Category Archives: Films

RetView #14 – [REC]

Title: [REC]

Year of Release: 2007

Directors: Jaume Balaguaro, Paco Plaza

Length: 75 mins

Starring: Manuela Velasco, Carlos Vicente, Pablo Rosso

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Unlike near-neighbours Italy, with a few notable exceptions, Spain isn’t renowned for producing horror movies, something which makes [REC] all the more surprising. And terrifying. The whole thing is horribly realistic, a fact aided by utilising the much-maligned ‘found footage’ method of filming and a ‘shaky’ hand-held camera. If nothing else, [REC] proves than when done well, this can be an incredibly effective technique. Another contributing factor was the casting of Manuela Velasco (an actual TV presenter in her native Spain) as the lead, Angela Vidal, along with a bunch of unknowns. For comparison, this would be a bit like a ballsy little-known British independent filmmaker somehow persuading Lorraine Kelly to take on the starring role in his latest gore fest. Genius.

In [REC], Lorraine Kelly, sorry, Manuela Velasco, sorry, Angela Vidal, is sent to a fire station in Barcelona with her cameraman Pablo (whose real name is Pablo, just to add another element of authenticity) during a night shift to record a TV documentary. They crack some jokes and mess around, and it’s all going rather well, until a call comes in about a woman trapped in her apartment screaming. Even then, nobody panics. What might seem damn creepy to normal people is apparently nothing out of the ordinary to seasoned fire fighters, who head out to rescue the woman with the TV crew in tow. When they arrive at the apartment building they meet up with some cops, so far so good, but then the woman in question freaks out (even more) and bites one of the cops in the throat. The tension builds and the apartment block’s other residents, a motley bunch if there ever was one, gather in the lobby. Safety in numbers and all that. The fire fighters try to take the mortally injured bitten-in-the-neck cop outside to receive medical attention, only to discover that the entire building is in lockdown, having been sealed off by the military. Oh shit. Unable to escape, the TV crew then realize that many of the building’s occupants are showing signs of sickness and violent, psychotic tendencies, and it soon becomes apparent that they have landed smack, bang in the middle of a zombie outbreak.

From there, it’s a bloody thrill ride. There is a fantastic scene where Pablo the cameraman batters a zombie to death with a camera while we are looking through it and lots of spurting blood and frothing at the mouth. But far from being just another zombie flick, this one has a bit more bite to it (sorry). Near the climax, Angela and Pablo find themselves in the penthouse suite, where they discover the cause of the virus which until then they had believed to be some form of rabies. The occupant of the penthouse suite was an agent of the Vatican who was researching an enzyme he believed to be the biological cause of demonic possession. On locating a possessed girl, he unwisely takes her back to his penthouse to conduct experiments on her, but during the process the enzyme mutates and turns viral. Left with little option, the agent does a runner and leaves the girl to starve to death. Except, she, you know, doesn’t.

From relatively humble beginnings, [REC] became a huge international smash, generating over $32 million in revenue from a mere $2 million budget, and spawning a succession of sequels culminating in the last of the franchise REC 4: Apocalypse in 2014. It was remade in the US where it was re-titled Quarantine (2008) which itself bore a sequel, Quarantine 2: Terminal (2011). Both are very serviceable horror films, but neither can quite capture the intensity of the original Spanish language version. Reviewing the film for the BBC, Jamie Russell called it, “A runaway rollercoaster of a fright flick,” praising the, “faux-docu handheld style,” and the sense of claustrophobia and confusion, ultimately concluding that “[REC] will definitely jangle the nerves.” The film remains very highly regarded among horror junkies, and is regularly included in ‘best of’ lists such as Time Out’s 100 Best Horror Films of all Time, where it placed number 60 in 2016.

Trivia Corner

The actors were never given the script in its entirety, so none of them knew of their character’s fates. Sometimes until they were actually filming the scenes. This meant the actors were, more often than not, stressed out, nervous and apprehensive during filming, ideal qualities for a horror film.

 

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The Top 10 British Comedy Horror Films!

