Let me paint a situation. You’re doing your daily doomscroll, already not in a great mood, and find out that your favorite movie of all time is getting a remake. It has a larger budget, but they’re butchering the script and they’re putting Michael Bay behind the camera. Oh, and the meaningful ending that has that one quote which you have hanging in your office? They’re completely changing it and your favorite character is dying for dramatic effect.
This is what it feels like every other week in the horror community. Currently, we have a remake of The Exorcist on the way, which is a horror film that I never thought someone would have the gall to touch. Yes, it’s a ‘reboot sequel’ technically, but it seems like it’s going to take the same stride as Top Gun: Maverick: a ‘requel’. A sequel with the exact same plot as its predecessor. Top Gun: Maverick did it perfectly. They never do it quite right for horror movies–Evil Dead II is an exception.
This got me thinking, however. There are so many films that never should have been remade, but there are some so abhorrent that I would much rather them be wiped from my mind than have to watch them again. Extreme? Yes. Necessary? Oh, yeah. Here are a few of these remakes. Plot points will be discussed in detail; therefore, a spoiler warning is in order.
Pet Sematary (2019)
Oh boy. We’re starting off with something that had so much potential but fell short by way more than it should have. Stephen King novels usually get adapted time and time again. There’s a reason for that: they’re usually emotionally rough stories with depth and meaning. Pet Sematary remains one of his most tragic stories. Instead of sticking with the original storyline, they decided they would make it ‘less tragic’ by having the older sister die instead of Gage. Eh hem, children are still dying.
This was obviously a budget and time decision as Gage is a very demanding role to cast for someone that age, however, the original 1989 adaptation did it perfectly with its casting, so why change it? This film didn’t add anything to the original, was less faithful to the source material, and completely ruined the character of Jud and the context of his character–his wife’s subplot is a very important component of the original story. This one is not even worth the attempt to watch, and the 1989 adaptation is a fantastic horror film anyways.
A Nightmare on Elm Street (2010)
Remember kids, just because you can use CGI doesn’t mean it will improve it. The 1984 A Nightmare on Elm Street has revolutionary special effects with their rotating room being the most notable. Not to mention, the practical makeup on Robert Englund makes Freddy Krueger tangible–like you can almost feel every gross bump on his body. The 2010 A Nightmare on Elm Street intended to modernize this concept. However, it didn’t hit the mark. In fact, it blew right past it and went right into the dumpster.
The special effects in this film look so fake and there was no attempt for anything practical that all of the scares and that attack of the senses the original created are absent. The most disappointing part about it all is Freddy’s face. The motion tracking is terrible–he looks like a mediocre hologram the whole time. They probably would’ve saved some money and some time if they blended in with practical effects, but even then, the source material shouldn’t have been touched for a full-blown remake.
I will never forgive, and I still want to forget. This film is atrocious and almost shouldn’t even be considered a remake. It is so distant from its source material that half the time, I felt like I was watching a completely different movie than what it claims to be–which is easy given that the names are completely different. Even then, the movie is still terrible. The original Poltergeist really has the Spielberg touch. The family takes the forefront; horror is in the background. This film has got it all twisted.
A distinct scene in this film almost made me turn it off the first time. I wish I had, honestly. The notable scene when the mother of the original goes to fetch Carol Anne. Their other children are not in the house with them, and it is the parents taking the responsibility to fetch her, working as a team and accepting the dangers as they come. The remake the parents instead send their incredibly young son to go retrieve their daughter. I know plenty of parents–no one in their right mind would task such a dangerous and major responsibility to their other child. This scene killed any essence of the original the remake had left and had me wishing for it to be wiped from the face of the planet.
The Fog (2006)
I consider the original to be one of John Carpenter’s unsung heroes. The Fog has been forgotten because this remake occurred–and it’s bad. A usual fatal flaw of horror remakes is too much backstory (I’m looking at you, Rob Zombie). This remake is the epitome of the backstory ruining the horror. Sure, there isn’t much background to why the events in the original happen, but it knows what it is. The original keeps up the pace and crafts an interesting story without getting into the nitty gritty details.
This film has all of these moving pieces that never connect to each other, and while it has visually grisly deaths, there is absolutely no buildup of suspense present in the film. Without this buildup, there is no way for this film to actually deliver scares. Therefore, it is a bloated, slow, boring watch that delivers absolutely nothing. It’s a snoozer and one of the worst critically received movies of all time.
This one is one of the most notorious out there. The original Martyrs is a disturbing feat of cinema; something that you never want to endure again. However, whenever there is a foreign horror film out there that is garnering praise, the US cinema companies must remake it. This one, however, left a poor taste in everyone’s mouth. The original French film is one of the most difficult films to watch out there, but its criticisms of Roman Catholicism and the idea of sainthood achieved through torment leaves it a rich analysis piece that is rewarding and will stick with you.
However, its remake tried for the box office success rather than the story and was trying to feed off the success of the torture porn renaissance that occurred in the early to mid 2000s. Jason Blum himself hates that Blumhouse remade this movie. All of the violence and gore that was once meaningful in the original is mindless and unnecessary. The ambiguity and weight of the film’s ending is also missing. This horrendous remake reduced it all to just torture for torture’s sake. It is deplorable.
I feel like going over five of these films will drive the point home. Horror remakes are usually bad. Horror ‘requels,’ though rarely done, usually follow the same pattern. Reboots are a different story, which we will talk about another time. I have mixed feelings on reboots, but I do not need to categorize them with these dumpster fires. All of these remakes are genuinely films I would never touch again. Is there a remake out there that’s redeemable? What would that be? Let me know in the comments.
Anyways, thanks for spelunking this void with me. If you’re new to the Void of Celluloid, welcome. Feel free to spelunk some other voids while you’re here and follow me on other platforms by clicking the buttons below. We post regularly and stay up to date about what’s going on in horror today, reflect on what went on yesterday, and plan for a better, horror filled tomorrow. See ya next time.
Happy New Year all you spelunkers! Welcome back to The Void of Celluloid. With every new year comes every early era of the New Year’s resolutions. This year, forget about the ones that cause you to be incredibly hard on yourself. TVOC has a very attainable New Year’s resolution for you: to see all of these new and upcoming horror films.
If you’re here already, then this should be up your alley. However, if you’re one to avoid the genre, I am going to involve a little intensity prediction to aid those that might be interested in dipping their toes into the horror genre this year. This genre is open for everyone, and you can definitely consider yourself a horror fan even if you’re not into the guts and gore.
Here are five horror movies that you should keep on your radar through the new year.
We have to kick off this list with one of the biggest shockers of 2022. Ti West returns with the quickest trilogy made. In addition to the short time between X and Pearl, this is not an adaptation of anything. Dare I say, Pearl was even better. So, when the sneak peek for the third film dropped, stifling excitement was impossible. Co-written by Mia Goth who portrays both Pearl and Maxine in all the films, this is one of the most exciting projects for the horror genre yet.
There is no release date for this film set. Given the sneak peek of Pearl also didn’t give a date, we can expect in the near future, most likely around late spring or early summer. If you haven’t seen the previous two films, definitely give those a watch before approaching this film–plot points in each of them will probably be quintessential to the third installment.
As far as intensity goes, the previous two films were fairly intense when it came to graphic violence and startling scenes. Therefore, if you have seen the other two, you should be golden. Use X to gage what you can stomach when approaching this trilogy if you are unsure, but it is a slasher through and through.
Intensity Prediction for Maxxxine: A Light 8/10
Everybody loves a franchise… Scream VI seems to deliver something new and inventive. Very little slasher films have taken place in a busy city, and the teaser trailer presented something that is a little too close to reality. Much like the opener for Scream 2, crowded areas are a victim’s worst enemy, and a subway on Halloween night is prime real estate for Ghostface to kill in plain sight. Jenna Ortega and Melissa Berrera return as the lead sisters from the previous installment, which you can read about my lukewarm feelings about here.
Super familiar faces such as Courtney Cox and Hayden Panettiere reprise their roles as Gale and Kirby, however a massive misstep already happened early on in production. Neve Campbell will not return because the studio did not pay her enough. So, while the film remains intriguing, it’s unsure what a Scream film is like without Sidney Prescott (you should’ve paid her, damn it).
While Maxxxine may be a slasher-style film, Scream VI will be a slasher film. It will be gory; it will be intense and will be riddled with jumpscares. Scream has always been the lighter one of the slasher bunch, but in non-horror standards, this will still be a very intense ride.
Intensity Prediction for Scream VI: A solid 9/10
To be honest, this one might be the one I am most personally excited for. I am a sucker for horror comedies, but more importantly, I am a sucker for Nic Cage. Renfield is an offbeat horror comedy starring Nic Cage as Dracula, and I don’t think you can get any better than that. This is also a film from Chris McKay, who is responsible for three seasons of Robot Chicken and two seasons of Moral Orel, if that adds any context on what to be expecting.
Renfield is focused on Dracula’s assistant–Renfield–as he daydreams of what his life would be like if he were not Dracula’s assistant. A plot that sounds similar to a subplot in the hilarious What We Do in the Shadows TV series is one to not shy away from. On top of it all, it is a horror comedy–so a crowd-pleaser nonetheless and probably will become a Halloween cult classic.
While this film may have a bit of gore and raunchiness, this is definitely going to be one that anyone could watch and enjoy. I expect this one to not be as intense and more hilarious than horrifying. Plus, Nic Cage and his signature acting style can tame anything to be accessible to everyone.
Intensity Prediction for Renfield: a Light 3/10
Evil Dead Rise
After ten years, the remake of Evil Dead finally gets a sequel. One of the most well-regarded remakes in the entire genre finally returns but instead of the typical Cabin-in-the-Woods setting, the Dead are in a high-rise apartment complex. You would think people would stop messing with the Necronomicon at this point, but we’re so glad they haven’t. A fairly new director is at the helm of this film–Lee Cronin–has been taking notes from Sam Rami himself, so we’re in for a treat. You can see the first look here at Bloody Disgusting.
The theme of modern horror franchises seem to focus on estranged sisters, as this one focuses on two sisters who are at odds and have to come together when the flesh-possessing demons we all know and love come to cause chaos, bloodshed and torment to the sisters in their apartment complex. This expands the Evil Dead universe into territories that weren’t fathomable before and will amp up the carnage that usually comes with it.
If 2013’s Evil Dead is anything to go by, this film is going to be gruesome. Evil Dead took an already gory film and gave it a budget and advanced special effect. 50,000 gallons of fake blood was used for only one scene in the previous film, so this is not for the faint of heart. Expect something violent, disgusting and gory.
Intensity Prediction for Evil Dead Rise: A Strong 9.5/10
Beau is Afraid
It seems like everyone has been waiting for this one with bated breath. Ari Aster is set to return this year and will probably mess us all up again with Beau is Afraid, starring the king of the freaks Joaquin Phoenix. Now, Ari Aster is not everyone’s cup of tea, but for those of us that love the guy (me included), it is intriguing he is turning his debut short film Beau into a full-length feature film. The short film has become extremely hard to find, so good luck looking for it as A24 has wiped any trace of it.
Beau is Afraid, if like the short film, focuses on a middle-aged man, Beau, who is on his way to visit his mother. However, it is delayed after his keys to his home are stolen. From then on, a chaotic and sinister chain of events occur. We don’t need to get into the nitty gritty details, as Aster’s films work best with the moments of shock which hit like a curveball to the head.
Speaking of curveballs to the head, take caution with this film. While it may look like a horror comedy and Aster describes it as a horror comedy, note he did the same for Midsommar. I am not expecting this film to be any less intense than Hereditary or Midsommar, and knowing that he likes to crank it up a notch all of the time, I am expecting this to not be an easy watch in the slightest.
Intensity Prediction for Beau is Afraid: A solid 10/10
So, there’s my list for my top five anticipated movies of the new year. 2023 is already looking to be a treat for films, so I am excited to see what it brings. This is also a reminder to see these films in theaters, especially the indie films that need some love nowadays. I do love my franchises, but they are going to naturally see a bigger box office than the indie darlings due to their familiarity. The new year is for trying new things, so if you’re not necessarily into horror films, give something a shot. My goal in the new year is to be more on top of releases and reviews, so I will keep in mind intensities of these films if you want to join me on this journey
Thanks for spelunking this void with me. If you’re new to the Void of Celluloid, welcome. Feel free to spelunk some other voids while you’re here and follow me on other platforms by clicking the buttons below. We post regularly and stay up to date about what’s going on in horror today, reflect on what went on yesterday, and plan for a better, horror filled tomorrow. See ya next time.
