargo of unmarked wooden crates, from Carpathia to London. The film details the strange events that befall the doomed crew as they attempt to survive the ocean voyage, stalked each night by a terrifying presence on board their ship. When it finally founders and wrecks near Whitby Harbour, the ship is found to be derelict. There is no trace of the crew. (IMDb synopsis)
After some research, it becomes clear that this film’s journey from concept to final release has neither been easy or straight forward. Numerous writers have tinkered with the script and multiple directors have been associated with the project over the last decade. The film was completed in 2021 and has been awaiting a cinematic release ever since. Such issues can often lead to a studio losing confidence in a film. However, The Last Voyage of the Demeter is a perfectly serviceable horror adventure, albeit one that owes a lot to Alien. Yet many horror films follow a pattern and explore common themes. Ultimately it comes down to providing a new perspective. The Last Voyage of the Demeter achieves this and offers an entertaining two hours. Is it perfect? No. Is it poorly made, dull and lacking in suspense? No. If you paid a lot to see it at the theatre then you may be a little underwhelmed. But as an evening’s scary home entertainment, it is fine.
So, in light of this, I find it odd that many critics have been negative about the film and what I would define as overly critical. I wrote a review of the horror film Countdown a few years back and made the point that not every film can break new ground or be a masterpiece. Countdown was perfectly adequate for what it was and what part of the market it catered for. The same can be said about The Last Voyage of the Demeter. So, what exactly do some critics expect? Film quality, artistic merit and even entertainment in general all exist on a spectrum. Just like the books we read, the music we listen to and the food we eat. I do wonder if some critics have the capacity and intellectual rigour to temper their expectations and contextualise them. Everything seems to be presented as a binary choice these days. That apparently now includes one’s assessment of a film.
With all of that in mind, what does The Last Voyage of the Demeter have to offer? The production values are good, especially the location work in Malta at the start of the film. The digital effects depicting the schooner and storms at sea are credible. The creature effects, which are a mixture of prosthetics and CGI, are creepy. The cast are competent, and it is an advantage that many are not household names. I felt the international nature of all the actors to be appropriate to the story and the nature of ships crews from the era depicted. I enjoyed lead actor Corey Hawkins’ London accent and felt that Liam Cunningham brought appropriate gravitas as the ship’s ageing Captain. The film may have benefited from just a slightly quicker pace and a reduction of the running time by ten minutes. But the last thirty minutes are quite tense. Also, there’s a classy and subtle score by composer Bear McCreary.
Some have raised the point that because the outcome of the story is known in advance, like that of Apollo 13, that it mitigates any suspense and sense of immersion. I don’t believe that is the case at all. It certainly wasn’t with regard to Ron Howard’s film about the ill fated apollo mission. The Last Voyage of the Demeter still manages to maintain a degree of freedom in the way it resolves certain plot elements. It is as creative as it wants about the death of the cast members. I also suspect that many viewers are not aware of the connection with Bram Stoker’s Dracula. Although a literary classic, I don’t think it is by default appealing to modern audiences. So many viewers may not consider the film a “fait accompli”. Caveats and argument about the subjective nature of movie criticism notwithstanding, The Last Voyage of the Demeter is an entertaining and creative concept, offering a different variation on a known cinematic theme. Set your expectations and enjoy accordingly.
Phantasm (1979)
A teenage boy and his friends face off against a mysterious grave robber, known only as the Tall Man, who employs a lethal arsenal of unearthly weapons. (IMDb synopsis) NB. This summary fails to capture the essence of Phantasm and does not do it justice. However, to delineate the plot in greater detail is difficult and counterproductive. Phantasm is not only a film to be watched but one to be experienced.
There is a bizarre, dreamlike quality to Phantasm. After watching it for the first time, you may not remember the specifics of the story, but certain scenes will linger in the memory, in the same way you may recollect snatches of a nightmare following a disturbed night’s sleep. Like so many independent films, made on small budgets by aspiring professionals, it is filled with creativity and innovative ideas that more than make up for its modest production values. Phantasm revels in its surreal imagery and grotesque set pieces and avoids the trappings of a traditional linear and logical narrative. It is a horror film that eschews the genre conventions of the time, in the same way that Dark Star (1974) flew in the face of traditional science fiction films. Although now part of a curious franchise, this original works perfectly well as a standalone film and has developed a substantial cult following among both film fans and high-profile film makers.
A teenage boy and his friends face off against a mysterious grave robber, known only as the Tall Man, who employs a lethal arsenal of unearthly weapons. (IMDb synopsis) NB. This summary fails to capture the essence of Phantasm and does not do it justice. However, to delineate the plot in greater detail is difficult and counterproductive. Phantasm is not only a film to be watched but one to be experienced.
