13 Nights of Shocktober: The Curse of Frankenstein

 by A.J.

This is my favorite time of year, second only to Christmas. Autumn has arrived, the weather is cooling down, and October becomes the month-long celebration of scary movies called Shocktober. So, in the days leading up Halloween I’ll be posting some horror movie recommendations to help you celebrate Shocktober.

Night 7: Hammer Horror Night

Christopher Lee: I’ve got no lines! Peter Cushing: You’re lucky. I’ve read the script. The Curse of Frankenstein

There are more than a few things that give The Curse of Frankenstein a special place in horror film history. It was the first remake of a classic Universal monster movie by the British film company Hammer and its success led Hammer to produce other Universal monster movie remakes, each with its own line of sequels, and other horror films as well. Throughout the 1950’s, traditional horror films focusing on monsters, ghosts, or curses had taken a backseat to science fiction films that had some horror elements but focused on the fears of the atomic age: monsters from outer space, the effects of nuclear radiation, or experiments gone wrong. The Hammer horror films are credited by some film historians and cinephiles with revitalizing the horror genre and attracting new audiences. They were shot in vivid color, utilized eye-catching period sets and costumes, and contained a level of violence, blood, and sexuality that was new and shocking for the time. It all started with The Curse of Frankenstein. Watching The Curse of Frankenstein today, there are certain aspects that may seem dated or hokey and its shock value has waned but not disappeared. It is easy to see why this film stood out at the time and has become a classic.

Perhaps as significant as its success for Hammer, The Curse of Frankenstein was the first film to pair Peter Cushing and Christopher Lee on screen together—they had previously appeared in the same movie, Hamlet (1948), but in different scenes. Cushing and Lee met for the first time and became friends by complaining about the script together. They appeared in numerous films together for Hammer and other studios becoming horror movie icons and their friendship lasted until Cushing’s death in 1994.

This version of Mary Shelley’s novel begins with Dr. Frankenstein (Peter Cushing) in prison telling his story to a skeptical priest. We see a flashback to an arrogant teenage Victor Frankenstein, who inherits his father’s fortune and aristocratic title and uses the money to hire a tutor, Paul, to teach him medicine. Over the years they conduct experiments that eventually allow them to resurrect a puppy. Both are thrilled but for different reasons. Paul (Robert Urquhart) wants to use their discovery to improve medical care by putting a patient into temporary death to perform a surgery without any shock to their system and then revive them. Frankenstein, however, wants to build a bigger, superior being. There’s no reason given for why Frankenstein wants to do this, but the book also doesn’t explain Frankenstein’s motivations since there is no good reason for wanting to build a new human out of dead body parts. Paul reluctantly agrees to go along with Frankenstein’s idea and together they create the Creature.

Despite his problems with the script, Cushing gives a great performance as the villainous Dr. Frankenstein. It's tempting to want to think of Victor Frankenstein as a hero because he pushes the boundaries of science and fights a monster, but this Frankenstein is a cad and villain. He doesn’t just rob fresh graves for body parts, he kills people. For a superior brain for his Creature, Frankenstein invites an old professor to his house then pushes him to his death. The brain is damaged but he uses it anyway leading to the Creature’s lumbering movement and murderous behavior. Also, Frankenstein is having an affair with his maid, Justine (Valerie Gaunt), even though he’s engaged to Elizabeth (Hazel Court). When Justine threatens to expose his horrendous experiments if he doesn’t marry her, Frankenstein uses the Creature to dispose of her. Cushing often played the hero in horror movies, or someone driven to extremes, but he is also really good as a sinister villain. You want him to stop the monster, but you also want him to get his comeuppance.

The reveal of the Creature’s face is a striking moment. The Creature lumbers to life, pulls off the bandage covering its face, and camera rushes in for a close up. Though Mary Shelley’s novel was in the public domain, Universal held the rights on the makeup design of the monster from their 1931 version of Frankenstein, one of the most iconic images in film history. So, the design of the monster here is very different from the Universal monster. This Creature’s design is nowhere near as memorable as the look of Boris Karloff as the Monster, but the film is better for trying something different.

Christopher Lee doesn’t have a lot to do as the Creature. It’s obvious that the movie couldn’t decide if it wanted him to be sympathetic, like in the Universal movie, or just a force of destruction. Still, Lee’s imposing size gives the Creature a sense of immediate danger. Lee would get to show off his verbal talents and charismatic screen presence in the next film he and Cushing starred in together for Hammer, Horror of Dracula, one of my favorites.

The period 19^th century costumes and sets look great in color. There are some exterior scenes where the background is obviously a matte painting, but this adds to movie’s fantastical atmosphere more than it distracts. Frankenstein’s laboratory is filled with bubbling jars of colored potions and the Creature is kept in a water tank. Nothing in his lab looks especially scientific but this adds to the unnatural side of his experiment, and it looks great in color. Terence Fisher directed The Curse of Frankenstein and while many directors had a hand in Hammer horror movies, his remain among the best. Seeing the names of Cushing, Lee, and Fisher together mean that you’re in for a treat.

