Ghoulish Guests: John LaRue’s Five Favorite Movie Monsters
If you watch enough horror, eventually you start to realize that a monster isn’t just a monster. The supernatural is always a conduit for something completely natural in the real world, something still terrifying but blown into monstrous proportions by screenwriters, directors, make up geniuses, and special effects mavens. When Steve asked me to put together a list of my five favorite monsters, he surely didn’t realize he’d be getting a list straight from Durkheim or Foucault. But there you have it. Here are my five favorite movie monsters, and their contextual sociological meaning.
5. George Romero’s Zombies
The zombie genre has been overrun with a lot of brain-dead films. But at their very best, zombies are a wonderful vehicle for social commentary. Of course, sometimes this can be used in outrageous and embarrassing ways (see: White Zombie, 1932, and its interpretation of tribal culture). For George Romero in 1978’s Dawn of the Dead, zombies reached their apex of sociological meaning. Granted, it isn’t subtle but that’s not the point. Its lack of subtlety endows the film with gobs of humor as Romero mercilessly skewers 20th century America and its suburbanized mass-consumer culture. The timing was perfect, coming just as the baby boomer generation was departing the free-wheeling, rebellious hippie era and entering the United States of Reagan. With one brilliant decision- placing his film in a mall- Romero asks his generational cohorts, “What happened to you guys, man? You used to be cool.” Lousy yuppies.
The original Gojira (1954), and really all of the classic radioactive monsters cooked up by Toho Studios, are Sociology 101. In the post-World War II film world, Italy nurtured neo-realism to illustrate that, despite their involvement with Hitler, they too suffered on the homefront. The French fixated on the horrors of the war. However, in Japan, something else was brewing. Because of the atomic bomb, they took on real life horrors that no other civilization had ever witnessed. If ever a situation needed to be shrouded in metaphor before reaching the big screen, it was Japan in the post-World War II era. Enter Godzilla, a radioactive monster who arrives from the sea, then cuts a swath of destruction that includes several islands, the navy, and finally reaches the mainland. In other words, Godzilla was the US military, and the radioactive pollution is tied directly to it. Godzilla and the Monsters (which sounds like a band name created by Gary King) were a brilliant snapshot of exactly what terrified Japan in the 1950s.
3. Frankenstein’s Monster
What I find fascinating about the cinematic Frankenstein’s monster is that he has strong roots in at least two other places. The first and most obvious is Mary Shelley’s novel, which the film borrows from thematically quite a bit. The second is the classic Jewish golem. Both involve taking inanimate matter and re-animating it into new life. And in both instances, the new life wreaks havoc, most notably on the maker. The only major step from golem to Frankenstein’s monster is the involvement of science- in particular, the science of cutting open corpses and seeing how they tick in the 19th century- with just a dash of a God complex.
Both of those concepts were absolutely horrifying to people from the 19th century on into the early 20th century when James Whale brought the monster to life on the big screen. It resonated especially in America, a very devout Christian country whose moral sensibilities would rock to their very foundation at the notion of a mad scientist playing God. And tying medical science into the equation doubles down on fears of the era. While medical science had progressed reasonably well in the 18th and 19th centuries, it wasn’t until doctors started opening up bodies and using corpses that real progress was made. To the average schmoe on the street in the late 19th and early 20th century, this is a horrific concept- taking a loved one and ripping apart their entire earthly being for corporeal knowledge. “MEDICAL SCIENCE IS ALIVE! IT’S ALIVE! AND NOW IT’S GOING TO DESTROY US ALL!!!”
2. Japanese Ghosts
Ok, ok… a ghost isn’t a monster, per se. But it’s still a fun and scary enough concept to make someone go boom boom in their britches. The beauty of the Japanese ghost story is how deeply rooted it is in Japanese culture. Unlike Godzilla and the radioactive monsters, there was no natural disaster that created the folklore of Japanese ghosts. No, these supernatural beings are actually quite natural. They’re tied to the importance of family in Japan. Traditionally, Japanese families are protected by their deceased ancestors as part of a social bargain. The living family gives the deceased a proper burial, with proper funereal rites, and the deceased return to keep harm away from their living ancestors. If the dead aren’t given a proper burial, however, or if they die violently, all hell breaks loose.
As you can see, this process leaves a massive chasm open for ghosts in Japanese culture. They can be protectors, they can be harbingers of doom, and they can wreak havoc. And the entire theme is tied to something that every family deals with quite regularly. Everyone dies (not just in Japan, but everywhere, except for maybe Batman), and everyone must face the mortality of their family members at some point. It makes the whole concept enormously relatable. Since the Japanese have been perpetuating this mythos for centuries, they understand the entire ghost genre better than anyone. There’s a reason that 95% of the Japanese ghosts you’ve seen wear white and have jet black hair. It’s a practice that goes back centuries, and has continued on through classic Japanese ghost films like Kwaidan (1964) and Kuroneko (1968) and even on to modern films like Ju-On (2002).