There is a bizarre, dreamlike quality to Phantasm. After watching it for the first time, you may not remember the specifics of the story, but certain scenes will linger in the memory, in the same way you may recollect snatches of a nightmare following a disturbed night’s sleep. Like so many independent films, made on small budgets by aspiring professionals, it is filled with creativity and innovative ideas that more than make up for its modest production values. Phantasm revels in its surreal imagery and grotesque set pieces and avoids the trappings of a traditional linear and logical narrative. It is a horror film that eschews the genre conventions of the time, in the same way that Dark Star (1974) flew in the face of traditional science fiction films. Although now part of a curious franchise, this original works perfectly well as a standalone film and has developed a substantial cult following among both film fans and high-profile film makers.
Told predominantly from the perspective of 13-year-old Mike, Phantasm is a film about grief, the mortality of friends and family and coming to terms with our own existential dread. The film starts with the funeral of a family’s oldest brother, Tommy. Mike has also been raised by his two brothers since the death of his parents. Hence loss is very much a key theme in Phantasm. Because of Mike’s age, it can be argued that Phantasm also alludes to transitioning from a child to an adult. Mike frequently checks on his older brother Jody and observes his activities such as his drinking in a bar and his sexual dalliances with a woman he meets there. This seems to both intrigue and shock Mike. Is the Tall Man’s transformation of the dead into malignant dwarf slaves, a metaphor for Mike’s concerns about becoming an adult? Such ideas and themes are present to ponder, should the viewer see fit to do so.
Alternatively, one can focus on the film’s visual imagery which is vivid. The briefly glimpsed hooded dwarves that scuttle in the shadows. The sleek but deadly silver spheres that patrol the marbled lined corridors of the Morningside Funeral Home. Then there is the imposing and esoteric presence of Angus Scrimm as the Tall Man. One of the cinema's most incongruous but memorable villains. Phantasm, ostensibly a horror film, also has a wealth of interesting ideas and concepts that hail more from the science fiction genre. The Tall Man appears to be an interdimensional traveller, using the corpses of the recently deceased to create homunculus that can survive and work in the extreme heat and increased gravity of his own world. Furthermore, the interdimensional gateway seems to work via sound and vibration. The Tall Man also appears to have transformative abilities, appearing alternatively as the Lady in Lavender.
The 2016 restoration and 4K remaster of Phantasm is quite a revelation. All previous copies that I have viewed have been too dark and terribly pan and scanned, thus greatly diminishing the film’s visual flair. The current Blu-ray release offers a clear image at the correct aspect ratio, as well as the original mono sound mix and a new 5.1 remix. The soundtrack by Fred Myrow and Malcolm Seagrave greatly adds to the film’s atmosphere with its haunting electronic music. The resulting franchise that has followed in the wake of Phantasm is a curious beast. None of the films quite match the innovation of the original or recapture its haunting quality. They are mainly a showcase for the director, Don Coscarelli, to experiment with his respective ideas about the Tall Man’s origins and the silver spheres. Hence, I recommend curious viewers to initially content themselves with the original, as it offers more than enough to reflect upon.
Maniac Cop (1988)
In New York City, a waitress is attacked by muggers on her way home. When she seeks help from an officer on the beat, he breaks her neck. When the same officer (Robert Z’dar) commits further murders, Lieutenant McCrae (Tom Atkins) is assigned to investigate. He is told by his superiors to suppress eyewitness accounts that the killer is wearing a police uniform. However, he passes this information to a journalist, in an attempt to protect civilians. Ellen Forrest (Victoria Catlin), suspects that her husband Jack (Bruce Campbell) may be the “Maniac Cop”, as the press are calling him, and follows him to a motel, only to discover he is having an affair with fellow officer Theresa Mallory (Laurene Landon). Ellen is subsequently murder by the killer and Jack is arrested under suspicion of murder. McCrae believes Jack has been framed and speaks to Mallory, who can provide Jack with an alibi. Mallory is then attacked by the Maniac Cop while working undercover as a prostitute. McCrae and Mallory fight off the killer, who escapes mysteriously unharmed, despite being shot several times.
In New York City, a waitress is attacked by muggers on her way home. When she seeks help from an officer on the beat, he breaks her neck. When the same officer (Robert Z’dar) commits further murders, Lieutenant McCrae (Tom Atkins) is assigned to investigate. He is told by his superiors to suppress eyewitness accounts that the killer is wearing a police uniform. However, he passes this information to a journalist, in an attempt to protect civilians. Ellen Forrest (Victoria Catlin), suspects that her husband Jack (Bruce Campbell) may be the “Maniac Cop”, as the press are calling him, and follows him to a motel, only to discover he is having an affair with fellow officer Theresa Mallory (Laurene Landon). Ellen is subsequently murder by the killer and Jack is arrested under suspicion of murder. McCrae believes Jack has been framed and speaks to Mallory, who can provide Jack with an alibi. Mallory is then attacked by the Maniac Cop while working undercover as a prostitute. McCrae and Mallory fight off the killer, who escapes mysteriously unharmed, despite being shot several times.