Everyone does lists of their Top 10 Horror films. I wanted to do something special for you instead. How about a Top 10 BRITISH Horror Film List? Not special enough? Well, taking it to the next level, you know how us Brits are renowned for our unique, irreverent, occasionally wacky yet sophisticated sense of humour? No? Well, we are. Sometimes it can be as subtle as an autumn breeze. Other times it can be fast, bloody, and brutal. Like a good bout of period sex. So… how about a Top 10 British COMEDY Horror Film List? Yeah, let’s do that.

10: I Bought a Vampire Motorcycle (1990)

Once upon a time, in a faraway land called 1980s Britain, there was a very popular comedy drama TV series. Boon was its name, and it was about a courier service-cum-private detective agency. It was so popular that at its peak a shrewd production company hired its two main stars, Michael Elphick and Neil Morrissey, to appear in a riotous low-budget horror romp in an attempt to capitalize on its burgeoning success. They only partially failed. In the beginning there are satanic rituals and rival biker gangs, climaxing in a motorcycle getting possessed and then purchased by an unsuspecting Noddy (Morrissey) who, coincidentally or otherwise, is a courier by trade. And then, people start having terrible ‘accidents’ and it appears the motorcycle is to blame. This is like Boon with the gloves off and the volume turned up, with blood, gore, dismemberments, swearing, lewd behaviour and even a talking turd. I shit you not.

9: Inbred (2011)

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This late-night Horror Channel stalwart sees a group of thuggish inner-city young offenders taken to an isolated Yorkshire town to do some community service. During a run-in with a group of local louts, one of their carers, Jim, falls and cuts open an artery in his leg. In a panic, the young offenders take him to a nearby pub to get help. Unfortunately, the locals (aka, ‘inbreds’) don’t like strangers in them parts. Not at all. They quickly decapitate poor Jim with a meat cleaver and lock the young offenders in the cellar, until they are taken out one by one to provide the village entertainment. Daft, disturbing and deeply offensive, the most puzzling thing about Inbred is just how far the makers managed to stretch a measly £109,000 budget, which is about half the cost of the average house in the UK.

8: Doghouse (2009)

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It’s got Danny Dyer in it, and it’s about a boy’s night out gone terribly wrong. Therefore, you just know it’s going to be crude, filthy and unashamedly misogynistic. What did you expect? At its core, it’s a parody of lad culture riffing on men’s supposed inherent fear of women. Luckily, it’s funny enough to compensate for all the Cosmopolitan schtick. Dyer, helped out by Noel Clarke, Stephen Graham and a few other less famous faces, head to a fabled town where women allegedly outnumber men 4-1. When they get there, they realize this is by no means a good thing as every female in sight has fallen victim to a biological toxin that turns them all into frenzied, blood-thirsty zombie types. It’s a battle of the sexes for sure.

7: Carry on Screaming (1966)

Apparently, very few people outside Britain have heard of the legendary Carry On films. Quite frankly, this appalls me. The films (all 30-plus of them, including such gems as Carry On Teacher, Carry On Behind and Carry On Doctor) are a British institution. Where else are you going to get fart jokes and edgy one-liners about hard-on’s and knockers on terrestrial telly at Sunday tea times? This particular outing is a parody of the Hammer Horror films, which were peaking in popularity at the time, and tells the story of a series of mysterious disappearances in the English countryside, which ultimately leads police to a mad doctor in a castle and a monster called Oddbod. Admittedly, the plot is a bit thin in this one, but the gags are timeless.

6: Lesbian Vampire Killers (2009)

Before James Corden became a late-night TV host (or got his driving license) he starred in films like this. The critics hated it, with some bloke from the Times calling it an, “Instantly forgettable lad mag farce.” But that isn’t really saying too much. This was an era when it was fashionable to lamblast lad mags at every opportunity and besides, the Times don’t like any films. Even today it’s rare to see a film get more than two stars out of five, unless it’s an artsy fartsy French drama you need multiple degrees to understand. Personally, as far as low-brow humour goes, I thought this unofficial companion to Doghouse was a riot. When Jimmy (Mathew Horne) is dumped and Fletch (Corden), is sacked from his job as a clown for punching a kid, the duo decide to escape for the weekend to an idyllic village in Norfolk. A village which, unbeknownst to them, has been cursed, leading to a sizeable percentage of lesbian vampires. And you thought Eastern European immigrants were the problem.