1. The Wolf Man (and werewolves in general)
I could write for days about the genius of The Wolf Man (1941). The entire film was allegorical for the Nazi regime. It was written by Curt Siodmak, a Jew exiled from Germany during the rise of the Nazi state. Thematically, it’s all about the way that his seemingly normal German neighbors and friends turned on him almost overnight. They were completely normal when the sun was up. But on the full moon, they turned hideous, seeking to destroy whoever bore the “mark of the beast.” It just so happens that the “mark of the beast” in Siodmak’s film was a pentagram, purposely designed to look like the star of David that marked Jews in Germany during the era.
Digging deeper, it’s biblical. It’s about faulty genes. It’s about the sins of the father, and his father before that, and his father before that, being visited upon the sons. Go another level down and you’ve got the heart of why I love werewolf films in general. They’re metaphors for transformation, for finding the deep, dark, terrifying parts of our own souls that we didn’t even know existed. These aren’t just monsters. They’re humans, wrestling with the better angels of their nature and ultimately losing in appalling ways. In Wolf (1994), it’s the depths that he’ll go for survival and success. In Ginger Snaps (2000) and quite a few others, it’s the shocking journey through puberty into adulthood. It’s a delicious built-in character arc that makes the characters more enticing to us, the viewer… and ultimately reminds us that the scariest thing out there is the damage that we can cause all by ourselves.
Ghoulish Guests: GoreGirl’s Five Favorite Movie Monsters
When Steve from Anti-Film School asked me if I wanted to contribute a list of my five favourite movie monsters the first thought that came to mind was Toho. I did a month-long feature on the Japanese production company Toho and covered a few of the studios monster flicks. It would be pretty simple to compile a list of five of my favourite Toho monsters. Godzilla was the first horror film I ever loved. If it is easy it isn’t worth doing, right? Who the hell said that anyway? I thought I should challenge myself and at the same time come up with five titles that were lesser known. What variety of monster seems to get less love? By Georgette; I’ve got it! Female monsters! I am bringing the “girl” in Goregirl to the table for my favourite movie monster list; Cinq Monstres Féminins (Five Female Monsters).
Cinq Monstres Féminins
Delphine Seyrig as COUNTESS BATHORY in Harry Kümel’s 1971 film DAUGHTERS OF DARKNESS.
A newly married couple’s lives are forever changed after meeting a countess while staying at a beautiful old hotel.
…THE SEDUCTIVE MONSTER…
I could have easily filled this list with five female vampires. There are countless brilliant performances in the sub-genre by women. The sexy, smart, seductive female vampire. Both men and women fall under her spell and oh, what a way to go! One of the absolute sexiest, smartest and most seductive of them all is the immensely talented Delphine Seyrig’s Countess Bathory. The infamous Countess Elizabeth Báthory who allegedly tortured and killed hundreds of women and bathed in their blood to maintain her youth. The Countess arrives with her assistant as the sun is setting at the nearly abandoned hotel; only the newlyweds to keep her company. She quickly acquaints herself with the couple and sweet sadism soon follows. Daughters Of Darkness is a sexy, stylish and psychological trip where violence and eroticism reign. The beautiful locations adds an old world charm to the contemporary setting as does its Countess. Countess Bathory seems to have come from another time, another century perhaps. As sophisticated as she is nasty; a chic, sexual, hungry beast. Delphine Seyrig is outstanding as the sophisticated, powerful and brutal creature. One of the most elegant movie monsters of all time; Seyrig is a class act.
Aurora Bautista as MARTA and Esperanza Roy as VERONICA in Eugenio Martín’s 1973 film A CANDLE FOR THE DEVIL.
Marta and Veronica run an inn in a tiny Spanish village where sexy, young female guests check in but don’t check out.
…THE RELIGIOUS MONSTER…
Marta and Veronica are two sisters with repressive attitudes guided by religious principles who believe they are doing god’s work. At least that is what Marta, the more dominant of the two believes. Marta takes the accidental death of a female tourist tanning topless on their rooftop as a sign that they are to punish women of loose morals. Veronica is the subservient sister and goes along with Marta regardless of her comfort level. Veronica is having an affair with a young man who works for them and is twenty years her junior. She refuses to get completely undressed during these trysts for <em>moral reasons</em>. Marta has no such outlet for her sexual frustrations and was once engaged to be married until her fiancée ran off with a younger woman. Marta is a severe woman who is not easy to like. Is she a monster though? Blinded by her jealousy and hatred for other women she uses religion as an excuse to murder. Despite Veronica also being blinded by her religion (and an accomplice to her sister’s crimes) it is clear she is not comfortable with Marta’s decisions. The sisters are a fascinating pair and their escapades are complimented by all manner of religious imagery and expression. In one of my favourite scenes, Marta is spying on some young men swimming and runs guilty through thorny bushes arriving home lashed, bleeding and breathless; frantically she washes and scrubs the sin from her flesh. Aurora Bautista and Esperanza Roy who plays Marta and Veronica do one hell of a job! Although these are two huge personalities they are played with a great deal of restraint. A Candle for the Devil is stylishly filmed with gorgeous scenery but it is all about the sisters who use their religion as an excuse to murder nubile young beauties who are unfortunate enough to end up as guests in their inn.
