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Popcorn (1991): A Mother of the Void Summary

The Void has given me almost free reign to decide my movies to wax poetically about. When I told her about my pick for this installment and sent her the trailer, her response was, “Well that looks fun.” I want to remind you, fearless readers, that this is an essay on a particular horror movie. I will be sharing my thoughts as I view the picture, so there will be spoilers. If you want to watch the film first, or watch along as you read, the title is POPPING on the screen below.

The film for this view is “Popcorn” from 1991. This is director Mark Herrier’s only time to sit in the director’s chair. Harrier has mainly spent his time in front of the screen, in bit part in TV shows like Bosch, The Practice and MASH. He also appeared in the very popular 80’s Porky’s franchise. The film stars horror staples Dee Wallace (The Howling, The Hills Have Eyes), Jill Schoelen (The Stepfather, Cutting Class), as well as veteran actors Tony Roberts (Serpico, Annie Hall) and Ray Walston (Fast Times at Ridgemont High, The Sting).

With its feet still firmly planted in the 80s, this is a fun film. While it is not well known, some notable horror films have found some inspiration in this little film, and I will reference them as we go.

In the BEGINNING

The film starts with the sound of dripping water and slowly focuses on a number of different latex masks floating in water. The very stylized title glistens across the screen. The camera now scans the room of Maggie (Schoelen) who is having a nightmare in her very bright bedroom. Personally, I can’t sleep in a room that bright. However, she is a college student, and apparently, they can sleep through anything. Her dream involves explosions, a young girl who looks like her, a creepy, hippie man, and a flaming sword.

Horror Movie Review: Popcorn (1991) - Games, Brrraaains & A Head-Banging Life

The hippie man is actually just a head on a table that has now decayed, and the little girl is running away. The coloring in this scene is very vivid, giving it a quality of Dario Argento’s films. Maggie stirs in her bed as flames appear around the young girl and suddenly a bound woman is shown, calling the name “Sarah”, over and over on a loop. The little girl moves her hand and Maggie mimics the movement. Seriously, between the light and movement, this girl either ran a marathon the day before, or I want to know what medication she is on for when I suffer from insomnia.

In the dream, the little girl’s hand is grasped by a man’s hand. She turns to look at the man, but all we can see is the child, and the outline of a man, and the once flaming sword in front of her. Hippie Man, whose head is now firmly attached to his body, raises the sword over his head, as he slowly says “Sarah”. We hear Maggie’s alarm clock and this is what wakes her up, gasping.

Hello Maggie and Suzanne

Maggie instantly grabs a tape recorder next to her bed, she talks about this “same” dream she is having, expanding on the details. We now cut to Suzanne (Wallace), Maggie’s mom, as she is getting breakfast ready. Man, do I feel like a crappy mom. This woman is dressed, hair and makeup perfect. She has cooked breakfast, but the counters are completely clean. I mean the goddamn burner covers are on the stove. The rest of the house appears immaculate. I’m calling it right now. This woman is a psychopath!

Anyway…. Suzanne answers a phone call. At first there is no one on the other end. The person on the other end finally asks for a person, and Suzanne says, “Sorry, wrong number.” The voice then says, “Remember who the ninth circle of Hell is reserved for.” and then hangs up. This just makes Suzanne look and the phone, make an amused sound and hang up.

Maggie enters the kitchen and says she doesn’t have time for breakfast. Don’t piss off your mother. Maggie is recording details of her dream into her tape recorder and when she mentions the name Sarah, Suzanne’s face slightly tightens. She asks her daughter why she named her character Sarah. Maggie says she doesn’t know and then makes a standard Citizen Kane reference, used when a filmmaker wants everyone to believe that they know a lot about cinema.

We now see Maggie driving up to her college, the University of California at Oceanview. This looks like a very high class institute of higher learning. She is rushing to class, still dictating to her recorder, when an earring-wearing mullet man attaches himself to her face. Without even a hello, he is telling her how much he wants her and to come back to his place. Maggie is a serious filmmaker, we know this because of the Citizen Kane reference, and she tells Mark, despite his begging, that the only energy she has right now is to work on her film. He tells her that he is not going to wait forever.

The Horror-THon

We are now in a classroom? I say this in a questioning way because the seating is just concrete risers. They explain that the film students have been bounced around from room to room, and now they are stuck in a music room. The risers make even less sense now. The students in this class consist of three girls, three boys, the teacher and his assistant. No wonder they keep getting moved. This film department is not bringing in much money in tuition. One of the students, Bud, is in a wheelchair. I immediately thought of Franklin from the Texas Chainsaw Massacre, and knew this kid was in trouble.

The professor calls Toby to the front of the class to explain his idea for a fundraiser for the department. Toby suggests that they put on an all night horrorthon. The other students make fun, and it is here that I saw familiar. This scene is very reminiscent of the movie discussion in the film class in “Scream 2”. There are others as the film goes on, but maybe it is just me…

The appeal of this horrorthon is that the film will be shown with the original gimmicks that they were released with; smell-o-vision, shock-o-vision, etc. There just so happens to be an abandoned theater, named Dreamland. It is three weeks from being torn down, and the horrorthon will be the last event that will be held there. There is concern that they will be able to get everything ready in time, when out of nowhere, Dr. M (Walston) appears. He says he is there to help, and all his gear is outside. Toby explains that Dr. M owns a movie memorabilia shop, and it is all they will need.

Dr. M passionately explains how the classic movie theaters were run. He tells them that he is there to help them turn this into a memorable evening. Then…wait…. what is this I hear….it can’t be?! Oh yes, it is. A music montage of them all working together, to an upbeat song, with almost a ska rhythm, singing the joys of “Saturday night at the movies.” Everyone is happily cleaning and mugging for the camera, and they are making masks, getting costumes ready and testing the special effects.

