Wednesday, November 13, 2024

Dracula (1931)


DRACULA
1931 • Tod Browning

Screenplay: Garrett Fort based on the book by Bram Stoker
Cast: Bela Lugosi, David Manners, Helen Chandler, Dwight Frye, Edward Van Sloan, Herbert Bunston, Frances Dade, Joan Standing, Charles Gerrard, Halliwell Hobbes
Cinematography: Karl Freund
Producers: Tod Browning, Carl Laemmle Jr.

Universal Pictures


Listen to them. Children of the night. What music they make.

In the realm of classic horror films, one name stands out like a shadowy figure emerging from the darkness: Bela Lugosi's Count Dracula. Renfield is on his way to Transylvania to lease a property in London to a mysterious Count Dracula. After the Count reveals himself to be a vampire, he makes Renfield his slave, driving him to insanity. Dracula arrives in London, meeting Dr. Seward and his daughter, of whom he quickly becomes enamored. After Mina's friend Lucy dies from mysterious circumstances, Dr. Van Helsing is called in to investigate.

The silent masterpiece Nosferatu had been made without the permission of the Bram Stoker Estate, and even though names were changed (Count Dracula became Count Orlok), the Stoker estate won a lawsuit that ordered all prints of the film destroyed. Universal producer Carl Laemmle Jr saw enormous financial potential in the film and quickly secured the adaptation rights from the Stoker estate. After some financial setbacks, the original plans to make an epic production in the tradition of the silent classic The Phantom of the Opera, the production needed to be trimmed down in scale.

Dracula, whether due to creative decision or lack of budget, used a minimalist approach to music that created an eerie and unsettling atmosphere. Unlike many contemporary horror films that rely heavily on ominous scores and jump-scare soundtracks, Dracula embraced silence as a powerful tool. This absence of constant musical cues allows the audience to immerse themselves in a world of eerie silence, heightening the tension and unease. It allows viewers to focus on Lugosi's captivating performance and the atmospheric visuals, making the experience more intimate and unsettling. The silence, punctuated only by Lugosi's commanding presence, made Count Dracula a more enigmatic and sinister character.

"Listen to them. Children of the night. What music they make." This iconic line, delivered by Bela Lugosi in his hypnotic Hungarian accent, remains etched in the annals of horror history. It's not just a memorable line; it's a cultural touchstone that has resonated throughout horror films, literature, art, and popular culture for nearly a century. This line captures the essence of Lugosi's portrayal: a suave and cultured vampire with an air of sophistication and menace. Unlike Count Orlok in Nosferatu, who was a grotesque and monstrous figure, Lugosi's Dracula was refined, even romantic in his allure. This duality made him all the more captivating and enduring.

Laemmle's original choice for Dracula, Lon Chaney, had succumbed to throat cancer and was not available. Bela Lugosi was ultimately cast in the role, having played the character to much success on stage... it would prove to be the most remembered portrayal of the character. Bela Lugosi's Count Dracula is the embodiment of suave and sophisticated evil. His portrayal of the vampire nobleman with a hypnotic stare and cultured Hungarian accent set a standard that many vampire characters in film and literature would aspire to emulate. Lugosi's Dracula is a creature of charm and magnetism, luring his victims with an irresistible allure. His suave demeanor and hypnotic gaze make it all the more chilling when he reveals his true, bloodthirsty nature. Lugosi's performance not only redefined the vampire archetype but also established the enduring appeal of the charismatic vampire.

Even though he only played the character twice on film (in the 1931 release as well as the hilarious Abbott and Costello Meet Frankenstein), his portrayal remained so iconic that it is the most often remembered, imitated, and parodied performance of the character of all time. Many have played the role since, and with the exceptions of Christopher Lee and Gary Oldman, none have done the role justice as Lugosi did. His mixture of European aristocrat and lurking monster is captivating. To many, this is the definitive Dracula performance. Unfortunately for Lugosi, this role would typecast him for the rest of his career. This was dramatized, in part, in the 1994 film Ed Wood.

Full-length horror films were not common in 1931, so this was a bit out of the ordinary for both studios
and audiences alike. Executives were nervous about the box office potential of a film with a heavy reliance on the supernatural. After its premiere, newspapers reported that some audience members fainted at the site of the images on screen. Publicity jackpot. The studio wisely used this to sell the film in advertisements and it became a big financial success. Because of the success of Dracula, Universal plunged headfirst into the horror waters and produced a series of successful monster movies: Frankenstein (1931), The Mummy (1932), The Invisible Man (1933), Bride of Frankenstein (1935) and The Wolf Man (1941) as well as a string of sequels: Dracula's Daughter (1936), Son of Dracula (1943), House of Dracula (1945) and Dracula made appearances in House of Frankenstein (1944) and the afore-mentioned Abbot and Costello crossover. Dracula's legacy, much like the vampire himself, will live forever. To this day, fans of horror everywhere celebrate the "Universal Monsters."

