Unraveling the Seductive Chaos: A Surreal Dive into ‘The Housemaid’ (1960)

12 Sunday May 2024

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Rating: ★★★★☆

Prepare to be seduced and unsettled in equal measure as we journey back to the twisted world of “The Housemaid,” a fever dream of desire and destruction that defies all expectations. Released in 1960, this Korean masterpiece of psychological horror remains as enigmatic and provocative today as it was upon its initial release.

Set within the opulent confines of a wealthy household, “The Housemaid” introduces us to a seemingly idyllic family on the surface. But beneath the veneer of respectability lies a seething cauldron of lust, jealousy, and betrayal waiting to boil over. When the innocent and alluring housemaid (played with captivating allure by Lee Eun-shim) enters the fray, she unwittingly becomes the catalyst for a descent into madness that will leave no one unscathed.

What sets “The Housemaid” apart is its fearless exploration of taboo subjects and its willingness to push the boundaries of conventional storytelling. Director Kim Ki-Young employs a surreal and dreamlike aesthetic that blurs the line between reality and fantasy, inviting viewers to question the nature of truth and illusion. As the narrative twists and turns with dizzying speed, we find ourselves drawn deeper into a world where nothing is as it seems, and every character hides a dark secret.

At the heart of “The Housemaid” lies a powerhouse performance by Lee Eun-shim, whose magnetic presence electrifies every frame. With a single glance, she can convey a universe of emotions, from innocence to seduction to outright menace. As the titular housemaid, she is both victim and villain, a symbol of feminine power unleashed and unchecked.

But “The Housemaid” is more than just a showcase for its talented cast; it’s also a meditation on the corrosive effects of desire and obsession. As the characters spiral ever deeper into their own personal hells, we are forced to confront our own darkest impulses and desires. It’s a harrowing journey, to be sure, but one that ultimately leaves us with a newfound appreciation for the fragile beauty of the human soul.

The Prognosis:

“The Housemaid” is a mesmerizing and unforgettable cinematic experience that defies easy categorization. Equal parts horror, drama, and psychological thriller, it challenges our preconceptions and leaves us questioning the nature of reality itself. Whether you’re a fan of avant-garde cinema or simply crave a story that dares to push the boundaries of convention, “The Housemaid” is an essential viewing experience that demands to be seen to be believed. So, dim the lights, open your mind, and prepare to be swept away on a journey into the darkest recesses of the human psyche.

  • Saul Muerte

Unveiling the Haunting Charms of Kaibyo Otama-ga-ike (1960)

12 Sunday May 2024

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Rating: ★★★★☆

Step into the mysterious and enchanting world of Japanese folklore with “Kaibyo Otama-ga-ike,” a hidden gem waiting to be discovered by a new audience. Released in 1960, this atmospheric tale of supernatural intrigue offers a captivating blend of horror, mythology, and cultural richness that is sure to leave viewers spellbound.

Set against the backdrop of rural Japan, “Kaibyo Otama-ga-ike” transports audiences to a realm where ancient spirits and malevolent forces hold sway. At its heart lies the haunting Otama Pond, a place steeped in legend and whispered tales of tragedy and terror. When a young couple, Tadahiko and Keiko, stumble upon the pond during a hiking trip, they unwittingly awaken dark forces that have lain dormant for centuries.

What sets “Kaibyo Otama-ga-ike” apart is its deep-rooted connection to Japanese folklore and mythology. Director Yoshihiro Ishikawa draws upon a rich tapestry of traditional stories and beliefs, weaving them into the fabric of the narrative with skill and finesse. From vengeful spirits to mischievous yokai, every corner of the film brims with cultural authenticity and reverence, inviting viewers to immerse themselves in a world where the supernatural is as real as the air they breathe.

But “Kaibyo Otama-ga-ike” is more than just a showcase of folklore; it’s also a masterclass in atmospheric storytelling. Yoshihiro Ishikawa expertly crafts a sense of foreboding and unease that hangs over every frame, using light, shadow, and sound to create a palpable sense of dread. As the tension mounts and the mysteries deepen, viewers will find themselves drawn deeper into the dark heart of Otama Pond, unable to look away even as the shadows close in.