Maniac Cop is a great “high concept” idea, made at a time when the slasher genre was running out of steam and writers were striving for a new angle. The story is modest in scope and efficiently handled, especially the idea of an honest cop being thrown to the wolves for the sake of political expediency. Director William Lustig has previous experience with both gory slashers such as Maniac (1980) and gritty urban crime movies like Vigilante (1982). Unfortunately, the film’s ambitions are hampered by the budget. The various murders by the “Maniac Cop” are not that gory, apart from a prison flashback sequence. In one scene a cop is shot by a member of the public, who panics when they are pulled over while driving. The squib blows the entire blood bag out of the back out of their hat and as the stunt man falls to the ground you can see the electrical cabling coming out of their costume. Obviously, there wasn’t the budget to reshoot the scene, so it was left in despite its noticeable flaws.
Low budgets often go hand in hand with independent horror films. It often drives filmmakers to be very creative. However, sometimes a low budget can hamstring a film no matter how. The strongest aspect of Maniac Cop is the cast, who are all genre stalwarts who are more than comfortable with the hardboiled dialogue. The film also benefits from a very atmospheric score by Jay Chattaway, which has a memorable motif that is often played in an off-kilter fashion. The story, by genre veteran Larry Cohen, is well conceived but after spending time and effort setting the story up, there’s simply no money left for a satisfactory payoff. Hence Maniac Cop runs out of steam in the third act and has a somewhat weak ending. Perhaps the best thing that Maniac Cop achieves is laying the groundwork for a bigger budget and superior sequel that was made two years later.
The Sentinel (1977)
During the seventies, the success of several disaster movies indirectly started a trend for all-star casts. Then when the horror genre became a bankable commodity once again and Hollywood started pouring money into such productions, the casting of famous actors both old and new continued. Hence Michael Winner’s 1977 adaptation of The Sentinel, based upon the book by Jeffrey Konvitz, features multiple stars from forties and fifties Hollywood. Their presence adds some gravitas to the production but like so many of the director’s other films, there is an unseemly and somewhat unpleasant quality to The Sentinel. Perhaps a different director could have brought the various elements of the story together more successfully. Winner creates both atmosphere and shocks, but it is all a little too knowing. He also commits a cardinal sin at the film’s climax. Casting disabled actors for shock value as the denizens of hell.
During the seventies, the success of several disaster movies indirectly started a trend for all-star casts. Then when the horror genre became a bankable commodity once again and Hollywood started pouring money into such productions, the casting of famous actors both old and new continued. Hence Michael Winner’s 1977 adaptation of The Sentinel, based upon the book by Jeffrey Konvitz, features multiple stars from forties and fifties Hollywood. Their presence adds some gravitas to the production but like so many of the director’s other films, there is an unseemly and somewhat unpleasant quality to The Sentinel. Perhaps a different director could have brought the various elements of the story together more successfully. Winner creates both atmosphere and shocks, but it is all a little too knowing. He also commits a cardinal sin at the film’s climax. Casting disabled actors for shock value as the denizens of hell.
Alison Parker (Christina Raines) is a fashion model who suffers from neurosis, which has led to several suicide attempts. When she moves into a Brooklyn Heights brownstone, she notices that the top floor apartment is occupied by a blind priest, Father Halliran (John Carradine), who continuously sits at the window. Overtime, Alison starts suffering from fainting spells and insomnia. She also hears unexplained noises. Her neighbours are also somewhat odd, including the eccentric, elderly Charles Chazen (Burgess Meredith), and the female couple Gerde (Sylvia Miles) and Sandra (Beverly D'Angelo). She even attends a bizarre birthday party for Chazen's cat. Alison decides to share her concerns with the rental agent Miss Logan (Ava Gardner) but is perplexed to be told that her and the blind priest are the building’s only tennants. Alison's boyfriend Michael (Chris Sarandon), who is a lawyer, contacts a corrupt detective called Brenner (Hank Garrett), to investigate what is happening.
The all-star cast of “Hollywood legends” certainly adds to the allure of The Sentinel. The fact that such actors as Burgess Meredith, Ava Gardner and Jose Ferrer get to play such baroque and grotesque characters is intriguing. The screenplay, which was adapted by both Jeffrey Konvitz and Michael Winner, retains many of the themes from the original book such as hidden trauma and the stigma of attempted suicide. The make-up effects are unpleasant but exemplary, created by industry legend, Dick Smith. This was the age of the big budget horror film with studios eager to recreate the box office success of The Exorcist and The Omen. Hence The Sentinel seeks to replicate many of the horror tropes seen in those movies. Overall, this is a professionally made picture with good quality production values. Yet despite all this, the various elements don’t quite seem to fit and the film feels off.