There are far worse things awaiting man than death.

Notable Awards & Accomplishments
  • National Film Registry: Class of 2000 Inductee
  • AFI's 100 Years...100 Thrills – #85
  • AFI's 100 Years...100 Heroes & Villains: Count Dracula – #33 Villain

Friday, October 18, 2024

HALLOWEEN (1978)


HALLOWEEN
1978 • John Carpenter


Screenplay: John Carpenter, Debra Hill
Cast: Jamie Lee Curtis, Donald Pleasence, P. J. Soles, Nancy Loomis, Nick Castle, Tony Moran, Will Sandin, Charles Cyphers, Kyle Richards, Brian Andrews
Cinematography: Dean Cundey
Music: John Carpenter
Producer: Debra Hill

Compass International Pictures, Aquarius Releasing


You know it's Halloween. I guess everyone's entitled to one good scare.

William Shatner has never been so scary. 

In the quaint town of Haddonfield, Illinois, Halloween night takes a chilling turn when 6-year-old Michael Myers brutally kills his older sister. After 15 years of confinement, Michael escapes from a mental institution, on the day he is supposed to be transferred to a maximum security prison. Myers, fixated on his childhood home, returns to Haddonfield, where he begins a murderous spree, stalking high school student Laurie Strode and her friends. As Laurie becomes the focus of his obsession, she must confront the embodiment of evil itself on a night meant for harmless tricks and treats.

Before John Carpenter became synonymous with Halloween, he was already making waves in the film industry. Carpenter's early works showcased his unique approach to storytelling and his ability to create tension. His debut feature, Dark Star (1974), a low-budget sci-fi comedy, revealed his talent for blending genres and exploring unconventional narratives. He then directed Assault on Precinct 13 (1976), a gritty urban thriller that demonstrated his prowess in creating suspenseful atmospheres. These films laid the foundation for his foray into horror with Halloween in 1978.

In the 1970s, the horror genre was predominantly defined by its reliance on explicit violence and gore. Films like The Exorcist, A Bay of Blood, I Spit on Your Grave, and the controversial Faces of Death often equated horror with the shocking visual impact of blood-drenched scenes and gruesome special effects. However, in 1978, John Carpenter’s Halloween emerged as a deviation from this norm. What set Halloween apart, was its profound understanding that true horror doesn’t reside in the gallons of blood spilled onscreen, but rather in the minds of the audience, a trait it shares with another surprisingly gore-less (relatively) 1970s horror film The Texas Chain Saw Massacre.

Carpenter’s genius lay in his ability to tap into the primal fears nestled deep within human consciousness. He understood that the unknown, when handled with finesse, could be far more terrifying than any excessive display of violence. Instead of relying on gratuitous gore, Halloween focused on the unseen, the lurking presence of evil just beyond the frame. This absence of graphic violence heightened the suspense, allowing the audience’s imagination to run wild, conjuring up horrors far more terrifying than anything explicitly shown. That isn’t to say Michael Myers didn’t commit brutal acts of violence, he certainly did, but the lack of gallons of red-tinted corn syrup is noticeable.

One of the main culprits of terror is the scariness of the blank pale mask worn by Michael Myers. What
was originally a William Shatner/Captain Kirk rubber mask painted white, became an iconic symbol of death, deeply rooted in its simplicity and the uncanny effect it produces. Unlike masks with exaggerated features or grotesque expressions, the blank, featureless visage of the Myers mask creates an unsettling aura of ambiguity and emptiness. It's a canvas devoid of emotion that conceals the malevolence within. The absence of facial expressions robs the audience of any cues to understand or empathize with the character. Human faces are the primary way we connect with others, read their emotions, and gauge their intentions. When a face is devoid of these signals, it is profoundly disconcerting. This absence of identity amplifies the fear and Michael becomes an enigma, a shape (if you will) lacking any humanity, and therefore, an entity beyond comprehension. The contrast between the mask’s emptiness and the brutality of his deeds accentuates the horror.