5: Grabbers (2012)

This is one of the more slick, big-budget entries on this list. Most of the time you just wouldn’t think it, which I guess is the point, as self-defeating as that is. Grabbers is essentially an alien invasion creature feature, the comedy aspect fuelled primarily by the fact that alcohol is found to be toxic to the invaders, which encourages the inhabitants of a small Irish village to lock themselves in the pub and get rat-arsed as a defence mechanism. Think of this one as Father Ted crossed with the Blob and garnished with a liberal sprinkling of Cloverfield. It’s not a feckin’ lobster!

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4: Severance (2006)

Severance mixes humour, bravado, and some of the most brutal body horror this side of the Saw franchise to great effect, making it one of the stand-out Brit Horror films of the past two decades. The plot revolves around a group of office staff who are sent to Hungary on a team building exercise. As you would find in any office, the cast is made up of an eclectic and varied group of characters, all living up to certain long-held stereotypes. Danny Dyer pops up again, playing everyman caner Steve, who sees the getaway as the perfect opportunity to get off his tits. He’s munching magic mushrooms and puffing on a spliff in the toilet before the coach even stops (“Have I pissed meself?”). All in all, Severance comes off like a mash-up between Hostel and The Office. Brill.

3: Dog Soldiers (2002)

There haven’t been many British horror films over the past decade or two more worthy of praise than Dog Soldiers. From the opening scenes, when a couple camping in the Scottish Highlands are ripped apart by a ferocious beast, you’re left in little doubt that this is a werewolf flick. If you like your horror bloody, funny, and gore-tastic, you can do a lot worse than this. You’re probably never going to see another northern bloke holding a flare aloft and singing, “Come and ‘ave a go if you think you’re ‘ard enough!” to a group of rampaging lycanthropes ever again. That man, incidentally, was played by an actor called Chris Robson, and he’s a French teacher in the north of England now. One of the few genuine, undisputed cult classics. Miss it at your peril.

2: An American werewolf in London (1981)

Some films you see during your impressionable formative years make an impression on you. Others scar you for life. For me, An American werewolf in London belongs firmly in the latter category. The subway chase scene gave me nightmares and years later when I first moved to London I remember going out of my way to incorporate Tottenham Court Road station (where the scene was filmed) in my daily commute. It never failed to give me chills, largely because the only thing about the station that has changed in the past 35 years are the fucking posters on the walls. The story goes that when director John Landis first started touting it, he had trouble securing finances with most would-be investors claiming the script was too frightening to be a comedy and too funny to be frightening. Eventually, PolyGram Pictures put up the $10 million, and were glad they did when it went on to become a box office smash and win an Academy Award for its special effects (Rick Baker went on to win six more from eleven nominations. A record). The story? It’s about an American werewolf in London, innit?

1: Shaun of the Dead (2004)

Could any other film really take top spot in this list? Not on your nelly. This, the first instalment of Edgar Wright and Simon Pegg’s so-called Three Flavours Cornetto trilogy (the others films being Hot Fuzz and The World’s End) is a bona-fide modern classic. Whilst dealing with feuding housemates, a demanding girlfriend and a shitty job, Shaun (Pegg) wakes up one morning with a hangover to find he’s in the midst of a zombie apocalypse. We’ve all been there. Naturally, the only place to go to wait for the world to restore order is the local pub. Brilliant performances by the cream of noughties British comedic talent and commendable special effects, topped off by a hilariously witty script. The perfect introduction to a positively booming sub-genre.

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Honourable Mention:

Cockneys Vs Zombies (2012), the Cottage (2008), Sightseers (2012), Stitches (2012), Boy Eats Girl (2005), Horror Hospital (1973), Nina Forever (2015) Stag Night of the Dead (2010), The World’s End (2013), Ibiza Undead (2016)

While you’re here, why not check out the Japanese Horror Movie Marathon?

This post first appeared on the Deviant Dolls website

My latest release, Human Waste: A Short Splatterpunk Story, is out now on Deviant Doll Publications.

