Texas City Sun
June 1994
By Roy Harsgrove
June 1994
By Roy Harsgrove
(WEBMASTER'S NOTE: This was a three-part article, with only the first mentioning 'Carrie.' However, I've decided to include all three parts below.)
The evolution of horror films began in the late 1960s. Beginning with the 1968 masterpiece "Rosemary's Baby," horror films took on a more plausible tone in stark conrast to the old castle and dungeon citings of the early classic '30s and 40s monster movies, such as Frankenstein," "The Wolfman," Dracula," and "The Mummy."
• • •Rosemary's Baby• • •
"Rosemary's Baby" was Roman Polanski's first American movie and his second honor film. His first was "Repulsion" (1965). Because it was set in modern day New York and had no monsters, creepy characters, or strange locations, it was incredible. The film deals with a young couple awaiting the arrival of their first child. The newlyweds are Rosemary Woodhouse (Mia Farrow) and her unemployed actor-husband Gus (John Cassavetes). They live in a Gothic apartment in Central Park. Their neighbors Minnie (Ruth Gordon) and Roman Castevet (Sidney Blackmer) are rather intrusive. Rosemary learns she is pregnant and becomes rather apprehensive. She vaguely recalls a dream in which she was raped by a devilish beast. With strange marks on her stomach, and her physician prescribing curious cure-alls, it is no wonder that Rosemary decides she is with Satan's child.
"Rosemary's Baby" is a fine example of how far horror films have come since the early offerings. It was a milestone for the genre.
The treatment is very realistic even though the subject matter is supernatural. Rosemary's fears and anxieties are natural considering her situation. The film takes its highly acceptable basis and makes pregnancy a rich and metaphoric condition.
"Rosemary's Baby" is a fine example of how far horror films have come since the early offerings. It was a milestone for the genre.
The treatment is very realistic even though the subject matter is supernatural. Rosemary's fears and anxieties are natural considering her situation. The film takes its highly acceptable basis and makes pregnancy a rich and metaphoric condition.
• • • The Exorcist• • •
1973's 'The Exorcist" was highly controversial in its time. Religious leaders and critics alike debated its topic and stirred the public to make it one of the most successful horror films ever made.
Again, we see a horror film with a modem day setting, this time an elite section of Georgetown just outside Washington, D.C., a normal situation with everyday events. Regan McNeil (Linda Blair) is the 12-year-old daughter of a well-known actress (Ellen Burstyn). Regan begins to suffer fits of bizarre and unnatural behavior. Neither doctors nor psychiatrists can come up with an explanation for her ailment As her condition worsens, Regan takes on a demonic countenance.
Mrs. McNeil is at her wit's end and asks young priest Father Karras (Jason Miller), to help her. Because of his dwindling faith, Father Karras turns to older and more experienced priest Father Merrin (Max von Sydow) to help perform a ritual that has become taboo in religious circles — an exorcism.
'The Exorcist" was more than a horror film. It also cleverly examined both the fears and frustrations of parents. The disturbing religious implications were only added accessories. The film is a study in audience exploitation rather than participation. The film balances special effects with downright horror, to produce a solid two hours of uneasiness.
Again, we see a horror film with a modem day setting, this time an elite section of Georgetown just outside Washington, D.C., a normal situation with everyday events. Regan McNeil (Linda Blair) is the 12-year-old daughter of a well-known actress (Ellen Burstyn). Regan begins to suffer fits of bizarre and unnatural behavior. Neither doctors nor psychiatrists can come up with an explanation for her ailment As her condition worsens, Regan takes on a demonic countenance.
Mrs. McNeil is at her wit's end and asks young priest Father Karras (Jason Miller), to help her. Because of his dwindling faith, Father Karras turns to older and more experienced priest Father Merrin (Max von Sydow) to help perform a ritual that has become taboo in religious circles — an exorcism.
