Wednesday, October 31, 2018

The Long Dark Marathon of the Soul 2018: Phenomena (1985), directed by Dario Argento

And another one Bites Za Dusto. You know this blog has been around for 5 years now and every year I think that this is going to be the time when I close up shop for good, and yet I keep pressing on. I don't know if it's determination or a paralyzing fear of what I would do with my time without it, but whatever the case it does give me an excuse to try out new things, and that's a crux of the human experience, right? I dunno. Anyway, I hope that you enjoyed the list this year, I hope that I gave you an excuse to try out something new as well, and I hope you join me again next year for another 31 days of scares and spoops. See ya then!


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       The last time we saw a film by Dario Argento on the Marathon (Tenebrae, back in Marathon ‘14), I started off the article by dedicating entire first paragraph to insulting the country of Italy. In retrospect this was probably not the best foot to start off on, but I suppose I did it because I feel a kinship with that Mediterranean boot. Both Italy and my country of of origin are nation stitched together by bloody conflict, after all. Both have an issues between the northern and southern halves. Both are plagued by fascists. Both love cheese. When I pointed a finger at Italy I was really pointing a finger at myself, as a first student psychology major would say. So to make it up to Italians everywhere it seems only right that 4 years after the first proper Long Dark Marathon of the Soul, 4 years after Tenebrae, that we return to the works of Mr. Agento with an older, potentially wiser eye. And yeah I could have done that with everyone on the ‘14 list but I didn’t feel like it.

       It’s once upon a time, as these stories go, and Ms. Clocktower herself Jennifer Corvino (played by Rocketeer actress Jennifer Connelly), daughter of the actor Paul Corvino, is being shipped to the Richard Wagner International School for Girls located near Zurich. This place, colloquially known as the ‘Swiss Transylvania’ for the eerie winds that come down from the Alps, has been terrorized by a mysterious serial killer who seems to only target teenage girls. Which doesn’t really bother Jennifer all that much, until during a strange sleepwalking session she happens to stumble across a murder taking place. She’s also not sure if the murderer, whoever they are, ended up seeing her that night, which isn’t the best position you want to be in when it comes to serial killers. But what can she, a young girl in a foreign land, possibly do? And where does her bizarre affinity with insects fit into it?

       Phenomena, is a giallo film, a term which in this neck of woods (ie wikipedia) refers to a particular type of thriller (with elements of horror and eroticism to taste) film that evolved out of cheap pulp magazines popular in Italy in the post-war period, much in the same way as film noir in the U.S. has its origins in the stories of Mickey Spillane and Raymond Chandler. Jumping onto the film scene as far back as 1963, giallo could be considered to be an ancestor of the slasher genre, and much like slasher movies dominated the 70s and 80s before collapsing. Much in the same way as the arc of Dario Argento’s career if we’re being brutally honest, which began in the 60s, exploded in the 70s (1970 was the year of his directorial debut, to be precise), and in modern times is commonly associated with poorly made dreck.

       By 1985 Argento was around the tail end of his Golden Age, but in Phenomena you can see the elements of what made him popular. The bizarre and grotesque imagery, clear and concise editing, the beautiful scenery, expert shots and of course all of that over-the-top violence. While not as visually impressive as his film Suspiria (from what I’ve seen of Suspiria anyway), you still see in Phenomena a film that’s a cut above many of its peers in terms of cinematography. Which may not seem all that impressive on paper, but we’ve all seen movies, especially horror movies, where much of the time is spent trying to figure out what the hell is happening on screen. Simple and clean.

       As I said Jennifer Connelly is the star, her first starring role in only her second film. She does a pretty okay job for a 15 year old, although she does seem a bit wooden at times, whether from the direction, the language barrier or her inexperience it’s hard to tell. We’ve also got Donald Pleasence to take a break from doing Halloween movies to do some stuff here. He puts on a good performance as you’d expect, although ultimately doesn’t really get to do much, which seems a bit of waste. Everyone else I can’t really speak much about, although we do have longtime Argento actress/girlfriend Daria Nicolodi as the teacher Frau Bruckner, who does so little for so long in the film that I’m almost certain you don’t actually hear her name spoken aloud until the last 25 minutes, and even then only once. When she actually gets a chance to speak she’s one of the more expressive members of the cast, and that includes the ones being stabbed by a javelin.

       The problem I arrive at, however, is the same one I faced when it came to Tenebrae: it’s too silly. Giallo, from what little I’ve been exposed to is a film style built on big emotions, but Argento here seems to have taken melodrama and pushed it into the realms of absurdity. What starts out as a relatively normal mystery-thriller with slight supernatural elements and then gets increasingly more bizarre and chaotic, to the point where the climax of the film seems feels so random that it feels like it’s from another movie. No to mention all the odd character behavior, the assistant chimpanzees, the out-of-nowhere claim that insects have ESP, it’s such an overload that a sense of drama is lost. I mean if things are just going to happen with no explanation then you can’t really invest yourself in it, you’re just kind of stuck on a haunted house ride that doesn’t quite have enough material to last the time it takes to experience. Not that I could really empathize with a 15 year old rich daughter of a movie star with psychic bug powers anyway, but you get the idea.

       The eclecticism seems to have affected the music as well. We of course have Goblin, mainstays of film soundtracks, as well as cameos by Iron Maiden and Motorhead, and despite it being good heavy stuff it also lacks nuance. That pulse-pounding, heavy prog rock is perfect during the scenes where the killer is tracking their victims, but then they also have scenes where they’ve got a blazing Iron Maiden playing over Jennifer fiddling over a doorknob. Constantly. Compare it to the soundtrack work of people like John Carpenter, subtle and yet often iconic, and Phenomena feels like the audio equivalent of a drunk bull in a china shop. Heavy, but lacks nuance.

       Generally speaking though, Phenomena does its job of keeping you more or less entertained the entire way through, so I’m going it the thumbs-up for recommendation. It’s weird and silly, but weird and silly is what 80’s horror movies were built on, and at the very least Phenomena looks good while doing it. So if you were a fan of The Believers or Sleepaway Camp that we covered previously on this list then there is probably going to be something you like here. Grab some friends, grab some snacks and the movie and have yourself a fun time.


HAPPY HALLOWEEN!

The Long Dark Marathon of the Soul 2014: Nosferatu: Phantom der Nacht (1979), directed by Werner Herzog

     
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     Out of all the monsters on this list, all the aliens and zombies and lovecraftian horrors, there is one creature who stands above them all as the absolute king of the creeps: Dracula. Often based on the historical figure Vlad III or ‘Vlad the Impaler’, the infamously brutal ruler of Wallachia in what is now known as Romania, the king of the shadows first appeared as the antagonist in Bram Stoker’s 1897 novel Dracula. Even though Stoker’s novel was not the first to feature vampires, nor was it all that successful when it was released, Dracula has gone on to become of the most significant pieces of horror literature of all time, and the Count has been propelled into pop culture stardom. And all without sparkling in the sun like some kind of asshole.

