Author Archives: cmsaunders

About cmsaunders

I write stuff. Pretty much any stuff. My dark fiction has appeared in Asphalt Jungle, Raw Nerve, Roadworks, Dark Valentine, Screams of Terror, Shallow Graves, Fantastic Horror, The Literary Hatchet, Gore and numerous anthologies. My first book, Into the Dragon's Lair – A Supernatural History of Wales was published back in 2003, and I've worked extensively in the freelance journalism industry, contributing features to numerous international publications including Fortean Times, Bizarre, Urban Ink, Loaded, Record Collector, Maxim, and a regular column to the Western Mail newspaper. I lived in China for over five years where I taught English during my search for enlightenment, before moving back to the UK in January 2013 to work as staff writer on Nuts magazine. Later, I was senior writer on Forever Sports magazine and associate editor at Coach magazine, before leaving to chance my arm in the world of pro freelance. In recent times I've devoted more time to dark fiction, my latest releases being Human Waste (Deviant Dolls Publications), Tethered (Terror Tract Publishing) and X4, my fourth anthology of short fiction. I also edit, copy write, proofread and ghost write, and drink far too much craft beer.

Tethered is out now!

My new novella, Tethered, is out now on Terror Tract Publishing.

Tethered

Craig, a journalism graduate trying desperately to get a foothold in a fading industry, is going nowhere fast. While searching for a project to occupy himself, he stumbles across a blog written by a girl called Kami about internet rituals – challenges undertaken by those seeking to make contact with ghosts or other supernatural entities.

Craig becomes obsessed, and when Kami suddenly disappears he goes in search of her. From there he is powerless to prevent his life spiralling out of control as he is drawn deeper and deeper into a dark, dangerous world where nothing is quite what it seems. A world populated not just by urban myths and hearsay, but by real-life killers.

He thinks he is in control, but nothing can be further from the truth.

Tethered is available now on paperback and ebook from Terror Tract Publishing.


The Alarm – Stream (Hurricane of Change) (review)

The Alarm were bothering the charts long before the triumphant one-two combination of Equals and Sigma. Between 1987 and 1989 they released a trio of seminal albums beginning with Eye of the Hurricane and ending with Change, with the live mini-album Electric Folklore sandwiched in between. The late eighties were turbulent times, not just for the band, who despite arguably being at their commercial and creative peak were beginning to be torn apart by internal politics and squabbling, but also in a wider social context. This was the aftermath of the Miner’s strikes, and when the Berlin Wall fell shortly afterwards it catapulted Europe and the rest of the world into a period of seismic change. While all this was going on, lead singer Mike Peters travelled extensively through his homeland of Wales in a bid to rediscover his roots. During that period of intense retrospection he wrote extensively, many of the lyrics eventually being incorporated into the songs which appeared on the original albums while others fell by the wayside and still others remained unfinished or in some cases even unwritten.

Though it was their third official release (fourth if you count the debut EP) the original Eye of the Hurricane was the first Alarm record I ever bought, and I soon busied myself filling out my collection. The fact that I ended up with some of that collection on vinyl, some on cassette, and some on CD was perhaps indicative of the uncertainty of the times. The thing that resonated with me most wasn’t the anthemic, fist-pumping choruses or impassioned musicianship, though those things definitely played a part, but more the lyrics. In a landscape consisting mostly of Bon Jovi and Guns N Roses clones, it was refreshing to hear someone singing about the place where I was from, and about the things that mattered to me, especially at that stage in my life. I was 13 or 14, and things are especially confusing then. You begin to ask questions and seek meaning, and it wouldn’t be too much of a stretch to say that the Alarm’s music helped me find answers to some of those questions.

Thirty years later, Peters has revisited that period and put all the material in a modern context, recently commenting:

I have always thought of these three albums as an Alarm trilogy. A lot happened to the band and the world, during the writing and recording sessions from 1987-1990. As one decade bled into another, the themes of response and resolve to contend with uncertain times are running through the core of each and every album. Played together, these songs tell their own story and, with the tumultuous times Europe and the USA can expect to face in the coming months and years, are still as relevant today as when they were first written.”

