The Innocents (1961)

THE INNOCENTS

1961 • Jack Clayton

Screenplay: William Archibald, Truman Capote based on a novel by Turn of the Screw by Henry James

Producer: Jack Clayton

Cast: Deborah Kerr, Peter Wyngarde, Megs Jenkins, Michael Redgrave, Martin Stephens

Cinematography: Freddie Francis

Music: Georges Auric

20th Century Fox

But above anything else... I love the children

Miss Giddens has been hired as a governess to take care of a pair of orphaned siblings: Flora and Miles. Giddens has complete independence to care for and raise the children as she sees fit, but soon after her arrival, strange occurrences begin. First coming to believe the house may be haunted, her fears grow until she suspects the children themselves are possessed by the spirits of the former masters of the house. Giddens refuses to abandon the children and hopes to literally save their souls.

Jack Clayton knows how to direct a ghost story. The atmosphere of this film is perfect. From the second Giddens arrives at the house, the audience can just feel something is amiss. The mood is beyond creepy. Clayton shoots the house to make it not only seem dark and threatening but also stifling and claustrophobic. Every shadow seems threatening. Adding to the effect is that the film is masterfully shot in black and white by the director of photography Freddie Francis, who went on to shoot The Elephant Man, Dune, and Return to Oz. Adding to the atmosphere is the limited use of a musical score. Instead of relying on a suspenseful score, this movie is (almost) in complete silence... which amplifies the spookiness of the situation. In fact, one of the only pieces of music that is heard throughout the film is the song "Willow Waylee" sung by the children. It opens the film over the credits and it is used strategically throughout the course of the movie. This is what a ghost story should feel like.

I'd qualify this as both a ghost story and a psychological horror film. The film certainly is frightening and is going for ghost story-style scares... however, the film is also framed in a matter that leaves the audience guessing as to whether the events are happening as the protagonist actually sees them or if she has gone insane and thinks she is seeing them. I won't spoil whether or not the film ever gives us a definitive answer or not, as it is part of the fun. I will say this, however: by the time the film is over... it doesn't matter whether the ghosts are real or not.

The title of the film suggests that the "innocents" are the (possibly) possessed children. The children's actions could be dictated by the supposed possession, or they could just be "bad seeds." The ghosts in the house that committed evil in their past could be literal ghosts or metaphors for the corruption of man (or both.) This is a film about evil and corruption... and in the end, no one is ever really innocent.

Hush! Hush, dear, hush! She isn't there. How could she be? She's dead and buried.

Notable Awards & Accomplishments

• 2 BAFTA Award Nominations: Best British Film and Best Film from Any Source

• Cannes Film Festival Palme d'Or Nominee

• Director's Guild of America Nominee: Outstanding Directorial Achievement in Motion Pictures - Jack Clayton

Nosferatu (1922)

NOSFERATU

1922 • F.W. Murnau

Cast:  Max Schreck, Alexander Granach, Gustav von Wangenheim

Screenplay: Henrik Galeen based on Dracula by Bram Stoker 

Producers: Enrico Dieckmann, Albin Grau

Cinematography: Fritz Amo Wagner

94 Minutes • 1.33:1 • Germany

Film Arts Guild

Is this your wife? What a lovely throat.

The original epic horror film. Even though this silent film is over a century old, it doesn't fail to deliver chills in ways that modern horror films wish they could. The story is familiar and is a fun adaptation of the classic Dracula story. Schreck is especially creepy as the title character and the camera work was way ahead of its time.

Henrik Galeen’s story of Nosferatu is loosely based (read: ripped off from) on Bram Stoker’s original novel Dracula.  At the time of production, Bram Stoker’s estate had not given permission to Murnau to shoot the film, so they worked around it by changing names and a few events. So... Max Schreck portrayed "Count Orlok" instead of "Count Dracula."   A real estate agent visits the reclusive Count Orlock in Germany to sell him some land but notices a series of unusual events surrounding his visit.  Sound familiar?

