by Steve Habrat
There was a time when audiences feared the vampire. He wasn’t viewed as a sex symbol, a glittery pretty boy who pined after a pasty high school girl, drove a sports car like Vin Diesel, and (I shudder to even write this) went out in sunlight. No, there was a time when the vampire was a monster, a creature that leapt from the shadows of our nightmares and hovered over us while we slept in the dead of night. He was a representation of plague, disease, and unholy death, a dusty, bat-like spawn of Satan that rested his pale skin in a coffin lined with the soil from the Black Plague. This was even before Bela Lugosi’s cock-eyed Count, a gentleman who politely told his prey, “I vant to suck yer blahood,” while reaching a contorted hand out from the lid of his coffin. Many regard Universal’s 1931 gothic horror film Dracula as the original and definitive vampire film. Anytime someone mentions the name Dracula, the face that comes to mind is Lugosi’s curled smile, widow’s peak, and bulging eyes. While Lugosi may be the poster boy for “scary” and “serious” vampires, perhaps the most terrifying vampire of all is Max Shreck’s Count Orlok, the pointy-eared demon who stalked the mortals of F.W. Murnau’s 1922 German Expressionist masterpiece Nosferatu. Alive with a creeping supernatural atmosphere that slowly closes around the viewer, menacing shadow play, and a performance that reigns supreme over all other movie monsters, Murnau’s Nosferatu stands as the greatest interpretation of Bram Stoker’s Dracula.
Real estate agent Thomas Hutter (played by Gustav von Wangenheim) is sent by his boss, Knock (played by Alexander Grannach), to Transylvania to meet with Count Orlok (played by Max Shreck), who has recently purchased a home in the town of Wisborg. Saddened to leave his new wife, Ellen (played by Greta Schroeder), Hutter sets out on a lengthy trip into the country where he meets skittish locals, who all warn of “Nosferatu,” the undead that prowl the woods around Orlok’s castle. Ignoring their warnings, Hutter continues his trip to the castle, but as they get closer, Hutter’s carriage driver gets spooked and refuses to go any further. It doesn’t take long for another carriage to meet Hutter and he is ushered to the front door of the seemingly abandoned castle. Shortly after his arrival, Hutter meets with Count Orlok, a seemingly friendly enough individual who invites Hutter to sit down to a hot meal. As the hours pass within the darkened walls of the castle, Hutter begins to suspect that there may be supernatural forces at play. Meanwhile, Orlok has plans of his own for both Hutter and the new town that is expecting him.
Renamed due to not being able to obtain the rights to Stoker’s novel, Nosferatu is perhaps the most down-to-earth vampire film ever made. There are no undead bloodsuckers morphing into bats or wolves, just a misshapen ghoul with pointy ears and elongated fingers that wanders the empty halls of a dilapidated castle. Vampirism itself is presented as more of an apocalyptic plague rather than a satanic spell, as “plague” rats scatter in the diseased wake of Count Orlok. Every now and then, Murnau suggests that there are unseen supernatural forces at play, especially when Hutter nears Orlok’s secluded dwelling. At first, Murnau just shows animals scurrying about the brush and we get a few shots of what is supposedly a werewolf prowling around looking for prey. Once Hutter is picked up by Orlok’s phantom carriage, a handful of images are presented in the negative, almost like Murnau is ripping the shroud of normalcy off the film itself and showing the supernatural underbelly of the ordinary. He does this again later in film, when he shows us a close up of a spider stalking a tangled insect in its web, a symbolic reference to the spidery Orlok and his helpless prey unable to pull themselves out of his hypnotic web. As far as Orlok goes, the most fantastic aspect about him outside of his striking appearance is how he suddenly appears in front of people, manifesting almost of out thin air.
Then we have Shreck’s hypnotic and measured performance as the dreaded Count Orlok, a monstrous role that could be one of the most iconic in the history of horror. Shreck fills every single movement with malevolence, each rigid twitch of his finger or tilt of his head suggests a very long and hellish life as one of the undead. His fingers curl around like the legs of a spider, at one point jutting out from his waist as he skulks into Hutter’s room for a bloody treat. His ears resemble the ears of a bat and his eyes bulge out of his head, appearing to lack a pupil when viewed through the grainy black and white camera work. Then there are his fangs, which resemble the teeth of a rat as they jut out and hang over his lips. Muranu even compares his physical appearance to that of a Venus flytrap, which he does in a left-field lecture about the plant. There is nothing particularly gentlemanly about him as he hangs in a window and stares out of Ellen, whom he desperately wishes to have his way with. The two share a mesmerizing moment and they are not even in the same shot. Orlok closes in on a sleeping Hutter while Ellen, who is miles away, sees Orlok closing in on her dearly beloved in her nightmare.
While Shreck is actually more of a supporting player rather than top billing, he overshadows every other performer in Nosferatu. Gustav von Wangenheim overacts a bit as Hutter, but you suppose that he has to because he doesn’t have sound to fall back on. He’s the hero of the picture, one that falls victim early on in Orlok’s mansion of madness, but he tries his hardest to prevent the undead evil from spreading his plague. Greta Schroeder’s Ellen possesses a dark side as she suffers from horrific nightmares that cause her to wander the railing of her balcony. Alexander Grannach gets nuts as Knock, Hutter’s employer who snickers with glee over the arrival of his “master.” He has black circles around his eyes and he has a ring of frizzy hair that suggests that he has spent a night or two in the local loony bin. John Gottowt is also present as Professor Bulwer, the man who is basically responsible for pointing out the similarities between Count Orlok and the Venus flytrap.