Of course, no discussion of “Kaibyo Otama-ga-ike” would be complete without mentioning the standout performances of Shôzaburô Date and Noriko Kitazawa. Their portrayal of Tadahiko and Keiko brings depth and humanity to the story, grounding the supernatural elements in a relatable emotional reality. As they navigate the treacherous waters of Otama Pond, their journey becomes a mirror for our own fears and desires, inviting us to confront the darkness within ourselves.

The Prognosis:

“Kaibyo Otama-ga-ike” is a haunting and evocative journey into the heart of Japanese folklore, filled with spine-tingling scares and moments of profound beauty. Whether you’re a seasoned fan of horror or a newcomer to the genre, this hidden gem is sure to captivate and enthrall, leaving you hungry for more tales from the depths of Otama Pond. So, gather your courage, take a deep breath, and prepare to be transported to a world where the line between the living and the dead grows ever thinner.

  • Saul Muerte

Unearthly Delights: The Eccentric Charms of ‘The City of the Dead’ (1960)

11 Saturday May 2024

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Rating: ★★★★☆

Prepare to be bewitched and bewildered by the enigmatic allure of “The City of the Dead,” a delightful journey into the occult realms of 1960s horror. Starring the iconic Christopher Lee, this film serves up a deliciously off-kilter blend of supernatural thrills and twisted storytelling that is sure to leave audiences both intrigued and entertained.

Set in the eerie town of Whitewood, Massachusetts, “The City of the Dead” follows the adventures of Nan Barlow (played with wide-eyed innocence by Venetia Stevenson), a plucky college student with a penchant for the paranormal. Determined to unravel the mysteries surrounding the town’s dark history, Nan finds herself drawn into a web of witchcraft, black magic, and sinister secrets.

What sets “The City of the Dead” apart from its contemporaries is its offbeat charm and quirky sensibilities. Director John Llewellyn Moxey infuses the film with a distinct sense of atmosphere, conjuring up a world where shadows dance and whispers linger in the air. From the hauntingly beautiful cinematography to the eerie sound design, every element of the film contributes to its otherworldly appeal.

Of course, no discussion of “The City of the Dead” would be complete without mentioning the magnetic presence of Christopher Lee. As the enigmatic Professor Alan Driscoll, Lee exudes an aura of quiet menace, his piercing gaze hinting at depths of darkness yet to be revealed. It’s a testament to Lee’s talent that he can command the screen with such effortless grace, elevating every scene he’s in to new heights of cinematic brilliance.

But perhaps the true star of “The City of the Dead” is its twisted narrative, which twists and turns like a labyrinthine maze. Just when you think you’ve unraveled its secrets, it pulls the rug out from under you, leaving you gasping for breath and begging for more. It’s a rollercoaster ride of shocks and surprises, guaranteed to keep you on the edge of your seat until the very end.

The Prognosis:

“The City of the Dead” is a deliciously off-kilter delight that deserves a place of honor in the pantheon of 1960s horror. With its bewitching atmosphere, magnetic performances, and twisted storytelling, it’s a film that defies expectations and delights at every turn. So, dim the lights, gather round the screen, and prepare to be transported to a world where the supernatural reigns supreme.

  • Saul Muerte

Mysteries Unveiled: Mill of the Stone Women (1960)

11 Saturday May 2024

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Rating: ★★★☆☆

Transport yourself back to the enchanting era of 1960s horror with “Mill of the Stone Women,” a Gothic gem that stands as a historical milestone in Italian cinema. Shot in vibrant color, this film immerses viewers in the lush landscapes of the Holland countryside, expertly captured by cinematographer Pier Ludovico Pavoni. Drawing inspiration from Flemish and Dutch painters, the visuals alone are worth the price of admission. Also, on a worthy note, the opening credits claim that the film is based on the book Flemish Tales by Pieter van Weigen. This is a fictionalised statement as no such book exists and sparks the imagination and inspiration of similar concepts adopted by future filmmakers who claim their features are ‘based on a true story’.

