PAUL LENI would round out his trio of Universal movies with The Last Warning before his death from blood poisoning.
Laura La Plante would also return for both Director and Universal having received success from her most notable role, The Cat and The Canary.
With The Cat and the Canary, Universal planned to recapture that lightning in a bottle moment by re-teaming Leni and La Plante.
The plotline itself is actually quite an interesting one.
5 years ago, a theatre closes its doors when one of the actors is murdered on stage.
A producer then decides to try and solve this mystery by re-staging the play with the same cast, only to have yet another murder occur.
It’s a great concept, filled with intrigue and menace that could play a deeply unnerving spectacle had it been delivered in the right manner.
As it stands though, Leni was unable to ignite that same level of supernatural element from his previous movie and in doing-so, The Last Warning loses the horror element and merely plays out as a mystery, albeit with a good tale.
Unfortunately some of the scenes have been lost in this movie over time, but it still stands a part of the canon in the lead up to Universal’s golden era of horror.
BACK IN 1998, a little known horror film based on the novels by Koji Suzuki would ignite a new wave for for the genre known today as J-horror after its Japanese influence.
That film was called Ringu and gave birth to a modern icon in Sadako, which has been repeated ever since (with the woman in white and long black hair) but arguably has never had the same impact on its audience.
Centred on its female heroine, Reiko, (a deviation from the book by switching gender) who hears of a curse attached to a videotape and her journalistic instincts lead her down a well of despair in order to free her soul and to save her son from a twisted fate.
It’s simple storytelling told with enough tension along the way that keep you gripped to the screen as the virus spreads to those who watch the videotape, we too are consumed by its intoxication and succumb to the power that Sadako injects into her victims.
Watching it now, it still stands strong and is a testament to director Hideo Nakata and his vision that perfectly encapsulates the menace and enhances that fear in all of us.
It’s success spawned a sequel in the same year: Rasen (Spiral)based on Suzuki’s follow up to Ring and to capitalise on the story surrounding the curse, but such was the success of Ringu that Rasen was lost in its shadow and had since become forgotten.
Which is a shame because it’s a great film in its own right and owes a lot to Suzuki’s storytelling.
It does deviate from the original by shifting its focus on the curse itself which has mutated into a cancerous form that attacks the heart. So you start to go down a more medical avenue as it follows Surgeon, Mitsuo Ando as he delves into this strange anomaly whilst still suffering from his own heart ache after losing his son.
Nakata would however revisit this storyline for another attempt at a sequel with Ring 2, which had a lot more focus on the mysticism that surrounded Sadako and also Reiko’s son, Yoichi.
A 3rd movie was also made in this instalment entitled Ring 0: Birthday, which wound the clock back to the beginning, unearthing the origins of Sadako and how she became such a tortured soul with a grudge to bear.
It was inevitable that the American movie would pick up on the interest surrounding this franchise, such is the richness of substance within, so in 2002, The Ring starring Naomi Watts would hit the silver screen and scare a whole new audience on the Western Hemisphere and transporting Sadako into Samara to fit into the different dynamic that sits on the other side of the pond.
This time it was directed by Gore Verbinski (Pirates of the Caribbean) and added his own unique touch to the story with a much bigger profit.
The result was a huge success at the box office and generated its own sequel, The Ring 2(2005), which similar to its Japanese counterpart focused on the son and his consummation by Sadako as she tries to get her grips into his soul.
Since then, all went quiet on the Sadako front until 2012, when she received a 3D treatment in Japanese cinemas with a new tale entitled Sadako 3D, based on Suzuki’s novel, S.
And despite little fanfare, this film also has a sequel the following year, 2013, entitled (not so originally) Sadako 3D 2.
This film also didn’t set the movie world alight but did trigger a reawakening of sorts with a horror movie face-off battling to of Japanese horrors finest villains of late, Sadako v The Grudge.
Hollywood weren’t to miss out on this re-awakening however and after a 12 year absence, Samara is set to return and scare audiences again in 2017 with Rings.
It’s a move that hopes to introduce the story to a whole new generation and go deeper into the mythology for fans of the franchise.
