As I stated in my article last Friday, I am really looking forward to some honest criticism about Scream. If I want to see it, I might as well contribute. I was part of the super hyped group that saw it opening day. While it met my expectations and exceeded some, there were a few fatal flaws that looking back on it–I wish there was a little more effort. Don’t get me wrong, the legacy cast killed it and I did appreciate and like the new cast of characters, but the story that revolved around them has quite a few plot holes and went weird directions.
Time has passed, so I think that it is now time to talk about it. If you haven’t seen it, stop here and go watch it, as this review will be chock full of spoilers. The twist worth the watch, as it is done pretty damn well. Nevertheless, let’s jump into 2022’s Scream.
The Opening Scene: what a bummer
Don’t get me wrong, the opening scene in Scream is intense. However, having it not be a kill really breaks tradition for all of the Scream films, as these openings are known for taking risks and killing off either very important characters or A-list actors. I guess the zinger was that she was still alive after all of that, but it just communicates that we might not have a as sinister and strong killer as we did in the past.
I think this movie would’ve benefitted from an event flip. A shocker to the audience would be the double kill that occurs about twenty minutes into the movie: Judy and her son Wes. It’s in the broad daylight–which had been done only once before in the franchise–plus a beloved character and the top theorized killer due to his namesake and the casting of Dylan Minnette. I don’t think this would’ve changed the events of the film, as after the opening credits, we can jump right into the scene with Tara, involving the new characters. It also involves the original characters a little earlier into the film and is the hard cutoff from the fourth film, as Judy was the only overlapping character that wasn’t one of the legacies.
Let’s Talk new Characters
Of the ones that survived this new reign of terror, I do appreciate the sister power we have as our new “Sidneys.” They’re not meant to replace Sidney, obviously. However, I can definitely root for them for a few more films. However, I have a bone to pick with our lead, Sam. It’s not her fault, it is most definitely the writers reaching for straws, but we need to talk about the hallucinations.
I Love Skeet Ulrich, but…
Of all the past killers to bring back, they brought back Billy. Also, the timeline lines up for Sam, but also it is very narrow amount of time, with it only making sense that Billy slept with Sam’s mother the night of Stu’s party or somewhere within those days of the killing spree. Also, trying to turn him into a near anti-hero in the end and Sam mimicking his blade wipe–that did not leave a good taste in my mouth. Billy Loomis is bat shit crazy and took his need for vengeance a little too far. We don’t need to redeem him. However, I did enjoy Sam other than her daftness about going to Stu Macher’s house as if she did not grow up in that town immediately after the events took place. Most of all, I loved her as a team with her sister.
Siblings not done dirty
Finally, the Scream franchise is kind to siblings and doesn’t kill them off in brutal ways or make them wacko killers. We see Sam and Tara Carpenter as sisters who kick ass despite their shared trauma that separated them all of these years. Sure, the way they reintroduce each other in the hospital room was a little rushed and messy, but in that final showdown, we see the potential of what they can be, and when they put their brains together, they manage to make it out alive.
While Tara and Sam really delivered in a dynamic duo of final girls, it was Randy’s niece and nephew, Chad and Mindy Meeks-Martin. There was finally some relief from the pain of Randy being gone, as there is no doubt that he is their uncle. It is almost as if he has visited them beyond the grave and bestowed his witty wisdom. I think their inclusion as well as their survival (I was really worried about Chad there for a second) really felt like the apology for killing Randy so early and abruptly. I am excited to see them in the sequel, but as their uncle said, the stakes are higher in a sequel.
Let’s Talk about the Killers
Alright, I saw Jack Quaid being the killer from a mile away. However, I thought he would be the one to provide the tie to the original killers. It would’ve been so easy, as Stu was quite more of a sex maniac than Billy it seems. It would mean Richie actually being Stu’s son instead of the hallucinations and the Billy stuff. They could’ve found another way to bring Skeet back, but we all really wanted Stu back. Even Matthew Lillard wanted Stu back. Maybe they’re saving it for a rainy day. The man could’ve survived a TV to the head, it’s a horror movie for god’s sake, it doesn’t have to make sense.
Speaking of things not making sense, how did Amber manage to lift Dewey into the air above her head? I think that was Scream‘s way of tiptoeing towards an invincible, super strong killer like the rest of the franchises have adopted. I mean, it took a lot to kill both of them in the final act. Mikey Madison even relived some of her stunts that she pulled in Once Upon a Time in Hollywood, except it was a stovetop, not a flamethrower. The thing that I liked about Scream’s killers was the human element. The crazy, unhinged human element. It sets them apart from previous killers, and not in a good way. However, they were on that same level of batshit crazy, so their actions around their oddly super strength demeanor sold them over all as Ghostfaces.
Finally: THe Legacy Characters of the Scream franchise
Oh, Dewey. I bawled in the theater due to Dewey’s death, as it felt like they ripped out and stomped on the heart of the series. However, I knew that is what would have to happen for Sidney to even come back to Woodsboro, and the movie laid it out as so. It was so good to see all of them again, however. I also like how their lives ended up, as they are very human and very unpredictable. Sidney ending up with Kincaid was a good little easter egg and made me happy that she found happiness and trust in a partner again. The first two movies made us think that would never happen, and it would be justified.
Gale is in the best position that Gale could be in, and I was grateful that she wasn’t the bad guy that ended things between her and Dewey. This allowed for no bitterness between them in their final moments and nothing but mutual love without the will-they-won’t-they element. I think that drama that was present in the previous films would’ve taken away from how gut-wrenching it was to say goodbye to Dewey, for both the audience and Gale.
It wouldn’t go without saying that I wish that we could’ve seen more of them, and they had more driving forces in the story. However, if the Scream franchise is going to continue, we have to say goodbye as we can’t watch another one of them die. It is a salute to both Wes Craven and Sidney Prescott from the horror genre. Together they revolutionized the final girl and broke down all of the rules that they had to abide by.
In Conclusion: Scream is worth your time
If you are a horror fan and love Wes Craven as much as I do, please watch the newest Scream if you haven’t already. While there are some plot holes and it might not have the payoff that some of us were wishing for after all these years, it is still a wild ride that is worth the experience at least once–it definitely isn’t as rewatchable as the others are. It is heartfelt at times, nostalgic in others and reads as a love letter to its creator, gone seven years now. The horror family misses and loves you, Wes.