13 Nights of Shocktober: Howling II …Your Sister is a Werewolf (AKA: Stirba—Werewolf Bitch)

by A.J.

This is my favorite time of year, second only to Christmas. Autumn has arrived, the weather is cooling down, and October becomes the month-long celebration of scary movies called Shocktober. So, in the days leading up Halloween I’ll be posting some horror movie recommendations to help you celebrate Shocktober.

Night 6: Werewolf Party Night! 

“For it is written: the inhabitants of the Earth have been made drunk with her blood. And upon her forehead was written: "Behold I am the great mother of harlots and all abominations of the Earth."

Howling II …Your Sister is a Werewolf (AKA: Stirba—Werewolf Bitch)

Good werewolf movies are few and far between; great ones are even rarer. There are a lot of ways for a werewolf movie to go wrong. The Howling (1981), directed by Joe Dante, is a good and solidly entertaining werewolf movie. Howling II …Your Sister is a Werewolf (1985), directed by Philippe Mora, goes wrong in so many ways that it goes hilariously right. Beginning with the subtitle “…Your Sister is a Werewolf'” you know you’re in for a less than serious movie. The original title, which the Canadian and Australian releases kept, was somehow even more outlandish: Howling II: Stirba-Werewolf Bitch. This isn’t just a “so bad it’s good” movie. This is a “so bad it’s awesome” movie. Awesome to the max.

Howling II picks up after the events of the first movie. At his sister's funeral, Ben White (Reb Brown) is approached by an occult investigator, Stefan Crosscoe (Christopher Lee). Stefan tells him that his sister was a werewolf and a ritual must be performed before her body is taken by members of a werewolf cult. Ben thinks the man is crazy but is urged to hear him out by his sister’s friend, Jenny (Annie McEnroe). It turns out Stefan is right, of course. After fighting the werewolf cult members in Los Angeles, they travel to Transylvania to kill the evil werewolf queen, Stirba.

By the time Howling II was made in 1985, the 80’s New Wave craze was in full effect. One of my favorite highlights of this crazy movie happens when Christopher Lee follows a suspected werewolf to a nightclub and wears those skinny, elongated New Wave sunglasses to blend in. The punk/new wave band performing on stage is Babel and the song they play is appropriately called “Howling.” They make another appearance at the climactic werewolf-orgy-costume-party in Transylvania and then appear again back in Los Angeles at the very end of the movie. It’s unclear if they are also werewolves or just really willing to play any gig.

The script seems to have gotten werewolves confused with vampires. By this point in his career Christopher Lee was already a horror icon for playing Dracula in numerous films for Hammer. Howling II casts him as a Van Helsing figure, but still wants to cash in on his Dracula fame. Not only is Transylvania home to werewolves, but Stefan kills werewolves by stabbing them in the heart with a metal stake. He explains that silver will work on certain werewolves but powerful werewolves can only be killed by titanium (because it’s the 80’s and everything has to be extreme). The battle in the woods of Transylvania with Lee and Brown fighting off werewolves with guns and daggers and swords has elements of 80's action movies and is pretty entertaining.

Sybil Danning plays Stirba, the werewolf queen, who turns out to be Stefan’s sister; that’s not really a twist since when it’s revealed it doesn’t change anything about the movie. Her performance is broad and so is her line delivery but in fairness all the dialogue in the movie is ridiculous. Her performance is right in line with everything else. She spends a lot of the movie in leather bondage gear, which seems to be the preferred choice for the werewolves.

Everything in Howling II is gratuitous. The action feels excessive and shoehorned in, though still entertaining. Yes, werewolves are traditionally killed by silver bullets (in this case titanium bullets) but the scenes of werewolves being blasted away are over the top. There is a lot of nudity and sex but it all feels either too gross or too ridiculous to be titillating. Aside from Stirba presiding over the werewolf orgy from her throne (some werewolves have transformed, most are humans, all are vaguely writhing around), there is also a werewolf threesome which is furry and silly and gross and seems to go on for a full day. It's something you never knew you never wanted to see.

There are some cheesy looking special effects but also some good, gross effects. Scenes of a disembodied werewolf arm clawing at someone look like an actor being hit with a fake monster arm. Some of the werewolves look like vaguely monstrous apes. Allegedly, this is because the production received leftover costumes and masks from the Planet of the Apes movies instead of werewolf costumes. Also, allegedly, Lee improvised a line of dialogue explaining that part of becoming a werewolf is to “de-evolve” to explain the ape faces. 

