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Surgeons of Horror

~ Dissecting horror films

Surgeons of Horror

Monthly Archives: May 2017

Movie review: The Black Cat (1934)

30 Tuesday May 2017

Posted by surgeons of horror in Universal Horror

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Bela Lugosi, Boris Karloff, The Black Cat, Universal Horror

PART OF ME so wanted to connect with this movie due to its strong placement in film history, pairing horror icons Bela Lugosi and Boris Karloff together for the first time.

They would do so again a further 8 times throughout their career.

Both Lugosi and Karloff would find fame through their roles in Dracula and Frankenstein respectively and each had a further outing of their own, with moderate success, so it was inevitable that these two powerhouses of their day would cross paths before too long.

It pains me to say that I really struggled with with watching this movie.

Loosely based on the short novel of the same name by Edgar Allen Poe, The Black Cat had all the hallmarks of a classic horror story.

Our central protagonists Peter and Joan find themselves as unwitting pawns in a game between psychiatrist Hjalmar Poelzig (Lugosi) and architect Dr. Vitus Werdegast (Karloff), both whom flirt with their own sanity throughout the proceedings, although Poelzig is marginally on the ‘right’ side of the tipping point.

He does at one point though try to plead for Peter and Joan’s freedom having been ensnared in Werdergasts abode, by playing a game of chess.

Werdergast certainly takes home the crazy awards though with his collection of dead women that he keeps in glass cases.

The history between these frenemies runs deep, turning all the more bitter when Poelzig is imprisoned during the war, during which time Werdergast settles down with Poelzig’s wife, who is now dead and has become a feature in one of the exhibits.

It’s something of a convoluted mess, with the drama wrenched up to the max that it feels strained and forced.

Both Karloff and Lugosi pull off all the stops as they race to the ultimate showdown between the two for the film’s climax, but by this point I’d gone past caring and simply wanted the movie to find it’s end note.

In fact, were it not for the performances from both its leads, The Black Cat wouldn’t have received the kind of recognition that fell its way upon its release.

This coupled with the music score keeps the audience barely onside and despite this being Universal’s biggest box office hit of the year, The Black Cat ends up looking more like a drowned cat than screeching for the high notes of hysteria and horror that it was clearly aiming for.

Ultimately, something of a disappointment.

  • Paul Farrell

 

Retrospective: The Invisible Man (1933)

27 Saturday May 2017

Posted by surgeons of horror in Universal Horror

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Claude Rains, The Invisible Man, Universal Horror

EDITED: 03/06/20

As part of some of the recent articles I’ve written, I’ve been casting myself back through the Universal Horror vault and scrutinizing the films of yester-year. When the production house hit their stride off the back of successes with Dracula and Frankenstein, they began to march out similar stories, some stronger than others.

1933’s The Invisible Man happens to be one of the better movies of that era. Based on the novel by notorious science fiction writer, H.G. Wells, who happens to have hailed from my neck of the woods in Bromley, Kent, England, so top bloke then. J

In this adaptation, Universal went all out to make the special FX convincing and frightening enough that it was considered groundbreaking for its time and still stands strong today.

Whilst watching the movie, the use of this effect is certainly the centerpiece and Universal weren’t shy in using it, and threw the audience into the action, fairly early on, with a slight build up of character development before hand.

FX aside, it is Rains who steals the show with his performance as Dr Jack Griffin aka The Invisible Man in what was his debut in an American feature.

Despite the fact that we only ever see his face in the films conclusion, Rains manages to portray the maniacal menace of the doctor, (who curiously the story of his unfortunate transition is never seen) with absolute believability.

Rains would go on to feature in several Universal features including The Wolf Man and Phantom of the Opera.

But for me, he will forever be cemented as Capt. Louis Renault in Casablanca.

There is an amiable support cast too that lends weight to the strength of this film including Gloria Stuart (The Old Dark House, and the older Rose in James Cameron’s Titanic), Henry Travers (It’s A Wonderful Life), and Una O’Connor (Bride of Frankenstein).

All of whom are helmed together by the fabulous director James Whale, who also directed Universal’s last successful film, Frankenstein, proving that this was no mere fluke and would go on to achieve further success with Bride of Frankenstein.

Such was the success of this feature that it would spawn several sequels, including one that would star Vincent Price.

It as often been emanated but never in my humble opinion repeated. The less said about John Carpenter’s The Memoirs of an Invisible Man and The Hollow Man, the better.

– Saul Muerte

Movie review: Raw (2017)

22 Monday May 2017

Posted by surgeons of horror in Uncategorized

≈ 5 Comments

Tags

cannibal, coming-of-age, horror films

IT’S NOT OFTEN that a movie will leave me feeling that strange, eerie sense of detachment.

As if one’s soul has been ripped away from the body and thrust into the open space to drift in the emptiness.

It’s a feeling of confusion that leaves you wondering what took place that makes you feel a strange mix of emptiness and euphoria.