 

 

 


RetView #13 – Witchfinder General

Title: Witchfinder General

Year of Release: 1968

Director: Michael Reeves

Length: 86 mins

Starring: Vincent Price, Ian Ogilvy, Rupert Davies, Hilary Dwyer, Robert Russell

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Though its historical accuracy has been questioned, this unflinching document of one of Britain’s darkest and most brutal periods, filmed largely on location in the sweeping countryside of East Anglia, is loosely based on the activities of one Matthew Hopkins. He was a lawyer who, during the English Civil War (1642–51) when society degenerated into general lawlessness, took on the role of ‘Witchfinder General,’ and rampaged across country torturing and terrorizing innocent (probably) people he believed to be cohorts of the devil. Historical evidence suggests that he and his associates were responsible for the deaths of up to 300 men and women. They got rich charging local magistrates for the ‘work’ they carried out.

One of his favoured methods of determining whether or not his intended victim was a witch or not  was the ‘swimming test’ or ducking stool, whereby he tied people to chairs and threw them into a lake or a river. It was believed that true witches who had renounced their baptism would be rejected by the water and therefore float. If they did, they were promptly executed. Obviously, with their arms and legs bound, it was far more likely they sank to the bottom where they drowned so either way, it would end badly. He would also search for ‘Devil’s Marks’ on the bodies of the accused, which could take the form of a scar, mole, or any other kind of blemish. If no mark could be found, he would make his own with a blade. As you can probably imagine, he was despised and feared in roughly equal measures.

Here, Vincent Price does a great job of portraying the self-appointed witchfinder general. His cruelty knows no bounds and at times, he seems to exude evil at will. He and his assistant Stearne ride into the village of Brandestone and round up a gaggle of suspects, including the local priest (Rupert Davies) who is quickly executed. When her soldier lover Richard Marshall (Ian Ogilvy, best known for assuming the lead role in Return of the Saint in 1978) comes home from battle, he finds the priest’s niece Sara (Hilary Dwyer) has been raped by one of Hopkins’ entourage, swears revenge, and goes off in search of retribution. In the interests of self-preservation, Hopkins and his assistant then devise a trap to capture Richard and frame him for practicing witchcraft, and the climax sees both he and Sara being tortured in a castle dungeon. In a fittingly gruesome finale, Richard breaks free of his bonds, stomps on Stearne’s face then sets about Hopkins with an axe. Hopkins is only saved from dismemberment when Ogilvy’s soldier mates finally show up to save the day and shoot him dead, but by then it’s too late as dear Sara has been driven insane.

One of the major talking points around the film’s release was the fractious relationship between Price, then a veteran of some 70-plus films (not the 84 he reportedly claimed at the time, though we’ll forgive him this minor indiscretion), and the novice director Michael Reeves who’s first choice for the role (Donald Pleasance) had apparently been stonewalled by the studio. Legend has it that on the last day of filming, Price turned up on set thoroughly pissed, as per the English sense of the word. As a final act of revenge, Reeves instructed Ian Ogilvy to “Really lay into him” with the stage axe used in Price’s violent death scene. The blows you see in the movie were not faked, but Price allegedly got wind of the director’s dastardly plan and wisely padded out his costume with foam to guard himself from injury. As a suitably chilling postscript, less than a year later, a 25-year old Reeves would be dead, the apparent victim of an accidental drug overdose.

Though it pales in comparison to today’s standards, Witchfinder General drew considerable criticism for the scale and ferocity of the violence on show, with Dilys Powell of The Sunday Times famously summing it up as, “17th Century hanging, burning, raping, screaming, and Vincent Price as England’s prize torture overseer. Peculiarly nauseating.” However, helped in part to Reeve’s untimely death, the film went on to achieve cult status with few sparking so much discussion and in 2005 was named the 15th Greatest Horror Film of all Time by industry bible Total Film. In the half a century since it’s release it has become not just an undisputed horror classic but an invaluable, if heavily dramatized, historical account of one of the darkest periods of British history.

Trivia Corner:

Witchfinder General was re-titled The Conqueror Worm for its American release in a shameless attempt to link it with the earlier series of Vincent Price films based on the writings of Edgar Allen Poe. This was despite the film having nothing to do with Poe, and only included brief voiceovers of the poem in question which were added later to justify the name change. Word has it that extra nude scenes were filmed especially for the German release.