While the lack of sound may turn many viewers away, those who stick with Nosferatu are in for a terrifying treat. There are a number of sequences that are iconic, especially the sequence aboard a ship that finds Count Orlok slowly picking off the sailors one by one. The sequence culminates in an image that is one of the most blood-curdling moments in horror history. Orlok’s stiff body bursts from a cracked coffin and reveals itself in all its bony glory, only to then make his way to the top deck and stalk the captain. Another sequence that rewards is the final moments of the film, with Orlok locked onto the neck of one of the main characters as the sun slowly shatters the night sky. If the repulsive Orlok doesn’t make you quiver, the seemingly abandoned gothic landscape will certainly make you tense. Atmosphere and architecture become major players in the film, especially the jagged, fang-like homes that comprise the Wiborg skyline and peer into Ellen’s bedroom like jaws waiting to bite into her flesh. Overall, as one of the original monster movies, Nosferatu is a surreal and haunting gothic horror film. The images that Murnau frames are guaranteed to stick with you the rest of your life and Shreck’s performance alone will give you a renewed fear of the dark. Nosferatu will forever remain that greatest and scariest vampire movie ever made.
Nosferatu is available on DVD.
by Steve Habrat
Shortly after unleashing their bloody interpretation of Mary Shelley’s Frankenstein, Hammer Studios decided to tackle Frankenstein’s partner in crime—Dracula. While The Curse of Frankenstein is considered the film that introduced Hammer Studios to the world, Horror of Dracula is considered one of their finest films in their vault. Once again starring Peter Cushing and Christopher Lee, Horror of Dracula is a sexed up vision of the vampire, complete with plenty of cleavage to satisfy the male viewers. While adding a heavy layer of sexuality and allowing plenty of blood to flow in striking Technicolor, director Terence Fisher has been credited for laying the groundwork for the modern vampire film. It features a suave Lee as Dracula preying upon voluptuous women who all shriek in orgasmic terror as the legendary bloodsucker drains them of blood. There is plenty of seduction in Horror of Dracula, something that was only vaguely hinted upon in the Tod Browning’s Universal classic Dracula. Much like The Curse of Frankenstein, Horror of Dracula is very low budget, taking place primarily on two or three sets, which may have been left over from their previous offering, but there is plenty of misty atmosphere that would make Universal jealous. And then there is Lee as Dracula, who some argue gives the definitive performance as the iconic vampire.
Horror of Dracula begins with Jonathan Harker (Played by John Van Eyssen) arriving at Count Dracula’s (Played by Christopher Lee) castle, posing as a librarian. As he is taken into the gothic walls, a beautiful woman who is begging for help approaches Jonathan but is scared off by Dracula as he welcomes his guest. Dracula takes Jonathan to his room where it is revealed that Jonathan isn’t a librarian at all, but there to put an end to Dracula’s reign of terror. The next day, Jonathan is attacked by the same woman and bitten on the neck. Just as the woman is about to kill Jonathan, Dracula interrupts the attack and fights the girl off. Jonathan passes out from the attack and awakens the next day with strange marks on his neck. He slips down to the dungeon where he discovers Dracula and the woman in their coffins. Jonathan quickly dispatches the woman but Dracula wakes up and kills him. Shortly after the confrontation, Professor Van Helsing (Played by Peter Cushing) arrives at the castle looking for Jonathan and as he searches, he finds both the body of Jonathan and his diary. Van Helsing then sets out to deliver news of Jonathan’s death to his fiancé, Lucy (Played by Carol Marsh) and her brother, Arthur (Played by Michael Gough). But just as Van Helsing arrives to deliver the news, Dracula begins tormenting Lucy and Arthur.
Fisher’s Horror of Dracula doesn’t hesitate to jump right in to the action. There is no extended sequence of Jonathan traveling to Dracula’s gothic castle or whispers from the terrified villagers about the undead claiming the night. Right from the beginning, we learn that this Dracula is nastier and bloodier than anything we have seen before. Lee’s Dracula can be a gentleman one minute and the next; he is a red-eyed beast looking to tear the throat out of anyone who dares cross him. The first glimpse we get of the snarling Dracula certainly does shake the viewer up and it could very well be the most frightening scene of the entire film. The second half of the film finds Dracula largely absent from all the action and the main characters debating how to keep Dracula away from Lucy and Arthur’s wife, Mina (Played by Melissa Stribling). Many may deem this boring, especially since the middle section finds the characters pacing ornate dens while discussing vampire lore rather than tending to spurting arties. But it is these scenes that build the anticipation for Dracula’s return and in a way, make us fear him all the more. He could be anywhere, at any time, and we have no idea when he will choose to strike next.
Then there is the fantastic Cushing as Van Helsing, a mere mortal who resorts to tricks to fight the relentless vampire. It is difficult not to admire the way Cushing approaches each terrifying situation he encounters, as he is always cool, calm, and collected. Cushing has great chemistry with Gough, who is probably best remembered for his work as Alfred in Tim Burton’s 1989 gothic superhero film Batman. Cushing and Gough team up for a final showdown with Dracula that I promise will satisfy in every way imaginable. It is morbid and action packed but forced to remain restrained due to Hammer’s limited budget. We also can’t forget about the ladies, who also get their chance to really spook us throughout the course of the film. Marsh is the standout as Lucy, who nabs another one of the film’s more effective spooks. As a young girl wanders the woods, she is coaxed further in by the terrifying apparition of Lucy, who reveals a full set of razor sharp fangs to the young girl. It is another one of those scenes that catapult Horror of Dracula to the top of the list of horror movies perfect for Halloween night. Stribling gets a hair-raising encounter with the king vampire as he enters her bedroom and slowly makes his way in for the bite.