Do you agree with the critiques marked in this review? Let me know your thoughts either on Twitter @OfCelluloid, Instagram @TheVoidofCelluloid, or on Facebook under the page The Void of Celluloid. Make sure to follow and sign up on the mailing list if you would like to receive more content of the sort and I will catch you guys in the next void. See ya soon, Spelunkers.
A lot of people were left shocked by last week’s episode of Euphoria. Some horror fans were left a bit more shocked as a familiar score. It soundtracked Cassie looking through that window with a Sissy Spacek style stare. The oddly calming, grotesquely titled “Cannibal Holocaust” popped up on the captions to confirm, and I nearly lost my mind.
Cannibal Holocaust looms over the horror genre as one of its most controversial films for so many reasons. Considering its ban in over 40 countries, the criminal charges that occurred after its festival release and the cruelty that occurred on set to both actors and animals, the use of its score in Euphoria was a very specific choice. And an odd one. It has caused curious minds to go looking for the answers, myself included.
I will admit, it is a film that I have avoided due to its depravity. However, I cannot be genuine if I haven’t experienced it. That being said, I do not agree with anything that has been done for “creative choices” in this film. I also do not encourage one to go looking for this film, as its content is highly traumatizing to both the viewers and the indigenous people that were exploited for this film. However, it is a critical point in the horror genre and should be examined as so, so let me do it for you.
Let’s Talk about the Cannibal boom
From 1972 to around 1988, there was a phenomenon in Italian horror known as the Cannibal Boom. Most of these films are referred to as video nasties, a term coined by English film media to describe low budget horror-exploitation films. It started with the film Man From Deep River and continued on from then.
Man From Deep River (1972)
Man From Deep River is what kicked off the boom and is considered to be the first Italian cannibal film. Directed by Umberto Lenzi, the film follows a British photographer, John Bradley, as he gets kidnapped by a native tribe in the rainforests of Thailand. He is then tortured by the tribe and enslaved to the chief’s daughter, Marayå. He tries to escape multiple times and with the final attempt, he kills Marayå’s suitor. This leads to him being accepted into the tribe in which he marries Marayå. He joins the tribe’s war against a rival, cannibalistic tribe and his wife gets killed in the process of childbirth.
It tries to tie it in a metaphorical bow by having him not seize the opportunity to escape and joining the tribe for good. Overall, this film is very white-saviorist and features loads of animal killing, violence, gore and torture. However, this is the outline of what’s to come.
Next: Cannibal Holocaust–the most famous and controversial
Cannibal Holocaust released in 1980 and shook the world a bit with its controversy. It also held a spotlight on the cannibal boom and the possible malpractices that occurred when making those films. First, let’s have a brief overview of the plot. Then, we’ll discuss what came about after the film’s release.
The Plot of Cannibal Holocaust
With a film crew going missing in the Amazon rainforest, an anthropologist goes looking for them only to find them dead and arranged in a gruesome manner. What remains intact is their footage, which is taken back to New York to be made into a documentary film. The first half of footage involves seemingly interesting footage and shows the filmmakers trekking through the rainforest. Things seem rough for these filmmakers, and the anthropologist along with many sponsors continue to push for this documentary to go through.
All of this motivation vanishes for the main anthropologist, Harold Monroe, when he watches the rest of the footage. The investors try to protest him pulling out and condemning the project until he decides to show them the footage themselves. What is shown is the format for the found footage style that would take the horror genre by storm in the late 1990s. The footage shows that the filmmakers aren’t the martyrs they seem to be and caused most of the horrific events that led to their demise. Yes, they’re the ones responsible for the famous impalement victim. And its cause makes it so much worse. Then the final reel of footage shows their demise, and the documentary is finally pulled after all of the carnage plays out on the screen.
What makes this film worse than any other horror film?
Yes, that is a fair question. There are three topics that make this film as well as many of the other Italian cannibal films: the brutal sexual violence, the animal cruelty and the mistreatment and misinformation of indigenous people. This film features not one but two brutal gangrape scenes that result in even more violent consequences, such as that infamous impalement scene and the beheading that occurs at the end. This was very typical of the genre, but Cannibal Holocaust took it to an extreme, especially for the first of its audience that was not used to the found footage style and worried that the acts may be real.
There was something that was quite real however, and that was the animal cruelty and deaths that occurred on screen. The most infamous of these is with a sea turtle but features at least five other animal deaths, dismemberments and torture. Most versions of this film that you can rent have these scenes cut out of it, but the footage is still around and still easily accessible. It is usually some of the first things that come up, so tread lightly when looking up this film if you are a bit more sensitive to the content that I am.
Taking it to the final point, these films did nothing but contribute and stigmatize indigenous cultures further, and that doesn’t benefit anybody. There are multiple accounts of the indigenous extras being mistreated, specifically in the scene in which a hut is set on fire. There was no real training or professionals to perform the stunt, but by serious convincing by the director, Ruggero Deodato, the extras stood under the hut and a lot received minor injuries due to malpractice in pyrotechnics to save a buck.
Those are some brief overviews into what went so wrong with this film and gained it its notoriety, but it is what happened in regard to the format and controversial scenes that catapulted this film into absurd infamy.
How Cannibal Holocaust possibly ties into Euphoria
Ten days after Cannibal Holocaust premiered in Milan, the magistrate confiscated the film and arrested Deodato, who was charged with obscenity. All the distributions were pulled, and it was rumored that Cannibal Holocaust was actually a snuff film due to the silence and absence of the supposed actors in the film. This led to the charges being upped to possible murder charges.
Ruggero Deodato and His Mad Genius
The actors however were very much alive–in fact they had signed contracts with Deodato to not appear in press coverage and keep their lives on the down low to create this speculation. Not realizing that would lead to severe criminal consequences, Deodato had to get in contact and gather all the actors involved in the found footage segment, in which they appeared both in court and on an Italian talk show to showcase that everyone was very much alive. They also had to show how they did the impalement effect, as that was one of the biggest topics for the real versus fake argument.