Christopher Lee is the best thing in Howling II. His deep commanding voice gives weight to just about anything he says, no matter how ridiculous. Lee was the kind of actor, like fellow horror film legends Peter Cushing and Vincent Price, that always found a way to give a solid performance no matter what kind of movie he was in. Even when his dialogue is ridiculous, or he’s in new wave gear, Lee himself never comes off as ridiculous.

Without a doubt the most memorable and bizarre sequence in Howling II is the closing credits. Footage of the new wave band is intercut with random shots from the movie and presumably outtakes. A shot of Sybil Danning ripping her top off is repeated again and again to the point of absurdity. At a certain point it becomes like an exercise in montage theory. We see reaction shots from different characters at different points in the movie cut to make it look like they are reacting to Danning’s nudity. She rips her top off, cut to a shot of a character’s eyes exploding out of his head. She rips her top off, cut to a shot of Lee chuckling in a church. It’s exploitative to be sure, but it is also so ridiculous and perplexing that the shot of Danning ripping her top off loses its sex appeal. It’s a bonkers closing credits sequence to a bonkers movie.

13 Nights of Shocktober: Extraordinary Tales

by A.J.

This is my favorite time of year, second only to Christmas. Autumn has arrived, the weather is cooling down, and October becomes the month-long celebration of scary movies called Shocktober.  So, in the days leading up Halloween I’ll be posting some horror movie recommendations to help you celebrate Shocktober.

Night 12: Horror Anthology Night

Poe: “I want to be sure my words will survive me, that they will never be lost in time.”

Death: “That, my friend, Nevermore.”

Extraordinary Tales 

Adapting Edgar Allan Poe’s most famous and beloved works, his short stories and poems, to a feature length film is tricky and difficult. The short stories get padded out and, in some cases, only vaguely resemble their source material. Some of these are good but barely resemble the original story: The Black Cat (1934) has a black cat in one shot and a completely made up plot. Some are utter dreck: The Raven features a raven briefly and a plot about wizards and magic. And a few actually capture the events and the essence of the story, adding plot and characters that feel like an extension of the story, not extraneous additions: The Masque of the Red Death (1964), directed by Roger Corman and starring Vincent Price, which I’ve written about for a previous Shocktober and highly recommend. To adapt Poe’s stories without added plot or characters could only be done with short films, or an anthology.

The stories of Poe and the anthology film format are such a perfect combination I’m surprised there aren’t more Poe based anthology films, or at least more noteworthy ones. The animated anthology Extraordinary Tales, written and directed by Raul Garcia, is indeed noteworthy, not just for its approach to Poe’s stories, but also its superb execution and unexpected, haunting pathos.

Each vignette has a distinct animation style with great imagery and notable narrator. The Fall of the House of Usher, narrated by Christopher Lee, is the first and longest of the short films, and it is an excellent start to this moody and atmospheric collection. It captures wonderfully the melancholy and dread that looms over the house of Rodrick Usher as he fears his sister has been buried alive. The Tell-Tale Heart is animated in stark black and white. This short segment is narrated by Bela Lugosi, whose voice comes through the distant hiss and crackle of an old phonograph. The third segment, The Facts in the Case of M. Valdemar, animated to resemble a comic book, is probably the least known story in the film. This story, narrated by Julian Sands, tells of a mesmerist who hypnotizes an ill friend at the moment of death in an attempt to stop death and learn about the great beyond. 

The Pit and the Pendulum, about a prisoner facing torture at the hands of the Spanish Inquisition, is told by Guillermo Del Toro and done in a realistic computer animation. The final segment is the silent The Masque of the Red Death. This story shows us the gruesome effects of a plague and the decadence of people celebrating in the castle of Prince Prospero, believing themselves safe from the plague. There is only one line of dialogue in this film, when the Prince (voiced by Roger Corman) questions the identity of the strange guest that dares to wear a mask resembling the effects of the plague.

The stories are all tied together with a peculiar and clever device: a raven visits a cemetery and has a conversation with a stone statue of a woman. The Raven is the soul of Poe, and the female voice of the motionless statue is Death. Their conversation is a gateway to Poe’s stories. The Raven is melancholy and proud and anxious and defiant of death and time. “My work is eternal,” it says, “I want that eternity.” The soft sweet voice of death is gentle, beguiling, and alluring, but also content and peaceful and inviting. The scenes of the Raven and Death are haunting and give us glimpses into Poe’s life and thoughts.

Extraordinary Tales is a wonderful and fitting tribute to Edgar Allan Poe, a love letter to his work and influence. It is a great way to enjoy some of his most famous stories or introduce someone to them. It’s also great to watch with someone that isn’t really into horror and makes for a perfect moody Shocktober night.

13 Nights of Shocktober: The Mummy (1959)

by A.J.