 


RetView #12 – Ringu

Title: Ringu (Ring)

Year of Release: 1998

Director: Hideo Nakata

Length: 95 mins

Starring: Nanako Matsushima, Hiroyuki Sanada, Rikiya Otaka, Yuko Takeuchi, Hitomi Sato

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It would be a huge generalization to say that I love them all because like anything else, the genre can be a bit hit n’ miss. But I’ve spoken at length before about my fondness for Japanese horror movies. Ringu (the original version of the Ring, followed in 2002 by a big-budget and hugely successful American remake) is quite possibly the king of J-Horror. It’s without doubt the movie responsible for sparking a western fascination with Asian horror movies which was mined extensively over the next decade or so with varying degrees of success. Think Pulse, the Grudge and Dark Water, all of which were remade for western audiences.

It wouldn’t be an exaggeration to suggest that until Ringu burst onto the screens in all its grainy glory, western horror cinema was going through a notoriously bad time. We were still bogged down in the deranged serial killer/slasher genre, which was getting decidedly old by then. There are only so many cheap scares and bloody, increasingly imaginative kills an audience can tolerate before they get desensitized to the whole thing. We wanted something new. Something that wasn’t the same as everything else. Then came Ringu.

The film begins innocuously enough, giving barely a hint of the edge-of-the-seat creepiness to follow. Two cutesy teenaged girls, Masami (Sato) and Tomoko (Takeuchi) are messing around in an apartment and discussing a cursed videotape which supposedly kills its victims after they receive a phone call seven days after watching it, when one of them confesses to watching just such a strange tape a week earlier. Then the phone rings. Some time later, reporter Reiko Asakawa (Matsushima) learns that her niece Tomoko (Yup, thadda one) and three of her friends died under mysterious circumstances, and sets about investigating. The trail leads to a cabin in the Izu area of Japan. There, she finds an unlabelled video tape. Obviously, she watches it, thereby starting off a trail of events which might just be the death of her. She enlists the help of her ex-husband (Sanada) and together they attempt to break the spell and avoid Reiko’s imminent fate. More than two decades on, that unforgettable scene where Sadako the ghost girl climbs out of a well (and then through a television screen) remains one of the simplest yet most evocative slices of cinematic history ever committed to, er, videotape? Though many have tried to replicate the effect, it has never been emulated.

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Adapted from the 1991 novel Ring by Koji Suzuki who, in turn, based the story on an urban myth , the movie has long been noted as examining Japan’s obsession with the clash between tradition and modernity. This is only one of the many subtexts critics have pointed to, another popular one being that ghost girl Sadako is a model for the modern woman and how independence conflicts with the traditional core values of motherhood. Whether you agree with any of that or not, it’s clear that Ringu is an extraordinarily complex film that works on many levels. It is a visually stunning piece of work, so heavily steeped in Japanese culture that as a westerner it’s practically impossible to grasp all the subtleties. It draws on many aspects of history, folklore, and even theatre, to create a mash-up that is much more about fostering a pervasive sense of dread rather than going for cheap jump scares. Much was made at the time about Sadako’s jerky, twisty, hauntingly deliberate movements. These were actually based on a kind of interpretive Japanese dance called Butoh, which became popular after the Second World War. Even Sadako’s classic look is no accident, having been based on a specific species of ghost called the yūrei, which invariably feature stark white faces, long black hair, and white kimonos. The reason yūrei appear this way is because that’s how Japanese women looked when they were buried.

In fact, everything about Ringu was designed to creep the viewer out. One way it achieved this was through use of a technique called ‘Ma,’ where sound effects and musical scores are deliberately punctuated with sequences of rapid pauses or even long, drawn-out silences. This was another way the film differentiates itself significantly from Western films. While Western horror uses sound to let the audience know how they should be feeling, J-Horror (and Ringu specifically), uses Ma as a way to keep the audience thrown off balance. This is just one reason the Guardian named it the 12th Best Horror Film of all Time. By the way, you can watch it in its entirety (with English subtitles) HERE.

Trivia Corner:

In what proved to be a shrewd and innovative move at the time, both Ringu and its sequel Rasen (not to be confused with Ring 2), were released in Japan on the same day, January 31st 1998. Both films had different writers and directors, yet shared many of the same cast members. Shrewd and innovative this may have been, but successful it wasn’t as Ringu was an international hit and Rasen a comparative flop.