The best and most revered horror films are those made by people who understand the versatility of the genre and how it can be successfully used to explore complex themes and make intelligent commentary on the human condition. The Exorcist and Dawn of the Dead are two fine examples of this. However, Michael Winner is a divisive film maker. Often with his films, there comes a tipping point where the viewer may consider is he genuinely subverting the genre and its themes to do something original, or is he mocking the material and the audience? I can’t help but feel that Winner was not the right sort of director for The Sentinel. He claimed that he was inspired by the paintings of Hieronymus Bosch but that is a poor excuse for exploiting the disabled. The Sentinel could have been a better film in different hands. As it stands, its questionable excesses diminish it.
The Keep (1983)
Michael Mann’s The Keep (1983) is a cinematic “curate’s egg” that often leaves viewers with mixed feelings. In visual terms, this supernatural horror film with science fiction overtones, is both striking and innovative. The sound design and soundtrack by Tangerine Dream are compelling but at the expense of the dialogue, which is often muffled and difficult to hear. Narratively, it is confusing and rushed. The editing further compounds this. The novel by F. Paul Wilson, upon which it is based, blends elements of gothic horror and classic vampire themes and juxtaposes them with the horror of World War II and the evils of the Schutzstaffel (SS). Mann has removed the traditional cinematic trappings associated with the “undead” and instead presents us with a stylised, science fantasy story in which the antagonist is a supernatural entity that feeds on evil. However, due to The Keep having a troubled production and last-minute re-editing, much of the film’s dramatic and narrative substance has been lost along the way. What remains is intriguing but flawed.
Michael Mann’s The Keep (1983) is a cinematic “curate’s egg” that often leaves viewers with mixed feelings. In visual terms, this supernatural horror film with science fiction overtones, is both striking and innovative. The sound design and soundtrack by Tangerine Dream are compelling but at the expense of the dialogue, which is often muffled and difficult to hear. Narratively, it is confusing and rushed. The editing further compounds this. The novel by F. Paul Wilson, upon which it is based, blends elements of gothic horror and classic vampire themes and juxtaposes them with the horror of World War II and the evils of the Schutzstaffel (SS). Mann has removed the traditional cinematic trappings associated with the “undead” and instead presents us with a stylised, science fantasy story in which the antagonist is a supernatural entity that feeds on evil. However, due to The Keep having a troubled production and last-minute re-editing, much of the film’s dramatic and narrative substance has been lost along the way. What remains is intriguing but flawed.
In 1941 in Romania, Captain Klaus Woermann (Jürgen Prochnow), arrives with his unit at an uninhabited castle, known locally as “the Keep”, located in the Dinu Pass of the Carpathian Mountains. The building is maintained by villagers, Alexandru and his two sons, who are paid from a longstanding trust fund. The interior of the “the keep” has numerous cross shaped icons made of nickel, embedded in the wall. One night two soldiers seeking hidden treasure remove one of the stone blocks in the wall, releasing an entity that kills them. After more subsequent deaths Woermann requests reinforcements but is shocked when SS officer, Erich Kaempffer (Gabriel Byrne), arrives with a detachment of his commandos. Kaempffer, ignores the supernatural nature of the deaths and suspects partisans. Local village priest, Father Mihail Fonescu (Robert Prosky), suggests the Germans consult the historian, Theodore Cuza (Ian McKellen), who has studied “the keep” in the past.
Filmed on location in Wales and at Shepperton Studios during late 1982, The Keep suffered several problems both during production and postproduction. Unseasonal weather damaged several sets thus delaying filming and adding to the budget. Then special effects supervisor Wally Veevers died before completing his work on the film. Veevers specialised in optical effects, often using bespoke equipment and techniques only known to him. Paramount Pictures refused to pay any additional costs to find an alternative and so his absence meant that many effects shots couldn’t be completed and had to be cut from the film. Then there were further problems while editing The Keep. Mann’s final cut was 210 minutes, featuring a great deal more character development and plot exposition. The studio naturally balked at what they regarded as a horror film being so long. So, Mann edited a second version which ran 120 minutes. Sadly, this was not well received by test audiences and so the studio took control and produced a rushed, final edit of 96 minutes.
It is this theatrical version which leaves so many viewers bemused. It is self-evident within the first 10 minutes of The Keep, that this is not a typical gothic themed, vampire horror film. Mann’s modern visual aesthetic, which we previously saw in his 1981 film Thief, is amped up here. Director of cinematography Alex Thomson (Excalibur and Legend) has a keen eye for contrasting colours as well as brightly backlighting characters and key scenes. Then there’s the pulsing electronic soundtrack by German band, Tangerine Dream, which utilises revised material from several of their previous albums. Hence, the film may well be set in 1943 but it has a very contemporary, industrial look and sound. Furthermore, the makeup and animatronics by Nick Malley along with Wally Veevers visuals effects avoid standard horror tropes. Blood and gore is replaced by desiccation. Wooden stakes through the heart with lasers.