This is my favorite time of year, second only to Christmas. Autumn has arrived, the weather is cooling down, and October becomes the month-long celebration of scary movies called Shocktober. There are a lot of horror movies out there, but as a genre, horror is still looked down upon by some mainstream critics and moviegoers. It doesn’t help that, admittedly, there are so few quality horror movies made but, like comedy, it’s a very difficult and subjective genre. So, in the days leading up Halloween I’ll be posting some recommendations for scary movies to help you celebrate Shocktober.

Night 1: Hammer Horror Night

“He who robs the graves of Egypt dies!”
The Mummy (1959)  

Beginning in the late 1950’s, the British film production company Hammer began making a series of horror films that were essentially remakes of the Universal Monster movies of the 1930’s. The Hammer films had different storylines and monster designs, however, being in technicolor and showing more explicit violence and sexuality is what made them a distinct brand. The Curse of Frankenstein kicked off the Hammer Horror cycle in 1957, followed by Dracula (released in the U.S. as Horror of Dracula) in 1958, and tonight’s recommendation, The Mummy in 1959. Each film spawned numerous sequels—some more entertaining than others—but none matched the first in their respective series, all of which were directed by Terence Fisher and paired the great actors Peter Cushing and Christopher Lee.

The plot is pretty straightforward. In the 1890’s, a father and son archeologist team discover the tomb of the legendary Princess Ananka. The son, John (Cushing), has a broken leg, so he is not present when his father reads from a mysterious scroll and witnesses something that drives him mad. An Egyptian man named Mehemet (George Pastell), a disciple of the god Karnak, follows the father and son to England to exact revenge for desecrating Ananka’s tomb. Mehemet’s weapon of choice is... you guessed it, a mummy.

The Hammer Horror films usually cast Peter Cushing as the protagonist and Christopher Lee as the monster. When Lee began his acting career, he had difficulty getting good roles because of his imposing size, a commanding 6’5”. It’s easy to understand why he was cast as Frankenstein’s Monster, Dracula (his best horror role), and the mummy. While the mummy is a thrilling screen presence, he is not a very interesting monster since he is just the tool for Mehemet’s revenge. When the mummy sees that John’s wife, Isobel (Yvonne Furneaux), resembles the Princess Ananka, he begins to act on his own will. The mummy’s silent, lumbering nature leaves Lee only his eyes to act with and he does a pretty good job when he gets a close up. In a flashback narrated by Cushing we see that the mummy was a priest named Kharis that was obsessed with Ananka and attempted to bring her back to life. Lee gets to use his voice and whole body in the flashback. It’s a brief scene but it’s good to see Lee really play a character. Thanks to Lee’s large size, it is easy to believe that this mummy could pick up someone by neck with one hand or burst through doors and windows, the only way the mummy enters a room. When he and Cushing fight, it doesn’t seem like much of a contest—thankfully, just then the mummy catches sight of Isobel.

Cushing and Pastell have a good scene together when John visits his suspicious new neighbor. Mehemet is the main antagonist of the movie, more so than the mummy, but his revenge is not without good reason. He is not wrong that English archaeologists are desecrating sacred tombs and disregarding another culture’s customs, just so people can stare at relics in the British Museum. John’s counter argument is that nothing would be known of the ancient Egyptian people or their culture if it were left sealed and buried. However, everything else he says is purposefully condescending and insulting as he is trying to provoke Mehemet.

Like all Hammer Horror movies, the period sets and costumes, especially the ancient Egyptian sets and costumes, look obviously fake. However, this only helps create the movie’s fantasy atmosphere. The bog nearby John’s country estate is a fun set. Seeing the mummy in the dark, soupy water is a great sight. The look of the mummy is pretty spooky—wrapped in bandages that are dirty and tattered and look a thousand years old—especially with Lee’s eyes behind the costume. Though, I’m pretty sure you can the line for a zipper on the back of the mummy in certain scenes. 

The top tier Hammer Horror films, in which I would include The Mummy, are great Shocktober viewings because they are fun horror entertainment, but not so scary as to be intimidating. Whether you are a bit squeamish or a die-hard horror fan, the Hammer Horror version of The Mummy will help you have a great Halloween.

Classic Movie Picks: October 2016

by Lani
Each month, I scour the Turner Classic Movies schedule for upcoming films that I can't miss. The highlights are posted here for your reading and viewing pleasure! (All listed times are Eastern Standard, check your local listings or TCM.com for actual air times in your area. Each day's schedule begins at 6:00 a.m.; if a film airs between midnight and 6 a.m. it is listed on the previous day's programming schedule.)