      Although the Dracula novel is obviously quite important, there’s no doubt that a lot of the popularity for the character came through film. The 1931 Universal Dracula starring Bela Lugosi is by far the most iconic form of the famous vampire with the 1958 Hammer Films Dracula starring Christopher Lee coming close behind, and he’s been in hundreds of movies ever since, including one that came out recently known as Dracula Untold, which has been rumoured to be the beginning of a monster equivalent of the Marvel Cinematic Universe (not sure how that would work, but whatever). With all these movies, there are so many different iterations of Dracula that films that address the original story are probably in the minority. So in the spirit of Halloween, I’ve decided to honor everyone’s favorite corpse by making the last film on my Long Dark Marathon of the Soul one all about Count Dracula.  Because why the hell not?

      Directed by Werner Herzog (Fitzcarraldo, Grizzly Man), Nosferatu: Phantom der Nacht comprises the entirety of Herzog’s feature-length foray into the horror genre. Though several things are altered from the original book (the film takes places in Wismar, Germany rather than London, Harker’s wife is now Lucy rather Mina and there are no ‘Brides’), the basic premise is the same: Jonathan Harker is sent by his employer to Transylvania to meet one Count Dracula (Herzog regular Klaus Kinski, whose design in the film closely resembles that of Max Schreck in the 1922 silent film Nosferatu), who is looking to purchase a house in the area. While there, Jon and Dracula have several incredibly awkward conversations about the night and the inevitable passage of time, and Jon suspects that this deathly pale man with long claws and a bat face might in fact be das vampyr. Jon’s suspicion turns to fear when Dracula discovers a picture of Lucy and becomes enraptured by her beauty, which is not the kind of attitude you want for a guy who lives next to your wife. He tries to escape but fails, and Dracula makes his way to Wismar. How will Lucy and Jon contend with the forces at the night nipping at their heels? Will Dracula feast upon the blood of the living? That’s for fate to decide.

      There are some interesting twists to the Dracula story here in Phantom der Nacht. Kinski’s portrayal of the vampire as a monstrous, miserable wretch rather than a suave seductor is a nice change of pace. Vampirism is supposed to be a horrible curse after all, not ‘free super powers and immortality at the cost of a tan’, and if people wanted to bang corpses so much they should go to the morgue. I also found that it interesting that about halfway through the movie Lucy becomes the protagonist, rather than Jon. Lucy is the one that Dracula wants to bang after all, so if anyone would have an issue here it would be her, but it’s a nice change of pace when you see the woman in a vampire movie that isn’t a damsel in distress or a vampire herself. Definitely one of the more dour movies on the list, and I can’t tell if it’s because of all the dead people or because it’s directed by Werner Herzog. Probably Herzog.

      Are you a big vampire fan? Do you have an unhealthy obsession with Germany or the German people? Then why not put on Nosferatu: Phantom der Nacht on your television/computer screen this Halloween. It won’t make you scream in fright, but it will make you have long bouts of introspection on the nature of life and love, and isn’t exploring one’s feelings something which all men fear?

     There you have it, 31 movies that I watched this October, and perhaps some you might want to watch as well. For those who did read through all this crap, I hope you found some movies that you really enjoy. For those who didn’t, it’s pretty weird that you would read the last paragraph in a multi-page list and skip the list itself. But before we go, there were a couple of films I tried out for the marathon, but they were just too damn bad to go the next round:

The Hills Have Eyes (1977), directed by Wes Craven

 The Texas Chainsaw Massacre earned its place in horror movie history for its incredibly visual imagery and disturbing atmosphere, so it’s only natural that the crop of imitation films that came after it would try and copy that. Films like The Hills Have Eyes, which replaces a backwoods hick family with a backwoods hick family, essentially a lateral change, and still manages to fuck it up. No likable characters on either side, crappy story, unimpressive action, and a dog with a higher body count than the murderous hillbillies. Good thing Craven went on to do Nightmare on Elm Street, because sitting through this crap was a chore.

Godzilla vs King Ghidorah (1991), directed by Kazuki Ohmori

 I love Godzilla. I’ve loved Godzilla ever since I was a kid. I own almost every Godzilla movie (including the ‘98 Tristar film), I’ve watched the animated series, read the comics, played the video games, owned the action figures, etc. etc. I got that Godzilla shit on lock down. But HOLY SHIT is this movie a pain in the ass. Getting to see the 90’s badass Godzilla fight his greatest enemy? Awesome. Sitting through the hour or so of confusing time travel bullshit that makes no fucking sense at any point to get to that fight? Not awesome and frankly not worth the effort for those few minutes of greatness. There are better Godzilla movies out there.

Flesh for Frankenstein (1972), directed by Paul Morrissey

Produced by famous artist Andy ‘Soup Can’ Warhol, Flesh for Frankenstein is the shitty movie that high-minded art snobs have been waiting for. In the film, Baron Frankenstein is a fascistic Czech nationalist living with his sexpot sister/wife (who looks like a goddamn lizard person) and his two creepy mute kids in some castle presumably in Czechoslovakia. Frankenstein is an ardent believer in the idea that pure Czechs a descendent from the Ancient Greeks, and he plans to use his power to create a master race that will eventually dominate the world (sound familiar?). Bad acting, bad accents, unlikable characters, and Frankenstein fucks a corpse in the gallbladder. No amount of ultraviolence can stop this shambling trainwreck of a movie from pulling in to shit station, and good fucking riddance to bad rubbish.







Happy Halloween!

The Long Dark Marathon of the Soul 2014: Videodrome (1983), directed by David Cronenberg

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     We’ve covered Terry Gilliam, and we’ve done David Lynch, so now it’s time to give a little love for one of the weirdest directors to ever have a lasting career in Hollywood: David Cronenberg. Cronenberg is of course most famous for popularizing the concept of body horror (a subgenre that involves disturbingly graphic mutations of the human body) as a film genre, in films such as his remake of 50’s cult ‘classic’ The Fly and his adaptation of William S. Burroughs’ classic novel Naked Lunch. In more modern times ol’ Dave has stepped away from the body-bending that made him famous to tackle more serious drama, A History of Violence, etc. While I’m sure those films are quite interesting (I’ve heard good things about Cosmopolis), I have to wonder whether he would ever consider dipping into the well of insanity to pull out another legit horror movie. A movie like Videodrome.

      In a world not entirely unlike our own, television is taken super serial. Max Renn (James Woods) is the owner of Channel 83 or Civic TV, a cable network that has become infamous for its risque programming, heavy emphasis on softcore porn and extreme violence. One day Max’s tv pirates intercept a strange program that features incredibly realistic scenes of torture, which goes by the name of Videodrome. Max is sure that Videodrome is going to be the next big hit for his controversial Channel 83, all he needs is to do is buy the broadcast rights from whomever owns it. The deeper down the rabbit hole Max goes, however, the more mysteries that pop up. Is Videodrome just torture porn for people like Max and his girlfriend Nicki Brand (Blondie’s Debbie Harry) to get off to, or does it carry a more sinister purpose? Who are its owners, and what is their ultimate goal? And what is the deal with the hallucinations and crazy TV cults? All this and more when you decide to watch David Cronenberg’s Videodrome. Just don’t stand so close to the screen, okay? 

