Thursday, October 15, 2015

366 Days at the Drive-In: Day 15


The Date: October 15

The Movie: City of the Dead (1960)

What Is It?: John Llewellyn Moxey supposedly gave his witch flick the Psycho structure before Psycho even came out, but even if he was ripping off Hitchcock, his film is still great because of its high-contrast B&W images, the always welcome presence of Christopher Lee, and one of the great horror performances from Patricia Jessel.

Why Today?: On this day in 1920, Patricia Jessel was born.

Wednesday, October 14, 2015

366 Days at the Drive-In: Day 14



The Date: October 14

The Movie: Andy Warhol’s Flesh for Frankenstein (1973)

What Is It?: Gloriously repulsive take on Mary Shelley’s classic with the gloriously weird Udo Kier as a Dr. Frankenstein who believes the only way to know death is “to fuck life in the gall bladder”!

Why Today?: On this day in 1944, Udo Kier is born. The world still has not recovered.

Tuesday, October 13, 2015

366 Days at the Drive-In: Day 13


The Date: October 13

The Movie: Stephen King’s It (1990)

What Is It?: This is hardly the ideal adaptation of Stephen King’s greatest novel, but Tim Curry is brilliant as an ancient evil that takes the shape of the things his victims fear most. I also like the kids who overcome those fears to hunt the monster in the sewers of Derry, Maine. The adults have more of a "Circus of the Stars" vibe going on, and the monster spider the climaxes the movie takes King's weird finale too literally.

Why Today?: Today is Face Your Fears Day.

Monday, October 12, 2015

Review: 'Beyond Mars'


Fifties sci-fi tends to launch images of moon monsters, colonies on Venus, and UFOs that look like dinner plates— images that are quaint, kitschy, clueless, and sincere. Irony, parody, and self-conscious wit seem to be more modern products, and yet, there was Beyond Mars. Written by pulp novelist Jack Williamson and illustrated by Harvey Comics' Lee Elias, Beyond Mars ran as a Sunday strip in the New York Sunday News from 1952 to 1955. Reading it today completely collected in a new book by IDW publishing, Williamson and Elias's strip seems like a smart goof on fifties sci-fi created by a pair of later-twentieth century cutups.

In the year 2191, a citizen of the Brooklyn portion of a smashed Earth named Mike Flint tools around space with Tham Thmith, his lisping metallic snake buddy from Venus, helping a succession of pretty women out of jams. The fifties elements—the rockets, noir-ish villains, femme fatales, atomic science—are so fifties-ish that they seem as though they had to be created by someone looking back on the decade with a winking eye. The weird wit is so out there that it seems to confirm that incorrect notion. Mike and Tham tussle with a giant lobster, join forces with a diapered boy who rides a meteor, and blast through space in the Empire State Building as if it were a rocket. Beyond Mars is the perfect collision of fifties nostalgia and humor that feels unmistakably contemporary. Too dreamy.

IDW's collection is the company's standard stylish package: hardcover, ribbon bookmark, and most important of all, analog coloring. Bruce Canwell's sixteen-page introduction is one of the most informative addendums to an IDW title I've read, and it is illustrated with bonus uncolored Elias splash pages from his Harvey comics and some surprisingly tasteful covers of Williamson's pulps (well, The Green Girl is not particularly tasteful). This is a lovely presentation of a strip that demands rediscovery.

366 Days at the Drive-In: Day 12


The Date: October 12
The Movie: Witchcraft (1964)

What Is It?: Scary b-movie with Lon Chaney, Jr., as the righteously outraged descendant of a righteously vengeful witch murdered by sniveling land developers in the 17th century. Yvette Rees is unforgettable as witch Vanessa Whitlock.

Why Today?: On this day in 1692, the Salem Witch Trials end.

Sunday, October 11, 2015

366 Days at the Drive-In: Day 11


The Date: October 11

The Movie: Poltergeist (1982)

What Is It?: Cute little girl gets sucked into haunted TV. Pretty soon her whole family is getting smacked around by trees, swimming pools, and toy clowns. A strange and disturbing union of Tobe Hooper horror and Steven Spielberg family fantasy. However, the grossest scene in the movie --a dude ripping off his own face--seems like Spielberg's (see his similar one that climaxes Raiders of the Lost Ark).

Why Today?: On this day in 1950, The FCC licenses the first color television broadcast system.

Saturday, October 10, 2015

366 Days at the Drive-In: Day 10


The Date: October 10

The Movie: Return of the Living Dead (1985)

What Is It?: This semi-official Night of the Living Dead sequel (John Russo, who co-wrote Night with George Romero, wrote this one too) is the first truly great zombie comedy. The punk soundtrack and E.C. comics aesthetic are divine.