The Possessor

It is the night before the big show. As they finish up, they find a film canister. They decide to run it and we see the close up of an eye. The face on the screen says, “I am the possessor.” There are scenes of gore, and then it is HIPPIE MAN. Scenes from Maggie’s dream play out on the screen. She is reacting and passes out. The classmates have carried her out into the lobby, and she asks what the movie was. The teacher explains it is a film called “The Possessor” made by a 60’s cult leader named Lanyard Gates. They used to make art films. He supposedly murdered his whole family at a showing of the film. The class decides to not show the film at the festival.

We now see Suzanne, looking a little spooked, as she is closing up her door to the balcony. Maggie makes matters worse when she walks into the room, making her visibly jump. She asks her mom if she has ever heard of Lanyard Gates, which makes Suzanne even more nervous, but she denies knowing who that is. Maggie explains about the film they found, and how this movie is what she has been dreaming about. Suzanne tells Maggie she wants to skip the festival, but Maggie refuses. She says she has to see this through. They have a sweet mother daughter moment and the phone rings.

The same voice is on the phone as earlier, referencing the ninth circle of hell again and when Suzanne asks who it is, it repeats, “I am the possessed.” Suzanne is visibly upset and the voice on the phone says, “I want her.”

Suzanne screams “NO”, and the voice on the phone suggests that they talk. He tells her to come to Dreamland and to bring her gun. Well, first of all, Suzanne is obviously hiding something. Secondly, this is not the way you ask a woman out on a movie date. I mean it has been a while since I have been asked out, but I am pretty sure this would not be a very successful method. And lastly, you are telling an obviously nervous woman, with at least a few mental disorders, to bring a gun on said date. I see a Dateline special in their future.

The Date from Hell

Of course, Suzanne goes to the theater. Dressed all in black she exits her car, gun in hand. As she approaches, the marquee lights up, then suddenly the letters start flying off the sign at her, and the title Possessor appears on the marquee. A single ticket is issued from the empty box office. Suzanne retrieves her ticket, and the door opens.

Exhumed & Exonerated: 'Popcorn' (1991) - Bloody Disgusting

Suzanne hears the voice on the phone and follows it into the theater. She talks to the screen, confirming that she does know who Lanyard is. Now mostly in the dark, a figure appears in the balcony. She hears special effect noises and runs to the back of the theater. She sees a figure approaching her and fires her gun. The figure falls to the floor as she cries. This prompts a big hug. Maybe this will be a successful date after all. You go Suzanne!

Maggie wakes the next morning and finds breakfast and a note waiting for her from her mom. With the events of the previous evening, it is obvious that Suzanne was not home to make this loving gesture.

We cut to the night of the big and once again…it is a musical number! Imagine how much better Halloween would have been if Laurie had broke out singing a chorus of “Somebody’s Watching Me.” Carpenter really missed the boat on that one! All the costumes are on point and they are playing their part. Maggie is manning the ticket booth, when handsie Mark with the ultimates from earlier shows up with a very blonde date. Maggie plays it cool, while Mark is visibly regretting his decision. I hope for his sake the goodie bags with your 3D glasses and nose plugs comes with condoms.

A scarred hand drops some crumpled money onto the ticket booth counter and asks Maggie if the films they are showing are as shocking as “Possessor”, but he refers to her as Sarah in the question. He quickly walks away, and Maggie rushes out to follow him, but secures her replacement before leaving. She should be dressed as a girl scout!

Maggie and MArk aren’t meant to be

The first movie begins and the audience is lively. Maggie spots her target in a different balcony and he leaves, exiting the lobby before Maggie can catch him.

Mark is no longer very enthusiastic about his date and tells her he will be right back. Hello…. Way to keep breaking the rules asshole. Pressuring a girl to have sex, showing up with a nonvirgin who is an obvious target, and now, “I’ll be right back.” Please kill this man of principle alone! He heads out towards the lobby.

Maggie has made her way up to the projection booth, where Toby is keeping an eye through the tiny window. Maggie tells him that she thinks Lanyard Gates is in the theater. He is of course skeptical, but Maggie tells him she is sure it was him. Toby says since nobody identified the body, there is a possibility that he could still be alive. Maggie’s reaction is that of excitement, with her thoughts being about her movie. Toby tries to convince her to call the police, but Maggie tells him there is no way the police would believe them. He leaves to take a look, leaving Maggie in the projection booth.

Toby makes his way downstairs. He steps outside a suspiciously cracked door to see if there is anything or anyone there, and the door shuts behind him, leaving him locked out. Meanwhile in the theater, Mark’s date makes a new friend, who sits beside her without protest.

We now see someone approach Maggie from behind. A voice says “BOO” and Maggie punches boytoy Mark right in the face, knocking him on his ass.

Here comes the carnage

Behind the movie screen the teacher is getting the big mosquito ready to make its debut. He has all the switches flipped and is ready to send the critter flying. The crowd goes wild, and he is like a kid on Christmas morning. From above, another set of hands with a different remote takes control of the big bug, suddenly sending it the teacher’s way, impaling him, and leaving him dead on the floor. Maggie’s new man of interest comes and drags the teacher off stage.

We now see more of the masks in the water that we saw at the beginning of the film. The newest addition is a mold of a teacher’s face.

Maggie is explaining all the backstory to Mark, when Toby returns, telling of his adventure of walking around the building. Mark proceeds to piss off Maggie, who sends him back to his blonde.

Everyone returns to their posts, and when Mark tries to get his seat back, he finds his replacement not very cultured, but really good with his hands. For the second time tonight, Mark’s ass is on the ground.

Bud is getting ready to shock the shit out of the audience and tells Tina to go get their teacher because he needs help. Tina, who is the teacher’s pet, was already looking for him. Maggie is out in the booth, listening to her tape recorder, smiling at the sound of her own voice, when Suzanne’s new boyfriend’s voice comes on, once again calling her Sarah. She tried to rush out of the ticket booth, only to find the door blocked. She pushes hard, hears a thud, and Mark is down for the third time.