Sadly, the last-minute re-edit renders many scenes incomplete, and the characters often appear to act with little or no clear motivation, due to the amount of material removed. Sir Ian McKellen’s performance as Dr. Cuza remains strong but sadly Alberta Watson as his daughter Eva and the criminally underrated Scott Glenn as Glaeken Trismegestus have their roles cut to a minimum. Many secondary plotlines are also lost in the theatrical edition of The Keep. Who exactly is Glaeken and why does Eva fall in love with him so quickly. What power does he have over her? Then there is the matter of the way the evil released inside “the keep” spreads to the village, like a disease and the locals soon start to turn on each other. It is worth noting that the author did not like Michael Mann’s interpretation and in 2006 collaborated with artist Matthew Dow Smith to produce a graphic novel version he felt was closer to his work.
The Keep was a commercial failure upon release, although it did garner praise for its visual aesthetics. Over the years, various interviews with those that worked on the film have raised a lot of interest among film fans. Sadly, there has yet to be a Blu-ray release of The Keep, although DVD copies remain in circulation. Occasionally, cable channels show a TV version of the film with a slightly different ending. However, director Michael Mann appears to have no interest in revisiting the film and producing a new edit closer to his original vision. Mann has indicated that the climactic battle in which the Nazis are killed off was indeed shot but lacked the required special effects to complete the scene. Paramount has not confirmed whether this or` any other unused footage still exists. Hence it seems likely that The Keep will remain an interesting but flawed cinematic project. Yet even in its existing truncated version it can still make for fascinating viewing.
The Uninvited (1944)
In 1937, while on holiday in Cornwall, London music critic and composer Roderick "Rick" Fitzgerald (Ray Milland) and his sister Pamela (Ruth Hussey) discover Windward House, an abandoned clifftop home. They decide to see if they can buy it from its current owner Commander Beech (Donald Crisp). He willingly settles for an unusually low price of £1,200. Rick and Pamela meet Beech's 20-year-old granddaughter Stella Meredith (Gail Russell), who lives with her grandfather after her parents death. Stella is strongly attached to the house, and its sale upsets her. Although Stella’s mother, Mary Meredith, fell to her death from the cliffs outside Windward House seventeen years earlier, Stella reflects fondly on her time there as a child. Commander Beech forbids Stella from going to Windward House, but Rick and Pamela feel sorry for Stella and indulge her visits. However, shortly after moving in Pamela and then Rick become aware of drafts on the staircase, cold spots in the studio room and ghostly weeping in the night.
In 1937, while on holiday in Cornwall, London music critic and composer Roderick "Rick" Fitzgerald (Ray Milland) and his sister Pamela (Ruth Hussey) discover Windward House, an abandoned clifftop home. They decide to see if they can buy it from its current owner Commander Beech (Donald Crisp). He willingly settles for an unusually low price of £1,200. Rick and Pamela meet Beech's 20-year-old granddaughter Stella Meredith (Gail Russell), who lives with her grandfather after her parents death. Stella is strongly attached to the house, and its sale upsets her. Although Stella’s mother, Mary Meredith, fell to her death from the cliffs outside Windward House seventeen years earlier, Stella reflects fondly on her time there as a child. Commander Beech forbids Stella from going to Windward House, but Rick and Pamela feel sorry for Stella and indulge her visits. However, shortly after moving in Pamela and then Rick become aware of drafts on the staircase, cold spots in the studio room and ghostly weeping in the night.
There is much to commend The Uninvited. It is a gentle, humorous romantic drama, punctuated with supernatural elements. The script by Dodie Smith and Frank Partos reflects Hollywood’s perceptions of archetypes and romance of the time. The lead character Rick (played effortlessly by Ray Milland) is fun and amusing with his quips and wry humour. Stella, the object of his affection and noticeably his junior, is young, naive and oblivious to the realities of life. She is also in danger, possibly from herself or may be from a malevolent outside force. Despite being studio bound, the story unfolds against sumptuously crafted sets, especially Windward House, with its palatial staircase and imposing rooms. All of which is superbly lit and photographed by Charles Lang. half of the film atmosphere derives from the excellent composed shots and clever use of visual effects, such as matte paintings and foreground miniatures.
However, as well as being a robust example of quality studio filmmaking from the era, there appears to be a lot of hidden narrative depth to The Uninvited. Is Stella's child-like demeanour simply a product of her parochial upbringing or are there hints at hereditary mental illness? Then there’s the curious manner in which Mary Meredith’s best friend, Miss Holloway, dotes upon her memory in an obsessive fashion. Was this more than a platonic friendship? Then there is the age gap between Rick and Stella. Although not unusual by the cultural standards of the time it does offer a point of contemplation. Is he looking for a wife or a daughter? It is possible that these themes are not actually present and it’s a case of watching a film from the forties with modern sensibilities. Yet it is worth remembering that filmmakers at the time were having to work within the confines of the Motion Picture Production Code and had to be creative if they wanted to tackle adult themes.
