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Friday, April 11, 2008

He Has Such Sights to Show You...


British-born Clive Barker, in addition to being a prolific author and filmmaker best known for writing and directing Hellraiser, is also an accomplished artist who has been exhibiting his work for 20 years now. And now for those in the New York area, a rare treat: Barker's latest exhibition will be taking place at the Sloan Fine Art gallery in Manhattan.

An opening reception will be held on Wednesday evening, and the exhibition will last until Saturday, May 10. Included amongst the pieces on display will be some of Barker's conceptual artwork for his upcoming film The Midnight Meat Train (such as the painting above).

Sloan Fine Art is located at 128 Rivington Street. Gallery hours are: Wednesday and Thursday noon to 6, Friday and Saturday noon to 8, and Sunday noon to 6. For more information, or to check out more samples of Barker's work, go to sloanfineart.com.

Thursday, April 10, 2008

The Voice of Chucky Returns


Fans of Child's Play have a reason to rejoice today. They may not be all-too-happy that a remake of the 1988 slasher flick is being undertaken, but they can at least take solace in knowing that the impeccable Brad Dourif will once again be providing the voice of the killer doll Chucky, just as he did for all five films in the original series.

The news was announced yesterday by screenwriter Don Mancini at the Florida Fim Festival, and was first reported this morning by the Orlando Sentinel. I've never been a fan of these movies myself, but as a Nightmare on Elm Street fan, I can equate this with Robert Englund returning as Freddy in that remake (which isn't happening), so I guess that's pretty cool.


Wednesday, April 9, 2008

William Castle Doc Dazzles the Festival Circuit

He was best known for directing '50s and '60 B-movies like 13 Ghosts, The Tingler and House on Haunted Hill, and for the showmanship that presented these films to audiences in ingeniously interactive ways. And now, a documentary on William Castle--Spine Tingler!: The William Castle Story--is playing to strong reviews at the Sarasota Film Festival, having previously played at the AFI Film Festival, the Jakarta International Film Festival, the Slamdance Film Festival and the Magnolia Independent Film Festival.

The film is directed by Jeffrey Schwarz, who has made a career of producing and directing DVD making-of featurettes for the past decade, several of which were about horror films and the films of Castle in particular. Spine Tingler! features interviews with the likes of Forrest J. Ackerman, Roger Corman, Joe Dante, Donald F. Glut, John Landis, Leonard Maltin, Marcel Marceau (no jokes, please) and John Waters.

My dad has recalled to me some of Castle's famous gimmickry, including such novelties as "Percepto"--a motion picture effect that electrified theater-goers seats to make them vibrate. In addition to his B-features, Castle also fulfilled a lifelong dream in 1968 by producing A-list highbrow horror film Rosemary's Baby (although the studio insisted that Roman Polanski, and not Castle, direct it.)

With any luck, once Spine Tingler!: The William Castle Story makes the rounds at all the festivals, it will hit DVD shelves, so that the rest of us can enjoy it as well.

Monday, April 7, 2008

They're Coming to Get You: 40 Years of the Modern Zombie Movie, Part 1

No one could have anticipated that October 1, 1968 would be the day that would change horror movies forever. But it was on that day that George A. Romero's Night of the Living Dead was released--an unheralded B-movie that would attain cinematic immortality and usher in the modern horror era in the process.

But there was something else that movie accomplished, much to the delight of modern horror movie fans. Night of the Living Dead literally invented the subgenre of the zombie film as we know it today. And for the past 40 years, we've been witnessing the results.

Prior to NOTLD, not only were zombie movies few and far between, but they were of a completely different variety. Usually dwelling on the zombie's folkloric origins in the West Indies, movies like White Zombie (1932), I Walked with a Zombie (1943) and The Zombies of Mora Tau (1957) dealt with ghouls that were relatively docile walking corpses enslaved by the will of a much more sinister living villain, and capable of not much more than wandering around mindlessly. They were are also far less popular than other movie monsters like vampires, werewolves and mummies.