The last time I can recall feeling this way, was after viewing Gaspar Noe’s controversial movie, Irreversible.

Although Raw deals with a completely different subject matter, it does something similar in crashing head long into a terrain that some may find difficult to handle, and perhaps too confrontational, but in both cases, they are subjects that warrant addressing with a fresh new take, in order to shake things up a bit.

On face value there are some that might be turned away at the prospect of Raw, the tale of vegetarian Justine, (Garance Mariller, who incidentally delivers a stunning performance) who loses all sense of herself in her first week of veterinary school and eats raw meat for the first time.

All the trailers and imagery surrounding the movie have centred on a bloody Justine, who on one hand heightens the gore factor, but what it fails to convey is the sheer depth of this movie.

It’s more than a sensationalist shock-fest and deep down is a coming-of-age story.

When Justine is dropped off at University, she’s somewhat abandoned to her own devices by her parents to make her way in this strange new land.
Her only lifeline comes from her older sister, Alexia, (played by Ella Rumpf, who is equally charismatic and engaging on screen) but is far from the person that Justine once knew and because of this finds it hard to connect with.

The early scenes at the University are immersed in a world of chaos and anarchy – an almost Lord of the Flies situation, where the “Elders” are left to rule the roost and the teachers appear strangely absent and willing for the wild parties and engagements to reign.

It’s an indication to of our times and Director, Julia Ducournau in her feature debut, certainly has her finger on the pulse capturing the very heart of the youth’s struggles as they reach their sexual awakening with only each other to turn to in order to learn from. And sometimes we might not like what we see.

Admittedly, I found the first 20 minutes hard to get into, but as soon as I was immersed in the world that was created, I became instantly absorbed and willing to be taken along Justine’s journey of elation, repulsion, disgust, and delight.

The confusion she feels as she experience all these emotions at the same time, leaves her in disarray, and what at first appears to be a cruel turning point when her taste for the flesh lunges for the one lifeline that she has, only to have the tables turn in a deliciously exciting way.

The relationship that Justine has with Alexia is vital for this movie to pay off and relies on the strength of both actors. It beautifully captures that whole love/hate sibling rivalry, where blood is thicker than water and sometimes family is all we have to rely on at a time when the very thought of that couldn’t be further from the truth.

The more I think of it, the more beautiful and powerful a movie Raw appears to be. It evokes so much emotion that it lifts you up on high and lets you marinade in the bloody mess that is left behind.

Even as I write this up, I can feel that same sense of elation deep in my core.

It’s hard to shake and I can’t recommend this movie enough.

A glorious insight into the chrysalis of youth, what emerges is a thing of beauty.
I can only marvel at the wondrous sight that was presented and watch it soar high into the atmosphere.

By far and away, the best movie I’ve seen this year, and I could venture to say, the best movie I’ve seen in the last few years.

Do yourself a favour.

Go and see this movie and have your own celluloid awakening with this feast for the eyes.

 

– Paul Farrell

Season review: One Night in Candle Cove

12 Friday May 2017

Posted by surgeons of horror in Uncategorized

≈ 2 Comments

Tags

Candle Cove, Channel Zero, Creepypasta

When some bright spark from the Surgeons of Horror camp came up with the notion of doing a marathon session of Syfy Australia’s latest horror drama, Channel Zero, there were nods of approval around the table, but when it came to which team member should actually perform the task, all eyes quickly settled on the only one deranged enough to take it on, yours truly, ‘Mad Moon’ Maguire.

Pathetic really, but as the night shift tends to my basic needs, I was more than willing to fill that void within the mind of Kris Straub, (who penned the story that the series is based upon) and Nick Antosca, (series creator).

The concept was a simple one, to create a 6 Part series based on the Creepy pasta stories that have become popular in recent years online, and the first subject would be centred around Candle Cove.

You may have seen images already some of the creatures that inhabit this nightmarish world, and it’s not until you immerse yourself into the story as it unfolds that Candle Cove really gets a stranglehold on your psyche and begins to mess with your mind.

There are a lot of elements at play here that were clearly inspired by known properties. Some reviewers have likened it to a cross between American Horror Story and The Twilight Zone and whilst I personally see it falling into the latter camp, I can also see aspects of David Lynch, Children of the Corn, and Stephen King.

Paul Schneider portrays the child psychologist Mike Painter, who returns his hometown after suffering his own psychotic episode.

Throughout the series, we constantly question the stability of our lead protagonist as he delves into the mysteries surrounding the disappearance of his brother all those years ago and the murders that occurred during that time.

Schneider’s performance is beautifully subdued and because of this lends weight to his spiralling madness and / or tangled web of the supernatural that we plummet into on his journey.

While the first episode sets up the intrigue that is embodied throughout Candle Cove, the second episode allows for further character development to come to fruition just before it pulls the rug from under your feet leaving you questioning just exactly who you should trust.

This is all part of the strength that lies within Candle Cove.

Just as the kids seemingly fall under some evil trance, we too are lured under its spell, falling deeper within the labyrinth of despair.