      In this brave new world of the 21st century, where endless violence and sex is a google search away, Videodrome might not as relatable to movie audiences as it was in the early 80s. Still, it has all the ultraviolence, deviant sexuality and disgusting mutations  that I’ve come to expect from Cronenberg’s body horror films, and seeing all the crazy shit that special effects could do back then is fascinating to me. The major thing that Videodrome lacks in my opinion is coherency, which was also a problem for Tetsuo: The Iron Man. After a certain point, all attempts at narrative seem to been pushed aside in favour of gross gun hands and sticking hands in James Wood’s hole. Which is fine, I love gross gun hands, but the ending was one of those ‘that was the ending?’ type of thing, and I don’t know if I would have had that same reaction if I knew what the fuck was going on or why people were doing the things they were. If your tastes in horror lean towards the weird and inexplicable, you might want to try out some Videodrome this Halloween.

The Long Dark Marathon of the Soul 2014: Cube (1997), directed by Vincenzo Natali

     The Trailer
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     Yeah, vampires are scary, and zombies aren’t very nice, but there’s one thing that puts every movie monster in the world to shame: humans. As scary as those monsters can be, they are still fictional after all, and humans are more or less real. The fear of our fellow man has guided the development of the whole of civilization, caused wars, lead to racism, classism and has shaped our pop culture accordingly. Look at how money money has been made on the true crime and slasher genres, which is based entirely around the premise of people killing other people. Sure, if you go around thinking everyone around is trying to murder you at all times you’re either a severe paranoiac or a Republican, but if the idea wasn’t at least somewhat believable than it wouldn’t be successful. Who knows what people are capable of when pushed to their limits?

      The premise of Cube is a simplistic but highly effective one. 7 people awake to find themselves in strange color coded rooms, with no memory of how they ended up there. Each wall of each room has hatches that enter into other rooms, which also open into other rooms, forming a gigantic, constantly shifting cube. Not only that, but some of the rooms are rigged with various deadly traps, which ensure an instant and painful death for whatever poor bastard happens to stumble into it. Who put these people in this fantastical death trap? What horrible crime could they have done that would warrant such a punishment? None of that matters. The only hope these prisoners have to avoid a slow, painful death by starvation and dehydration is to band together and escape the cube, and they’ll soon find out that this is going to be harder than anyone ever thought.

      I don’t want to seem like I’m blowing smoke up Vincenzo Natali’s ass, but Cube is an amazingly effective horror/thriller film. The atmosphere of this film is fantastic, with a level of tension that builds and builds until it becomes almost suffocating. There is no outside force, no Jason Voorhees or Freddy Krueger waiting to kill everyone except the hot chick so that we as an audience can direct our fear towards some monstrous creature. It’s a couple of people locked in a room (in a sense) , and it’s one of the most of the most suspenseful films I’ve seen in a while. If that’s not a recommendation to place Cube in your Halloween watch queue, I don’t know what is.

The Long Dark Marathon of the Soul 2014: Tetsuo: The Iron Man (1989), directed by Shinya Tsukamoto

     
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     We’ve seen movies from several countries so far over the course of this list. The U.S. of course, Italy and Sweden, but so far the Asian side of horror (specifically films from Korea, Japan or China) has been conspicuously absent. I’m not intentionally avoiding those types of movies, but Asian horror (and we’ll be focusing on Japanese horror here) is a strange beast. Most modern movie audiences will remember Ringu or Ju-On: The Grudge (at least their anglicized adaptations) and their freaky-ass ghost children, but that’s just the tip of the iceberg. Anyone who's seen House or the underworld scenes in Jigoku can attest that Japanese horror, like the rest of Japanese pop culture, is made of pure-grade insanity, and I wasn’t sure that said insanity would necessarily translate into an enjoyable movie. But I rolled the dice, and what I ended up with is Tetsuo: The Iron Man

      I’m not sure whether it’s actually worth trying to describe the plot, because the plot doesn’t make any fucking sense, but I’ll give the bare minimum. One day, after inserting steel rod into his leg, a metal fetishist (director Shinya Tsukamoto) is struck and killed by a car. We then cut to a salaryman (Tomorowo Taguchi), who lives with his cat in a cramped apartment and occasionally has hot sex with his girlfriend. One other day, when the salaryman is waiting for the train, he is attacked by a strange woman who seems to have been mutated into some kind of metal zombie. Though he eventually escapes, the salaryman eventually discovers that he has become infected by this metallic sickness as well, slowly becoming more and more metallized as time goes on. A punishment from some angry god, or perhaps something much more sinister? Watch and find out…

      So what is this industrial art house movie about? I couldn’t really say, something about sex and art or some other crap. It does feature some of the freakiest body horror this side of Cronenberg though, perhaps even freakier, and Tsukamoto’s visual design is physically disturbing and in stark contrast to what we know of as human. Like Häxan, this is a film that feels more like you’re experiencing a nightmare, something that is fearful precisely because it refuses logic and order. It’s also something you probably shouldn’t watch while high, much like Häxan. If you’re planning to have a sober Halloween for some reason, and you’ve been looking for some crazy cyberpunk bullshit, then come no further than Tetsuo: The Iron Man. And if that’s not enough, there’s two more Tetsuo films, so you can get freaky all night long.

The Long Dark Marathon of the Soul 2014: Day of the Dead (1985), directed by George A. Romero

     
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     White Zombie may have been the first movie to bring the word ‘zombie’ into the American lexicon, but it was Night of the Living Dead that firmly established zombies into American pop culture. Released in 1968 and directed by George Romero, NotLD envisioned a world suddenly beset by hordes of strange creatures (which aren’t actually referred to as zombies), once-living corpses that scour the earth with an insatiable lust for human flesh. Although Romero never made one red cent off of it (due to some shitty paperwork the film is actually in the public domain), Night of the Living Dead firmly established him as a horror movie legend, and eventually gave way to almost half a dozen sequels. The sequel, Dawn of the Dead, is also considered a classic in the horror genre, as well as a satirical criticism  on the then-modern concept of shopping malls and the vapidity of American consumerism in the 1980s. Romero’s later additions to the Dead series were met with greater levels of apathy, but it seemed to me that the third movie, Day of the Dead  might still hold the magic that made the first two movies great, so we might as well have a look. Plus I had never seen it before, which is kind of the point to this list.

      Released in 1985, Day of the Dead focuses on Sarah, a scientist who lives and works inside an underground military base some time into the zombie apocalypse. The base and others like it were established by the U.S. government in order to house and protect scientists so that they can research a cure for the zombie epidemic. Unfortunately for Sarah and the rest of the crew, there are a few seemingly insurmountable problems cropping up: 1) Despite all the research so far, no cure is forthcoming, 2) There’s been no contact with any other base or the outside world for some time now, and 3) Rhodes, the superior officer in charge of military personnel, is becoming more and more unbalanced and dictatorial as time goes on. In fact, it seems that everyone is becoming more unstable as time drudges on, and everyone knows that when you combine emotionally volatile people and flesh-eating monsters, some crazy shit is bound to happen. It’s like conducting the Prison Experiment with killer bees, you’re lighting the powder keg with a flamethrower.

