Today’s horror scene that I love comes from the 1945 film, House of Dracula!
House of Dracula may not be a classic but John Carradine definitely made for an intriguing Dracula. Far more than Bela Lugosi or even Christopher Lee, Carradine matched the physical description that Bram Stoker offered up of Dracula in his famous novel — tall, aristocratic, sophisticated, and disdainful of the world around him. Of course, Carradine’s American accent is all wrong for the role but no matter. He’s Carradine!
This scene features Carradine as Dracula, casting his hypnotic spell.
4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films is all about letting the visuals do the talking.
This October, I am going to be using our 4 Shots From 4 Films feature to pay tribute to some of my favorite horror directors, in alphabetical order! That’s right, we’re going from Argento to Zombie in one month!
Today’s director is one of the great Spanish horror directors, Amando de Ossorio!
4 Shots From 4 Films
Malenka, the Vampire’s Niece (1969, dir by Amando de Ossorio)
Tombs of the Blind Dead (1971, dir by Amando de Ossorio)
The Ghost Galleon (1974, dir by Amando de Ossorio)
Night of the Seagulls (1976, dir by Amando de Ossorio)
Today’s horror film on the lens is Edward D. Wood’s 1955 epic, Bride of the Monster.
(Much like Plan 9 From Outer Space, around here, it is a tradition to watch Bride of the Monster in October.)
The film itself doesn’t feature a bride but it does feature a monster, a giant octopus who guards the mansion of the mysterious Dr. Vornoff (Bela Lugosi). Vornoff and his hulking henchman Lobo (Tor Johnson) have been kidnapping men and using nuclear power to try to create a race of super soldiers. Or something like that. The plot has a make-it-up-as-you-go-along feel to it. That’s actually a huge part of the film’s appeal.
Bride of the Monster is regularly described as being one of the worst films ever made but I think that’s rather unfair. Appearing in his last speaking role, Lugosi actually gives a pretty good performance, bringing a wounded dignity to the role of Vornoff. If judged solely against other movies directed by Ed Wood, this is actually one of the best films ever made.
A 1971 Belgian-Italian co-production, The Devil’s Nightmare opens with a sepia-toned flashback to the closing days of World War II. A child has been born to the Nazi general, Baron von Rohnberg (Jean Servais) but after the Baron learns that the baby is female, he orders that she be killed. It’s a brutally effective little opening, all the more so because there is no greater evil than a Nazi with money and a title. As with many European horror films, the crimes and sins of Hitler cast a shadow over every scene of The Devil’s Nightmare.
Years later, like many Nazi noblemen, the Baron remains free. He lives in his isolated castle, occasionally letting tourists stay for the night while he practices his experiments in the basement. A reporter comes by and pays a steep price for refusing the Baron’s orders not to take any pictures. When her body is found, she has a hoof-shaped burn on her arm. The sign of the devil, we are told.
Meanwhile, a bus takes a wrong turn and gets lost. The tourists on the bus are a typical collection of Eurohorror types: the greedy woman, the bitter old businessman who loudly proclaims his atheism, the fighting husband and wife, and, of course, Alvin (Jacques Monseau), the seminarian. The tourists meet a strange man (Daniel Emilfork) who directs them to the Baron’s castle, where they can stay until the ferry arrives the next day.
As the tourists explore the castle and get to know the Baron (who shares the story of how his family came to be cursed), a storm develops outside. And, finally, one last guest arrives. Her name is Lisa Muller (Erika Blanc) and, over the course of the night, everyone in the castle will be tempted.
The Devil’s Nightmare is a personal favorite of mine. Now, I have to admit that, to a large extent, that’s because The Devil’s Nightmare is about a redhead named Lisa and I am a redhead named Lisa. However, beyond that, The Devil’s Nightmare works surprisingly well. What it may have lacked in a production budget, The Devil’s Nightmare makes up for atmosphere. The castle is a wonderfully creepy location and, as played by Jean Servais, the Baron becomes a potent symbol of aristocratic decay. Daniel Emilfork brings an eccentric flair to his role and, even if he is basically playing the movie’s most boring character, Jacques Monseau is sympathetic and believable as the upright seminarian.
That said, this film belongs to Erika Blanc, who basically grabs hold of the movie and then dares anyone to try to take it away from her. Thoughout the film, Blanc shifts from elegant to evil and back again and she makes it all look not only easy but totally natural as well.
Finally, The Devil’s Nightmare ends with a twist that you’ll see coming from a mile away but that doesn’t make it any less satisfying.
The Devil’s Nightmare is one of those films that seems to have been included in almost every “Classics of Horror” box set that Mill Creek has ever released. So, you probably have a copy even if you don’t realize it! Track it down, turn off all the lights, and watch.
“The film so shocking that apparently some theater chains distributed barf bags to patrons as they entered the theater!”
When I first heard about that, I figured that had to be a PR stunt, proof that the 70s grindhouse ethos was still alive in 2017. However, upon doing a little research, I came across several reports that some audience members actually had fainted and/or became physically ill while watching this French-Belgian cannibal film. Apparently, Raw was just too raw for them.
