A Haunted House, English-Style

 

The British Horror film, and indeed, Great Britain’s entire film industry, was teetering on the brink of the precipice by 1973, brought on in part by the faltering national economy.  In the words of Sinclair McKay, “By 1973, it was not merely the old British film industry that was in a state of outright crisis; the entire nation was.”  Hammer, with Michael Carreras now firmly in control, was in a steady decline, much like an aging senior citizen, in whom one illness rapidly leads to another, and another.  That year saw the release of only one classic Hammer Horror, possibly the worst of them all; the film that made Christopher Lee hang up the cloak and put away the fangs for good—The Satanic Rites of Dracula.

Fortunately, other companies were in there pitching, and doing a much better job than Hammer’s anemic efforts.  In fact, 1973 would see the release of two very good British Horrors, The Legend of Hell House and The Vault of Horror, and one that is the best British Horror film of the decade; perhaps the best Brit Horror ever—The Wicker Man.  I have discussed that film, and my reverence for it, at length in this column.  For now, we’ll examine John Hough’s excellent Horror film, The Legend of Hell House.

Following his departure from American-International Pictures, the company that he had founded with Samuel Z. Arkoff nearly twenty years before, James H. Nicholson started Academy Pictures Corporation, in partnership with 20th Century Fox, with plans to co-produce five films.  The first would be an adaptation of Richard Matheson’s sexually charged novel, Hell House.  Matheson would write the screenplay, toning down some of the more graphic sexual elements, transforming it into something suitable for the screen, and John Hough was tasked to direct the film.  Hough, who had recently directed Twins of Evil at Hammer Films, was a good choice; he was a solid, competent, and reliable director, the type needed to bring low-budget productions in on-time and on the money.

It is Friday, December 17th, and Dr. Lionel Barrett (Clive Revill), a British physicist and researcher into paranormal phenomena, has been summoned to a meeting with Mr. Deutsch (Roland Culver), an elderly millionaire, who has a proposition for the scientist:  prove or disprove the soul’s survival after death.  Do so, either way, and earn £100,000.  There are two stipulations, however.  He must begin on the following Monday, the 20th, and he has only five days.  Five days to prove or disprove life after death.

Barrett is intrigued, but how can he accomplish that task, one that, on the surface, would seem impossible?  Deutsch’s answer is simple, though unexpected.  He must go to the one place where the possibility of survival has not been refuted.  Belasco House—Hell House.  Two previous teams have investigated the mansion; eight members of the two expeditions died.  There was only one survivor, from the last group twenty years before.  That man, Ben Fischer (Roddy McDowell), will go with Barrett to the house, as will another medium, a young woman named Florence Tanner (Pamela Franklin).  Barrett’s wife Ann (Gayle Hunnicutt) will accompany him as she usually does on his investigations, though he warns her that this will not be like any other “haunted house,” calling Hell House the “Mt. Everest of haunted houses.”

The following Monday, the group arrives at Hell House to begin their investigation.  Florence is immediately affected by the entities present in the house, though the other psychic, Ben, keeps himself closed off.  However, the two mediums aren’t the only ones experiencing unusual reactions.  Ann Barrett, a sexually frustrated woman due to her husband’s inattentiveness, begins walking in her sleep, and behaving most improperly towards Ben.  Everyone seems under some form of attack, though Florence is particularly vulnerable.  The attacks on both women are personal, and sexual, in nature.  Barrett believes that the former owner, Emeric Belasco, was such a vain, cruel, evil man, and the litany of sins he practiced and encouraged steeped the house in so much malevolent energy, that it has become like a massive battery, providing anyone with innate psychic abilities with a surge of uncontrollable power.  There are no ghosts, no surviving spirits, just the untapped potential of the human mind.  Ben is convinced it is the spirit of Belasco himself, and though Florence agrees that it is a spirit, she’s not sure it’s Belasco’s.

As the week wears on, the attacks become more violent and aggressive.  Barrett is nearly killed.  Florence is raped by what she believes is a spirit.  Slowly, however, they uncover the secrets of Belasco House, including the discovery of the chained-up body of Belasco’s son Daniel, concealed behind a brick wall.  As the week draws near its end, Barrett has plans to fight back—a machine of his invention that will counter the energies in the house, clearing the house of its stored ability to cause harm.  If his theory is correct.

Reviews were mixed for the film, though generally not positive.  Mick Martin, writing for the magazine Cinefantastique, seemed to speak for his fellow critics.  “So much that made the book a blockbuster horror story is left out of the film that I find it impossible to view it objectively, especially after experiencing The Exorcist.”  The comparison to the far superior film may be a natural one, one I’m certain many critics couldn’t help but make.  As natural as that comparison may be, however, it did no favors for The Legend of Hell House.  Though the box-office numbers for the film were decent, it was not the success for which 20th Century Fox and Academy Pictures could have hoped.  Appreciation for the film has grown in the intervening years, however.  Andy Boot, in discussing the film, lays its lackluster performance on a lack of promotional spending. 

“The last film of 1973 was one that could—shock for shock—rival The Exorcist.  The only thing letting it down was the budget—not because of the actual production quality, but simply because it could not be hyped ... This is the type of horror movie that is impossible to do justice in print.  Kinetic and visually stunning, it is a superb piece of craft that needs to be seen to be appreciated.”

James Nicholson (R), and Samuel B. Arkoff (L).