But in 1968, maverick Pittsburgh director Romero changed all the rules. More specifically, he created the rules. And with varying degrees of loyalty, they're the rules that have been followed by filmmakers ever since. For instance, it was Romero's film which first established that:


  • Zombies are driven by a hunger for human flesh.
  • Zombies can only be killed by destroying their brains.
  • Anyone bitten by a zombie will become one.
  • Zombies are very slow-moving, but are unrelenting, and especially dangerous in large groups.
  • Zombies retain little or nothing of their former humanity.
  • The ranks of zombies are made up of everyday people, including friends and family.


First and foremost, it was the whole cannibalistic angle that took the subgenre to a whole new level of grueling terror. It struck a chord at something deep within the psyche, this concept of the dead literally consuming the living. And with the Hays production code fallen by the wayside, it was perfect timing--for the zombie ouvre would necessitate some of the most graphic violence ever put to film.

Even in NOTLD, the violent scenes were so strong for the time that audiences were genuinely shocked, even revolted. What would only come to be realized later after the furor died down was that Romero was also using the imagery to make a social point. Much has been made of Night of the Living Dead as an allegory for the Vietnam War and the Cold War in general, but it's also important to remember that it was Romero as well who set this standard of using the zombie as an allegory.

The importance of Night of the Living Dead to the modern zombie movie cannot be overestimated, much like the importance of The Lord of the Rings to the modern fantasy novel. In the wake of Romero's landmark, an entire movement was about to begin.

It wouldn't happen all at once, and in the beginning the new "rules" weren't always adhered to. The first major post-NOTLD zombie movies were a pair of comedy/satires made in 1972 by Alan Ormsby and Benjamin Clark: Children Shouldn't Play with Dead Things and Deathdream. One thing both films may have taken from Romero was a penchant for social commentary--the former took a shot at the hippie counterculture, while the latter was a rare Vietnam War movie actually made during the war itself.

Some movies, like David Cronenberg's Shivers (1975), would riff on the Romero device of unstoppable hordes, without actually dealing in zombies per se. But the influence was still there. Others, like Tales from the Crypt (1973)--featuring none other than Peter Cushing as a vengeful zombie--nostalgically hearkened back to pre-NOTLD ghoulish sensibilities.

The movie that would prove to be the first true descendant of Romero's work would be 1974's The Living Dead at Manchester Morgue. The work of expatriate Spanish director Jorge Grau, the movie picked up on the flesh-eating concept, resulting in material even gorier than NOTLD which would prefigure the virtual smorgasbord of zombie violence soon to follow. Grau also picked up on the apocalyptic element--which would become the bread and butter of the subgenre--and traded in social commentary for an ecological message.

While not owing much to Romero, Amando de Ossorio's memorable Blind Dead series also bears little connection to earlier voodoo-style zombie films as well. Rather, they represent something wholly unique and original. Another Spanish auteur (working in his native country), Ossorio came up with the idea to make his zombies the deathless, cursed Knights Templar--a real-life troupe of mercenaries that ran afoul of the Vatican during the Crusades.

The series includes the original Tombs of the Blind Dead (1971), The Return of the Blind Dead (1973), Horror of the Zombies (1973) and Night of the Seagulls (1975). For many, what makes these movies stand out is the striking look of the undead themselves--skeletal wraith-like beings in tattered robes, whose movements are accompanied by haunting choral music. The films focused on the destruction of youth and sexuality, dealing in carnal imagery in a way the far more chaste Romero never did.

Romero had laid the groundwork in 1968 with Night of the Living Dead, but some would argue that it was the sequel he made ten years later that would cement the zombie subgenre's cult status. If audiences thought they were seeing a lot of zombie movies before Dawn of the Dead, then there's no way they were ready for the cinematic ghoul-fest that was about to be unleashed.

To Be Continued...