The story revolves around journalist Hans von Arnim (Pierre Brice), who embarks on an investigation into the fabled Mill of the Stone Women. Designed by the enigmatic Professor Gregorious Wahl (Herbert A.E. Böhme), the mill features a carousel adorned with female statues. As Hans delves deeper into the mysteries surrounding the mill, he becomes entangled in a web of secrets, madness, and macabre occurrences.

While the initial setup may feel somewhat pedestrian, the film gains momentum as it hurtles towards its climactic finale. Director Giorgio Ferroni deftly infuses the narrative with Grand Guignol flair, delivering a theatrical and melodramatic conclusion that grips viewers until the very end. Though it may not reach the dizzying heights of Mario Bava’s “Black Sunday,” released in the same year, “Mill of the Stone Women” still offers plenty to sink your teeth into, from its captivating storyline to its haunting visual charm.

The Prognosis:

“Mill of the Stone Women” is a captivating journey into the heart of Gothic horror, filled with intrigue, suspense, and visual splendor. While it may stumble at times, it ultimately delivers a satisfying cinematic experience that will linger in the minds of viewers long after the credits roll.

  • Saul Muerte

1960s Horror Retrospective: Black Sunday (1960)

06 Monday May 2024

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The Birth of Baza

As I began my retrospectives of the 1960s horror era, part of my excitement centred on the Master of Italian Italian Horror and pioneer in the Giallo scene, film director Mario Bava. He led the way and inspired so many filmmakers with his visual style, particularly for his use of colour that would leave a lasting legacy on the genre. This all started in earnest with his solo directorial debut, the Gothic horror starring Barbara Steele, Black Sunday. That’s not to say he was a stranger to the celluloid art, having crafted a career since the late 30’s in many guises that would lead him to becoming a cinematographer to harness his voice and vision, come the release of Black Sunday.

Loosely based on the short story Viy by Nikolai Gogol, that was a passion project of Bava and one he had a close liking to having told the story numerous times to his own children before they went to bed. It’s little wonder that his own son Lamberto Bava would follow in his father’s footsteps and direct horror films. 

Black Sunday is a tale of vengeance and retribution and is most predominantly remembered for its shocking opening scene. Asa (Steele) and her paramour, Javutich are accused of sorcery and sentenced to death. Part of their sentence involved being placed in bronze masks with spikes on the inside and having them hammered in place over their face.

Two centuries later her preserved corpse is reanimated and in order to be fully resurrected, Asa must possess the body of her look-alike descendant Katia. Will she succeed? Can love prevail?

Also starring John Richardson before he was cast in Hammer’s She, and One Million Years BC, as the love interest. Black Sunday is held in high esteem because of some of its imagery, such as the afore-mentioned opener and maggots crawling out of an eye socket in another scene, but it’s also the decision to shoot in black and white, monochrome with a richness to it that both arcs back to the films of Universal that had initially paved the way for horror on screen, but also bridges the gap to the future and how the genre would be shaped. It would launch Barbara Steele’s career, especially in horror for classic films such as The Pit and the Pendulum, and The Horrible Dr Hichcock. For Bava, he would mould his movies over the following decade and cement his name in history. 

– Saul Muerte

Movie Review: Mad Heidi (2023)

04 Saturday May 2024

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Mad by name, mad by nature. This film is off the dial crazy and we’re all the better for it. From the crazed masterminds and self-confessed film buffs hellbent on wanting to create the first ever Swiss exploitation movie. With no money they put forward one heck of a kickstarter campaign and like-minded individuals were hooked, wanting to see the feature brought to life.

Directors Johannes Hartmann, Sandro Klopfstein wanted to take a warped dystopian future take on the classic children’s novel Heidi by Johanna Spyri. Heidi (Alice Lucy) is all grown up and quite intent on spending her innocent-yet-sexually adventurous life with Goat Peter (Kel Matsena) the local goatherd who has a little sideline in an illegal cheese trade. Unfortunately, Switzerland is under tyrannical ruling by President Meili (Casper Van Dien) who is magnificently off-kilter in his pursuit for global domination and uniting the world with the ultimate Swiss cheese. This is bad news for the lactose intolerant as they are rounded up and eradicated through cheesification techniques and when Goat Peter’s trade is discovered, he is brutally murdered and Heidi’s world spins into turmoil. In order to right it once more, she must train up and be a kick-ass warrior and bring back the heart to the Motherland once more.