A significant difference from contemporaneous reviews, one might safely say.  The Legend of Hell House was the first film produced by Academy; there would be only one more.  In December of 1972 James Nicholson, the creative force behind the birth of Teensploitation and the Drive-In Movie, died of a malignant brain tumor.  His last production, Dirty Mary Crazy Larry, would be released eleven months after The Legend of Hell House.

DVD Review: Haunted Horror Double-Header: THE WOMAN IN BLACK and THE INNKEEPERS

Title:  Haunted Horror Double-Header:  THE WOMAN IN BLACK and THE INNKEEPERS

Year of Release—Film:  2012 / 2011

Year of Release—DVD:  2012 / 2012

DVD Label:  Sony Pictures Home Entertainment / MPI Media Group

One of the Unimonster’s favorite genres of Horror is the Ghost film—haunted houses, haunted people, ghostly places.  Unfortunately, that genre of late has fallen victim to the so-called “found footage” movie; that species of film inaugurated with the abysmal 1999 movie THE BLAIR WITCH PROJECT.  Featuring grainy, out-of-focus video which looks as though your Uncle Carl shot it at the family reunion, the found footage movie exploded in popularity following the blockbuster success of 2007’s PARANORMAL ACTIVITY, which grossed more than $107 million on a budget of roughly $15,000.  Cheap to produce, the appeal of such movies to both studio execs and aspiring filmmakers is easy to see, and the Ghost genre is uniquely well-suited to such films.

As a fan of classic Horror, though, I find something lacking in most of these films.  Too often, the reduced cost of production means that scripts which would not have passed muster using the conventional studio process are being made into films, definitely a mixed blessing.  While it’s true that the major studio method of choosing which scripts to produce seems to involve eight men in suits killing anything that smacks of originality, it also manages to weed out the really bad ideas—the ones that really shouldn’t see the light of day, such as QUARANTINE, the thoroughly unnecessary remake of [REC].

That wasn’t always the case, of course—for more than fifty years Hollywood’s best and brightest worked in the genre, bringing us films such as THE HAUNTING, THE INNOCENTS, THE UNINVITED, GHOST STORY, THE LEGEND OF HELL HOUSE, and THE CHANGELING—films that delivered both scares and stories, quality horror and quality entertainment.  Recently, however, two Ghost films were released which harken back to those glory days of the ghost film: Ti West’s low-budget thriller THE INNKEEPERS, and the resurrected Hammer Films’ THE WOMAN IN BLACK.

According to the DVD cover, THE INNKEEPERS stars Sara Paxton, Pat Healy, and Kelly McGillis, though the real star of the film is the 121-year-old Yankee Pedlar Inn, in Torrington, Connecticut.  The inn, still a popular destination for tourists, played host to the cast and crew, and served as the primary location for filming.

Paxton and Healy play Claire and Luke, the last two workers at the inn, as it prepares to close its doors for good.  There’s little for them to do, as the hotel is virtually empty, and they spend most of their time playing pranks on each other and investigating the inn’s reputed haunting, by the ghost of a jilted bride named Madeline O’Malley.  O’Malley, so the legend goes, hung herself in her room many years ago, after being left at the altar by her fiancé.  The owner of the hotel, finding her body, hid it in the cellar to avoid the bad publicity.

Luke claims to have encountered the ghost, and Claire is envious of his experiences in the hotel.  They explore the inn, deserted save for a woman and her young son, with recording devices, hoping to capture proof of the haunting.  Into this peaceful, if morbid, setting comes a retired actress, Leanne Rease-Jones (Kelly McGillis), who now lectures on spiritualism and alternative healing.  She acts as a catalyst to Claire, inspiring her to seek out the spirits in the house with even more persistence.  In doing so, she realizes that, perhaps, the spirits don’t wish to be found.

The movie proceeds at a staid, lazy pace, something which will no doubt turn off a generation raised on YouTube clips.  For those of us of, say, a more experienced generation, who aren’t conditioned to expect three decapitations and a disembowelment before the opening credits, our patience will be rewarded.  The result is a good ghost story.  Not great, but certainly worth the price of admission—or rental.

The second feature on our double-bill is the movie that brought the words “Hammer Horror” surging back into the forefront of fandom.  The second film adaptation of Susan Hill’s 1983 novel of the same title, James Watkins’ THE WOMAN IN BLACK stars Daniel Radcliffe in his first post-HARRY POTTER role, along with Ciarán Hinds and Shaun Dooley.  The story is superbly adapted by screenwriter Jane Goldman, and Watkins crafts an excellent film using what has always been Hammer’s strengths:  Quality acting and creating the perfect period atmosphere.

Arthur Kipps (Radcliffe) is a London solicitor struggling to overcome the emotional disaster of his wife’s death during childbirth.  He’s raising his young son alone, and while he’s a loving, devoted father, the rest of his life is spiraling downward.  His job performance has declined to the point where he’s been given one last chance to save his career.  A client of his employer’s has recently died, and he has been assigned the task of journeying to her home on Eel Marsh Island to inventory her papers and belongings.  His employer makes it clear—if he fails to complete this charge, his services will no longer be required.

Upon his arrival in the village of Eel Marsh, Kipps is greeted with distrust, suspicion, and outright hostility by the locals.  Only Sam Daily (Hinds, in a superb performance that should be recognized in award season but probably won’t) and his wife Elisabeth show him any kindness and hospitality.  His efforts to carry out his duties out on the island are hampered by factors both geographical and human.  First, the island is more of a high point on the salt water marsh, approachable only by a narrow causeway.  When the tide is in, the causeway is flooded and impassable.  Even this obstacle is made more difficult to overcome by the fact that no local will go anywhere near the island, or the manor house which occupies it.