      While Dawn distanced itself from the original film by placing the protagonists in a large, empty shopping mall, Day returns to the feelings of isolation and claustrophobia established in NotLD. In fact it might surpass the original in that regard; the atmosphere in Day of the Dead is almost suffocating in its intensity, with the ever present feeling of death in the air from the zombies on the outside and the gun-toting maniacs on the inside. It’s also easily the most gory Dead film up to this point, which I know gorehounds will be pleased to note. Violence comes quick and easy in this film, and most of it gruesome to boot. One scene in particular near the end of the movie, and people who have seen the movie probably know what I’m referring to, actually made me physically uncomfortable when I saw it. I’ve seen enough horror movies to have a pretty high tolerance to these things, so you know it’s a particularly dark piece of cinema when I write that. Good on ya, Mr. Romero.

      Day of the Dead holds no connection to the previous Dead films aside from the aforementioned dead, so you can enjoy it either as a standalone film or as part of a series equally well. Though a critical eye would probably place it lower than its predecessors (and better regarded than the films afterwards), I think DotD is a great horror film that continues the magic Romero started in back in ‘68. A fine addition to any Halloween playlist.

The Long Dark Marathon of the Soul 2014: Tenebrae (1982), directed by Dario Argento

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     Italy is a country with a lot of problems. The government is rife with political corruption, organized crime has a stranglehold on the economy and key business leaders, their army has only been occasionally successful in their short history (not successful enough to prevent several invasions on their own soil, regional attitudes have been consistently poor since the country’s rather haphazard creation, and they kind of invented fascism. Not what you might call the best track record, but as bad as Italy can and has been, the numerous contributions to the arts and sciences that have come from that region is undeniable. In the past it was artists like Michelangelo and Da Vinci, and in the modern age it is directors like Federico Fellini and Sergio Leone, with a fine collection of artists, musicians, authors and actors in between. I don’t know what it is about shitty places to live, but they always seem to produce the most interesting stuff. Look at New York in the 70s, or San Francisco at any point in history. The shittier your living conditions, the more people will like your art.

      Italy is no stranger to the horror genre, whether in film or otherwise. In fact the horror subgenre of giallo in Italian film was originally a literary genre, sort of like the pulp fiction novels of the American past, characterized by spicing up your normal mystery story with sex and horror. There have been many great giallo directors over the years, like Lucio Fulci (Zombie, The Black Cat) and Mario Bava (Black Sunday, Baron Blood), but for the purposes of the marathon I’ve decided to go with one of the most popular Italian horror directors, Dario Argento. Although his success in American theaters has been spotty at best, Argento forged a cult following through his frequent use of explosive violence and explicit sexuality in films that blurred the line between camp and horror. Plus he packed his soundtracks with Italian prog rock, which should be enough to get any music hipster at least marginally interested. You’d never see Cronenberg putting YYZ in one of his movies.

      A plane touches down in Rome. On it is Peter Neal (Anthony Franciosa), a popular mystery novelist, whose latest book Tenebre was released a fews weeks previous and has been quite successful. The plan, according to his agent (John Saxon) and his personal assistant, is to do the talk show circuit as is expected and generally try to get some rest & relaxation in a foreign land. However, when a series of murders start occuring that fit the murders in Tenebre, every victim a young woman, throat slashed with a straight razor, Peter Neal is the first suspect. While a vicious killer stalks the streets of Rome for fresh victims, Peter Neal decides to start his own investigation to find out the answers on his own. Sometimes though, you’re better off in ignorance…

      Tenebre kind of feels like the Stephen King story that never was (although I guess there is a King book turned movie called The Dark Half which is sort of like this, so whatever), it’s suspenseful but still feels a bit too cheesy to take seriously at the same time.  That being said, Argento still managed to hold my attention throughout by crafting a mystery just bizarre enough that you wonder where’s he going next. The nudity and ultraviolence doesn’t hurt either. If you’re looking for a reason to avoid traveling to Rome this Halloween, why not try out some of Tenebre?

The Long Dark Marathon of the Soul 2014: Haxan: Witchcraft through the Ages (1922), directed by Benjamin Christensen

     
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     Maybe it’s a personal thing, but silent movies have always kind of freaked me out. Maybe it’s the ghostly, pallid hue that everyone has, maybe it’s the way that everyone seems to speak but there’s no sound except for the creepy accompanying music, or maybe it’s because you can’t gain much of any context from the sounds of the movie so you have to give your full attention to it and thus focus on the first two things, I don’t know. Despite the aversion to silent cinema however, I have seen several in that classification, most of which resided in the horror genre. I’ve seen Nosferatu of course, as well as The Golem from 1915 (one of the only occasions to feature a golem as the monster) and Vampyr, which involves some freaky supernatural stuff.  All of those movies were of the German expressionist genre by the way, which just goes to show that the Germans have always been weird.

      Technically an exercise in Swedish expressionism rather than German, Benjamin Christensen’s Häxan: Witchcraft through the Ages was at the time of its release the most expensive Scandinavian film ever made (thanks wikipedia). A documentary of sorts, Häxan explains partly through pictures and partly through vignettes the attitudes and public perception of witchcraft through the middle ages, how witches concocted the spells they used and the methods by which the Inquisition used to torture them. The educational portions are educational at the very least, but it’s the acting portions where things take a leap off the deep end. There is some downright disturbing imagery going on in Häxan, and I don’t mean disturbing for a uptight, less advanced 1920’s movie audience, I mean disturbing in general. Torturing women, eating boiled babies, satanic orgies, Satan himself (played by our esteemed director) jacking off a butter churn, the kind of nightmares are made of. That’s what this movie feels like, not like you’re watching a coherent, structured film, but as if you’re experiencing sleep paralysis or something. Strange and bizarre things appear that frighten you, but you have no control over how those things appear, and even when they do you’re only subjected to more. I don’t know if you could call it a horror movie as such, because genres usually have specific memes or whatever to define theme, but this movie is far more unsettling than most I’ve seen. This is the kind of shit you’d find in H.P. Lovecraft’s attic.

      There are several different versions of this film you could watch, as is the case with many silent movies, with different runtimes and musical backing and such. The version I watched was restored by Anthony Balch and released in 1968, featuring a free jazz soundtrack and narration by beat writer William S. Burroughs (the scariest man in literature). The idea of free jazz may turn off some people, but the dissonant soundtrack only enhances the overall surrealism of the film in my opinion, and Burroughs’ droning croak of a voice is the iron smoothing out the wrinkles in your brain. Probably not a fun movie to watch on acid, but perhaps a movie you’d like to watch on Halloween.