This didn’t save the film nor the director’s reputation, as the film was banned anyways for the violence and cruelty against animals, something that Deodato spend years defending but slowly turned into regret, with him admitting that he never should’ve brought animals into it in the first place. Cannibal Holocaust was banned in several countries and was only recently released on a wide release in 2005, one of which is heavily cut. Deodato was onto something, however, with the actors, as the same type of thing was done with The Blair Witch Project, and the disappearance of the actors just added that much more to the horror.
Alright, but what about euphoria?
As the season two finale drops tonight, I think the reference to Cannibal Holocaust through its haunting score is to focus on the consequences of the play, specifically Lexi as the director. Despite her good intentions and wanting to push boundaries for both shock and artistic methods, it’s going to backfire on her. Specifically, that backfire will be coming from Cassie, who now has this theme to this grotesque film tied to her character forever. I have a feeling we’re finally going to see what she means by claiming that she is crazier.
On top of that, Lexi’s play is going to be heavily tainted by the backlash and interruption that the episode is implying, and sadly Lexi will face the brunt of that. Our Life will be remembered as the one play with an epic musical number to “Holding Out for a Hero” and the time that the director’s sister couldn’t take the heat and stormed on stage. Therefore, much like Deodato, she will be remembered more for the absurdity rather than the actual art and message that pertains to the work.
FInal Thoughts on Cannibal Holocaust
I will be tuning into Euphoria in a heartbeat; however, I cannot say the same for Cannibal Holocaust. I do truly think that there is a good moral deep in there. The twist of the slaughtered filmmakers actually being the monsters really provides some decent commentary on how we exploit other cultures for our own wonderment and benefit. However, the things that occur both inside and outside of the film are inexcusable.
I do find it extremely amusing that this was used so casually in the show. I also feel terrible for the curious minds that think they are looking up just your run of the mill horror film. This film is very different, and can be described as a cult horror. Not in the sense of a small, dedicated fan base, but rather those of us who have seen it, understand it and then never really want to watch it again. I guess we’ll see if its use was purposeful in a few hours. But if not, that was a wild rabbit hole I just went down. I am honored to share it with you.
If you’re new to The Void of Celluloid, welcome. If you want to know more about horror and the things that go on within the community, please go follow on Twitter @OfCelluloid and Instagram @TheVoidofCelluloid. Happy to have you here, now please don’t watch Cannibal Holocaust. Or do. The world is your oyster.
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.
It’s me, The Void. I’m stealing the Mother’s place this fine day to give you my ranking of the beautiful blending of my favorite genres: horror and musical. Yes, we’re talking horror musicals. This came to me when I heard of Stephen Sondheim’s passing, which shattered my heart into a million little pieces. May his memory be a blessing.
In this ranking, I am focusing on the stage and having movie adaptations weigh in as needed. A lot of these have no movie adaptations. I am excluding strictly movie musicals, therefore musicals like Repo! The Genetic Opera and The Devil’s Carnival are not on this list (though I respect and admire Terrance Zdunich’s writing quite a bit). I felt it wasn’t fair against these beasts of musicals, as most of these have made it to the Broadway caliber. Nonetheless, let’s slash our ways through this, shall we?
Number 9: Jekyll ANd Hyde
Before you ask, yes, that IS David Hasselhoff. Jekyll and Hyde is the stage musical adaptation of the novella The Strange Case of Dr. Jekyll and Mr. Hyde, and while it is blaring with the rock and has the iconic “Confrontation” which has the lead singing from two perspectives at once, the cheesiness level cuts the epic down to quite a low level. It’s easy to find the taped version of this musical if you’re in desperate need to see Hasselhoff deliver some epic bars, but overall, it’s not exactly my personal favorites
Poor, poor Carrie. This poor musical is cursed for failure for whatever reason, and it all lies in how its produced. The original debut was way too much and the revival was way too little, leading to it flopping on both occasions. However, the tunes are actually really well written and it is a faithful adaptation. There is a fairly impressive LA production that did do it right, but used a gymnasium instead of a traditional stage, so I believe if Carrie the Musical will never be successful on Broadway–and that is okay.
My favorite moment is “The Destruction,” as the song is a beautiful depiction of Carrie’s inner monologue and her seemingly instantaneous snap. My favorite interpretation is Keaton Whittaker’s version. Meanwhile, if you wanna see some killer stage effects, you can check out the LA version here.
Number 7: Evil Dead the Musical
Yes, there is an off-broadway adaptation of Evil Dead II. It is all kinds of cheesy and hilarious, which is the only thing you should expect given its source material. There is disco, there is showtunes and Ash takes the stage with grace. This is in the same league as the Starkid musicals and could be improv if we didn’t know any better. It’s a fun one that graces local theaters often, so definitely check this one out if you are in the mood for a good laugh.
The best song is probably “It’s Time” in which there is disco dancing and Ash sings about balls. Who could ask for anything more? Check out a rendition from 2017 here.
Number 6: Heathers
Yes, I do admit I’m stretching a bit with this one. JD is technically a serial killer and Westerberg High does seem like a living hell, so I let it pass. The 1989 film Heathers is one of my favorites, so it is natural that I fell in love with the musical adaptation. While there are some misses on the soundtrack, especially the West End version, there are some GEMS that make me laugh out loud and want to dance to a musical full of depravity. It’s a pretty loyal adaptation as well, with a few changes to character dynamics to tie it together for group numbers.
“Lifeboat,” “Dead Girl Walking,” and “My Dead Gay Son” are the shining stars in this musical, but I honestly love all the songs and only skip “Big Fun” as it can be a bit annoying halfway through. However, my favorite moment in this musical is not a song but rather this iconic moment from the original off-broadway production.
Number 5: Beetlejuice
Now onto the Broadway baddies. Beetlejuice is a recent musical adaptation which trended on TikTok as well, specifically “Say My Name.” It’s a faithful adaptation that does not leave out the original movie’s musical moments. Ont top of it, the Original Broadway Cast Recording is amazing and not one to miss if you love soundtracks. It contains wildly good performances and was met with great critical reviews and is a fan favorite–so much so it was saved from getting booted and will stay on Broadway for an additional season.
My favorite song on this is actually a rather emotional one and that is “Dead Mom.” You can see the original Broadway Lydia perform that one here, but have some tissues.