Michael Myers stands as an anomaly, a character whose mystery is as integral to his terror as his actions. While many classic horror villains like Norman Bates, Jason Voorhees, or Freddy Krueger have clear, sometimes tragic backstories or motives rooted in revenge, Myers defies such categorization. He exists outside the realm of comprehensible human motivations, and that is what makes him so profoundly unsettling. From the moment he escapes the mental institution at the beginning of the film, Myers embarks on a relentless killing spree. Unlike other antagonists who might seek vengeance or harbor a deep-seated grudge, Myers has no apparent reason for his actions. He doesn’t seek revenge for past wrongs, nor does he have a personal connection to his victims (well, not in the first film anyway. This is later retconned in the 1981 sequel, when it’s revealed Laurie Strode is his sister). This lack of motivation defies the audience's attempts to rationalize his behavior, leaving us with a chilling realization – evil, in its purest form, needs no reason. This is what the Rob Zombie films, in my opinion, got all wrong. Zombie tried to explain why Michael is evil. He tried to rationalize it. But Michael Myers has no rationality, or explanation, or justification… he just IS. Sometimes, evil just IS. Michael Myers embodies the concept of evil. We fear what we cannot understand, what exists beyond the boundaries of logic and reason. Myers becomes a representation of this fear, an entity so alien to human understanding that his very existence challenges the fundamental order of the world. He is a force of nature, devoid of empathy, compassion, or remorse – a walking embodiment of malevolence. By portraying this inexplicable malevolence, the film forces its audience to confront the unsettling idea that evil is arbitrary and irrational.

John Carpenter pays homage to Alfred Hitchcock's Psycho not just by replicating suspense and psychological horror but also by a subtle nod through casting. By casting Janet Leigh's daughter, Jamie Lee Curtis, in the film, Carpenter established a direct link to Hitchcock’s most famous film. Janet Leigh's portrayal of Marion Crane in Psycho is etched into cinematic history, especially the infamous shower sequence. Her scream echos in the memories of everyone who has ever seen the film, how fitting then, that Jamie Lee Curtis went on to become the greatest “Scream Queen” of all time? By casting Leigh's daughter, Jamie Lee Curtis, Carpenter created a bridge between the classic Hitchcockian suspense and his own modern take on the genre. The passing of the torch from Janet Leigh to her own daughter mirrored the generational impact of the two classic films.

One of the defining characteristics of slasher films, including Halloween, is their tendency to function as morality plays. In these movies, the victims are often young, sexually active individuals or those engaged in other taboo behaviors. The punishment they receive at the hands of the killer becomes a form of moral retribution. This theme has deep roots in traditional folklore and urban legends, where those who defy societal norms are met with supernatural or horrific consequences. This concept was entertainingly satirized in the 2012 film The Cabin in the Woods. Within this framework of punishing the “morally corrupt”, the "Final Girl" emerges. The Final Girl trope is typically a female character who manages to survive the killer's rampage and ultimately triumphs over evil. This trope gained widespread recognition through Halloween and other films of its era. The Final Girl is not only the last one standing but often embodies virtues like innocence, intelligence, and resourcefulness. She is the antithesis of the victims who succumb to their vices, thus reinforcing the morality play aspect of slasher films.

Halloween played a pivotal role in popularizing the Final Girl trope. Laurie Strode epitomizes the archetype. She is intelligent, responsible, and notably more chaste and innocent than her friends, who fall victim to Michael Myers. Laurie's survival becomes a triumph of virtue over vice, reinforcing the idea that those who adhere to societal norms and virtues are the ones who prevail in the face of danger. The Final Girl trope subverts traditional gender roles. In many films (not just limited to horror) prior to Halloween, women were portrayed as helpless victims, often in need of male rescue. Laurie Strode, however, turns this stereotype on its head. She is not just a survivor; she runs from Michael, yes, but she also tries to protect the children under her care, and when backed into a corner: she fights back. She showcases courage and determination traditionally associated with male protagonists. This subversion of gender norms contributed significantly to the empowerment of female characters in the horror genre and beyond. The think-pieces on whether The Final Girl trope is misogynist or feminist are plentiful, but I won’t delve into that here. Suffice it to say, it was certainly influential. The success of Halloween and its portrayal of the Final Girl influenced a generation of slasher films, including the Friday the 13th, A Nightmare on Elm Street, and Scream series.