'The Exorcist" was more than a horror film. It also cleverly examined both the fears and frustrations of parents. The disturbing religious implications were only added accessories. The film is a study in audience exploitation rather than participation. The film balances special effects with downright horror, to produce a solid two hours of uneasiness.
• • • Carrie• • •
Another landmark film for modem horror was "Carrie" (1976). One of the ultimate in revenge/supernatural films, it stars Sissy Spacek as Carrie White in a stunning performance.
Carrie is a troubled, as well as sexually repressed high school teen. As the plot thickens Carrie begins to discover she has telekinetic powers. Feeling unattractive and being the center of ridicule at school, Carrie is also maligned at home by her religious fanatic mother Margaret (Piper Laurie) who also does an outstanding performance. She hates men and forces Carrie to pray in dark places such as closets. Carrie fights as best she can to bolster her dignity, but cruel classmates, especially Chris Hargenson (Nancy Allen), embarrass her by electing her prom queen.
Based on the best selling novel by Stephen King, director Brian de Palma has geared his film to the teenage crowd. The film shows de Palma's talent for intense and stylish filmmaking. In it, he captures the inner rage that is within most teenagers. The movie has an unsettling feeling that has the audience resting on every move. The portrayal by Spacek along with an interesting ensemble of supporting players such as, Allen, John Travolta, and Amy Irving give the film an impact that many others of its type lacked.
Carrie is a troubled, as well as sexually repressed high school teen. As the plot thickens Carrie begins to discover she has telekinetic powers. Feeling unattractive and being the center of ridicule at school, Carrie is also maligned at home by her religious fanatic mother Margaret (Piper Laurie) who also does an outstanding performance. She hates men and forces Carrie to pray in dark places such as closets. Carrie fights as best she can to bolster her dignity, but cruel classmates, especially Chris Hargenson (Nancy Allen), embarrass her by electing her prom queen.
Based on the best selling novel by Stephen King, director Brian de Palma has geared his film to the teenage crowd. The film shows de Palma's talent for intense and stylish filmmaking. In it, he captures the inner rage that is within most teenagers. The movie has an unsettling feeling that has the audience resting on every move. The portrayal by Spacek along with an interesting ensemble of supporting players such as, Allen, John Travolta, and Amy Irving give the film an impact that many others of its type lacked.
NEXT: THE SLASHERS
Slashers Bring Blood, Guts, Even Some Humor
June 5, 1994
June 5, 1994
Beginning in the late 1970s a new approach to horror films found its way into movie theaters. The "slasher" film was no more than a series of films that consistently had a maniacal character on the loose with either a butcher knife, chain saw, or any other sharp instrument they could come up with to chop, saw, or hack their victims to shreds.
Recently this type seems to have run its course with American movie goers. Starting as early as two years ago, the slasher films, which are in a genre all their own, began to try the patience of even the most avid horror film fans. Oft times ridiculous, and always filled with gore, the slashers
have exhausted audiences desire to see blood and body parts strewn randomly across the screen.
But these days,following in the footsteps of such giants as Count Dracula and the Frankenstein Monster, slashers, it seems, are going to have to take a back seat. As they find their way to the exits, the old classic horror film is again entering the front door. Regardless of the demise of the slasher film, there are three in that category that are worth mentioning. After all, this short lived genre is a pan of film history and will be talked about in years to come.
Recently this type seems to have run its course with American movie goers. Starting as early as two years ago, the slasher films, which are in a genre all their own, began to try the patience of even the most avid horror film fans. Oft times ridiculous, and always filled with gore, the slashers
have exhausted audiences desire to see blood and body parts strewn randomly across the screen.
But these days,following in the footsteps of such giants as Count Dracula and the Frankenstein Monster, slashers, it seems, are going to have to take a back seat. As they find their way to the exits, the old classic horror film is again entering the front door. Regardless of the demise of the slasher film, there are three in that category that are worth mentioning. After all, this short lived genre is a pan of film history and will be talked about in years to come.