Utter Chaos: The meat of the movie

I know he wanted to lay flat on his back, but this is not the way to go about it my man. Maggie runs to comfort him, because after all the crap he’s put her through, that is exactly what we women do. I would have laughed and stepped over him…but that’s just me. Maggie tells Mark she has proof that Gates was there. When she goes to show him the tape, it’s broken. They go to find Tina to see if she saw anyone mess with her recorder.

Tina makes her way backstage to find her favorite teacher. She sees him securing the mosquito and he motions for her to come to him. Bud sends Maggie and Mark backstage as well, giving them a flashlight, because that is always welcome in a movie theater.

Bud now gets to have his fun, zapping the audience with electrical shocks. He make quips and takes great joy in torturing the audence.

Not from these events… but I had to include this photo.

Tina meets up with the “teacher”, but his newly made mask is still wet. As she goes to kiss him, it sticks to her face, and she pulls away in disgust. The mask rips off and reveals a burnt and mutilated face underneath. The crowd mutes Tina’s screams. Maggie and Mark come across a newly deceased Tina, who is now being puppeted by her killer. He mimics her voice, and sends them on a wild goose chase. Mark, of course, pulls a Toby, and locks them out of the building.

“Tina” comes into the box where Bud is having his fun. Tied up and wired up, Bud is the target for the big shock. The killer has a recorded message for him, explaining how it will all go down. Bud tries desperately to reach the switches, but the lights the killer referenced in the recording start going off.

Maggie and Mark end up back in the lobby, after scaling a fence to get back inside. Mark is limping and has ripped the ass of his pants. Maggie, of course, is unscathed. They once again go off looking for the teacher.

Bud is still struggling, and almost makes it to one of the wires, but he is too late. The electricity going through him knocks out the power and knocks him out of his wheelchair. With the power out, Leon and Joannie decide the only logical thing to do is to of course have another musical break, so the run to have the band get on stage. How they will play without power, I am sure they will figure out something!

SOme more Musical moments

Maggie and Mark are now joined by Cheryl, who is helping keep Mark upright. Not very well, because he manages to fall down the stairs. See boys….this is why you don’t pressure girls into doing things they aren’t ready for! Karma is real! While Cheryl helps Mark, Maggie goes to talk to Bud.

Popcorn 1991 Sale, 48% OFF | avifauna.cz

The band takes the stage, playing the chart topper “Pocomania Day”. The crowd is jamming and grooving. Maggie, on the other hand, has the very pleasant task of finding what remains of Bud…or is it. Suddenly the man of her dreams, who is also her mom’s new boyfriend, is sitting in Bud’s wheelchair. He calls her Sarah again and says, “What, no kiss for daddy?” GROSS! And I would tread lightly dude. We have seen how this girl handles Stepfathers! Maggie denies being this man’s daughter. She runs away, as memories come flooding back.

Maggie runs into Toby and tells him everything. That she remembers everything, that she is Gate’s daughter, and Suzanne is not her mother. Just then Mark’s blonde comes stumbling out of the dark. Toby takes Maggie away before words or blows begin to fly. They go and sit behind the stage, and she continues to tell Toby the whole story.

Toby comforts her and tells her he is there for her. They head downstairs to get to the circuit breakers and fix the lights. Toby falls down the stairs, Maggie retrieves his flashlight, as she shines it around the room, it is not Toby she sees, but her teacher. She sees Tina, but not really. She hears noises surround her, and Gates appears behind her.

Puzzle pieces fall into place

The lights turn back on, and the third movie begins…Although I don’t know who starts it.

While she’s tied to a chair, the killer reveals to Maggie his snazzy Toby mask. He shows her the different masks he wears. This is actually a pretty good bit. He settles on Toby to continue his story. Maggie asks him if he is not her father, why is he doing all this. Toby reveals that he was in the theater the night of the fire. He was burned over most of his body and blames her for everything that happened to him. He gives her a demonstration of how he puts his face on. Toby tells Maggie he is going to recreate the end of Possessor as it should have been.

Mark’s Blonde makes her way out to the lobby where he is being bandaged up by Cheryl and Joannie. Blondie, I know this is not her name, but I already have too many names to keep track of, tells Mark that she saw Maggie and Toby getting friendly with each other, and they left together. Blonde’s new man comes out and it is Cheryl who takes care of business. Joannie tells Mark where Toby lives and he heads out to see what is going on.

Pee and pinatas? The Final Act

Meanwhile, in the basement, Toby wheels out a Suzanne pinata. It must have been a really tight hug, because she is in a full body cast. Toby shows his full crazy, leaving mother and daughter to catch up.

Joannie and Leon are getting the smell tabs ready, when Leon says he has to run to the bathroom. Standing at the urinal, his twin confronts him. Toby pee on Leon’s leg and locks him in the stall. Then he drops an exploding gas tablet in the toilet. When Toby returns to take care of Joannie, she proclaims her love for him, thinking she is talking to Leon. This saves her life. Toby returns to the basement ranting that he doesn’t have time to talk about love.

Now Toby, and Suzanne are behind the screen, getting ready for the live action ending of the Possessor.

Mark is at Toby’s and talks to his landlord. The landlord talks about what a horrible tenant he was. Mark finds all the articles about the theater burning down, pictures of Maggie, and he puts together who the bad guy is. It only took a few blows to the head to turn Mark into a good guy!

Toby starts to play the Possessor and begins to walk down the aisle. Cheryl and Joannie try to stop the projector as Mark tries to find a way into the theater. Toby is setting the final stage. Instead of just breaking a window, Mark scales the building.

Toby begins to act out the movie that is playing behind him. Mark is doing his best Peter Parker impersonation on the outside of the building. Here are some more similarities to Scream 2 in my opinion. The opening and the ending of the film. The audience is into it. They don’t realize this is not part of the show. Mark saves the day by ziplining with his belt, but the real hero is Mr Mosquito, who skewers Toby and lets him fly like Peter Pan around the stage.