Shortly after his arrival, Kipps begins seeing a mysterious figure, a woman dressed entirely in black mourning garb.  After each appearance, tragedy strikes the small village, and the reason for the villagers’ hostility becomes apparent.  But, mindful of his employer’s warning, Arthur continues his work at Eel Marsh House.  Soon, he discovers the cause of the troubles, but can he correct the injustice done in time to quiet the vengeful ghost—and save himself?

The cast is excellent, led by Radcliffe and Hinds.  Radcliffe is a bit young for the part of Arthur Kipps, but still manages to pull it off rather neatly; and Ciarán Hinds is by far the best actor in the film.  And the cast can’t help but shine given the overall quality of the production.  It’s as though it were filmed at the old Bray Studios, Hammer’s former home; the atmosphere is pure, vintage Hammer, and I love it.  Anyone who loves classic Horror should have this film in their collection.

So, while summer mega-budget, Super-Hero blockbusters fill the local Cineplexes, remember that there are options out there for those craving a good, old-fashioned, spine-tingle or two.

Back from the Dead: the Return of Hammer Horror

Beginning in the late 1950s, and continuing into the 1970s, one studio was synonymous with the production and distribution of Classic Horror films, those films featuring the creatures of gothic nightmares—vampires, werewolves, witches, and the walking dead.  Just as Universal held the title of the “House that Horror Built” in the ‘30s and ‘40s, Hammer Films was the source for gothic horror throughout my childhood.  I was on a first-name basis with Christopher Lee’s Dracula long before I met Bela Lugosi’s, and to this day, for me at least, Peter Cushing is the definitive Dr. Frankenstein.

Unfortunately, Hammer’s popularity on the big screen never quite translated into long-term financial security.  Though its films generated huge box office revenues (Hammer’s 1957 movie CURSE OF FRANKENSTEIN, the film which started Hammer’s reign as the king of horror, was for many years Britain’s most profitable domestic production), most of that money found its way to the overseas distributors, many of whom had fronted the cost of production for the films.  This left the studio, under the direction of Michael Carreras, in a rather precarious position.  As long as there was sufficient overseas demand for their product, primarily in the US, then the funding was readily available for the studio to maintain production.  However, this often left the studio without the ownership of the movies it produced, and without the potential revenue such movies would generate in re-release.  It also meant that, when the US market for classic Horror began to dry up in the mid-1970s, so did Hammer’s primary source of capital.  Hammer’s last feature was 1976’s TO THE DEVIL A DAUGHTER, directed by Peter Sykes.  An attempt to capitalize on the popularity of demonic-themed Horror films following the blockbuster successes of ROSEMARY’S BABY, THE EXORCIST, RACE WITH THE DEVIL, and THE OMEN, Hammer’s entry into the sub-genre was a case of too little, too late.  Except for the occasional television program produced for the British market, Hammer Films, for all intents and purposes, ceased to exist.

However, as is the case with any good horror tale, the dead have an aversion to remaining buried.  In May of 2007, the rights to Hammer’s name, as well as their library of titles, were purchased by Dutch producer John De Mol.  The resurrected studio’s first feature production was 2010’s LET ME IN, the remake of the highly-acclaimed Swedish Vampire film LET THE RIGHT ONE IN (LÅT DEN RÄTTE KOMMA IN) from 2008.  That success (though the film earned a meager $13 million at the box-office, both critics and fans raved over it) was quickly followed up by 2011’s THE RESIDENT, a psychological thriller which reunited the great Christopher Lee with the studio that made him a Horror icon.  Starring Hilary Swank and Jeffery Dean Morgan, and directed by Antii Jokinen, it wasn’t as well received as LET ME IN.  Still, Hammer Films was back on the map, a return given an implied blessing by the inclusion of Lee in the cast.  And its biggest success was yet to come.

Based on the 1983 novel by Susan Hill (which had previously been adapted for the screen in 1989), THE WOMAN IN BLACK was the reborn studio’s most ambitious project to date.  The first post-HARRY POTTER feature for star Daniel Radcliffe, Hammer started filming on the project in late September 2010, on a budget of $17 million.  Radcliffe stars as Arthur Kipps, a young solicitor (the British term for lawyer) dispatched to a small coastal village to settle the estate of a recently-deceased woman.  From the moment of his arrival, Kipps is made aware that his presence is unwelcome, and that nothing would please the villagers more than his immediate return to London.  Determined to accomplish his task (indeed, his job depends upon it), Kipps finds himself drawn deeper into a supernatural mystery that seems to involve the entire village.

THE WOMAN IN BLACK, directed by James Watkins, is a rarity for these modern times:  A good, old-fashioned gothic ghost story.  Opting for genuine scares, rather than buckets of gore and cheap shocks, Watkins crafted a thrilling film that succeeded with both critics and fans.  With an opening weekend gross of over $20 million (placing it second for the weekend only to the teen Sci-Fi film CHRONICLE), laudatory reviews from critics, and an enthusiastic response from fans, Hammer 2.0 had its first blockbuster success.  The film ended its theatrical run with a $54 million domestic gross, and $127 million internationally.  Not since Hammer’s glory days had they seen success of that caliber, and they aren’t done yet.