RetView #11 – Thinner

Title: Thinner

Year of Release: 1996

Director: Tom Holland

Length: 92 minutes

Starring: Robert John Burke, Joe Mantegna, Lucinda Jenney

Thinner

Adaptations of Stephen King books are almost always given a rough ride. Even such classics as The Shining and Misery are not without their detractors. I don’t really understand why that is. My theory is two-fold. On one hand, there are a lot of Constant Readers who place the books in such high regard that they are considered untouchable. Woe betide any director who dares change the smallest detail, let alone put his own stamp on it no matter how talented he is (Stanley Kubrick being a case in point). On the other hand, there are others who just don’t like his work and are resentful of his success. I feel the same way about Justin Bieber. Another possibility is that the ‘good’ ones suffer from being associated with the shit ones. Who can forget Lawnmower Man? In that sense, Stephen King movies draw eerie parallels with his beloved AC/DC. For every Highway to Hell, there’s a Fly on the Wall.

Unlike some SK movies, usually those adapted from short stories which struggle to provide enough material for a full movie, Thinner benefits from a good, solid premise. Billy Halleck (Burke) is an arrogant and morbidly obese lawyer who has gotten rich keeping mobsters and crooks out of jail. One night he is out driving with his wife (Jenney) after celebrating a big result when she decides to give him a spontaneous (and ill-advised) blow job. That’s one way to tear his mind away from food. Understandably distracted, Billy knocks over and kills an old gypsy woman. Being personal friends of his, the local police chief and the judge conspire to have the case dismissed, and Billy walks free. Outside the courtroom, he is accosted by the old gypsy woman’s 104-year old father, who touches Billy’s face and whispers one word, “Thinner,” before leaving the scene. Almost instantly, Billy starts losing weight. At first, he is elated, then starts to worry about his health. He undergoes medical checks, which come back clear, leaving him in no doubt that he is being afflicted by a gypsy curse. He investigates and finds that the police chief and the judge have also been cursed, the former with the word ‘leper’ and the latter with ‘lizard.’ As Billy’s health wanes, he comes to the realisation that he needs help and enlists the services of one of his old mobster friends to track down the gyspies and make them lift the curse. From there, the situation escalates to a thrilling, and shocking finale. At the movie’s end you’ll be left with two, ahem, take-aways.

1: Never attempt oral sex when you are in control of a vehicle.

2: Don’t eat the cherry pie.

Thinner (originally titled Gypsy Pie) was first published under the pseudonym Richard Bachman in 1986. Though it garnered some good reviews, it wasn’t an immediate hit, selling ‘only’ 28,000 copies. After being outed as King, sales jumped to 231,000. Ultimately, it is a story of revenge, and the lengths people will go to in order to get even. Contrary to most King books, Thinner benefits from a very downbeat ending, something typical of King writing as Bachman. Burke (Robocop 3, Tombstone, Simple Men) is superb as Halleck. Okay, he looks a bit silly in the first quarter of the film when he is parading around in an outrageous fat suit pulling funny faces, but once that is out of his system and the horror sets in, he plays the part a bit too convincingly. The dialogue is passable, and the tension expertly built by director Tom Holland who cut his teeth in the horror world on films such as the original Fright Night (1985) and Child’s Play (1988). It’s not perfect by any means, but it’s all campy fun.

Reviews of the film were mixed. Noted critic James Berardinelli claimed, “Thinner could have been an opportunity to examine the ethics of a slick lawyer who refuses to accept responsibility for his actions. Unfortunately, questions of morality are of secondary importance to a film that emphasizes its Death Wish aspects.”

It didn’t exactly set the box office alight, either. In fact, it barely broke even. But this is another example of a film overcoming an indifferent initial reaction to slowly evolve into an underground cult classic. In a 2011 review, www.horrornews.net said, “Thinner, commonly mistaken for a mediocre movie, is in fact a crap-tastic masterpiece.”

I concur.

Trivia Corner:  

Thinner is partly based on an episode in Stephen King’s own life. He weighed 236 pounds and was warned by his doctor that he needed to lose weight and stop smoking. He began to contemplate what would happen if someone were to lose weight and then be unable to stop.

For the previous entry in the RetView series, please see here.


