This October, I’m going to be doing something a little bit different with my contribution to 4 Shots From 4 Films. I’m going to be taking a little chronological tour of the history of horror cinema, moving from decade to decade.
Today, we continue the 80s!
4 Shots From 4 Films
The Living Dead Girl (1982, dir by Jean Rollin)
Poltergeist (1982, dir by Tobe Hooper)
Videodrome (1983, dir by David Cronenberg)
Nightmare on Elm Street (1984, dir by Wes Craven)
This October, I’m going to be doing something a little bit different with my contribution to 4 Shots From 4 Films. I’m going to be taking a little chronological tour of the history of horror cinema, moving from decade to decade.
Today, we start the savage 70s!
4 Shots From 4 Films
The Shiver of the Vampires (1970, dir by Jean Rollin)
The Abominable Dr. Phibes (1971, dir by Robert Fuest)
The Last House On The Left (1972, dir by Wes Craven)
The Exorcist (1973, dir by William Friedkin)
John Carpenter’s contribution and influence in horror and genre filmmaking could never be disputed. This man’s films, especially his work from the 70’s and early 80’s have made him one of the undisputed masters of horror (joined by such contemporaries as Wes Craven and George A. Romero). While his worked had become so-so at the tail-end of the 1990’s and quite sparse during the 2000’s his name still evokes excitement whenever something new comes out where he’s intimately involved in it’s creation (these days a series of synth-electronic albums).
It was during the mid-1990’s that we saw a John Carpenter already tiring of constantly fighting the Hollywood system, yet still game enough to come up with some very underrated and underappreciated horror and genre films. One such film was 1995’s In the Mouth of Madness. This was a film that didn’t so well in the box office yet has become a cult horror classic since. Part of his unofficial Apocalypse Trilogy (The Thing and Prince of Darkness the other two), In the Mouth of Madness combined Lovecraftian eldritch horror with the horror of the mundane that made Stephen King so popular with the masses.
This scene early in the film just showcases not just Carpenter’s masterful camera and editing work, but was ahead of its time in exploring the toxic nature of fandoms and groupthink. In 1995 such a concept might have been relegated to B-movie horror, but in 2016 it’s become synonymous with such everyday occurrences and topics as Gamergate, Tea Party and Trump supporters to SJW crusaders, Marvel vs. DC and Democrats and Republicans. Everyone believes their group to be the only righteous in whatever argument they happen to be part of and everyone else must be silenced (and in the scene below silenced equates to death).
John Carpenter might have turned into that old and cantankerous, albeit cool, dude who couldn’t care less what you thought of him, but it seems that he saw what was happening today as far back as the 1990’s.
(Credit: Gracja Waniewska)
Last night, we were all stunned by the news that director We Craven had passed away after a battle with brain cancer. If you want to see a great tribute to Craven, check out this 4 Shots From 4 Films that Arleigh posted on his birthday. If you want to read a great reflection of Wes Craven and his career, check out this tribute from Ryan the Trashfilm Guru.
As for me, I’m going to share an anecdote and then, I’m going to pay tribute to Wes with a six trailer salute.
First, the anecdote. I can still remember the first time that I ever watched Last House On The Left. It was a film that I had mixed feelings about. On the one hand, as a horror lover, I could not help but be impressed by the terrifying performances of Fred Lincoln and David Hess. I could not help but by moved by the way Hess’s haunting song, Now You’re All Alone, was used in the film. And, as low-budget and exploitive as the film may have been, I could see that Wes Craven was more interested in critiquing sadism than in celebrating it.
At the same time, it was still an unpleasant film for me, as a woman, to watch and the addition of some clumsy humor pretty much confirmed that Craven was still finding his way as a filmmaker. It was one of those films that I knew, as a horror fan, I had to watch but I wouldn’t say that I enjoyed it.