• • •Friday the 13th• • •
First and worst has to be 1980's "Friday the 13th." It is considered the original slasher flick and one of the last to give up the ghost (no pun intended). It spawned nine sequels, one as bad as the next. Its star was knife wielding, lake dwelling, Jason Voorhees, the monster with the hockey mask.
The plot focuses on a group of Crystal Lake Camp counselors who are systematically murdered by a masked maniac. The story literally consists of the killer slashing and hacking his way through the dwindling counselors.
Director Sean S. Cunningham forced this cross between the Mad Slasher and Dead Teenagers films upon the real honor lovers of America. This series of bad movies, is as much the cause of the genre's death as anything.
The plot focuses on a group of Crystal Lake Camp counselors who are systematically murdered by a masked maniac. The story literally consists of the killer slashing and hacking his way through the dwindling counselors.
Director Sean S. Cunningham forced this cross between the Mad Slasher and Dead Teenagers films upon the real honor lovers of America. This series of bad movies, is as much the cause of the genre's death as anything.
• • •A Nightmare on Elm Street• • •
Another of the slasher characters was Freddy Krueger of "Nightmare on Elm Street" (1984). It was one of the more intelligent and terrifying horror films of the '80s, beginning and ending with a haunting children's song. The film introduced us to the horribly scarred man with the ragged slouched hat, dirty red and green striped sweater, and metal gloves with knives at the tips.
Freddy (Robert Englund), is a genius of a monster who exists in his victim's dreams. He preys on them through the vulnerability of sleep. He has returned to the town where he was burned alive as a child killer by the locals who took the law into their own hands. Now Freddy is taking revenge on their children.
The fate of the "slasher" genre hung in the balance until Wes Craven brought "Elm Street" to the screen. It brought to the viewers' attention, intelligently, the tenor of nightmares and even more the possibility of killers in one's own neighborhood.
The characters playing the teenagers, who are paying for their parents' sins, have distinct and intelligible personalities. Unlike "Friday the 13th," they are not just so much ammunition for the special effects people.
The immediate success of this film was the insecurity of the audience. You are never quite sure whether the characters on screen are dreaming, because the thin line between nightmare and reality is blurred. As an outcome, the terror runs rampant.
Freddy (Robert Englund), is a genius of a monster who exists in his victim's dreams. He preys on them through the vulnerability of sleep. He has returned to the town where he was burned alive as a child killer by the locals who took the law into their own hands. Now Freddy is taking revenge on their children.
The fate of the "slasher" genre hung in the balance until Wes Craven brought "Elm Street" to the screen. It brought to the viewers' attention, intelligently, the tenor of nightmares and even more the possibility of killers in one's own neighborhood.
The characters playing the teenagers, who are paying for their parents' sins, have distinct and intelligible personalities. Unlike "Friday the 13th," they are not just so much ammunition for the special effects people.
The immediate success of this film was the insecurity of the audience. You are never quite sure whether the characters on screen are dreaming, because the thin line between nightmare and reality is blurred. As an outcome, the terror runs rampant.
• • •Halloween• • •
The best, and now considered a modem horror classic, is 1978's "Halloween," which could be called a moderate slasher. You remember the now famous story of Michael Myers, the soul-less maniac. On Halloween night in 1963, Michael, then six, dressed in a mask, stabs his sister and her boyfriend to death while they are making love. He is placed in an institution and 15 years later on Halloween, he escapes and returns to his hometown to wreak havoc.
His psychiatrist Dr. Loomis (Donald Pleasance) is now in hot pursuit long with the authorities. Meanwhile, Laurie (Jamie Lee Curtis) is without a date on Halloween, so she stays home to watch boring TV shows. Little does she realize her evening will hardly be boring.
There is not one drop of blood on screen in this funhouse of a movie, even though it is considered a "slasher" film. There is enough film genius present to cause the audience to jump back in terror. Cheap thrills are found on almost every frame. The camera shots give the effect of a camcorder with scary piano music as its accompaniment.
