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Surgeons of Horror

~ Dissecting horror films

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Category Archives: retrospective

Retrospective: Absentia (2011)

02 Tuesday Mar 2021

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absentia, courtney bell, dave levine, doug jones, justin gordon, katie parker, mike flanagan, morgan peter brown

The first time Director Mike Flanagan fell into my periphere, was when I watched his 2013 feature film, Oculus (admittedly this had a lot to do with its star Karen Gillan) and was blown away by his vision. 

I’ve been a huge fan of his work ever since and watched every one of his movies and tv shows preceding this.

There was however, one glaring omission from this modern auteur’s work that I had neglected and that is the subject of this retrospective… Absentia.

Now celebrating 10 years since its initial release I intended to remedy that error and I’m thankful to say that I wasn’t disappointed.

Despite its minimalist approach due to an admittedly refined budget, Flanagan proves his mastery even at this early stage of his career, weaving in a supernatural tale that chills and mystifies. These traits are all too familiar to Flanagan’s craft and have perfected over time.

Absentia’s tale is a tangled one that lures you into its obscurity and ensnares you, much like its subject; a tunnel or underpass at the end of a typical suburban street.

The conundrum presented could sit perfectly in the canon of Twilight Zone tales, where we are presented with a pregnant woman, Tricia (Courtney Bell) whose husband, Daniel (Morgan Peter Brown), has been missing for seven years. With the period of time that has passed, Tricia can now declare Daniel, dead in absentia and finally out things to rest and potentially settle down with her new partner, Det. Mallory (Dave Levine).
She is joined at this time by Daniel’s younger sister, Callie (an excellent Katie Parker), a former drug addict and estranged from her family.

All is not as it seems however, as Tricia begins to have hallucinations of Daniel in her house, and Callie has a strange encounter with a “homeless” man (played by the always sublime Doug Jones) in the afore-mentioned tunnel. These strange events push Callie back into her drug use again, and the paranoia and anxiety rises to the surface, as she’s convinced that someone has broken into the house.

So, when Daniel suddenly returns one day, everything gets flipped upside down and inside out, starts a chain of oddities, leading each of the characters down a path of no return.

For me, Absentia has cemented my admiration of Flanagan’s films. It was a reward to see how his style and creativity began to formulate. And even though it is in its most simplistic form, all the hallmarks of his work are evident.
Most importantly, Flanagan is a storyteller, first and foremost. A man who is able to tap into the imagination, creating worlds that are finely incubated, and the fact that he has grown in stature over the years is a testament to his ability in this field.

If like me, Absentia, has missed you by, I highly recommend giving it your time.

Currently screening on Shudder Australia.

  • Saul Muerte

Related links:

Mike Flanagan hits 3 horror home runs in 2016 – pt1: Hush

Mike Flanagan hits 3 horror home runs in 2016 – pt2: Ouija: Origin of Evil

Mike Flanagan hits 3 horror home runs in 2016 – pt3: Before I Wake

Gerald’s Game

Movie review: Doctor Sleep

Series review: The Haunting of Hill House S1

Retrospective: Jungle Captive (1945)

27 Saturday Feb 2021

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amelita ward, jerome cowan, otto kruger, paula dupree, rondo hatton, the ape woman, Universal Horror, universal pictures

The third and final outing for Paula Dupree aka The Ape Woman for Universal would revert back to the mad doctor scenario.

This time the twirling moustache award goes to Mr. Stendahl (Otto Kruger) who successfully pulls a rabbit out of the afterlife, resurrected its once lifeless form.
Riding on the euphoria of his achievements, Stendhal then trudges off to be the next Dr. Frankenstein to reanimate the corpse of Paula Dupree.

To do his dirty work however, Stendahl calls upon his lumbering assistant Moloch (Rondo Hatton) to snatch the body from the city morgue, but in his efforts kills the attendant on duty.

Now, not only has a murder occurred, and a body stolen, but Inspector Harrigan (Jerome Cowan) suspects another doctor, Don Young when he discovers a medical smock belonging to the young practitioner at the morgue.

All does not bode well for Don when it is discovered that his fiance, Ann (Amelita Ward) has provided a false alibi.

When Ann suddenly disappears, Don must now prove his innocence, find his gal, and the true murderer.

It is little wonder that this film would inevitably fall flat on its face and kill off any hopes for any further misdeeds from the Ape Woman.

