Now there’s a movie! They’re from 1942 and 1944 which means nothing to me. Mehhhhhhhh! Nice Lady and Food Guy really picked something a cat can get into this time. No mention of lyc… lycanth… there goes my tail all puffy again! I wonder if there’s anything to eat.
Anyway, there’s a lady, and she likes cats. A lot. Big cats. But the cats are in cages, and that’s weird. They must be going to see the doctor or something. Hmm, I’m sort of hungry. And she meets a man and they get married. But they don’t get along, and I think she might sort of be a cat too. And then there’s this other lady who he gets along with better, and there’s a doctor who says some weird things and then the cat’s out of the cage. I was pretty scared of the big cats.
I wonder how I could get into that closet and get some treats? And Curse of the Cat People is pretty good too. Nice Lady and Food Guy liked this one better than I did. There were some pictures of cats, but I don’t remember seeing any cats. There was a little girl in this one, and she’s friends with the lady from the other one. And the man and the other lady are married now. And there’s an old lady who tells scary stories, and then everybody hugs.
xo, Claud
Monday, September 24, 2007
Monday, September 10, 2007
Black Sunday
“Black Sunday” (original title “La Maschera del demonio”), a 1960 film directed by Mario Bava, was our first foray into the scary movie section of the video store. We thought that being foreign and filmed in black and white, it wouldn’t be too scary. We were sort of right.
Me: The effects were cool, and the black and white made cool lighting tricks possible, and made the period more believable. It was gorgeous and had a real Nosferatu feel to it. The plot was a bit complicated at times for the likes of Claud (no offense).
Claud: None taken. Mehhhhh.
Me: I also liked the mixing of witch and vampire lore in a quasi-historical context. And any film that has doors with no handles and lamps that walk on their own is okay in my book. Overall, two Scary Stars. Pretty and at times gory, but I wasn’t scared.
Claud: Prrrrrrrr, me neither. I only left the room a few times, and that was just to er, get some water.
Mr. K: If it's stars we're giving, I give it five on looks, atmosphere, execution and originality. For a first-time directorial effort, I can only hope that Mario Bava went up from there, but it's tough to imagine topping "Black Sunday." I'm not at all surprised that he is responsible for the boom in Euro-horror during the '60s because your mention of "Nosferatu" is spot-on. Few other horrors that I've seen from that era, with the exception of the Hammer Studio films from England, have such a "look" to them. It's definitive, for sure, and I love the 80/20 ratio of chaste, Victorian-style melodrama to gutsy, mid-20th century gore. (A spike to the eyeball!? I am THERE.)
Claud: Muph! What are you, some kind of movie nerd?
Me: Well Claud, it is supposed to be “discourse.” I was trying to keep it simple, for your sake.
Claud: Can’t we just talk about it? I don’t know all the funny names. I promise I won’t get scared. Mph mph mphhh
Me: Mr. K?
Mr. K: I too enjoyed the mix of witchcraft and vampirism. Bava did his homework, both in being very familiar with the Victorian horror novel, and in the loose links between witchcraft, vampires and such in European folklore, especially Eastern Europe. I know that in some areas, a person thought to be afflicted with lycanthropy, once killed, was at great risk of becoming a vampire, so they were often buried with all sorts of preventive items, sometimes even a spike on the coffin lid that would pierce the heart if the corpse attempted to sit up. So Barbara Steele going from witch to vamp was totally believable.
Claud: [leaves to hide under the bed after Googling lycanthropy and realizing she doesn’t want any part of a discussion involving that]
Mr. K: Yes, the convoluted plot was a lot to follow for a b-grade horror flick, but I don't mind having to pay attention as long as there's a payoff. Which there was.
Me: That brings up a good point. Was it really B-grade? As you say, the dubbing is campy, but the sets are gorgeous, the effects are cool, and there is some believable emotion. Do you think it would be campy or artistic if shown in its original language?
Mr. K: I recall reading that there wasn't much of a budget for it, as it was to be a quick and dirty production. (Maybe they were looking to make cheap knock-offs of the Hammer films, the same way Sergio Leone was making cheap knock-offs of American westerns when he launched the spaghetti western movement?)
Me: [leaves, because I can’t remember a time before this lecture started]
Mr. K: The original director quit, leaving Bava – a cameraman – to take the reins, thus launching his and Barbara Steele's careers. But in terms of the look and effects, I agree. It's an A-movie stuck in the B-movie ghetto. And of course, the "B" only means that it was second in the double-feature line up. It would be interesting to know how it fared in Italy and Spain, since clearly there was enough interest to make more of the same, right up to the launch of Dario Argento's career in the mid-'70s. For a horror film, it's A all the way. In the cinema world in general, it's B, but I'll argue that the "B" here stands only for budget, 'cause I'd program it first and then put a faster, sillier film in the second half… Guys?
Summary and Conclusions: Maybe next time we’ll keep the discussion a little simpler since Claud’s attention span isn’t so great sometimes. While it wasn’t that scary, it did have its moments, and is well worth the rental price. Three paws up from me ‘n’ Claud. Merweh!