John Carpenter, who is not only the director but the master of fright, also composed the music. Pleasance is a riot and can boast the most famous line of the film, "The Evil is loose!" Jamie Lee Curtis became known as Queen of the B horror flicks with this film. Her beauty in "Halloween" enhanced the sensitive performance.
"Halloween" was compared to Alfred Hitchcock's "Psycho" by some over zealous film critics. In no way was this justified. "Halloween" is simply a well made unpretentious thriller. "Psycho" is on a higher plane. While Michael Myers is a maniac with a latex mask, Norman Bates was a psychological misfit.
John Carpenter did a styhsh piece of work considering his budget was less than half a million dollars. "Halloween" grossed more than $50 million, making it the single most successful independent feature of all time. It too spawned inferior sequels.
NEXT: THE CLASSICS
Horror classics focus of recent 'remakes
June 12, 1994
Because of the demise of the "slasher" films, one might wonder about the fate of horror movies in general. Not to worry! Along with the rebirth of the western, the classic horror films are on their way back.
1992 saw the return of Count Dracula in Francis Ford Coppola's "Bram Stoker's Dracula." June 17 marks the release of "Wolf," a new version of "The Wolfman" starring Jack Nicholson. In the fall Kenneth Branagh brings us "Mary Shelly's Frankenstein" with Robert De Niro as the monster. There is talk of a remake of "The Mummy" set for next year, proving that the monster flicks are still alive and kicking.
In 1930, Tod Browning filmed the stage version of "Dracula," using a Hungarian actor named Bela Lugosi. Shortly after James Whale directed a version of "Frankenstein" that borrowed freely from 1920's "The Golem." Both were immediate successes and Universal Studios set out on a series of horror films that have become cinema Classics.
The following four films set the pace for what we now call classic horror.
1992 saw the return of Count Dracula in Francis Ford Coppola's "Bram Stoker's Dracula." June 17 marks the release of "Wolf," a new version of "The Wolfman" starring Jack Nicholson. In the fall Kenneth Branagh brings us "Mary Shelly's Frankenstein" with Robert De Niro as the monster. There is talk of a remake of "The Mummy" set for next year, proving that the monster flicks are still alive and kicking.
In 1930, Tod Browning filmed the stage version of "Dracula," using a Hungarian actor named Bela Lugosi. Shortly after James Whale directed a version of "Frankenstein" that borrowed freely from 1920's "The Golem." Both were immediate successes and Universal Studios set out on a series of horror films that have become cinema Classics.
The following four films set the pace for what we now call classic horror.
• • • Dracula • • •
"Dracula" (1931) is still considered the granddaddy of them all. The atmospheric opening is one of the highlights of the film. It is moody and full of ominous possibility. The film made Hungarian actor Bela Lugosi a Hollywood icon.
The film opens in Transylvania, where Renfield (Dwight Frye), an English land salesman, arrives to finalize the sale of a deserted British manor house to a strange nobleman Count Dracula (Lugosi). The Count turns out to be a 500-year-old vampire to whom Renfield eventually becomes a slave. When Dracula arrives in London he falls for Mina Seward (Helen Chandler) and attempts to make her his bride. Her fiancee Jonathan Harker (David Manners) and vampire authority Professor Van Helsing (Edward Van Sloan) try to head the Count off at the pass.
Karl Freund did a magnificent cinematography job on the first part of the film. The scenes in England become a bit cumbersome and this could be the fault of director Tod Browning. Most of the music consisted of bits from Tchaikovsky's "Swan Lake."
The film opens in Transylvania, where Renfield (Dwight Frye), an English land salesman, arrives to finalize the sale of a deserted British manor house to a strange nobleman Count Dracula (Lugosi). The Count turns out to be a 500-year-old vampire to whom Renfield eventually becomes a slave. When Dracula arrives in London he falls for Mina Seward (Helen Chandler) and attempts to make her his bride. Her fiancee Jonathan Harker (David Manners) and vampire authority Professor Van Helsing (Edward Van Sloan) try to head the Count off at the pass.