Conclusion

Well we have come to the end of the Popcorn bucket. This little film was a box office flop. It has since become a cult classic among horror fans due to the homage to the films of William Castle. The music choices make more sense when you know the movie was actually filmed in Jamaica. And I promise, those songs will be stuck in your head for a while.

I hope you enjoyed my take, the film or ideally both. Until next time….and who knows where the Void will lead me. Check out my last post here.

Anyways, thanks for spelunking this void with us. If you’re new to the Void of Celluloid, welcome. Feel free to spelunk some other voids while you’re here and follow me on other platforms by clicking the buttons below. We post regularly and stay up to date about what’s going on in horror today, reflect on what went on yesterday, and plan for a better, horrific tomorrow. See ya next time.

Mother of the Void Presents: The Old Dark House

on October 27, 2021October 29, 2021 By motherofthevoid 1 Comment

It was my pleasure this week to watch “The Old Dark House” from 1932. This film was the first starring credited role for Boris Karloff, his work in Frankenstein only had him mentioned in the credits, as well as being the first film for movie greats Charles Laughton and Raymond Massey. Also, for those of you who are fans of James Cameron’s Titanic, it stars Gloria Stuart, aged Rose, in all her breathtaking youthful beauty. Now before I get into my probably long winded analysis, let me just say, this caused me to laugh harder than I have in a while. It is definitely a comedy horror, not the other way around. So join me, won’t you, as we spend an evening in “The Old Dark House”. You can check out my last review here.

Setting the scene

The Old Dark House - 1932 - Trailers From Hell

The film opens with the credits playing against a backdrop of a storm. Married couple Philip (Raymond Massey) and Margaret Waverton (Gloria Stuart) are precariously making their way through a storm in their very open automobile. It is not indicated at first that they are married, but the bickering between the two gives it away. This is something that translates no matter what decade a film is from. It is revealed that Penderel (Melvyn Douglas) is attempting to sleep in the backseat, and is actively ignoring the embattled couple in front of him. The witty banter between the three brought a smile to my face.

Penderel’s sarcasm and singing tries to lighten the mood in the situation, but after getting trapped by a landslide, the only way is forward, as Margaret notices lights in the distance. The three soaked travelers anxiously wait as they pound on the door of the old dark house, and when they finally are acknowledged, it is by an incoherent Morgan (Boris Karloff). He closes the door in their faces, and they hear a bell ring, before he returns to gesture them inside. Once inside, they are joined by Horace Femm (Ernest Thesiger), a very thin and effeminate man. As I mention this, let me address something about this film for a moment.

Boris Karloff and James Whale

There are a number of stereotypes, and gender role reversals in this film. For 1932, it had to be mildly shocking to see a number of the men, take on “feminane personality traits”, and to see women take charge and have control. There are also insinuations, in the conclusion of the film of affection, although not without its problems, between two of the male characters. If you have seen the film “Gods and Monsters”, there is some exploration of the relationship between Boris Karloff and James Whale, the director.

It was the making of “The Old Dark House” that brought an end to their “personal partnership” as it was referred to. I can see a direct line of homosexual stereotypes in film that can be traced back to this film. They are played for laughs, and if you can see how brave it was for these filmmakers to even allude to an alternative lifestyle in 1932, I believe you can appreciate the performances, and understand how other filmmakers would look to it as an example of how to be represented, without being shunned, through humor. As a straight woman, this is just my opinion. I hope that it does not offend. Ok….back to the film.

Back to the story…

The three travelers ask if Morgan has explained their situation, and Horace reveals that Morgan is mute, not the word he uses, but we will leave it at that. Rebecca Femm (Eva Moore), Horace’s sister, then appears, demanding to know what these strangers want. The three try to talk to her and explain, but Horace says his sister is deaf for the most part and he moves closer to her, loudly explaining that they need a place to stay because of the storm. Rebecca, angrily tells her brother that of course they cannot stay. The three begin to plead their case, with Pendrel again using humor to prove their point, causing Horace to panic that they are now trapped in the house.

Rebecca mocks her brother’s fear and his lack of religious belief, but she assures her brother that they are safe in the house. She asks Morgan if remembers a previous flood and he indicates he does through some hand gestures and a very suggestive finger placement. Horace tells the travelers that they will have to stay and it is their own misfortune that they do. The siblings both tell them they have no beds for them, but they can stay by the fire.

Philip and Penderel follow Morgan outside to move their car to shelter and bring in their bags, despite Rebecca’s protests. Horace brings out a bottle of gin, and he and Penderel discuss tramas of war, to which Penderel shows his wit yet again. Horace expresses fear again of being trapped in the house and shares that Morgan can be “an uncivilized brute”, who tends to drink on nights like this.

Fleshly Love… gross

Margaret asks Rebecca if she can go and change her wet clothes, and she takes the woman to a bedroom. After lighting candles Rebecca explains that this room was her sister’s who died. She shows disdain for her sister, who led a fast and loose lifestyle. Her words visibly frighten Margaret, and she asks for privacy so she can change.

However, Rebecca continues to carry on how her whole family was godless and she was the only one who would pray. She discloses that her father is still alive, and wicked. Rebecca accused Margaret of being wicked as well, “wriggling in the jollies of fleshly love”. Margaret continues to change, despite the old woman’s presence. Rebecca finally leaves, and Margaret has changed into a revealing silk dress. For some unknown reason, she opens the window, causing things to blow all over the room, then makes a half-hearted attempt to close it again, before crossing to a mirror and being barraged in her head by Rebecca’s unapproving words. She tries again to close the window before apparently forgetting how to open the door.