Forgive me in advance for my lack of musical knowledge in this next section. John Carpenter’s musical score for Halloween is nothing short of legendary, standing as a testament to his innate understanding of atmosphere and the profound impact music can have on a film’s tone. Carpenter's decision to use a synthesizer for the score was unique. Much like John Williams’s Jaws score, the minimalist approach he took, focusing on a few simple notes, added to the sense of foreboding. The haunting melody, consisting of repeating notes, created a feeling of repetition and inevitability, mirroring the relentless pursuit of Michael Myers. The simplicity of the score burrowed into the viewers' subconscious, becoming a trigger for fear. What makes Carpenter’s musical accomplishment even more astonishing is the fact that he couldn’t read sheet music. His ability to create such a haunting and iconic score without formal training underscores his intuitive grasp of mood and emotion. Carpenter relied on his instincts and creativity, crafting a score that resonated with audiences on a primal level. His music became an auditory embodiment of fear, lingering in the minds of viewers long after the film had ended.

While Halloween stands as one of (if not THE) best horror films of all time, the franchise itself unfortunately does not. After becoming a smash hit, producers and studios wanted cash in on Michael Myers. Unlike the Evil Dead franchise, which I consider to be the most consistent horror franchise in terms of quality, Halloween’s sequels, remakes and reboots fall short. Halloween II gets a lot of hate for clumsily introducing the fact the Laurie Strode is Michael’s sister (which was later erased in future films), but on its own merits its a perfectly acceptable horror movie… just not as good as the first film. Halloween III: Season of the Witch is, charitably, its own… thing. Initially angering audiences by not even featuring Michael Myers, it has since gained a cult-like appreciation. Myers returned, fittingly, in 1988’s Halloween 4: The Return of Michael Myers, followed by Halloween 5: The Revenge of Michael Myers in 1989 and Halloween: The Curse of Michael Myers in 1995. Jamie Lee Curtis returned as Laurie Strode in the terribly named soft reboot Halloween H20: 20 Years Later in 1998 and its follow-up Halloween: Resurrection in 2002. None of those films ever reached the quality of the original, so in 2007, the whole franchise was rebooted by horror director and rock star Rob Zombie. The remake and its 2009 sequel have their defenders, but those defenders do not represent the unanimous opinion of the films. Finally, we got another reboot in 2018, directed by David Gordon Green, that ignored all previously established mythology and was instead a direct sequel to the 1978 film. Simply titled Halloween, the remake was a hit and entertained critics and fans alike. Its two sequels, Halloween Kills and Halloween Ends have proven extremely divisive, however. It’s only a matter of time before studios remake or reboot the series AGAIN, but until then, enjoy the original unparalleled 1978 classic.

I spent eight years trying to reach him, and then another seven trying to keep him locked up, because I realized that what was living behind that boy's eyes was purely and simply... evil.



Sunday, September 22, 2024

I Wrote a Book!

31 Nights of Halloween: A Beginner's Movie Guide for Every Night of Spooky Season 

Just in time for Spooky Season! Are you a fan of all things spooky and chilling? Ever dreamed of completing a horror movie challenge? Whether you're a seasoned Halloween enthusiast or just dipping your toes into the genre, this book is your perfect guide to the essential classics of horror cinema. Inside, you'll find a handpicked selection of 31 iconic horror and horror-adjacent films to keep you haunted throughout October. Designed for anyone who loves the eerie and macabre, this collection is especially crafted for those looking to dive into the timeless masterpieces of the horror canon. Get ready to embrace the scares and thrills of Spooky Season!

Available in eBook, Paperback and Hardcover

Tuesday, August 27, 2024

NORTH BY NORTHWEST *Reaction & Commentary!*


From the Essential Films Podcast, Adolfo and Mark discuss Alfred Hitchcock's 1959 thriller, NORTH BY NORTHWEST accompanied by other movie discussions.

Tuesday, April 16, 2024

Freaks (1932)


FREAKS
Tod Browning
1932 • 64 Minutes • 1.37 : 1 • United States
Black & White • English • Metro-Goldwyn-Mayer

Cast:  Wallace Ford, Leila Hyams, Olga Baclanova, Rosco Ates, Henry Victor
Screenplay:  Clarence Aaron Robbins
Producers: Tod Browning, Harry Rapf, Irving Thalberg
Cinematography: Merritt B. Gerstad

Awards and Honors

The Essential Films

National Film Preservation Board
Entered in the National Film Registry - 1994


They're going to make you one of them, my peacock! 

A melodramatic tale of love, deceit, treachery, and murder... all taking place in the backdrop of a traveling circus freak show. Hans the dwarf has just inherited a fortune from his father when suddenly the beautiful trapeze artist Cleopatra takes an interest in him. Together with the strong man Hercules, Cleopatra hatches a plan to marry Hans and kill him to inherit the money. The other circus freaks see right through the evil trapeze artist... and they wish to make her one of them, permanently.

