After my marathon of Roger Corman's eight Edgar Allan Poe
horror films last week I started to think about the unfamiliar classic b-movie
horror genre in general and whether it might be good for me to, well, "go
swimming" as it were in a pool of celluloid blood. Or something.
Even though I've watched my fair share of horror films I
think it's safe to say that I'm a horror newbie with a lot more to learn, but
with the horror genre being such a popular one at the moment there's clearly buckets
and buckets of gory screen outings to trawl through of varying quality. Too
many, you might say. Or say with absolute certainty.
So where do I start? How do I decide which to try and which
to steer clear of? And what's the best overall purchase to make in order to compile
the best collection possible?
What instantly came to mind was Hammer - a name that to me
means drab, dated 70s British rural chillers, but I think that's because I've just
not seen the right ones over the years, and after a little looking around I
found there might be more in it than merely dodgy hairstyles, dour
cinematography and cheap locations.
So I managed to dig up around ten or so websites/blogs that
list their favourite/what they think are the best Hammer horror films. I've
made no note of the sites and, to be honest, I've probably made the odd mistake
here and there (ain't I a pro?!), but basically here are the fifteen films that
cropped up the most (in descending order of the number of mentions):
x10
Dracula AKA Horror of Dracula
(1958)
The Curse of Frankenstein
x8
Curse of the Werewolf
x7
The Devil Rides Out
x6
Dr. Jekyll & Sister Hyde
The Hound of the Baskervilles
The Brides of Dracula
x5
The Plague of the Zombies
The Mummy
x4
Twins of Evil
Quatermass and the Pit
The Revenge of Frankenstein
Dracula, Prince of Darkness
The Vampire Lovers
Vampire Circus
So there you are. I think it's now time to go shopping and
start building up my collection. No marathon this time, methinks, as I might
end up with too many for that sort of thing, but a season certainly!
Are there any personal recommendations that you can make?
Let me know!
Tuesday, 24 February 2015
Friday, 20 February 2015
Thoughts on a Movie Marathon: Roger Corman's Poe Cycle
Well I had about 5 hours sleep after finishing the marathon an hour earlier than expected, but still felt a bit rough after that. I ended up burning out a couple of hours later and fell asleep on the sofa watching sitcoms, but that usually happens even on a good day so, well, there you go.
So was the marathon worth it? Yes, they were all interesting films in their own right and each very different, which was a surprise in itself. I started getting really tired and fed up halfway through Tales of Terror but had a second wind during The Raven after an internal struggle over whether to give up for the night. I must admit that during that stage I seriously asked myself: "Why are you staying up all night doing this? Why didn't you just watch them all during the day? You have plenty of free time, you fool!", which was a fair point, but I reminded myself of the four reasons I laid out in my Prelude To A Movie Marathon post which still stand as decent arguments. Plus, well, I guess it added a bit more pressure to the event - there didn't seem to be much danger in just sitting on my arse during the day like I always do.
So here are a few thoughts on each film as best that I can remember them:
THE FALL OF THE HOUSE OF USHER
This was a beautiful, still and poignant beginning. It felt like an emo's wet dream as the Usher family shuffle about in their big old house just wanting to be alone. The colours were vibrant and lush, but Corman's direction was basic point-and-shoot stuff which didn't fill be with confidence - but I was sort of expecting that. The story struck a chord with me as, like the Ushers, I've been purposefully isolating myself (mainly from my own family) since 2010 after a long bout of depression which inadvertently left a few people close to me a little upset. I see it as giving them all a break from me but, since I guess I'll be battling with depression for the rest of my life, maybe just communicating with them via the internet is for the best. But enough about me! I'd recommend this to anyone as a beautiful, sombre, period melodrama with a touch of horror at the end.
THE PIT AND THE PENDULUM
It surprised me that this took a leap back in time to be set in a completely different era. It's basically the dodgy ruff show, but that's okay. There are some great matte paintings by Albert Whitlock which made me yearn for a simpler time; in fact I've actually started to wonder whether, as people get desensitised and maybe even sick of CGI, the art of handcrafted special effects and illusion in film will make a return. I must admit that this was the first but perhaps only film where I was imagining the parody as it went along. Not as striking as Usher but very much a worthwhile watch.