The Long Dark Marathon of the Soul 2014: Jacob’s Ladder (1990), directed by Adrian Lyne

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     When making a film about war, or soldiers or what have you, what war you decide to place them in can vastly alter the tone of your movie. If you center your movie around the Civil War, then not only do you get to do an entire theme about racism in America, you have modernity vs tradition, regionalism, all sorts of good stuff. If instead you pick World War II, then not only do you get a clear ‘good vs evil’ moral coupon, but you also get the enduring quality of the human spirit and a message about the dangers of nuclear weapons. If you end up picking the Korean War or, heaven forbid, Vietnam, then pretty much the only card you have to play is ‘war sucks’. Not just because war, in fact, does suck, but because in the history of modern warfare Vietnam has the distinct honor of being the shittiest darn war the United States has ever been a part of. You could make an argument for the equally pointless Iraq War of course, but Vietnam was horribly on pretty much every level. The reasons for the war, the laws forcing citizens to fight said war and the social ostracization for refusing to fight, the horribly bloody conflict itself, the shady-ass bombing of neighboring countries okayed by Nixon and Kissinger and of course the post-war years that saw the streets fill with soldiers who were too traumatized by their experience to live normal lives. Whether your film is about the inhumanity of the war itself, like in Apocalypse Now, Platoon or Full Metal Jacket, or the effect the war had on its soldiers and American society, like in First Blood or Jacob’s Ladder, it’s all a long miserable road to death. So it goes.

      In Jacob’s Ladder, Tim Robbins plays the titular Jacob Singer, a postal worker in New York City, New York. Jake is a Vietnam veteran, currently living with his girlfriend Jezebel after some nebulous issue with his ex-wife, going to work and seeing his chiropractor every once in a while. As far as lives go, it’s not all that bad, could be better. Then the nightmares start happening, and the hallucinations, and Jacob becomes convinced that some malevolent force is coming him. Does Singer’s suspicions hold some weight, or is he just slipping into insanity? And what is is the connection between these events and Singer’s time in Vietnam? Watch and see.

      Nowadays, Jacob’s Ladder is noteworthy for being the artistic inspiration for the famous survival-horror video game series Silent Hill, the next installment of which is actually being done by Metal Gear creator Hideo Kojima and director Guillermo del Toro. If you have experience with the Silent Hill games, then a lot of the things in this film will seem familiar to you: A protagonist with a traumatic past, disturbing visual imagery, the persistent atmosphere of unease, and even a creepy hospital. While I do find the religious subtext omnipresent within the film on the wrong side of heavy-handed, the freakiness is consistent and finishes in a way you might not expect. If that sounds like something you might be interested in, why not try climbing up Jacob’s Ladder this Halloween?

The Long Dark Marathon of the Soul 2014: Alien (1979), directed by Ridley Scott

     
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     With this Halloween movie marathon, I’ve tried to compile a list of movies that were obscure, fit my criteria for a holiday-appropriate film and, most importantly, were films that I either hadn’t seen before or had only seen parts of, in order to have a fresh experience. Alien is one of the most famous horror movies ever made (even more so now that the new game by Sega is out) so I’ve completely failed on the obscurity front, but I put this on the list anyway because I had never seen it before and because I felt like it. Yes, this is the first time I’ve ever seen Alien, even though I’ve already enjoyed Aliens and yawned through Prometheus. I also saw Ghostbusters 2 before Ghostbusters and Army of Darkness before Evil Dead. Didn’t plan for it, that’s just the way she goes.

      If you’ve seen Alien here’s the synopsis: Deep in the bowels of outer space, thousands of miles from Earth, the crew of the mining ship Nostromo are awakened from hibernation by a distress beacon transmitting from a nearby planet. Because the beacon is of unknown origin the crew is forced to investigate, whereupon they find the remains of an alien spacecraft that had crash landed on the planet. While investigating inside the spacecraft, one of the crewmembers (Caine, played by John Hurt) is attacked by an unknown organism, which attaches itself to his face. After returning him to the Nostromo, the alien (known today as a Xenomorph), eventually grows and tears itself  out of his chest in a blatant display of symbolism. The rest of the crew are understandably a little freaked out, but now the alien has matured into its’ iconic adult form, and the first order of business is to find every human on board and tear their intestines out through their asshole. Ellen Ripley (Sigourney Weaver) and the rest of the crew are going to need to be pretty damn lucky if they hope to get off the Nostromo alive and with assholes intact. Because in space, no one can hear you scream. #catchphrase

      Part science fiction, part slasher movie, Alien was not only a breakthrough, it’s just a damn good movie in general. Because Ridley Scott knew that however scary the monster is (and the late great H.R. Giger’s design for the Xenomorph is indeed amazingly horrific), however gruesome, the scariest parts of horror movies are when you don’t know where the monster is or when he’s going to appear. Paranoia is the gateway to fear, and Alien engenders paranoid feelings like a damn boss. If you haven’t seen it yet, why not put on your Halloween watchlist this year?

The Long Dark Marathon of the Soul 2014: The Virgin Spring (1960), directed by Ingmar Bergman

     
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     So far we’ve had some pretty iconic directors sprinkled around the list this year. Alfred Hitchcock, David Lynch, John Milius, etc. Which is great, but with the exception of Hitchcock, we haven’t really broken out of the United States yet. Which is bad, because there are scores of great films and great directors outside of America and Britain that are worth experiencing. Like Swedish filmmaker Ingmar Bergman for example, one of the most famous auteur directors of all time, and whose name sounds like something you’d call your pet alien. Bergman’s films are notoriously bleak and somber affairs, frequently dealing with such lovely themes as death and insanity, and used so many long bouts of silence that it makes Stanley Kubrick seem inadequate by comparison. Which sounds like just the right kind of mood to be in on Halloween, so I decided to pick a Bergman film more or less at random and see how it went. What I ended up with was The Virgin Spring.

      In a scenic part of the featureless Swedish countryside, there once lived a Swedish family, who lived their lives as was appropriate for Swedes to do at the time. The pride and joy of the family was the daughter, Karen, a beautiful young girl with golden hair and a willful personality, One day, Karen and her kind-of-insane relative Ingeri take a trip to the local church, to deliver the candles for Mass. Tragically, while on the way to the aforementioned church, Karen is accosted by three goatherds. Karen is raped and murdered, her possessions looted and her body covered in dirt and mud. The family is understandably upset when Karen is missing for so long, and when three mysterious travelers come by to stay the night, carrying a familiar looking shift to trade, it sets the stage for some good old-fashioned revenge.

     I have to admit that The Virgin Spring was a bit tough for to get into at the beginning, those long bouts of silence and vague dialogue are all too real, but once I got into the meat of the story it started getting really interesting. That bleak atmosphere Bergman is so famous for is totally appropriate in a movie about the futility of vengeance and the silence of God. While not really a horror movie (unless you count the destruction of innocence), it’s a good film to put under your belt if you’re looking to become a more advanced movie fan, or if you want to clear the room after a particularly raucous party this Halloween. And if you’re Swedish, well, you know what to do.

The Long Dark Marathon of the Soul 2014: An American Werewolf in London (1981), directed by John Landis

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     Dracula. Frankenstein. The Mummy. The Wolf-Man. Ever since the original run of Universal horror movies way back in the 1930s and 40s (and before that if you count the 1910 film version of Frankenstein), we’ve seen these four concepts, if not the exact stories  repeated in hundreds of films since. Occasionally it works out okay, like the Hammer Films run in the 1950s (so much Christopher Lee…), but in most cases, like the 1972 shit-fest Dracula vs Frankenstein, it doesn’t. But they have the name recognition I guess, and if you’re in the business of selling movies rather enjoying them, I suppose it doesn’t really matter how you’re using the property as long as you can squeeze a few more bucks out of the audience. The pessimistic world of movies, kids.