While Horror of Dracula may have plenty of terrifying moments to go around, the film has some surprising moments of humor, which does alleviate some of the tension. Yet when Fischer wants to scare the living hell out of you, he does it with a vengeance. Behold the scene where Gough and Cushing wander a misty tomb and come face to face with the undead Lucy. The final showdown in Dracula’s castle is also pretty gripping as a rattled Van Helsing starts to loose control against the demonic force he is facing. The film ends with some rickety special effects that have not aged well but are still appropriately disturbing. Incredibly influential and scary, Horror of Dracula is certainly one of the finest examples of vampires at their most sinister. The film deserves to stand alongside classics like 1922 silent German Expressionist nightmare Nosferatu, the legendary 1931 Universal/Lugosi offering, and Werner Herzog’s surreal 1979 Nosferatu the Vampyre. Overall, Horror of Dracula is a small but scrappy homerun for Hammer Studios. You may find yourself hanging garlic on your door and sleeping with a stake and crucifix next to your bed. Make it a double feature with The Curse of Frankenstein.
Horror of Dracula is available on DVD.
by Steve Habrat
Next to Edward Scissorhands, the other must-see collaboration between gothic auteur Tim Burton and actor Johnny Depp is their 1994 film Ed Wood, which follows the career of Edward D. Wood, Jr., the man considered the worst filmmaker of all time. Pushing aside much of his gloomy gothic aesthetic (at times, Burton just can’t resist), Burton makes a comical film shot in black and white to resemble the B-movie sleaze of the 1950’s. A man who sometimes sacrifices story for an image, Burton’s Ed Wood spryly hops along with an always-charming story and equally striking images. Much like Edward Scissorhands, Ed Wood is about a misunderstood artist who also happens to be an eccentric misfit who enjoys cross-dressing and paling around with a ragtag film family who sticks by through all of Ed’s ups and downs. Yet just like the character of Edward Scissorhands, Ed also works his way onto our charm list and ends up carving out his own little place in our heart.
Ed Wood introduces us to failing theater director Edward D. Wood, Jr. (Played by Johnny Depp), who is waiting for the press to show up to his World War II play The Casual Company. After receiving a scathing review with only one compliment, Wood complains that his hero Orson Welles was twenty-six when he made Citizen Kane and he is nearing thirty and has nothing he can be proud of. After a number of attempts to snag a project that he can direct, he snags a job directing a bio-pic about sex-change personality Christine Jorgensen. Wood wrestles with the head of the small studio that is producing the film and out of their negations, Wood ends up making his first film Glen or Glenda, which costars his current girlfriend Dolores Fuller (Played by Sarah Jessica Parker) and addresses the subject of crossing dressing, which Wood himself often partakes in. Around this time, Wood also meets washed up horror movie star Bela Lugosi (Played by Martin Landau) who quickly becomes a close friend of Ed’s. After Wood discovers that Lugosi is broke and suffering from a crippling drug addiction, Wood sets out to find projects for Lugosi and to aid him in kicking his habit. Wood ends up directing many of these projects, which are met with negative reviews and angry crowds. As Wood’s career hits more lows than highs, the people around him are faced with sticking by him or moving on.
It won’t be hard for you to sympathize with Depp’s Wood, who is always laughed at by people who don’t understand him or watching his vision get crushed on right in front of him. Despite his optimistic surface (he finds the one compliment in a scathing review and clings to it), down below there is doubt and self-consciousness. He is constantly and painfully forced to reveal that he enjoys cross-dressing even though it is hard for him to discuss out loud. He hides this from Dolores who obviously fakes her understanding and acceptance of this. A scene during a wrap party in which Wood gets all dressed up in lingerie and dances for the crew shows Wood at one of his happiest moments until Dolores erupts in disgust over the spectacle. The scenes in which the studio heads and producers laugh at his films are the ones that will really leave a welt on your emotions. The film shows us the growth within Wood, the growth that gives him the confidence to battle for his vision and to make the art that he wants to make. Granted, it may not be the best product but his genuine enthusiasm over his work is what really allows us to root for him.
The other misfit of Ed Wood is Landau’s Bela Lugosi, who is all but forgotten by the Hollywood system, most people under the impression that he died. Broke and hiding a nasty drug habit, Lugosi still clings to his glory days when he was a major star in Universal horror pictures. The relationship that Lugosi forms with Wood is touching, neither one really bothered by the other’s lifestyle. When Lugosi’s drug habit really begins to plague him, Wood stands by with heavy eyes and loyally plants by his idol’s side. Landau, who snagged an Oscar for his role as Lugosi, is a ball of emotions himself. At times, he can be wickedly funny, especially in scenes where he discusses the curvy Vampira (Played by Lisa Marie), who joins Wood’s crew later in his career. Then there are moments where he is just a tragic as Wood, collapsing into a heap in a chair on the verge of tears over his unemployment getting cut off. It also pierces the heart when he discusses his disgust over Boris Karloff. Ed Wood really hits its stride whenever Landau steps into frame and interacts with Wood.