Whilst Kruger puts forward a strong performance as the dastardly doctor, Universal produced another misfire, which never manages to muster up any hopes of creating a monster to be feared from the Ape Woman.
There are too many leaps in the script to ignite any identity of its own, and too often tries to ride on the shoulders of previous incarnations in Frankenstein’s Monster or The Wolf Man.
This is even more stifled in the third outing by not only losing its initial lead in Acquanetta, and even losing its first choice replacement in Betty Bryant, who was dropped two days into the shoot, but mainly due to subjecting the creature into the background, thrusting the maniacal doctor front and centre and in doing so, casts the Ape Woman into the shadows.

  • Saul Muerte

Retrospective: Mary Reilly (1996)

22 Monday Feb 2021

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dr.jekyll and mr. hyde, glenn close, john malkovich, julia roberts, mary reilly, robert louis stephenson, stephen frears, valerie martin

25 years ago, Mary Reilly was released, a film based on the novel by Valerie Martin – an adaptation of Robert Louis Stevenson’s Dr. Jekyll and Mr. Hyde.

Unfortunately however, it would receive a scathing response from both critics alike, despite its star pulling power from its leads Julia Roberts and John Malkovich. It would also see the reteaming of Malkovich with Glenn Close and director Stephen Frears, who worked together on the highly successful Dangerous Liasons.
Many critics claim that they were struck down with boredom and there were rumours abound that both Roberts and Malkovich were estranged on set.

What may have not helped matters was that only a few years earlier Francis Ford Coppola directed his take on another Gothic classic, Bram Stoker’s Dracula and Kenneth Brannagh also directed Mary Shelley’s Frankenstein, both semi faithful to their respective texts, so some audiences may have expected some of the same, despite Mary Reilly being a very different kind of story.

So, did these initial thoughts hold merit or were the audience at the time misguided by their misguided expectations?

On face value, the pace is indeed slow and meandering, which instinctively would turn people astray, especially if they were hoping for some high tempo, doom and gloom affair that would represent the Gothic era.

This is a tale with a different bent though, where the subject matter is told by an observer (the titular Mary Reilly) as opposed to the first person narrative that is usually associated with the story as told by Dr. Jekyll.

There were slings and arrows cast at the questionable choice of Julia Roberts in the lead role, playing Mary. an Irish lass, who has only known humanities suffering in life, brought up impoverished and neglected, forced to earn a living as a maid-in-waiting. Her mental scars make her the perfect subject for Dr. Jekyll’s own fascination into the dark psyche of the mind.

In some ways I can understand the ferocity of the audience’s convictions, when surely someone who could pull off a decent accent and a more believable reflection of someone who was brought up from poor stock. Roberts never quite conveys this to the audience, but to be nominated for the Razzie Awards for Worst Actress seems a bit harsh as there are some genuine moments that you can feel the pain etched on her face.

Malkovich seems content to play what some feel is a monotonous performance, but personally I like his subtle changes and inflections in his delivery and none-more-so than when he brings the ghastly Mr Hyde to the fore. Along with it the darkest side of humanity into a world that would be shocked by his demeanour.

Glenn Close’s role too as the Mrs Farraday, a madam of notorious whorehouse, who also harbours the secret comings and goings of Mr. Hyde’s curious pleasures are simply wonderful, proving that she always adds strength and worth to her performances. It’s a shame then, that she is underused in this instance as it would have been fascinating to see her bring that weight into the fold more often.

Lastly, comes the hand and vision of Director Stephen Frears, who also found himself at the mercy of a Razzy Award nomination. Again, I argue if this is merited. Perhaps I should confess here how much I really adore Frears early works, My Beautiful Launderette, Prick Up Your Ears, Dangerous Liasons, and The Grifters. And when you cast your eye against some of his latter work, admittedly Mary Reilly pales in comparison, but deep in its heart is a film that deserves second viewing.
If you can subject yourself to the laborious way the tale is told and sure, that dodgy accent, there is a beating and pained heart, driving the core theme of horror, which at first turns you away, but slowly the lure of the human behind the beast shines through. One that those who have damaged or been damaged can truly understand. These kindred people, united with a common trauma provide a fascinating subject. Frears may fall short on occasion with his delivery, but the journey still intrigues.

  • Saul Muerte

Retrospective: Jungle Woman (1944)

20 Saturday Feb 2021

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acquanetta, doglass dumbrille, J. Carroll Naish, jungle woman, Universal Horror, universal pictures

Following on from the relative hit of Captive Wild Woman the year before, Universal felt strongly that they had a potential hit series on their hands, especially with “exotic beauty” Acquanetta in their stable to recreate her character of Paula Dupree aka The Ape Woman. 

Universal later revealed that Jungle Woman was an ashamed attempt to rewrite Cat People with a woman transforming into an ape instead of a leopard.
Naturally this would be difficult to translate as the sexual feline factor is lost and as such, rewrites were put in place to make the transition psychological instead.