Karl Freund did a magnificent cinematography job on the first part of the film. The scenes in England become a bit cumbersome and this could be the fault of director Tod Browning. Most of the music consisted of bits from Tchaikovsky's "Swan Lake."
• • •Frankenstein• • •
Superior to "Dracula" was 1931's "Frankenstein." It is still thought of as one of the greatest horror classics. James Whale was probably the best director of horror films. The story isn't exactly what Mary Shelley had in mind but it still worked. Dr. Henry Frankenstein (Colin Clive) and his hunchbacked assistant Fritz (Dwight Frye) steal bodies from graves to create a "man" (Boris Karloff) who is brought to life with electricity. Fritz is responsible for the monster having the mind of a criminal instead of the intended normal brain.
Whale did a technical wonder with his mastery of the film medium which was not that old. One of the most shocking and memorable scenes was the monster's entrance on screen. He backs in through a doorway building the audiences curiosity. Then the monster slowly turns around to show his hideous features. This portrayal made Karloff a star as well as a legend. Terrifying and
piteous, his monster is a stirring study of estrangement and uncivilized anger. "Frankenstein" was the most influential monster movie ever made.
"The Bride of Frankenstein" (1935) was a brilliant sequel to the 1931 original. Again, director James Whale showed his genius in one of Hollywood's most contributive achievements. Mary Shelley (Elsa Lanchester) picks up where the last film ended. The injured Dr. Frankenstein (Colin Clive) is taken back to his castle while the monster (Karloff) is wreaking havoc on the townspeople. Dr. Pretorius (Ernest Thesiger), an alchemist who has also created artificial life, comes on the scene. He talks the unwilling Dr. Frankenstein into aiding him in creating a mate for the monster.
Combining gothic horror with playful wit, "The Bride of Frankenstein" is a work of art. It has unforgettable scenes, super sets, costumes and makeup, striking special effects, and audacious camerawork. The performances are right on target with Clive again punching all the right buttons. Karloff portrays a feeling of poignant humanity mixed with confusion. Lanchester is amazing.as the prim Mary Shelley and the embodiment of her story, the bride. Thesiger is the scene stealer as the verbose, threatening, yet hilarious Dr. Pretorius. The film proved to be one of the oddest and most memorable horror films ever made.
Whale did a technical wonder with his mastery of the film medium which was not that old. One of the most shocking and memorable scenes was the monster's entrance on screen. He backs in through a doorway building the audiences curiosity. Then the monster slowly turns around to show his hideous features. This portrayal made Karloff a star as well as a legend. Terrifying and
piteous, his monster is a stirring study of estrangement and uncivilized anger. "Frankenstein" was the most influential monster movie ever made.
"The Bride of Frankenstein" (1935) was a brilliant sequel to the 1931 original. Again, director James Whale showed his genius in one of Hollywood's most contributive achievements. Mary Shelley (Elsa Lanchester) picks up where the last film ended. The injured Dr. Frankenstein (Colin Clive) is taken back to his castle while the monster (Karloff) is wreaking havoc on the townspeople. Dr. Pretorius (Ernest Thesiger), an alchemist who has also created artificial life, comes on the scene. He talks the unwilling Dr. Frankenstein into aiding him in creating a mate for the monster.
Combining gothic horror with playful wit, "The Bride of Frankenstein" is a work of art. It has unforgettable scenes, super sets, costumes and makeup, striking special effects, and audacious camerawork. The performances are right on target with Clive again punching all the right buttons. Karloff portrays a feeling of poignant humanity mixed with confusion. Lanchester is amazing.as the prim Mary Shelley and the embodiment of her story, the bride. Thesiger is the scene stealer as the verbose, threatening, yet hilarious Dr. Pretorius. The film proved to be one of the oddest and most memorable horror films ever made.