The rest of the supporting players in Ed Wood are also an absolute joy. Bill Murray shows up as Wood’s friend and actor Bunny Breckinridge, who is consistently bragging about a sex change he is supposedly getting. To be honest, there just wasn’t enough of Murray for me in the film. The few scenes that we get to see Bunny are absolutely hysterical. Jeffrey Jones shows up as the “psychic” Criswell, another character that we don’t get enough of. Jones gets to introduce the film in the same way that the real Criswell introduced Wood’s film Night of the Ghouls. Patricia Arquette shows up as Wood’s future wife Kathy O’Hara, who faithfully stands by Wood despite constant failure. Lisa Marie is a perfect ten as the curvy horror personality Vampira, who Wood constantly chases and ends up casting her in Plan 9 From Outer Space. There is also a neat cameo by Vincent D’Onofrio who uncannily portrays Orson Welles in one of the strongest sequences of the entire film.
Ed Wood is one of Tim Burton’s coolest films both visually and musically. The film is shot to resemble a 50’s B-movie, which constantly slaps a smile on your face. The film throws in multiple nods to Wood’s body of work and tips its hat to B-movies and Lugosi’s Dracula through the beautiful and quirky score by Howard Shore. Ed Wood turns out to be an affectionate and hilarious story about one man’s love for cinema and his affection for his film family. It’s about sticking together through the best and worst of times and how this camaraderie can affect a person for the better. Ed Wood is still a film that woven with tragedy throughout and these tragic reveals are expertly and unexpectedly delivered, blindsiding us when we least expect it. The film hits a few minor bumps near the end, especially when one character departs the film, but Ed Wood is the Burton film that stuck with me the longest out of all of his offerings. It’s a shame that Ed Wood seems to be the Burton film that flies under the radar. Much like Edward Scissorhands, Ed Wood is a real treasure of a film, one that wins on multiple levels.
Ed Wood is available on DVD.
by Steve Habrat
For those who are not familiar with spaghetti westerns, a movement within the western genre during the mid 1960s, The Great Silence may not be your best introduction to the subgenre. You are probably wondering, what is a spaghetti western? A spaghetti western is an Italian made western that is usually set in a rundown frontier town and features ugly, weather worn characters. Among these characters is usually a protagonist who walks a fine line between good and bad and an antagonist who is usually beyond loathsome. And usually everyone is really, really sweaty and the violence is really, really gruesome. The best-known spaghetti westerns are Sergio Leone’s Dollars Trilogy (A Fistful of Dollars, For a Few Dollars More, and The Good, The Bad, and The Ugly) and Leone’s Once Upon a Time in the West. If I were a novice to the genre, I would begin with the four films I have just listed and if you feel the genre is for you, then immediately see The Great Silence, a spaghetti western that embraces every single attribute I listed above and replaces the sweaty, dusty setting with a snowy backdrop. This film is just as uncompromising as the environment it takes place in and, boy, is it violent.
The Great Silence follows a mute gunslinger known as Silence (Played by Jean-Louis Trintignant) on a quest to find the bounty hunters responsible for the slaying of his family and taking away his speech. Silence kills off his targets by picking fights with them and then shoots them in self-defense. He wanders into the town of Snowhill, Utah, set high in the snowy mountains and in the clutches of a brutal blizzard. The craggy, snow-caked hills are a safe haven for poor and starving refuges that the merciless bounty hunter Loco (Played Klaus Kinski) and his bloodthirsty gang have been hired to drive out. The rough weather has caused the refuges to become outlaws themselves in order to keep themselves alive. After Loco kills an African American outlaw, his wife Pauline (Played by Vonetta McGee) hires Silence to kill Loco, setting into motion a bleak and nasty showdown.
Director Sergio Corbucci frames several unforgettable moments throughout The Great Silence. One scene finds Loco dragging an outlaw through the snow while he interrogates him. The opening sequence finds Silence shooting off the thumbs of one gunfighter, making sure he can never pick up a weapon again. There is a saloon scene where a repulsive gunslinger gnawing at a greasy piece of chicken makes the mistake of picking a fight with the glaring Silence. But the reason the film gained notoriety is the climatic gun battle, which is horrific, tense, bleak, and unforgettable. Some countries were upset over the dark ending of the film and demanding Corbucci shoot an alternative ending that was much more optimistic. I prefer the grim end–the way Corbucci intended the film to be seen, as the Wild West wasn’t always a forgiving place where heroes triumphed in the face of evil.
The Great Silence also features a jangly, lingering score by spaghetti western composer Ennio Morricone, who seems to have scored every single one of these films (He must have been a busy guy!). Everyone on the face of this earth is familiar with his score for The Good, The Bad, and the Ugly (That famous whistle?). It has been said that the spaghetti western is supposed to be the rock-n-roll version of the American western and Morricone’s music was meant to exemplify that statement. With The Great Silence, the score is a bit less scruffy and more romanticized, even when paired with the soft and epic long shots of snow-covered mountaintops. The Great Silence isn’t just a party for the boys, as it features (surprisingly!) a romance between the strong Silence type and wounded Pauline. Even the new firm sheriff of Snowhill, Burnett (Played by Frank Wolff, who also shows up in Once Upon a Time in the West, another surprisingly romantic spaghetti western) seems like more of a character who stepped out of a John Wayne western than a world full of grotesque money hungry murderers.