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We’re back this week with the next seven movies in this year’s 31 Days of Horror. This is the third iteration of the 31 Days of Horror; you can find the one chock full of classics here. As for this year, we have classics, newbies and deeper cuts peppered in here and there. You can check out the first week here, the second week here and the third week here if you see a movie you missed on the calendar below.
Now let’s finish this thing with the final ten days of October–eh hem, I mean horror.
October 22nd: Alice Sweet Alice (1976)
Whether you have seen this film or not, one can agree that this film has one of the creepiest masks of all time. Alice Sweet Alice is an underrated gem that tackles head on Catholic thought and the effect of sin–not to mention it’s a great slasher film as well. On the day of her first communion, sweet Karen is strangled to death and a string of murders break out with her jealous sister Alice as a suspect. From then on, a strange timeline of events occurs. Inspired by Don’t Look Now and Hitchcock, Alice Sweet Alice has plenty of twists and turns throughout its runtime while being surreal to the eye at the same time.
For food, I did a lot of digging as to what is served at a first communion and such. Turns out, ham is one of the top things, so let’s make it ultra-tasty with these Baked Ham and Cheese Sliders that keep things handheld and also incorporated the bread aspect of communion. Next comes the wine, and while you can sip on a nice glass of red wine during this film, jazz things up a bit with this red wine cocktail the 1870 Sour. If you still want some grape juice but the non-boozy kind, craft up this Grape Lime Rickey Mocktail. For a double feature for this film, why not try some more Argento with Deep Red?
Before The Lighthouse, Robert Eggers created one of the most iconic horror films from the 21st century. The VVitch is a beautiful film as much as it is a suspenseful one. Arthouse horror meets a colonial period piece, in which the eldest sister in a Puritan family is blamed for the youngest sibling’s disappearance. Hysteria breaks out amongst the family, and it leads to dire consequences as their greatest fears manifest once spoken. This one is a slow burn, but the ending rewards us with a great payoff. You also will never fear a goat more.
This film caused me to deep dive into colonial times and try to find recipes. While majority were either basic or disgusting, I dug out a few that will help us live deliciously. First off, party like a revolutionary with this Philadelphia Fish House Punch. If this doesn’t tickle your taste buds, try out something new and follow this Mom’s Homemade Apple Cider to make some cider for this film and beyond. I went for something sweet and crowd pleasing with these Colonial American Molasses Cookies–because who can resist cookies?
You can rent The Witch on Amazon Video or have it as an arthouse gem on your shelf by purchasing it here. You can also check out the design I made around this film on Redbubble.
October 24th: A Classic Horror Story (2021)
If you would’ve told me a decade ago that Netflix would release its own Giallo-style film, I wouldn’t have believed you. However, they gave us A Classic Horror Story in 2021. A fusion of genres and a wicked good time, A Classic Horror Story is a must watch if you’re in the mood for something more brutal. Strangers getting stranded in the woods as they fight for survival–a very basic premise that we’ve seen time and time again. However, we’re in Southern Italy this time. There’s not much more I can say, it is full of tropes and homages that it will feel familiar and new at the same time. The perfect kind of watch for spooky season.
I got way too into the Italy setting for this film which has led to some of the tastiest pairs yet. For our snacks, we had to get some variety up in here. Therefore, follow this Crostini 8 Ways recipe and have a display of colors. Pair it with a refreshing Limoncello Lemon Drop or if you want to relax the zero-proof way, try out this Italian Strawberry Basil Shrub–shrubs are the best. As for a double feature, go ahead and check out Haunt to see tropes subverted in a different way. It’s gonna be a spooky night!
Check out A Classic Horror Story on Netflix. You can check out my very simple-but-cool design on Redbubble.
October 25th: Train to Busan (2016)
Ready to watch one of the best zombie flicks of all time? Train to Busan is a harrowing, intense and beautiful experience that took the world by storm eight years ago. South Korea has been attacked by a viral outbreak and have established a Safe Zone in Busan. When passengers try to take a bullet train to this safe zone, an outbreak occurs on the train itself, leaving them trapped in a dire situation. This film will grab onto you and not let go during its runtime–probably cause a few tears to shed as well.
From Italy to South Korea, we have a complete change of culinary scene. For the drink, I found this Makgeolli Old Fashioned which can add a nice bitterness to the semi-sweet rice wine. If we are looking for something a bit sweeter and fall-like on the booze area, look for Kuk Soon Dang’s Babamba (Chestnut) or Jolly Pong makgeollis in your local Asian grocery store. Pick up Milkis Drinks while you’re there or order them off Amazon–they’re a great non-alcoholic choice for viewing. As for the snack, I was recently introduced to Korean Cheesy Corn and it is simple but game changing. Try it out immediately. For the double feature, I have to recommend another stellar South Korean horror, The Wailing–just make sure that you hydrate properly as I’ve sent you on a pathway of tears and sadness.
You can rent Train to Busan on Amazon Video or have it proudly on display on your shelf by buying it physically here. I designed a spoiler free design on Redbubble.
October 26th: Werewolves Within (2021)
Usually, I am not one for video game adaptations, but this one truly is a treat. This film was one of my favorite releases during the pandemic and is worth a regular spot in your Halloween rotation. A newly hired forest ranger and postal worker get snowed in with the residents of a small town who are being terrorized and attacked by a vicious beast–a presumed werewolf to be specific. It’s a romp with a touch of whodunit that is simply irresistible. It also might have you side eyeing your neighbors if you happen to live in a town with a similar vibe as this one.
This film does take place in a snow-covered winter horror land, so it’s not just you that’s feeling cold. Warm up with these tasty hot drinks. While I am not the hugest hot toddy fan, this Fire Cider Toddy sounded oh-so-intriguing. If we’re not fancying that, opt out for a Hot Buttered Pineapple Mocktail which can easily be made boozy with a touch of rum. As for food, it seems like every small town has a bar that has surprisingly good food. Therefore, let’s class the pub fare with these Gooey Manchego Cheese Fritters. I want these at every bar ever.
You can rent Werewolves Within on Amazon Video or share it with your friends with a Blu-Ray they may never return by purchasing it here. I did a fun little design for this one which you can check out on Redbubble.
October 27th: The Black Phone (2022)
I’m sure this has been on your radar this year. This was a killer psychological horror-thriller that brought us spooky season three months early. Ethan Hawke kills it (and others) in this film, solidifying that him and Scott Derrickson equals gold. The Black Phone is a slow, vintage feeling burn that has outstanding performances with a brief look into a psyche of a serial killer. You can read my in-depth post over this movie here if you want more details, but I think it’s best to go into this film not knowing what to expect.
We’re in the seventies, baby. They year is 1978, and disco has taken the world by storm. Therefore, we have to celebrate the birth of the Harvey Wallbanger, a blend of OJ and Galliano to make a creamsicle goodie. If you’re wanting even more of a throwback, you can opt out of the alcohol and make an American classic: an Orange Julius. On top of everything, everything ‘Hawaii’ (more Hawaiian pizza rather than actual Hawaii) was popular during this time. So, go retro with your snack choice with this Hawaiian Cheese Bread. The double feature for this one is another Derrickson/Hawke collab, Sinister.
You can rent The Black Phone on Amazon Video or shelve it next to your other horror films using this link. I think this design made itself.
October 28th: The Lost Boys (1987)
SAY HELLO TO THE NIGHT. LOST IN THE SHAAAADOWS. This incredible movie and its soundtrack turn 35 this year. This definitely is my favorite vampire flick and is a must watch–Kiefer Sutherland, Jami Gertz and Jason Patric are snacks in this film. A single mom moves to Santa Carla, California with her two sons. The town happens to be the murder capital of the world with plenty of people missing or dead. The reason? All the damn vampires. It’s a fun time with a sexy shirtless sax man. Who could ask for more?
The Lost Boys reminds of two things: Chinese food and California. What’s the fusion of those two things? Obviously, the Cheesecake Factory classic, Avocado Egg Rolls. They’re big enough to not think you’re eating worms or maggots. Pair that with an on-theme cocktail appropriately named The Bloody Vampire. You don’t need to bite into a bald man’s head to get that kind of blood. If you prefer no spice in your blood, cut the alcohol and indulge in the Vampire’s Kiss Mocktail. The double feature for this one is so cool, Brewster. Indulge in the original Fright Night to add to the 80s flair or go for the remake for a fun modern twist.
This. This film is the ideal Halloween movie and I stand by that. An anthology horror tale meets a comic book tone laced with camp and comedy. All the tales intertwine with each other and blossoms into this fun twist on Halloween traditions. Not to mention, it introduces one of the most adorable horror villains, Sam. All you gotta do is follow the rules to avoid his bloody wrath. Simple enough, but a colorful cast of characters seem to make things a little difficult for Sam to catch up. I could watch this film over and over during October, so therefore it is an annual tradition of mine.
As far as snacks and drinks go, we have to let the Halloween flag fly. I found a spooky cocktail complete with theatrics known as The Witch’s Heart. Purple, spooky and bubbling with delight. If we are craving the sweeter style of life, I also found this lovely Pumpkin Milkshake. Since this film is a grab-bag of spooky delight, snack on this Sweet and Salty Halloween Snack Mix. As far as fun films suited for spooky season go, my double feature for this film is a guilty pleasure for many, and that is the 2001 film Thirteen Ghosts. The ending of this film is very bleh, but Matthew Lillard is a yes in my book.
Rent Trick ‘r’ Treat on Amazon Video or get it physically following the link here. I watched it as a bought Blockbuster exclusive back in the day–the true straight-to-DVD experience. Check out the design I made on Redbubble and always remember to check your candy.
October 30th: Ouija: Origin of Evil (2016)
There are times that sequels are miles better than the original. This is one of those times. If you haven’t seen Ouija: Origin of Evil based on the first film, I don’t blame you. Ouija is a very bad movie. However, this film is one of the best PG-13 horrors out there. Leave it to Mike Flanagan to make a great film from the ashes of a failed one. A 1960s period piece meets a possession film sponsored by Hasbro themselves. That’s the most generic I can describe it, but it truly is a spooky treat you should indulge in.
If we’re going back to the 60’s, we’re doing it right. A very popular cocktail got its rise to fame during this decade, and that is the decedent Sidecar. You can obtain a non-alcoholic version by following this Virgin Sidecar recipe. Cheeseballs also rose to fame too, but the grandpappy of cheeseballs will add the spice that will meet what this film brings. That is the classic Pimento Cheese Spread, which is versatile and makes great leftovers. I praise Flanagan at any chance I can get, so the double feature has to be Hush, which is a great, smart slasher film.
Rent Ouija: Origin of Evil on Amazon Video or buy it physically using this link. If you want to mess around with one yourself (you could never convince me to), you can get your own here but be very careful and look into it beforehand. I did another peekaboo design for this one, look closely.
October 31st: Halloween
You had to see this coming, whether or not you paid attention to the calendar. John Carpenter’s Halloween is a tried and true masterpiece that has served influence for hundreds of horror films, so it is always a good call to re-watch it come Halloween time. What’s not a better time than actual Halloween night? It’s the tale of Michael Myers that feels even fresher than before with its new sequel that came out only a week ago, so the time is better than ever to revisit the original!
The obvious double feature is a quadruple feature with the 2018 Halloween, Halloween Kills and Halloween Ends following up the classic (although you can skip the last one if you’d like). This is a night to go all out, but sometimes you want a quieter night in, so let’s pair this up with some Michael Myers Jell-O Shots to add to some booze to your snacks. A mocktail for the night is the Cereal Killer (minus the Cognac) or plus the Cognac if we want another cocktail for the night. To up the comfort and the tasty treats, snack on some adorable Ghost Pizza Bagels. Be sure to toast to Michael all dressed up in his ghost costume.
So that wraps up this October! Everyone, have a safe and spooky Halloween and watch as many horror movies as you can! I’m going to be taking the holiday weekend off but expect me to be back the Friday after Halloween. Scroll on back up if you want to see about other films that you might have missed or jump back to Week One if you want to see what’s going on with last year’s 31 Days of Horror. It was a great time, thank you for your support and keep things spooky, spelunkers.