So while Australian audiences wait for the release of the latest movie, the team at Surgeons of Horror decided to dissect this movie franchise in our latest podcast discussions, which you can check out below.
THE PENULTIMATE EPISODE has a tough task to undertake.
It’s sole purpose is to tie up all the strands that have been laid down prior and build itself up with enough of a teaser to allow the final episode to produce the climax.
What will become of the Rance family now that Angela has given her soul to Pazuzu?
Will Father Marcus follow the breadcrumbs left by Father Bennett?
Will Father Tomas finally resist temptation?
Let’s take a look and dissect Chapter 9, “126”.
Warning, there are spoilers ahead.
“Take me instead“ If any of you were wondering, at what point Angela had given of herself to Pazuzu, your query was answered this week. The torture that was constantly being inflicted upon Casey was too much to bear, so to save her, Regan pleaded for her daughter’s life in exchange for her own. All of which curiously led to “3 Little Dogs sitting on my doorstep, growling a sweet growl” And time for Pazuzu to tie up lose ends.
The Friars of Ascension meet their match Just how powerful is Pazuzu and what demons lie behind or entwined within the Friars of Ascension cult.
Pazuzu is certainly powerful enough to force the cult members to bow to his demands.
We see throughout this episode the extent of his manipulation, both physically and mentally.
So it’s interesting to see that despite resistance, they are unable to fight Pazuzu.
Does this mean that the Friars are less threatening as a result?
Perhaps.
The Rego’s get too close to the fire The first of our victims would turn out to be The Rego’s.
Too much snooping cost them dearly and so Lester and Cherry, The Exorcist’s answer to the Lone Gunmen (X-Files) met their maker.
I guess someone had to go, and God forbid it should be any of or leads.
The victory lap Content on bringing about an end to those that crossed him, Pazuzu then sets his eyes on Mother Bernadette. “There’s been a great disturbance in the force.” You could almost hear her saying this when she mentions sensing Pazuzu’s entrance. What Mother Bernadette probably didn’t predict was just how damning and vile this demon can be as Pazuzu snuffs out her life like one would to the flame of a candle. Another character that had promise but felt as though was cruelly robbed of any further exploration in order to prove the daunting task our Exorcists will have if they have any chance of destroying him.
The Set Up And so we come to our 3-pronged storyline and what will inevitably be our final conclusion to the Rance family possession.
Firstly – Father Marcus has the devil in him.
His drive for revenge leads him to Father Simon. And boy does he let loose. But it’s not enough to finish off Father Simon yet (of course) as he is saved by a couple of lackeys and Marcus is whisked away. And Father Tomas receives a revelation in the page of a book by Chris McNeil, proclaiming that the demon will chase Regan/Angela until the end of time.
Cue him chasing back to the Rance household to break up a family meeting.
Are we set for an epic conclusion?
Will The Exorcist reach a satisfying end to this chapter?
The Surgeons will tune again next week to give our final assessment.
To celebrate the release of Rings, Surgeons of Horror along with Paramount Pictures are giving you the chance to WIN 1 of 5 double passes to see the film.
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Film Synopsis:
A new chapter in the beloved RING horror franchise. A young woman becomes worried about her boyfriend when he explores a dark subculture surrounding a mysterious videotape said to kill the watcher seven days after he has viewed it. She sacrifices herself to save her boyfriend and in doing so makes a horrifying discovery: there is a “movie within the movie” that no one has ever seen before…
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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.
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.
“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.
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.
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?
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?
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.
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.
OF ALL THE EPISODES so far, this one really felt like the series was treading water and stretching out the storyline.
Having said that, it still had little moments, gems if you will that kept you hooked into the direction that the series was going in.
But only just.
Let’s take a look at those moments in Chapter 7, “Father of Lies”.
Warning, there are spoilers ahead.
Father Tomas steps up Since his fall from grace, Father Tomas has set out with a point to prove.Yes, he fell foul to temptation with Jessica, and there is doubt to be looked at still when it comes to their relationship.
But, Casey is a member of his patronage.
And there is a sense of loyalty on Father Tomas part to stand by his pack.
He will strive to do what he can in order to save Casey.