Number 4: Phantom of the Opera
Remember when I said that we might be ignoring some movie adaptations? All respects to Emmy Rossum and Patrick Wilson, but maybe stick with a filmed Broadway version to spare your ears. Phantom of the Opera may not seem to some as a horror musical, however, its source material is strictly horror. This is a classic and some regard it the best of all time. My personal preferences disagree heavily, however I do respect this musical, hence it holding the number four spot. If you do decide to suffere through the movie adaptation, brace yourself for Gerald Butler, who should’ve never sang opera ever for the public.
While I don’t like the musical as a whole and do think the title track is a cheesy rock-opera mess, I have to give credit to “Think of Me” and most definitely to “All I Ask of You,” which is easily the most romantic song ever written. I will actually link the movie version of that one, because it is gorgeous.
Number 3: Little Shop of Horrors
I love, love, LOVE this musical. It has laughs, it’s dark and has BOPS for a soundtrack. The music is in fact written by Alan Menken and Howard Ashman, who wrote most of the music during the Disney Renaissance of the 1990s. “Somewhere That’s Green” is the same melody as “Part of Your World,” so there is proof it’s all good to plagiarize yourself. The movie adaptation is one of the best cult films out there, so you can do no wrong checking it out in any medium. I do recommend checking out the director’s cut as it is chock full of crazy good special effects and matches the play’s ending.
My favorite song from this is “Now (It’s Just the Gas),” which never made its film debut. You can, however, check out a version with Jake Gyllenhaal and Taran Killam here, which is simply brilliant.
Number 2: Sweeney Todd: The Demon Barber of fleet street
Now this–this is my favorite Broadway musical. However, the movie adaptation doesn’t do it justice therefore it does not earn the coveted crown. Sweeney Todd is a masterpiece through and through with Sondheim behind the pen. Many consider this Sondheim’s greatest musical (myself included) and it will be known as one of the best musicals of all time. It plays out like an opera, with gorgeous, terrifying and hilarious moments flowing through. It’s a hoot, and I cannot recommend it more. I don’t hate the movie adaptation either, but some songs are missing/edited and it just doesn’t feel the same.
“Pretty Women,” “Epiphany” and “A Little Priest” is a phenomenal stretch of songs that closes out the first act and lives in my head rent free. However, Angela Lansbury is my favorite part so here is her “Worst Pies in London” in its full glory.
Cats. I mean this image says a thousand words.
Number 1: Rocky Horror Picture Show
Now here is the real number one, both tremendous in stage and screen: The Rocky Horror Picture Show. We are talking iconic images, characters, songs, dances, and species–this is the horror musical of all horror musicals. Richard O’Brien has a brilliant mind that brought this groundbreaking musicals to stages and eventually formed it into the cult film to end all cult films. On top of all of it, Tim Curry stands proud in his six inch heels, serving as an icon for many and sexy beast to all. It’s iconic, that’s all I have to say. The horror musical of all horror musicals.
“Hot Patootie” can be played on the radio while “Sweet Transvestite” has us shivering with antici…pation. However, for me, “Planet Schmanet Janet” tops my list. You can see Frank-N-Furter harass Janet here if you’re looking for something to get used to, if ya know what I mean.
The final act
So there is it is, the ranking of the horror musicals. Did you agree with some of these picks and have you heard of most of them? Who knew showtunes could be horrific? Anyways, the Mother will be back next week as well as I will be back this Saturday with Christmas horror movies out the wazoo. Thanks for spelunking with us, this is the Void detaching and signing off.
If you wanted to see a bit more on horror musicals, you can blast to the past with my September Spooky Season picks here.
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.
So we’ve made it everybody. 31 Days of Horror: The final Ten Days of October are upon us and we are getting spookier by the minute. Let’s finish this spooky season with a bang! If you want to spend a night in the theater, Halloween Kills is out and I personally thought it was quite good. Or later this week, Edgar Wright is taking a slash at the thriller/horror genre with his new flick Last Night in Soho which has already gotten rave reviews, so be sure to check that one out as well. As before, the calendar is down below:
This is the final installment of this series, which has been a fun and exciting journey. I cannot wait for next year’s lineup, but right now, let’s live in the moment. Did you miss the last installments and see a film you’d rather have these final ten days? You can find Week One, Week Two and Week Three by clicking on their respective titles.
October 22nd: An American WereWolf in London
Coming it at number 10 is a classic, An American Werewolf in London. A dark, dark comedy about American tourists, the Moors and beware-ing them (yes, both of them). The film has everything from porno theaters to brilliant special effects, so much so that I’ve been alarmed by the amount of people showing their younger teenagers this movie. I started young in horror films, but my mom didn’t let me watch this one until I was sixteen. I’m grateful for that, however, because I feel like I was prepared for what a weird romp this one is. There isn’t really a short, concise synopsis that won’t give away some major plot points, so if you haven’t seen this masterpiece already, make sure to check it out!
For this film, I have chosen another werewolf flick Werewolves Within. It’s a fun horror comedy with as many twists and turns as this one, therefore I think it keeps the tone-ball rolling. In conjunction with this furball of a night, I suggest pairing the night with the Werewolves of London cocktail (or a sparkling apple cider in a pint glass to give the impression of chilling at the Slaughtered Lamb). Obviously this has to be paired with some traditional English pub food, so these Miniature Shepherd’s Pies are the right choice for some yummy finger food. No Moors nearby (unless you’re in the UK), so you should be able to relax. Just don’t wander foggy fields alone.
October 23rd: You’re Next
Like a wolf in sheep’s clothing, this typical home invasion movie is not what it seems. You’re Next is in the same ballpark as The Strangers that were showcased earlier this month, but I truly believe it delivers a more impactful punch. Not to mention those animal masks are absolutely terrifying. Who knew a family dinner could go so wrong? The director, Adam Wingard, went on to film shorts for the V/H/S franchise as well as direct the lofty film Godzilla vs. Kong, so why not check out the film that put him on the map?
I’m actually going to start out with a mocktail, since drinking too much around the in-laws is always not the greatest idea. Let’s start off with a blushed Watermelon Mint Cooler that is as red as those poor tablecloths might be (here’s a alcoholic version). As for the food, estranged family dinners scream “easy elegance,” so pull up to the party with these Easy Pesto Tortellini Skewers. As for double features, TVOC’s pick has to be V/H/S, as it matches the tone and features the same director as well as plenty others. Both films are going to be considered classics in the next few years, so might as well get ahead of the pack.