      Out of the four of them, I think that the Wolf-Man, and werewolves in general, got the short end of the fame stick. Dracula has been portrayed by Bela Lugosi, Christopher Lee and Gary Oldman, he’s the major villain in the Castlevania video game series, and has generally remained consistently popular since his creation. Frankenstein has had a Universal and Hammer film series, and the ‘reviving the dead through science’ plot has been reused in horror movies for years. Hell, even The Mummy had an trilogy of films starring Brendan Fraser and spin offs featuring The Rock, even if that The Mummy held little to no resemblance to the 1932 Karloff The Mummy. Werewolves always seem to get the short end stick though, whether it’s  the Universal Wolf-Man movie from 1940 being (arguably) far less interesting than it’s counterparts or playing second-fiddle to another more interesting monster in whatever movie they happen to be in.  Even though they’ve stuck around for decades, there’s only a couple of werewolf-centric movies I can think of that are considered really good, and only one that’s made this list. Yes, it’s taken me this long to watch An American Werewolf in London.

      Directed by John Landis (Animal House, Blues Brothers, Coming to America and the Thriller music video to name a few), An American Werewolf in London spins the tale of David Kessler, who is going on a backpacking tour through England with his friend. On the first night of their journey the two come across a rural English village, whose stone-faced residents warn the two that there are dangerous things out in the moors. Disregarding that warning, the duo set off, where they are attacked by a strange, abnormally large wolf. Jack is mauled to death, while David is hospitalized for weeks. According to the stone-faced villagers, the two men were attacked by an escaped lunatic, but David has a strong feeling that they might be wrong. Maybe it’s the bizarre nightmares he’s been having, or seeing the ghost of his mauled friend telling him he’s cursed, but he’s got plenty of reasons to be suspicious. The full moon is coming, and no matter what the doctors say, David Kessler’s life is about to change forever.

     An American Werewolf in London is a prime example of how to do a update on an old classic and make it work. The basic structure of The Wolf-Man story is intact, a man travels to England, gets bitten by the werewolf and eventually succumbs to the curse, but it’s done in a such a way that it still feels believable (no magic Romani here). The wolf scenes, and in particular the now iconic transformation sequence, takes full advantage of the special effects boom that was going on in the 80’s. Plus it’s pretty darn funny, which you wouldn’t expect from a movie about a giant canine ripping people’s throats out. It hits all the points it needs to, could’ve used a bit more wolf in my opinion, but I guess in that case it’s just following traditional horror structure. So yeah, if you’re looking for a werewolf movie that doesn’t involve sparkling vampires this Halloween, you’ve come to the right place.

The Long Dark Marathon of the Soul 2014: Conan the Barbarian (1982), directed by John Milius

     
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     A few months back, on the suggestion of a friend, I decided to watch a documentary that’s currently floating around on Netflix. The documentary, Milius for those potentially interested in seeing it for themselves, details the life and career of writer & director John Milius, from the beginning of his career in the 70s to the present. Although Milius is not what you might call a ‘household name’, his body of work speaks for itself. Dirty Harry, Dillinger, Red Dawn, Jaws, The Hunt for Red October and most famously Apocalypse Now, all films that John Milius had a hand in, whether it was through writing, directing or both. Unfortunately, his controversial attitude and unwillingness to compromise, unlike his friends Steven Spielberg and George Lucas, eventually lead to his ostracization from Hollywood and the burying of his legacy. At least we can still watch the movies he did get to make, and in doing so honor the man’s work. It’s the ultimate honor for a director I suppose.

      You can tell a lot about a man from the movies he makes, and John Milius is no exception. He’s an American classicist to coin a phrase, a devotee of the idealized man popularized by figures like Theodore Roosevelt and Ernest Hemingway in the early 20th century. A old-school type of conservative, who envisions an absolutist world not judged in terms of good vs evil, but ‘me vs the world’. Often this took the form of gun-toting vigilantes, such as Clint Eastwood in Dirty Harry or the Wolverines in Red Dawn, but there was an occasion when Milius went beyond gangsters or soldiers and settled firmly into the realms of fantasy. It was a blockbuster, and the first film to establish Arnold Schwarzenegger as an action star. It’s the days of high adventure, and the film is Conan the Barbarian.

      Based on the pulp novels of Robert E. Howard (a pen pal of H.P. Lovecraft, by the way), Conan the Barbarian tells the tale of Conan of Cimmeria,  a frozen land on the ancient continent of Hyperborea. When he is but a child, young Conan sees his parents and his village killed before his eyes by black-cloaked raiders, whose leader had piercing eyes and a pendent of intertwining serpents. Growing up as a slave, Conan is forged by back-breaking labor and mortal kombat into a warrior unmatched in the martial arts. After escaping from his captors, the now adult Conan forges his own path, searching for the raider who killed his people and his parents. The raider, as it turns out, is the mystical Thulsa Doom (James Earl Jones), leader of the nihilistic snake cult that is infesting the land like a plague. The legend of Conan the Barbarian shall be written in blood, and his inevitable clash with Thulsa Doom shall be its first chapter. So it is said, so shall it be.

     Much like the world of his friend George Lucas’ Star Wars, the world of Milius’ Conan is enormous and teeming with life. It’s a world from out of time, a world of kings and wizards, where evil spirits stalk the night and the only thing you can rely on are your wits and your blade. It’s Gilgamesh, Beowulf, Siegfried, the updated model of the old heroic myth. Well maybe it isn’t as big as all that, but it is a pretty good movie, and if you like bloody tales of revenge in an ancient mystical land, try putting on Conan the Barbarian this Halloween. You just might like it.

The Long Dark Marathon of the Soul 2014: The Adventures of Buckaroo Banzai Across the 8th Dimension (1984), directed by W.D. Richter

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     The 80’s were certainly a creative time for movies. Not just in the case of horror, as we’ve seen several times on just this list alone, but for the realm of action/adventure as well. Whether it was Indiana Jones fighting cultists and Nazis in a bygone age, Schwarzenegger saving peoples of a dystopian future with only his muscles, Luke Skywalker fighting the evil Empire or Warwick Davis fighting evil sorceresses, it seems like the film industry much more more willing to finance weird crap than they are today. Maybe it was the result of the new generation of directors having grown up on such weird stuff their nostalgia, or pop culture had shifted towards more fantastical projects, just as music suddenly went total synth and everything went neon and day-glo. It’s only speculation, but as weird and occasionally hokey as those types of movies seem in hindsight, I can’t help but like them. They just feel different than watching modern movies, and I don’t know if it’s nostalgia or not because I’m too young to have grown up with them. Probably nostalgia.