10/3, 8 PM - Jinnah (1998)
TCM Star of the Month for October is British actor Christopher Lee, a fitting honor since Lee is well-known for his horror films. He played Dracula (10 times!), Frankenstein's monster, the Mummy, and a host of other weirdos; sometimes he was even the hero, but there was generally a lot of blood involved. During his long career, Lee's imposing physical presence and booming voice meant he was often cast as a the bad guy - in fact he played a villain in the Star Wars series, The Lord of the Rings trilogy, and opposite James Bond! 
In tonight's film Lee takes center stage in a very different role portraying Mohammad Ali Jinnah, the founder of the modern nation of Pakistan. The casting of Lee was controversial; not, as you might think, because Lee was a white actor playing an Asian character, but because of his association with Count Dracula. However, audiences in Pakistan ultimately responded positively to Lee's portrayal and the film is broadcast every year on Pakistan's independence day. Unfortunately, it seems that the film never got a proper theatrical release anywhere, so audiences outside Pakistan haven't really had a chance to see it. Tonight's air date is the North American premiere. As a fan of Sir Christopher Lee, I look forward to seeing what he felt was his most important role.

BONUS: 10/24, 4:30 AM - Dracula A.D. 1972 (1972)
My official pick may be an art house biopic, but I can't deny my love for Lee's weird horror movies - especially the ones with frequent partner/foil Peter Cushing. The two actors first appeared opposite each other as Dracula and Van Helsing in 1958's Horror of Dracula. Though Lee would play Dracula several more times over the next 14 years (ruining his reputation as a serious actor in the eyes of the entire nation of Pakistan in the process), this was Cushing's first appearance as Van Helsing since the '58 film. This time around the setting is contemporary "swinging" London where the Count has been resurrected and is hunting the descendants of his old nemesis.
 

10/11, 8 PM - Hollywood Canteen (1944)
The Hollywood Canteen was a special nightclub for serviceman during WWII, where they could get a hot meal, dance with a pretty girl, and meet real film stars before shipping out. Actress Bette Davis was the driving force behind the Canteen, supervising its construction, recruiting fellow stars to volunteer there, and managing it with her agent Jules Stein. Two years after it opened, the Canteen got its own film - a romantic comedy about a young G.I. who falls for starlet Joan Leslie (playing herself). The story was really an excuse to pack the film with star cameos by Davis, Canteen co-founder John Garfield, Joan Crawford, and Jack Benny (and many more), and musical numbers from the Andrews Sisters and Roy Rogers. However, it's an interesting glimpse into how Hollywood contributed to the war effort. With its patriotic message and star power, the film was a big success at the box office and a portion of the profits went back to the Canteen. 
Davis was rightfully proud of the success of the Canteen and her contribution is recognized during tonight's programming theme of "Actresses Who Made a Difference," part of TCM's month-long spotlight series on Trailblazing Women. If you are interested in learning more about the history of the real Hollywood Canteen (good and bad), check out episode #27 of the You Must Remember This podcast, "Bette Davis and the Hollywood Canteen."

10/19: Presidents on Film
8 PM - Fail-Safe (1964)
10 PM - Advise & Consent (1962)
12:30 AM - Seven Days in May (1964)
2:45 AM - Gabriel Over the White House (1933)
With Election Day looming, you may be suffering from presidential fatigue; however, I think it's the perfect time to watch these political films...if only to remind you to vote on November 8th! Each of tonight's films depicts a President under pressure: trying to fend off World War III in Fail-Safe, pushing through a controversial Cabinet nominee in Advise & Consent, as the target of a military coup perpetrated by the Joint Chiefs of Staff in Seven Days in May, and (following a visit from archangel Gabriel) crusading against government corruption and organized crime in Gabriel Over the White House. Depending on the day, any of these scenarios seems unfortunately all too plausible.

 
10/28: Universal Horror
8 PM - Dracula (1931)
9:30 PM - The Mummy (1932)
11 PM - The Invisible Man (1933)
12:15 AM - The Wolf Man (1941)
On Halloween night, TCM will feature several Hammer Studios horror films of the 50s and 60s starring Christopher Lee; however, tonight, you can see the Universal Studios horror films of the 30s which inspired those later films, even more so than any literary sources. The Universal films created the iconic looks of classic literary characters like Dracula, The Invisible Man, and Frankenstein's monster; while also adding new creatures to their rogues gallery like the Mummy and the Wolf Man. If you're in the mood for an atmospheric, spooky chiller - these films deliver. However, if you're in the mood for a laugh, there's plenty to giggle about here, too - from far-fetched plots to hammy acting.

BONUS: 1:30 AM - The Black Cat (1934)
This creepy, but stylish thriller was "inspired by" Edgar Allan Poe's short story of the same title (and that's where the inspiration ended) and featured the first pairing of horror stars Karloff and Lugosi. The two actors are not playing supernatural monsters this time, but portray a sadistic cult leader and a man out for revenge. The film also features David Manners, the young hero who had previously faced off against both Lugosi in Dracula and Karloff in The Mummy. 
 