Anyways, thanks for spelunking this void with me. If you’re new to the Void of Celluloid, welcome. Feel free to spelunk some other voids while you’re here and follow me on other platforms by clicking the buttons below. We post regularly and stay up to date about what’s going on in horror today, reflect on what went on yesterday, and plan for a better, horror filled tomorrow. See ya next time.
This post contains Amazon Affiliate links. I am an Amazon Affiliate and will receive earnings on any purchases made through those links. I appreciate your support and hope you enjoy the article.
Howdy y’all. I can’t promise a Star Lasso Experience–nor do I want to–but I am here to talk about NOPE, Jordan Peele’s latest horror/sci-fi film. This is both a review as well as a dip into some true crime territory, so there will be discussion about the plot, certain scenes and possible aftermaths. Therefore, spoiler alert straight ahead.
If you’re looking for a scathing review nit picking the film, this is not the place. This film has left its audience rather divided, and I rest quite comfortably on the side of “really fricking enjoyed it.” If you’ve jumped into other voids here, you know I love a slow burn, so this film appealed to me while others maybe thought they were in for a different type of movie. I don’t blame them; the trailer left a lot to the imagination.
Nonetheless let’s get into this and dive into the real-life inspiration for one of NOPE’s standout and disturbing scenes.
Another Stellar Performance
Peele has said it himself. Daniel Kaluuya is his De Niro. Kaluuya solidified himself in Peele’s debut, Get Out–a film very important in the horror genre and most definitely the best horror films of the 2010s. Therefore, it was no surprise that he delivered in this role as OJ Haywood. He really has a way with subtle twitch movements in his face, as his character has a more stoic demeanor that he manages to keep despite the chaos occurring around him.
However, the expression in his eyes allow the viewer to get an insight of what is going on inside his head. His character is in an incredibly difficult position to maintain a dream after his father is suddenly ripped away from him by the very thing that will stalk and hunt him and his sister through the film. His character is the rock for his neurotic sister, who balances him out by encouraging him to loosen up on the reigns a bit–even if it can come off shallowly at times.
On top of that, he does get the most “nopes” in the film. This was always timed and intonated perfectly to reflect both his character and the audience’s reaction. His choices to not engage at times are incredibly relatable and pokes fun at the typical naive but curious victims in horror films. Sometimes, you don’t need to go investigating. Saying nope and staying out the situation might be the difference between life and death. In many cases in this film, it was OJ’s saving grace to act upon his “NOPE.”
Keke Palmer, steven yeun and company
While Kaluuya kills it upon his return to Peele’s filmography, it would be a waste of an article not to mention the performances of the rest of the cast, especially those of Keke Palmer and Steven Yeun. Palmer is a shining star in this movie, delivering comic relief left and right that didn’t seem excessive in my eyes. Instead of the stoicism of her brother, her character Emerald Haywood is a woman of many talents, and while she may seem misguided, she is dealing with her father’s death in her own way as she wrongfully took second place to her brother her whole life. Instead, she becomes the film’s leading heroine, striking the final blow to the alien.
The final blow to the alien comes in the form of a giant, inflatable version of Ricky ‘Jupe’ Hicks, played brilliantly by Steven Yeun. Yeun is tasked with one of the more difficult roles of the film, as he is both the catalyst and antagonist of the events. Jupe is very much blinded by success as well as possible PTSD due to a traumatic event that occurred in his childhood that he now glamorizes. This glamorization boosts his ego enough to try and coax the beast to his benefit that backfires gloriously–sandwiched between two scenes that made me incredibly uncomfortable.
Before we go into that, it would be a shame not to mention the performances of Michael Wincott and Brandon Perea. Wincott delivers as he usually does, but major props to Perea since this is his first major film role. He knocks it out of the park as Angel quickly stole my heart during the film’s runtime. As well as a brief but memorable appearance from Euphoria’s Barbie Ferreria, NOPE delivers on its performances.
Travis The Chimp: A True Story
Now to get into the nitty gritty. Back in 1995, a couple in Missouri bought a baby chimp from a breeder that had been separated from his mother just when he was three days old. This chimp’s name was Travis. Sandra and Jerome Herold quickly socialized the chimp with humans and got him television and advertisement gigs from the get-go. Travis was incredibly intelligent–he fed the couple’s horses, took care of his own personal hygiene as well as change the channels on the television to his liking.
The Herolds viewed Travis as a son, mostly given the light that they lost their only son to a car crash in 2000. The chimp only had one incident prior to the accident that inspired that scene in regard to not being able to catch him after he was startled. However, with Jerome Herold dying of cancer in 2004 and Sandra possibly drugging Travis to keep him came to a head in 2009. Travis attacked a family friend, Charla Nash, after a welfare check on Sandra Herold after Travis stole the car keys and wouldn’t return them. Upon her arrival, Travis attacked her and severed many of her limbs and ate multiple of her facial features.
Herold hit the chimp in the head with a shovel. She also stabbed him in the back with a butcher knife. Once she realized that Nash might be dead, she finally called 911 and hauntingly screamed into the phone, “He’s eating her!” with Travis screaming in the background. The police arrived and shot Travis in the head. Nash was in critical condition and went through 7 hours of surgery to stabilize her. This is a summary of an article, which you can find here.
Jupe never learned his lesson: Why The Scene was There
With the details laid out, it is hard to deny that the story of Gordy mirrors the gruesome tragedy of Travis. Now to the main point: what was the reason for Jordan Peele to make this part of Jupe’s story? Well, it’s the fatal flaw that gets him killed as well as the patrons eager to see his show. In that Gordy scene, Jupe thinks he has a chance for connection with Gordy. That if they wouldn’t have shot him before he made contact with the chimp’s fist, he would have possibly gotten through. A sort of god complex.
This is why he thinks to try and “communicate” with this otherworldly figure and assumes that he’s successful. If he had a ‘true’ connection with Gordy, who’s to say he doesn’t have a connection with this alien? I mean, it has been accepting the horses and no threat to him during rehearsals, so why would it harm him? Well, we all know what happens when we assume. A huge alien sucks you up and vomits you right back up again.
Therefore, this deadly assumption he makes does make him the villain in this story. He is the key piece to the metaphor of gentrification. He thought that he was doing something stupendous–in a league of its own–but instead does it on the backs of the Haywoods which results in the death of their father and horses–the death of their legacy. Not only does his ignorance harms the Haywoods, but it also harms himself in addition to the consumers that feed into the gentrification. Quite a deep message there with multiple layers.
conclusion and Final Review
Rating: 9.5 out of 10.
I loved NOPE. I’ve seen it twice in theaters now and there are so many more pieces to the puzzle that fall into place with repeat viewing. Excellently paced with extraordinary acting performances from actors new and old, it’s a sci-fi thriller that is laced together with a deep and harrowing metaphor. It has proved Peele to be a promising filmmaker for the genre (not that he wasn’t already) and the naysayers are just bitter. He is a fantastic filmmaker with NOPE being a great example of it. You can rent NOPE on Amazon Video or if you would like to continue to support the movement of physical media, you can purchase it in 4k here.
Anyways, thanks for spelunking this void with me. If you’re new to the Void of Celluloid, welcome. Feel free to spelunk some other voids while you’re here and follow me on other platforms by clicking the buttons below. Did you like NOPE? Check out the custom sticker on Redbubble of Gordy himself. We post regularly and stay up to date about what’s going on in horror today, reflect on what went on yesterday, and plan for a better, horrific tomorrow. See ya next time.
Ah, the Fourth of July. The best holiday to get drunk and blow up stuff–because if that doesn’t scream patriotism, I don’t know what does. If you’re new here, I have taken the responsibility in turning any moment into a possibility for scares. Therefore, I had to track down what films are appropriate for this American holiday.
To qualify, the films had to have a Fourth of July related plot point that was consequential to the story. With vigorous research, two films came out on top. Both films were coincidentally released in 1985. so that must have been an explosive year. If you’re into celebrating the holiday or you couldn’t care less and want to tuck in for a movie while it sounds like a warzone outside, let me turn you onto Silver Bullet and Return of the Living Dead.
This film falls into the category of forgotten Stephen King adaptations (though every cover has his name announced on it). If you’re a fan of the werewolf genre, this is your movie. Silver Bullet is based on King’s novella Cycle of the Werewolf. Starring 80’s wonderchild Corey Haim, who you might recognize from The Lost Boys, it focuses on a paraplegic kid who believes the random, violent murders happening across town have a supernatural culprit: a local werewolf.
This string of murders cancels the local Fourth of July celebration. However, our protagonist Marty steals some fireworks for a personal celebration. These fireworks set of a series of confrontations with the supposed culprit, leading to an investigation on who is the culprit. It’s a film that most of Generation X has on their radar. It was either something that either terrified them beyond belief or inducted them into the horror genre.
I consider this film a clear example of starter horror. It isn’t too intense for younger viewers and is chock full of 80’s nostalgia that parents can enjoy it too–if they haven’t seen it already. It also is a decent King adaptation and has a stellar performance from Corey Haim and quite a convincing villain. Not to mention, the werewolf makeup is quite terrifying. Check this out if your neighbors are annoying you with late night fireworks–maybe consequentially you’ll sic a werewolf on them.
On the other side of the coin, we have this zany, punk horror comedy. This is one of the most beloved zombie film of all time and has truly ascended with its cult status over the years. It is acutely self aware and takes place over the Fourth of July weekend–so it was practically screaming at me. Released in 1985 and a true riff off of Romero’s zombie flicks, Return of the Living Dead is a true, crazy treat. Two careless warehouse workers accidently lets loose a gas that turns corpses nearby into unkillable zombies. Teaming up with a group of punk teens, they face off against this invincible crowd over the holiday weekend.
I mean, what couldn’t be more American than dropping a nuclear bomb on the problem and labeling it as a solution, despite making things worse? The film also serves as a scathing commentary on the nuclear scares occurring during the Cold War area and how nuclear warfare could lead to more destruction than aid to their cause. This was a common topic that horror films addressed during the 80s–adding further to my “horror-social commentary” point that I’ve made on many posts (if not all).
This is the film that introduced the concept of zombies feasting on brains as well as one of the first that was not a Romero. On top of that, it is a gorefest that is unrelentless in its hour and a half runtime, making this a quick watch for the holiday so you can go out and catch some fireworks. If not, it has plenty of sequels that are equally ridiculous and could make for an entertaining (and possibly drunken) night.
Well, whether you enjoy the holiday or not, hopefully these suggestions give you ideas for some new holiday traditions. The macabre never sleeps, so I hope to offer a tradition for those that indulge in it daily like me. What are your favorite nonconventional horror movies? Let me know in the comments and I can feature them next holiday–it doesn’t have to be horror either, I love unconventional matches for every genre.
Anyways, thanks for spelunking this void with me. If you’re new to the Void of Celluloid, welcome. Feel free to spelunk some other voids while you’re here and follow me on other platforms by clicking the buttons below. We post regularly and stay up to date about what’s going on in horror today, reflect on what went on yesterday, and plan for a better, horrific tomorrow. See ya next time and have a great Fourth of July.
It must be the colors of spring that makes me think about his films, but March always reminds me of Hitchcock. Especially in reflection of Women’s History Month, as while he is a brilliant filmmaker, he really was cruel to his female actors on set. So therefore, I’m going to instruct how one gets into Hitchcock, but with remembrance of how much of an asshole he was. It’s not uncommon to do that with many filmmakers throughout the years.
This post will also celebrate the performances in Hitchcock films, as they make the film what it is. When watching Hitchcock, you are looking for color theory, queer theory and femme fatales. The way that his films shifted throughout the years to become something more than he initially intended is why we still study Hitchcock with a ferocity and with a self-aware eye of who he was and what he did. Therefore, here is a quick guide to get into Hitchcock if you haven’t made the dive yet.
A note: Hitchcock films are predominantly thrillers. Psycho and The Birds, however, are horror films that directly affected the modern definition of horror however, so therefore, I consider him a horror filmmaker in this article. Without his craft of suspense, horror films and its scares would not hit as hard.
An Introduction: Psycho
If you clicked on this or follow my blog, you have to see this film. Other than Peeping Tom, which came out mere months before Psycho, this is the groundwork for the modern slasher film. It also is home to some of the greatest plot twists of all time–how long Janet Leigh is actually in the film and the reveal of the killer. These reveals were so great, that when it released in theaters, there was a record that played in the foyers that acted as an announcement to when the film was going to start, and they would refuse entry once the opening credits played. Now, I do realize that I mentioned Hitchcock and color in the introduction. However, due to the graphic nature of this film for the 1960s, it was filmed in black and white to keep costs and gore down.