Sunday, April 6, 2008

Charlton Heston 1923-2008

America lost a class act yesterday, whether you agreed with his politics or not. One of the last great connections to old-school Hollywood, Oscar-winner Charlton Heston passed away after a six-year struggle with Alzheimer's Disease.

Although best known for his roles in historical epics like The Ten Commandments, Ben-Hur and El Cid, as well as his classic turn in The Planet of the Apes, Heston did make some contributions to the horror genre in his later years, including cult sci-fi/horror faves The Omega Man and Soylent Green, and an appearance in the H.P. Lovecraft-inspired In the Mouth of Madness.

He was part of the first generation of American method movie actors that hit the scene after World War II, along with guys like Gregory Peck, Burt Lancaster, Rod Steiger, and of course, Marlon Brando. Some called his style hammy, and he certainly wasn't above chewing on some scenery here and there, but there's no question he was also iconic.

Unfortunately, his embrace of the conservative movement in the wake of Barry Goldwater's presidential bid, as well as his long-running association with the National Rifle Association alienated a segment of his audience. I remind those who are quick to judge that he also stood by Dr. Martin Luther King during the Civil Rights movement and actually fought for gun legislation in the wake of the King and Kennedy brothers assassinations.

But all that aside, today I choose to celebrate his art, and the contributions he made to the American film aesthetic. Whatever Chuck Heston was, there's one thing that can't be denied--he was larger than life. And there aren't many public figures about which that can still be said.

Saturday, April 5, 2008

The Time I Met Tom Savini


One of the benefits of having a site like this is the fact that it gives me the opportunity to assume that people will actually care to hear about various personal experiences of mine, and then the platform upon which to share them. A narcissistic indulgence I grant, but this is the 21st century, and everyone else seems to be doing it. So, on a slow news day like today, I'm going to show off my second most prized possession.

In case you're wondering (and really, why wouldn't you be?), my number-one most prized possession would be my original 1955 vinyl copy of Frank Sinatra's In the Wee Small Hours. Hey, it ain't all about the horror, baby. But the solid number two is this copy of the 1996 Anchor Bay double-cassette VHS release of George Romero's Dawn of the Dead, autographed by zombie makeup effects maestro Tom Savini himself.

There was a brief time between liberation from the bonds of parental supervision and the loss of disposable income via procreation that I took an interest in frequenting conventions. The best was New Jersey's Chiller Theatre convention, and it was at one of these that I met the man responsible for creating the images that haunted my nightmares for years.

I wanted to meet Tom Savini more than anyone else there--more than the guy who played Uncle Owen getting spoonfed by his attendant in the corner; more than any of the middle-aged chicks who had once played girls who got killed by Freddy Krueger; and even more than the guy who played the robot on Lost in Space but didn't do his voice. This wasn't a celebrity worship thing. This was me wanting to meet someone whose work I genuinely appreciated.

And there he was, standing at his table with a British woman who may have been a publicist, an assistant, a girlfriend, or a wife. I took advantage of the opening and introduced myself to the creator of Flattop, Bub and Dr. Tongue. I let him know how much sleep his effects work on Dawn of the Dead and Day of the Dead had caused me to lose. I asked him (circa 2000) if there were any plans for a fourth Dead film, to which he firmly responded there was no chance whatsoever (Tom, you sly dog).

After he signed my video box and I had walked away, I realized I had forgotten to pay for the autograph, yet he had never bothered to mention it or behave in anything but a gracious manner. That made a good impression on me. I never liked the idea of paying for autographs anyway, even if it's probably the bread and butter of a lot of the folks who appear at conventions.

And there you have it--my brush with the king of squibs and sheep intestines. Not much to it, but since there weren't any remakes announced today, I went with it.

Friday, April 4, 2008

DC Comics' High Moon Gets Movie Treatment

Shock Till You Drop is reporting that High Moon, one of DC's premiere web-only comics, is being turned into a motion picture to be executive produced by John Woo.