The Great Silence doesn’t go soft on the viewer. Oh no, just get a load of Kinski’s Loco, a breathy bounty hunter who likes to play with his prey before he puts it down. He buries bodies in the snow and then returns later to claim them (No respect for the dead), hides weapons all over town, and will gun down anyone without batting an eye. He is the personification of evil and a true spaghetti western antagonist. Kinski, who was a sensational actor, enjoys going bad in this one and who can blame him. He’s a self-centered character out to only benefit himself and certainly not the residents of Snowhill. Kinski was always so good at adding multifarious emotions to his villainous turns (See Nosferatu the Vampyre to see what he does with Dracula) and Loco is no different. I got the sense that if and when he laid waste to the refuges in the hills, it would not be for the sake of law and order and the only emotion he would feel is desperation, desperation to find more outlaws with a big price tag attached to their head.
It is a shame that the DVD print of The Great Silence isn’t better than it is. It seems as if the print of the film wasn’t properly cared for, as some shots are hazy, sometimes scratchy, and crude. Yet The Great Silence provides haunting entertainment for those who wish to subject themselves to the climax (You’ll feel this one, folks) and is just as grim as the era it was released in (1968, for those interested). The drastic change in location also makes for a western of a completely different breed, making it all the more memorable and distinct. Even the gunslingers have a more flamboyant feel to them and are not simply the tough-as-nails type. If you are a person who enjoys the romanticized west, you may want to skip this one. I recommended this film to a family friend who loves westerns and he reported back with a negative reaction to the film. If you enjoy spending time with some truly revolting and morally corrupt individuals, you’ll want to head to Snowhill immediately.
The Great Silence is now available on DVD.
by Corinne Rizzo
I don’t like scary movies. I am not interested in the thrill of axe murderers chasing a pretty lady down the street or guys that live under your bed and infiltrate your dreams. Corn syrup and red food coloring, gore and guts, never did it for me and still don’t, which is why I didn’t mind George Romero’s Martin so much.
Sure, George Romero isn’t known for good clean fun, but the one thing I could always tolerate about his films is that the gore is almost playful. The blood, bright red and reminiscent of paint, the prey/predator dance always has some edge to it where the viewer is left saying something along the lines of “really?” or “wait, why are they still alive?” And Martin follows in this pattern.
The film follows what appears to be a young man suffering from a family curse of the nosferatu. Though Martin’s case of vampirism is a technical one of syringes and razor blades instead of your typical Dracula slow moving and mundane. Martin, while appearing to be in his mid twenties, is also quite ancient. Romero sneaks these details in through simple conversation with a radio station and Martin’s cousin Christina, who is no stranger to the idea.
While the plot and premise of the film are an updated version of a classic tale, what is most attractive about the film is its eight millimeter quality. The frames and colors are grainy and tinted, which, intended or not, is one of the best qualities of the film. Of course, it may just be a default of the time and place in which the movie was created. Certainly not a hi-def, saturated color experience. But it lends an authentic and dated look to the film which parallels Romero’s approach to his paint red blood.
Another twist to the film that lends itself to Martin’s vampire tendency is that it is seen as more of a mental illness than any hocus pocus type family curse. Christina, Martin’s cousin tries to talk him into going to a hospital or seeing a doctor. Martin is stand-offish and quiet. Awkward at best. So the neighborhood sees him more as someone with a disorder, maybe something along the line of Asperger’s Syndrome. No one really questions it and one friendly neighbor even finds it endearing.
A thorough examination of the film would delve deep into the sexuality of the film, the history of the vampire and so on, but what is important about the film is that a legendary director of timeless zombie films has taken a stab at the origination of the zombie, according to some schools of thought, exposing the vampire: An undead and immortal being who can only be conquered under some extraneous effort.
At first the film grossed me out. I have no tolerance for these gory horror flicks that over use violence for the sake of entertainment, though there is a threshold to which I can tolerate these things and Martin keeps it just below that line.
Hey boys and ghouls,
We sincerely hope that you guys have enjoyed our Halloween Horror Movie Spooktacular. We have crossed 3,000 hits and the hits keep coming. In celebration of the day all things scary walking the earth, lets do the Monster Mash with Boris Karloff and a hoard of go-go dancers to celebrate! Tune in tomorrow for our final review of the horror film you guys chose. Happy Halloween!
by Steve Habrat
I’m sick of vampires. They are everywhere we turn anymore. They glare from their airbrushed movie posters and the covers of the latest tween romance novel. They have their hair perfectly sculpted on top of their pale domes and they brood while offering just the right amount of sexuality to make the girls wild. To make them more interesting, we’ve had to include werewolves just so they have a story to work with. Damn you, Twilight. To make matters worse, they are about as scary as a male model donning some wax Halloween fangs and whispering boo with all the lights on while standing in the middle of a room. Bela Lugosi is rolling in his grave. Not to fear, boys and ghouls, as I have the remedy for those who want a scary vampire movie. Werner Herzog’s Nosferatu the Vampyre is an eerie, earthy, and otherworldly tale that is part remake, part re-envisioning of the Dracula legend. On the surface, this film is supposedly a nod to F.W. Murnau’s legendary 1920’s silent film creep out, but Herzog makes a film that raises the hairs on the back of your neck and overwhelms you with gliding, wide-eyed beauty. Take the rolling shots of shrieking corpses at the beginning of this film. It’s entrancing and grotesque. A true splendor of life and death. I’m also convinced that they are real corpses. Then a swooping shot of a bat, presented in slow motion, so that we may drink in the grace of this barreling predator of the sky. This film is a true work of art in the first five minutes of it’s run time.
