Look at me/I’m Sandra Dee….
First released in the groovy and psychedelic year of 1970, The Dunwich Horror stars Sandra Dee as Nancy, an somewhat innocent grad student at Massachusetts’s Miskatonic University. When the mysterious Wilbur Wheatley (Dean Stockwell) comes to the university and asks to take a look at a very rare book called The Necronomicon, Nancy agrees. She does so even though there’s only one edition of The Necronomicon in existence and it’s supposed to be protected at all costs. Maybe it’s Wilbur’s hypnotic eyes that convince Nancy to allow him to see and manhandle the book. Prof. Henry Armitage (Ed Begley) is not happy to see Wilbur reading the book and he warns Nancy that the Wheatleys are no good.
Nancy still agrees to give Wilbur a ride back to his hometown of Dunwich. She finds herself enchanted by the mysterious Wilbur and she’s intrigued as to why so many people in the town seem to hate Wilbur and his father (Sam Jaffe). Soon, she is staying at Wilbur’s mansion and has apparently forgotten about actually returning to Miskatonic. She has fallen under Wilbur’s spell and it soon becomes clear that Wilbur has sinister plans of his own. It’s time to start chanting about the Old Ones and the eldritch powers while naked cultists run along the beach and Nancy writhes on an altar. We are in Lovecraft county!
Actually, it’s tempting to wonder just how exactly H.P. Lovecraft would have felt about this adaptation of his short story. On the one hand, it captures the chilly New England atmosphere of Lovecraft’s work and it features references to such Lovecraft mainstays as Miskatonic University, the Necronomicon, and the Old Ones. As was often the case with Lovecraft’s stories, the main characters are students and academics. At the same time, this is very much a film of the late 60s/early 70s. That means that there are random naked hippies, odd camera angles, and frequent use of the zoom lens. The film makes frequent use of solarization and other psychedelic effects that were all the rage in 1970. Lovecraft may have been an unconventional thinker but I’m still not sure he would have appreciated seeing his fearsome cult transformed into a bunch of body-painting hippies.
Really, the true pleasure of The Dunwich Horror is watching a very earnest Sandra Dee act opposite a very stoned Dean Stockwell. Stockwell was a charter member of the Hollywood counterculture, a friend of Dennis Hopper’s who had gone from being a top Hollywood child actor to playing hippie gurus in numerous AIP films. As for Sandra Dee, one gets the feeling that this film was an attempt to change her square image. When Wilbur tells Nancy that her nightmares sound like they’re sexual in origin and then explores her feelings about sex, Nancy replies, “I like sex,” and it’s obviously meant to be a moment that will make the audience say, “Hey, she’s one of us!” But Sandra Dee delivers the line so hesitantly that it actually has the opposite effect. Stockwell rather smoothely slips into the role of the eccentric Wilbur. Wilbur is meant to be an outsider and one gets the feeling that’s how Stockwell viewed himself in 1970. Sandra Dee, meanwhile, seems to be trying really hard to convince the viewer that she’s not the same actress who played Gidget and starred in A Summer Place, even though she clearly is. It creates an oddly fascinating chemistry between the two of them. Evil Wilbur actually comes across as being more honest than virtuous Nancy.
Executive produced by Roger Corman, The Dunwich Horror is an undeniably campy film but, if you’re a fan of the early 70s grindhouse and drive-in scene, it’s just silly enough to be entertaining. Even when the film itself descends into nonsense, Stockwell’s bizarre charisma keeps things watchable and there are a few memorable supporting performances. (Talia Shire has a small but memorable roll as a nurse.) It’s a film that stays true to the spirit of Lovecraft, despite all of the hippies.
Through the Shattered Lens 