There are shocking and confronting moments all held within this disturbing world, leaving you gripped and eager to delve further into its dark recesses.

And the further we go, the more secrets there are to unfold.

By the end of the journey, we’re left satisfied with its completion, knowing that all appears to have been resolved, even though it may have strengthened our fears of puppetry, tooth monsters and anything else that maybe lurking beyond.

Roll on the next instalment of Channel Zero entitled The No-End House, due to be released in October.

  • ‘Mad Moon’ Maguire

Get Out: 6 hidden moments that lured us under its hypnotic spell

04 Thursday May 2017

Posted by surgeons of horror in movie of the week, Uncategorized

≈ 6 Comments

Tags

Jordan Peele

DESCRIBED AS A social thriller, Get Out is fast becoming the must-see horror film of the year.

Brought to the screens by the brilliant Jordan Peele, with his sharp observations on society and culture.

In particular, Get Out focuses on the racial divide in America.

Whilst there are some moments that are blatant statements of the issues faced in the US, there are some that are a little more subtle.

So many layers are placed in this movie that when watching, you almost feel like you’ve transcended into your very own ‘sunken place’, paralysed by in Peele’s world, searching for a way out of the madness that surrounds our central character, Chris.

Here are 7 Key moments that you may have missed on first viewing

  1.   “Run” 
    It’s a common theme within the movie – more prominent with the song Run, Rabbit Run, that’s played at the start of the movie, but emphasised even more so, with a Swahili song that also feature in the movie, which when translated, tells us to listen to your ancestors, and run.
  2. No trace of I.D.
    When Rose hits a deer with the car, did anyone notice her lack of empathy?
    Chris is drawn to see the deer as it instantly reminds him of his own mother, who was knocked down in a hit and run, but when the cops arrive,
    Rose is very quick to defend Chris and not let the Cop force home to give out his drivers licence.
    On face value, this might seem like an empowering moment as she stands up for her man, but in light of what transpires later in the movie, could be viewed as Rose covering her tracks.
    If there’s no record of her and Chris being together, she can hide all trace of his inevitable disappearance.
  3.   The Black Buck
    Briefly mentioned by Rose’s father with an off-hand comment, with his lack of love for bucks or deer is actually racist slur in post-reconstruction America.
    It was used by those in white authority on Black men who refuse to ‘tow the line’.
  4.   Silver spoon
    Speaking of bowing to authority, the method that Missy uses for her hypnosis treatment labours the point further around ‘White supremacy’ with the aid of a silver spoon.
    A symbol of how the elite can rule and control those in a ‘lesser’ position.
  5.   Cotton picker
    Slightly more obvious is Chris’ method of escape. When tied down, he literally has to pick the cotton embedded in the chair, in order to win his freedom.
    It’s a strong and profound moment in the movie.
  6.   Froot Loops and Milk divided.
    Believing that all is in order, Rose resorts to her basic behaviour and let’s her guard down in search for her next victim.
    Whilst she does this, Rose eats some Froot Loops on their own before consuming some milk.
    An odd behaviour in itself, but on closer scrutiny symbolises the separation of colour from the white that is deeply embedded in her psyche.

It feels as though I’ve only touched the tip of the iceberg with this one.

Get Out is so deeply layered that it warrants a repeat viewing or two to really appreciate Peele’s work.

And with the promise of several more social thriller instalments on the way, I can’t wait to see what Peele serves up next.

  • Paul Farrell

Podcast: Devil Woman – Interview with Heidi Lee Douglas

01 Monday May 2017

Posted by surgeons of horror in Interview, Uncategorized

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Defendant 5, Devil Woman, Heidi Lee Douglas, Little Lamb

Heidi Lee Douglas.

If her name isn’t one your register, it should be.

An award winning writer, director who garnered recognition with her political/social film Defendant 5, Heidi Lee Douglas documented the destruction of Tasmania’s rainforest, only to suddenly find herself thrust into a legal battle.

The right of free speech was being stifled, and yet she persisted in getting the project out of the wilderness and into the limelight.

Since then, Lee Douglas has formed her own company, Dark Lake Productions with amazing results including the short gothic thriller, Little Lamb.

Now though, she has turned her attention to a new project, Devil Woman, a smart horror film that takes the viewer directly into the coal-face of human conflict over our relationship with the environment.

The film draws from the world of zombies and shape-shifters, with the added flavour of Lee Douglas’ penmanship that adds a unique voice in the horror genre.

It’s an Australian story that embodies the diverse terrain of the Tasmanian landscape.

Devil Woman is currently looking for support through crowd-funding via pozible, so if this piques your interest, then head on over and contribute.

Want to know more? Well the Surgeons team recently had the opportunity to sit down with Heidi Lee Douglas to discuss this passion project. Check out the podcast below.

https://player.whooshkaa.com/player/episode/id/99459?visual=true

Links:
https://pozible.com/project/devil-woman
@devilwomanfilm

 

 

 

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