Part of DC's Zuda web-comics imprint, High Moon debuted last November, and is, as you've probably guessed, a tale of werewolves in the Old West. Written by David Gallaher and drawn by Steve Ellis, it can be read at Zuda.com.

The film adaptation will reunite Batman Begins' Cillian "Scarecrow" Murphy and the always-excellent Rutger Hauer, and will also star Sean Bean, a.k.a. Boromir of The Lord of the Rings.

The project is interestingly described as a cross between The Lost Boys and The Magnificent Seven. I'm not particularly familiar with the source material, although I was a big fan of the Old West incarnation of Ghost Rider, another horror/western comic.

Shooting is set to begin in August.

Thursday, April 3, 2008

Wicker Man Sequel Gets Scrapped

I had no idea this was even supposed to be happening, but according to contactmusic.com, a planned continuation of the 1973 UK classic The Wicker Man has been cancelled due to financing difficulties.

Set to begin shooting in Scotland later this month, the planned sequel had nothing to do with Nicolas Cage's 2006 remake, a definite contender for worst movie of all time. Rather, it would seem to have been an attempt by the noble Scots to redeem their beloved property.

Local politicians are reportedly quite bummed out, having built their hopes around the idea of profiting from the publicity for the film.

While it's possible that the funding issues may be resolved, it doesn't seem likely. What a shame that an American remake can get financed, but not a legit sequel. Especially with Christopher Lee still among us, and just as sinister as ever--if not moreso.

Wednesday, April 2, 2008

This Old Haunted House

Taking a little break from speaking about horror fiction, I would like to talk a little about horror fact. Don’t hold this against me, but I used to live in a haunted house. “A haunted house?” you say? Yeah, a haunted house. Two story, full basement, fully attached, single bath, on 77th Street in Brooklyn. For 19 years.

How is this possible, you say? I don’t know. I don’t really believe in the supernatural [though I do not affirmatively deny it, either]. But the house was haunted, and you don’t have to take my word for it. You can ask just about anyone who ever lived there, or even anyone who ever spent a little time there.

Like I said, it is a pretty nondescript house. In fact, the only thing that can really give any credence whatsoever to this series of vignettes is that fact that the house is rather old for our part of Brooklyn, built sometimes during World War I, and probably before America’s entry into it in 1917.

When I was a kid, my mother’s parents lived there, and we moved in when I was 4. I don’t recall really any strange experiences when I was that young, or any stories, but I didn’t like the basement. The stories would come later, which would only confirm events that I was around for. In the spirit of full disclosure, I never actually SAW anything. But my sister and my parents both did. My experiences with the haunted aspect were just amorphous feelings, instincts, hackles.

See, this house, which I loved dearly, and had many great times in, was the seat of my family’s warmth and love. But, for whatever reason, the shadows in certain corners were darker, more inky, than in other places. And there were certain parts which just didn’t feel right – a closet in a bedroom, corners in the basement – and at times it seemed like there were places light didn’t, couldn’t, or wouldn’t, penetrate.

Like I said, I never affirmatively experienced anything. But I can remember being in the basement [which was always disorderly, chock full of stuff in random stacks] as a child, either playing with electric trains set up down there [it was the only area big enough], or looting though the vast, moldering library for many hours at a time, amusing myself with finds from the magical to the titillating. And at first, when I would turn on the lights, and the shadows would flee, I would be fine, and I would set to doing what I planned. And sometimes, after an uneventful while, I would feel something. I would feel it on the nape of my neck, or the base of my spine. And the little hairs would rise. And suddenly I realized that beyond the light lay the shadows in the corners. And then I didn’t feel so safe and secure, and when the opportune moment would arise, I would bolt back up the rickety stairs to the safety of the upper floors.