Recently, Hammer has placed several films into production … John Pogue’s THE QUIET ONES; BONESHAKER, a co-production with Cross Creek Pictures; GASLIGHT; and a sequel to THE WOMAN IN BLACK, subtitled ANGELS OF DEATH.  They’ve also branched out into publishing, in partnership with Random House, and have even announced plans for a visitor attraction.  As owner of the vast Hammer library of titles, the new version of the studio should have the one vital ingredient to bring its plans to fruition; the one ingredient its predecessor lacked—a viable source of steady revenue.

As someone who loves classic horror, and who has been a life-long fan of the type of Horror films that were the hallmark of the original Hammer, it’s my sincere hope that they succeed in their plans.  Enough of torture-porn, “found footage,” and vampires taken from the pre-adolescent fantasies of young girls.  Give me ghosts, ghouls, mummies, werewolves, vampires who look like vampires.

Give me Hammer Horror once again.

DVD Review: John Carpenter's THE WARD

Title:  John Carpenter’s THE WARD

Year of Release—Film:  2010

Year of Release—DVD:  2011

DVD Label:  Arc Entertainment

John Carpenter is, in this reviewer’s opinion at least, one of the three or four greatest living creators of Horror films; certainly one of the top ten such individuals of all time.  His filmography reads like a list of the essential Horror films of the last 35 years—HALLOWEEN; THE FOG; THE THING; CHRISTINE; PRINCE OF DARKNESS.  Though he has occasionally stumbled (the 1995 remake of VILLAGE OF THE DAMNED springs to mind), the same can be said of every great director, and the hits far outweigh the misses on his ledger.  Thus it can be safely said that when a new feature of his comes out, especially his first feature since 2001’s GHOSTS OF MARS, I for one pay attention.

Starring Amber Heard, Jared Harris, and Danielle Panabaker, and written by Michael and Shawn Rasmussen, the production is highlighted by a talented cast, guided by Carpenter’s expert hand.  Heard stars as Kristen, whom we meet at the scene of farmhouse, fully involved in flames.  Police show up, and proceed to wrestle her into submission, throwing her into the back of the squad car.  She’s taken to an asylum, where she encounters a group of young women, similarly incarcerated.  From the first night, Kristen notices strange occurrences—the impression that someone is in her room at night, ghostly apparitions that seem to stalk her, and a secret that the others seem to share, a secret that concerns a girl named Alice, and how she “got out,” of the institution.  The deeper Kristen delves into the mystery, the closer she comes to discovering the root of her own madness, and the memories she has locked away.

I’ve already stated that the cast and the director did an excellent job with the material they were given.  Unfortunately, that material simply wasn’t up to the standards of such a talented director.  It’s not that the script was bad … it’s just that it wasn’t in any way original.  It was like watching every other psychological horror film of the past decade—GOTHIKA, IDENTITY, SHUTTER ISLAND, THE UNINVITED—and there simply was no surprise left in the premise.  It was well-executed, yes … but it hardly needed the skills of John Carpenter to translate this derivative, hackneyed script to the big screen, much as you wouldn’t choose Gordon Ramsay to assemble a Big Mac.

As I stated earlier, I’m a huge fan of Carpenter’s, and was overjoyed by his return to Horror filmmaking.  I just wish the project he chose for that return had been worthy of him.  I’ll give this one a qualified Rent recommendation, but unless you’re a Carpenter completist, then I’d leave my cash in my pocket.

DVD Review: TRICK 'r TREAT

Title:  TRICK ‘r TREAT

Year of Release—Film:  2007

Year of Release—DVD:  2009

DVD Label:  Warner Premiere

Considering that Halloween is the celebration of all things frightening and horrific, it’s remarkable that, save for the franchise launched in 1978 by John Carpenter’s HALLOWEEN, relatively few Horror Films are devoted to our favorite holiday.  Halloween might get a toss-away nod here and there, but I’m talking about using the day as the central theme of the film, as does Carpenter’s masterpiece of Holiday Horror.  One recent film not only took All Hallows Eve to heart, but it did so in spectacular fashion.  So much so, that it quickly became the Unimonster’s second favorite Halloween movie.  That film is Michael Dougherty’s 2007 movie TRICK ‘r TREAT.

Written by Dougherty, TRICK ‘r TREAT is a cinematic vision of the lore, wonder, and fascination that surrounds Halloween, crystallized into a series of four vignettes interwoven into one story centered on a demonic trick-or-treater named Sam.  Sam (short for Samhain, the Celtic festival of the dead that is the ancestor of our modern Halloween) is the personification of the holiday, watching over the festivities, and punishing those who lack the proper respect for the holiday and its customs and traditions.  He’s present in each of the four stories, as well as visible throughout the framing sequences.

As in most anthologies, some of the tales are better than the rest, but that variation is not nearly as marked here.  The opening sequence features a young married couple named Henry and Emma (Tahmoh Penikett and Leslie Bibb), who are returning from the evening’s festivities and their argument over the disrespect that Emma demonstrates towards the holiday’s traditions.  The four vignettes that follow are, in order:  The Principal, starring Dylan Baker as the principal of the local school, who has an odd way of celebrating the holiday; The School Bus Massacre Revisited, about a group of kids visiting the site of a mysterious tragedy thirty years before; Surprise Party, concerning a young woman’s (Anna Paquin) efforts to lose her “virginity;” and Meet Sam, in which a cantankerous, Halloween-hating old man (the always enjoyable Brian Cox) receives his just desserts.  The film’s conclusion ties the segments together nicely, as well as provides a very satisfying finish.