THE PREMATURE BURIAL
This was fun and perhaps the cheapest looking of the lot. Not in a bad way, mind you, as I do love studios standing in for locations, but the facts of the case are there for anyone who doesn't. Ray Milland is an okay-ish stand in for Vincent Price but lacks the same magnetism. The story felt more like it should have been the length of a TV episode than a feature as there's not really enough in there to sustain it, but it is by no means substandard. Plus the ever elaborate ways that Milland comes up with to escape his possible early grave are quite amusing and over the top. Dynamite? Really?
TALES OF TERROR
THE RAVEN
Now I really wasn't expecting this to be a comedy, which took me by surprise, but once I got into the groove of it I ended up really enjoying myself. This one was the first that felt like, well, I guess a proper film. They're all proper films, of course, but this had more elaborate lighting and special effects, not to mention some powerhouse acting talent. It actually felt more like an early Mel Brooks film, perhaps more The Producers than Young Frankenstein, where the humour isn't joke orientated so much but more to be found in the sense of fun and in the performances. It's just a nice, ambling story about rivalling magicians. I guess you could say it's the best Discworld adaptation we've had so far, even though it was made over twenty years prior to. If nothing else it's worth watching for seeing Vincent Price, Boris Karloff and Peter Lorre sat around a table with a very young and handsome Jack Nicholson. I'll be watching this one again soon, for sure!
THE HAUNTED PALACE
So here's the "black sheep" of the family, as it were. Not in that it's bad, which it is not by any means, but just in that it's not actually an Edgar Allan Poe story but a H. P. Lovecraft one with a Poe title and poem stuck on to make some money. Poor ol' Lovecraft - his name's worth a few bucks, surely? Price manages to essentially play two parts in this film - the spirit of an evil deceased ancestor trying to possess the body of his genial descendant - very well. I kind of lost my way towards the end and there were some Edward D. Wood Jr quality lines in there, but the torch-wielding villager finale is fun and the eerie atmosphere right up there with all the others. Solid but not greatly engaging.
THE MASQUE OF THE RED DEATH
This is where the evening took a really unexpected turn. Filmed inEngland Britain
THE TOMB OF LIGEIA
And here is where I officially checked out for the evening/morning. Don't get me wrong, I watched it and saw everything happen, but I wasn't really listening and basically found myself getting comfy and ready for bed. Funny that, though, as I was curious to see this one the most from a filmmaking standpoint as it was rushed into production simply to utilise the remaining budget, sets and some of the same actors from Masque since they had finished that one ahead of schedule. It doesn't look rushed, mind you, and feels more akin to Usher in it's slow, thoughtful pace involving characters hiding from the world. Maybe that's why they call this series of films a "cycle" - we're basically back where we started. The filmmakers tried to make Vincent Price look about thirty years younger with wigs and make-up but he weirdly ends up looking like a cross between Peter Sellers and Alan Rickman, which is fine and actually kind of works in a strange, otherworldly way. You don't feel like you're watching Price, but you are, but you're sort of not. I guess the thing to say is he does well pretending not to be himself because him is not who they really wanted to cast but had to because of demands from the studio, which is very sporting of him. I might watch this one again just so I can concentrate a bit more as it actually looked quite interesting. The literal catfight at the end certainly warrants closer inspection
So in conclusion, what have I learned? Well, all the stories were interesting and quite inspiring from a writing perspective; considering all the films were period dramas they didn't feel cheap, in fact I suspect it was mostly the filmmaking that was restricted by budget; Vincent Price has a soft, humorous side, which I didn't realise, and he seems to let his guard down as the series progressed... maybe he and Corman's team ended up feeling like a close family after spending four years in each others' company; and Corman ain't no great visualist: all the best things to look at in these films aren't by his hand, as far as I can tell, but they're no less entertaining for it.