While the color theory is out the window for this one, Psycho does have a queer subtext. Anthony Perkins is a legendary queer actor and his performance as Norman Bates can be interpreted as internal frustration and anger of a confused, homosexual man. That could explain his choice of alter-ego (which might have been a way to get around the Hayes Act) and the violence towards women–an act of jealousy of something he could never have. It also explains the rage and contempt that he has for his mother–the one who ‘made’ him this way–as well as the adoration he has for her–someone to cling to as an outsider in this mid-century, homophobic society. Something to think about on your first watch or your latest rewatch.
His Most Accessible: North by Northwest
Rather than focusing on a murder, North by Northwest plays out as a spy suspense-drama. In fact, its final act plays out as an action film really, showcasing that iconic scene of Cary Grant booking it away from the propellor plane. Now it’s controversial, I know, but I haven’t seen this film–not that it hasn’t interested me. I will watch it for sure and it is one that critics recommend to Hitchcock newbies constantly.
This film has the suspense of the Hitchcock but feels like it lacks the main things I derive out of Hitchcock films. Although, I am not against Cary Grant being the biggest badass ever. All because he is mistaken for a government agent. Therefore, if you are looking for the psychological horror element of Hitchcock, have this down the list a bit. If you want to jump into all things Hitchcock, give it a whirl.
Let’s Look at something a bit more relatable: Rear Window
Ah, spying on your neighbors. We’ve all done it at some point. Well, what if that partial voyeurism causes you to be witness to a murder? If Shia LaBeouf just popped in your head, let me point you to the source material of Disturbia. Rear Window is a masterpiece with a conflicting protagonist. It’s romantic, it’s funny, it’s suspenseful. Definitely not as gritty as its bastardized remake. It also features one of the most elaborate sets, with the entire apartment complex built on a soundstage. There were 31 fully functional apartments constructed on that set, which is wild.
This film features the wonderful Grace Kelly and Thelma Ritter–extremely headstrong, empowered characters. Due to Jimmy Stewart’s Jeff confined to a wheelchair, it is Kelly’s Lisa crawling through windows and risking her life at the hands of the murderer. They are the voices of reason when it seems that Jeff seems to take it too far in his ‘investigation.’ Also, the muted colors of the wardrobe of the film convey both the climate of the setting as well as the understanding of what is going on. It transitions to black and white as the murder confirms itself. It is a must watch, even if you’re not into Hitchcock’s style of a slow burn.
Remembering Tippi Hedren: The Birds
This film is a little more uncomfortable to watch given the release of Tippi Hedren’s memoir. Everyone was well aware that Hitchcock was cruel towards Hedren on the set–to the extent that he had live birds thrown at her which resulted in her and the birds’ extreme distress and injuries towards Hedren. However, she revealed that Hitchcock basically pulled a Weinstein, and sexually assaulted and harassed her several times, and her refusal to sleep with him led to all of that cruelty. This is why I push those to admire Hitchcock’s films but with a large grain of salt.
The Birds is brilliantly shot and has one of the best scenes in a film ever–the jungle gym scene. However, when you watch this, please remember what Tippi Hedren had to go through, and watch it for her. It will make for a hard watch and reading her experience might taint Hitchcock for you forever. However, it is another case to separate the art from the artist. The Birds is more of a strict horror film rather than a psychological thriller too, so if you’re on this page for horror, this is the film for you.
Red, green and blue: Vertigo
We see Jimmy Stewart again in a pretty conflicting role as John Ferguson, an ex-cop who suffers from a bout of vertigo due to a traumatic incident while on the force. Then we have Kim Novak. She plays a double role in the film, and truly steals the scenes she is in. If you want to see tension–both the love and the hate kind–this is the film for you. I can’t say much more without giving anything away, however, I will talk briefly about the color theory and what you should look for when viewing my personal favorite.
Madeline is green, John is red. In an iconic scene (pictured above), we see Madeline in this gorgeous green gown against a red background–which is the first time John sees her. It speaks to the instant infatuation he has for her, and they go on to wear these colors and eventually wear each other’s. Novak’s other character, Judy, wears cool blue, and it plays a stark contrast to John’s hot red, which reflects his obsession and anger that he falls into due to events that occurred with Madeline. It is an important tool that reflects how the characters are feeling without using a spoken internal monologue.
The Unsung Gem: Rope
When I said Vertigo was my favorite Hitchcock, this one is basically tied with it. This film is a brilliant piece of cinema that is one of the easiest to see through queer theory. Two men who share an apartment kill someone and store them in a cassone, which they set up for a dinner party. For those that may not know, a cassone is a marriage chest, and the act of placing something dead inside can be read as the concept of marriage being dead to these two lovers. The glances they exchange throughout the film confirms this intimacy.
They filmed Rope in a single shot-single take, meaning they had to act like a play. They would always focus on a wall or something still to switch out the roll of film. For the year 1948, that is deeply impressive and only adds to the brilliance of this film. It is an intense thriller that I could not recommend more. It also is free use copyright at the moment, so you can catch it for free on YouTube–even more of a reason to check it out.
Who knew tennis could make you anxious?: Strangers on a Train
A casual flirtation with murder turns deadly serious in this film. Strangers on a Train is another film that is dripping with queer context. I’ll kill your wife if you kill my father is the deal with a one-sided agreement. The intense eye contact between Guy and Bruno while talking about such grandiose “solutions” to their issues further confirms the queer theory, so definitely keep an eye out for the intimacy between the two men–it’s subtle but it’s there.
There are two scenes in this film that shoots this film up to one of Hitchcock’s best. That is the carnival scene and the tennis match. Hitchcock already took the intensity of a tennis match and combined it with such dread and anticipation that you will be squirming in your seat.
Remaking his own film: The Man Who Knew TOo Much
Another film that I haven’t seen (don’t sue me), but it has a bit of a weird timeline. Hitchcock made this film in 1934, and then decided to one up himself and cast Jimmy Stewart–his muse–as well as Doris Day and remake his own film 22 years later. Hitchcock also loves to write about innocent people getting caught up in government affairs. This is also the film that introduced the lovely song “Que Sera Sera,” in quite an intense scene.
This is considered to be Hitchcock’s family film. It really puts a strain on the couple in question about where their values lie and how they rely on each other in a situation that they can’t bring to someone who could intervene easily. It’s not necessarily one to watch with the little ones, but more of a reflection for those of us sucked into day-to-day life and not realizing we should rely on one another to make progress. In this case, they do it to save the life of their son.
Here is a brief list, which don’t include many other amazing films. Rebecca, The 39 Steps, Dial M for Murder, Notorious… the list goes on. Hitchcock is a true mastermind. While he is–to put it politely–a piece of shit, the film community cannot forget his work. It is also notable to remember the women in Hitchcock films and try to keep in mind what they went through to create such art. While his queer subtext in most of his films infer a possible queerness in Hitchcock–which can foster violent self-inflicted homophobia–he had no right to take that out on others, especially the women who were not only brutalized in the fiction he was writing, but also in reality.
Anyways, thanks for spelunking this void with me. If you’re new to the Void of Celluloid, welcome. Feel free to spelunk some other voids while you’re here and follow me on other platforms by clicking the buttons below. We post regularly and stay up to date about what’s going on in horror today, reflect on what went on yesterday, and plan for a better, horrific tomorrow. See ya next time.
Hello everyone–I just watched the new Scream. It is a brilliant addition as well as homage to its predecessors. During its viewing, I took a trip down memory lane and it’s time to revisit Scream: my favorite quirks and moments in the Scream franchise. It truly is a unique and essential piece to the horror universe–one that many horror fans are proud of. For most horror fans, young and old, Scream just gets you. It knows how you tick, what excites you about horror movies and holds up a mirror and hands you a thank you card.
I cannot think of any fandom who doesn’t like their ego stroked–but we’re stepping away from the meta-ness. Each of these films in the franchise has a gleaming trait that always draws my attention and has me theorizing a lot of what-if scenarios. So, without further ado, I am going to go through some of my interpretations and observations of this brilliant series that Wes Craven and Kevin Williamson has blessed upon us.
Billy and Stu: The Queer Subtext
I have seen the first Scream several times, and it is for three people: Stu, Billy and Randy. That is not a diss towards Sidney, Gale or Dewey, but we get significantly more time with them as the series goes on. Randy is obviously the shining star as well as the most relatable character–horror movie aficionado and a constant hard-on for Sidney Prescott (I mean, same, my dude). He’s not my focus point here; it’s the two murderous lovebirds.
There is a certain intimacy between Billy and Stu, and it mostly falls on Matthew Lillard’s performance and portrayal of Stu. Even Matthew Lillard has confirmed he meant to convey it this way, which you can read more about in this brilliant essay from FilmDaze: The Lifelike Misogyny of Scream’s Stu Macher. Kevin Williamson confirmed this. He himself is proudly out and confirmed that he based the characters on Leopold and Lobe.
Lillard conveys Stu’s ferocity and passion towards Billy with intense eye contact. It is also implied that it didn’t take much convincing on Billy’s part for Stu to team up with him in this killing spree. Considering the killing spree included offing Sidney and making Billy painfully available–that was a bargain that one so madly in love couldn’t resist. It’s hard to deny that this isn’t about passion. The more I watch it, the more it comes through to me. On top of that, everyone that I’ve mentioned this theory too can’t unsee it, so I suggest giving Scream another watch and try to lean into the queer point of view. You’ll only appreciate Matthew Lillard’s performance more and more.
Oh, Randy: The Biggest Mistake in the Franchise
Now back to Randy–and yes, I’ve mentioned this before. Randy’s death in Scream 2 is truly devastating. As the franchise goes on, it sinks in more and more that the death of Randy might have been the biggest mistake they made. The Scream franchise was never afraid of broad daylight kills, but the fact that the character with his head screwed on so tight gets yanked into a van, sliced and diced with Gale and Dewey within earshot–that’s just cruel.
It’s even more cruel due to Scream 2 showing Randy thriving in the college environment. Always being outcast by his peers in Woodsboro, he finds his niche and can discuss and evolve his knowledge and opinions all day long. This seemed like a step towards him growing with the rest of them and able to assess the surroundings and deliver appropriate ‘isms at perfect times. I understand that would’ve been the easy route.
I do respect the out-of-the-blue return of Randy in Scream 3 through VHS, but I feel as if the franchise is also realizing it was a bit of a mistake to kill Randy off so soon. His death would’ve been more firmly placed in Scream 3. Randy’s death in Scream 2 signaled no one was safe. However, there were no other major deaths of the legacy characters in Scream 3 and 4. Therefore, his death was a missed opportunity to take some more controversial steps and just kind of leaves a sad pit of what we could’ve seen from an older Randy.
Definition of Camp: Scream 3 isn’t a bad movie
Days before I watched the newest Scream, I rewatched Scream 3. I never am really excited to rewatch this one, however I saw it through fresh eyes for whatever reason lately. If Scream 3 sold strictly as a spoof and a comedy, I firmly believe critical panning would decrease. It is honestly the funniest installment in the series, and the absurdity of the plot and dialogue is what makes it.
I realized that the opening scene of Scream 3 does not set the tone for the majority of the movie, but rather the more serious final act. Therefore, to go from the sinister nature of Cotton Weary’s demise to cooky Gale-Dewey Hollywood banter feels kind of like whiplash. I can see how that radical tone shift left a bad taste in people’s mouths. However, separating that, the rest of Scream 3 is delightfully campy with a whole bundle of wacky characters who happen to play the characters from the series. It’s extremely meta, which is what the Scream franchise is all about.
The character that sells on the campiness and meta-ness is 100% Jennifer Jolie, played perfectly by Parker Posey. Scream 3 deals a hard bargain on the actors in it–they have to play their characters as well as caricatures of themselves. I think that Parker Posey nails this balance, and focusing on her, Gale and Dewey’s storyline in the middle of the movie definitely is what sells it as a viable end to the original trilogy. I definitely recommend anyone to rewatch Scream 3 and treat it like it’s a “so-bad-it’s-good” movie–you’ll see the comedic genius and expert portrayal in camp in it.
Questionable Characters: Scream 4’s Bloodbath
Eleven years have passed, the original cast is either dead or older. 2011’s Scream 4 was an attempt to pass the torch onto a popular, younger cast and ended in a bloodbath instead. Almost every new character introduced in Scream 4 died by the movie’s end and for that, I am sort of grateful.