When she finally makes her way back to the group, she is greeted by Rebecca’s scream of “DINNER”. The group goes to the table as Morgan brings out a roast. Rebecca chastises Horace for not saying Grace, which he refers to as a “tribal tradition”. They begin to dish up and Horace becomes quite insistent on everyone having a potato. Rebecca is quickly eating her meal while the others pick at theirs. We get the first signs of an infatuation Morgan may have with Margaret, as he stares at her while filling her water glass.

A Knock at the door

Just then, there is a knock at the door. At first Rebecca does not want to let anyone else in, but is convinced that the newcomers should not have to wait in the storm. She and Morgan go to the door and greet the loud pair, Sir William Porterhouse and Gladys. They are not a married couple, and Penderel begins to flirt with Gladys and she readily returns the gesture. They all return to the table,and Horace continues his potato pushing.

When the meal is finished, we catch up with the crew around the fire. Penderel continues to flirt with Gladys, while cutting Sir William down at the same time. William tells his history to the group, and he explains that Gladys is actually a chorus girl..

Rebecca enters, and tells Horace that Morgan is drunk, and there is hesitation from Horace when he tells William that Morgan is the butler.

Penderel and Gladys take the opportunity to go to the stables to retrieve the whiskey that is in the car. The two have very good chemistry, and they pop open the bottle and stay in the stable.

What’s at the top of the stairs?

Back in the house, the lights have gone out, and when William asks if they have a lamp, Horace is too frightened to go and get the lamp that is on the top landing. Rebecca accuses him of being too afraid to go up on his own. She sends Philip with him and with much hesitation, Horace leads the way.

When they reach Horace’s room, he begins to make excuses so they don’t have to go get the lamp. They suddenly hear what sounds like a high pitched laugh coming from up the stairs. Horace sends Philip up the stairs by himself, as he hides in his room. Philip comes to a door, which he listens at briefly before continuing up the stairs. When he gets to the landing, he sees the lamp, but also sees a padlock on the door ahead of him, and a tray with half eaten food on the table.

Downstairs, Rebecca comes rushing in, yelling at Margaret to come and shut the window she opened, and William volunteers to do so, following Rebecca down the hall and leaving her alone in the main room. Margaret begins playing her shadow on the wall and her imagination gets the best of her. She screams and goes to the door, opening it, calling for the lovebirds in the stables. As she waits for a reply, we see a hand over her head, closing the door in front of her. A very drunk Morgan begins to make advances on her. He chases her around the room, turning over the table, and chases her up the stairs. Philip and Margaret meet on the stairs, and she tells him what has happened. He and Morgan fight and he hits him with the lamp, knocking Morgan down the stairs.

The lovebirds

Philip explains that he heard a strange voice upstairs and asks Margaret to come and check it out with him. On the way up the stairs, Margaret is overcome with what has just happened and she and Philip take a rest for a bit. Understandable. This also gives us a chance to check up on the lovebirds.

In the stable, Penderel and Gladys are getting to know each other while sitting in the back of the car. They are having one of those chats. You know those chats, when you learn everything you need to know about a person in a matter of minutes; one of you is a war veteran, the other is a woman who hangs out with a guy because he gives her money. Gladys explains she is only with William to give him company; he doesn’t expect anything from her. Of course, this conversation has made them fall in love and after this short amount of time. They are ready to move in together, at her suggestion and Penderel has to hint that he is ready to propose.

Gladys wants to stay in the car, but Penderel convinces her to go back inside. He very awkwardly carries her back to the house. He pounds on the door to wake a sleeping and annoyed William. Gladys breaks the news to him that she has fallen in love and will no longer be with him. He gives his reluctant blessing, and Penderel tells him he is planning on proposing. The three of them clean up the mess Morgan made downstairs.

Back to the house

Why there's more going on in The Old Dark House than you might think | BFI

The Wavertons have recovered and head up to the bedroom containing Rebecca and Horance’s father, Rodrick. Even though the role was credited to a man, it was played by a woman, Elspeth Dudgeon. This continues the effeminate traits of the males in this family. Rodrick explains that the locked door contains his other son, Saul, who is insane and wants to burn down the house. They have kept Morgan on as the butler because he is the only one who can handle Saul.

Philip goes down to check on Morgan, who is no longer on the stairs. Horace emerges from his room to tell Phillip that Morgan has gone upstairs to let Saul out of his room. Margaret and Philip lock Rodrick’s room to keep him safe. Then, they go downstairs to inform the others what is going on.

Rebecca has joined the others to be informed that Saul is out of his room. Morgan descends the stairs as she begs him to take Saul back to his room. Morgan makes a beeline for Margaret as the men fight to take him into the kitchen to lock him up. The three younger men struggle with him as a high pitched laugh is heard. Penderel returns to the main room and convinces Gladys and Margaret to hide in an adjoining room.

Pretty, pretty Penderel

Penderel waits at the bottom of the stair, as Saul, a very slight man comes down. He tells him that he has been locked up because he knows that Rebecca and Horace killed their sister and that Morgan beats him. Penderel tries to open the front door, but it is locked. Saul’s madness begins to show. He finds a knife on the floor and Penderel tries to stall, concealing the women in the closet.

Saul reveals he knows all about flames and fire. While he is speaking, Penderel tries to escape to get a weapon. Saul stops him and Saul tells Penderel that he wants to kill him. He tells Saul that he likes him and asks if Saul likes him as well. Saul says he loves him. Boy, Penderel is a popular fella! It is then that he starts to quote the bible and explaining why he has to kill Penderel. Penderel distracts Saul and tries to escape and he is knocked unconscious.

Saul takes the opportunity to set the upstairs curtains on fire, as he gleefully laughs. When Penderel comes to, he goes upstairs, and fights with him, ending with both men falling from the second floor. In the meantime, Philip and William are trying to break down the door to the main room, which Rebecca locked, and the women are anxiously waiting for the coast to be clear.