Whether you wish to contemplate the alleged deeper themes, or simply enjoy The Uninvited as a charming romantic, supernatural drama, either way it will entertain. Lewis Allen directs assuredly and the story spans its three act structure neatly and efficiently. The story has a strong female presence and is unusual insofar that the supernatural element is not continuously dismissed by the protagonists. There are no elaborate set pieces by modern standards. But the paranormal incidents that occur work well because of their subtlety. A bouquet withers due to the cold. An impromptu piano performance which starts upbeat and romantic, takes a sombre and morose turn. And then there are the household pets that eschew the supernatural. It is all so pleasantly old school, understated and very absorbing. The Uninvited is one to watch when you want a change from contrived jumps and scares that are on offer nowadays.
A Bay of Blood (1971)
Disabled countess Federica Donati (Isa Miranda) is strangled to death by her husband, Filippo Donati (Giovanni Nuvoletti). Filippo is subsequently stabbed to death by an unseen assailant, and his body is then dragged to the bay beside their mansion. The police investigate and find a suicide note written by the countess, but do not discover Filippo's murder. Real estate agent Frank Ventura (Chris Avram) and his lover Laura (Anna Maria Rosati) are plotting to take possession of the bay. When the Countess refused to sell her estate to them, the couple conspired with Filippo to murder his wife. The pair are unaware that Filippo is dead and cannot proceed with their scheme without his signature. Meanwhile, four local teenagers Duke (Guido Boccaccini), Bobby (Roberto Bonanni), Denise (Paola Montenero) and Brunhilde (Brigitte Skay) break into the seemingly deserted mansion, looking for fun. However, they are soon killed one by one. Are all these events connected?
Disabled countess Federica Donati (Isa Miranda) is strangled to death by her husband, Filippo Donati (Giovanni Nuvoletti). Filippo is subsequently stabbed to death by an unseen assailant, and his body is then dragged to the bay beside their mansion. The police investigate and find a suicide note written by the countess, but do not discover Filippo's murder. Real estate agent Frank Ventura (Chris Avram) and his lover Laura (Anna Maria Rosati) are plotting to take possession of the bay. When the Countess refused to sell her estate to them, the couple conspired with Filippo to murder his wife. The pair are unaware that Filippo is dead and cannot proceed with their scheme without his signature. Meanwhile, four local teenagers Duke (Guido Boccaccini), Bobby (Roberto Bonanni), Denise (Paola Montenero) and Brunhilde (Brigitte Skay) break into the seemingly deserted mansion, looking for fun. However, they are soon killed one by one. Are all these events connected?
A Bay of Blood (AKA Twitch of the Death Nerve) is a giallo, as the complexity of the prior plot synopsis may indicate to those familiar with the genre (I only summarised the first 30 minutes of the film). However, the film contains many of the tropes that would later become staples of the slasher genre, a decade later. There has been some debate among fans whether A Bay of Blood is indeed a proto-slasher but it has too many hallmarks of a giallo. The most obvious being that the murders are all due to human agency with real life motivations. Slasher films feature antagonists who kill through psychosis or sometimes, without motivation at all and often have supernatural abilities. Setting aside such debates, director Mario Bava certainly changed the trajectory of the giallo genre, taking a more violent and exploitative approach. The lavish visual style is still present, but the focus of the set pieces has changed from suspense to gore.
As well as being a giallo, A Bay of Blood is a rich slice of early seventies, Italian pop culture. Hence our quartet of hip and groovy teens arrive in a Dune Buggy, sporting flares and mini dresses and doing the shake to a particularly funky soundtrack by Stelvio Cipriani. As ever with Italian cinema, the production design and sets are creative and stylish. Mario Bava once again handles cinematography himself and composes some creative and dynamic scenes. The pastel shades and autumn colours of previous films such as Black Sabbath and Blood and Black Lace are replaced with starker lighting designed to reinforce the impact of the grisly set pieces. Special effects artist Carlo Rambaldi (who a decade later worked on Alien and E.T.) designed and executed the graphic death scenes. Two of which, the machete to the face and the couple having sex impaled by a spear, were subsequently “repeated” in Friday the 13th Part 2.
To the casual viewer, A Bay of Blood is a somewhat archaic whodunnit with a high and gory body count. They may also feel that the period trappings date the proceedings. However, to those who are more familiar with gialli or simply have a greater tolerance for material outside of the current mainstream, then A Bay of Blood is an interesting piece of genre history. The story is delightfully convoluted as well as implausible and the violence is flamboyant and stylised. Like most Italian films from this era, dialogue has been added in post-production, which gives such films a very unique soundscape. It is clear that this film was a major influence on American cinema a decade later and although not a slasher movie, it certainly established the foundations of that genre of film. A Bay of Blood is designed to be an assault upon the senses, rather than a logical, linear horror film. Viewed on such terms it can be very rewarding.