So I'd say none of these films are bad but some are lesser than others. There's real effort put into all of them, which is more than you can say for films costing hundreds of times more nowadays, and they're all very satisfying experiences. If you see one on television don't turn your nose up - give them a go. Which would I recommend buying? Hmmm, probably The Fall of the House of Usher, The Raven and The Masque of the Red Death.
Go forth and experience, you devils!
So was the marathon worth it? Yes, they were all interesting films in their own right and each very different, which was a surprise in itself. I started getting really tired and fed up halfway through Tales of Terror but had a second wind during The Raven after an internal struggle over whether to give up for the night. I must admit that during that stage I seriously asked myself: "Why are you staying up all night doing this? Why didn't you just watch them all during the day? You have plenty of free time, you fool!", which was a fair point, but I reminded myself of the four reasons I laid out in my Prelude To A Movie Marathon post which still stand as decent arguments. Plus, well, I guess it added a bit more pressure to the event - there didn't seem to be much danger in just sitting on my arse during the day like I always do.
So here are a few thoughts on each film as best that I can remember them:
THE FALL OF THE HOUSE OF USHER
This was a beautiful, still and poignant beginning. It felt like an emo's wet dream as the Usher family shuffle about in their big old house just wanting to be alone. The colours were vibrant and lush, but Corman's direction was basic point-and-shoot stuff which didn't fill be with confidence - but I was sort of expecting that. The story struck a chord with me as, like the Ushers, I've been purposefully isolating myself (mainly from my own family) since 2010 after a long bout of depression which inadvertently left a few people close to me a little upset. I see it as giving them all a break from me but, since I guess I'll be battling with depression for the rest of my life, maybe just communicating with them via the internet is for the best. But enough about me! I'd recommend this to anyone as a beautiful, sombre, period melodrama with a touch of horror at the end.
THE PIT AND THE PENDULUM
It surprised me that this took a leap back in time to be set in a completely different era. It's basically the dodgy ruff show, but that's okay. There are some great matte paintings by Albert Whitlock which made me yearn for a simpler time; in fact I've actually started to wonder whether, as people get desensitised and maybe even sick of CGI, the art of handcrafted special effects and illusion in film will make a return. I must admit that this was the first but perhaps only film where I was imagining the parody as it went along. Not as striking as Usher but very much a worthwhile watch.
THE PREMATURE BURIAL
This was fun and perhaps the cheapest looking of the lot. Not in a bad way, mind you, as I do love studios standing in for locations, but the facts of the case are there for anyone who doesn't. Ray Milland is an okay-ish stand in for Vincent Price but lacks the same magnetism. The story felt more like it should have been the length of a TV episode than a feature as there's not really enough in there to sustain it, but it is by no means substandard. Plus the ever elaborate ways that Milland comes up with to escape his possible early grave are quite amusing and over the top. Dynamite? Really?
TALES OF TERROR
And here's where the series trips up a little bit. I was wondering whether this might have been the inspiration for The Simpsons' Treehouse of Horror vignettes, but who knows. The first and third stories are familiar territory and just about forgettable, but the secondis more interesting in that it's sort of a failure. It's basically The Cask of Amontillado/The Telltale Heart done for laughs, with an ill looking but still great Peter Lorre hamming it up as a jealous alcoholic. There are some dated still-frame zooms which feel very 60s that draw you out of the experience, but apart from that and the fairly damp storytelling it's still an entertaining watch. In fact the last story - The Facts in the Case of M. Valdemar - has a touch of The Exorcist to it and is a little disturbing if you think about it too hard.
THE RAVEN
Now I really wasn't expecting this to be a comedy, which took me by surprise, but once I got into the groove of it I ended up really enjoying myself. This one was the first that felt like, well, I guess a proper film. They're all proper films, of course, but this had more elaborate lighting and special effects, not to mention some powerhouse acting talent. It actually felt more like an early Mel Brooks film, perhaps more The Producers than Young Frankenstein, where the humour isn't joke orientated so much but more to be found in the sense of fun and in the performances. It's just a nice, ambling story about rivalling magicians. I guess you could say it's the best Discworld adaptation we've had so far, even though it was made over twenty years prior to. If nothing else it's worth watching for seeing Vincent Price, Boris Karloff and Peter Lorre sat around a table with a very young and handsome Jack Nicholson. I'll be watching this one again soon, for sure!