Me: The effects were cool, and the black and white made cool lighting tricks possible, and made the period more believable. It was gorgeous and had a real Nosferatu feel to it. The plot was a bit complicated at times for the likes of Claud (no offense).
Claud: None taken. Mehhhhh.
Me: I also liked the mixing of witch and vampire lore in a quasi-historical context. And any film that has doors with no handles and lamps that walk on their own is okay in my book. Overall, two Scary Stars. Pretty and at times gory, but I wasn’t scared.
Claud: Prrrrrrrr, me neither. I only left the room a few times, and that was just to er, get some water.
Mr. K: If it's stars we're giving, I give it five on looks, atmosphere, execution and originality. For a first-time directorial effort, I can only hope that Mario Bava went up from there, but it's tough to imagine topping "Black Sunday." I'm not at all surprised that he is responsible for the boom in Euro-horror during the '60s because your mention of "Nosferatu" is spot-on. Few other horrors that I've seen from that era, with the exception of the Hammer Studio films from England, have such a "look" to them. It's definitive, for sure, and I love the 80/20 ratio of chaste, Victorian-style melodrama to gutsy, mid-20th century gore. (A spike to the eyeball!? I am THERE.)
Claud: Muph! What are you, some kind of movie nerd?
Me: Well Claud, it is supposed to be “discourse.” I was trying to keep it simple, for your sake.
Claud: Can’t we just talk about it? I don’t know all the funny names. I promise I won’t get scared. Mph mph mphhh
Me: Mr. K?
Mr. K: I too enjoyed the mix of witchcraft and vampirism. Bava did his homework, both in being very familiar with the Victorian horror novel, and in the loose links between witchcraft, vampires and such in European folklore, especially Eastern Europe. I know that in some areas, a person thought to be afflicted with lycanthropy, once killed, was at great risk of becoming a vampire, so they were often buried with all sorts of preventive items, sometimes even a spike on the coffin lid that would pierce the heart if the corpse attempted to sit up. So Barbara Steele going from witch to vamp was totally believable.
Claud: [leaves to hide under the bed after Googling lycanthropy and realizing she doesn’t want any part of a discussion involving that]
Mr. K: Yes, the convoluted plot was a lot to follow for a b-grade horror flick, but I don't mind having to pay attention as long as there's a payoff. Which there was.
Me: That brings up a good point. Was it really B-grade? As you say, the dubbing is campy, but the sets are gorgeous, the effects are cool, and there is some believable emotion. Do you think it would be campy or artistic if shown in its original language?
Mr. K: I recall reading that there wasn't much of a budget for it, as it was to be a quick and dirty production. (Maybe they were looking to make cheap knock-offs of the Hammer films, the same way Sergio Leone was making cheap knock-offs of American westerns when he launched the spaghetti western movement?)
Me: [leaves, because I can’t remember a time before this lecture started]
Mr. K: The original director quit, leaving Bava – a cameraman – to take the reins, thus launching his and Barbara Steele's careers. But in terms of the look and effects, I agree. It's an A-movie stuck in the B-movie ghetto. And of course, the "B" only means that it was second in the double-feature line up. It would be interesting to know how it fared in Italy and Spain, since clearly there was enough interest to make more of the same, right up to the launch of Dario Argento's career in the mid-'70s. For a horror film, it's A all the way. In the cinema world in general, it's B, but I'll argue that the "B" here stands only for budget, 'cause I'd program it first and then put a faster, sillier film in the second half… Guys?
Summary and Conclusions: Maybe next time we’ll keep the discussion a little simpler since Claud’s attention span isn’t so great sometimes. While it wasn’t that scary, it did have its moments, and is well worth the rental price. Three paws up from me ‘n’ Claud. Merweh!
Friday, September 7, 2007
Merweh!
One dark Friday night, I heard a tiny voice.
“Merweh!” it said softly.
“Huh?” I replied.
“Mph!” it uttered, a little louder.
Claudette had been so frightened by the scary movie we were watching she had hid under the blanket. I explained to her that it was just a film. Ashamed at having shown herself to be a scaredy-cat, she resolved to learn to like scary movies. We decided to see one per week and then engage in discourse to reinforce that it was not in fact real, because real things are “discussed” or “talked about” and do not require such an academic process as “discourse.” Summaries of said discourse will be reproduced here so that when Claud gets scared, she can go online and recall her bravery.
“Merweh!” it said softly.
“Huh?” I replied.
“Mph!” it uttered, a little louder.
Claudette had been so frightened by the scary movie we were watching she had hid under the blanket. I explained to her that it was just a film. Ashamed at having shown herself to be a scaredy-cat, she resolved to learn to like scary movies. We decided to see one per week and then engage in discourse to reinforce that it was not in fact real, because real things are “discussed” or “talked about” and do not require such an academic process as “discourse.” Summaries of said discourse will be reproduced here so that when Claud gets scared, she can go online and recall her bravery.
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