To explain the plot would be a waste of time. Most are familiar with the story of Dracula. The eccentric Klaus Kinski plays the bloodsucking demon, a bald, mouth-breathing terror that is spiderlike and pitiful. He’s a lonely soul that relishes hearing the faint howls of “the children of the night”. He creeps about his ruined castle, which may or may not be real, and terrorizes the rational Jonathan (Played by Bruno Ganz). The whole stay at the castle feels like a cloudy nightmare, an aesthetic approach that is used in Herzog’s foggy camerawork and Twilight Zone music. The entire film seems to suggest legend, a myth that comes from nature and is passed from the lips of superstitious peasants. When the film ventures to Varna, it sheds it’s trance like feel and becomes an epidemic terror.
Nosferatu the Vampyre refuses to become supernatural, grounding Dracula in the real world. What if this ghoul existed and he came from the seclusion of the mountains? He is an anti-social fiend that is not suave, sexy, or confidant. He runs about Varna, hiding his coffins in abandoned buildings and hissing at crucifixes. He lurks in the industrial ruins and peers out of windows down on his prey. His cape and coat dancing in the wind. His long claws wrapping around each other like constricting snakes. He speaks slowly and cautiously, choosing his words as carefully as he chooses where to hide his coffins. His eyes dart about his skull, always aware of his surroundings and what his next move will be. Piecing his plans together to spread his plague and bring about the apocalypse.
Herzog makes a melodramatic soap opera; complete with overacting that shows traces of Shakespeare, a trait that was rampant in Universal’s 1931 classic Dracula. Dracula longs for Lucy, who is becoming aware of what the plague truly is. Dracula visits her one evening in her room, a scene that lingers in my head and is one of my favorite sequences in a film in all the history of cinema. He is chivalrous, menacing, and volatile. We see him in the corner of the room, the very edge of the frame, but not visible in Lucy’s mirror. She stares in disbelief, as she resists his advances and subtly vowing that she will destroy him, even if it means death. The shot says so much while lacking copious amounts of dialogue. Jonathan desperately tries to reach Lucy, a man who has fallen ill under the vampiric germ. By the end, he is an evil descendant who is ready to finish what the master has started. Nosferatu the Vampyre is a tragedy, one that ends in the death of Dracula, who dies at the hand of love and infatuation. Lucy sacrifices herself for love and it strangely feels like suicide as well. Who wants to live and love in a world that has gone to Hell? Lucy takes a final walk through the plague riddled street as people dance the dance of death, have their final meals, and celebrate their final moments of joyous life, all while rats scurry about the streets.
A favorite horror film of mine, one that scared me to death the first time I saw it and left me flabbergasted in the wake of it’s beauty, Nosferatu the Vampyre is a blood curdling opera that is the work of an auteur who respects and deeply loves the legend. It offers a fresh take and is worth seeing for it’s artful approach alone. It could and should play in museums while visitors gape at its splendor. It’s slow moving and may repel a few who like their horror fast and bloody. There is very little blood throughout it’s run time. It was released in 1979, though it has aged remarkably well through the years. I’d give anything for this to be released on Blu-ray. I know I’d rush out the day it’s released just to see it in crystal clear high definition. This film is scary, folks. It will creep you out, question what is real and imaginary, and will make you uncomfortable to be by yourself for a while after watching it. Your skin will crawl when you first lay eyes on Kinski’s Dracula and, for my money, he is the best Dracula ever. Lugosi takes a back seat at number two. A must-see for anyone who loves cinema, Nosferatu the Vampyre will make you afraid of vampires again. Just like you should be. Grade: A+
by Steve Habrat
Here we are, boys and ghouls! We have made it to my top 10 scariest movies of all time. I hope I have introduced you to a few horror movies you haven’t seen or heard of and tackled a few of your favorites as well. So without further ado, these are my top 10 favorite horror films that have curdled my blood, given me goose bumps, made me a little uneasy to turn out my bedside lamp at night, and made me consider shutting the films off.
10.) The Evil Dead (1981)
The ultimate sleepover horror flick! With a budget barely over $375,000 and a handful of no name actors, first time director Sam Raimi tore onto the directorial scene with The Evil Dead, a gruesome little supernatural horror film that follows a group of teens as the travel to a cabin in the woods for a weekend of drinking a few beers and hooking up. Once secluded in the cabin, they stumble upon a book called, naturally, The Book of the Dead, and they, of course, read from it. The book just so happens to release an ancient force that possess all who stand in its way, turning the teens into bloodthirsty, demonic zombies. Stopping to consider the budget, the special effects here are a true marvel, even if they are dated and the sound effects will give your goose bumps more goose bumps. While Evil Dead II: Dead by Dawn and Army of Darkness descended into campville one of the most amazing parts of The Evil Dead is the fact that it refuses to offer any comedic relief. The most grueling aspect of the film is that by the end, our hero Ash has to face the terror all by his lonesome. Absolutely unyielding once it gets moving and savagely in-your-face, The Evil Dead will without question fry your nerves.