OCtober 24th: The Exorcist
It has finally made its appearance. Many claim this film is the scariest film out there, and I could easily agree with them, though I think scary factor changes from movie to movie. Poor little Reagan messes around with a Ouija board one night and gets targeted by a demon. What proceeds is one of the gnarliest possessions ever on screen. This film also has a reputation for being one of the most cursed/haunted sets, with a lot of misfortune occuring left and right during filming. These stories added on to its notoriety and got the film banned in the UK for eleven years. Yikes.
Of course, I had to pair this with an appropriately named Satan’s Whiskers cocktail balanced out with a Holy Mocktail: Negroni, which you can find more classic cocktails-turned-mocktails in this series Roberts and June did when they gave up alcohol for Lent. Keep it on the holy side with these Lamb Kabobs with Tzatziki Sauce, which is nice and traditional in contrast with the brutality on screen. Then make a devilish sandwich with two choices of a double feature. A modern take would be Hereditary, but you can keep it classic with The Omen.
October 25th: Tales from the Hood
I featured this film in my anthology list and I have been recommending it every second I get. It’s a fun Creepshow-style film with a lot of social commentary and plenty of camp. Produced by Spike Lee himself, it is definitely a staple in 90s horror that gets forgotten and also drips with modern day relevance. It’s a fun ride perfect for this Monday night and I promise you won’t regret making this one of your choices for your Halloween lineup.
To match the crazy mad-scientist vibe the storyteller has, I decided to go with some wacky concoctions. There is the beautiful, glowing Halloween Hpnotist and the zero proof Blue Shoe. As for snacks, I wanted something short and sweet like an anthology so here is extremely simple 2-Ingredient Nutella Brownies. Now, for double features, I did go the stereotypical route with Jordan Peele’s Get Out. However, I don’t think you can get enough commentary and diversity in your film digest, and I know there is still a bunch of people that haven’t seen Get Out and I know there is a ton of people that have missed Tales From the Hood, so it’s never too late to add these to your film watching portfolio.
October 26th: Poltergeist
This film has so much heart, it’s almost silly to call it a horror film. This was the first horror film that I watched and I definitely think that this is probably the greatest starter horror for younger folks. A suburbia nightmare–little Carol Anne makes contact with the beyond only to get sucked into another dimension. Her parents take dire measures in order to get her back, not absent of random bumps along the way. What could cause such a powerful poltergeist in the first place?
I actually found a cocktail called The Poltergeist and thought that was fitting, of course. However, I think there isa sort of softness that comes from this film due to its adorable protagonist. Therefore I’ve chosen this pastel green shake that matches the softness: a Green Grasshopper Shake. The food pairing is a disturbing one given its context in the film, but at least it will be tasty up until that point and make great leftovers: Honey Garlic Chicken Legs. I’m a big fan of cold left over chicken legs, given my face doesn’t fall off afterwards. A good double feature for this one is the classic film When a Stranger Calls, which is another starter horror that leans more on the edgier side.
October 27th: Evil Dead II
Ah, one of my favorite movies of all time. And before you protest and say that you have to watch the first one before this, you’re incorrect. This film is pure horror-comedy genius from Sam Rami and features Bruce Campbell as the iconic Ash, fighting the Deadites one groovy step at a time. It’s corny, it’s gory and it’s hilarious. It’s also a remake of the first one and a sequel at the same time, making the Evil Dead trilogy one of the most unique ones to date. Hail to the king, baby.
Which brings me to the OBVIOUS follow-up Army of Darkness. The way the film ends, it’s impossible to not throw on the next one to see how Ash holds up in medieval times. As far as pairings go, this Maple Mocktail will make you feel all cozied up in a non-cursed cabin. However, if you want to jump head first and start reciting the Necronomicon for fun times, pair it with the shooter and the cocktail The Cabin and the Deadite and snack on some Necronominoms.
October 28th: [Rec]
I’m a fan of Spanish horror, if you can’t tell. This goes down for me as the best found footage horror out there, and if you don’t agree, you can at least agree it’s one of the scariest. A television reporter and cameraman follow medical personnel into a dark apartment building and are locked in with something sinister. The US remade this film under the name Quarantine, so if it sounds familiar, that’s why. But sit through subtitles one last time to get a good scare from across the pond.
I went Spanish again with the drinks and snacks, so we have a delicious, refreshing Rebujito for the cocktail of choice. As for the zero proof crowd, a Virgin White Peach Sangria will give that refreshing feeling much like the Rebujito. Since we are creating a creepy atmosphere, pair it with some comfort with this Spanish potato salad: Ensaladilla Rusa. Sticking with the twisted zombie vibe, I am pairing Pontypool, a fun Canadian horror film, with this film.
October 29th: The Final Girls
This film is such a fun meta-horror film that it usually soars to the top of my list when I need a quick recommendation. It works for both die-hard horror fans and newbies, as it describes the tropes much like Scream lays out the rules. With a bunch of familiar faces as well as all of them well versed in comedy acting, it’s an easy, feel-good movie meets a gory slasher flick. Oh, it also tiptoes on fantasy with the whole being-in-the-actual-movie plot. What are you waiting for? Call your friends and let’s get the ball rolling for a Friday night romp.
Since Billy’s choice of weapon is the large, heavy blade, I found a cocktail called the Liquid Machete. It seemed fitting for this hilarious bloodbath. But if you are more of the Kumbaya type, dig into this delicious Mexican Hot Chocolate. For food, I leaned into the camping vibe and found this delicious Hawaiian BBQ Pork Walking Taco that allow for easy cleanup post movie night. As far as double features go, I remembered this little flick that is a great romp and a fun, quick follow up is the indie film You Might Be the Killer. A unique film format meets an even more unique film form–a perfect start to the Halloweekend.
October 30th: Trick ‘r’ Treat
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 cocktails complete with theatrics known as The Witch’s Heart. Purple, spooky and bubbling with delight. If we are craving the more sweet 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.