Then there would be other times, when I was old enough to be home alone [I guess around 12 or so], and I would come home from school, and my sister and brothers were at the sitter’s house, and I would, as just about every kid would do, watch TV. I would start watching at 3:30pm, watching GI Joe, the Transformers, Voltron, and maybe some other half hour long commercials. As the hours crept by, the house would get progressively darker, the shadows slinking ever closer. But me, being in front of the boob-tube, would seldom notice until maybe I was thirsty for more Sunny Delite. As I would turn to get up, it would dawn upon me that the house was, aside from the pale TV glow, entirely dark. And I mean COMPLETELY dark. And that is when I would feel like I was on display, out in the open. I cannot say I felt any overt malevolence, but it was certainly no attention I wanted. Again, instinct would take over and I would freeze until I could summon the will to move, and when I moved it was with the speed I could muster, and I would bolt to the nearest and brightest light I could. Once that light was on, I would then systematically turn on all the lights in the common areas of the house, and again breathe a sigh of relief, for once again I was delivered.

Okay, you're thinking: “Alright, this guy says he lived in a haunted house, and all he is telling us is he is a little wussy who was afraid of the dark.” But I said I never saw anything. However, when I was about 13, and my sister was about 8, and my whole family was home one weekend evening, my sister out of nowhere begins to scream bloody murder. She was upstairs in the bathroom, my mother preparing the usual Saturday feast, and my Dad and I in the living room, probably watching some type of sports. My father and I run up to see what’s wrong, and she related the following: she was taking care of business in the usual fashion when a silhouetted face appeared in the window of the bathroom door [there was an old style, fogged window on the upper third of the door], and the handle began to rattle. She realized it was too tall to be any of us, and thought there was an intruder, so she began to scream at a volume and pitch only achievable by 8 year old girls, and as she did so, the face disappeared.

My Dad and I [mostly my Dad, I was only 13], checked the upstairs, and nothing was amiss or out of place. My sister was not one to make such stories up, and she was clearly shaken from the event. That night we had my aunts [my Mom’s sisters] coming for dinner, and we told them about this strange story, and how silly my little sister was for scaring herself.

Instead of sharing in the laugh, they both looked at each other, and then at my Mom, and with knowing smirks, they each began to tell tales of when they were girls it the house, and of strange goings on, etc. One story they told me was of meeting an old lady after Church, named Mrs. Loughlin. Mrs. Loughlin and her husband lived in the house before my grandparents and sold them the house. Mrs. Loughlin, according to my aunts, told them that one day, years after her husband had died she walked into the bathroom to see him standing there shaving, only to disappear after he turned around to look at her. She then told of a boy, in his teenage years, who had lived there before her, and had died tragically while riding the train to a school dance, and was said to still inhabit the walls. This was the first time I realized that I lived in a haunted house.

Time passed, and the house remained in its usual state – shadows darker than usual, corners that remained uninviting, yet we were all living happily within. My parents had two more kids. While I still never saw anything, I would mark how objects would occasionally disappear, and reappear later in unexplained fashions. In fact, I named this effect “Fred” and joked with friends that Fred lived in the basement.

Then one summer evening before I went away to college, I came home late from hanging out with the guys. My parents had had company for dinner that night, and were still awake talking after the company had left. As I come in my father calls me over to the dining room, saying they has something to tell me, which turned out to be the definitive ghost story from 77th Street.

The story went as follows: after the usual large Saturday night feast of steaks and all the sides, and after the company left and the boys [then 8 and 5 years old, respectively] were put to bed, Mom and Dad stayed up, talking over a glass of wine. Both my sister and I went out. At one point, when all was quiet, they hear a snuffling, a whimpering, of a child, and cautious footsteps one at a time coming down the stairs. My Mom said she called out to the footsteps, thinking it was one of my brothers upset at something, maybe not feeling well, or had had a nightmare. When she called the footsteps stopped. My father told me he called out next, this time using their names, but there was no response. At this point they both realized something was amiss, and my Dad got up and started towards the stairs. He then told me that as he approached the stairs he heard the footsteps go up, one at a time but quickly, and as he got the foot of the stairs, he saw a shadow turning the corner of the landing. He went up the stairs, and there found both my brothers both sound asleep, wrapped tightly up in their blankets. They had never gotten out of bed.

