The Essential Films Podcast: Episode #009: Gone With the Wind (1939)

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

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.

The Essential Films Podcast Episode #002: Citizen Kane (1941)

Originally recorded in 2016

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

100 Essential Horror Movies - #30

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.

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

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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

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

Streaming: Not currently streaming
Digital Rental/Purchase: Available at major digital retailers
Physical Media: Available on 4K, Blu-Ray and DVD

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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

THE EVIL DEAD (1981)

THE EVIL DEAD
1981 • Sam Raimi 

Screenplay: Sam Raimi
Producer: Robert G. Tapert
Cast: Bruce Campbell, Ellen Sandweiss, Richard DeManincor, Betsy Baker, Theresa Tilly
Cinematography: Tim Philo
Music: Joe Loduca

New Line Cinema

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The timeless look, the bananas cinematography, the disgusting practical effects, and the unrelenting pace of the last half of the movie make this one the standard bearer of over-the-top 80s horror. This ridiculous horror extravaganza introduced video stores all over America to director Sam Raimi and the unique acting chops of Bruce Campbell.

Before Raimi directed the billion-dollar Spider-Man franchise, he came from these humble beginnings.  The plot is not all that groundbreaking (although it did popularize the trope):  Five friends head towards a secluded cabin in the woods for the weekend.  Once there, they find an old creepy-looking book that was left behind. After heading to the basement they also find and play a tape recording of demonic incantations that release the spirits of the cabin to raise hell upon the five unsuspecting college students.  One by one, the friends fall victim to possession, leaving only Ash (Campbell) to face the nightmarish onslaught. Will he be able to survive until dawn breaks? The narrative may be familiar, but The Evil Dead elevates it with its unique style and execution.  

Although Evil Dead is at times goofy it adds to the film's charm. However, you can see flashes of Raimi's later brilliance in this film, and the makeup and special effects are impressive considering this film cost about $2.53 to make. Regardless Evil Dead is essential horror viewing. On top of that, all of the film’s sequels and spin-offs, such as Evil Dead II, Army of Darkness, the 2013 remake, the "Ash vs the Evil Dead" TV series, and 2023’s Evil Dead Rise have only solidified its place as a cult classic.

Evil Dead remains a beloved horror film that deserves its reputation. With its striking visuals, relentless pacing, and introduction of talented individuals who would go on to make their mark in the industry, it is a true gem in the genre. Despite its occasional silliness, this movie has aged well and continues to be a thrilling and entertaining watch. Whether you're a fan of Sam Raimi, or Bruce Campbell, or simply enjoy a good scare, The Evil Dead is a must-see for horror aficionados. Watch out for the trees, though.

Groovy.

Let's watch VIOLENT NIGHT (2022)! *Reaction & Commentary*