STREAM-ILLUSTRATION2-1024x1024

The original tracks have been re-recorded or even re-imagined, those unfinished or unwritten songs have finally been laid down, and the whole thing adapted into a sprawling double album called Hurricane of Change tied together with segments of poetry and spoken-word narratives. Mike Peters has adopted a similar approach in recent years with re-recordings of earlier Alarm albums Declaration and Strength which, though critically and commercially well received, split much of the fanbase with some appreciating the new interpretations and others maintaining that the original recordings should be left as they are. My stance has always been firmly in the former camp. I enjoy hearing different versions of my favourite songs. Always have. Remixes, remasters, covers, demos, acoustic or live versions, bring them on. Music, like life, is always progressing and evolving whether we like it or not. If your favourite flavour ice cream is strawberry, it doesn’t mean you can’t also enjoy the occasional scoop of mint choc chip as well. Besides, the hardcore traditionalists will always have the original recordings by the original line-up. It’s not like anyone is forcing them to surrender their record collection at gunpoint.

This is an ambitious project, told in chronological order with the emotive autobiographical spoken-word parts delivered by Peters, with a supporting cast of members including his wife Jules, and other members of the band, all adding depth and a theatrical quality that was missing from the originals. Most of the re-imagined songs, slower-paced and piano-heavy, bear little relation to the original versions. Rain in the Summertime and Rescue Me, two of the band’s biggest hits, are virtually unrecognisable. Of the new songs, for me Ghosts of Rebecca and The Ballad of Randolph Turpin stand out both lyrically and sonically dealing, as they do, with folk heroes and uprisings, and really do sound at home in this setting. The first disc (dubbed Downstream) presents the Eye of the Hurricane album, where the new songs serve as missing pieces. The second disc (Upstream) is comprised of tracks originally found on the Change album, including Where a Town Once Stood which I tactfully re-purposed as the title of one of my stories recently, as well as a few b-sides recorded around the same time and another new song, A New Day. The whole package makes a worthy addition to any Alarm fan’s collection, serving to put the original albums in context and take the songs down a different, lyrically-focused route where there is more of an impetus on mood, atmosphere, and storytelling rather than eighties radio-friendly pomp.

Watch the official trailer for Hurricane of Change HERE.

Peters describes the recording process thus:

“By looking at the lyrics afresh, I have now been able to fully realise what I was grasping for as a songwriter and lyricist in 1987-1989. Back then, my confidence had been blunted by a difficult creative process, and I had always privately felt that there was a lot more left to be discovered within the original body of music. With these new recordings, I have been able to realise a torrent of new possibilities and emotions and, in turn, draw them out of the very same songs. By recording Hurricane of Change in this new way, I feel that I have been able to liberate my original lyrical vision and re-present the music in a way that I believe, is just as relevant, if not more vital than ever before.”

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Go HERE for merchandise, tickets, and Alarm/Mike Peters recordings.

 


RetView #35 – Hide and Go Kill (2008)

Title: Hide and Go Kill

Year of Release: 2008

Director: Tomoya Kainuma

Length: 72 mins

Starring: Saki Yamaguchi, Haruka Misaki, Rui Ono, Aimirora

Hide and Go Kill

I’ve been quietly obsessed with internet rituals for a few years now, ever since I stumbled across something about the mysterious death of Elisa Lam online. Merging technology and the paranormal, which could be a metaphor for Japanese horror itself, internet rituals (or games) have cropped up in my writing several times, not least in my forthcoming novella Tethered, and Hitori Kakurenbo which translates to ‘hide and seek alone’ and was my contribution to 100 Word Horrors 2. Hide and Go Kill is based on the same ritual. In true urban legend fashion, the details vary between sources but in a nutshell, the instructions are as follows:

Get a doll, remove the stuffing, replace it with rice, throw in some of your blood or nail clippings (gross) then sew it back up with red thread and give it a name. Preferably something good and scary. At 3 am, turn off all the lights but leave on the TV then go to the bathroom, fill a bucket full of water, and place the doll inside. Saying “I see you (name),” stab the doll with a sharp knife, then go and hide. If you manage to perform the ritual correctly, you’ll soon start to experience certain unexplained phenomena like hearing noises from an empty room and then, you guessed it, the doll will come to find you, hence the name ‘hide and seek alone.’ Either that, or you might commit suicide or disappear without trace. Good times had by all!

