"A REALLY INTELLIGENT INTERVIEWER." -- Lance Henriksen
"QUITE SIMPLY, THE BEST HORROR-THEMED BLOG ON THE NET." -- Joe Maddrey, Nightmares in Red White & Blue

**Find The Vault of Horror on Facebook and Twitter, or download the new mobile app!**

**Check out my other blogs, Standard of the Day, Proof of a Benevolent God and Lots of Pulp!**


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.)

Monday, March 31, 2008

Cloverfield Theme Will Get Commercial Release

One of the most memorable things about January's heavily hyped monster extravaganza Cloverfield was the 11-minute musical overture by Michael Giacchino, which played over the closing credits and was the only piece of music in the film.

Intended as an homage to the kind of majestic kaiju-themes Akira Ifukube wrote for the Godzilla movies and other giant monster flicks like Rodan and Varan the Unbelievable in the 1950s, '60s and '70s, the piece has become enormously popular, leading to increasing demand for its release.

In this month's issue of Film Score Monthly Online, there's a downloadable video interview with Giacchino (available to subscribers only) in which the composer indicates that the overture will indeed me made available soon, although he doesn't say in what format. One would assume there would be a download, but a CD soundtrack seems unlikely, since there isn't any other music in the movie. Giacchino also said that if they had any idea there would be such demand for the music, they would've planned a little better.

One of Hollywood's up-and-coming composers, Giacchino did the music for J.J. Abrams' TV series Alias and Lost, as well as Pixar releases The Incredibles and Ratatouille, and the hugely popular Call of Duty videogame series. His newest work is for this summer's Speed Racer, and he will also be scoring Abrams' 2009 Star Trek adaptation.

Sunday, March 30, 2008

It's Official: Zombies Have Jumped the Shark

Now just to clarify, I'm not talking about Lucio Fulci's masterpiece, in which a zombie fought a shark. That was spectacular. No, I'm thinking more about Fonzie on waterskis here. Because it seems to me that zombie movies have finally hit the wall, and the culprit is Steve Miner's direct-to-DVD remake of Day of the Dead, set to come out next month.

To be fair, I should begin by saying it's not as god-awful as I was led to believe by all the preliminary reactions. Actually, I've seen far worse, especially in the direct-to-DVD category. I would even submit that if you forget that it's called Day of the Dead, and put George Romero's films completely out of your mind as if they never existed, it might be possible to derive a small amount of fleeting enjoyment from the picture.

Of course, that begs the question: Why did they bother calling it Day of the Dead? Especially when it bears almost no resemblance to the 1985 original, besides having some characters who happen to have the same names. Certainly, the fan backlash would have been minimized had they just dropped the pretense of remaking Day of the Dead. Well, the reason is simple: the name Day of the Dead is a draw, it gets people to watch the movie based on the reputation of the original. That was definitely the case with me, so I'd have to say that to a certain degree, the strategy worked.

If fast-moving zombies send you into paroxysms of rage, then avoid this movie at all costs. Because these zombies are good enough to join Cirque du Soliel. But again, as I said before, if you put these kind of pre-expectations out of your mind, you might be able to get through it. A scene in which Suvari flees for her life in a ventilation shaft is the film's suspense-filled highlight. And I will say that the gore is some of the most intense I've seen in just about any zombie film made this decade, almost a throwback to the original wave 30 years ago.

Mena Suvari stars as Sarah, and although she's a competent actress, she isn't really given much to do--it's a one-note performance. The overrated Ving Rhames is Capt. Rhodes in name only, and his appearance in the movie is short and forgettable. Nick Cannon as Salazar is a joke--when are studios going to realize that these types of stereotypical "black" roles are almost as bad as the Steppinfetchits of old? And then there's Stark Sands as Bud--that's right, it's not Bub, it's Bud. He starts out human, then becomes a zombie later, but other than his being one of the "good guys", there is almost none of what made that character such an icon. I should mention, however, the one moment which seemed to me to be the movie's most effective tribute to the original, in which Bud, a soldier in life, still responds appropriately to military commands, in a very Bub-like fashion.

Steve Miner, director of Friday the 13th Parts II & III as well as Halloween: H20, does a passable job of putting together a by-the-numbers zombie movie here, but all in all, it's a pretty disposable affair. I'd recommend it for hardcore zombie-lovers only, and maybe those who get a kick out of schlocky direct-to-video releases. But I have to stress--put Romero out of your mind completely. That's the only way to watch this without kicking in your TV screen. This remake is a clear example of how this subgenre has devolved since Uncle George pioneered it all those decades ago. And I, for one, think it's time to give it a rest.

Friday, March 28, 2008

Dr. Caligari Never Sounded Like This

All I can say is, I never thought I'd be jealous of people who live in Ohio (sorry Ohioans, you know I love you). But if you happen to be anywhere near the Springfield area, you would do well to get yourself to the State Theater for tonight's one-time-only screening of 1919 German Expressionist classic The Cabinet of Dr. Caligari
with musical accompaniment by the unorthodox trio known as Equinox.

Tickets are only five bucks, and you can't beat that with a bat, to quote the Black Sheep. Equinox has previously accompanied State screenings of two other silent gems, Nosferatu and Metropolis. Next October, they will travel to Dayton for a reprise of Nosferatu, as well as a ballet interpretation of Dracula. When it comes to horror as art, it would appear that the Buckeye State is the place to be.

I realize this is a very localized item, but it captures my imagination simply because it's such a rare treat in the year 2008 to be able to view a silent film the way it was intended to be viewed--with a live score. Hopefully we see more of this kind of thing. I'll never forget attending a similar showing of Nosferatu in NYC about 15 years ago. It was an amazing experience, in spite of a too-hip-for-the-room audience that laughed throughout the picture. Hey, that's New York, folks--you take the good with the bad.

Thursday, March 27, 2008

AICN Reviews Script for World War Z

When, oh when will this project get moved out of developmental hell? Despite the fact that even I have begun to suspect that the zombie sub-genre has petered out (my review of the Day of the Dead remake is soon-to-come), Max Brooks' World War Z is a novel I thoroughly enjoyed, a horror epic that could completely regenerate not just the subgenre, but the entire genre if done properly.

The venerable Moriarty of Ain't It Cool News has posted a review of the script based on the book, which was written by J. Michael Straczynski a year ago--not long after the novel was optioned by Brad Pitt's Plan B production company. Since the completion of the script, not a word has been heard about the project, but the AICN review is most promising. Not sure why they chose to review it now, other than the fact that they've been big Brooks supporters going back to his first work, the bland and vastly inferior Zombie Survival Guide.

Moriarty speculates as to possible directors (Peter Jackson, Sam Raimi, etc.), but the fact remains that nothing new is known. However, his review does reveal a lot about how the book's complex story--focusing on a series of testimonials recorded by a reporter from a series of witnesses in the wake of a worldwide Zombie War--would be treated on film. Keep your fingers crossed on this one, as it could be the Citizen Kane of gut-muncher flicks. Could insiders be getting cold feet due to oversaturation of the marketplace? Let's hope not.

Related Posts Plugin for WordPress, Blogger...