The Prognosis:

This is a swiss cheese on toast movie that wears its hyperbolic tendencies firmly on its sleeves. Hartmann and Klopfstein craft a meticulously over the top jibe at all the stereotypes of their homeland from chocolate, pocket knives, watches and of course cheese and unapologetically shoves these cliches down your throat until you burst. 

Mad Heidi is so gloriously eccentric and unique that it is a welcome shift outside of the main cinematic beats, that it tempts you in and delivers all the gore, larger-than-life characters, absurdity and madcap mayhem to keep you entertained. 

  • Saul Muerte

Mad Heidi  is streaming on Shudder from 6 May.

Movie review: Skeletons In The Closet (2024)

29 Monday Apr 2024

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When you see Terrence Howard, Cuba Gooding Jr, and Udo Kier on the credits listmon a film and you’d be forgiven for presuming that it would be a half decent entry, but Skeletons In The Closet is like the visual equivalent of hitting the snooze button on an old analogue clock. 

As the incredibly slow pace to the movie drags you desperately into its fold, we’re presented with a mother, Valentina (Valery M. Ortiz) and her husband, Mark (Howard) watch their lives fall apart, as if they were the combined metaphor of Job, continuously having their faith tested. Instead though, they are harbouring an evil presence that is sucking out the energy of their lives and inflicting a damning curse upon them. This starts with Mark losing his job after believing that he was actually up for a promotion, to their daughter Jenny (Appy Pratt) being diagnosed with terminal cancer. If that wasn’t bad enough Mark engages with a local crook based on ill advice from his brother (Gooding Jr). This inevitably leads to them putting the squeeze on the family and Mark’s logical leap to seek council from Madam Fortuna (Sally Kirkland), who just kicks the can down the road when she sees only disaster in the future. In steps the specialist Luc (Kier), who is even more mysterious and the potential threat or menace to what has been plaguing them for so long. All the while Valentina has been seeing visions of a pale woman dressed in white, haunting her every move.

Eventually we get to learn that one of them has a skeleton in their closet and must rid themselves of their curse with drastic consequences.

The Prognosis:

This is a slow and laborious possession that feels like we are shuffling off this mortal coil with the aid of a zimmer frame. 

There’s one thing to establish character, but another to make us care about the character enough by going deeper into their psychological make up. It’s as though the creatives chose to do neither here and be content on going, here look at their hardship… isn’t it bad? I wonder what is the root cause of this evil?

Unfortunately, the film is pretty woeful, and the care factor is zero for this incredibly below par snoozefest.

  • Saul Muerte

Skeletons In The Closet is streaming on Shudder from 3 May.

Movie Review: Crocodile Swarm (2024)

28 Sunday Apr 2024

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Crocodiles are sometimes known for what is sometimes called collective hunting, swimming in numbers when circling large prey. In some cases they can rip their quarry apart while one of their basks holds the victim down.

With all this in mind, you can see why the notion of crocodiles moving en masse to hunt down and kill a group of humans. This is the premise posed by Director Tyler-James (The Loch Ness Horror; Deadly Waters; Monsternado) who is no stranger to low budget creature features. When a group of cave divers break into unknown terrain they encounter a nest of these reptiles, who are a little disgruntled about being disturbed and go on a killing spree. It is when Sam (Ella Starbuck) learns of her sister’s disappearance that she then forms a group of friends to go in search of the deadly caving system in the hopes of bringing her sister back home alive.

All of this may sound good on paper, but when you learn that the creative team behind this is feature are the team behind Winnie The Pooh: Blood and Honey and the whole upcoming Poohniverse franchise, with Scott Chambers (one of its stars who also appeared in Hammer Films latest Doctor Jekyll). On writing duties, you can imagine the kind of movie you’re in for. 

It would be one thing if there was any merit to the narrative on display, but the acting is ropeable, and they chew through the weak dialogue without ever blinking once. Then there’s the effects which are so fake looking that it goes beyond throwing you out of the picture, you’re propelled back into your room or chosen place of viewing slamming back into the wall behind you. There was even one point in the vision on show that was so laughable when digitised crocs rips apart a mannequin. 