The movie version opens with one of those simple yet spooky white-on-black introduction sequences consisting of what’s (I think) meant to be an exchange between several people on the comment section a blog, one of whom is explaining that a friend of theirs played hide and seek alone and didn’t come out of it very well. The film proper begins in a Japanese classroom. If you’re a fan of J-Horror as I am, you’ll know that all the best twisted shit starts in Japanese classrooms, and Hide and Go Kill is no different. Here, there’s a girl called Midori (model and actress Yamaguchi) reading a blog on her phone and remembering her absent friend, Fumika, who after being jilted by her lover and bullied at school discovered the Lonely Girl blog and tried repeatedly to persuade Midori to play hide and seek alone (“Fuck the fuck off, Fumika!”). Eventually she succumbs, of course she does. The blog, and by extension, the game, spreads, and the horror takes hold. The film is essentially an anthology of sorts, each segment following a different person’s experience with the common denominator being the blog (poorly translated in the movie as a ‘mobile novel’) and the ritual it pertains to, culminating with the origin story. True, this movie follows a popular template and in places is slightly derivative of certain J-Horror staples, notably Ringu. Also, the subtitles are atrocious.

***OMINOUS MUSIC!***

In a scathing review, BloodyGoodHorror.com  said, “It’s boring. Real boring. Each story also has to show how the characters first learned about this stupid game. In each case, it’s through some text-message released novel called “Lonely Girl”. As described in the film, “Lonely Girl” is so dark and twisted that very few people would read it. Problem is, every single fucking person in the movie reads it. As do all of their friends.”

Well, you know what they say about opinions.

Mine happens to be that while it is far from perfect, Hide and Go Kill isn’t completely without merit. In fact, as a concept it’s pretty damn good. At the time of release over a decade ago it was quite innovative, and it benefits greatly from the general skin-crawling creepiness so often associated with J-horror. Mood. You won’t find much about it online, apart from a few mixed reviews and a very basic IMDB listing. I couldn’t, anyway. Despite spawning a sequel a couple of years later (Hide and Go Kill 2 or, alternatively, Creepy Hide and Seek, which has to be the worst name for a movie ever) it’s almost like the film slipped completely under the radar. However, if by chance you have Amazon Prime you can watch it in full there. Don’t forget to turn on the subtitles, unless you happen to be fluent in Japanese.

Trivia Corner:

Word is that the movie spawned the ritual, rather than the other way around. Clever producers or PR people invented the game and floated it out to popular message boards as a form of guerrilla marketing where it soon took on a life of its own.

Tethered is available for pre-order now on Terror Tract Publishing.


Burnt Fur

My short story, The Others, is included in the furry-themed anthology Burnt Fur, edited by Ken MacGregor, and available now on Blood Bound Books.

BBB, who have previously published my stories The Devil & Jim Rosenthal in DOA and Subject #270374 in DOA III, are one of my favourite publishing companies, and it’s always a pleasure to work with them. We have something else in the pipeline for 2020, more details of that project to follow soon.

Right now, it’s all about the Burnt Fur…

Burnt Fur

“Burnt Fur: An Anthology of Horror is easily one of my favourite modern horror anthologies. There isn’t a bad story amongst the bunch with some just lacking the extra spark to really get the horror juices flowing.”