Morgan’s Escape

Morgan breaks out of his makeshift prison and opens the door for Gladys and Margaret. They both scream as they see Morgan in the door. Gladys tries to get around Morgan to go to Penderel. He twists her shoulder while glaring at Margaret, causing Gladys to pass out. Margaret pleads with Morgan to let her help both men, including Saul. It is with the mention of Saul’s name that Morgan rushes to the man.

He throws off Penderel, who has landed on top of Saul and lifts him up, cradling him in his arms as Morgan’s lips briefly rest on Saul’s forehead. Morgan begins to cry as he realizes that Saul is dead. He looks lost as he gently carries Saul back up the stairs. Philip and William enter the room to comfort the women. Gladys goes over to Penderel, and cradles him in almost the same way as Morgan had Saul. With tears of joy she announces that Penderel is alive. This is the last we see of Morgan.

Morning has arrived and Horace comes down stairs telling them that they can go now and get an ambulance. Margaret and Philip leave to get help and the movie ends with Penderel proposing to Gladys as William snores in the background.

Ahead of its time

Considering this film was made in 1932, it was very progressive with its views on religion, morality and homosexualtiy. I knew nothing about this film prior to watching it, and it really took me by surprise. I had seen the film I mentioned earlier, “Gods and Monsters”, but forgot about the relationship between Boris Karloff and James Whale. In my defense it has been many, many years since I had watched it. While some of the subject matter is dark, it is never ok to chase a woman around a table, it was a rather light hearted film. I loved the bickering between the married couple in the beginning, and Penderel was probably my favorite character, even if he did move rather quickly in his personal life.

Karloff did as well as could be expected, only having his facial expressions, body language and a few grunts to work with. It is worth an hour of your time to check out this classic. If nothing else, it will confirm your suspicion that in Titanic, young Rose looked nothing like her portrait.

Cat People: A Mother of the Void Review

on October 6, 2021October 7, 2021 By motherofthevoid 2 Comments

This week the Void has assigned me 1942’s “Cat People.” I am going to try not to read too much into the fact this film, at its core, is about sexual repression. If you need an introduction, check out my last review on The Black Cat.

Cat People: Irena and Oliver’s Introduction

CAT PEOPLE (1942) | One Perfect Shot Database

The film opens in New York City’s Central Park Zoo where an attractive young woman is unsuccessfully trying to sketch the panthers. With disgust at her efforts, she rips a page from her notebook and attempts a 3 pointer at the trash can across the way. An equally attractive young man is standing beside the trash receptacle at a food cart. He picks up the discarded attempt and point to a sign that reads, “Let know one say, and say it to your shame, that all was beauty here until you came.” He succeeds in gently throwing the paper into the can, garnering an approving nod from the artist.

Oliver, a young ship’s engineer, designing not running, sees this as his in to approach Irena. She disagrees with him that she is an artist, she works in the fashion industry and a sketch drawer. Irena rips and throws her latest attempt to the ground, prompting Oliver to quote the littering condemnation again. Irena ignores his flirtation and begins to put away her supplies, readying herself to leave. They engage in unheard small talk, as they leave the area. Irena’s discarded sketch blows in the wind and turns to reveal a crude drawing of a leopard impaled by a sword. Now to all you young men out there, let this be a lesson, just because a woman has pretty face, that doesn’t mean she is not a littering, wanna be animal abuser. Just saying…

Oliver and Irena walk towards her apartment, where she reveals she is from Serbia. He asks her to spell her name for him and coyishly replies, “Are you going to write me a letter?” Oliver says he would and in the letter, he would invite her to tea. Irena side eyes him and playfully shakes her head no. They arrive at Irena’s house, where she brazenly invites him up to her apartment for tea. Don’t forget that this is 1942, and this litterbug has invited a man she just met up to her apartment alone. She is dangerous I tell you! How dare she?! Upon Irena asking him for tea, Oliver replies, “You make life so simple.” I can only imagine what the audience at this time must have been thinking.

My first thought was, what is another word for simple? EASY! Did he just call her easy? Well I can only assume that a woman who did such a thing in this time period would have been thought of as that. Oliver begins to follow Irena up the stairs where he stops for a moment to say, “You know, I never cease to marvel at what lies behind a brownstone front.” Good thing to remember….that whole book and cover thing. Irena admits that she has never had anyone in her apartment, and then immediately put poor Oliver in the “Friend Zone.” After letting Oliver into her apartment, he make a satisfied sound as he breaths in deep. Irena identified the pleasing smell at Lilage, her perfume. Oliver describes the scent at “alive”…can you say pheromones?! It appears that Oliver will not be in the FZ for very long.

Publicity stills of the original Cat People!

Irena and the Cats and Alice’s Introduction

To show the passage of time, the apartment is now dark, and Oliver has made himself at home, laying on Irena’s couch as she leans up against the wall softly humming. The loud sound of roaring interrupts her song. Irena explains that this is the lions for the zoo. She says that she finds this sound comforting, like the ocean. Some nights, she state a different sound creeps in. That of the panther, which sounds like a woman screaming, which she does not like. Oliver lights a cigarette, in which its glow shows how dark it has become. She turns on the light and shares how she loves the dark. As Irena clears the tea service, Oliver notices a statue on a table. Irena identifies it as King John, and of course, in Oliver’s eyes, there is only one King John, the English King.

She corrects his with a laugh and tells the story of the Serbian King John, and how he save the people from the “Evil Ways” to which they had fallen. Irena explains how the Mamelukes came to Serbia and made the people slaves. The slave were first “good and worshipped God in a true Christian way.” Slowly the people changes, and in her village, when the Serbian’s were liberated by King John, he found that the people were bowing down to Satan. They had become evil. King John killed all but the “wisest and most wicked” were killed. The worst of the worst escaped into the mountains. Unsure of how this pertains to Irena, Oliver presses further. Irena, head tilted downward in shame, explains that the legends of these wicked one haunt where is was born.