13 Nights of Shocktober: The Devil Rides Out

by A.J. 

This is my favorite time of year, second only to Christmas. Autumn has arrived, the weather is cooling down, and October becomes the month long celebration of scary movies called Shocktober. There are a lot of horror movies out there, but as a genre, horror is still looked down upon by some mainstream critics and moviegoers. It doesn’t help that, admittedly, there are so few quality horror movies made but, like comedy, it’s a very difficult and subjective genre. So, in the days leading up Halloween I’ll be posting some recommendations for scary movies to help you celebrate Shocktober.

Night 9: Christopher Lee Memorial Night II, “The power of darkness is more than just a superstition. It is a living force which can be tapped at given moment of the night.”

The Devil Rides Out 

Christopher Lee is most famous for his roles as villains, which he was great at playing, but occasionally he got to play the hero and when he did, he was great at that, too. According to a few different websites, his heroic turn as Nicholas Duc de Richleau in The Devil Rides Out was one of his favorite roles. Made in 1968 for Hammer Films, The Devil Rides Out was directed by Terence Fisher with a screenplay written by Richard Matheson, based on a novel by Dennis Wheatley. In the U.S. this movie was released as The Devil’s Bride because executives thought the title The Devil Rides Out sounded too much like a western. Hammer is best known for its remakes of the Universal Monsters movies (Dracula, Frankenstein, and so on), and the sequels that each remake spawned, but this non-monster, non-remake is still everything you’d hope for in a Hammer film.

The film begins with Duc de Richleau and his friend, Rex Van Ryn, checking up on their younger friend, Simon, who has recently joined a suspicious “astronomical society.” Right away de Richleau, who is an expert on the occult, sees that this club is actually a satanic cult. He and Rex rescue Simon from being officially initiated into the cult, along with a young woman named Tanith, but then they all face the relentless wrath of the cult and their black magic.

The Devil Rides Out is a campy film now, and may have been even when it was released, but it is difficult to make a serious film about Satanists (with all of their magic spells, robes, funny names, and use of farm animals). It may come off as silly, but that doesn’t mean that the movie isn’t well done or spooky. The movie is set in 1929 and the production design is as good as Hammer’s Gothic horror movies. Simon’s room has large imposing windows and a satanic seal on the tiled floor. The Satanists wear purple robes, sacrifice a goat out in the woods during a ritual, and then dance around and act crazy. After breaking up that ritual de Richleau, Rex, Simon, and Tanith hide out at de Richleau’s niece’s country house. The country house and the English countryside provide a mood of isolation and slight distance from reality.

Not all of the visual effects hold up (adding to the camp value), but there is still some effective imagery, including the chilling appearance of the Angel of Death. The dated effects aren’t a big problem though because this movie relies mostly on the performances of the actors, especially Christopher Lee and Charles Gray as the satanic leader, Mocata. Most of the movie feels like a play; the second half of the movie takes place almost entirely in the country house.

There are a lot of great moments in this movie. In a car chase, Mocata uses black magic to lose Rex who is chasing after a possessed Tanith. First Rex's windshield turns opaque, then a fog is cast as the cars enter the woods. When Simon invites de Richleau and Rex into his room, Lee bounds across the room, throws open the closet, and is aghast at the wicker crate containing a chicken, which confirms his suspicions that his friend is about to join a satanic cult. At the country house de Richleau conducts a counter ritual that requires himself, his niece, her husband, and Simon to lie on the floor with their heads touching. It’s an image that is striking and silly at the same time. Actually, that’s how most things are in The Devil Rides Out, but you believe every moment of it because of Christopher Lee’s performance. He plays de Richleau with a believable authority and a commanding presence. Only an actor with real talent could be so angry at the sight of a chicken in a basket and somehow not go over the top. Lee is great at leading the rituals and casting spells. His serious performance gets us to take it seriously too. The Devil Rides Out is entertaining, spooky, fun, and even a little silly, but the real reason to watch this movie is for Christopher Lee’s performance. 

13 Nights of Shocktober: Horror of Dracula

by A.J.

This is my favorite time of year, second only to Christmas. Autumn has arrived, the weather is cooling down, and October becomes the month long celebration of scary movies called Shocktober. There are a lot of horror movies out there, but as a genre, horror is still looked down upon by some mainstream critics and moviegoers. It doesn’t help that, admittedly, there are so few quality horror movies made but, like comedy, it’s a very difficult and subjective genre. So, in the days leading up Halloween I’ll be posting some recommendations for scary movies to help you celebrate Shocktober.

Night 8: Christopher Lee Memorial Night, "He'll Hold You In A Grasp of Shock!"