Murnau is one of cinema’s pioneer filmmakers.  His sense of visual style was groundbreaking.  F.W. Murnau would later go on to direct a series of pioneering films, most notably the Oscar-winning film Sunrise: A Song of Two Humans.  One of the first feature-length horror movies, Nosferatu is to the horror film genre what Metropolis was to the science fiction genre… extremely influential.  The shot composition was ahead of its time, especially this iconic image:

I mean… LOOK at that image.  Even 90 years later it is still chilling.  Many of the influences that Nosferatu had can be seen in modern horror films.

You can’t talk about this film without mentioning Max Schreck as Count Orlock.  One of the great screen presences… few on-screen vampires have been more chilling.  Gary Oldman, Bela Lugosi, and Christopher Lee have all played excellent Draculas, but Schreck is the original on-screen vampire.  Unlike Dracula, Orlock is not a charming, sophisticated aristocrat.  He looks like the demon he is, and Schreck’s portrayal is so alarmingly disturbing that it still sends chills down your spine.  80 years later the making of this film was fictionalized in a film called Shadow of the Vampire starring Willem Dafoe as Max Schreck who, in the story of the film, is actually a vampire.  (Also a good watch, by the way.)

A beautiful horror film.

It will cost you sweat and tears, and perhaps... a little blood. 

Santa Begins! Let's Watch SANTA CLAUS THE MOVIE (1985) *Reaction & Comme...

Jaws (1975)

JAWS

1975 • Steven Spielberg

Screenplay: Peter Benchley, Carl Gottlieb; Based on Jaws by Peter Benchley

Producer: Richard D. Zanuck, David Brown

Cast: Roy Scheider, Robert Shaw, Richard Dreyfuss, Lorraine Gary, Murray Hamilton

Cinematography: Bill Butler

Music: John Williams

Universal Pictures

You're gonna need a bigger boat.

The greatest summer blockbuster of all time: Steven Spielberg's Jaws.

Amity Island is a small vacation community that sees a surge in tourism during the summer beach season. The new Sheriff in town, Martin Brody, discovers the remains of a shark attack victim washed up on the shore. Brody's request to close the beach until the shark's been caught is denied by the mayor, who is concerned about the impact it will have on the tourism business. After another victim is claimed by the rogue shark, this time a young boy in front of a crowded beach of tourists, the angry townspeople call on the local government to act. The young boy's mother even puts a bounty on the shark, which brings all sorts of fishermen out of the woodwork (or out of the water, if you will.) A local fisherman named Quint offers to kill the shark for a large fee and Brody, believing Quint to be the most qualified, soon joins the effort, despite the fact that he's terrified of the water. They are joined by Oceanographer Matt Hooper and the trio embark on an adventure to capture and kill the great white predator.

Richard Zanuck and David Brown were both producers at Universal at the time of Jaws' inception. They had each read Peter Benchley's novel and decided that it would make a great movie, though admittedly did not know how it would be filmed when they purchased the movie rights.  Steven Spielberg had impressed the pair of producers with his film, The Sugarland Express, which Spielberg directed for the production duo, and soon the young director was hired for the job. Spielberg later said that he found many similarities between Jaws and his first feature film Duel, which both involved a menacing "monster" attacking an everyman. 

After some initial reluctance to take the film on, Spielberg eventually dove headfirst into production. Spielberg was unsatisfied with the first two acts of the book but loved the final act, which focused specifically on shark hunting. Benchley was given the task of writing the screenplay and writing three drafts before turning it over to Spielberg. Spielberg hired his friend Carl Gottlieb, who from that point forward became the primary writer of the film. Gottlieb drew inspiration from the actors’ conversations and improvisations, although Gottlieb gives the "You're gonna need a bigger boat" line and the USS Indianapolis speech credit to their respective actors.

After initially considering Robert Duvall and Charlton Heston, Roy Scheider was eventually cast as Chief Brody. Scheider was most famously known for his role in The French Connection, and Spielberg's initial concerns that his "tough guy" persona wouldn't work with the character were soon dissolved.  Scheider portrayed Brody as a man way over his head, whose frustration at the local government officials cause him a great deal of anxiety. He has some great reaction shots in the film, which portray true fear. Most people would go to the reaction right before the "bigger boat" line, but my personal favorite is the scene where the Kitner boy is killed.  Spielberg does the Hitchcock zoom (zoom in while pulling the camera back) and Brody's face tells it all. He instinctively runs to the water but stops just short because of his phobia, all the while screaming at everyone to get out of the water. Scheider's acting is also incredible during the confrontation where Mrs. Kitner slaps him for not warning the townspeople. The other notable scene is the scene at the dinner table when the burden of his job is getting to him, he has a sweet, goofy moment with his son. This is what gives him the strength to continue.