Why Today?: Today is World Zombie Day.

Friday, October 9, 2015

We Need Another Barbara Steele!


Perhaps no other genre generated more iconic actors than horror, and it wasted no time dumping them in cinemas. Even before the advent of sound, there was Lon Chaney and Conrad Viedt. As soon as we could hear our monsters groan and growl, we had Bela Lugosi, Boris Karloff, Dwight Frye, Claude Rains, and Peter Lorre. Then came Chaney, Jr., John Carradine, Christopher Lee, Peter Cushing, Vincent Price, etc.

The key word here, of course, is actors. Actresses were not absent from horror movies. Those monsters needed someone screaming and helpless to carry off, after all, so we had Mae Clark, Helen Chandler, Fay Wray, Valerie Hobson, Evelyn Ankers, and Hazel Court to perform such tasks. Their thankless roles as distressed damsels are summed up in the term “scream queen” coined decades after the first queen was heard to scream on screen. But what about the women who made us scream? They were few in the early days of horror cinema, and though the Bride of Frankenstein would become an iconic figure only rivaled by the big three guys—Dracula, the Wolf Man, and the Frankenstein Monster—the character only had four minutes of screen time and Elsa Lanchester would not follow up on her horror stardom as Bela, Lon, and Boris did. Universal followed its first great sound scare-fest with Dracula’s Daughter, though the film is not one of the best-remembered horrors of its day, and the vampiric Gloria Holden would not capitalize on it any more than Lanchester did on Bride.

366 Days at the Drive-In: Day 9


The Date: October 9

The Movie: Mystery of the Wax Museum (1933)

What Is It?: Lionel Atwill is a wax sculptor who goes cuckoo after his beloved creations melt in a museum fire. Full of jazzy attitude and the urban setting is a welcome break from the usual Gothic castles of the era's horror films. The primitive use of color adds an extra queasy touch. I hope you have a high tolerance for pink and green.

Why Today?: Today is Fire Prevention Day.

Thursday, October 8, 2015

Review: 'Zombies: A Cultural History'


I wonder how many people who join in on hip zombie walks or watch “The Walking Dead” obsessively or waste hours blasting zombies in the face while playing “Resident Evil” really know or care about the origins of their favorite creature? Do they know that origin is not traced to atomic radiation or rage virus outbreaks? Serious horror fans do not need to be schooled about the back story of the modern zombie, about how the thing once known as zombi was not a radiation-tainted brain muncher that tended to go with the crowd, but rather a voodoo-enchanted victim of slave labor. Even such serious horror fans will learn a thing or two about these overused, overworked monsters in Roger Luckhurst’s Zombies: A Cultural History, even though some of these revelations shouldn’t be too surprising.

As used in Caribbean culture, zombi seemed an elusive term, sort of a catchall phrase for all things monstrous or weird—an unusually tall dog or a three-legged horse that has no trouble walking, for example. Only when the term passed into the lexicons of anthropologists with a yen for the strange did the zombie begin to come into focus as a colonialist’s overheated metaphor for all that is “bizarre,” “superstitious,” and “savage” about non-white cultures. Luckhurst spends a great deal of his book discussing the racist implications of the zombie that have largely been lost since it became an easy metaphor for anything run out of control in the twenty-first century. Luckhurst points out that the original racist implications are still apparent in such contemporary works as World War Z, but his book is interesting because it is so largely concentrated on the creature’s pre-George Romero breed. Luckhurst  not only discusses the zombie’s historical background—and he shows how it is always lurking around history’s worst atrocities from slavery to the holocaust to the dawn of WMDs— but its depiction in film (unlike other zombie books I’ve read, this one spends as much time dissecting White Zombie as Night of the Living Dead), pulp literature, comics, cocktails, and so on. In doing so, the author has made today’s most overly familiar monster seem fresh again.

The writer’s tendency to lean on academic clichés makes the tale-telling a little less fresh (everything is liminal), but the narrative is always readable and accessible. Luckhurst is highly critical of most of the works he discusses, but he usually makes his case well. I only took issue with his main criticism of Dawn of the Dead, which the author believes is “smug” for implying that its audience is exceptional for being in on the joke and not falling into the mindless consumerism of the film’s monsters. I think the film has a more constructive purpose in exposing the destructiveness of such consumerism, that Romero is attempting to give his audience something to aspire to by inspiring them to reject the behavior they see on screen, behavior they’ve probably indulged in many times before. Zombies: A Cultural History can serve a similarly constructive function by getting zombie fans to start thinking more critically about the creatures they’ve watched kill and be killed so many times before. 
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