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Surgeons of Horror

~ Dissecting horror films

Surgeons of Horror

Monthly Archives: February 2017

Movie review: The Man Who Laughs (1928)

10 Friday Feb 2017

Posted by surgeons of horror in Universal Horror

≈ 1 Comment

Tags

Conrad Veidt, Paul Leni, The Man Who Laughs, Universal Horror, Victor Hugo

PAUL LENI RETURNS behind the camera to direct the latest horror movie outing for Universal, following on from The Cat and The Canary, but once again, this movie feels more like a melodrama than an out and out horror.

That’s not to take away from the strength of the story which once again focuses on the plight of its main protagonist, a theme that runs strongly through the Universal movies of this time. 

It’s based on a Victor Hugo novel of the same name. Evidently another inspiration to the producers at Universal and perhaps the reason this movie was greenlit following the success of The Hunchback of Notre Dame.

The protagonist this time around would be Gwynplaine, a man who carries a freak-like grin due to Dr. Hardquannone’s surgery permanently scarring his face.

It is an act that is carried out by the order of King James II and the final result of this permanent smile was said to be the inspiration behind one of Batman’s notorious villains, The Joker.

The Man Who Laughs mainly centred on Gwynplaine’s plight and the torch he carries for the blind Dea, played by Mary Philbin.

By a strange turn of events it is uncovered that Gwynplaine is owed inheritance through his lineage and is urged to marry in order to restore the proper ownership of the estate.

Ultimately though, he would turn his back on his fortune in favour of love.

It’s a beautiful story and you can tell that it was wielded by a master in his field. Conrad Veidt plays Gwynplaine with a certain amount of ease and bodies the pain and torture held within with a simple look or gesture of his eyes.

Veidt himself had made a name for himself 8 years early with the silent horror masterpiece, The Cabinet of Dr Cagliari. He would go on to feature in The Thief of Baghdad and Casablanca before passing away at the age of 50.

His performance in The Man Who Laughs stands strong in the Universal Horror canon and deserves its place alongside the movies that the production company was making at the time and had a significant impact on the movies that would follow.

Significantly this is only 4 years away from Bela Lugosi stepping into Dracula’s shoes and making cinema history.

  • Paul Farrell

Episode review: The Exorcist: S1 Chapter 8 “The Griefbearers”

06 Monday Feb 2017

Posted by surgeons of horror in Uncategorized

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NOW THAT WAS a twist of epic proportions.

But before we get a-“head” of ourselves, I’d like to dissect this weeks episode “the griefbearers” and delve into whether or not THAT moment was a shocking one or if the writers are using gimmicks to wallpaper over the cracks that are starting to appear in the storyline.

  1. “It worms its way in and lays its little eggs”

    Those be fighting words.As the 2 priests ordain to complete the exorcism of Casey, they come together in an almighty clash.

    Tempers mount and the ‘handbags’ are laid down between them.

    Despite the rift, Father Marcus and Father Tomas are able to right themselves and see it for what it is.

    The devil forcing them apart for his own gain.

  2. Back to the basement 

    In an attempt to wring out every last ounce of the original story, why not go back to where it all began?In this case when Regan/Angela first encountered Captain Howdy.

    It felt like an obvious thing to do, and the scene tried to embody emotion but it just felt forced and empty.

    It’s a Catch 22 when you’re trying to pay homage to the original but compose enough of an originator to make it your own.

    But in this instance, it didn’t quite hit the mark.

  3. Elevate good times 

    So, with one final moment of elevation, it would appear that Casey’s soul has been saved and all is right in the world. But with 2 eps to go, how will the Rance’s come together and move on?And just because we see one possessed homeless guy lull himself, is it really over?

  4. Father Bennett is outnumbered 

    After confronting the Friars of Ascension last week, it was only a matter of time before the wolves would circle their prey.Father Bennett’s demise came at the hands of someone he wrongfully trusted.Which just goes to show how wide the cult had seeped its way into the Chicago community.

    And just when you started to become intrigued by his character, he’s written out in what is probably the first tragic death in the series. (But not the last – even in this episode)

    In the end Father Bennett played things by the book, unwilling to break the rules and in doing so he met his maker.

    A lesson to be learned there perhaps?

  5. The writings on the wall for Chris McNeil 

    It was inevitable that Chris McNeil would also meet an end, especially as predicted a few weeks back when she followed in the footsteps of Father Merrin’s grand entrance.It wasn’t predictable however, how her fate would be acted out, at the hands her own daughter Regan.

    Why does this leave things now?

    How long has Regan’s soul been taken over by the demon.

    Is there any hope left for the Rance’s.

With 2 episodes left to go, it’s hard to picture a happy ending.

Especially as the devil has such a firm grip on the community.

Movie review: The Cat and the Canary (1927)

03 Friday Feb 2017

Posted by surgeons of horror in Universal Horror

≈ 3 Comments

Tags

the cat and the canary, Universal Horror

ARGUABLY UNIVERSAL’S next choice for the horror genre would be better delivered 12 years later by rival film company Paramount Pictures.

Certainly it received wider recognition.

Still, in 1927, The Cat and the Canary, based on a play by John Willard would serve up as their fourth outing in what later be labelled as Universal Horror.

Hired for directorial duty would be German Expressionist filmmaker, Paul Leni, who would go on to contribute to Universal for a further 3 movies before passing away at only 44 from an untreated tooth infection.

He is a forgotten master of his craft and one can only ask what would have become of him, had he not been cruelly robbed of this world just as he was starting to hit his stride.

For his debut feature for Universal though, Leni would lend his talents to produce a comedy horror gem and iconic for its time in history.

Centred on the tale of millionaire Cyrus West’s last will and testament, this silent feature unfolds across an evening.

However, a second will appears with suggestions that it were laid there by the ghost of Cyrus West which can only be opened in the event that the details in the first will aren’t carried out.

Essentially, all of his estate is to be bequeathed to his most distant relative, Annabelle, played by iconic silent screen star, Laura La Plante.

She must undergo a medical examination declaring her mentally well, failing to do so enacts the second will.

All relatives eagerly eye of her failure in order to get their hands on the fortune.

Throw into the mix, an escaped lunatic known as The Cat, and you have yourself a fun little romper of a story.

The horror element of this movie can be played loosely but does bare the one creepy moment as played in the clip above, but essentially it’s too light for the true horror enthusiast, but still marks an important entry to the canon as Universal begin to pave a way for what was to come.

  • Paul Farrell

 

 

 

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