With the exception of Kirby, played charismatically by Hayden Panettiere, the new characters weren’t very likeable. Now having watched the newest Scream, I am so grateful they didn’t go with this ragtag group. Most of the characters didn’t have much character development, with Jill being the only one that got a backstory and link to Sidney. On top of that, they feel like hollow shells of a person rather than actual humans. All of the complexity vanished.
I attribute part of this to the time jump and dealing with a different generation. A lot of characteristics from these new characters felt very tropey and out of place, with some of them seeming like they stepped out of coming-of-age rom-com. As I mentioned about Randy, this film definitely tried to make up for Randy being gone. While Kirby was extremely likeable amongst the trio of movie know-it-alls, the shoes of the Randy character were not filled. Despite my complaints, however, I really do like Scream 4 a lot. I feel that this newest Scream however took it down a few pegs in regard to likeable characters.
Scream Lives on through the newest installment
To wrap this up, I cannot stress how badly I want everyone to go and watch Scream. It is truly amazing, hilarious, and brutal. My overly emotional self even cried a bit. I adore the new cast so much and am already looking forward to a sequel, which they plan on doing. The directors behind this new one also did Ready or Not, so if you are looking for some more horror comedy with badass women, I suggest either watching or rewatching that one (I’ve seen it at least five times). I will never stop talking about Scream and singing its praises, so if you want to hear more from The Void of Celluloid, be sure to follow this blog and our social medias linked on the homepage. See you next time, spelunkers.
Notorious is a wonderful introduction to the genre of film-noir. It eases you in without being too dark, and gives you enough romance to make you care about what happens to the two leads; the two leads are Cary Grant and Ingrid Bergman, so that is not a difficult thing to do. Boy, Ingrid Bergman has gotten a beating over the last few weeks. Brilliantly directed by Alfred Hitchock, Notorious transports us back to the days just after World War 2, with enough spies, intrigue and innuendo to keep even the most passive viewer engaged. So without further ado, here is my analysis of 1946’s “Notorious” . PS: If you are looking for the 2009 biopic Notorious about the Notorious B.I.G., I am afraid this is a very different film. You can check out the last MOTV post here.
The film starts in a courtroom in Miami, where Alicia Huberman’s (Bergman) father has just been convicted of treason. The press is waiting for her, taking her picture and bombarding her with questions. It is quickly established that she is being followed, but by whom?
We now find ourselves at a party at Alicia’s house, where she is generously pouring drinks, as she is being asked questions by her guests about being followed by the police, which she ignores. We can see everyone’s face, except a shadowy figure with his back to us. Alicia acknowledges him, pours him a drink and begins talking to him, with no response from the mystery man. To be honest, she doesn’t really give him a chance to respond. This is her house and she is commanding the room, looking stunning while doing so. She suggests that the mystery man is a party crasher, but is corrected by the guest who invited him. Still not a word from the shadowy figure.
Alicia finally acknowledges the fact that she is being followed and expresses her annoyance at being a marked woman because of her father’s dealings. The elder gentleman she has been generously imbibing reminds her that they are setting sail tomorrow and the police will no longer be a problem. The party begins to break up, and as it does, Alicia pours the mystery man another drink, telling him she likes him, even though he hasn’t uttered a word.
Finally the camera pans around to show that our mystery man is Devlin (Grant). It is apparent that the two have continued to drink long after the other guests have either left, or passed out. Alicia is clearly intoxicated, but Devlin is cool as a cucumber. Alicia suggests that the two go outside for a picnic. She tells Devlin her car is outside, and asks if he wants to go for a ride. She tells him that she is driving, and all he protests to is that she doesn’t have her coat, to which she replies, “You’ll do.” When they exit the house, the wind is blowing, and Devlin proceeds to wrap a scarf around Alicia’s bare midriff, telling her he doesn’t want her to get cold.
Celeb crushes, anyone?
I have a confession to make here. If I was to build the perfect man it would be a combination of Cary Grant and Jimmy Stewart. I think I spent half this movie swooning over Grant’s cool demeanor and suave good looks. Ok, let me wipe the drool off my chin and continue.
Having gotten her way, Alicia is erratically swerving all over the road. She asks Devilin if he is scared, and he shows no fear, as she increases her sleep to make him show her something. We can see Devlin’s hand is positioned to take control of the wheel if need be, but he is saved from having to do so by a motorcycle policeman’s approach. Alicia expresses her disdain for the police. She reluctantly pulls over after admitting that this would be her second drunk driving offense and that would cause her to go to jail, like the rest of her family.
The officer approaches the car and after a few snide remarks from Alicia, he asks Devlin if she is drunk. He doesn’t answer, he just reaches into his pocket and shows the officer his credentials. The officer apologizes for pulling them over and states his assurance in Devlin’s abilities as he walks away.
Alicia, confused and agitated, askes her passenger where the ticket she rightly deserves is. Finally Alicia asks for his name, and he introduces himself to her. She questions him about what he showed the officer to make him leave. She becomes aggressive as she identifies him as a cop and begins to hit him, while Devlin stays measured and cool. He tells her to move over so he can drive and take her home. She refuses, gripping the steering wheel until her knuckles are white. He tries to be as gentle as he can with her, while she continues to hit and fight. I am not sure what moves he does on her, but she finally either passes out or just gives up. He slides into the driver’s seat with a sigh.
The next morning, Alicia awakes with a hangover cure on her nightstand and Devlin leaning casually in her doorway. Hitchcock’s direction is wonderful here. He spins the camera to show how Alicia’s head is spinning from her crazy night.
The Plot Thickens
As Alicia slowly starts to get her wits about her, she questions Delvin about what he wants with her. He explains that he works for the government and they want her to help them catch some of the men who had worked with her father, and are now conducting business in Brazil. She insists she is not interested and even turning her back on him. He tells her that her apartment has been wired for three months, and he plays a recording between Alicia and her father. She tells her father that she loves America and hates what her father is doing. She is visibly upset by this, but tells Devlin that she wants to live her own life.
The captain from the night before arrives and tells her that it is almost time for the boat to depart. He leaves again as Devlin gives Alicia another chance to agree, which she does, sending him to tell the captain the bad news.
The couple is now on a plane to Brazil. Everyone used to get so dressed up on airplanes, not a pair of pajama pants or crocs to be found. Devlin points out their boss, a few rows back in the plane. Devlin tells Alicia that her father has died. He took a poison capsil. Alicia reflects on how nice she and her once were before she knew who her father really was. With his death, she no longer has to hate him or herself.
They are now at a street cafe in Rio, still awaiting news on what their job will be. Alicia asks Devlin to put his cop brain on the back burner and just take her hand and have fun. Alicia starts to drown her doubts in herself as she asks Devlin to believe in her.
They have gone for a drive and are admiring the view as Alicia tells Devlin that he can’t admit he has feelings for her because he is ashamed of loving a drunk, and is worried about what others will think. Well he finds a way to stop her from talking; a passionate kiss does the trick.
Alicia and Devlin
The agents are having a meeting about Alicia, and how much faith he has in her. The meeting adjourns with the men looking very proud of themselves. They basically just agreed that Alicia will have to find her way into the house of the German business man they are targeting, who had ties to her father.
Devlin and Alicia have arrived at her hotel room and make good use of the balcony, and I don’t mean they are admiring the view of the beach. The two make plans for dinner in between kisses. Devlin contacts his hotel to see if he has any messages. Alicia tells Devlin she knows he doesn’t love her, to which he responds, “When I don’t love you, I’ll let you know.” Ok…heart…calm yourself….swoon…
Devlin has a message from his boss, and he has to leave for a meeting. They kiss all the way to the door. At the meeting, his boss has obviously told him they expect Alicia to become intimate with their target. He is visibly upset and states that he is not sure that she will do it. His boss tells him that their target, Alex Sebastian ( Claude Rains) was once in love with Alicia, and this is the perfect opportunity to get someone on the inside to find out what has been going on.
It is determined that Devlin and Alicia will stage an unexpected meeting with Alex at a local riding club. Devlin now has the unfortunate task of going back to tell the woman he loves he is whoring her out for the good ole’ USA. Those are my words, not his, but if I was Alicia, that is what I would hear in my head.Devlin returns to Alicia’s hotel room as she is happily cooking for the two of them. She happily is going about, setting the table, and he is back to his mystery man stance. Alicia is so open with him, and he zings her, and gets back to business.
Devlin asks Alicia if she remembers their target and asks if he had feelings for her. She tells him that he did have feelings for her, but she did not return them. She asks him what the plan is and he tells her that they are meeting Alex tomorrow, but it is up to her to “land him”, which is better than saying nail him I guess. Alicia compares herself to Mata Hari, trying to lighten the mood, Devlin brings any levity crashing to the ground as he reiterates that she has to win the target over and get the intel. Alicia accuses him of knowing all along that this is what the job was and he tells her he just found out himself. Both are heart broken, but Devlin hides behind his law enforcement mask while Alicia’s expressions are an open book.
Alicia Joins the Case
Alica asks if he told the boss she was not the kind of woman for this job, and Devlin says he leaves it up to her to defend herself. She enquiries if he tried to adjust the assignment, if he tried to protect what they were starting. Devlin replies, this is the job they have to do. As her pain increases, Alicia’s mask is starting to be secured into place. She asks him if she should take the job, and he tells her it is up to her. She asks him to tell her that he loves her, but once again, the words do not come.
As she walks from the cozy balcony, her self esteem seems to blow way with the ocean breeze. My heart breaks for her. This man she is falling for is willing to give her up to another man because it is the job. His cold and matter of fact demeanor is doing nothing to help ease the pain of this blow he had dealt her. He did so much more damage with his words and lack thereof, than he ever did in the tussle over her car back in Miami. She takes a drink and when she speaks her mask is firmly in place.
The next day, the two are heading to the riding company. Devlin gives her his back story, and his folded arms show how unhappy he is about the situation. At the riding club, the two slowly ride past Alex, but Alicia’s hat obscures his view, even though he does have a spark of recognition. When Devlin says they should wait around and take this slowly, Alicia is not too keen on this idea, signaling her horse to run, which makes Alex follow, clearly recognizing a woman he was once very fond of. Alex catches up to her, taking her horse’s reins and stopping them both, as Devlin looks on, his mask cracking.
Having missed a meeting with Devlin, we find Alicia and Alex having dinner. Alex is openly flirting as Alicia is cool but affectionate. She sees Prescott, her boss, enter the restaurant. Alex asks if she knows that man and she says no. He explains to her that Prescott is intelligence, and Alicia shares her disdain for members of law enforcement, explaining they are the reason why she left Miami and was not there when her father died. Alex admits this answers a question he had about why she left Miami. Alex says he wants to help Alicia forget all the pain and trouble she and her father had gone through. She tells him she feels at home with him.
Tension between the lovebirds
Alex asks her if there is someone else in her life and specifically Devlin. Alicia tells him that Devlin has been nothing but a pest since she arrived in Rio. She assures him that Devlin means nothing to her. Alex invites her to a dinner party his mother is throwing at their house. So, he is a mama’s boy. Let’s see to what extent shall we….
Devlin is angry, Prescott curious about flowers Alex has sent Alicia. The two agents are waiting in Alicia’s room as she appears, stunning in white, ready for the dinner party. Prescott gives Alicia some rented jewels, and tells her to try and memorize the names of the people in attendance. He tells the two that they need to not see each other for a few days, in case anyone from the party checks up on her.
Alicia arrives at Alex’s house, a large mansion on the ocean. He is doing very well for himself. . She is escorted into a room to wait, and she sees Alex’s mother descend the stairs. The two women greet each other, but with guarded stances. Alex enters, and the Ice Queen, oh sorry, Alex’s mother suggests they meet the other guests.
As all the guests take their seats for dinner, a certain wine visibly upsets one of the guests. Alex quickly escorts him from the room as Alicia takes note. Alicia cannot see the label of the wine in questions.
After dinner the gentlemen retire to a room to have cigars and to discuss the poor man who had a melt down about the wine and is now waiting nervously in the hall. He enters the room and apologizes to the men. He tells Alex he wishes to leave on his own. One of the other guests insists on driving the man home. A concrete shoe fitting, anyone?