A controversial film, it is often argued that Freaks is not a horror movie. It is a complex human drama and a tragic one at that. And I agree. It is a drama. But it IS also a horror film. At least, it was certainly a horror film in the 1930s. What makes this film unique is that Tod Browning used actual sideshow attractions in the film as actors. Browning probably got the idea because of his travels as a young man as a circus performer. Screenings of the original 90-minute cut of the film (much of the film was cut at the studio's insistence and these scenes are considered lost) caused such horror and disgust in people, one woman even threatened to sue MGM because she claimed the film caused her to miscarry. The film features such blunt depictions of the circus sideshow (including a pair of conjoined twins and Prince Randian the Human Torso) that it caused audiences extreme discomfort. Because of this extreme controversy, the film was even banned in the United Kingdom for decades.

Tod Browning's career never recovered from this film. The director of the famed Universal Pictures classic monster movie Dracula made only a few other films following Freaks. Not only was the film ahead of its time and audiences, but it was also a commercial failure. All of this led to Browning's career being thrown off track. Studios failed to trust him, and few of his projects were greenlit from that point forward.

Sideshows are pretty much extinct in modern society. The idea of exploiting people's deformities for financial gain is an unpopular idea today. The film seemingly doesn't take this position. While watching the film, it takes great care as to not show the freaks as... well, freaks, but as people who are just trying to survive and get by. It shows them performing everyday tasks like getting dressed, eating, shaving, lighting a cigarette... and more abstract concepts like falling in love. The only time the freaks seem threatening is towards the climax when they start to appear out of the mud, stalking the film’s villains.

While shunned from the outside world, the freaks have a strong and loyal community. In the infamous "gobble, gobble" scene, they are accepting the new bride of Hans, the beautiful Cleopatra into their group. Because she's beautiful, she's the outsider, and they accept her as one of their own. When she spurns them, they repay her in kind. The film is very profound in this matter.






Tuesday, February 27, 2024

3 DAYS OF THE CONDOR (1975)

3 DAYS OF THE CONDOR

1975 • Sydney Pollack

Screenplay: Lorenzo Semple Jr., David Rayfiel; Based on Six Days of the Condor by James Grady
Producer: Stanley Schneider
Cast: Robert Redford, Faye Dunaway, Cliff Robertson, Max von Sydow
Cinematography: Owen Roizman
Music: Don Guidice

Paramount Pictures

I don't interest myself in "why". I think more often in terms of "when", sometimes "where"; always "how much".

Grab your tinfoil hats and get ready to dive headfirst into the thrilling world of 1970s paranoia with 3 Days of the Condor. This film takes us on a rollercoaster ride filled with conspiracy, danger, and a dash of CIA antics. It takes us on a journey where trust is scarce, and everyone is potentially a double agent. Exciting, right?

It's 1975, and the world is knee-deep in Cold War tensions and cloak-and-dagger shenanigans. Our protagonist, played by Robert Redford, is a mild-mannered CIA analyst who spends his days diving into books, looking for hidden meanings and secret codes.

One day, Redford's character stumbles upon a sinister discovery. He finds out that his fellow co-workers
have been brutally murdered. Suddenly, he finds himself thrust into a web of intrigue and danger, desperately trying to uncover the truth behind the conspiracy before it's curtains for him too. Let's just say it's a good thing he's got those CIA skills up his sleeve.

As Redford's character digs deeper, he realizes that he can trust no one. Everyone is suspicious. The office intern? Probably a double agent. The mailman? Definitely hiding some secret documents in those mailbags. Even the office vending machine might be keeping tabs on him. Paranoia at its finest.

Let's not forget the technical achievements of this gem either. Nominated for an Academy Award for Best Film Editing, it's clear that the masterful editing played a pivotal role in creating the suspense and tension that keeps you on the edge of your seat. Audiences appreciated this film as well, raking in a cool $41 million at the box office, which would be about $240 million in 2023 money. Not too shabby for a bunch of spy games and cloak-and-dagger antics.

3 Days of the Condor is a must-watch for fans of 70s paranoia thrillers, secret agent escapades, and those who just can't resist a good conspiracy theory. With its gripping plot, snappy dialogue, and some killer performances, this film will have you questioning everyone you meet for at least a week.

It will happen this way. You may be walking. Maybe the first sunny day of the spring. And a car will slow beside you, and a door will open, and someone you know, maybe even trust, will get out of the car. And he will smile, a becoming smile. But he will leave open the door of the car and offer to give you a lift.