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 triple feature with the 2018 Halloween and Halloween Kills following up the classic. 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 there it is! All 31 days laid out and prepped. This list is formatted for October but feel free to use it year round when in a good mood for a scary movie night. Thank you all for tuning in each week and jumping down these delectable voids full of blood, booze and bread. Coming up next week The Mother of the Void makes her noble return after a tiff with a rogue charging cable and I am going to take a look at Halloween and what makes it such a masterpiece. Until next time, you lovely spelunkers…
Welcome back everybody to The Void of Celluloid’s 31 Days of Horror. The whole concept of this series is to go through each week of October and pair snacks, drinks and double features to The Void’s picks. This is the first year of this series, so the standard calendar is a lot of staples and not a lot of sleeper hits. However, it is not a bad thing to revisit some of the classics. We are hitting the halfway point of October, so we have to celebrate spooky season every second we got! Here is the calendar:
I’m really excited to revisit the picks of this week, as we have some killer classics here. You can find the kick off of this series here and the bloody sequel here. Alright, let’s set up this trilogy of good spooky fun, shall we?
A Micro-rant from The Void
For those that are going to stay away from some of these films because of tiny little words you have to read, please try and push yourself to do so. There will be another subtitled movie this week as well as next week, and if you aren’t open to subtitles, you’re going to miss out on a lot of good horror. As Bong Joon Ho says “Once you overcome the 1-inch-tall barrier of subtitles, you will be introduced to so many more amazing films.” Alright, micro rant over, let’s get to the goodies.
OCtober 15th: THe Orphanage
If you somehow missed this movie during its long Netflix reign during the early 2010s, you missed out. That’s why it’s here. El Orfanato or The Orphanage is a compelling ghost tale that will have you rethinking every time someone knocks on a wall. Laura moves her family back into her childhood home, which was once an orphanage specifically for handicapped children. Not long after, her young son combats transition by having an imaginary friend. However, it turns out this friend might not be so imaginary. You might wanna have some tissues with you if you’re a hair-trigger weeper like I am when anything is remotely sad.
The double feature for this one has to be Guillermo del Toro’s The Devil’s Backbone. He actually produced The Orphanage and both this film and Pan’s Labyrinth became the top grossing Spanish films of all time. Since both films take place in Spain, we have to indulge ourselves with some Spanish food and drinks. One of the most popular cocktails in Spain is the Agua de Valencia, a delicious drink reminiscent of a mimosa. For our zero-proof crowd, there is a delicious dessert drink known as Leche Merengada which is a creamy, spiced milkshake style drink (for those lactose intolerant and savvy in Google Translate/fluent in Spanish, you can find a dairy free version here). As far as snacks go, almost everyone loves potatoes, so pair all of this with a simple, spicy Patatas Bravas.
OCtober 16th: Psycho
As we know, Halloween Kills is out and while it is general trivia knowledge for most horror fans, a lot of people do not know that Jamie Lee Curtis is Janet Leigh’s daughter. Psycho is a must see and showcases stellar performances from all of its cast, especially Leigh and Anthony Perkins. Despite Peeping Tom being the first slasher film by technicality, it never reached as great of heights and praise as Psycho did. Marion Crane decides to make a run for it with her employer’s precious deposit, but due to a storm has to take refuge in the Bates Motel. I think we all know where it goes next… Nevertheless, Psycho still packs a punch despite its second biggest twist being spoiled for most film lovers and therefore, it makes it onto the calendar.
Psycho just screams classic to me, so therefore I pair this one with a nice Negroni. Believe it or not, I actually found a non-alcoholic Negroni which I thought was impossible, but it has great ratings, so check it out. What pairs nice with the sophisticated Negroni? A bunch of snooty (but tasty) things, but for some reason, these rich Bacon Mac and Cheese Bites from Entertaining with Beth will do too. Double feature wise, you could go with the previously mentioned pioneer Peeping Tom or you could go with another Hitchcock horror The Birds. It’s the simple decision of not trusting men or not trusting birds, you decide.
OCtober 17th: THe Conjuring
Ah, there’s nothing like family and building a home together, right? Gathering together and playing Hide-and-Clap sounds like a very wholesome thing to do? Well, when there is a possible witch/demon terrorizing your family each night, it’s not as picture-perfect as you would imagine. This is the first installment of the now expansive Conjuring Universe, but nothing quite beats the first one, which delivers the suspense upon every single viewing. Too bad that it spawned another wave of copycats and cheap spinoffs, but I don’t think any of its expansions can take away from this gem.
The film takes place in the 70s, complete with Patrick Wilson sporting some epic sideburns. Therefore, I’m going vintage with these pairings. If you’ve never had a cheeseball before, you have to try this classic cheeseball recipe from Tastes Better from Scratch. In the mood for something sweet and more with the season? Check out this this pumpkin cheesecake ball. If we’re keeping it classic 70’s, we should go for a nice bright Harvey Wallbanger (here’s a virgin one) to lighten up the mood for this dark, grim film. The double feature for this one is surprisingly not from the Conjuring-Verse, but rather a Mike Flanagan film Ouija: Origin of Evil. It matches The Conjuring‘stone and because of its predecessor, some horror fans missed out on this one.
October 18th: The Shining
In October, you try to shuffle in some new finds, but sometimes nothing beats the tried and true classics. That is why The Shining is on here. I watch it at least once a year, mainly to play detective to see if I get anything new from it. I feel like I don’t really need to explain the plot of this one other than it deters heavily from the book. Why I bring this up is mostly due to my double feature, but also a push for people to read the book, as it has a lot of sentiment that the Kubrick film is obviously lacking in.
There is now an obvious double feature for The Shining which is its sequel Doctor Sleep. Yes, Mike Flanagan again. Here he does the impossible task of marrying the two versions of The Shining, and he pulls it off beautifully. You can read more about it on The Void of Celluloid here: We Love You, Mike Flanagan. For this film, I went more with a themed cocktail meets generic yummy carbs, since alcohol is such an important plot point in the story. Yes, suggesting a cocktail is opposite of the point which is why I will lead with this mocktail recipe that sounds utterly amazing: Cranberry Apple Cider Mocktail. Which is red. I think you can see where this is going, just don’t spell this REDRUM cocktail backwards. The delicious side I chose to pair with this deep red punch is the viral Cheese and Garlic Crack Bread.
October 19th: Scream
This film is celebrating its 25th anniversary this year so it’s time to rewatch it if you haven’t caught it in theaters yet. This film is Wes Craven’s comeback as well as the father of meta-horror that a lot of modern horror comedies use today. Also, I think it is impossible to not fall in love with Sidney Prescott’s badassery. Oh, and Matthew Lilliard’s acting. There’s a lot I love about this film.