Mama’s boy and the Ice Queen are at the horse races, discussing where Alicia disappeared to. Devlin and Alicia meet, and she gives him her intel from the party. Alicia tells Devlin that Alex is one of her playmates. Devlin is angry and lashes out the best he can without losing their cover. He is cruel to her and as Alex approaches he gets one more jab in as Alicia tries to gain her composure. Alex tells Alicia he was watching the two of them and she must convince him that Devlin means nothing to her.
Alicia and Alex
Prescott and Devlin are meeting with other agents, discussing the intel Alicia gave them. She announces that she is there to see them, and when one of the other gentlemen in the room makes snide remarks about her character, Devlin stands up for her, putting the man in his place. Now if he could just do that when she is actually in the room, the love birds might make some progress.
Alicia enters and tells the gentlemen that Alex has asked her to marry him, and she had to give him an answer quickly. They tell her that if she is willing to go this far for them. Prescott asks for Devlin’s opinion and he agrees it is a good idea. Both the lovers are heartbroken, but masks in place. Devlin quickly takes his leave, as the men discuss their luck in this opportunity.
Now married Alex and Alicia return home after their honeymoon. The Ice Queen is not happy about the situation, and makes sure the couple comes home to a dark house. The next day, while Alicia is settling in, she discovers locked doors. The butler tells her that the Ice Queen has all the keys to the locked doors. Alicia interrupts Alex’s meeting and he goes to fetch them from mommy. The two argue behind clothes doors, and what do you know, Mama’s Boy won.
Alicia systematically goes through the house unlocking all the doors but the wine cellar, which only Alex has the key to. While meeting to share information, Devlin tells her to get the key. Alicia tells him easier said than done, and that she is having no fun. Devlin tells her it is too late for all that. He convinces her to throw a party. She can steal the key and slip it to him during the party.
The night of the party, as Alex gets ready in the other room, Alicia stealthily takes the key from his keychain. She does some quick maneuvering as her husband tries to explain his jealousy toward Devlin.
The newlyweds greet their guest, as Alicia holds tight to the key. When Devlin arrives, Alicia slips him the key as he kisses her hand. Alex quickly approaches and assures Devlin and the invitation to the party was from both of them, not just his wife. Our two sneaks begin to worry that the party will run out of champagne and Alex will realize that his key is missing during his absence. Another guest drags Devlin away, while Alicia enquiries with the butler about the champagne supply. Alicia goes to find Devlin, and as they sit and talk, Alex watches the pair from across the room. They plan where to meet and Devlin leaves as Alicia returns to her husband’s side, watching more and more glasses of champagne be poured.
The Wine Cellar
Alicia makes an excuse to leave and goes to meet Devlin. As he searches the wine cellar, Alicia keeps watch. While trying to examine some paperwork, Devlin breaks a bottle of wine that is full of “sand” Devlin gets a sample and the pair half heartedly clean up the mess. He tells her to find another bottle with the same label. She does, but only looks at the label, not the vintage. Alicia pours out the wine, and puts the “sand” back in the bottle and places on the shelf.
At the party the butler approaches Alex to inform him they are running low on champagne. Devlin and Alicia quickly finish cleaning up as Alex arrives in the cellar. Worried about being seen, Devlin quickly kisses Alicia. In the moment, she loses herself and drowns his love for her. He tells her to push him away as Alex approaches. She tells her husband that Devlin drunkenly made the advance. Devlin tells Alex, “I knew her before you, I loved her before you, but I am not as lucky as you.” From behind his mask, Devlin is able to speak his truth. He gives his apology to the couple, and Alex sends Alicia up to see to her guests.
Back to the task at hand, when Alex and the butler return to the wine cellar, he realizes that his key is missing. He tells the butler that the guests have had enough champagne and they can drink what is available upstairs.
Alicia apologizes to her husband after the guests have left. He tells her he was the one who acted like a school boy and then sends her to bed while he goes to conduct some business.
When he enters his bedroom, he sees Alicia sleeping in her bed. He takes his now lighter keyring and places it on the vanity, looking back to his wife. The next morning Alex awakens and looks nervously at a still sleeping Alicia. He goes to check his key ring and the missing key is back where it belongs. He goes down to the wine cellar. Nothing seems out of place, but then he notices something poured down the sink. He goes to examine the shelf where the broken bottle came from. One of the bottles is the wrong vintage and not sealed properly. He picks it up and sees it is full of the “sand”, but he realizes that someone has tampered with this bottle. He searches further and finds the broken bottle under the shelves.
Alex does what any self respecting mama’s boy would do. He runs to his mommy and tells her that his wife is an American agent. The Ice Queen is practically giddy when she finds out there is a problem with her daughter in law. Alex reminds his mother that his business partners got rid of a man for freaking out over a bottle of wine. What will they do to him when they find out his wife is a spy. The two strike up a plan to slowly make Alicia ill, and then one day they will just get rid of her.
What’s in the Bottle?
So the slow poisoning of Alicia begins. When she goes to meet Prescott, he tells her that the “sand” is actually uranium ore. He tells her about Devlin’s transfer to Spain. He asked for the transfer. Alicia confirms that she is still to report to Devlin until the new contact arrives.
Alicia is suffering from dizzy spells, and when she finally goes to meet with Devlin, she is quite ill. She apologizes to him for being late. They both say nothing new is happening. He tells her she doesn’t look very well and asks her if she is sick and she tells him it is a hangover. He is not surprised about her return to her old ways. While they both try to hurt each other with their words, Alicia gives him back the scarf he tied around her waist in Miami. She goes to leave and he asks her to stay, and she tells him she doesn’t want to.
The scientist that is staying with Alex shows genuine concern for Alicia’s health. He starts to give away information about where the uranium is coming from. When the houseguest mistakenly picks up Alicia’s coffee and the Ice Queen and Mama’s Boy quickly stop him from drinking from her cup, the light bulb goes off in Alicia’s head. She knows they are poisoning her, and tries to leave and returns to her room. She collapses before she can get up the stairs to her room and make a phone call for help. Alex insists on removing the phone so she is not disturbed and locks her in there, cutting her off from all contact.
Devlin is in his usual meeting spot, but Alicia never shows up. He goes to see Prescott, and tells him that she hasn’t shown up for 5 days. Devlin tells Prescott that he realizes that Alicia was not drunk when he saw her last, just very sick. He tells him he is going to go to the house and check up on her, make a friendly house call. Prescott tells him to check in after.
Devlin pulls up in front of the stately manor and when the butler opens the door, she asks for Alex first. The butler tells him Alex said no interruptions. He then asks about Alicia and the butler confirms she is ill. Alex is told Devlin is there, and he has his butler tell him to wait. In the meeting, they discuss that people are following them.
Delvin decides he can no longer wait and quickly makes his way up to Alicia. She is barely responsive, but when she realizes it is him, their love for each other cannot hide. She tells him they are poisoning her. He tells her he is going to get her out of the house. Devlin tells her that he was leaving Rio because he loves her and couldn’t stand to see her with Alex. He starts to get Alicia ready to leave and she tells him they gave her sleeping pills. He tries to keep her talking to keep her awake. She asks him to tell her again that he loves her, it keeps her away. As they slowly make their way to the door, she tells him where the sand comes from.
They start to make their escape as Alex meets them at the top of the stairs. Devlin tells the Ice Queen and Mama’s boy that unless he lets them go, he will tell his business associate the truth about who Alicia is. Alex freezes, and mommy does his talking for him. As soon as his associates start to question what is going on, Alex actively helps get Alicia to the car. Once in the car. Alex is locked out of the car and left behind to deal with his associates. With the weight of this hanging in the air, the film ends.
After filming wrapped, Gary Cooper took the wine cellar key. After a few years, he gave the key to Ingrid Bergman, and at a tribute to Alfred Hitchock, she presented the key to him.
All the scenes with multiple kisses were because there was a time limit on long screen kisses due to the Hayes Code.
RKO paid David O Sleznick $800,000 and 50% of the profits for the use of the screen writer, HItchcock, Cary Grant and Ingrid Bergman.
Hitchcock stated that during the course of making the film, he was under surveillance by the FBI because his film contained references to uranium.
I am a huge Hitchcock fan, but this film had escaped my viewing all these years. The first fifteen minutes of the film is very funny. Drunk Ingrid Bergman is delightful. The rest of the film is suspenseful and full of angst and heartbreak. All of the performances are outstanding, but it is the film leads, holding on to those masks of their feeling with all their might is where the film shines.
Hitchcock skillfully uses light to show conflict. Characters in half shadow, stepping into the light, retreating into the dark, this often says more than any dialogue could.
World War II was still fresh in America’s mind when they made this film I am sure that it made the audience question how far they would go for their country. Could they give up their happiness, love, freedom and body if their country asked it of them? More importantly, should this be something that a country asks of its citizens?
“Notorious” is on a number of top film lists and for good reason. You can stream it for free on YouTube and other platforms.
I don’t know where the Void will send me next. Thriller, Horror, Noir…Wherever it is, I am looking forward to the journey, and I hope you will join me for what lies in store. Until next time.
The definition of gaslight is “psychological manipulation of a person usually over an extended period of time that causes the victim to question the validity of their own thoughts, perceptions of reality or memories and typically leads to confusion, loss of confidence and self esteem, uncertainty of one’s emotional or mental stability, and a dependency on the perpetrator.”
The name for the term Gaslighting came from the 1938 play “Gas Light” written by Patrick Hamilton. It was made into a film in 1940, and it is the second adaption, 1944, that is my film for the week. Having been a victim of this abuse in two major relationships in my life, I think the Void is trying to give me some inexpensive therapy, and I appreciate it. So here we go with Gaslight, directed by George Cukor and starring Charles Boyer, Ingrid Bergman and Joseph Cotten. If you want to read my last one, check it out here.
The film open in London, as a young Paula Alquist is being led away from the scene of her aunt’s murder. A paper reveals that the murderer is still at large. There are many onlookers as a clearly distraught Paula watches the gaslights in her aunt’s house are extinguished. Her caretaker informs her that she is going to Italy to study singing with her aunt’s best friend. Paula is told this man will make her into a great singer, like her aunt.
We now see an older Paula, studying her singing, and she is chastised for not taking her singing seriously and also for not singing like her aunt. As Paula assures her teacher she will try harder, the accompanist asks to be excused, and is granted permission.
Paula discusses with her teacher that she knows she is not meant to be a singer. He tells her that she has been coming to her lessons happier than he has ever seen her, but as her happiness improves, it is having the opposite effect on her singing. He asks her if she is in love, and she affirms that she is. She tells him that she is happier than she has ever been, which is something she never thought would happen. Her instructor tells her that she should embrace this chance at happiness, she should free herself from the past. He asks to meet this man she loves, and instead of agreeing, she tells him goodbye.
Paula hears her name called as she leaves her lesson. Gregory, the accompanist, is waiting for her. He pulls her into a secluded area and kisses her. He then asks if she told her teacher, and she says she didn’t have to, he knew already. Gregory questions why Paula hesitates moving forward with him. She admits she knows nothing about him, and he still asks her to marry him. . He questions if she is afraid of him, and she says no of happiness. Paula asks Gregory to give her time, and he says, “You will have all the time you need”. Paula confirms that they have only known each other for two weeks. She tells Gregory that she wants to go away for two weeks, so she can think about this on her own. He is supportive of her going. They have a very sweet parting.
Paula is now on the train with Miss Thwaites, who if she was alive today, she would be the biggest true crime podcast fan ever! She is reading a mystery novel, and she is very animated about what she is reading. She and Paula strike up a conversation. Paula tells Miss Thwaites that she is going to Lake Cuomo, and the old woman is shocked that she is traveling by herself.
Miss Thwaites reveals that she is going to London and she lives in Thornton Square. This is the same area we saw Paula leaving at the beginning of the film. She tells the old woman that she knew people who lived there, and the amature sleuth begins to share the story of the unsolved murder that took place there years before. Paula becomes visibly upset, but the woman keeps talking. Much to Paula’s relief they reach her stop. As she exits the train, and Miss Thwaites continues to talk, a hand appears on her arm. It is Gregory, who has followed her. He says he hopes she is not angry, and she is genuinely relieved to see him.
Now my younger self would have seen this and thought, “How romantic.” My older self, who has been in dysfunctional relationships sees this and thinks, “She asks for space, and this is his way of making sure she doesn’t get a chance to analyze what is happening in a healthy way, and change her mind.” To all you kids out there, respect your partner’s wishes. Time apart will not kill you! And if someone does not respect your wishes for space, RUN!