9.) Suspira (1977)
Italian director Dario Argento created perhaps one of the most visually striking horror films to date. Suspira is scary decked out in bright neon colors. Following a young American woman who is accepted to a prestigious ballet school in Europe where it may or may not be under the control of witches is the real deal. The film begins with easily one of the most intense murder sequences ever filmed and it should almost be criminal with how well Argento builds tension and suspense within it. While mostly scaring you through supernatural occurrences and basically becoming a mystery film, Suspira leaves its mark with images that sear in well-lit rooms. Nothing ever happens in the dark in this film, and usually its what we do not see that is the scariest. And to deny the fact that this film is a breath of fresh air to the horror genre would be utterly absurd. The best advice I can give is just wait until the end of the film. You will be left pinned to your seat.
8.) Psycho (1960)
When it comes to unforgettable movie monsters, give me Norman Bates over Freddy or Jason any day. Everyone is familiar with what is perhaps the most famous and scariest of all of Alfred Hitchcock’s films, this film literally could be the closest to perfect that any motion picture will get. The score is unforgettable. It breaks the rules by killing off its main star in the first forty minutes. It keeps you guessing until the very end. It WILL terrify you by its sudden outbursts of brutal violence. And seriously, who is not familiar with the shower sequence? Still not convinced? See it simply for Anthony Perkin’s performance as mama’s boy Norman Bates. I guarantee he will find his way into your nightmares. Remarkably, the film lacks all the crows’ feet of aging as it still manages to be one of the scariest horror of personality films to date. While it was needlessly remade in 1998 to disappoint results, the original is a true classic in literally every way. Psycho breaks all the rules of horror, and leaves the viewer disoriented and wowed all at once.
7.) Straw Dogs (1971)
Never heard of Sam Peckinpah’s 1971 home invasion film Straw Dogs? Well, you have now and you have no excuse not to see it. As an added bonus, it stars Dustin Hoffman! I noticed that on many of your favorite horror films that you have sent me, you listed the 2008 film The Strangers. While The Strangers is creepy, Straw Dogs is flat out gritty, unrepentant viciousness. A nerdy math professor and his wife move out to the British countryside where they are looking to enjoy a simple life of peace and quite. Their pursuit of happiness falls short when the couple becomes the victims to bullying by the locals. The bullying soon boils up to a vicious rape and an attack on the couple’s home that leads to one hell of a nail-bitting standoff. Many consider it a thriller, but this is flat out horror in my book. The film becomes an exploration of the violence in all of us. Yes, even the ones we least expect. We never see the violence coming from the mild mannered math teacher. Even worse, it leaves us with the unshakeable notion that this horrendous violence lurks in all of us. Another great quality of the film is the fact that it will spark conversations after viewing it. What would you do in that situation? Would you allow yourself to be the victim or would you stand up and fight for what is yours? Sound simple? Straw Dogs is far from simple. It will etch itself into your mind.
6.) Nosferatu the Vampyre (1979)
Nosferatu is on here twice?!?! Sort of. Nosferatu indeed deserves its place among the greats but Werner Herzog’s Nosferatu the Vampyre is without question the greatest vampire movie of all time. It drives a silver dagger right through the heart of all the vampire flicks out there (Take that Twilight!). Part remake, part valentine to F.W. Murnau, part Dracula; this is an undeniably sweeping horror film. Who would have believed that a slow motion image of a bat could make the hair on your arms stand up? Elegant and astonishing beautiful, one could recommend the film on the cinemamatogrphy alone. This interpretation of Nosferatu abandons the name Count Orlok and instead is Count Dracula. The appearance of Count Dracula is almost identical to Count Orlok but the rest plays out like Dracula. The film features what could be one of the most mesmerizing performances ever caught on film with Klaus Kinski’s interpretation of Count Dracula. He is at once heart breaking and threatening. The film’s apocalyptic images are spellbinding. The score is the stuff that nightmares are made of. The acting is top notch. The scares are slight and real. This is the scariest vampire movie ever and one of the most underrated horror movies ever made.
5.) The Texas Chainsaw Massacre (1974)
The glaring problem with the 2003 remake of this disturbing 1974 classic is that the 2003 remake was more concerned with being a sleek experience rather than a gritty and realistic slasher flick. The original Texas Chainsaw Massacre does a fantastic job making you feel the Texas heat, as this movie is an absolute scorcher. On top of that, the film uses surprisingly little gore and still manages to gross you out to the point of you seriously considering becoming a vegan. What makes the film so traumatic is the fact that it does not only contain one monster, it has several. There is basically no escape from the dreaded, chainsaw wielding Leatherface and his merry band of cannibals. The film also throws another monkey wrench into the equation: one of the main characters is in a wheelchair. Yikes! The final chase of the film seems like it was ripped right out of an old newsreel and it has such a realistic tone that the atmosphere actually overrides the horrific murders. I recently read a quote from Stephen King about his favorite horror films and I have to admit that I heavily agree with him. He says “One thing that seems clear to me, looking back at the ten or a dozen films that truly scared me, is that most really good horror films are low-budget affairs with special effects cooked up in someone’s basement or garage.” If this quote applies to any horror film, it would be Tobe Hooper’s The Texas Chainsaw Massacre. Amen, Mr. King!