Notable Awards & Accomplishments

• Academy Award Nominee: Best Film Editing
• Golden Globe Nominee: Best Actress - Drama: Faye Dunaway
• 6th Highest Grossing Film of 1975

Availability: Digital, 4K, Blu-Ray, DVD



Wednesday, February 21, 2024

Let the Right One In (2008)


LET THE RIGHT ONE IN
2008 • Tomas Alfredson

Cast: Kåre Hedebrant, Lina Leandersson, Per Ragnar, Ika Nord, Peter Carlberg
Screenplay: John Ajvide Lindqvist
Cinematography: Hoyte Van Hoytema
Music: Johan Söderqvist
Sandrew Metronome

 How old are you?
- Twelve... more or less.

Oskar is a friendless little boy who is constantly bullied at school. His solitary existence changes when he encounters a peculiar girl named Eli. Despite her odd behavior, a tender friendship blossoms between them, offering Oskar a glimmer of companionship he has longed for. What’s the catch? Spoiler: She’s a vampire. Despite the chilling revelation, Oskar's affection for Eli remains steadfast, transcending the barriers imposed by her supernatural nature. Their relationship becomes a sanctuary from the harsh realities of their respective lives. Oskar finds solace in Eli's company, while she finds a rare connection in his genuine acceptance of her true self.

Remember when vampires were awesome? They were badass monsters that you were glad weren’t real. They were bloody, they had fangs, they could rip your throat out, and, most importantly, they did not glitter in the sunlight. Movies like Twilight or shows like True Blood have overly romanticized and de-fanged (literally in Twilight’s case) the vampire genre. This is a wonderful return to form for the supernatural monsters.

The violence portrayed in Let the Right One In serves as a stark contrast to the tender friendship between Eli and Oskar, highlighting the weird nature of their relationship and the world they live in. On one hand, the violence in the film is a visceral reminder of the harsh realities of their existence. As a vampire, Eli needs human blood to survive, leading to grisly and brutal scenes where she hunts her prey. At the same time, the violence serves as a catalyst for the development of Eli and Oskar's bond. Oskar, who is himself a victim of bullying and violence, finds solace in Eli's companionship. Despite her predatory nature, Eli offers him a sense of understanding and acceptance that he struggles to find elsewhere. Their friendship becomes a refuge from the cruelty of the outside world. It challenges conventional notions of morality and empathy.

Let the Right One In explores the relationship between predator and prey. Eli, as a vampire, embodies the archetype of the predator. Her survival depends on feeding on humans. However, despite this inherent instinct, Eli forms a deep emotional bond with Oskar, someone who, by all accounts, should be her prey. Her affection for him overshadows the boundaries of her predatory instincts, highlighting the capacity for love and compassion even in the most unlikely of circumstances. On the other hand, Oskar faces his own predators in the form of human bullies. These individuals, driven by cruelty and insecurity, torment Oskar relentlessly, making him a victim of their predatory behavior. In contrast to Eli, who offers him understanding and solace, Oskar's human tormentors embody the darker aspects of humanity, preying on the vulnerable and perpetuating cycles of violence and cruelty.

Let the Right One In was re-made in 2010 as Let Me In for American audiences. It was a fine interpretation, but nothing beats the original.


- You have to invite me in.
- What happens if I don't? What happens if you walk in anyway?

Notable Awards & Accomplishments

BAFTA Nominee: Best Film Not in the English Language

Friday, February 2, 2024

PAN'S LABYRINTH (2006)

 

PAN’S LABYRINTH
(El laberinto del fauno)
2006 • Guillermo del Toro

Cast: Ivana Baquero, Sergi López, Maribel Verdú, Doug Jones, Ariadna Gil, Álex Angulo, Pablo Adán
Screenplay:
Guillermo del Toro
Cinematography: Guillermo Navarro
Music:
Javier Navarrete

Warner Bros. Pictures

A long time ago, in the underground realm, where there are no lies or pain, there lived a Princess who dreamed of the human world.

Fascist Spain. 1944. Imaginative and aloof Ofelia is the young stepdaughter of the sadistic Spanish army Captain Vidal. Ofelia and her pregnant mother are brought in to live with Vidal while he finishes killing off the last of the rebel soldiers. Ofelia hates living under the tyrannical parental authority of her new stepfather and in an effort to distance herself from his cruelty, she escapes into a world of fantasy. Ofelia stumbles upon an ancient faun living in a labyrinth outside her new home. He tells her she has to perform three tasks and she will become a princess of a magical kingdom. Definitely not for children, Pan's Labyrinth is a film that pays homage to children’s fairytales and films like Alice in Wonderland and The Wizard of Oz. But is it all really happening, or is it all in Ofelia's vivid imagination?