We now see the beautiful balcony of the hotel where Gregory and Paula are spending their honeymoon, or at least I think it is their honeymoon. If not, this is really naughty for 1944. They are romantically talking about their future together. Gregory asks Paula where she would like to settle down. She suggests Paris, and he suggests London, which takes some of the joy from her face. All of a sudden, he has an idea.
He visited London when he was younger, and had always dreamed of having a home, “in one of the quiet little squares” asking her again if they could settle down in London. He then notices the expression on her face and asks what is wrong. She tells him she already owns a house in a square in London. Her Aunt left her the house. Paula confides that she knows nothing of her parents and lived with her Aunt until her death. She tells Gregory that she hasn’t been afraid since she has known him. Paula tells him that she can face the house with him by her side. She will give him his dream of a house in the square.
We now see Miss Thwaites saying hello to flowers and it is revealed that new tenants are moving into Number 9, where the murder happened. She recognizes Paula and reintroduces herself. The solicitor opens the door to the house and they slowly enter together. Gregory begins to make his way through the house, but he has an intuition about the layout of the house. They go upstairs to the drawing room. Paula says the room smells of death, as Gregory opens a window, saying it won’t for long. Paula shows him a cabinet that displayed her aunt’s treasures. The glass was broken the night of the murder, but nothing was missing.
She shows her husband a single glove her Aunt loved, and as a child she inquired as to the whereabouts of the other glove, but was told that her aunt gave it away to a great admirer and that was all she knew. Gregory tells Paula that he wished he could have seen her, and she reveals her painting. A strange expression comes across Gregory’s face when he looks at the painting. Paula reveals the place where she found her aunt’s body, and that she had been strangled. Gregory suggests that they remove all the items that remind Paula of the tragedy.
A Home of their own
Paula heartily agrees and excitedly talks of the parties they could have. Gregory looks displeased and tells her that parties would come later because he wants them to have time to themselves. Paula tells him there is an attic where all her things are, and Gregory suggests they could put all the old furniture up there. Once they were done, they could board it up, so she would never have to look at them again. Personally I was thinking ‘YARD SALE”, but that is just my American coming out I guess.
While Paula is showing Gregory her Aunt’s piano, she finds a letter and begins to read it outloud. When she says the letter was written by someone named Sergus Bower, Gregory becomes visibly upset and rips the letter out of her hands. He tells her that they need to get rid of all of these things because they are upsetting her. Hello pot, I’m kettle. He tells her that while she holds on to her Aunt, there can be no happiness for them.
Some time has now passed, and Miss Thwaites runs into Elizabeth, Paula and Gregory’s housekeeper. It is established that workers have just finished boarding up the attic and Gregory doesn’t allow visitors because he feels that Paula is too unwell to be around people.
When Elizabeth enters the house, Gregory is hiring another housekeeper (a very young and beautiful Angela Lansbury). He tells her she is never to bother Paula, and to always come to him. There is an obvious flirtation between the two. Paula comes downstairs and is introduced to Nancy, the new maid. Gregory gives Paula a cameo that he tells her that it belonged to his mother. He makes a point of pointing out to her that she has a tendency to lose things, and tells her he is putting it in her bag for safe keeping due to the clasp being broken. She tells him she won’t forget it is there, and they head out for a tour of the Tower of London. She is so excited that she actually gets to leave the house for the day. How nice of him to unlock her cage.
The Gas Is turned on
While on a tour of the Tower of London, Paula realizes that her cameo is no longer in her bag. This sends her into a panic, and she leaves the tour group to search for it. Gregory quickly follows her and they go for a walk in the sunshine. While on their walk a man with his niece and nephew tips his hat at them. Brian’s niece tells him he looks like he has seen a ghost and he says that the woman reminds him of someone who is dead. Gregory get instantly jealous and contronts Paula about who the man is. She tells him she has no idea and was just being polite.
Once again, to distract from his actions, Gregory tells Paula he is worried about her and the fact that she is so forgetful lately. Paula is confused about what he is talking about, and he tells her not to worry. Anytime she questions Gregory, he accuses her of being suspicious and makes her doubt her own mind. Paula wants to go home and Brian watches them leave.
When they return home, Paula inquires about seeing the room that Gregory rented to work out of. He tells her that is unnecessary, and sends her upstairs to rest. When she is half way up the first flight of stairs, Gregory asks for her cameo so he can have it repaired. She confesses to him that she can’t find it. He empties her purse and the cameo is missing. Gregory tells her he warned her he would lose it. When she apologizes he tells her it is not important, and when she asks him to confirm he put it in her purse, he questions her memory again.
While getting ready for bed, Paula notices the gas lights in her room dimmed, and questions Nancy about who would have turned on a light in another part of the house causing this one to dim. She then hears footsteps above her.
The Gas Lights
Miss Thwaites greets Brian outside Paula’s house. She tells him that Paula never leaves the house, and he looks over and corrects her when he sees Paula outside the door. She had forgotten her keys and had to have Nancy open the door so she could retrieve her umbrella. Nancy questions what she should tell Gregory is he asks where she has gone, and despite Paula’s answers, she continues to grill her, to the point where Paula gives up and goes back in the house. Miss Thwaites confides in Brian that the new maid, Nancy, has been fooling around with a policeman who walks around the house.
We now see Brian entering Scotland yard. He is asking them to reopen the case. He explains that he met Paula’s aunt when he was 12 years old, and he thought she was the most beautiful woman he had ever seen. The detective tells him that there is no reason to reopen the case, but then he mentions that some jewels were missing. This sparks Brian’s interest, as he states there is no mention of jewels in the case file. The detective tells him someone “highly placed” gave them to the woman. That is the theory behind why she was murdered, but the jewels were too famous to ever be sold. Instead of Brian dropping it, this has sparked his interest even more.
Brian meets up with an officer, asks him if he is married and offers him a new location in a more stylish neighborhood. Nancy does like a man in uniform, and this one will do.
We now find Gregory and Paula in the drawing room. Paula wants to put coal on the fire, but Gregory insists she call Nancy. When she enters Gregory openly flirts with her, even asking Nancy to give Paula makeup tips. Paula chastices Gregory for the way he treats her, and Gregory accuses her of imagining things.
Nancy enters the room and says Miss Thwaites has come for a visit with her nephew. Paula welcomes the visit, but Gregory tells Nancy to send them away. When Paula protests, Gregory begins to yell at her, telling her he doesn’t want people in the house. He tells Nancy to say Paula is not well enough for visitors. Paula tells Gregory she really wanted to see her, and his reply is well then you should have just said so. They dismiss Miss Thwaites and her “nephew” Brian.
In the sitting room, Gregory is happily playing the piano, with Paula worrying in the background. He tells her that they are going out for the evening, and Paula begins to question if she has forgotten him telling her. He assures her it is just a surprise for her–taking her to the theater. Paula is happily singing, when Gregory stops playing and questions her about the whereabouts of a little picture. He asks her to go and get it and she insists she didn’t take it. Paula begs him not to ring for the servants. He asks Elizabeth if she knows where the painting is, and she says that she has never touched the painting. Gregory asks her to kiss the bible to show she is telling the truth.
Gregory tells her to bring in Nancy, whom Paula is fearful of. He questions Nancy, and she denies taking the picture. They dismiss Nancy and Paula swears on and kisses the bible, saying that she did not take the picture. Sternly Gregory tells her to go look for the picture. On the way up the stairs, she finds the picture and he accuses her of knowing where it was all along. He sends her to her room and tells her that she is too ill for her to go to the theater.
Paula begs Gregory to be gentle with her if she is truly ill. He takes her to her room, and tells her that he is leaving to work. She begs him not to leave and tells him she is hearing noises and she begs him to hold her and make her feel safe. He leaves and tells her he hopes she is better in the morning. Gregory and Nancy flirt yet again as Gregory leaves to go work. Nancy is a wee bit of a ho bag.
Gregory exits the house into the foggy London night. He quickly steps into the shadows. What are you up to?
Approaching Paula’s Breaking Point
Paula is laying on her bed, crying when once again the gas lights dim and there are noises overhead.
There is a concert, and Brian as well as Paula and Gregory are invited. Brian asks the host if she will seat him next to Paula. Just then the hostess gets word that Gregory has RSVP’d that Paula is ill and they won’t be attending.
Paula descends the stairs in a lovely white gown, ready to go to the concert. Gregory is in the sitting room in his smoking jacket. Paula proclaims that despite Gregory’s response to the invitation, she is going, alone if she has to. Gregory plays it off that he didn’t realize that the party was so important, and goes to change so he can go with her. Paula gains some confidence after an icey exchange with Nancy.
They arrive at the concert, which has already started, and draw Brian’s attention as they take their seats. Once seated, another musician starts to play. Brian watches the couple, drawing Gregory’s attention. During the performance, Gregory reaches for his watch, which is missing. He questions Paula about the whereabouts of it, and she becomes very upset. He begins to examine her purse and pulls his watch from it. When she protests that she didn’t take his watch, she begins to sob uncontrollably and Gregory tells the hostess that she is too sick after all. Brian leaves his seat during the commotion and follows the couple back to their house.
In Paula’s bedroom, Gregory is pacing, ranting that he has tried to keep her “illness” quiet, but her insistence on going to the concert has brought everything out in the open. Paula tries to recall when things started to slip from her. She traces it back to the letter she found, and Gregory insists that there never was a letter at all, and he was just playing along with her. Poor Paula.
Gregory tells her that Paula’s mother was insane and died in an asylum. He tells her that Paula’s symptoms are the same as hers. He then accuses her of knowing that Brian would be at the concert. Paula tells him that she has no idea who he is. Gregory becomes angry and accuses her of lying to him. He tells her what she is doing is worse than lying. She is forgetting. He then threatens her that he will bring in two doctors to have her legally committed.
Gregory leaves the house again, and as he walks away, he hears footsteps behind him. Ahead of him is the officer that Brian had assigned to the street. Once again, Gregory disappears into the shadows, as Brian and the officer meet and try to figure out where he went.
The Dimming of the Gas light
Once again, the dimming of the gas light and footsteps above her head plagues Paula. She screams for Elizabeth, who is coming upstairs. She asks Elizabeth if she turned on the gas downstairs. Elizabeth tells her no, and that she is the only one in the house. Noises appear overhead again. Elizabeth is mostly deaf, so when Paula asks her if she hears the noises, she says she doesn’t and tells her it is just her imagination.
Brian has spent his breakfast making a diagram to figure out how Gregory disappeared. The officer comes to his house and tells him he saw Gregory coming out of the shadows, dirty and disheveled. He then tells Brian that he has had breakfast with Nancy. She told him that Gregory informed her that Paula might be going away for a very long time, and he asked her to stay on and look after him. (I bet she did….slut!). Brian sees this news as a reason to speed up their investigation. Brian tells the officer to get Nancy out of the house in the evening and he will stop by and see Paula after Gregory leaves for the night.
Paula is trying to read, but Gregory’s words are causing her brain to spin. Brian sees Gregory leave, and then goes to ring to bell on the house. Elizabeth tells Brian she won’t see anyone. He pushes his way past Elizabeth. Paula comes down the stairs, and begs him to leave. Brian shows her a glove that Paula’s Aunt had given him; the match to the glove she had in the cabinet. Brian asks if she is planning on going away. She says no, unless Gregory sends her away. Brian tells her that she is not crazy and he is there to prove it. He asks if there is anyone else there, and she says no. He tells her that the gas went down, which relieves Paula that he saw it as well. She tells him that every night, the light goes down and she hears things.
Brian begins to put the pieces together as they hear noises. Brian helps to convince her that she is not crazy and it is actually her husband who is upstairs, making the noises. We then see Gregory, going through everything, looking for the jewels that he could not find when he murdered Paula’s aunt.
Brian Assists Paula
Brian asks if there are any weapons, and Brian breaks into Gregory’s desk to see if his revolver is there. While Brian is looking, she finds the letter that Gregory said didn’t exist. Brian shows her handwriting samples to show Paula that Gregory and the man who wrote the letter to her Aunt are the same person. He tells Paula that Gregory is trying to drive her crazy so he could get control of her property and search for the jewels with no obstacles. Brian tells her that Gregory married a woman in Prague. As they are talking, the gas goes back up. Gregory leaves through the sky light when light catches the jewels, sewn into one of the costumes in an open trunk.