THE HAUNTED PALACE
So here's the "black sheep" of the family, as it were. Not in that it's bad, which it is not by any means, but just in that it's not actually an Edgar Allan Poe story but a H. P. Lovecraft one with a Poe title and poem stuck on to make some money. Poor ol' Lovecraft - his name's worth a few bucks, surely? Price manages to essentially play two parts in this film - the spirit of an evil deceased ancestor trying to possess the body of his genial descendant - very well. I kind of lost my way towards the end and there were some Edward D. Wood Jr quality lines in there, but the torch-wielding villager finale is fun and the eerie atmosphere right up there with all the others. Solid but not greatly engaging.
THE MASQUE OF THE RED DEATH
This is where the evening took a really unexpected turn. Filmed in
THE TOMB OF LIGEIA
And here is where I officially checked out for the evening/morning. Don't get me wrong, I watched it and saw everything happen, but I wasn't really listening and basically found myself getting comfy and ready for bed. Funny that, though, as I was curious to see this one the most from a filmmaking standpoint as it was rushed into production simply to utilise the remaining budget, sets and some of the same actors from Masque since they had finished that one ahead of schedule. It doesn't look rushed, mind you, and feels more akin to Usher in it's slow, thoughtful pace involving characters hiding from the world. Maybe that's why they call this series of films a "cycle" - we're basically back where we started. The filmmakers tried to make Vincent Price look about thirty years younger with wigs and make-up but he weirdly ends up looking like a cross between Peter Sellers and Alan Rickman, which is fine and actually kind of works in a strange, otherworldly way. You don't feel like you're watching Price, but you are, but you're sort of not. I guess the thing to say is he does well pretending not to be himself because him is not who they really wanted to cast but had to because of demands from the studio, which is very sporting of him. I might watch this one again just so I can concentrate a bit more as it actually looked quite interesting. The literal catfight at the end certainly warrants closer inspection
So in conclusion, what have I learned? Well, all the stories were interesting and quite inspiring from a writing perspective; considering all the films were period dramas they didn't feel cheap, in fact I suspect it was mostly the filmmaking that was restricted by budget; Vincent Price has a soft, humorous side, which I didn't realise, and he seems to let his guard down as the series progressed... maybe he and Corman's team ended up feeling like a close family after spending four years in each others' company; and Corman ain't no great visualist: all the best things to look at in these films aren't by his hand, as far as I can tell, but they're no less entertaining for it.
So I'd say none of these films are bad but some are lesser than others. There's real effort put into all of them, which is more than you can say for films costing hundreds of times more nowadays, and they're all very satisfying experiences. If you see one on television don't turn your nose up - give them a go. Which would I recommend buying? Hmmm, probably The Fall of the House of Usher, The Raven and The Masque of the Red Death.
Go forth and experience, you devils!
Thursday, 19 February 2015
Prelude to a Movie Marathon: Roger Corman's Poe Cycle
So all I know about Roger Corman is that he's a legendary
b-movie film director/producer and had a cool cameo in Silence of the Lambs, which
is kind of why I'm doing this marathon: I feel a bit left out. I hear his name mentioned
regularly by film geeks and his peers about the influence he's had - not just through
his own work but in giving a leg up to some of the great filmmakers of our time
- and so now I want in on the gag.
So why have I gone for his series of Edgar Allan Poe adaptations? Well, because it surprised me that an alleged prolific creator of junk has actually accrued some artistic acclaim for more than just his ability to make stuff fast and cheap. The only film I've seen of his that he's actually directed is The Little Shop of Horrors, which was fun and cute, but I obviously need to experience more.
I'm never sure what to make of people known mainly for being producers and when I hear someone say "cool, this film is produced by..." I'm always a bit sceptical. Oh, so they sat behind a desk and threw money at it? I'm sure that left a crucial creative stamp on it! Basically I'm a follower of directors and cinematographers, so understanding Corman through his body of producer credits wouldn't really be my thing (unless someone can convince me otherwise).
