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Surgeons of Horror

~ Dissecting horror films

Surgeons of Horror

Tag Archives: Patrick Magee

1960s Retrospective: Dementia 13 (1963)

07 Sunday Jul 2024

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1960s horror, 1960s retrospective, dementia 13, francis ford coppola, Patrick Magee

“Dementia 13,” released in 1963, marks the directorial debut of Francis Ford Coppola, who would later become one of cinema’s most revered filmmakers. This low-budget horror film, produced by Roger Corman, offers an intriguing glimpse into Coppola’s early creative vision. The film is also notable for the enigmatic presence of Patrick Magee, whose performance adds a layer of complexity to the narrative. “Dementia 13” combines gothic horror with psychological intrigue, hinting at the cinematic genius Coppola would eventually realize in his illustrious career.

“Dementia 13” serves as an important milestone in Francis Ford Coppola’s career, showcasing his raw talent and innovative approach to filmmaking. Tasked with creating a film quickly and on a tight budget, Coppola demonstrated remarkable resourcefulness and creativity. His ability to craft an atmospheric and suspenseful narrative within these constraints is a testament to his burgeoning directorial prowess.

Coppola’s direction in “Dementia 13” reveals his early fascination with complex characters and intricate storytelling. The film’s plot centers around a wealthy family haunted by the tragic drowning of a young daughter. The eerie setting of an Irish castle, combined with the family’s dark secrets, creates a sense of claustrophobic dread. Coppola’s use of chiaroscuro lighting, haunting musical scores, and innovative camera angles elevates the film beyond its budgetary limitations, providing glimpses of the visual style and thematic depth that would define his later masterpieces.

Patrick Magee, known for his distinctive voice and intense screen presence, delivers a memorable performance as Dr. Justin Caleb. Magee’s portrayal of the mysterious and somewhat sinister physician adds a significant layer of intrigue to the film. His character, who becomes entangled in the family’s web of secrets and lies, is both unsettling and captivating.

Magee’s ability to convey a sense of hidden menace and moral ambiguity makes Dr. Caleb a compelling figure. His interactions with the other characters are charged with tension, as he probes into their psyches and uncovers the darkness lurking beneath the surface. Magee’s performance anchors the film, providing a counterbalance to the more melodramatic elements of the plot and highlighting the psychological horror at its core.

“Dementia 13” excels in creating a gothic atmosphere that is both haunting and immersive. The film’s setting—a sprawling, decaying castle surrounded by fog-shrouded woods and a foreboding lake—enhances the sense of isolation and impending doom. Coppola’s direction makes effective use of these locations, turning the castle into a character in its own right, its shadowy halls and hidden passages reflecting the twisted nature of the family that inhabits it.

The film’s narrative intertwines elements of gothic horror with psychological drama. Themes of guilt, madness, and repressed trauma are explored through the characters’ interactions and the unfolding mystery. Coppola’s focus on these psychological aspects foreshadows the depth and complexity he would bring to his later works. The gradual revelation of the family’s secrets and the climactic moments of terror are executed with a deft touch, showcasing Coppola’s potential as a master storyteller.

“Dementia 13” stands as a significant early work in Francis Ford Coppola’s career, offering a fascinating look at the origins of his directorial genius. Despite the constraints of low-budget filmmaking, Coppola’s creative vision and innovative techniques shine through, creating a film that is both atmospheric and suspenseful. Patrick Magee’s enigmatic performance adds depth and intrigue, anchoring the film’s exploration of psychological horror.

“Dementia 13” is more than just a cult classic; it is a testament to the early promise of a director who would go on to redefine cinema, and a showcase of the talents of an actor who could imbue his roles with profound complexity. Together, they create a film that remains compelling and influential, a foundational piece of horror cinema that continues to captivate audiences.

  • Saul Muerte

Retrospective: Tales From The Crypt (1972)

07 Monday Mar 2022

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amicus productions, angela blake, freddie francis, ian hendry, joan collins, milton subotsky, nigel patrick, Patrick Magee, peter cushing, ralph richardson, robin phillips, tales from the crypt, the crypt keeper

During the early 50s, EC Comics ran a successful horror series known as Tales From the Crypt of which 27 issues were produced on a bi-monthly basis. When co-founder of Amicus Productions, Milton Subotsky came into the position of securing the rights to produce a movie-length feature based on the comics he loved as a kid, he didn’t hesitate.