4.) The Shining (1980)
As far as supernatural horror movies are concerned, Stanley Kubrick’s version of the Stephen King book The Shining is the first and last word in haunted house movies. Combining hallucinatory images, a mind-bending story, and a horror of personality all into one Frankenstein’s monster of a film. Kubrick tops it all of with a big bloody bow. Jack Nicholson is at his bat-shit crazy best as Jack Torrence, a seemingly normal writer who, along with his family, are employed as the winter caretakers at the secluded Overlook Hotel. With the hotel cutoff from customers, the ghosts start coming out to play. They posses Jack’s young son Danny (REDRUM!). They torment Jack to the point where he grabs an axe and goes on a killing spree. If you have not seen this, see it just on the grounds of Jack Nicholson’s outstanding portrayal of a man slipping into homicidal madness. It is probably one of the most epic horror movies I’ve ever seen, and one of the most visually jarring. I really do not think there is anything creepier than twin girls standing in the center of a long hallway and inviting Danny to “come play with” them. The Shining leaves the viewer to figure it all out at the end. But damn does it end with some blood soaked fireworks.
3.) Dawn of the Dead (1978)
George Romero’s follow up to his 1968 zombie freak out wears the king’s crown in the land of zombie movies. This one has it all, folks. It’s dismal, gory beyond anything you could ever imagine, intelligent, shocking, and freaky as all hell. Picking up right where Night of the Living Dead left off, we are thrust into a world of chaos. I will warn you that the first half hour or so of the film is so overwhelming; you may need to take an intermission after it just to gather yourself. Romero is launching an all out assault on the viewer, testing them to see how much they are able to take. But he hasn’t even gotten going yet. Hell, the opening is actually tame compared to the gut-wrenching climax. Romero does lighten the mood a little in places because the film would be unbearable if he never did. The plot centers on four survivors who flee from war-torn Pittsburgh to an indoor shopping mall to escape the panic that has seized hold of America. This panic, of course, comes in the wake of the dead returning to life and eating the flesh of the living. They live like kings and queens in the land of consumerism, which also leads to their ultimate downfall. Greed takes hold and soon the army of zombies gathering outside is the least of their concerns. Featuring some of the most heart stopping violence to ever be thought up and some truly tense moments, Dawn of the Dead may actually cause you to have a heart attack or, at the very least, a panic attack.
2.) Hellraiser (1987)
If demonic horror scares you, then you are going to want to stay far, far away from Clive Baker’s Hellraiser. What sights the soul ripping Cenobites have to show you. What ghastly sights indeed. Bursting at the seams with some of the most unsettling images that any horror film has to offer, Hellraiser simply has it all. It has monsters for the monster crowd. It shows glimmers of the slasher genre. It satisfies the gore hounds thirst for blood. It offers up a wickedly original storyline. Following a man who ends up possessing a box that can expose you to the greatest pleasures imaginable is a pretty unnerving experience. There’s a dead guy in the attic that an unfaithful wife has to provide with male bodies so he can regenerate. There are four time traveling demons that rip apart their victims with chains. A daughter is desperately trying to unravel her father’s death. Did I mention it has lots and lots of monsters? The best part of seeing the first film in the Hellraiser series is that you get to see the Cenobites, who could very well be some of the creepiest antagonists that have ever haunted a horror film. They slink through the shadows and send icy chills up your spine. When Pinhead, or “Lead Cenobite” proclaims that they are “Angels to some and demons to others”, he is not kidding. Are they the four horsemen of the apocalypse, given the films left-field apocalyptic ending? Could be. Undeniably vicious and oddly hypnotic, the film will scare the living daylights out of you and replace those daylights with the darkness of Hell.
1.) Henry: Portrait of a Serial Killer (1986)
During the class that I took on the horror genre in college, we discussed that the scariest movies of all are the ones that posse an unwavering realism. I seriously think that Henry: Portrait of a Serial Killer is the embodiment of this argument. Raw, powerful, disturbing, and a searing knock out, this is without question the most terrifying film I have ever seen. You will be locking your doors and possibly adding another lock for extra good measure. The plot of the film centers on Henry who is soft-spoken exterminator who also happens to be a serial killer. Henry happens to be staying with his friend Otis, who is currently on probation and works at a gas station and also sells pot on the side. Otis has also allowed his sister Becky, who is a stripper looking for a new start in Chicago, to shack up with the two bachleors. Soon, Otis learns of Henry’s grotesque hobby and quickly decides he wants in. Henry takes him under his devil wings and the two descend into the night to prey on innocent victims. The uncanny, fly-on-the-wall vérité approach elevates the film to the territory of the unbearable. Every explosive murder is chillingly real. Every line of sadistic dialogue is muttered in a disconnected tone. The film also chills you to the bone because there is never a character to truly root for, a character to take comfort in. The closest we get to a hero is Becky, but mostly because we fear for her safety. We know she is incapable of stopping the maniacs. While the violence will shock you, and trust me it is some absolutely grisly stuff, the fear of the violence and unpredictability of it all will wear away and you will be left with the fear that this could actually happen. There are actually people out there who could be capable of doing this, and I could be next if I just so happen to be in the wrong place at the wrong time. Henry: Portrait of a Serial Killer is a masterpiece of the horror genre and it will leave you thinking about it for weeks.
I hope all of our readers out there have enjoyed our 31 days of Halloween special- Anti-Film School’s Halloween Horror Movie Spooktacular- and will come back next year for more horror, thrills, and chills. I have personally had a blast doing this as Halloween is my favorite holiday and has been since I was in a diaper. Enjoy the next few days of horror movie posts and the review our readers chose. Have a terrifying Halloween, boys and ghouls! I know I will.