Something else that makes this marathon more attractive to me is that I'm not actually a big fan of horror movies. I prefer ones that are known for their contribution to the art of cinema like The Shining, Don't Look Now and The Thing, so there's usually got to be more in it for me than just the scares and blood. So Corman's Poe Cycle will be (I'm assuming) a lesson in classic gothic horror b-movie cinema... without the frills and high art.
Or will it? Maybe I'll be even more surprised and gain a new found respect for something or someone. That's what I'm hoping to find out from this marathon.
Or maybe I'll just be sick of Vincent Price by the end.
Plus I get the feeling that, since I'm not really into the genre, if I don't watch these films all in one go as a marathon I'll most likely get three films in and not bother to watch the rest. I genuinely believe that I need to commit to a non-stop viewing experience.
So, I'm guesstimating that this is going to take roughly 12 hours: 8 films at about 90 minutes a film (give or take). I'll probably do the marathon at night for a) the right atmosphere b) so any bright daylight won't obscure my vision while watching a series of darkly lit horror films (I often watch films and play games at night for this reason) c) so I don't get any distractions like phone calls etc. and d) if I do a Twitter commentary people won't get so annoyed if it's in the dead of night.
I'll be busy at the weekend so I'll either be doing this tonight (Thursday 19 February) or next week some time. I doubt anyone would want to join in but if you do let me know.
The films will be:
The Fall of the House of Usher (1960)
The Pit and the Pendulum (1961)
The Premature Burial (1962)
Tales of Terror (1962)
The Raven (1963)
The Haunted Palace (1963)
The Masque of the Red Death (1964)
The Tomb of Ligeia (1964)
Right, let's do this!
So why have I gone for his series of Edgar Allan Poe adaptations? Well, because it surprised me that an alleged prolific creator of junk has actually accrued some artistic acclaim for more than just his ability to make stuff fast and cheap. The only film I've seen of his that he's actually directed is The Little Shop of Horrors, which was fun and cute, but I obviously need to experience more.
I'm never sure what to make of people known mainly for being producers and when I hear someone say "cool, this film is produced by..." I'm always a bit sceptical. Oh, so they sat behind a desk and threw money at it? I'm sure that left a crucial creative stamp on it! Basically I'm a follower of directors and cinematographers, so understanding Corman through his body of producer credits wouldn't really be my thing (unless someone can convince me otherwise).
Something else that makes this marathon more attractive to me is that I'm not actually a big fan of horror movies. I prefer ones that are known for their contribution to the art of cinema like The Shining, Don't Look Now and The Thing, so there's usually got to be more in it for me than just the scares and blood. So Corman's Poe Cycle will be (I'm assuming) a lesson in classic gothic horror b-movie cinema... without the frills and high art.
Or will it? Maybe I'll be even more surprised and gain a new found respect for something or someone. That's what I'm hoping to find out from this marathon.
Or maybe I'll just be sick of Vincent Price by the end.
Plus I get the feeling that, since I'm not really into the genre, if I don't watch these films all in one go as a marathon I'll most likely get three films in and not bother to watch the rest. I genuinely believe that I need to commit to a non-stop viewing experience.
So, I'm guesstimating that this is going to take roughly 12 hours: 8 films at about 90 minutes a film (give or take). I'll probably do the marathon at night for a) the right atmosphere b) so any bright daylight won't obscure my vision while watching a series of darkly lit horror films (I often watch films and play games at night for this reason) c) so I don't get any distractions like phone calls etc. and d) if I do a Twitter commentary people won't get so annoyed if it's in the dead of night.
I'll be busy at the weekend so I'll either be doing this tonight (Thursday 19 February) or next week some time. I doubt anyone would want to join in but if you do let me know.
The films will be:
The Fall of the House of Usher (1960)
The Pit and the Pendulum (1961)
The Premature Burial (1962)
Tales of Terror (1962)
The Raven (1963)
The Haunted Palace (1963)
The Masque of the Red Death (1964)
The Tomb of Ligeia (1964)
Right, let's do this!
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