For me, criminally, I would blur the lines of recollection between this and Creepshow, both franchises having a crypt keeper / the creep taking on hosting or segway duties. It’s iconic status however was not lost on me and for those who have followed my writings or musings through the Surgeons of Horror podcast may know, I’m a huge fan of Peter Cushing’s work, especially with the Hammer Horror scene. Here he teams up with director Freddie Francis, who has been attached to films by both Hammer and Amicus in their history, and another creative with whom I admire. Francis does incredibly well with the 5 segmented stories, all drawn from the TFTC archives. And Cushing actually turned down the initial role offered to him from the script, which was part of The Monkey’s Paw inspired tale, “Wish You Were Here”, instead taking on the role of Grimsdyke in “Poetic Justice”.

The segments are weaved together with 5 souls trapped in a state of purgatory to face up to their evil deeds, by The Crypt Keeper (Ralph Richardson). One by one we witness these individuals recount their tales which lead to their death, from Joan Collins as Joanne Clayton in “…And All Through The House” in a Christmas inspired murder of a woman killing her husband and trying to hide the evidence form her daughter only to be sprung from a psychotic killer on the loose dressed as Santa.

Then there’s “Reflection of Death” where Carl Maitland (Ian Hendry) tries to run away from his family life with his lover, Susan (Angela Blake) only to crash in his car and be taken on a living nightmare where he believes he survived, only to find out that this is far from the truth. This is followed by the aforementioned segment with Cushing, where he plays the loveable, elderly figure Grimsdyke, who is the subject of jealousy by his neighbour James (Robin Phillips) believing him to be a waste of space, and bringing down the neighbourhood. When he takes action to strip down Grimsdyke’s life to bare minimum, he doesn’t expect the repercussions that occur beyond the grave.

The fourth segment, “Wish You Were Here” as stated before is heavily inspired by The Monkey’s Paw and the ramifications when you are not careful or specific about what you wish for when presented with three wishes. The last segment, “Blind Alleys” has Nigel Patrick as a self-entitled Major who gets his razor sharp comeuppance in a dog-eat-dog world where he attempts to rule the roost over the occupants in a home for the blind. The residents also include Patrick Magee hamming it up as always.

There’s a certain appeal to this anthology movie that lures you into each tale. Yes there are some obvious flaws but these can be forgiven for the atmosphere created by the creative team and the actors that give substance to the tales from the crypt.

  • Saul Muerte

Retrospective: Docteur Jekyll et les femmes

17 Thursday Jun 2021

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Marina Pierro, Patrick Magee, Robert Louis Stevenson, The Strange Case of Doctor Jekyll and Mr Hyde, Udo Kier, Walerian Borowczyk

Anyone familiar with the works of Polish film director Walerian Borowczyk will no doubt identify his craft with his overtly pornographic imagery. Docteur Jekyll et les femmes, is no different to this association and one would be forgiven for misinterpreting this movie for its blatant sexual depiction and depravity of the female form that is on display throughout the narrative. Yet, this is also part of its genius and the reason that it won over many critics and why Borowczyk walked away with the coveted Best Feature Film Director award at the 1981 Sitges Film Festival.

Based on Robert Louis Stevenson’s novella, The Strange Case of Doctor Jekyll and Mr Hyde, Borowczyk brings the subject material down to its core animalistic roots, namely sex and violence, and how the ‘Mr Hyde’ that remains buried in our inner human traits, can be brought to the surface and inflicted on all those around you, if you are drawn to do so.

This is Dr Jekyll’s (Udo Kier) secret and one he wishes to harbour from his socialite guests, but like any drug, it is hard to contain, and when the drive becomes greater than the human will, then it will break to the surface and ultimately be the ruin of everyone.

If anything, the film is a social commentary on the oppression that we inflict on ourselves in order to ‘fit in’ to what is accepted and any such inhibitions should be kept hush hush, only to be carried out behind closed doors. One of Jeckyll’s guests, General Carew (Patrick Magee) has his own sexual fantasies towards his daughter and this becomes the subject of ridicule from Mr Hyde.

Throughout the film, Jekyll is betrothed to Miss Fanny Osborne (Marina Pierro) and appears to be reserved about this engagement. The irony however is that the sexually curious Osborne uncovers his dark secret and rather than being repulsed, is drawn into his carnal sin, immersing herself into the pool of eroticism and accompanies him on this dark and devious journey on the brink of human existence.

If you are unaware of Borowczyk’s films, then don’t be deterred by what the initial images on display but rather bide your time, as the result is a spotlight on our venereal and lustful acts and how gothic literature can be the perfect subject to bring the taboo to the fore.

  • Saul Muerte

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