It is a seemingly straightforward fantasy plot that is in actuality rich in its depth and complexity. While it follows the journey of Ofelia into a fantastical labyrinth, it forces us to confront the harsh truths and brutalities of the world while also delving into the power of imagination and resilience in the face of adversity. Guillermo del Toro invites audiences to contemplate the blurred lines between reality and fantasy, innocence and brutality, leaving a lasting impact on you.

Pan’s Labyrinth masterfully intertwines two parallel narratives: a magical quest and a political war drama. Del Toro skillfully balances these contrasting worlds, seamlessly shifting between the enchantment of Ofelia's quest and the grim horrors of a war-torn society. As the fantastical and the grim reality converge, Pan's Labyrinth explores themes of resilience, sacrifice, and the enduring human spirit amidst the tumultuous backdrop of Francoist Spain.

A beautiful lullaby bookends the film called "Long, Long Time Ago" ("Hace tiempo, mucho tiempo" in Spanish). It was composed by, Javier Navarrete, who also composed the film's entire score. The haunting melody of the lullaby adds to the film's ethereal and melancholic atmosphere, capturing the essence of Ofelia's journey and the film's themes of innocence and loss. It is sung by Mercedes, the housekeeper (and secret rebel collaborator), and while it is the same soulful song, it evokes different moods. In the beginning, it serves as a “Once upon a time,” with its sense of nostalgia. At the end of the film, it is different. It almost serves as a “and they lived bittersweetly ever after,” but with a sense of longing and sadness.

Sergi López delivers an amazing villainous performance as Captain Vidal, the not-so-subtle metaphorical stand-in for Francisco Franco. Vidal embodies the epitome of a well-groomed gentleman, meticulously attending to his appearance by personally shaving and shining his boots, reflecting his meticulous attention to detail and obsession with control. Despite his outward facade of military perfection, Vidal harbors a monstrous and sadistic nature, a trait he conceals beneath a veneer of unemotional detachment. As a brutal Falangist Captain, Vidal ruthlessly pursues his mission to eradicate leftists from the hills of Northern Spain, embodying the authoritarianism and violence of Francoist Spain. Sergi López's portrayal of Vidal captures the chilling duality of a man who presents himself as a model officer while harboring a dark and evil interior.

Ivana Baquero delivers a remarkable performance as Ofelia. At just 12 years old, Baquero portrays Ofelia with maturity beyond her years while capturing a sense of Alice-like wonder. Ofelia's journey into the labyrinth unfolds as she encounters a host of mystical creatures and challenges laid before her. Ofelia is innocent, but brave and determined. You root for her to triumph against the dark forces that threaten her world. While the creatures pose their own challenges and mysteries, it is Captain Vidal's menacing presence and violent nature that truly terrify Ofelia. Ofelia understands the very real dangers posed by Vidal and the oppressive regime he represents. His cruelty towards those he perceives as enemies, including herself, instills a deep sense of dread and apprehension in Ofelia.

But perhaps she should be more careful. One of the compelling aspects of the film is the ambiguity surrounding the character of the Faun. Throughout the film, the Faun serves as a mysterious and enigmatic figure who guides Ofelia on her journey, presenting her with tasks and challenges that test her courage and resolve. However, the Faun's motives and intentions remain shrouded in mystery. On one hand, the Faun offers Ofelia the promise of reclaiming her identity as the princess of the underworld, leading her to believe in a destiny beyond the confines of her mundane existence. On the other hand, the Faun's methods are often cryptic and ambiguous, and his demands for obedience and sacrifice raise doubts about his true nature. By the end, we get a definitive answer… or do we?

One of the lingering questions you may have when the credits role is: Is the quest an imaginative coping mechanism for Ofelia? Did any of it actually happen? Is it like Alice in Wonderland or The Wizard of Oz, was it all just dreams and imagination? It's widely interpreted that Ofelia's quest is indeed an imagined escape from the brutality and hopelessness of her situation. By embracing the role of the underworld princess and undertaking the tasks assigned to her by the Faun, Ofelia can assert her identity and assert control over her own life. I, myself, choose to believe the fantasy. However, what makes the film great is that both interpretations are valid.