The Caller (1987)
A woman (Madolyn Smith) returns to a remote cabin in the woods carrying groceries. On the way she passes an abandoned vehicle, which she searches. She finds a broken doll in the glove box. On arrival at the cabin, she takes a shower and then calls her daughter. She then prepares a meal for a guest and goes to the garage only to find that her jeep has a puncture from a broken bottle. A mysterious stranger (Malcolm McDowell) prowls around outside the cabin, watching the woman through the windows. He then knocks, claiming that his car has broken down and asks if he can use her phone. He calls a local tow service and requests that his car is collected and repaired. The woman grudgingly allows the stranger to wait although she states she is expecting a guest. The two then converse and it soon becomes clear that they’re both sceptical of each other’s respective stories. A strange game of cat and mouse ensues with each alternately gaining the upper hand. Slowly the atmosphere becomes more tense.
A woman (Madolyn Smith) returns to a remote cabin in the woods carrying groceries. On the way she passes an abandoned vehicle, which she searches. She finds a broken doll in the glove box. On arrival at the cabin, she takes a shower and then calls her daughter. She then prepares a meal for a guest and goes to the garage only to find that her jeep has a puncture from a broken bottle. A mysterious stranger (Malcolm McDowell) prowls around outside the cabin, watching the woman through the windows. He then knocks, claiming that his car has broken down and asks if he can use her phone. He calls a local tow service and requests that his car is collected and repaired. The woman grudgingly allows the stranger to wait although she states she is expecting a guest. The two then converse and it soon becomes clear that they’re both sceptical of each other’s respective stories. A strange game of cat and mouse ensues with each alternately gaining the upper hand. Slowly the atmosphere becomes more tense.
The Caller comes across more like a stage play than a film. There are only two cast members and the first thirty minutes are exclusively confined to the cabin. Initially the guarded dialogue exchanges between the two characters seems to imply that maybe the stranger is a police officer and the woman a suspect in murder case. But it soon becomes clear, due to the contradictory dialogue and the curious behaviour of each character when the other is out of the room, that something much more arcane is going on. The screenplay by Michael Sloan strives to be “Kafkaesque”, but although intriguing, it isn’t clever enough. The two leads are good and strive to bring some dramatic focus to the proceedings. But by the second act, which takes place the following day when the stranger and the woman meet in town and resume their confrontation, it starts to become frustrating.
The denouement of The Caller is remarkably left field and radically alters the trajectory of the film in its closing scenes. Director Arthur Allan Seidelman, who has a background in theatre as well as film, handles the proceedings in a workmanlike fashion. The fact that this film was made by Empire Pictures may perhaps give some viewers a clue as to what may lie ahead of them. The ending does resolve the story, but it may not satisfy all viewers. Upon reflection such a story would have fared better as an episode of The Twilight Zone or The Outer Limits. If you are going to tackle a story which incorporates a substantial twist that tests your viewers suspension of disbelief, then you perhaps need to approach such material in a more subtle fashion. As it stands The Caller is a curiosity but not necessarily because it is compelling. After investing an hour of your time, you just want to see where it ends up.
Night of the Eagle (1962)
Norman Taylor (Peter Wyngarde) is a psychology lecturer whose career has taken off since he and his wife, Tansy (Janet Blair), returned to England from Jamaica. His students are doing well and he is socially climbing within the school’s administrative hierarchy. Some other members of the faculty are jealous of his success. One night he is shocked to discover curious artefacts hidden around his home and to learn that his wife is practising obeah. Tansy claims that the charms are responsible for his rapid advancement and also protect him, as she has found a similar but malicious item left in their home after a bridge evening. Norman, a consummate rationalist, demands that the charms are destroyed but Tansy warns him she is not responsible for what may happen next. The next day events take a turn for the worse. A student accuses Norman of rape and another threatens him with a gun due to his poor grades. During the night, a freak storm batters Norman’s cottage. Is it just bad weather or something more sinister?
Norman Taylor (Peter Wyngarde) is a psychology lecturer whose career has taken off since he and his wife, Tansy (Janet Blair), returned to England from Jamaica. His students are doing well and he is socially climbing within the school’s administrative hierarchy. Some other members of the faculty are jealous of his success. One night he is shocked to discover curious artefacts hidden around his home and to learn that his wife is practising obeah. Tansy claims that the charms are responsible for his rapid advancement and also protect him, as she has found a similar but malicious item left in their home after a bridge evening. Norman, a consummate rationalist, demands that the charms are destroyed but Tansy warns him she is not responsible for what may happen next. The next day events take a turn for the worse. A student accuses Norman of rape and another threatens him with a gun due to his poor grades. During the night, a freak storm batters Norman’s cottage. Is it just bad weather or something more sinister?
Night of the Eagle was released in the US by American International Pictures under the title Burn, Witch Burn. They added a narrated prologue about witchcraft still being prevalent today to the beginning of the film, along with a spell to protect the audience. They also made an addition to the closing credits with an onscreen question, “do you believe?”, which adds a more sensationalist tone to the film that isn’t required. Beyond these minor embellishments there are no differences between the US and UK versions. Veteran film and TV director, Sidney Hayers, handles the proceedings well and takes a serious tone, making good use of Reginald Wyer’s crisp and well-structured black and white cinematography. The film takes a measured pace and quickly builds a portentous atmosphere. The stone eagles that adorn the school are frequently visually referenced, implying that Norman Taylor is being watched and plotted against.