J. Carrol Naish plays a more than accomplished role as Dr. Carl Fletcher, whose character is in stark contrast to John Carradine’s warped and twisted Dr. Sigmund Walters from the previous film.
This is a deliberate ploy on the part of the screenwriters, Bernard L. Schubert, Henry Sucher and Edward Dein as they present Dr Fletcher on trial for the murder of Paula Dupree at the start of the film, leaving the audience to question how genuine his plee of innocence claims to be. This is weighted even more so when he professes his guilt until he is then forced to tell the true story through a feature length flashback.

The trouble is that the plot is essentially an incredibly weak one and doesn’t offer a lot in expanding the universe or subjecting any real terror on the audience.

The film finds Paula Dupree in an insane asylum having been taken under Dr. Fletcher’s wing after he witnesses the climax of the last film.
Dr. Fletcher is fascinated by this animal magnetism that Paula presents, but fails to realise the true threat that she possesses, especially as her jealousy is fuelled once more when she falls for Bob (Douglass Dumbrille). 

Unfortunately, Bob only has eyes for Joan (Lois Collier), Dr Fletcher’s daughter and with it our love triangle is formed.

The beats are all too familiar and the film shuffles along without any real purpose or direction, so when the inevitable conclusion does arise, we’re left a little bereft of satisfaction.

Jungle Woman does benefit from some early cameos though from Evelyn Ankers (who continues to impress on my journey through the Universal vault) and Milburn Stone who both return to reprise their roles and present the case for Dr. Fletcher’s defence.

The film would ultimately be the last for Acquanetta and Universal as the model felt that she was being used and thus refused to renew her contract, despite the production company having bold plans for her to return again.

  • Saul Muerte

Retrospective: The Mummy’s Curse (1944)

14 Sunday Feb 2021

Posted by surgeons of horror in Movie review, retrospective

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Lon Chaney Jr, The Mummy, the mummy's curse, Universal Horror, universal pictures

For what would be the final instalment of The Mummy franchise for Universal Picture and its fourth outing for the shambling mummified corpse of Kharis, I’m surprised and delighted to say that it took an upward trajectory on the satisfaction front, especially following The Mummy’s Ghost, which personally was a huge disappointment.een completely blown free

Don’t get me wrong, the cobwebs haven’t blown away completely and The Mummy’s Curse has more than its fair share of creeks in the plotline, namely the obscure choice to move the location to New England because of its vast swampland. It also suffers from a strange and curiously long flashback sequence using stock footage which feels out of place in the film series.

Lon Chaney Jr returns for the third time as the titular menace and the storyline actually ties neatly onto the ending of its predecessor 

The film begins as a company is draining the swamps and along the way one of the workmen turns up murdered and reports of Kharis resurrected and on the rampage soon spreads like wildfire.

From here on in there are the usual tropes expected from the now well-trodden franchise. There’s the disciple of the Arkam sect, Princess Ananka transformed (this time played by Virginia Christie) the central target for Kharis’ drive, and the scientific, archaeologist hero at the centre of the fold.

There are some key significant moments that lift this a little from the quagmire, namely the initial rise of Ananka from the swampy bogs, lifting her hand out from its depths with an image that has now been so often reproduced. Also, Martin Kosleck’s (The Frozen Ghost ) performance of Ragheb, the backstabbing, lustful protege from the Arkam sect.

The central theme that seems to run through the story is one of wrong-doing, mistrust and broken allegiances that literally bring the house down at the end of the film.

There is some familiarity about it all which brings some warmth to the genre, and although it doesn’t offer too much new, The Mummy’s Curse does manage to entertain enough to keep the viewer a little interested in how it will all come to a head in the conclusion.

  • Saul Muerte

Retrospective: The Mummy’s Ghost (1944)

07 Sunday Feb 2021

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john carradine, Lon Chaney Jr, The Mummy, Universal, Universal Horror, universal pictures

The Mummy’s Ghost would be the second of three sequels to Universal’s The Mummy, following The Mummy’s Tomb and would also see Lon Chaney Jr step into the shuffling bandaged corpse of Kharis.

Unfortunately The Mummy’s Ghost is by far the weakest of the franchise so far, which for me comes down to lazy writing. It feels as though the creative department were happy to rest on their laurels and aim for more of the same in the franchise.

In doing so, it fails to stimulate and to say that it runs through the numbers in the process would be a misjudgement, as there are a lot of numbers that Universal are happy to skip past to deliver the basics in horror for the time of its initial release. 