      One such ‘weird action’ film is a movie that I hadn’t seen in years, but often recommended  to others anyway: The Adventures of Buckaroo Banzai across the 8th Dimension, directed by W.D. Richter. A slick 80s love note to Doc Savage and other heroes of pulp fiction, Peter Weller (Robocop, Naked Lunch) plays Buckaroo Banzai, a half Japanese experimental physicist, brain-surgeon, rock star and the subject of his own comic book. Along with bandmates/colleagues the Hong Kong Cavaliers, Buckaroo is the only guy on Earth who not only pushes the boundaries of science into strange and exciting new directions, but can also sell out any club on the East Coast while doing it. Their latest success is the actualization of a decades old experiment by their friend Professor Hikita, total and sustained entry into the mysterious plane known as the 8th Dimension. The price of discovery can be high however, and it seems like simple little experiment might have greater implications than Banzai and the HKC anticipated. Things like age-old conspiracies, Hikita’s old partner Emilio Lizardo (John Lithgow), and evil Bokchoys from Planet 10, to name a few. Saving the Earth might seem like a monumental task for some people,but it’s just another day in the life of Buckaroo Banzai.

      Buckaroo Banzai is not a movie meant to be taken seriously. It’s a tribute to a time when the heroes were the idealized forms of man and sci-fi was more ‘fiction’ than ‘science’, and they have a lot of fun playing around with the concept. Of course when you have so many balls in the air it’s kind of hard to juggle, and I think the movie does stumble when it comes to character development, as well as establishing the romantic subplot. It’s a weird 80s adventure movie through and through, and if you’re the kind of person who enjoys weird 80s adventure movies (like me), then you might like to watch this movie yourself this Halloween.

The Long Dark Marathon of the Soul 2014: Slaughterhouse-Five (1972), directed by George Roy Hill

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     Kurt Vonnegut was a writer, the only author that I can think, who completely changed my opinion of his work with one book. It wasn’t even one of his more famous books, “Galapagos” to be exact, but suddenly I understood why Vonnegut was considered as highly as he was. “Cat’s Cradle”, “Breakfast of Champions”, “Jailbird”, “Bluebeard”, “God Bless You Mr. Rosewater”, I consumed them all with a rabid intensity. I haven’t done much reading lately, haven’t really done much of anything accept ride through my waves of depression and try not to think about death too much, but Vonnegut stills holds a place as one my revered writers, alongside other such weirdos like Hunter Thompson and William Burroughs.

      Ironically, or perhaps coincidentally, the first Vonnegut novel I ever read (back when I was a young asshole and not an old bastard) was in fact his most famous book “Slaughterhouse-Five”, and I can remember not really caring for it at all. I guess it just didn’t sit click with me at the time, and I kind of put him aside as an author years later. I eventually decided to give the story another shot, but rather than reread the book, I decided to watch the film version instead. The adaptation of a novel into a film is not a flawless process (Catch-22, whose film adaptation came out two years earlier, lost a lot in translation in my opinion), but I based my decision on two points: 1) It was directed by George Roy Hill, who also directed the infamous Butch Cassidy & the Sundance Kid, The World According to Garp, Thoroughly Modern Millie and Slap Shot, and 2) Kurt Vonnegut himself went on record as saying he loved the film. If the author himself thinks the movie got it right, then it has to be good, right? Of course, Stephen King hated Kubrick’s version of “The Shining”, so maybe author approval isn’t the end all factor.

      Listen: Billy Pilgrim has come unstuck in time. At one point he is an old man, with a wife, two children and a dog named Spot. At others he is a child, learning to swim for the first time. Still more he is a young man, an American POW’s imprisoned in Dresden in World War II. Somehow Pilgrim’s view of reality has been separated from the commonly accepted notion of time, causing to relive different points of his life. Others think him insane, but Billy Pilgrim knows the truth. He knows about the Tralfamadorians, and the beautiful woman that awaits him on their planet. You will too, if you watch this movie.

      Slaughterhouse-Five is not a horror film, but it deals with a particularly horrific subject: war, and the effects it can have on the brain, the emotional (and in Billy’s case, literal) disconnection one has with reality. By that train of logic almost all war movies would fall under my criteria, but SH5 is also something of a science-fiction film, a genre which goes hand-in-hand with horror. It won’t leave you quaking in your boots this Halloween, but it might bend your mind a little, and isn’t that what we all want this holiday season?

The Long Dark Marathon of the Soul 2014: Mulholland Drive (2001), directed by David Lynch

     
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     Way back in the Time Bandits section, I mentioned that a lot of directors try to be quirky and weird, but very few prove it in their work. Terry Gilliam is one such fellow, and David Lynch is definitely another. Painter, musician, practitioner of transcendental meditation, David Lynch has blazed a trail of success in spite of the often strange, surrealistic quality of his films. From cult nightmare Eraserhead to science-fiction epic Dune and the wildly popular crime thriller TV series Twin Peaks, there is no mistaking the unique look and feel of a David Lynch project, that persistent tension that hangs in every scene, the sense of discomfort. What better way to spend the scariest day of the year than by being really uncomfortable.

      Trying to explain the story of Mulholland Drive is like explain the plot of every other David Lynch movie: pointless. The cause and effect in Lynch movies are muddled, scenes and characters arrive, disappear and change form constantly, and plot points are often unresolved. Like a dream, really. What I will say is that the film opens with a beautiful woman (Laura Harring) who is involved in a mysterious car crash on Mulholland Drive in Hollywood, California. Miraculously she survives, but now suffers from...amnesia! (#futuramareference) Ms. Amnesia decides to hide out in an apartment, which just so happens to be the new home of Betty Elms (Naomi Watts), who has arrived in Hollywood to become famous actress. Becoming fast friends, the two women decide to investigate Ms. Amnesia (now known as Rita) and her accident, to attain some clues as to her identity. Throw in some sex, murder, lies, revenge, and mysteries, cover it up with a bit of sand and take a lot of cough syrup and you got yourself.

      So yeah, David Lynch films, like those of Godzilla, are very hit-or-miss kinds of affairs. You either ride along with along with the weirdness or get consumed by it. If you’re a fan of surrealism, or if you’ve seen a Lynch film before, then you’ll know what to expect, and there’s plenty of things about Mulholland Drive to like (people who have seen it before know what parts I’m talking about). For the uninitiated, this is often considered one of his better films, so if you’re going to start anywhere it might as well be here. If you’re looking to take a trip through your psyche this Halloween, consider taking a ride down to Mulholland Drive.

The Long Dark Marathon of the Soul 2014: The Ruling Class (1972), directed by Peter Medak

 
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     Based on the play of the same name, The Ruling Class is a occasionally musical comedy directed by Peter Medak, who also directed The Men’s Club, Romeo is Bleeding and Species II, oft-regarded as the sequel to the original Species. When people are thinking of films to put on their Halloween film queue, if they’re the type of weirdos who watch movies on Halloween rather than get drunk, the last movie they’d probably think to look for is a satirical comedy about the British aristocracy. Were it with any other similar movie I might have to agree with them, but I think that all in all the list I’ve put together so far works out as Halloween fare, and I think that this movie continues in that vein. Not everything you watch on Halloween has to be a dude stabbing some chick, you know. It certainly helps though.