From the review by Games, Brrraaains & a Headbangin’ Life

My contribution, the Others, has an interesting back-story. A few years ago when I lived in Hunan Province, China, I started dating a local girl called Ebony. That’s not her real name, by the way. I couldn’t even pronounce her Chinese name, let alone remember it. I called her Ebony because she had beautiful dark skin. One day she told me a story. She said when she was little, she would see animals which looked a bit like ‘friendly bears,’ interacting with people around her. Some were big, some were small, they wore colourful clothing and seemed to communicate with each other. Strangest of all was that apparently nobody could see these things except her. She thought she was going mad, and when she was telling me about this, her eyes filled with tears. Telling someone about this was a big thing for her.

I didn’t know what to think. It’s not something you hear every day. I didn’t doubt her sincerity for a moment. I sympathised because she was relating what had obviously been a traumatic experience for her, or numerous traumatic experiences, as it hadn’t been a one-off incident. These bear-like creatures were around for years. The question was, what did she see? Were these things real? Transgressors from another dimension, maybe? Or was it all in her mind?

I never did find out. Our relationship fizzled out soon after. But her weird confession formed the basis of this story. I also wanted to say something about the convenience and the increasing prevalence of online dating. Because on the internet, you’re never really 100% sure who you’re talking to. 

Is that creepy enough for you? If not, why not slip into your Fursona and see what else Burnt Fur? has to offer?

Burnt Fur Available now on paperback and ebook.


Year One – Dark Moments Anthology

My drabble, The Bell, is included in Year One, the first Dark Moments anthology from Black Hare Press with a whole host of stellar names.

Again, fuck cancer.

Year One

Year One is available now on paperback and ebook.


Tethered – Cover Reveal

My new novella, Tethered, is coming out soon on Terror Tract Publishing LLC. More details to follow shortly. In the meantime, I just wanted to share the amazing cover with you, designed by the super-talented Becky Narron. It conveys the mood perfectly, and I can’t wait to share my latest creation with you.

Tethered

Tethered is available for pre-order from Terror Tract Publishing now.


RetView #34 – Dr. Terror’s House of Horrors (1965)

Title: Dr. Terror’s House of Horrors

Year of Release: 1965

Director: Freddie Francis

Length: 98 mins

Starring: Peter Cushing, Christopher Lee, Neil McCallum, Alan Freeman, Max Adrian, Ann Bell, Donald Sutherland, Roy Castle.

dr terrors house of horrors

I love a good anthology film. It’s like getting four stories (or in this case, five) for the price of one. This little gem, not to be confused with the unrelated Dr. Terror and his Gallery of Horrors (1967), was the first in a series of horror omnibuses made by the Shepperton Studios-based Amicus Productions between 1965 and 1974.  Later, more accomplished efforts included The House that Dripped Blood (1970), Tales from the Crypt (1972) and the outstanding Vault of Horror (1973). One of the company’s founders, American Milton Subotsky, also wrote the screenplay for Dr. Terror’s House of Horrors, among other things, and later in his career went on to work on several Stephen King adaptations, notably Maximum Overdrive (1986) and Sometimes They Come Back (1991).

Five men board a train at a London station and are joined by a mysterious sixth, the enigmatic and, quite frankly, scary as fuck Dr. Schreck (Cushing). The name, he helpfully explains, is German for ‘terror,’ like that’s going to make anyone feel better. Dr. Schreck then whips out a deck of tarot cards, which he calls his ‘house of horrors,’ and proceeds to reveal the destiny of each of the travellers in turn. Again, not creepy at all. By this time, you are beginning to think that this dude is an absolute riot at parties. The preamble provides the backdrop and framework in which to tell five separate stories, all connected by the aforementioned scenario.

Werewolf: The title kinda gives this one away, except it doesn’t really, if you know what I mean. The narrative follows Jim Dawson (McCallum) who returns to his ancestral home on a remote Scottish island where he finds himself embroiled in the culmination of a family curse and a centuries-old feud. This isn’t quite as straight-forward as it sounds, and the twisty ending is really quite clever.