Technically speaking, the film is remarkably well-done, with photography by veteran DP Glen MacPherson.  Produced by Bryan Singer, director of films such as X-MEN, THE USUAL SUSPECTS, and SUPERMAN RETURNS, TRICK ‘r TREAT has a smooth, polished look that belies its $12 million budget, due in large part to Singer’s experience and guidance.  One factor in that look that I especially enjoyed is the paucity of CGI; almost all the effects work was practical.  The Unimonster is an old-fashioned kinda guy, and much prefers the magic of latex and rubber to pixels and megabytes.  CGI, when perfect, can be spectacularly effective.  Films such as STAR TREK and SUCKER PUNCH demonstrate this.  However, perfection is both difficult to achieve, and tremendously expensive.  If the result is anything less than perfection, then our eyes simply aren’t fooled.  It may seem counter-intuitive, but often a $200 latex appliance can be more convincing than several thousand dollars worth of computer time.

The DVD, from Warner Premiere, is okay—skimpy on special features, but acceptable.  The only bonus is the animated short Season’s Greetings, upon which the film is based.  The disc does include subtitles, something I always appreciate, but the lack of a commentary track on the feature (oddly, there is one for the animated short) is an unfortunate oversight on Warner’s part.  More information on the difficulties the producers had in finding distribution for this movie would be greatly appreciated.

For the Unimonster, there are certain movies that just define Halloween, movies that must be watched before the holiday ends or it’s just not Halloween.  Carpenter’s HALLOWEEN, Lugosi’s DRACULA, the original THE THING FROM ANOTHER WORLD—these movies say “Halloween” to me.  I do believe that TRICK ‘r TREAT will be joining that list this October … and for many Octobers to come.

What is our Continuing Fascination with 112 Ocean Avenue?

The facts in the case are well-known and deceptively simple:  On November 13th, 1974, a young man named Ronald “Butch” DeFeo, Jr. murdered his father, mother, two sisters, and two brothers in their sleep.  Whether or not he acted alone, whether or not there were demonic voices urging him to act, whether or not he was sane at the time, all are matters of conjecture and dispute.  What can’t be disputed is that these events led to something that has had a grip on the imagination of horror fans for over thirty years.  While the DeFeo name, or even the address of the home in which the family perished (112 Ocean Avenue) might not shed any light, the name of the small town in which they lived and died will instantly bring it into sharp focus:  Amityville, New York.

The transformation of the 1925 three-story Dutch Colonial house, from family home / crime scene, to one of the most recognizable “characters” in Horror, began in December, 1975, when George and Kathy Lutz, with their children, moved into the DeFeo home.  Within a month they had abandoned it, and two years later had written a book with Jay Anson purporting to recount their experiences in the home.

Though the book was later dismissed as an admitted hoax, it spawned a movie franchise that, to date, has given us more sequels than either Freddy Krueger or Michael Myers, and almost as many as Jason Voorhees.  THE AMITYVILLE HORROR, released in 1979 starring James Brolin and Margot Kidder as the Lutz’s, was enormously successful, ultimately earning over $86 Million at the box-office.

Three years later, AMITYVILLE II: THE POSSESSION took a closer look at the DeFeo murders, though fictionalized to the point of being unrecognizable.  This was followed by a third theatrical release in 1983, and a string of forgettable, Straight-to-Video sequels that gave us everything from a demonic dollhouse to a possessed clock.  Finally, in 2005, the original was remade by Andrew Douglas, from an adaptation of the Anson novel by Scott Kosar.

Why are we still fascinated by this house and the fictional events associated with it, thirty-seven years after the far more shocking and horrifying murders that first brought it to national attention?  Why is the original still considered one of the most important Horror Films of the 1970’s?  And why, after nine separate film iterations of the basic Amityville story has the truly fascinating, truly frightening story of the DeFeo family received such short shrift?  I have no idea.

The 1979 original, directed by Stuart Rosenberg from a script by Sandor Stern, is an interesting look at the events that were later demonstrated to be a hoax, but as a Horror Film, it was weak and ineffective, totally failing to capture the psychological impact of Jay Anson’s book.  And as for the sequels, they deserve scant mention.  While “Two” wasn’t terrible, neither was it a good movie.  And the remainder of the series was execrable.  Possessed clocks, mirrors, and dollhouses were foisted on the movie-going (actually “-renting”…) public, all bearing no relation whatsoever to the original film, and even less to the truth behind Anson’s novel.

The true story of the DeFeo murders is a intriguing, disturbing look inside the All-American family, a family that, at it’s core, was in all probability deeply dysfunctional.  The events of the 13th of November, 1974 weren’t the beginning of the DeFeo family’s troubles; they couldn’t have been.  Rather, it was the end product of… something.  Just what is still a matter of debate, but it’s difficult to believe that any young man, even one addicted to drugs, would viciously slaughter his entire family without some prior history of abuse, without some motivation other than simply being “pissed off …”

Though several books, most recently Ric Osuna’s “The Night the DeFeos Died”, have put forth various theories about the murders, including Anson’s recounting of the “possession” defense used at Butch DeFeo’s trial, none are totally satisfactory, and all have holes that provide fuel to the growing controversy over the deaths.  In my opinion, this would be much more fertile ground for a movie than yet another AMITYVILLE sequel.  What would be next, AMITYVILLE 9:  SATAN’S MICROWAVE??

What happened on that night, thirty-seven years ago?  What could drive Butch DeFeo to murder six people; not strangers, but his intimate family?  How could one individual shoot six people, in four separate bedrooms, with a high-powered rifle without any evidence that they were aware that they were being murdered?  I don’t know.  But I would very much like to.