Night of the Eagle is loosely based upon Conjure Wife by Fritz Leiber. Adapted by Richard Matheson and Charles Beaumont, who frequently wrote for The Twilight Zone, with additional material by George Baxt, the screenplay is measured and reflects British society at the time, especially the social aspirations of the middle classes. This was Peter Wyngarde’s first leading role and his performance is key to the film’s success. The story and production strive to build the sort of atmosphere found in the works of Val Lewton and there are elements not too dissimilar to Jaques Tourneur’s Night of the Demon. However, the shocks that punctuate the slow burn storytelling are a little too brief and feel a little under done. The storm that assails Norman’s home, may have been conjured by an incantation hidden in the background noise of a tape recording that is playing. Yet this novel idea is over too quickly when the door bursts open, just as the recording is stopped.
Night of the Eagle is an interesting precursor to later films such as Rosemary’s Baby (1968) and The Stepford Wives (1974). There is a common theme shared between all these genre movies that the security and even mundanity of middle-class communities is in fact a facade, behind which something far more sinister lurks. The film also reflects the sexual politics of the times and depicts women who have to intercede in a “man’s world” outside of the usual channels and through unorthodox means. The ending of the film neatly resolves the story and makes the films point succinctly. The additions made to the US version hammer home this message further but in an unsubtle manner. Although Night of the Eagle may lack the grandeur and scope of some of its cinematic contemporaries, it still delivers an atmospheric tale, efficiently and charismatically.
Thirty-One Days of Horror Movies
It would appear that quite a few bloggers write horror movie themed posts throughout the month of October and the lead up to Halloween. Krikket over at Nerd Girl Thoughts has already planned a very interesting viewing schedule of 31 horror films and I am most interested to read her thoughts in the days to come. As a blogger I like a series of planned articles, as I find that it keeps me engaged and focused. So, I’ve decided to write 31 horror movie reviews over the course of October. There is no rhyme or reason to the list of films and they’re not in any specific order. Some are classics that I’ve had on my review “to do list” for a while. Others are titles that have been lurking, unwatched, on my media player for a while. “Thirty-One Days of Horror Movies” presents a golden opportunity to address these. Overall, there’s a broad spectrum of titles from around the world, which will hopefully provide a degree of variety.
It would appear that quite a few bloggers write horror movie themed posts throughout the month of October and the lead up to Halloween. Krikket over at Nerd Girl Thoughts has already planned a very interesting viewing schedule of 31 horror films and I am most interested to read her thoughts in the days to come. As a blogger I like a series of planned articles, as I find that it keeps me engaged and focused. So, I’ve decided to write 31 horror movie reviews over the course of October. There is no rhyme or reason to the list of films and they’re not in any specific order. Some are classics that I’ve had on my review “to do list” for a while. Others are titles that have been lurking, unwatched, on my media player for a while. “Thirty-One Days of Horror Movies” presents a golden opportunity to address these. Overall, there’s a broad spectrum of titles from around the world, which will hopefully provide a degree of variety.
The following list is provisional and dependent on whether I can find copies of some of the titles. Streaming services do offer some obscure and niche titles, but they are far from comprehensive. Due to the nature of some of the films on the lists, not all of the reviews will be especially in depth. There is only so much one can say about Willaim Lustig’s Maniac Cop, for example. But others may well lend themselves to more rigorous scrutiny, such as Onibaba and Witchfinder General. As ever with my cinematic musings, I hope that some of the reviews of the more niche market and obscure titles will encourage others to seek them out and watch them. However, there is still good material to be found in the mainstream, so I’ve included some more recent movies for balance. I will note accordingly which version of a film I have watched if there are multiple editions available, to avoid confusion.
Thirty-One Days of Horror Movies 2023:
Amityville: The Awakening (2017)
Black Sunday (1960)
The Bride (1985)
The Last Voyage of the Demeter (2023)
Maniac Cop (1988)
Maniac Cop 2 (1990)
Maniac Cop III: Badge of Silence (1993)
The Caller (1987)
The Uninvited (1946)
The Host (2006)
The Keep (1983)
The Boogeyman (2023)
A Bay of Blood (1971)
The Bad Seed (1956)
The Good Son (1993)
The Prowler (1981)
Onibaba (1964)
Talk to Me (2023)
The Nest (1988)
Witchfinder General (1968)
The Funhouse (1981)
Ready or Not (2019)
Two Evil Eyes (1990)
Death Valley (1982)
Halloween Ends (2022)
The Beyond (1981)
Terrified (2017)
The Sentinel (1977)
Night of the Eagle (1962)
Eyes of a Stranger (1981)
The Orphanage (2007)