      When the 13th Earl of Gurney dies under mysterious and embarrassing circumstances (think David Carradine), his immediate family are all too eager to snatch up all the cash and estates they can carry. Before they can stick their grubby hands into the cookie jar however, they learn that Lord Ralph has left all his holdings to his estranged son Jack (Peter O’Toole), who has been living in a local sanitarium for the past couple of years. Jack is a perfectly nice and likable fellow, aside from the fact that he believes that he’s God and he’s very vocal about telling people of his holy nature. Having the 14th Earl of Gurney preaching about universal love and the casting away of possessions is completely antithetical to proper British  behavior, so while his greedy uncle Charles attempts to swindle Jack’s title out from under him, the rest of his family attempts to force him out of his Messiah complex and into acting as a more respectable gentleman. A reasonable scheme, but what happens when madness gives way to more madness? If Jack no longer believes he’s a peaceful and loving God, then what sort of God does that make him? It’s bad omens abound in the Gurney household.

      While I’m a little leery at 2+ hour runtime, The Ruling Class is a fine film with fairly consistent laughs throughout and surprisingly dark themes by the end of it. Peter O’Toole is a phenomenal actor, and I can’t help but enjoy it when he chews the scenery like he’s speedreading Shakespeare. The musical numbers come up at rather odd intervals, which makes me wonder why they’re the film at all, but their random appearances serve to enhance the overall absurd atmosphere. If you’ve got a couple of hours to burn this Halloween, why not consider joining The Ruling Class?

The Long Dark Marathon of the Soul 2014: Guest House Paradiso (1999), directed by Adrian Edmondson

     

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     In the early 80’s, when MTV had first pushed itself out of the primordial ooze and the new brand of alternative was starting to become the mainstream, the audiences of the BBC was assaulted, mentally and spiritually, by the comedy of The Young Ones. At its most basic, the show was a sitcom about the trials and tribulations of 4 students (of prestigious Scum University) living together in a horrid bit of college housing: Self-proclaimed ‘People’s Poet’ and narcissistic punk anarchist Rick (Rik Mayall), psychopathic force of destruction Vyvyan Basterd (Adrian Edmondson), technophobic hippie and perpetual downer Neil Whedon Watkins Pye (Nigel Planer) and Mike the Cool Person (Christopher Ryan). Cartoonishly violent, frequently acerbic, and prone to bizarre, surrealistic tangents, for two seasons The Young Ones was the show you quoted to your friends so you could seem cooler than you actually were. There was plenty of great comedy in the U.K. around the time, Blackadder as just one example, but I find The Young Ones to be one of the most interesting.

      In the 90’s, longtime comedy partners Rik Mayall and Ade Edmondson collaborated once again on what was probably their most popular series, Bottom. Starring Rik as Richard ‘Richie’ Richard and Ade as Edward Elizabeth Hitler living in a disgusting flat in Hammersmith, London, the show was the logical conclusion of the Rik/Ade comedy stylings that had gone back past The Young Ones to the beginning of their working relationship. Bottom was more violent, more perverted, more nihilistic and chaotic than ever before, a show about two complete bastards destined to be other, because no one else could stand to be around them. It’s Always Sunny in Philadelphia might be the closest modern equivalent, but there’s not really anything like it that I’ve seen.

      Three years after the show ended, the duo released a full-length based on the show by the name of Guest House Paradiso, which you’ll noticed has made it onto this list. In the film, Richie (who goes by the name of Richard Twat in the film, rather than Richard Richard) and Eddie are the owners and employees of scenic Guest House Paradiso, known throughout the United Kingdom as the worst hotel in the nation. Maybe it’s due to the fact that the hotel is built next to a nuclear power plant, or the fact that building itself is basically a derelict, or that the food sucks, or that the place is run by a couple of obnoxious, brutish, deviant fuckwits, but the reputation of the Paradiso is at an all time low. It’s astounding to think that anyone would ever want to stay in such an abominable hellhole, but since this is a movie and thus requires a story, some unfortunate souls happen upon the hotel and fall into the insane world of Richie and Eddie.  Including the lovely and mysterious Gina Carbonara, famous film star and fiance to the most violent mafioso in Italy. Hijinks, as they say, abound.

      While there’s nothing especially horrific about Guest House Paradiso (aside from the living conditions #rimshot), the show definitely falls into the black comedy range, with a couple strange use of special effects to boot. As far as British comedies film, it might be one of the most appropriate for Halloween, all things considered. So why not give it a go?

The Long Dark Marathon of the Soul 2014: Time Bandits (1981), directed by Terry Gilliam

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     On my oft-neglected film blog, I once remarked that former Monty Python member Terry Gilliam was perhaps my favorite director, aside from the Coen Brothers. While I try to avoid things like ‘favorites’ as often as I can, I based it on the fact that I have seen a good portion of his filmography and have not yet seen a movie of his that I didn’t think was at least enjoyable. Brazil was excellent, Fear & Loathing in Las Vegas was good, 12 Monkeys, The Fisher King, all fine films. The Brothers Grimm might have been a bit of a misstep (I’ve only seen parts of it), and I think Jabberwocky works largely because of Michael Palin, but all in all I enjoy his style immensely. A lot of directors attempt to be ‘quirky’ or ‘weird’, but I think Gilliam is one of the few who has the ability to translate that effectively into his films. So, knowing that Gilliam’s work tends towards the fantastical and the darkly comic, I decided to try out one for the marathon.

     If you’ll recall way back on the Monster Squad entry that I referred to it as a ‘kids adventure’ movie, which deals with a ragtag group of kids going on some kind of extraordinary adventure. Time Bandits is also a ‘kids adventure’ film, but in this case there is only one kid (much like 90’s film classic The Pagemaster, starring Macaulay Culkin). As the story goes, Kevin is an inquisitive yet oft-ignored boy who lives with his stern father and appliance-obsessed mother somewhere in Britain. One night, after failing to convince his parents that a knight had lept through his closet the time before, he is abducted by a ragtag group of dwarves from the very same closet and forced to travel through a strange portal through his bedroom wall to escape a giant glowing face. As it turns out, the group of dwarves are disgruntled employees of The Supreme Being (the giant glowing face), and have stolen a map that outlines all the gaps in the universe, through which one can travel about anywhere in space and time. The dwarves, like most people in their position, have decided to use the map to become stinking, filthy rich, by thieving from all throughout time, and now Kevin is along for the ride. With only their wits and the map at their disposal, the time bandits must contend not only with The Supreme Being and the numerous historical figures that make up their hit list, but also the secret machinations of The Evil One (David Warner), who desires the map for what I’m sure are completely gregarious reasons.

     The main issue with all kids adventure movies, and indeed is the problem with Time Bandits, is that when the kids) aren’t likable then it doesn’t work. For a movie that’s ostensibly about Kevin he barely seems in the damn thing, and in the times he is in there he’s annoying as all hell. Perhaps Kevin’s background nature is meant to be in reference to the fact that we often feel like observers in our dreams, as this world of magic, time-traveling dwarves and chaos certainly has a dreamlike quality. Honestly though, this movie would probably be just fine if Kevin wasn’t in it at all. It’s a great adventure, with memorable characters and decidedly macabre sense of humor for a family movie. It’s a fantasy film with just the right mood for Halloween, so why not check it out?

Movie Movie (1978), directed by Stanley Donen

  The Trailer and The Appropriate Tune - "Movies" by Alien Ant Farm      Work has begun on Marathon ‘23 and I’m actually in a dece...