I’d like to know just what occurred to push the home of an “All-American” family from obscurity into the national spotlight.  I’d like to know what made Butch decide that he had had enough of whatever dysfunction must have permeated that house.  I want to know why Ronald, Louise, Dawn, Allison, John, and Marc had to die.  Keep the haunted clocks and mirrors; the truth is far more frightening.

DVD Review: GHOST STORY

Title:  GHOST STORY

Year of Release—Film:  1981

Year of Release—DVD:  2004

DVD Label:  Universal Studios Home Entertainment

One of the best pure Ghost movies I’ve ever seen, perhaps the best ever next to THE SIXTH SENSE, John Irvin’s 1981 film GHOST STORY is a film that I keep returning to, time after time.  Working from a dark, suspenseful, truly frightening script (based on the novel by Peter Straub), and blessed with a cast composed of a Hollywood Who’s Who list, Irvin managed to construct a tale of supernatural revenge that holds up as well on it’s tenth viewing as on it’s first.

Starring four of the greatest performers of their generation—Fred Astaire, Douglas Fairbanks Jr., Melvyn Douglas, and John Houseman—this is a story of four elderly men, and the secret that has tied them together for more than fifty years.  Referring to themselves as the “Chowder Society,” they meet regularly to tell each other ghost stories, each trying to top the others.  However, the sudden death of the son of one of the quartet begins an increasingly horrific descent into their own ghost story … one that they may not survive.

As I stated, this cast is composed of some of the greatest actors of their generation, and even if they were past their prime, they still had more talent at their command than half the films released last year—combined.  While Fred Astaire is remembered mainly for his musicals with dance partner Ginger Rogers, he was possessed of some serious acting chops as well.  His body of work included both dramatic and comedic roles, and this film gave him the opportunity to flex those dramatic muscles.  John Houseman’s performance is equally rich and layered, as Sears James, the de facto head of the Chowder Society.  His natural arrogance makes an excellent counterpoint to Astaire’s good-natured down-home character.  Fairbanks and Douglas are good in supporting roles, Fairbanks as the father of two sons, both portrayed by Craig Wassoon, both of whom fall under the spell of the beautiful Alma Mobley, played perfectly by Alice Krige.

John Irvin’s direction is competent and steady; not brilliant, but he patiently lets the suspense build throughout the film, never revealing too much.  The only letdown in the film is the climax, which in my opinion was a poor concept, poorly executed.  But any dissatisfaction I might have with the last three minutes of the film does nothing to change the film’s status as one of my favorite movies, nor should it keep you from enjoying it.

The disc is a fine example of the quality that Universal usually invests in it’s DVD releases.  The audio and video quality is superb, especially when compared to my antique VHS copy of the film.  Subtitles are, as always, a much-appreciated bonus for the Unimonster, and this disc is no exception.  Overall, it’s a wonderful presentation.

The only weakness of this DVD is the total lack of special features.  While that would be acceptable on an ordinary film’s DVD release, it simply is not on a film of this quality, with this much talent connected to it.  Not even a commentary track, when there are so many anecdotes that must exist regarding the four lead actors.  200+ years of acting experience; are you telling me no one’s still around who was impressed enough to have tales to tell?

While THE SIXTH SENSE is undoubtedly the best ghost film ever, at least on the first viewing, the fact that so much of it’s impact is predicated on the extraordinary twist ending does affect the subsequent viewing of the movie.  As someone who will watch a favored film repeatedly, I find that my opinion of it has altered somewhat.  GHOST STORY has no such inherent weakness; it’s as powerful on it’s fifth viewing as on it’s first.

This DVD is a bargain offering from Universal Studios Home Entertainment, with a list price of $14.98.  Still you can find it cheaper, particularly from DeepDiscount.com.  At any rate, you owe it to yourself to see this film, and you may find that it’s your favorite ghost film, too.

DVD Review: GHOST STORY

Title:  GHOST STORY

Year of Release—Film:  1981

Year of Release—DVD:  2004

DVD Label:  Universal Studios Home Entertainment

One of the best pure Ghost movies I’ve ever seen, perhaps the best ever next to THE SIXTH SENSE, John Irvin’s 1981 film GHOST STORY is a film that I keep returning to, time after time.  Working from a dark, suspenseful, truly frightening script (based on the novel by Peter Straub), and blessed with a cast composed of a Hollywood Who’s Who list, Irvin managed to construct a tale of supernatural revenge that holds up as well on it’s tenth viewing as on it’s first.

Starring four of the greatest performers of their generation—Fred Astaire, Douglas Fairbanks Jr., Melvyn Douglas, and John Houseman—this is a story of four elderly men, and the secret that has tied them together for more than fifty years.  Referring to themselves as the “Chowder Society,” they meet regularly to tell each other ghost stories, each trying to top the others.  The sudden death of the son of one of the quartet begins an increasingly horrific descent into their own ghost story… one that they may not survive.

As I stated, this cast is composed of some of the greatest actors of their generation, and even if they were past their prime, they still had more talent at their command than half the films released last year—combined.  While Fred Astaire is remembered mainly for his musicals with dance partner Ginger Rogers, he was possessed of some serious acting chops as well.  His body of work included both dramatic and comedic roles, and this film gave him the opportunity to flex those dramatic muscles.  John Houseman’s performance is equally rich and layered, as Sears James, the de facto head of the Chowder Society.  His natural arrogance makes an excellent counterpoint to Astaire’s good-natured down-home character.  Fairbanks and Douglas are good in supporting roles, Fairbanks as the father of two sons, both portrayed by Craig Wassoon, both of whom fall under the spell of the beautiful Alma Mobley, played perfectly by Alice Krige.