Creeping Vine: Bill Rogers (Freeman) and his wife (Bell) return from holiday to find a creepy (boom!) vine growing in the garden. Soon, the vine develops a life of its own, along with a killer instinct. This one could almost be lifted straight from a vintage edition of Tales from the Crypt.

Voodoo: Biff Bailey (Castle) is a jobbing musician who accepts a gig in the West Indies where he stumbles across a voodoo ceremony. He memorizes the tune they are playing, and despite being warned, goes back to London and plays it, thereby unwittingly unleashing all manner of fuckery. Plagiarism is not cool, kids. ‘Probably’ based on a short story by Cornell Woolrich who, ironically enough given the subject matter, is uncredited.

Disembodied Hand: This one is, ahem, hands down the grisliest, and probably the best, story of the lot. It follows the misadventures of pompous art critic Franklyn Marsh (Lee) who falls victim to karma after causing a tortured artist to lose his hand.

Vampire: Dr. Bob Carroll (Sutherland) returns to the states with his new French bride. Back home, a spate of killings occurs, which seem to have been carried out by a vampire. Bob’s friend (Adrian), convinces him that his pretty new wife is responsible for the murders and Bob kills her. However, as he is being led away by the police, the friend says to himself that the city isn’t big enough for two doctors, or two vampires, and turns into a bat. The bastard.

As you can see, all the stories have twists, and this tradition is continued within the wraparound story, as in the end it is revealed that all five men were already dead, having copped it when the train they boarded crashed, and Dr. Schreck was actually death himself. Wow, right?

As they did in The Hound of the Baskervilles, and just about every other film they ever appeared in together, Peter Cushing and Christopher Lee, the horror film equivalent of Starsky and Hutch, put in a couple of truly memorable performances. In fact, the entire cast excels. A special mention should also go to the director Freddie Francis, who achieved most of his success as a cinematographer, winning two Academy Awards and working on classics such as The Elephant Man (1980), Dune (1984) and Cape Fear (1991). All this natural talent, combined with the overall tongue-in-cheek approach and clever, quirky writing, makes Dr. Terror’s House of Horror a worthy addition to any horror collection.

Trivia Corner:

Jazz musician Acker Bilk was originally cast to play the part of Biff Bailey, but he suffered a heart attack and was replaced by Roy Castle, later of Record Breakers fame, in his theatrical movie debut.


Brothers in Arms at 35

“Carefully crafted instead of raucous, pretty rather than booming, and occasionally affecting, the record is beautifully produced, with Mark Knopfler’s terrific guitar work catching the best light.”

Rolling Stone

F

Brothers in Arms, the fifth studio album by English rock royalty Dire Straits was released 35 years ago this week, which probably makes it older than most of the people reading this. If you do remember it, you are no doubt feeling old as fuck right now.

You’re welcome.

Brothers in Arms was an instant phenomena, hitting number one in 12 countries (though weirdly, it didn’t even crack the top 100 in France) and holding the top slot in the UK for an incredible 14 consecutive weeks, where it became the first album to ever be certified 10 x platinum. It also became the first CD to sell over a million copies, and is still the eighth best-selling album in British chart history. Even considering how the music industry has evolved, you just don’t get numbers like that these days. The album not only represented the pinnacle of the band’s career, but is now recognized as one of the defining albums of the era.

For his guest appearance on the single Money for Nothing, Sting recycled the vocal harmony from his band The Police’s hit Don’t Stand so Close to Me. Despite containing what is often referred to as homophobic lyrics, the song became the band’s signature tune and biggest ever hit, reaching the top 40 in 15 countries, even France. Money for Nothing was one of five singles released from the album in the UK, along with the title track, So Far Away, Your Latest Trick, and the disco-enthused Walk of Life, which peaked at number two and became the band’s fourth gold single. While the singles were strong, and carried Brothers in Arms a long way, it has to be said that the rest of the album is filler at best. Only the melancholy Why Worry is worth repeated listens. It’s a mystery to me that with so many great songs in their arsenal, they chose to start most of the gigs on that tour with Ride Across the River, a nondescript mid-tempo plodder buried on side two. This suggests that far from being a truly classic album, Brothers in Arms was more a happy coincidence, benefiting enormously from a convergence of outside factors like the emergence of MTV, the arrival compact disc, and the implementation of CGI technology. In my opinion, previous albums Making Movies (1980) and Love Over Gold (1982) outstrip Brothers in Arms both in terms of songwriting and musicianship, if not commercial success.