Life isn't like your fairy tales. The world is a cruel place. And you'll learn that, even if it hurts.

Notable Awards & Accomplishments

  • Academy Award Nominee: Best Writing, Original Screenplay

  • Academy Award Winner: Best Achievement in Cinematography

  • Academy Award Winner: Best Achievement in Art Direction

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Physical Media: Available on 4K, Blu-Ray and DVD

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Wednesday, January 24, 2024

THE TERMINATOR (1984)




THE TERMINATOR
1984 • James Cameron

Screenplay: James Cameron, Gale Anne Hurd
Producers: Gale Anne Hurd
Cast: Arnold Schwarzenegger, Michael Biehn, Linda Hamilton, Paul Winfield, Lance Henriksen, Bess Motta, Rick Rossovich, Earl Boen
Cinematography: Adam Greenberg
Music: Brad Fiedel

Orion Pictures

You still don’t get it, do you? He’ll find her! That’s what he does! That’s ALL he does! You can’t stop him! He’ll wade through you, reach down her throat and pull her fuckin’ heart out!

In the future, a great war wages between mankind and the machines. A cyborg, or Terminator, is sent back in time to present day (1984) to eliminate Sarah Connor, the mother of John Connor, who leads the human resistance against the machines. The humans send back a guardian for Sarah… a man named Kyle Reese who must help Sarah escape and outrun the deadly killing machine that will stop at nothing to change the future.

It is rare when a film cross-pollinates genres to create something extraordinary. This is what The Terminator does. The Terminator is an action movie with a science fiction concept filmed and presented as a monster movie. Schwarzenegger’s portrayal of the Terminator cyborg is absolutely terrifying. Truly, one of the great screen villains. The Terminator is essentially a hitman with a target. But the difference is, that this hitman is completely unstoppable. Bullets, knives, and explosions do not hurt it. It does not feel pain, nor mercy. These are all classic traits of any of the great horror villains from Michael Myers to Jason Vorhees… except increased exponentially.

On top of this, who is the hero of the story? Sarah Connor. A normal, all-American girl who doesn’t understand why this (literal) killing machine is out to destroy her. Sounds kind of like a final girl. Add all this to the fact that, visually, the film is incredibly dark there are a small number of daytime scenes which add to the movie's monster ambience.

Chances are, you have seen this film before. It ran on cable (remember that?) all the time and its sequel is one of the highest-grossing films of all time. It has become an iconic masterpiece that is completely worthy of its fame. The police station shoot-out scene remains to this day an all-out classic. Why is it so great? Because throughout the film, The Terminator is established as a force of nature that will stop at nothing to achieve its objective. So when he says to the cop at the front desk “I’ll be back,” you KNOW it's about to go down… even if you’ve never heard of the movie or the famous line… You just know what’s about to happen.

There is endless debate amongst the Terminator fanbase as to which film is better: The Terminator or Terminator 2: Judgment Day. What’s entertaining about this argument is that they are incredibly different films. The original is more of a thriller while the second is just straight-up ass-kicking action. However, the debate rages and that can only be a good sign: Godfather vs. Godfather II, Alien vs. Aliens, etc.

James Cameron is an incredibly talented director. The man knows exactly what he’s doing and his movies
always look spectacular and he’s always breaking new ground. The Abyss and Terminator 2 used special-effects technology that was still in its infancy and those movies STILL look amazing. Avatar, while being a recycled story, was a groundbreaking film visually, and hell, yes, even Titanic looks incredible. James Cameron knows how to make a movie. But, the most impressive film to this day still has to be the original Terminator. Why? While Avatar, Titanic, and T2 all look better, they also had HUGE budgets. Terminator was made for practically nothing (by Hollywood standards) and Cameron was put in a position where he had to create a visually impressive movie on pretty much no money. Do some of the effects look hokey in 2011? Sure. But in 1984 that was cutting-edge technology.

Unlike Avatar and Titanic, where Cameron relies heavily on his incredible visuals and sees the story as an afterthought, The Terminator story is classic. He took an old science fiction concept (man vs. machine) and put a spin on it that still keeps your imagination alive. Both T1 and T2 take the concept of fate and the concept of time travel and have a lot of fun with it. Can you change the future for the better or for the worse? Or will the inevitable always happen? It’s phenomenal storytelling.  

I’ll be back.

Notable Accomplishments
  • Inducted to National Film Registry: 2008
  • 3 Saturn Awards Wins: Best Science Fiction Film, Best Make-up, Best Writing
  • AFI's 100 Years... 100 Thrills - #42