Now, I have to admit that I may be jaded as the result of spending the last few years watching countless Italian horror films. Whether the eating was being done by zombies or an undiscovered tribe in the Amazon Rain Forest, the Italians pretty much perfected the use of cannibalism of a plot device. And, with its vibrant color scheme and its emphasis on the blood, guts, and muscles that lay directly underneath the skin, Raw certainly does feel like a bit of an homage to those old Italian films. However, the film takes a rather clinical (though, at time, dryly humorous) approach to its subject. In that way, Raw has more in common with the sleek body horror of early David Cronenberg than the films of Umberto Lenzi or Ruggero Deodato.
It tells the story of two sisters, both of whom are attending a demanding veterinary school. At first, the two sisters might seem like opposites. Justine (Garance Marillier) is the younger of the two. She is driven to succeed and, as a result, has experienced little over the course of her short life. She is not only a virgin but she is also a lifelong vegetarian. She has never tasted meat, both literally and metaphorically. She has an awkward crush on her roommate, Adrien (Rabah Naït Oufella), despite the fact that Adrien is gay. Her sister, Alexia (Ella Rumpf), appears to be the wilder of the two. The dynamic between Justine and Alexa is a familiar and it’s well-portrayed by Marillier and Rumpf. Anyone who has a sister will recognize it. Despite the strong bond that the two share, it’s obvious that a good deal of Justine’s drive is the result of feeling as if she has to make up for Alexia’s lack of direction.
Of course, Alexia and Justine are not total opposites. In fact, they have one thing very much in common. They both find themselves craving human flesh. At the start of the film, Justine freaks out when, as part of a hazing ritual, she is splashed with blood and forced to eat a rabbit kidney. It leads to her getting a nasty rash, the result of food poisoning. However, as her father tells her, once an animal has tasted blood, it will never be the same again. Soon, Justine is craving both meat and sex, which leads to everything from eating raw chicken to almost biting off a guy’s lower lip. And, of course, there’s the time that Alexia accidentally cuts off her finger…
Raw is a movie that mixes cannibalism with a coming-of-age story. Imagine Mona Lisa Smile if the cast ended up eating each other. (Actually, that’s a terrible and inaccurate comparison. I just liked the way it sounded.)
Yes, Raw is graphic. If you can’t handle the sight of blood then maybe you shouldn’t watch Raw because Raw is drenched in it. That said, for me, the scene that left me trembling was when Justine got a Brazilian wax. Seriously, that had me screaming in shared pain…
Raw is a well-acted, well-directed, and often a rather audacious film. For me, the most powerful part of the film is not the mix of flesh-eating and sexual awakening. It’s the relationship between Justine and Alexia. Garance Marillier and Ella Rumpf are totally believable as sisters and every detail of their relationship rings true. You may not agree with some of the choices that the sisters make in the film but they all ring true.
I recommend Raw. I’m sure some people will find it to be disgusting but, to me, this is a well-made and intelligent film that deserves to be seen.
4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films is all about letting the visuals do the talking.
This October, I am going to be using our 4 Shots From 4 Films feature to pay tribute to some of my favorite horror directors, in alphabetical order! That’s right, we’re going from Argento to Zombie in one month!
Today’s director is the master of Canadian horror, the one and only David Cronenberg!
Watching Ed Wood’s infamous Plan 9 From Outer Space is something of an October tradition here at the Shattered Lens! And you know how much I love tradition! (Add to that, with everyone currently so excited over the Last Jedi trailer, today seems like a good time to share the greatest sci-fi film of all time.)
Some people say that this film has a reputation for being the worst film ever made. Personally, I don’t think that it deserves that reputation. Is it bad? By traditional standards of quality, I guess it can be argued that Plan 9 From Outer Space is a bad movie. But it’s also a lot of fun and how can you not smile when you hear Criswell’s opening and closing statements?
(On another note: Watch this as quickly as you can because, over the least year or so, it seems like all the films of Ed Wood get yanked off YouTube as soon as they are posted. Copyright violations, they say. Personally, I think that’s shameful. First off, Ed Wood is no longer alive. Wood had no children and his widow died in 2006, having never remarried. Whatever money is being made off of his films is not going to support his family. Wherever he is, I think Ed would be more concerned that people see his films than some faceless corporation make money off of them.)
(It seems like, every year, someone threatens to either remake Plan 9 or produce a sequel. Again, the original is all that is needed.)
4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films is all about letting the visuals do the talking.
This October, I am going to be using our 4 Shots From 4 Films feature to pay tribute to some of my favorite horror directors, in alphabetical order! That’s right, we’re going from Argento to Zombie in one month!
Today’s director is the great Wes Craven!
4 Shots From 4 Films
A Nightmare on Elm Street (dir. by Wes Craven)
Deadly Friend (1986, dir by Wes Craven)
Wes Craven’s New Nightmare (1994, dir by Wes Craven)