And there was one moment above all else that stood out in this episode when he stands between her and Father Marcus.
At this moment he directs Casey to bow towards him. He is her saviour.
The power of God One thing that may be worthy of noting is Father Marcus’ belief that the power of God runs through his hands.His belief is carried on from when he temporarily saved Casey’s soul last week.
But is this self-belief going to be his undoing?
So far, not much has shaken Father Marcus, but his confidence in his gift, could well see him trip up.
Especially as he’s so good at pointing out everyone else’s flaws.
Father Bennett challenges The Friars of Ascension
It was an episode that allowed doubt to creep in.Mother Bernadette doubts Father Marcus can save Casey and believes her soul is lost.
Angela questions Tomas and his faith that Casey is still alive.
But nothing is more potentially damning than when Father Bennett starts to question the representatives within the Friars of Ascension.
Something is amiss and Father Bennett doesn’t back down from his hunch.
But will this lead him down a path that he won’t be able to return from?
Father Bennett’s descent into hell
Speaking of Father Bennett’s journey, his pursuit would lead him down a dark path, where he would discover the bloody corpses that are being used for some kind of sacrificial pact and literally has to fight his way out in order to survive.
Father Tomas goes off the rails
The pressure becomes too much thought for Father Tomas and he spirals downwards.
Believing that all could be lost, he loses his normally cool demeanour and God-like ways and lashes out on one of his flock.With no one to turn to, he calls upon Maria Walters, much to her delight.
Will she now be looked upon kindly by the demons that she is so devoted to?
Angela’s decent into madness
And what was actually an incredible performance (which I was surprised to see from Geena Davis) was Angela’s loss of faith in all around her when she truly believes that Casey has gone.It was both believable and tragic when she learns that all is not lost, at least not with Casey, but perhaps now the Demon has his ultimate prize in his sights?
UNIVERSAL HORROR’S follow up to The Hunchback of Notre Dame would continue to see that success flourish further and continue to explore Gothic Literature as its source, this time with Gaston Leroux’s masterpiece.
Once again Lon Chaney would appear in one of his finest on-screen transformations as the titular Phantom and the film would generate over $2million at the box office despite critics generally calling it an average movie.
It has since found its place and recognition as a significant impact in film history by the Library of Congress.
Personally I feel this movie suffers from the similar lag in pace as its predecessor, a fault that is entirely a subject of its time and place.
It’s also hard to reflect upon when you learn that the original ending was to involve the Phantom dying of a broken heart, instead of the ultimate chase sequence and brutal death at the hands of the mob.
Pacing aside, I still can’t help but marvel at the lengths that Chaney would go to in order to become the monsters on-screen and there’s nothing finer than the make-up reveal when the Phantom’s mask is revealed. It’s a credit to his time, commitment and craftsmanship.
If you’re a keen horror movie fan and would like to take a look at one of the genre’s earliest influences in celluloid history, I would highly recommend giving this a go.
If however, the thought of sitting through a silent, black and white feature as too archaic and far-removed from the modern format with all the blood and gore at its highest depiction, then maybe this ones not for you.
As for me, I love to indulge in the genre, no matter what its form.
So here at Surgeons of Horror we thought that we would look across the years at the movies that helped shape the horror movie genre in our Southern Land.
So without further adieu, here’s our definitive list, let us know if you agree.
Night of Fear (1973) Dubbed the first Australian film of the renaissance, (and closely resembling Texas Chain Saw Massacre in style, released another 2 years later) you can see why this movie is well respected among horror movie lovers.
The Cars That Ate Paris (1974) The legendary director Peter Weir would debut with this fantastic comedy horror that he also wrote. Set in the fictional town of Paris where the towns inhabitants forage off the remains of car accidents, the movie has established something of a cult following.
Long Weekend (1978) One of my favourites on this list and fittingly released on the year that I was born. Long Weekend wasn’t initially well received upon its initial release, but has a strong message from director Colin Eggleston, where nature fights back on a disrespectful couple. It has since been remade in 2008.