John Irvin’s direction is competent and steady; not brilliant, but he patiently lets the suspense build throughout the film, never revealing too much.  The only letdown in the film is the climax, which in my opinion was a poor concept, poorly executed.  But any dissatisfaction I might have with the last three minutes of the film does nothing to change the film’s status as one of my favorite movies, nor should it keep you from enjoying it.

The disc is a fine example of the quality that Universal usually invests in it’s DVD releases.  The audio and video quality is superb, especially when compared to my antique VHS copy of the film.  Subtitles are, as always, a much-appreciated bonus for the Unimonster, and this disc is no exception.  Overall, it’s a wonderful presentation.

The only weakness of this DVD is the total lack of special features.  While that would be acceptable on an ordinary film’s DVD release, it simply is not on a film of this quality, with this much talent connected to it.  Not even a commentary track, when there are so many anecdotes that must exist regarding the four lead actors.  200+ years of acting experience; are you telling me no one’s still around who was impressed enough to have tales to tell?

While THE SIXTH SENSE is undoubtedly the best ghost film ever, at least on the first viewing, the fact that so much of it’s impact is predicated on the extraordinary twist ending does affect the subsequent viewing of the movie.  As someone who will watch a favored film repeatedly, I find that my opinion of it has altered somewhat.  GHOST STORY has no such inherent weakness; it’s as powerful on it’s fifth viewing as on it’s first.

This DVD is a bargain offering from Universal Studios Home Entertainment, with a list price of $14.98.  Still you can find it cheaper, particularly from DeepDiscount.com.  At any rate, you owe it to yourself to see this film, and you may find that it’s your favorite ghost film, too.

DVD Review: GHOST STORY

Title: GHOST STORY

Year of Release—Film: 1981

Year of Release—DVD: 2004

DVD Label: Universal Studios Home Entertainment


One of the best pure Ghost movies I’ve ever seen, perhaps the best ever next to THE SIXTH SENSE, John Irvin’s 1981 film GHOST STORY is a film that I keep returning to, time after time. Working from a dark, suspenseful, truly frightening script (based on the novel by Peter Straub), and blessed with a cast composed of a Hollywood Who’s Who list, Irvin managed to construct a tale of supernatural revenge that holds up as well on it’s tenth viewing as on it’s first.
Starring four of the greatest performers of their generation—Fred Astaire, Douglas Fairbanks Jr., Melvyn Douglas, and John Houseman—this is a story of four elderly men, and the secret that has tied them together for more than fifty years.

Referring to themselves as the “Chowder Society,” they meet regularly to tell each other ghost stories, each trying to top the others. The sudden death of the son of one of the quartet begins an increasingly horrific descent into their own ghost story… one that they may not survive.
As I stated, this cast is composed of some of the greatest actors of their generation, and even if they were past their prime, they still had more talent at their command than half the films released last year—combined. While Fred Astaire is remembered mainly for his musicals with dance partner Ginger Rogers, he was possessed of some serious acting chops as well. His body of work included both dramatic and comedic roles, and this film gave him the opportunity to flex those dramatic muscles. John Houseman’s performance is equally rich and layered, as Sears James, the de facto head of the Chowder Society. His natural arrogance makes an excellent counterpoint to Astaire’s good-natured down-home character. Fairbanks and Douglas are good in supporting roles, Fairbanks as the father of two sons, both portrayed by Craig Wassoon, both of whom fall under the spell of the beautiful Alma Mobley, played perfectly by Alice Krige.
John Irvin’s direction is competent and steady; not brilliant, but he patiently lets the suspense build throughout the film, never revealing too much. The only letdown in the film is the climax, which in my opinion was a poor concept, poorly executed.

But any dissatisfaction I might have with the last three minutes of the film does nothing to change the film’s status as one of my favorite movies, nor should it keep you from enjoying it.
The disc is a fine example of the quality that Universal usually invests in it’s DVD releases. The audio and video quality is superb, especially when compared to my antique VHS copy of the film. Subtitles are, as always, a much-appreciated bonus for the Unimonster, and this disc is no exception. Overall, it’s a wonderful presentation.

The only weakness of this DVD is the total lack of special features. While that would be acceptable on an ordinary film’s DVD release, it simply is not on a film of this quality, with this much talent connected to it. Not even a commentary track, when there are so many anecdotes that must exist regarding the four lead actors. 200+ years of acting experience; are you telling me no one’s still around who was impressed enough to have tales to tell?

While THE SIXTH SENSE is undoubtedly the best ghost film ever, at least on the first viewing, the fact that so much of it’s impact is predicated on the extraordinary twist ending does affect the subsequent viewing of the movie. As someone who will watch a favored film repeatedly, I find that my opinion of it has altered somewhat. GHOST STORY has no such inherent weakness; it’s as powerful on it’s fifth viewing as on it’s first.

This DVD is a bargain offering from Universal Studios Home Entertainment, with a list price of $14.98. Still you can find it cheaper, particularly from DeepDiscount.com. At any rate, you owe it to yourself to see this film, and you may find that it’s your favorite ghost film, too.