Many of the songs on Brothers in Arms had to be edited to enable them to fit on vinyl, which can only comfortably accommodate 23-minutes or so per side before the sound quality is severely compromised. Hence the total running time of the original vinyl version is 47:21, while the full length of the album as heard on CD, cassette and later double-vinyl versions, was a much more indulgent 55:07. When I heard the album again on MP3 years later, it was like discovering a whole new set of songs.

However, despite the album’s epic achievements which will forever guarantee it a place in rock history, there was a considerable downside.

Not only was its runaway success impossible to replicate, but it transformed Dire Straits into a different beast. No longer were they considered the rootsy, innovative, blues-based outfit that gave us Sultans of Swing, Lady Writer and Private Investigations. Despite being suddenly elevated to Springsteen and Madonna-esque heights of megastardom, after 1985, the very name Dire Straits became a by-word for boring, middle-of-the-road dad rock, epitomized by Mark Knopfler himself. Never really what you would call a looker, the reluctant frontman was nudging forty by then, and trying desperately to keep abreast of the fast-moving MTV generation by literally rolling up the sleeves of his jacket and sporting a neon-coloured headband. Cringe. Still, it was the eighties, and the entire decade was one big fashion crime.

There were also other, less obvious difficulties during the recording process which suggest that all was not well within the camp. According to a later interview with producer Neil Dorfsman, the performance of Welsh drummer and permanent band member Terry Williams was deemed unsuitable, and his parts later re-recorded by a session musician though Williams retains a credit on the album liner notes and played on the resulting world tour. Interestingly, the recording process was carried out against a backdrop of conflict and sacrifice with many of the lyrics influenced by the Falklands War. The emotive title itself came from something Knopfler’s father said about Russian and Argentinian soldiers having similar ideologies and hence being, “brothers in arms.”

Yeah, Dire Straits were never the same after Brothers in Arms. Apart from the customary slew of compilations, they didn’t release anything of note until 1991’s sub-par On Every Street, which proved to be the final nail in the coffin. That particular offering is now only talked about in hushed tones.

Maybe they were never really cut out for superstardom.

B


Demon Tree @ Haunted MTL

My short story Demon Tree is now free to read on the new horror website Haunted MTL, which features a steady stream of news, reviews, and horror fiction definitely not for the squeamish. I also did an interview with them recently, which you can read here if you’re interested.

There’s a little pine forest near my childhood home in south Wales, and on summer days I enjoy walking through it to get to the country pub on the other side. It’s a beautiful area, with rolling mountains, a sea of green, and wild horses roaming the fields. But there’s something weird and ominous about that forest. Maybe its the way the shadows move, or the way the canopy steals the sunlight. It just makes you uneasy, and you can’t help but hurry along the narrow path that takes you through. When I get to the other side, I always wonder why I didn’t take my time. I wanted to try to express the way it makes me feel in a story, and hence Demon Tree was born.

demon tree pic

Something else that often goes through my mind when I go to that forest is the role trees and the natural world played in Celtic Britain. The druids worshipped trees, with each one said to have a different significance, and some were considered sacred. I thought it might be fun to play around with that concept a little and reverse it. Throw in some graphic and (I hope) unsettling imagery, and you have a story.

I hope you like it.

And do check out Haunted MTL for all your horror news. 

Suitably moody pic stolen from Google images.