Once again we are greeted with a high priest handing down the duties to a younger member of the fold, Yousef Bey played by a suitably hammy John Carradine (House of Dracula). Kharis is still transfixed by the lure of tana leaves and tramps around for his latest fix while Bey tries to stick to his mission in finding the body of Ananka and return her to her resting place in Egypt.

Ananka however has transformed her soul into the body of another, Amina (Ramsay Ames), which puts a spanner in the works.

Time has not been kind in the passing years, and this feature feels stale as a result and if it weren’t part of a franchise would have been served better entombed in the past.

It’s one saving grace that allows it to stand out happens to be shrouded in its bitter end, with Kharis carrying an unconscious Amina into the swamp, where they can be reunited in the afterlife. This is delightfully offbeat considering its age, and I can only wonder how this came across to the audience of the time. It may have had a more profound impact if more care and dedication were taken into building up a more imaginative narrative to steer away from the now tired formula.

  • Saul Muerte

Retrospective: Scanners (1981)

26 Tuesday Jan 2021

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david cronenberg, jennifer o'neill, michael ironside, patrick mcgoohan, scanners, stephen lack

It’s been 40 years since David Cronenberg’s visionary tale of telepathy, telekinesis and by now a recurring theme in the Canadian director’s work, espionage surrounded by political and government conspiracies embedded in a deeply psychoanalytical point of view. 

It’s hard to believe that this is Cronenberg’s seventh outing in the director’s chair, having already produced body horror films such as Shivers and Rabid, the latter of which had been reimagined by The Soska Sisters and is well worth your time. Scanners still has that low budget, earth feel to it that is often expected in the first few films in one’s career, and only two years later he would serve up a double hitter in the classics Videodrome and The Dead Zone.

Another theme that is prevalent throughout Cronenberg’s work is that of an uprising, often from an oppressed group or individual, but also that of misguided intentions that lead to their true calling.

In the case of Scanners, we are first introduced to Cameron Vale (Stephen Lack), who is ostracized from society by appearance at first, being a homeless figure trying to survive on the streets, but we quickly learn that he harbours the ability to read people’s minds and inflict pain on those who torment or ridicule him through telekinesis. This ability comes attached to a group in society known as scanners and when he is detected in a shopping mall, he is soon hunted down and subjected to close scrutiny and rehabilitation by Dr. Paul Ruth (Patrick McGoohan). 

Once he conforms to the will of Ruth and with it the Government agency that takes advantage of Ruth’s knowledge, Vale is then charged with hunting down a group of vigilantes led by Revok (Another fine turn from Michael Ironside). Can Revok be controlled? Or is there more to Revok’s revolution than meets the eye?

Scanners can be bookmarked as the film that changed Cronenberg’s career, moving away from the body horror image that had shaped his career at this point, and moving him into the mainstream playing field.
It still has some moments that reflect the style and substance that made Croeneberg’s name on screen, most notably this head explosion scene…

The prognosis:

Scanners does suffer a little in exposition and the lead performance from Stephen Lack, is somewhat stilted which detracts from engaging with the narrative. Whether this is down to the performance of the actor in question or the director’s choice in portrayal is hard to pin down, but it certainly curbs the film from being Cronenberg’s finest moment. It is still an enjoyable ride though and well worth your time to explore a master visionist honing his craft. 

  • Saul Muerte

Retrospective: Pillow of Death (1945)

12 Tuesday Jan 2021

Posted by surgeons of horror in retrospective, Universal Horror

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Brenda Joyce, inner sanctum mysteries, inner sanctum mystery, Lon Chaney Jr, pillow of death

Unfortunately for the sixth and final instalment of the Inner Sanctum Mystery feature films produced by Universal Pictures starring Lon Chaney Jr. I found that the delivery was incredibly formulaic and as such all I wanted to do was reach for the snooze button.
Upon reflection, my opinion may have been marred from watching each instalment within close succession and it may have warranted a little bit of space between each viewing to allow each film to strike up its own identity.
Without wanting to give too much of the plot away, the one strength that Pillow of Death has over its predecessors is the twist finale, going against the grain of our expectations.

This time around Chaney Jr. stars as an attorney, Wayne Fletcher, whose heart belongs to his secretary Donna Kincaid (Brenda Joyce – Strange Confession), who also happens to be from a fairly wealthy family.. Bound by wedlock, Fletcher is in the midst of filing for a divorce so that he can be with Donna when his wife is found murdered, suffocated by the titular weapon of choice.
This makes Fletcher prime suspect number one and must now fight to prove his innocence.

The one person standing in Fletcher’s way is a fraudulent medium, Julian Julian (J. Edward Bromberg) a man who despite his charlatan ways is intent on pointing the finger at Fletcher for his wife’s murder. What makes the task for both parties is the rise in the body count whilst staying at the family mansion one evening.