The Prognosis:

To sum up, the most painful part of Crocodile Swarm was enduring the film and sitting through to the end for the sake of writing up this review. I’m pretty laid back when it comes to being forgiving when it comes to low budget features, always looking for the silver lining and wanting to praise where creativity is trying to flourish, but it’s hard to look for one here when it just comes across as lazy. 

  • Saul Muerte

Crocodile Swarm is available on Home Entertainment from May through Eagle Entertainment.

  • Saul Muerte

1960s Horror Retrospective: Jigoku (1960)

27 Saturday Apr 2024

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Across the pond, Japan was also delivering on the genre scene in what would be known as their Golden Age of cinema. Part of the foundations of this era were the big 6 production houses of which Shintoho were significant in the make up. Unfortunately Jigoku would be the last to be released by the company having filed bankruptcy not long after it hit cinemas. Despite this, Shintoho would go out with a bang, producing one of the most compelling films from the country and one that went against the grain of popular cinema at the time to go on to be a cult film in its own right. 

With its graphic depiction of hell Jigoku would follow a couple Shirō and Yukiko appear to have it all going for them until one tortuous night when Shirō gets a lift home with his friend Tamura when tragedy strikes. Tamura knocks down and kills a yakuza gang leader, Kyōichi. This incident was witnessed by Kyōichi’s mother and from here on out, the tragedy unfolds with macabre consequences, including the death of Yukiko and the vengeance of the yakuza gang still looking out for justice. And all this is before Shirō goes on a Dante’s Inferno style journey into limbo, fighting for his very soul among the damned and trying to steer him and his family towards enlightenment.

Perhaps it was because they had their backs up against the wall but with extras all pulling their weight to build the sets and complete the last picture for Shintoho, Jigoku was able to weave all these components together to tell a fractured tale of heartache, loss and the fight for purity. It’s the visual imagery that stands it apart from the crowd, with a narrative that leans into the heart and soul of spirituality among the darkness to expose the sinners of hell and make way for grace to shine through. For this, Jigoku deserves its place alongside the other classic films released in the 60s. 

– Saul Muerte

1960s Horror Retrospective

The Flesh and the Fiend

Eyes Without A Face

Peeping Tom

Psycho

The Brides of Dracula

House of Usher

1960s Horror Retrospective: House of Usher (1960)

27 Saturday Apr 2024

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Up until now, American International Pictures had been overseeing black and white features shot on a low budget. House of Usher would prove a vital turning point for the film production company, marking it as the first that would be shot in colour. It would also be the first in seven collaborations between director Roger Corman and the enigmatic Vincent Price based on American Gothic writer and poet Edgar Allan Poe’s work. Although it strains a little from this well-known piece, one which modern audiences would be familiar with through Mike Flanagan’s love song to the artist, it is well crafted and stylised to have generated a worthy audience at the box office.

When Philip Winthrop embarks on a visit to the titular house in order to see his fiance Madeline Usher (Myrna Fahey) is greeted by her brother, Roderick (Price) instead. Roderick is hellbent on encouraging Philip to leave for fear that the usher curse that has been placed on the family and its household should further bring ruin to the couple. Philip does not take on this warning and instead aims to steal Madeline from the house. This plan falls awry though when Madeline slips into a catatonic state, and her fiance resigns with a heavy heart that his betrothed has died. Roderick meanwhile ebbs further into a state of madness, believing the curse to have struck again and entombing Madeline in the family crypt. This act is enough to send poor Madeline into hysteria, and thus the two siblings are joined in their own pandemonium.

Madness and its frailty is certainly exposed here as the core theme to the film and Vincent Price’s amplified performance is never more on song than here. From a bumper year in 1959, turning out in horror classics such as House on Haunted Hill; The Tingler; and The Bat, Price would cement his name in the dark genre and take great strides in the sixties and early seventies. This is very much his movie, ably supported by the visual chemistry of set design, gore and the quality of special effects for its time.

– Saul Muerte

1960s Horror Retrospective

The Flesh and the Fiend

Eyes Without A Face

Peeping Tom

Psycho

The Brides of Dracula