RetView #33 – The Serpent and the Rainbow (1988)

Title: The Serpent and the Rainbow

Year of Release: 1988

Director: Wes Craven

Length: 98 mins

Starring: Bill Pullman, Cathy Tyson, Zakes Mokae, Paul Winfield, Brent Jennings

serpent_and_the_rainbow

We’re all familiar with brain-eating movie zombies like the ones immortalized in Night of the Living Dead, Train to Busan, and 28 Days Later, to name but a few. But what about real zombies?

“Wait up,” I hear you say. “Real zombies?”

Yup. This Wes Craven masterclass in terror is based on a non-fiction book by American anthropologist and researcher Wade Davis, who investigated Haitian voodoo at length before concluding that the process of ‘making zombies’ was rooted in reality. But alas, it has more to do with the ingestion of poisons and hallucinogenic plants than voodoo, hexes and black magic. The right concoction lowers the victim’s vital signs and metabolic rate to such an extent that they appear to be dead. They are then buried, only to be revived later using a different cocktail of drugs. By that time, they usually suffer some form of brain damage. If they have any memory of their ‘past life’ left at all, they believe that their soul has been stolen. As a case study, the book examined in depth the famous case of Clairvius Narcissi, a Haitian man who was supposedly placed into an induced coma by local witchdoctors as a punishment, before being ‘brought back from the dead’ and strolling back into his village years later.

Of course, his claims were later called into question, as were some of Davis’s conclusions, and all this is quite difficult to corroborate as Narcissi died again in 1964 and, as far as anyone knows, stayed dead that time. All we have left is a very strange, far-fetched story, along with the investigative efforts of Wade Davis. Davis is portrayed in the film (and re-named Dennis Allan) by Bill Pullman, who is approached by a pharmaceutical company and given the task of researching the real-life zombification of a man called Christophe (Clairvius Narcisse in disguise) and more importantly, securing a sample of the drug allegedly used in the zombie-making process. Given funding, he heads to Haiti. When he arrives, he finds the country in the grip of a revolution (inconvenient), and despite having an ally in the form of Marielle (Tyson), soon meets opposition from both the locals and what passes for the authorities who are keen to keep their secrets under wraps. Allan is kidnapped, tortured, stabbed in the balls, and given a stern warning by witch doctor extraordinaire Dargent Paytraud (Mokae). But when he still refuses to leave the country, he is framed for murder and just manages to get his sample before being bungled onto a plane bound for America. However, his nightmare is only just beginning.

Nightmares and hallucinations are a key element of the Serpent and the Rainbow. I usually find dream sequences in books and movies boring and somewhat redundant, but here they are so terrifying and immersive you can’t fail to be sucked in, even when you know you are in the middle of a(nother) dream sequence. The film has aged remarkably well compared to most eighties outings. A post-Spaceballs Pullman turns in an impressive all-round performance, and is well supported by Cathy Tyson in her pre-Emmerdale days. There’s barely a trace of a scouse accent, despite being brought up in Liverpool and suffering the ignominy of being married to Craig Charles. Zakes Mokae also deserves a mention as he is thoroughly menacing as Pullman’s nemesis.

Much of the movie was shot on location in Haiti (Or at least it was until it got too hairy and production was moved to the Dominican Republic) giving it an authentic feel, which is reinforced by spliced TV footage featuring the dictator ‘Baby Doc’ Duvalier being ousted. In a favourable review, the film critic Roger Ebert said. “In most voodoo movies, voodoo itself is taken only as a backdrop, a gimmick. This movie seems to know something about voodoo and treats it seriously as a religion, a way of life, and an occult circle that does possess secrets unexplored by modern medicine.”

Ultimately, it’s the fascinating subject matter that sets The Serpent and the Rainbow apart from its peers. Perhaps what it does most effectively, much the same as movies like Ringu and Turistas, is remind us that beyond the sanctity of our comfort zones lies a crazy, crazy world.

Trivia Corner:

Unlike most of his other movies the original cut was three hours long, but Craven thought this too long and talky. It was eventually cut down to 98 minutes.


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