RetView #10 – Eyes Without a Face

Title: Eyes Without a Face (Les Yeux Sans Visage)

Year of Release: 1960

Director: Georges Franju

Length: 90 mins (uncut version)

Starring: Pierre Brasseur, Edith Scob, Alida Valli, Juliette Mayniel

Eyes without a face

Eyes Without a Face can legitimately lay claim to being one of the first gore films ever produced. In theory, at least. During production, a lot of effort was made to satisfy the strict standards of the various European censorship committees yet despite all the restraints, it still caused quite a stir in both the snotty establishment and the cinema-going public. Initial critical reaction to such an avant garde, experimental work was mixed, to say the least. Some praised the film’s bravery and innovation, while others were simply too disgusted by some particularly grisly scenes, along with the core subject matter, to delve any further and walked off in a huff.

However, as the years passed, the film gained more and more plaudits, and these days is often cited by modern filmmakers as one of the most significant movies ever made. Its influence doesn’t stop there. In 1983, almost a quarter of a century after the film was made, English punk singer Billy Idol recorded the song Eyes Without a Face in homage to the cinematic classic. When released as a single the following year, it proved to be one of his biggest ever hits. By the way, you’ll need subtitles for this one, unless you can speak fluent French.

You know you aren’t dealing with your average piece of European cinema the moment the manic funfair music kicks in over the opening credits. Nothing slow and brooding here, which is completely at odds with the slightly disturbing visuals where we see a woman driving a dead body around in a car then dumping it in a river. Even though the corpse is disguised in a raincoat and hat, you get the sense something isn’t quite right about it. Apart from it being a corpse, obviously. And so it proves when the body apparently turns out to be the recently disappeared daughter of the renowned Doctor Genessier (Pierre Brasseur), whose face had been hideously disfigured in a car crash. So severe were her injuries that only her eyes were left intact, hence the film’s title. The doctor identifies the body and has it interred in the family crypt with that of his wife, who’d died four years previously. So far, so creepy.

The ick factor increases when the doctor and his assistant Louise (the woman who had disposed of the body) return home where the real daughter, Christiane (Edith Scob), is hidden. The body in the river was that of a test subject who had died after the doctor surgically removed her face in an effort to graft it onto his daughter. Problem is, her flesh keeps rejecting the new tissue, causing her shiny new features to literally rot away. Doctor Genessier promises he will eventually succeed, and until then urges his daughter to wear a mask. A precaution necessary because although all the mirrors have been removed from the house, Christiane still catches sight of her ruined face in shiny reflective surfaces from time to time and it never fails to freak her out.

True to his word, Doctor Genessier does indeed keep trying to restore his daughter’s face. He and Louise, who feels indebted to him for fixing her own face (one can only assume there were a lot of face accidents in post-World War II France) lure a young Swiss woman called Edna (Juliette Mayniel) to their lair, chloroform the shit out of her, then set about carving her face off and grafting it onto Christiane. This is the part that riled the censors so much, and for a film almost sixty years old, it’s pretty graphic stuff. Edna later escapes and when she discovers what they’ve done to her, throws herself out of a window, leaving the doctor and his assistant with another unsavoury mess to clean up. Meanwhile, an understandably traumatized Christiane keeps calling her fiancé, who thinks she’s dead, and a friend of Edna’s reports her disappearance to the police who see a pattern emerging. Soon, the net begins to close and as matters come to a head (or a face?) it becomes clear that Doctor Genessier isn’t the only one who can come up with dastardly plots.

Based on the novel of the same name by Jean Redon This was director Georges Franju’s (1912 – 87) first legitimate feature film. Until then he had primarily been a documentary film maker, the Nazi occupation of Paris and Industrialization featuring heavily in his subject matter. Perhaps his most controversial work was Blood of the Beasts, an unflinching look inside a French slaughterhouse. Eyes Without a Face works on many levels. Scratch beneath the surface (sic) and far from being a simple horror flick, you’ll find it rife with symbolism, offering a systematic study on the effects of guilt, remorse, unconditional love, isolation, and the misguided importance society places on superficial beauty. Unique, divisive, harrowing, and utterly brilliant.

Trivia Corner:

During its screening at the 1960 Edinburgh Film Festival, seven audience members reportedly fainted prompting director Franju to remark, “Now I know why Scotsmen wear skirts.”