It was clear they both were disturbed by this tale, though also somewhat exhilarated, in that they felt that they were privy to something truly mysterious and otherworldly, or at the very least, weird. They asked what I thought, and I didn’t have a good answer for them.

Years later, the year I graduated college, our family moved out to a new house. My Dad and I spent many hours cleaning out the various corners of the 77th Street house, including the most forbidding of corner and closets. It was in more ways than one a cathartic activity. The next Spring, while we were waiting to sell the old house on 77th, I was using the all but empty house as a study hall for me and my study group from graduate school. We were there daily, and we even made up keys for them in case they had to get in and I wasn’t there. During our finals that Spring I was going to meet my fellow students one day, and for whatever reason I arrived a few minutes after they did. I found them both sitting on the front stoop, with the front door open, and the both of them wide-eyed and ashen faced. I asked what was wrong, and Pat said that he didn’t know what was up, but they both had no idea what was going on. I turned to Cheech, and he said that they were sitting there, talking about the day’s study itinerary, when there was a flash of light from nowhere, and a set of bongos that Pat [a Deadhead] had brought over on another day began to play by themselves. At that these two fully grown men, in the middle of broad daylight, ran out of the house in fear. I am not making this up.

At that point I was constrained to explain the history of my soon to be former house, and after that it took a little reassuring to get them back inside. I had to say it was a little creepy, but nobody ever got hurt. After a little while, we reconvened our study group, but they were never able to just let the random sound of the house settling go without a furtive glance.

I swear to you, gentle readers, that the events as set forth above are 100% true, and that I only changed some names for the sake of privacy in these electronic days.

Tuesday, April 1, 2008

Lon Chaney Shall Not Die


Today The Vault of Horror marks the 125th anniversary of the birth of the great Lon Chaney Sr. How fitting indeed that April Fool's Day would be the birthday of Hollywood's greatest illusionist.

Born Leonidas Frank Chaney on April 1, 1883, he would go on to become the single greatest celebrity of the silent film era, with only Charles Chaplin being a possible exception. He was best known for his incredible skill with makeup--so much so that he even wrote an entry on the subject for the Encyclopedia Brittanica.

Always doing his own work, Chaney was able to dramatically transform himself for a wide variety of roles, most memorably including Fagin in Oliver Twist (1922), Quasimodo in The Hunchback of Notre Dame (1923), Prof. Echo in The Unholy Three (1925), Erik in The Phantom of the Opera (1925), Alonzo the Armless in The Unknown (1927), Prof. Edward C. Burke in London After Midnight (1927) and Tito Beppi in Laugh, Clown, Laugh (1928). In those early days of movie makeup, Chaney suffered greatly under painful applications, and even lost some of his vision due to his work on The Hunchback Of Notre Dame.

Many have attributed his fascination with unusual, often deformed roles to the fact that he grew up the son of parents who were both deaf and a mother who was an invalid. His ability to communicate so effectively without words and under heavy makeup might also be attributed to this.

His career was confined almost entirely to the silents, and in fact he made only one talkie, a 1930 remake of The Unholy Three, in which he performed the voices of five different characters. He was in line to portray Dracula in Tod Browning's 1931 production when he became ill with lung cancer brought on by heavy smoking and aggravated by a piece of artificial snow that became accidentally lodged in his throat while working on his final silent film, Thunder (1929). Lon Chaney passed away on August 26, 1930 at the age of 47.

Although known primarily for his work in horror, Chaney was also an accomplished dramatic stage actor, as well as a gifted comedian, dancer and singer. He was played by James Cagney in a 1957 biopic, The Man of a Thousand Faces. His son, born Creighton Chaney but using the screen name Lon Chaney Jr., became a prominent horror actor in his own right, but never quite escaped the awesome shadow of his legendary father.

(Special thanks for the animated GIF go to LonChaney.com, the family's official website.)
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