• • •The Mummy• • •
"The Mummy" (1932) is absolutely marvelous. With his triumph in "Frankenstein," Boris Karloff created another unforgettable character. Jack Pierce did the stupendous makeup work.
The story begins at an Egyptian archeological dig in 1921. Their latest find is a sarcophagus in an unmarked grave. There is a warning on the coffin for anyone who would open it. What happens next is horrific and introduces us to Karloffs wrappings. Cinematographer Karl Freund made his directorial debut in this wonderful horror gem. The film has a feeling of dismay and apprehensiveness.
Karloff carries the mystical tone of the movie. Though he appears only briefly as the mummy, Karloff is more impressive in his reincarnated state. The mass of delicate wrinkles on his face and hands, and his gentle movements, create a being who seems like he might crumble at any time.
Edward Van Sloan (Prof. Muller) is around once again crusading against the monster. Zita Johann (Helen Grovenor/Princess Anck-es-eb/Amon) is the heroine. Karloffs mimimy (Im-Ho-Tep) and Hohann, whom he believes is his lost love, lends assurance and a certain sadness with the horror. One of the rare horror films to include a touch of the poetic, it is cleverly engrossing and has stood the test of time.
The story begins at an Egyptian archeological dig in 1921. Their latest find is a sarcophagus in an unmarked grave. There is a warning on the coffin for anyone who would open it. What happens next is horrific and introduces us to Karloffs wrappings. Cinematographer Karl Freund made his directorial debut in this wonderful horror gem. The film has a feeling of dismay and apprehensiveness.
Karloff carries the mystical tone of the movie. Though he appears only briefly as the mummy, Karloff is more impressive in his reincarnated state. The mass of delicate wrinkles on his face and hands, and his gentle movements, create a being who seems like he might crumble at any time.
Edward Van Sloan (Prof. Muller) is around once again crusading against the monster. Zita Johann (Helen Grovenor/Princess Anck-es-eb/Amon) is the heroine. Karloffs mimimy (Im-Ho-Tep) and Hohann, whom he believes is his lost love, lends assurance and a certain sadness with the horror. One of the rare horror films to include a touch of the poetic, it is cleverly engrossing and has stood the test of time.
• • •The Wolfman• • •
A feast of horror was 1941 's "The Wolfman." It involves Larry Talbot (Lon Chaney Jr.) a British heir who returns to the manor of his father Sir John (Claude Rains) after his college education in America. He learns of the legend of the werewolf from Gwen Conliffe (Evelyn Ankers), gypsy fortune teller Maleva (Maria Ouspenskaya) and her son Bela (Bela Lugosi). Larry scoffs at the notion. His notion changes when he is bitten by a vicious beast in the moors. Larry is then informed by Maleva he will transform into a werewolf who can only be destroyed by silver.
Chaney had vowed never to appear in horror films in fear he might be compared with his famous father. When he took on the role of the wolfman, it gave him an identity that would always stick. All elements, the makeup, the screenplay, combined to make a thrilling, scary, and ultimately tragic horror classic.
June 17 introduces the latest edition of the new horror classic remakes. Jack Nicholson does his own unique rendition of the wolfman when he again lives out Maleva's refrain: "Even a man who is pure in heart/And says his prayers by night/May become a wolf when the wolfbane blooms/And the autumn (full) moon is bright.
Chaney had vowed never to appear in horror films in fear he might be compared with his famous father. When he took on the role of the wolfman, it gave him an identity that would always stick. All elements, the makeup, the screenplay, combined to make a thrilling, scary, and ultimately tragic horror classic.
June 17 introduces the latest edition of the new horror classic remakes. Jack Nicholson does his own unique rendition of the wolfman when he again lives out Maleva's refrain: "Even a man who is pure in heart/And says his prayers by night/May become a wolf when the wolfbane blooms/And the autumn (full) moon is bright.
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