Horror of Dracula

The passing of movie icon Christopher Lee earlier this year was very sad news, but he left us with many, many films to enjoy. He had a long and impressive career that included both the Star Wars and Lord of the Rings film series. However, his most famous role is unquestionably as Dracula in a series of movies for the British production company Hammer. When people think of Dracula, they either picture Bela Lugosi or Christopher Lee. The first film in which Lee took on the already legendary character was in 1958 with Horror of Dracula, co-starring fellow horror movie icon and superb actor Peter Cushing, and directed by Terence Fisher. When Terence Fisher, Peter Cushing, and Christopher Lee made a film together for Hammer, audiences were in for a treat.

Horror of Dracula is a loose remake of Todd Browning’s Dracula from 1931, and an even looser adaptation of the Bram Stoker novel. The movie begins with bright red blood dripping on Dracula’s tomb. Jonathan Harker arrives at Castle Dracula in Klausenburg to work as the librarian for the Count, but he is actually a vampire hunter and protégé of Dr. Van Helsing. Harker becomes trapped in the castle and succeeds in killing the Count’s bride, but not Dracula himself. Dracula seeks revenge by first trying to take Harker’s fiancé, Lucy, for his new bride, and then Lucy’s sister, Mina. Van Helsing is on Harker’s trail and tries to save Lucy and Mina and put an end to the sinister vampire. Almost none of this happens in the novel. It is almost like Dracula fan fiction. It takes the already existing characters and then just makes up a different story and does what it thinks is most entertaining, and it is indeed very entertaining.

Horror of Dracula was impressive when it was released because, like other Hammer horror films, it ups the ante on violence, action, and sexuality. That means that when someone gets stabbed or bitten we see blood, Dracula’s bride wears a dress revealing her cleavage, and Lee plays Dracula as a dangerous seducer. This film was shot on Technicolor so the colors of the sets and costumes are rich and vivid, and red blood is especially red. All of those elements are still entertaining today, but the reason this film works, then and now, is because of its reinterpretation of Count Dracula and Dr. Van Helsing and the screen presence of Christopher Lee and Peter Cushing. Lee’s tall stature of 6’5” and natural physical appearance give his Dracula a commanding and imposing presence. Lee's Dracula exudes menace. The danger and threat he poses are immediate and ever present. In one scene Lee bounds across a large dining room and over a table to pull his bride away from attacking Harker. Other versions of Dracula usually give him servants to do his bidding, but this Dracula drives his own carriage and digs a grave for Mina himself. This is a take charge, action Dracula. In other words, a this is a badass Dracula, and Christopher Lee has the talent to make it believable. 

The only match for a badass, action Dracula is a badass, action Van Helsing and that's what Peter Cushing gives us. He makes his first appearance in the movie wearing a very cool, very boss fur collared coat and bowler hat. We spend most of the movie with Van Helsing as he tracks down Dracula. Cushing's performance and screen presence keeps those scenes interesting and entertaining. He believably portrays Van Helsing as learned scholar and fearless vampire hunter. He springs into action too: he leaps over a railing and runs upstairs when he hears someone removed the garlic from Lucy's bedroom. The climactic confrontation between Van Helsing and Dracula does not disappoint; it's action packed and all the while Van Helsing wears his boss coat.

Some people might find Horror of Dracula campy, but it is undeniably entertaining. There is great scenery and the production design does a good job at setting the mood for a Gothic vampire tale set in a far away land. Not every bit of scenery looks completely real but the hint of artificiality only adds to the fantasy element of the movie. Horror of Dracula is a fun movie from beginning to end and never gets too intense or gross so even squeamish people can enjoy the movie. The blood and horror effects are tame by today's standards but hold up pretty well. There's something for everyone to enjoy in Horror of Dracula, whether you are a horror movie buff or only watch horror movies at Halloween.
 

13 Nights of Shocktober: Horror Express

by A.J.

This is my favorite time of year, second only to Christmas. Autumn has arrived, the weather is cooling down, and, October becomes the month long celebration of scary movies called Shocktober. There are a lot of horror movies out there, but as a genre, horror is still looked down upon by some mainstream critics and moviegoers. It doesn’t help that, admittedly, there are so few quality horror movies made but, like comedy, it’s a very difficult and subjective genre. So, in the days leading up Halloween I’ll be posting some recommendations for scary movies to help you celebrate Shocktober.

Night 12: "Evolution is a fact, and there's morality in a fact." Horror Express

I'm not the only person recommending horror movies this Shocktober. Every weekday local film buff John Ary is hosting Ain't It Scary Reviews, a special Shocktober edition of the Vulcan Vault review series in which Vulcan Video employees (such as myself), filmmakers, local film personalities, and other special guests recommend lesser seen films for Ain't It Cool News. Today John interviews me about one of my favorite horror movies:

Check in with Ain't It Cool News tomorrow for the final Ain't It Scary Review! For past segments search for "Ain't It Scary" or "Vulcan Vault."