DVD Review: JU-ON ~aka~ THE GRUDGE

Title: JU-ON ~aka~ THE GRUDGE

Year of Release—Film: 2002

Year of Release—DVD: 2002

DVD Label: Lion’s Gate Home Entertainment




One of the few sources for original horror for the past several years has been Asia, and the prolific studios of Hong Kong, Taiwan, and most notably, Japan. Fans whose first thought upon hearing the word “Japan” in relation to a genre film is men in foam-rubber dinosaur suits stomping on scale models of Tokyo need to rethink those impressions. Films like RINGU, KAÏRO, TOMIE, ÔDISHON, and others have caught on with American audiences, inspiring in a few cases an on-going string of (what else) American-made remakes. One of these remakes is based on Takashi Shimizu’s excellent series of films entitled JU-ON (THE GRUDGE). I’ll be reviewing THE GRUDGE, the American-made remake produced by Sam Raimi, separately; here, I’ll limit the discussion (except for the purpose of drawing comparisons) to Shimizu’s original version.

As both films were directed by Shimizu, they are unavoidably similar in both style and substance, though there are a few significant differences. While both films are suitably dark, in keeping with their subject matter, the original film has a much more effective use of atmosphere and style than the remake. Shimizu’s direction is subtle and meandering; he doesn’t hit you over the head with the plot, but lets it develop slowly over the course of the film. Don’t expect to have things laid out in stair-step fashion, though. In keeping with the style of most Japanese Horror films, explanations are kept to a bare minimum, leaving the viewer to draw their own conclusions.

The cast is, for the most part, young and attractive, though due to my inability to speak Japanese it’s hard for me to pass judgment on their acting ability. Visually, they are able to convey adequately the emotional impact of the various situations revolving around the hostile spirits, which suffices for my enjoyment. Several of the actors, especially Misa Uehara as Izumi Toyama, are particularly good at conveying a sense of terror as events unfold around them.
The photography, by Tokusho Kikumura, is stunning in its realism and simplicity. Rather than being dependent on a host of Special Effects to create the mood and atmosphere, Kikumura uses a skillfully understated approach to portray visually the ghosts, as well as using slight visual cues to indicate their presence, a’la THE SIXTH SENSE. The Special Effects in the film are used sparingly, and to great effect; not to advance the story, but to enhance it.

The Lion’s Gate DVD release of the film is very nicely done, with more extras than expected. There’s a rather interesting behind-the-scenes segment, deleted scenes, and various trailers, as well as the usual Director Commentary. One bonus that I really like is that it includes both dubbed and subtitled versions. Many people dislike subtitles, but I actually prefer them. I like hearing a film in it’s original language, and subtitles don’t pose any particular challenge to my enjoyment of the movie.

To sum it up, this is an all-around excellent film, and a great introduction to Japanese Horror, if that bug hasn’t already bitten you. It, like most examples of the recent J-Horror invasion, is visually different and appealing; dark and atmospheric; and tremendously innovative. I call it a Must-Have.

DVD Review: LET'S SCARE JESSICA TO DEATH

Title: LET’S SCARE JESSICA TO DEATH

Year of Release—Film: 1971

Year of Release—DVD: 2006

DVD Label: Paramount Home Entertainment




THE MOVIE

Don’t let the title mislead you… this isn’t another “let’s-drive-my-wife-insane-and-get-her-riches” movie. LET’S SCARE JESSICA TO DEATH is actually a literate, well-plotted Horror Film, one that, while slow-moving to the point of slothfulness, has a tremendously good pay-off… if you can stay with it.

Directed by John Hancock, and starring Zorah Lampert as the titular Jessica, the plot involves a woman (Lampert) who’s just been released from a mental institution, relocating to a rural New England village with her husband Duncan and his friend.

The whole relationship seems odd, and grows odder still when the group discovers a young woman, Emily, living in the home they’ve purchased. Both men are soon falling under Emily’s spell, as Jessica begins spiraling back down towards insanity. Though it first appears as though there’s an effort to drive Jessica insane, the real answer isn’t quite so simple.

Though the film is well-designed, the execution is sloppily done, with a confused, and at times confusing, script; poor photography, little better than the average Made-for-TV Movie of the period; and a no-name cast that is not quite able to wring the full potential from the weak script. On the positive side, though, is the hauntingly beautiful Essex, Connecticut location and the suspenseful plot.

Few settings are more appropriate for a Horror Film or novel than New England, and it is perfectly suited here. However, the photography, by Robert M. Baldwin (as Bob Baldwin), simply doesn’t do justice to it. Likewise, the premise of the film is let down by a meandering script that never quite gets its feet firmly planted.



THE DISC

The DVD is an average effort for Paramount, a company that seldom goes the extra mile on anything but it’s new releases. The print used is clean and complete, and presented in the original widescreen, and the movie is subtitled. The disc is what you would expect for a 35-year old film that was hardly a financial success when first released, and overall, is a decent product.



THE SPECIAL FEATURES

There are no special features on this disc, and it’s difficult to see how much a “Making-of…” or deleted scenes section would’ve added. This isn’t really a movie that cries out for such amenities, even if they had been available.



IN CONCLUSION

While this was a surprisingly enjoyable film at the end, it does require some patience to get there. The cast does the best they can with the script they were given, but you can’t help thinking that a more talented ensemble might have been able to overcome its inherent difficulties. But that shouldn’t stop you from checking this one out. While it’s not one that I would recommend for purchase, (unless you find it in a bargain bin) it certainly is worth a rental. Be patient with it, and you will be rewarded.