Patrick (1978) The first of two films by Richard Franklin in our list, this science fiction horror is often cited by fans of the genre. Part of the Ozploitation movie scene, Patrick tells the story of a comatose boy with psychic powers.
Alison’s Birthday (1981) It’s got all the right ingredients for a horror movie, with ouija boards, spirits from the beyond, demonic possessions, and that killer ending. All good reasons why this independent movie makes the list.
Roadgames (1981) It’s the movie most noted more recently because of its vocal nod from Quentin Tarantino. Starring Stacy Keach and Jamie Lee Curtis it follows a truck driver and a hitch hiker who take it upon themselves to track down a serial killer on the loose. Oh and yet another soundtrack from Brian May.
Razorback (1984) Australia’s creature feature and our very own Jaws movie albeit about a wild boar on the loose. Say all you like about it, but this is a classic in its own right.
Bloodmoon (1990) This slasher film may have come late to the Ozploitation, but such was its impact and not necessarily in a good way that it nestles amongst some great titles here purely for its shocking comedy.
So bad, it’s positively good.
And features music from Brian May.
Again this might not necessarily be a good thing.
Body Melt (1993) The influence of Peter Jacksons early work is evident to see in this satirical horror. It’s got gore to the max and delights in every possible way.
Saw (2003) Yet another Australian horror film that would ignite a genre with horror porn, which some don’t have the stomach for. In this instance it generated a horror icon in Jigsaw with its glorious deadly traps and launched the careers of both James Wan and Leigh Whannel. It also spawned a massive franchise with a success that only falls short of being the best in the entry by The Friday the 13thmovies. All that could change though come the release of the next instalment, Saw: Legacy this year.
Undead (2003) This movie should be better than it is, and goes all guns blazing in the first third of the film before losing the plot entirely. Film critic Roger Ebert to say it’s so bad that it’s bad, but despite its flaws, the film still resonates and is a bit of fun at the end of the day. And it did launch the careers of the Sperig brothers, who have gone on to direct bigger movies with a lot more fan fare.
Wolf Creek (2005) Inspired by the afore-mentioned Roadgames, director Greg McLean has made a strong name for himself in the horror genre with movies such as Rogue, Wolf Creek 2 and the eagerly anticipated The Belko Experiment. Part of its appeal was capitalising on the daunting and dangerous world of the Australian Outback and made Mick Taylor on of modern horror movies most glorious villains thanks to John Jarratt’s chilling performance.
Lake Mungo (2008) One of a couple of movies on our list to adopt the doco style of storytelling, Lake Mungo received fairly positive reviews of a family coming to terms with the loss of their daughter, hinged on a supernatural component. It’s a slow film but worth the wait for its gripping climax.
The Horseman (2009) A revenge thriller with violence dialled to the extreme and may not be everyone’s taste. Personally though, I feel that this film speaks to the fringes of human emotion, evoking rage, heartbreak and empathy all in the space of its 96 minute running time.
The Loved Ones (2010) Sean Byrne is still a director to keep an eye on and I for one can’t wait to see his follow up Devil’s Candy. His debut feature though would gain a huge following with its gender swap of a damoiselle in distress and a female killer played by the delightful Robin McLeavy.
The Tunnel (2011) The second movie to adopt the doco style of storytelling, but through the medium of found footage horror.
The Tunnel shook up the movie industry with its new approach to distribution, allowing viewers to buy frames from the movie as a means to raise the quota to cover the budget and leave room for a little profit.
It was a business model that was both brave and rewarding for the producers, but more importantly, the film itself seemed to echo that sentiment.
It’s a bold movie that keeps you hooked as a camera crew delve into the hidden tunnels beneath the city of Sydney only to find more than they bargained for.
The Babadook (2013) One of the more recent movies to make the list and one that has the Surgeons sitting on both sides of the fence. Jennifer Kent’s debut feature deserves the recognition though as this psychological horror starring Essie Davis tackles a strong subject matter and tells it in a unique fashion.
Wyrmwood (2014) Rounding out our list is this balls-to-the-wall bloody fantastic roller coaster of a movie. There is nothing predictable about this movie about a zombie horde let loose. Rumours are abound that there is a sequel in the works too.
Surgeons of Horror 