Horror Express will air on TCM on Halloween, Thursday, October 31st at 5:30PM (Eastern Time)/4:30PM (Central Time).

Classic Movie Picks: October 2013

by Lani and A.J.

Each month, I scour the Turner Classic Movies schedule for upcoming films that I can't miss. The highlights are posted here for your reading and viewing pleasure! (All listed times are Eastern Standard, check your local listings or TCM.com for actual air times in your area. Each day's schedule begins at 6:00 a.m.; if a film airs between midnight and 6 a.m. it is listed on the previous day's programming schedule.)

This month I've turned over the Classic Movie Picks to my co-blogger, A.J. While we both enjoy the spooky films that play during October, he is the real horror aficionado in this partnership. I'm looking forward to his picks, hope you enjoy them, too! - Lani

Murder...?
10/5, 2 PM - Manhattan Murder Mystery (1993)

The original script for Annie Hall contained a murder mystery plot that was ultimately cut to make the story wholly a romantic comedy. If you’ve ever wondered what Annie Hall with a murder mystery would be like, then I highly recommend Woody Allen’s underwatched 1993 film. Woody Allen and Diane Keaton play couple whose marriage has grown stale until Keaton suspects their neighbor of murdering his wife. Will a murder mystery be able to rejuvenate their marriage? Did their neighbor even murder anyone? Manhattan Murder Mystery is Rear Window as directed by Woody Allen and the result is a fun, romantic, and genuinely intriguing mystery movie, and a great light start to October.

Vampires

I remember a time when vampires used to be scary and so does TCM. Before they were angsty, brooding anti-heroes that graced magazine covers, vampires were the ultimate movie monster.

10/11, 9:30 PM - Isle of the Dead (1945)

Boris Karloff stars in this movie about a group of people trying to survive a war, a quarantine, and, as if things weren’t bad enough, a suspected vampire. This movie is produced by one of the masters of classic horror, Val Lewton. He’s one of the few movie producers that is also thought of as an “auteur,” a title usually only given to directors. His films are famous for their stripped-down, sparse style and emphasis on mood and shadows.

Also Playing…

10/13, 12 AM - Nosferatu (1922)

10/19, 9:15 PM - Mark of the Vampire (1935)

Anthology Horror
If you want more than one spooky story in a single movie TCM has 3 anthology horror movies airing this month.

10/11, 11 PM - Dead of Night (1945)

In this Ealing Studios production a man fears that his reoccurring dream in coming true so other guests at a country house share supernatural stories of their own. When this movie was released in America one of the stories was cut because U.S. distributors thought movie ran too long. They made the movie shorter, but confusing. Fortunately for this broadcast the missing story has been restored and should make for good spooky night.

Also Playing…

10/20, 2 AM - Kwaidan (1965)

10/31, 2:45 AM - Twice-Told Tales (1963)

Monsters Need Love Too!

10/26, 11 PM - Cat People (1942)

Val Lewton’s films were at their best when the producer worked with director Jacques Tourneur. Cat People is among their most highly regarded pictures. In this collaboration, an American man marries a Serbian immigrant who fears that she will turn into a cat person from the fables of her homeland. These RKO horror movies had a low budget, but Lewton used that disadvantage to make better films. His films focused less on spectacle and more on character, an eerie mood, and scaring us more by showing us less.

10/31: Halloween with Christopher Lee...

All day long on Halloween, TCM will be showing films starring Christopher Lee, including two he starred in for Hammer Films, the UK company whose horror movies made Lee famous.

12:15 PM - Dracula, Prince of Darkness (1965)
3:45 PM - Dracula Has Risen From the Grave (1969)
5:30 PM - Horror Express (1972)

Horror Express is not a Hammer Film but hoped to cash in on the success of those movies by getting Christopher Lee and Peter Cushing to star in a movie with a monster. The result is a Hammer knock off that actually works. Lee, who usually played Dracula and other monsters, gets to be the hero. He plays on archeologist attempting to transport his recent mysterious discovery on the Trans-Siberian railway, but his discovery proves to be too monstrous to contain. Peter Cushing plays a fellow Englishmen helping Lee try to stop the mysterious deaths on the train. If Murder on the Orient Express meets The Thing meets Hammer Horror sounds like an intriguing combination, then you won’t go wrong with Horror Express.

…and Vincent Price

It just wouldn’t be Halloween without a Vincent Price movie or two. Perhaps Vincent Price being the star of the month for October is less than a coincidence. Some of his non-horror, dramatic movies are being highlighted Thursday nights earlier in the month. Fortunately, Halloween falls on a Thursday, so there will be a full night of Price movies to enjoy.
8 PM - Pit and the Pendulum (1961)
9:30 PM - The Haunted Palace (1963)
11:15 PM - The Masque of the Red Death (1964)

Happy Halloween!