Meredyth Herold as DAUGHTER and Michele Valley as MOTHER in Nikos Nikolaidis’ 1990 film SINGAPORE SLING.
A private eye is searching for a woman named Laura, and follows the trail to the home of an incestuous, sadomasochistic mother and daughter team.
…THE SEXUALLY DEPRAVED MONSTER…
If ever a film deserved the tag of polarizing it is Nikos Nikolaidis’ 1990 film Singapore Sling. There is more unsavory sex acts in this thing than you can shake a stick at. The comedy and the black and white photography do take some of the edge off, but I doubt this film is going to be palatable for most people. The women are killers, but they are far more interested in exploring the lines between pain and pleasure. Prepare yourself for shock therapy, water torture, golden showers, vomit orgasms and excessive amounts of masturbation. Mother looks like a silent movie star and has a flare for dramatics. She speaks her dialog in French and translates herself in English. Despite Daughter‘s actions she comes off as slightly naive and is in a constant state of pre-orgasm. Singapore Sling is partially narrated and Mother and Daughter often speak directly to the camera. Mother and Daughter are pleasure monsters. They will do anything in the name of sating themselves regardless of the results. They torture each other and the male guests who end up in their home. Mother and Daughter are definitely the most sexually depraved monsters on this list. Mother played by Michele Valley and Daughter played by Meredyth Herold both give bold and fascinating performances. They are monsters of a different variety; a delightful mix of degenerate and class. You’ll be glad the film is black and white (it is a really great looking film also) as there is stuff on display here that you would not want to see in color.
Béatrice Dalle as LA FEMME in Alexandre Bustillo and Julien Maury’s 2007 film INSIDE.
A woman about to give birth is terrorized in her home by a mysterious psychotic woman.
…THE SELF-RIGHTEOUS MONSTER…
Béatrice Dalle is the mysterious psychotic woman. Her intentions are simple; to take by force the baby inside of her victims stomach. La Femme as she is noted in the credits, is just straight up nuts. She kills a lot of people and barely breaks a sweat over it. Sarah the woman due to give birth unsurprisingly receives some visitors and La Femme barely seems phased by it. Oh well, more people to kill. She doesn’t care who she kills and she doesn’t care how many. She doesn’t really even go to any trouble to be careful about the whole business. She is tough, relentless, brutal and extremely sober for a woman who is completely and utterly psychotic. Béatrice Dalle is a talented and appealing actress who is a fascination to watch. Dalle’s performance is easily one of the most driven and brutal portraits of a psycho I’ve seen in a film from the past 20 years. Watching a very pregnant woman being terrorized is nasty business but the audacity of showing the action from the fetus point of view wins it a whole lot of extra respect. This however is Dalle’s movies, she owns it like she owns that adorable little fetus in Sarah’s belly.
Nobuko Otowa as YONE and Kiwako Taichi as SHIGE in Kaneto Shindô’s 1968 film KURONEKO.
Yone and her daughter-in-law Shige are gang raped, murdered and their home set ablaze by a group of samurai. The women return from the dead as vengeful spirits whose sole purpose is to kill and drink the blood of every last samurai.
…THE VENGEANCE MONSTER…
Kuroneko takes place during wartime and its opening scene illustrates the brutality of the period. The way the samurai swarm the women’s home was like wild animals stalking their prey. Once inside they raid the home of food and then each one takes their turn raping the women. The horrific scene is a strong argument for the women’s revenge but negotiating with the spirit world comes with a high price. The women are the focus of every shot. Their light ethereal appearance made everything around them appear darker. Kuroneko’s dream-like visuals are enhanced by beautiful and subtle touches like Yone’s slow rhythmic dance and Shige’s cat-like attacks. Kiwako Taichi is bewitching as Shige. Bound by her pact, Shige is a seductive and vicious spirit but the woman she once was lingers inside. Nobuko Otowa is superb as Yone. Yone is a strong, serious spirit who methodically goes about her rituals. Her unusual eye makeup gave her an appropriately menacing appearance. Yone seems to have considerably less connection to who she was and is more the vicious for it. Revenge is rarely sweet. Kaneto Shindô directed another film focusing on a pair of women during wartime called Onibaba which I highly recommend you check out if you enjoy Kuroneko; the two are great companion pieces.
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