However, that night, I did end up watching the movie twice. I watched it a second time so that I could listen to the commentary from Wes Craven and producer Sean S. Cunningham. And — oh my God — both of these guys were so funny and charming! Craven, especially, seemed to enjoy pointing out scenes that didn’t quite work and the frequently awkward dialogue that he had written. Craven and Cunningham both came across as being two of the nicest guys in the world and it was indeed an experience to hear them cheerfully talking while these absolutely vile images were flickering by onscreen.
And really, that taught me an important lesson and it’s one that I remember to this day. Whenever I hear some judgmental know-it-all claiming that only a sick person could direct or write a horror movie, I remember that charming Wes Craven audio commentary.
And now, here are six trailers for six of Wes Craven’s films.
Wes Craven, R.I.P.
Whatever words I have to say about Wes Craven would never be enough. But here’s my pathetic attempt at a tribute, anyway.
If I had a dime for every time I heard “I didn’t even know Wes Craven was ill” today, I’d be a very wealthy man. And if I could add in the times I said it myself, I’d be doubly rich. Sadly, no one’s paying me for either either hearing or saying it, so all that means is that we’re stuck with the shitty reality that one of the true masters of modern horror is no longer with us. And I’m still broke. The latter,can probably be fixed — the former, tragically, can’t.
Brain cancer is an especially horrific way to go, and I hope that Wes was surrounded by family and friends and went peacefully into the land of eternal sleep and nightmare. I add “nightmare” in there because, let’s face it, he’d probably be bored in an afterlife that was all rainbows, candy, sunshine, and smiles. I’m sure…
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Today is the birthday of one of the masters of horror. So, here’s wishing Wes Craven a happy birthday.
Now, go out there and check out his films. Here’s a four to try out. It’s got voodoo, a thing from the swamp, a street full of nightmares and, the one that started him off, the very last house on the left.
4 SHOTS FROM 4 FILMS
Swamp Thing (dir. by Wes Craven)
A Nightmare on Elm Street (dir. by Wes Craven)
The Last House on the Left (dir. by Wes Craven)
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.
Tonight, the film community is in shock following the news of the passing of award-winning composer James Horner. Our latest installment of 4 Shots From 4 Films is dedicated to to the memory of this talented artist.
The four shots below all come from films that feature a score composed by the great James Horner.
Deadly Blessing (1981, dir by Wes Craven)
The Journey of Natty Gann (1985, dir by Jeremy Kagan)
The New World (2005, dir by Terrence Malick)
Cristiada, also known as For Greater Glory (2012, dir by Dean Wright)
“I want to hear you scream.” — Dargent Peytraud
All I can say about this scene is that I guarantee every guy who watches this will want to cross their legs tight. They may just scream as well just as a reflex action to what happens in the end.
Yet, as one watches this torture scene of the main lead in the film the audience never really sees anything. Everything’s implied and we see signs of what’s about to happen throughout the segment.
The Serpent and The Rainbow continues to be one of my favorite horror films and one of my favorite Wes Craven offerings.
Much like yesterday’s offering of Summer of Fear, today’s horror on the lens is a made-for-tv movie directed by Wes Craven.
First televised in 1984, Invitation to Hell is a wonderfully over-the-top depiction of what happens when an engineer (Robert Urich) sells out and goes to work for a big evil corporation. Long story short, Satan (in the form of Susan Lucci) takes over his family. Admittedly, this film does start slowly but, in the end, it’s a lot of fun.
Today’s horror on the lens is a 1978 made-for-TV movie that was directed by Wes Craven. Originally entitled Stranger In Our House, it was retitled Summer of Fear when it was released into theaters in Europe. Personally, I think Summer of Fear is a better title. It has a fun R.L. Stine feel to it.
As for the film itself, it tells the story of what happens when the recently orphaned Julia (Lee Purcell) moves in with her cousins in California. At first, Julia fits right in with her new family but, slowly and surely, her cousin Rachel (Linda Blair) comes to suspect that Julia might be a witch. And hey, who can’t relate to that? Seriously, everyone has that one cousin…
And, it’s actually pretty good. Working within the confines of what could and could not be shown on TV in the late 70s, Craven managed to make an effective little thriller.
Through the Shattered Lens 