Its double feature has to go to its sequel Scream 2, as I think there is a lot that they did better in regards to it being a horror movie. There is scarier moments in the second one at least, so if you want to go more pedal-to-the-metal with your scares, don’t skip this one. These two films drip with teenage/college student energy, so I decided to go for a dive bar meets high school party aesthetic with the pairings. We got a lovely light beer cocktail known as a Chelada, which is like a Corona with lime on steroids. Since we already did Shirley Temples last week, we’re going to go with another non-boozy classic: the Roy Rodgers. Pair this off with some adorable, salty Bacon Cheeseburger Bites and you got yourself a spooky rager.
OCtober 20th: Housebound
If you couldn’t tell, I am quite a fan of Kiwi humor. Housebound is another title that lurked around Netflix for a while, and I remember watching it without any prior knowledge. I was confused, but once you realize it is a comedy through and through, it gets absolutely hilarious. Therefore, I want to use this platform to clarify and shine some more light on this lost gem. Kylie is forced to return to her childhood home under house arrest, trapping her inside with the supposed evil entity that lives among her and her family.
This is a fun movie and should be paired with equally fun things. Therefore I’m pairing it with one of my favorite movies The Lost Boys. Because who could say no to some glam punk 80s vampires? This is a mixed bag of a night, so why not mix it up some more with this Halloween Sangria or a prom-style punch? In my mad search for recipes, I came across these jalapeno popper pigs in a blanket that I could not help but share. Say hello to a wild Wednesday night!
OCtober 21st: Ringu
I’ll be honest, I am not a big fan of the American The Ring. I feel like it’s a cheap knockoff of the rich story that is Ringu. If you have only seen the American version, I urge you to watch Ringu this week. It is genuinely one of the creepiest films out there. It still centers around the cursed tape that is well known but its use of practical effects as well as the absence of that blue filter that was so popular in early 00s horror (and promptly killed by Twilight) make this film soar above the American remake.
The obvious double feature is another story done so dirty by American film studios: Ju-On: The Grudge. A “slower” burn than the first film, but a truly rich and amazing ghost story through and through. Since we are enjoying two classic Japanese horror films, I decided to pair it with onigiri, which is impossible to hate given its endless combinations and simpler assembly. Of course, I involved sake, so please enjoy the highly rated Sake Southside from Tasting Table (a Japanese Cream Soda for the non alcohol drinkers).
Conclusion and what’s Next
I’m so happy to see people enjoying this series and I enjoy making it (even though it makes me hungry). There is a lot coming up with The Void of Celluloid in the next few months from a podcast to a Patreon startup to oh so much more and I am excited to share this journey with all of you. Please be sure to follow and share this with your friends and loved ones and I will see you next week as we celebrate the final ten days of TVOC’s 31 Days of Horror.
The 31 Days of Horror continue with Week Two! I’m excited to pair up these next seven movies with some yummy food, tasty drinks and delectable double features. Below is the entire calendar if you want a sneak peak for the next few weeks of Spooky Season! If you missed week one, you can find it here.
Anyways, let’s kick off Week Two with one of the greatest films of all time, in my opinion.
October 8th: The Haunting
No, not the terrible remake with Owen Wilson. I’m talking the original from 1963. Based of the Shirley Jackson novel The Haunting of Hill House, Dr. John Markway assembles a team of people to confirm whether Hill House is haunted or not, due to its history of its inhabitants meeting strange, gruesome ends. It is a very spooky ghost masterpiece. It also includes amazing queer subtext between the two main women Eleanor (Nell) and Theodora. The Mike Flanagan limited series The Haunting of Hill House is also an amazing rendition. However, it is not so much an adaptation as this one is. This film’s legacy lives on and is an iconic staple to the whole horror timeline.
All the spooky haunts of this film wanted you all to have a literal taste. Therefore the cocktail for this movie is a Liquid Ghost. For the kiddos (as this film is on the tamer side) or those who choose not to drink, a white chocolate hot chocolate is an alternative, as this movie feels cold at times. Warm soup is a good pairing for this, however I am aiming for little bites, so these French Onion Bites will do. As for a double feature for this film, my suggestion is the film that The Mother of the Void just reviewed: Cat People, as it is another classic horror film dripping with subtext.
October 9th: The Strangers
The films (other than Hush) have been rather tame thus far. Therefore, let’s crank it up. This is a slasher film where the assailants truly have no motive. Therefore it is a malicious, terrifying film that has you on the edge of your seat through its entire run time. It’s bloody, it’s creepy, it’s a slasher through and through. That’s about all that I can say, as this film is purely action from the get-go.
Because of the violence in this film, I found a fun cocktail from Sugar and Soul called Blood and Guts, which is a variation of a Jell-O shot meets classic cocktail. If you’re not a fan of that texture, emulate that same red color with some classic Shirley Temples (according to 50+ 5-star ratings, this is the best Shirley Temple). As for a double feature, if you can stomach some more violence, skip the sub-par sequel. Go check out Maniac, a 1980’s exploitation-slasher that pushed the boundaries so movies like The Strangers could be released. If we’re looking for more “lighthearted” after all that brutality, Halloween: H20 is a good alternative. A classic slasher still, but a bit lighter than Maniac.
Food for this movie is something I imagine the couple stress-ate at the wedding/proposal gone wrong before these grisly events, and the first thing that popped into my head was Caprese Skewers. Delicious, but I have only really had them at special events, so let’s make this night a special event of slashing. Finish it off with some Jordan almonds if you’re really want the wedding vibes to overtake the horror.
October 10th: Southbound
If you’ve been following the blog thus far, you know that this film has come up a few times. I honestly have watched this film once. Yet, it has stuck in my head for the past five years. An anthology film by the same creators behind the V/H/S series and Ready or Not, Southbound deals with the unholiest of topics, being another film that pushes against my tolerance for depravity. Mind you, it’s not as depraved as torture porn films, however, if you are uncomfortable with Satanic symbolism, this one will get to you. I personally am not, I was more horrified by the car accident/hospital scene that is on the gorier side. Anyways, this anthology twists and turns into itself, with a lot of stories overlapping to create one big ol’ hellfest.