Brian leaves and asks Elizabeth to take care of Paula. Brian waits for Gregory to come home, but he enters through the boarded up door to the attic. He quickly rushes to his room to examine the jewels, and he finds someone broke into his desk. Enraged, he goes to Paula’s room. Paula is one very angry woman. Hell hath no fury, asshole.
Frightened, but she knows what is going on now. He is so cruel to her. She tells him it wasn’t her, he continues to question her. She lets it slip that “he” opened it. He asks Elizabeth who the man was, but she says no one was here. Paula is reeling, but Elizabeth is protecting her. As Paula spirals, Gregory continues to spin her. Just then Brian shows up at the door. He confronts Gregory. He asks Paula to leave to keep her safe. Gregory escorts her from the room. Brian confronts him about finding the jewels. They struggle over the gun and they go upstairs. Elizabeth calls for the officer, and he joins the fray.
Our resident true crime sleuth, Miss Thwaites, enters the house to see what is going on. Brian and the officer have tied Gregory to a chair. Paula asks to see him alone. She begins to play his own game with him. She wants to torture him the way he tortured her. But the best torture is to let the police take him away.
The film ends with a suggested future romance between Paula and Brian, and a possibility of happily ever after.
This is one heck of a psychological thriller, and if you have ever had a relationship that involved gaslighting, this could be a trigger. Having lived through two such relationships, to see it played out in such an early film makes me know that there were many who came before me. We recognize this abuse more and more now, but still the abuse happens.
This is a very important film, which is helpful, especially by younger people who could use it as examples of red flags in their own relationships. That is the social side of it. As a film, the acting is wonderful and the use of light, shadow and fog are superb. Now that spooky season is over, time to get yourself mentally prepared for all those holiday gatherings with the family.
It’s that time of year again. The last weekend of Halloween, where the falls are ten different shades of orange, it’s finally sweater weather, and it’s time to pull out the big guns for horror movies. Every Halloween, I always run a back to back screening of Trick ‘r’ Treat followed by the one and only Halloween. Sure, it would seem like sacrilege to not watch Halloween just on its namesake alone. However, every time I view this film, I still get the goosebumps I always do. Just in one watch, you can trace all the horror movies that came after like it’s a family lineage. Let’s look into Halloween: what makes it a masterpiece?
This film kickstarted the slasher genre, started the sequel mania of the 80s and still holds relevance today with two more sequels out and one on the way, all three with the ambitious task of washing away whatever happened to the Halloween timelines of years’ past. Let’s talk about Michael Myers and the epic crater John Carpenter left on the face of moviemaking forever this Halloweekend.
Oh boy, look at that hair. The man clad in the brilliant bellbottoms is John Carpenter himself. Unless you’ve lived under a rock for the past fifty years, you should know his name and his unapologetic nature when it comes to filmmaking. He actually has an Oscar that he received for a short film he did when he was a student at USC. He had a couple full-length features under his belt before tackling Halloween, including the cult film Assault on Precinct 13, in which garnered him a lot of praise for making such a surreal movie on such a low budget. It was at the Milan Film Festival screening of that film that Carpenter was approached by Irwin Yablans and Moustapha Akkad to take on a film concept of a psycho killer stalking and killing babysitters. Carpenter took on the originally titled The Babysitter Murders and got to work.
Akkad made the suggestion to set the night of horrors around Halloween night, which is seemingly the most obvious night for horrors. However, there was no horror film before this that had taken on that setting, so it was both a genius idea and a risky one. Carpenter wasn’t a stranger to holiday themed films, however. He was actually in contact with Bob Clark for a potential sequel for Black Christmas, and when the Halloween gig came up, he asked him permission to use an anonymous-killer tactic like the former film. Clark said yes and the outline for Michael Myers was set.
John Carpenter wrote Halloween’s screenplay in ten days. Ten. Days. He wrote it with the collaboration of his girlfriend at the time Debra Hill. She used her experience as a babysitter and her perspective to write the female dialogue, specifically Laurie Strode’s. Haddonfield, New Jersey turned into Haddonfield, Illinois and Carpenter adopted the small town field by naming the streets after streets in his own home town.
Those aren’t the only homages however, as two characters–Tommy Doyle and Dr. Loomis–are in reference to characters in Alfred Hitchcock’s Rear Window and Psycho. There is another huge connection to Hitchcock, but we’ll get to that later.
The story surrounding Michael Myers as a child is an addition Carpenter made to the story he laid out previously for this hopeful sequel to Black Christmas, making Michael his own character rather than a copycat slasher. While the original financiers wanted a more playful Halloween setting, Carpenter went full-Samhain. Michael soared above a criminally insane human to an evil entity.
Debra Hill: A Horror Legend
I’m going to pause the momentum of the story to talk about Debra Hill. She is the reason that Halloween, Laurie Strode and Michael Myers are the way that they are. She took her female perspective and avid feminism and injected it into Laurie Strode, which is one of the reasons she is the ultimate final girl. Laurie does everything she can to stay alive, and she is a tough badass, but she is also showing her trauma and emotions at the same time. The shot displayed above is one of my favorite moments in the film, and while it is an impressive shot in general, Laurie has had to walk in on her dead friends, is responsible for two kids and is fighting tooth and nail to stay alive. Of course, she’s going to cry, who wouldn’t?
Hill’s writing, however, allows Laurie to cry without losing any of her power that she has continued to have in previous scenes. Another piece Hill added was Michael killing the innocent, sweet German Shepard in order to provoke emotions that most horror fans don’t feel when they’re watching other humans dying. She inserted that scene in just to get across how evil and merciless Michael is, further enhancing his image as the Boogeyman himself. It’s sad that her mastery wasn’t used in later films, but it is what makes the first film stand out in regards to character development. Remember her name and know that she should have as much credit as Carpenter does.
This film had a lower budget, therefore the salary was limited to the prospective cast. The first role to come into fruition was Dr. Sam Loomis due to a lot of rejects. First offered to Peter Cushing, and then Christopher Lee, Donald Pleasence adorned the iconic role, and we can’t imagine anyone else. The other actors fell into place by relation of the crew or working on previous Carpenter projects, but the role of Laurie Strode was the last to click in. Jamie Lee Curtis was not Carpenter’s first choice, nor was his discovery.
Once again, credit goes to Debra Hill, who noticed her on her multiple guest star performances on various TV shows of the 70’s, including titles such as Quincy, M.E. and Buck Rogers. What really interested Hill was Curtis’ mother. Her mother was Janet Leigh, who just happened to be Marion Crane in a little film known as Psycho. Hill knew that the tie to Janet Leigh would be great advertisement for the film, so they asked her if she wanted part. She was hesitant as she related more to Laurie’s socialite friends, but she took on the role anyways. We’re so glad she did, as Laurie Strode is iconic, and Sidney Prescott is the only one that could even give her a run for her money as the best final girl, and Laurie would still reign the supreme.
Halloween was shot in twenty days. A few facts about this filming process:
It was one of the first films to feature the Steadicam, which gives it those sweeping and following shots in the movie.
Jamie Lee Curtis’ reactions were not necessarily a reaction to what was happening. She and Carpenter developed a ‘scare scale’ from 1 to 10, and Carpenter would let her know what level she should be at in each shot. She had different facial expressions, emotions and screams for each level.
“The Shape” or Michael Myers’ actor Nick Castle received no direction from Carpenter other than the head tilt post-Bob pinning. Carpenter told him to “‘Examine him like a butterfly display.'”
There is a lack of pumpkins present compared to a usual Halloween, and that was because they filmed it in the spring. They had one shot available for the scene with Tommy Doyle as they had a little over three pumpkins on set and most were needed for later scenes.
The most iconic fact that most know: the Michael Myers mask is a modified William Shatner mask. They bought the mask for $1.98, stretched out its eyes a bit and painted it a blueish white to make it the mask.
Overall, it was a successful shoot, given the pressure on Carpenter to deliver in such a short time frame. The only thing left that will sell the scares is the music. That meant hiring a composer, right? Well, what if your director and writer is also a musician? Yes, Carpenter is a multitalented badass.
THe Music: One of the most iconic parts of the film
John Carpenter is the one behind the iconic main and chase theme of the film. All produced by him and his synthesizer, he was paid $10,000 dollars total for the direction, writing, producing and composing of Halloween. It only took him three days and had assistance from Dan Wyman–a music professor–to write the score into sheet music, given that Carpenter only played by ear and memorization and could not read or write sheet music. The main theme is an iconic pop culture reference the first few notes distinguishes it instantly. Not to mention, it’s a bop.
Other songs used were “Mr. Sandman” by The Chordettes and “Don’t Fear (The Reaper)” by Blue Oyster Cult, which fit the feel of the movie perfectly. They make references to it in the awfully cheesy sequel Halloween: H20, when “Mr. Sandman” comes on the radio and Laurie promptly shuts it off. A very meta moment and a nod to the original that makes me giggle ever time.
The Reception: revolutionary for indie and horror alike
The film got a wide release and raked in $70 million dollars worldwide. This was and still remains one of the highest grossing independent films of all time, given that box office and movie theaters were still in the evolution process post-Jaws. If people didn’t know Carpenter, they sure did now. Not only was it met with financial success, it had massive critical acclaim, including a overly positive review from Roger Ebert. This kicked the door down for more independent horror to get wider releases, and the craze of home video was on the horizon which propelled horror into a more popular genre of the 1980s.
Laurie Strode became the face for the final girl, with multiple horror female protagonists made in the image of her. However, as I mentioned in my previous article on final girls, they focused a bit too much on one aspect: her virginity. Knowing more on Debra Hill, I assume she frowns upon this perception and would much rather the praise centers on Laurie’s actions, not her purity. Nonetheless, the deeply inspired Friday the 13th came out two years later and solidified the “you have sex, you die” rule.
The Sequels, reboots and Remakes: Twisty Timelines
This also opened a can of worms that would eventually harm the horror genre. This is the birth of the bloated sequel, in which constant iterations of the same thing taints the original project. This happened to Halloween, with wild backstories including Laurie Strode is actually Michael’s sister, which doesn’t add up in the logical timeline. Then there is the third one, which is actually a return to John Carpenter’s idea of making the Halloween series an anthology. No Michael Myers however meant a cut budget and negative reviews due to the villain’s absence.
Then came 4,5 and 6 starring which contains a half baked story, the worst mask known to man, and a young Paul Rudd. These forgettable sequels brought us up to the mid-90s. 1998, however, the studio wanted to scrap the three most recent sequels so they rebooted and made a direct sequel to Halloween II known as Halloween H20: Twenty Years Later. Jamie Lee Curtis returns and we get a cheese-fest with good kills and LL Cool J. It stepped off strong and followed up with the worst of the sequels, Halloween: Resurrection.
It is all scrapped next time with Rob Zombie’s remake, which spawned a sequel. Instead of Michael Myers being simply evil, Zombie pack a bunch of backstory on Michael’s childhood and adds semantics to his nature. While some people really like these movies, I don’t care for them, as I just don’t care for Rob Zombie’s filmmaking that much. However, these movies received lukewarm reviews from critics and lean more on the brutal side versus the original.
The True Sequels: They do have carpenter’s blessing
This brings us to 2018. Who had it on their life bingo card that the true sequels to Halloween would be co-written by Danny McBride? Well, it’s here and we’re now two films into a finishing sequel for the series. In conjunction with David Gordon Green This is all with Carpenter’s blessing. Boy, is it a hard reboot too, and we’re thankful for it.
They’ve scrapped the entire sequel lineage, which included cutting off Halloween II. Therefore, the whole “she’s-his-sister” bit is out of the picture and cleans the timeline up. We also get a semantic-less Michael again, bringing him back to his evil throne once again with no motives. The special effects are up, the budget is up and Jamie Lee Curtis is back. I personally like where these sequels are going, and am excited for the next installment. It feels like the right fit and the fitting end. You can check out the most recent installment Halloween Kills on Peacock or in theaters today.
It was fun deep diving into this little wormhole and have this be the wrapping up of spooky season. Thanks for joining me in this abbreviated timeline of the making of this brilliant film and staple in the horror genre. Next week, the Mother of the Void takes on Gaslight and I will be deep diving into some psychological thriller picks for the transitional time between spooky season and the holiday season. The scares aren’t stopping, however. So stay tuned and follow The Void of Celluloid here on WordPress, or Facebook/Instagram/Twitter to stay up to date with the spookies. Happy Halloween, lovelies.