RetView #8 – Demons

Title: Demons (aka Demoni)

Year of Release: 1985

Director: Lamberto Bava

Length: 88 mins

Starring: Urbano Barberini, Natasha Hovey

demons

This film is 1985 to the bone. You can tell the moment the awful tinkly synth pop soundtrack kicks in over the opening credits. You don’t even need the long, lingering shots of shoulder padded, pink-haired punks riding the Berlin subway but you get that anyway, just in case you were in any doubt. Cheryl, a pretty college student (Hovey), disembarks the train, and is pursued down the platform by a mysterious masked man. Not really what you want. But when Strange Dude catches up with her, instead of assaulting her he gives her free tickets to a film showing that evening at a local cinema. Crisis avoided. You would think. Cheryl then meets her friend Cathy, persuades her to cut class, and off they go to the cinema together. Little do they know they are setting themselves up for a whole lot of freakish, bloodthirsty fun and games.

In one of those cool film-within-a-film sequences, the film they are watching is revealed to be a gross-out horror about a group of teens who go in search of the tomb of Nostradamus and end up turning into demons and butchering each other. As we find out the teenagers fate, the cinema is revealed to contain a cast of colourful characters including two guys who hit on Cheryl and her friend (one of them being George, played by Barberini, who turns out to be the star of the show), an elderly couple, a blind man, and a pimp with some prostitutes. One of the prostitutes tries on a mask in the cinema lobby and scratches her face, mirroring what happens in the movie they are all watching. A short while later she breaks into full-on demon mode and bursts through the cinema screen sparking a stampede for the exit as the cinema-goers begin to realise that somewhere along the way, the movie has morphed into reality.

*shudder*

To make matters worse, when they try to flee the cinema they find the exits blocked, meaning that the punters are all trapped inside with the demon, which goes around ripping off faces, slashing throats, and infecting them with the demon-virus.

That would perhaps explain why the tickets were free.

Those infected with the demon-virus also turn into bloodthirsty thugs, and pretty soon George and Cheryl find themselves locked in a mortal battle for survival as all hell breaks loose around them. A perfect first date this isn’t. As the demons run amok, the face melting, scalping, and flesh-chewing is relentless, subsiding only long enough to cut to a bunch of muscle-vested Latino punks at irregular intervals who are driving around Berlin off their tits on coke (which they hilariously snort out of a Coke can) and listening to Go West. Really. At one point they drop their stash and then have to painstakingly pick it all up again. Luckily enough, some of it falls over the girl of the gang’s exposed breasts. She even gets some inside her knickers, apparently. Bizarre. Predictably enough, the horny, drug-addled punks eventually come to a suitably sticky end. Keep your eye open for the reappearance of the masked man from the subway station, tying things up nicely. But the final shock is kept for the last few frames. I bet you didn’t see that one coming. And that’s AFTER a massive helicopter crashes through the roof.

Overlooking the Go West abomination, elsewhere Demons benefits from a thumping metal-oriented soundtrack featuring choice cuts from Motley Crue, Saxon, Billy Idol and Accept. It is a rare English/Italian production, spawned no less than seven sequels (though few have any relation to the original, sharing the same name only as a tediously transparent marketing strategy) and is widely regarded as horror writer/producer extraordinaire Dario Argento’s tour de force. However, 30-plus years on, the sad truth is it hasn’t aged very well. The writing still holds up, just, and the cinematography should be applauded. There are also some inventive and gore-tastic kills, as you would expect from one of the masters of horror. Let’s not forget this is the guy who will always be remembered for THAT scene in Zombi 2 where he has a woman’s eyeball slowly impaled on a thick wooden splinter. Ouch. But by the mid-way point of Demons the camp, OTT acting gets a bit tiresome and it is further let down by some truly awful special effects. Given that the budget was a measly $1.8 million (compared to the $28 million shelled out on Rocky IV, which came out the same year) that’s understandable I guess. It would be interesting to see what a large American studio with some hefty backing would be able to do with this. If any movie deserves a remake, it’s Demons.

Trivia Corner:

Between leaving his job at a newspaper and making his name in the horror biz, Argento worked with Sergio Leone as a scriptwriter on the classic spaghetti western Once Upon a Time in the West (1969).


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