The clock strikes six and Oliver realizes he has stayed too long. He askes to see Irena the next day for dinner. Here we see Oliver, descending the stairs, and out of the friend zone, as he continues to stop and look up at Irena who is playfully smiling at him as she leans over the balcony.

Now we are at Oliver’s work, where we see men looking over blue print. The sound of a small meow, can be heard, and Alice, one of two women seen in the scene (the other is a receptionist, way in the background), goes to Oliver’s desk where he has a kitten in a box. Alice fawns over the sweet little Siamese cat, and he says he bought her for a friend. Alice enquires about this friend and if she knows her. Oliver says she doesn’t but she will like her. Alice says, cheerfully, but with a slightly tight jaw, “Well if you like her, then she will be alright with me.” I see you Alice, and have been there plenty of times in my life. Talk about being friend zoned.

Oliver is shown outside Irena’s door, box under his arm and his coat showing signs of a downpour. He rings the door bell and happily shows Irena her present. Irena is obviously not pleased, and the kitten is hissing and terrified. She states that cats don’t like her, while Oliver doesn’t listen, and only goes on to share how great Alice and the kitten got along. Irena repeats her declaration about cats, and asks if they could take it back to the pet store and exchange it for another animal.

The two of them go to the pet store in the rain, and upon entering the store, all the animals start to freak out and create so much noise that the two of them and the store owner have to go outside to hear each other. Irena states she would rather stay outside, while Oliver goes in and picks out a canary. The store owner goes on to explain how the animals can tell when someone is not a good person, especially cats. Oliver, plays with the kittens and ignores the woman’s observations. Irena approves of the canary from the window.

The wedding and its lack of copulation

We now see Oliver asleep on the couch at Irena’s apartment, while she sits on the floor beside him, the fire reflecting off of their faces. Oliver wakes up and asks Irena if she loves him, and she affirms, not with a yes, but an mhm. Oliver confesses his love for her, but he wonders at the fact that he has never kissed her. Irena confesses that she has dreaded this upcoming conversation. She tried to stay away from love and never meant to love him. Oliver, in his very American way states that she has nothing to be afraid of, that she is in America now, and she is normal because she loves a normal American like him. He gives her a very half assed proposal, and they embrace, with Oliver softly resting his lips on the back of her head.

Well despite never kissing, and I wonder how they got around that during the whole, “You may now kiss the bride” business in the ceremony, we are at Oliver and Irena’s reception. Of course nothing says wedding reception like three cooked cow heads in the window of the only Serbian restaurant in the area. How romantic. Watch out Void, when the day comes for your wedding, I have a theme in mind. Irena and Oliver are surrounded by Oliver’s coworkers. The Commodore, Oliver’s boss, leans in towards Alice, who is sitting next to Irena, remarking to her about the bride’s beauty but he hears she is a bit “odd”. Alice, the ever loyal friend of Oliver, defends his choice in bride and is optimistic about their future.

The Commodore then stand and raises his glass to toast the bride, (thanks to Hamilton, every time I hears someone say , “To the Bride”, I start singing to myself…). The commotion of the toast draws the attention of a beautiful woman who is seated across the restaurant. The pervy Commodore, as I wrote in my notes, sees her and comments on how she is “something.”, and Doc, their coworker, remarks she looks like a cat. As Irena is thanking Alice for putting together the party, the mysterious woman walks up to the party’s table and greats Irena in Serbian as “Sister”, causing Irena much distress. Oliver just laughs it off.

As Oliver and Irena are dropped off outside their apartment, Irena tells Oliver that she is going to beg him to be “kind and patient”, when it comes to being intimate. I mean it was 1942, and they didn’t come right out and say that, but we get the idea. Oliver assures her that he will give her all the time she needs. I found myself rolling my eyes at this and scoffing. Sure, he will. Between this and last week’s movie, I am beginning to think not a lot of action happened during the honeymoons of the 30’s and 40’s.

The newly married couple go into their apartment, with Irena in her bedroom behind a closed door and Oliver on the other side. He tells her goodnight, as she slowing falls to her knees. Her resolved falters as she tentatively reaches for the doorknob, but the menacing sound of a cat yowling, causes her to pull her hand back. They sadly tell each other goodnight and it fades to black.

Madness Behind the Beauty

We next see Irena a month later, at the panther’s cage, visiting the zookeeper. He makes the observation that no one who is happy comes to see the panther. Irena remarks on his beauty and the keeper, rebukes her, stating he isn’t beautiful, he is evil. He then quotes Revelations, where it is states the worst beast is like unto a leopard. “Like a leopard, but not a leopard. I guess that fits this feller,” and Irena sadly agrees.

Irena is working in her office, and the imagery sets up a beautiful scene and metaphor. She has a painted screen of a panther behind her easel where she is working. The reflection of the bird cage Oliver gave her surrounds the panther’s head. It is a wonderful representation of Irena being caged up. Who she truly is, locked away. Irena wants to hold the canary. However, when she tries to catch him in its cage, she frightens it to death. The deep sadness on her face is heartbreaking, but it is also apparent that it is nothing new to her.

CAT PEOPLE (1942, Dir. Jacques Tourneur) – Booker's Guides

She gently places it in a box and goes for a walk to the panther’s cage. Then she THROWS THE DEAD BIRD INTO ITS CAGE! I know there were no signs stating don’t feed the animals, but just because a sign is not there, doesn’t mean it is right. But what do you expect for a person who won’t even follow eloquent signs about not littering?

Later that evening, Oliver teases Irena about mourning the bird. She explains to him that it is more than that. That she is jealous of other women. Women who can live full and happy lives with their husbands. Oliver remains dismissive of her feelings. He admits that he has been trying to “kid her out of it”, these ideas she has about her past and herself. He convinces her that she needs to see a psychiatrist, and she readily agrees.