The film takes on a slightly lighter tone in comparison to the other Inner Sanctum Mysteries, much like other Universal outings such as The Mystery of Marie Roget. One can almost sense the doors opening for Abbott and Costello to march into the mansion and infuse it with satire at any given moment.
That direction was not long off for Universal and the tide is certainly changing away from that darker edge that they had been synonymous for over the past decade and a half. It’s a shame as I feel that if they were willing to push the boundaries of dread, their films would have marked an altogether different experience and been much more rewarding, but they were hindered by their times and one must remember that world was going through its own dark times, carrying the burden of a Global war on its back. The stark reality is that people were needing an escape from the world and a need for humour to step in and poke fun at the grim and dire circumstances that humanity had to endure. For Universal, Abbott and Costello would provide that alternate formula… but that’s for another retrospective.

  • Saul Muerte

Retrospective: Strange Confession (1945)

12 Tuesday Jan 2021

Posted by surgeons of horror in retrospective, Universal Horror

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Brenda Joyce, inner sanctum mysteries, J. Carroll Naish, lloyd bridges, Lon Chaney Jr, Universal, Universal Horror

By the time Universal were producing their fifth instalment of the Inner Sanctum Mysteries starring Lon Chaney Jr., the fizzle had run out in this writers’ mind.

Strange Confession sees Chaney Jr. as chemist Jeff Carter, who has been running tests to find a cure for influenza. 

One could argue that this film could be viewed with the lens of all the horrors that Capitalism can arise. Carter works for an egocentric tycoon, Roger Graham (J. Carroll Naish) who is always eager to gain a profit by any means even if that means cutting corners. When Carter grows wise to Graham’s ways he initially resigns, and works at a local store. Once married to  Mary (Brenda Joyce) and raising a son, their fiances take a strain and Carter finds that he has no choice but to work once more for Graham. It is here that he potentially finds the influenza cure and is encouraged by Graham to go to South America to perfect his findings.
Unbeknownst to Carter however, Graham has eyes on rolling out the formula despite not having a 100 percent success rate, and also to prize Mary away from Carter while he is away.

Tragedy inevitably strikes when Carter’s son is fatally struck down by the killer virus. Once Carter learns of this, he only has vengeance on his mind.

It takes the final reel before this film hits home and true, but the lead up to its conclusion is slow and cumbersome.
Stand out performance goes to Lloyd Bridges as the bright and cheery friend to Carter, Dave Curtis, and potentially the only real spark in the film.

  • Saul Muerte

Retrospective: The Frozen Ghost (1945)

07 Thursday Jan 2021

Posted by surgeons of horror in retrospective, Universal Horror

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evelyn ankers, inner sanctum mystery, Lon Chaney Jr, Universal, Universal Horror, universal pictures

When I came to casting a retrospective of the Universal Inner Sanctum Mystery movies, I decided to watch them all fairly close together. As such, due to the similarity in style and substance, combined with the fact that Lon Chaney Jr. starred in all sic of the, a blurring of the narratives came about. 

In the case of The Frozen Ghost, I found that I struggled to bring to mind what actually occurred without looking it back up again. This is surely an indicator that the movie had little or no impact on me, which says a lot about my connection to the movie.

When I did research back into it again, the visuals soon sprang to mind and I was left pondering about why it didn’t resonate so well.

My resolution comes down to that the film was just a bit messy in its delivery. 

The tale presents Chaney Jr as mentalist Alex Gregor, who is provoked by an intoxicated non-believer in his audience that he is a fake, so out of anger, hypnotizes the individual spurring a heart attack that leads to the man’s untimely death.

Gregor is now consumed with grief and then turns within himself, ending his relationship with assistant Maura (Evelyn Ankers in a subdued performance, albeit still a strong one) and runs away to work as a lecturer for an old friend, Mme Valerie Monet (Tala Birell).

Trouble creeps up once more however when Valerie also turns up dead and Gregor becomes prime suspect number one.

The continuing theme involved with the Inner Sanctum Mysteries centres around mystery, intrigue and in the case of the movies, a wronged man troubled with murder most foul.

The Frozen Ghost has to shift and change on numerous occasions to accommodate the plight of its lead protagonist, who tries to figure out if he truly is responsible for the death of these individuals through the use of paranormal abilities.

The road isn’t a straight one to the conclusion and the perpetrators are all too obvious, so the attempt at clever deception is lost much to the detriment of the film.

The performances are still strong regardless, but unfortunately the executions is just too weak. 

  • Saul Muerte
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