What is more devilish than Deviled Eggs and a Red Devil cocktail? Maybe the gas that comes post deviled-egg-consumption, but I digress. For the zero-proof fans, sub the alcohol in this recipe with some grapefruit juice, and it will taste just as citrisy and delicious. As for a double-feature for this one, I suggest the father of anthology horror Creepshow, which without it, we would not have this format. If you want to know more about anthology horror and read up on the other creations by these filmmakers, check out TVOC’s first article: Anthology Horror: Short Stories Unfolded.
October 11th: The Texas Chainsaw Massacre
Laying out day by day, I didn’t realize I laid out such a brutal weekend. Oh well, into the deep end we go. The Texas Chainsaw Massacre set the standard of what the modern slasher looks like back in 1974, and you can see a lot of ties back to its style, predominantly in gory horror heads Rob Zombie, Eli Roth and Darren Lynn Bousman. It’s a disgusting film, given its budget and its age, and most of it still holds up. Heed warning if you haven’t watched the original however, Franklin is probably one of the most annoying horror characters I have ever seen, and him alone almost made me give up on the movie the first time I watched it. Lots of tension, lots of screaming and lots of violence–just as every good slasher should be.
Over on my new favorite blog, Geeks Who Eat, they have put together an amazing pairing specifically for The Texas Chainsaw Massacre that is exactly what I envision consuming during Texas Chainsaw. Therefore, I had to feature them. You can check out their pairing here: The Snack is Family: A Texas Chainsaw Massacre Inspired Pairing (2geekswhoeat.com). For an alternative to bloody mary-style drinks, I found another drink that is sure to get you as messed up in the head as The Family: The Bloody Chainsaw. For the zero-proof peeps, here’s a guide from Texas itself on How to Brew Sweet Tea. The double feature for this one that comes to mind is The Midnight Meat Train, because similar weapons are used in this Clive Barker adaptation–oh yeah, and more brutality. It’s quite a way to start your week.
October 12th: Night of the Living Dead
What is known as the first zombie flick is the choice for this cool, sleepy Tuesday night. Night of the Living Dead is both a cult classic as well as a revolutionary film, as it features the first black protagonist in a horror movie, played expertly by Duane Jones. The quote “They’re coming to get you Barbara!” comes from this film, but its incredibly controversial and powerful ending is probably the most memorable upon viewing.. A teaser for what’s coming next on The Void of Celluloid: this film will be the first featured on the podcast coming soon… Anyways, I feel as if this film has not been seen enough, despite it being the film that started one of the most dominating genres in horror films. Therefore, it demands a spot on the calendar.
Of course the cocktail I would choose is titled the Zombie, which can be easily made into a virgin Zombie minus all the liquor and increasing the pineapple and grapefruit juice to make it at least 12 ounces. And to really amp up the zombie vibes, take your movie snack ideas and turn it into breakfast with Bloody Gut Cinnamon Rolls. Since I can’t get enough of Duane Jones, the double feature will be Ganja and Hess, a experimental horror film that deals with cursed objects and vampires. It’s a fun film with a lot of metaphors. So much so in fact, experimental rap group Clipping. formulated a whole album around it called “There Existed an Addiction to Blood”. You can check that out on Spotify (and I encourage you do).
October 13th: Tucker and Dale VS. Evil
There is no way that this has flown off your radar if you already know about this bash of a film. Easily one if not my favorite horror comedy, Tucker and Dale Vs. Evil take the evil-hillbilly trope and flip it on its head for some good, gory laughs. Not to mention the amazing acting coming from Alan Tudyk and Tyler Labine, Tucker and Dale will stick in your head as some of the most loveable characters of the horror universe.
You have to drink a PBR with this film. You just have to. If you’re not into PBR, Montucky Cold Snack is a good alternative for alcohol, and brew up a hot cocoa if you’re not into the whole beer thing at all. Make sure you toast to the two doofs every time you crack a new one open. As far as food, have some breakfast for dinner with these Pumpkin Pancakes. Make sure to serve them with a side of bacon or have scrambled eggs as an alternative just in case anyone is afraid of/doesn’t like pancakes. The double feature is very obviously Shaun of the Dead, as we like to keep the buddy vs. evil comedy trope going and I frequent these two together almost every year.
October 14th: Alien
Ah, the grandest of the sci-fi horror, Alien takes the cake of a slow burn horror film going batshit and having you squirming in your seat, even on repeat viewings. Follow a crew out in space as they going searching the terrain assigned to them by homebase. When a foreign creature attaches itself to a face of an unsuspecting John Hurt, paranoia, dread and doubt fill the crew as the alien thing takes on its rapidly evolving form. Honestly, the set and costume design alone would carry this film, but with brilliant performances, especially from Sigourney Weaver as the badass Ripley, this film is a staple and should be in yearly rotation if you appreciate good cinema.
When I think of Alien, I think of its cover art and that neon green color, so therefore the cocktail that came to mind was the Midori Sour. A fun zero proof alternative to a Midori Sour is melon flavored Ramune soda.. Because I can’t help but think of sweet lil’ Jonesy, add these Cat Pizzas to the menu for a little bit of fun in this fairly grim story. And of course, the double feature (while it isn’t remotely horror) is Aliens, as you can’t pass up a double feature of these two films when you get a chance to do so. Plus, Aliens features even bigger features of the Xenomorphs, which are scary just by themselves, so cut me some slack this one time. It’s an action packed ending to a week kind of full of brutality (sorry, not sorry?).
Conclusion and What’s Up Next Week
So there we have it, that wraps up my suggestions for week two of 31 Days of Horror. I hope you guys are enjoying the series thus far, as we have two more installments this month and I plan on doing broader installments of random collections throughout the year, as I enjoy making them. As I mentioned before, there is a podcast in the works. It will be called Dripping with Relevance and there will be more details out soon as the first season becomes more flushed out and production begins.
Meanwhile, next week, The Mother of the Void returns on Wednesday with the classic French horror film Eyes Without a Face (Les Yeux Sans Visage), and I’m glad she’s having fun with it, even when two whole pages of her summary disappears into the laptop void. Next Friday will be the third installment of 31 Days of Horror, which will be the last one leading up to the Final Ten Days of Halloween. So stay strapped in and keep spelunking, as we have so much more in store.