We see Irena under hypnosis, talking about the evil that is in her. Upon waking, she states she knows nothing, but Dr. Judd, assures her he has everything written down. He lays all her fears out, and basically says, this will be a piece of cake, and she just has daddy issues that steam from her childhood. He tells her not to worry, and she is to tell her husband nothing. Irena returns home and finds Oliver and Alice on the couch. It is revealed that Alice is the one that recommended Dr. Judd to Oliver and that he had told Alice everything. Irena shows visible betrayal and dismisses Alice despite her apology. Oliver defends confiding in Alice and calls her a “good egg”, who understands anything. Irena replies, “There are somethings that a woman doesn’t want other women to understand.”

Irena retreats to bed, and wakes to what could almost be a siren’s call from the panther. She goes to his cage and their pacing matches each other. When she returns home, Oliver is waiting for her in the lobby. He again apologizes for betraying her trust. She gives him a warning to keep her happy, because that is what keeps what is inside her locked away and harmless. He tells her he would do basically anything to make her happy. Anyway……

Alice and Oliver v. Irena

More time passes and Oliver is a few more months into his sexless marriage. He and Alice are working on plans for a ship. Alice points out that Oliver keeps giving her wrong figures and that they should take a break. She asks him if anything is wrong, and he keeps his word to his wife and says no. Then Alice astutely remarks, “It must be marriage.” Well, this opens up the flood gates.

Oliver confides his worry about Irena and that he ran into Dr. Judd who confirmed she hadn’t been back to see him since the first time she came to his office. This ladies and gentlemen is why we now have HIPPA laws! Alice shares her confusion, since Irena wanted to be cured so badly. Alice acknowledges that this must make Oliver very unhappy. He then goes on a small monologue of how he had never been unhappy before in his life, and then he got married. This causes Alice to start crying, catching Oliver by surprise.

He pulls her behinds some filing cabinets, where Alice admits she can’t bare to see him unhappy because she loves him. She apologizes for her confession and acknowledges that Oliver loves Irena. He replies, “I don’t know.” He admits that he doesn’t know what love is and he has no idea if he is really in love with Irena or not. Well Alice see this opportunity to give ole Ollie a lesson on love. She explains that what the two of them have is love. Alice sees her shot and she takes it. She plants a seed in his head that there is something better for him, waiting, standing right in front of him. Opportunistic bitch! Oh, sorry, did I say that out loud.

We find Irena back at the panther cage, where the zoo keeper has left the key in the lock of the cage. She returns it to him, where it is established that he forgets it often. She is then greeted by Dr. Judd, who has sought her out to enquire why she missed her appointment. Irena states that she doesn’t believe he an help her because she feel the Doctor thinks it is her mind , not her soul that is troubled, and the two are not the same thing. She dismisses him and leaves. We next find the unhappy couple in their apartment, where Oliver verbalizes his worry about their relationship.

Irena says she loves him, but he doesn’t return the sentiment, he just states he feels they are drifting apart. He confronts Irena about not going back to Dr Judd, and lets it slip that he confided in Alice. This sends Irena into a quiet rage, and the ‘Fuuuuucccckk’ look on Oliver’s face is almost comical. He tells her he did promise they would not fight and they need to calm down. As we all know that is exactly what you say to your wife after you admit that you are confiding in another woman she specifically asked you not to. We all know that “calm down” is part of every woman’s love language.

They then quickly retreats to the office, with no reply from her. When he arrives at the office her tells the cleaning lady he is going to a restaurant around the corner. It is here the waitress, who is a woman of color, has on a very unfortunate uniform. Lets all just sigh, shake our heads and remember what idiots society was in the past. We cut to Alice, working alone in the office. The phone rings, and she picks it up, but there is no answer. When she hangs up, it shows that Irena was on the other side of the line. Now even the most level headed person would be seeing red. Not to mention someone who believe they turn into a panther when provoked to jealousy, lust or rage. Nice kitty!

Alice bids adieu and other horror history In Cat People

Alice turns off her light table. As she leaves the building, the cleaning lady tells her that Oliver is at the diner around the corner. She joins Oliver at his table. Irena, who is walking in the neighborhood, sees the two of them through the window of the diner. What she doesn’t see is Alice telling Oliver he needs to solve his own problems and encourages him to go home and make up with his wife. Oliver calls her “swell” and Alice delivers my favorite line in the film, “That’s what makes me dangerous. I am the new type of other woman.” Irena retreats as the two exit the diner and Oliver asks Alice if she is cold, to which she replies, “ A cat just walked over my grave.” Oliver offers to walk her home, but she declines, stating she is a “big girl now” and goes on alone.

Val Lewton's, CAT PEOPLE – Once upon a screen…

What follows in the most famous scene from the film as well as in horror movie history. Alice is walking along the sidewalk, crossing under streetlamps as she goes. We hear the sound of her heels clicking on the concrete and the sound of Irena’s echoing behind. The sound of the companion footfalls is not what startles Alice, it the sudden lack of them that causes her alarm. She starts to look over her shoulder, hurrying down the street faster. She stops under a streetlight as a growl is heard. It is quickly followed by the sound of a bus pulling up in front of Alice. This is said to be the first jump scare in horror movie history. We expect one thing to happen and something else happens, seemingly out of nowhere.

Tragedy Has Struck

Two whole pages went MIA. Sorry guys. However, I really enjoyed this movie and cannot recommend it more. It truly is classic horror.

Conclusion on cat People by the Void

Well, it seems as if the Mother of the Void enjoyed Cat People quite a bit, it was fun to find an older horror that I had seen and she hadn’t. I promise nothing rude/call-out-y from the subtext, just thought you would find it interesting, especially having Irena as a tragic character. The next one Mother of the Void will be doing is the classic 1960 film Eyes Without a Face (Les Yeux Sans Visage), a very interesting, very French horror drama. I’m very excited to read her review/summary of that one. Anyways, come back this Friday for the second installment of the 31 Days of Horror, paired with food, drinks and double features. We look forward to seeing you later on The Void of Celluloid.