For the role of Hooper, Jon Voight and Jeff Bridges were considered, but Spielberg's friend George Lucas suggested Richard Dreyfuss, with whom he had worked on American Graffiti.  Spielberg urged Dreyfuss not to read the book, as the script was being re-written specifically to suit him.  Dreyfuss was a relatively unknown actor, and obviously, this film launched his career forward... winning an Academy Award just a few years later for The Goodbye Girl and becoming one of America's most accomplished actors.

Quint was cast very close to the film's production start date, and after Lee Marvin and Sterling Hayden turned the film down, a reluctant Robert Shaw took on the role. Shaw had read the book and not liked it, but was eventually convinced by his wife to take the role. Shaw based much of his mannerisms on one of the local fishermen, Craig Kinsbury, even using some of his offscreen utterances as lines of dialogue.  Quint is the most remembered and, frankly most fun, character in the film.  His almost pirate-like cadence is as unforgettable as his iconic introduction into the film, where he scrapes his fingers across the chalkboard. His performance is simultaneously humorous and unsettling. His USS Indianapolis speech is one of the most chilling scenes ever filmed.

The film set new expectations in the suspense thriller genre, but it was mostly a series of happy accidents.  Spielberg was relatively inexperienced and instead of filming the boat scenes in a water tank on a soundstage, he insisted on shooting in the Atlantic Ocean, at sea, for authenticity. This would balloon the budget and cause massive production and equipment problems. (That said, it did look good on film) A large mechanical shark, nicknamed "Bruce" by the production team, was actually built for the production. However, Bruce never seemed to fully function correctly. Always breaking down whenever needed for a scene. Very few shots of Bruce actually exist in the finished film. So Spielberg used this as an opportunity to take a page out of Hitchcock's book... he never showed the shark on film in all the lead-up to the final act. It was better to hint at the threat, but never actually show it. And what was once a major production problem, became the film's signature calling card.

The scene where Hooper escapes the shark cage right before the shark attacks it was another happy accident. Divers were sent to Australia to get some real-life footage of sharks for the film. At one point, the cameras caught a massive shark attacking an empty cage. Hooper was initially supposed to die in the scene, but the footage of the shark attacking the empty cage was so spectacular, Spielberg re-wrote the script to have Hooper escape just so they could use the footage.

The final touch added to the film, and what most everyone remembers, is the iconic score by John Williams. Williams' theme for the shark has become synonymous with anyone even remotely tuned into pop culture as a sign of oncoming danger. Spielberg initially laughed at Williams when he played him the score, thinking it to be a joke, but the score remained and has become a classic piece of music. Everyone knows the Jaws score, and it is an enormous part of the film's success.

Jaws went way over budget, and 100 days over schedule. The disgruntled crew called the film "Flaws." Spielberg was so frightened of the crew, that he even skipped the filming of the last scene because he thought they would throw him overboard as soon as filming wrapped. He was so certain that his career was over after the film was completed. Obviously, he was wrong.

Universal employed an unusual tactic for the release of Jaws. Unlike today, major studio releases were NOT released wide in all theaters. Instead, they were released in big markets first, usually New York, LA, and Chicago, and slowly distributed throughout the year as positive word of mouth built up. Wide releases were usually a sign of a bad film, not a major production that the studio had faith in. Lew Wasserman, head of Universal at the time, saw the reactions audiences were having in test screenings and decided on a major marketing campaign to push the film everywhere, in over 400 theaters, an idea that was unheard of. In July, after the film steamrolled the box office, it was expanded to 700 theaters and then to 900 in August, with a similar release system internationally. Jaws went on to become the biggest movie of all time, sailing past previous record holder The Godfather, earning $470 million worldwide. Adjusted for inflation, Jaws has earned over $2.6 billion. And thus the blockbuster was born. 

Jaws had a lasting legacy in changing the business. The wide release/massive marketing model was soon adopted by Hollywood as the new way to conduct business. Hollywood still works the same way to this very day. It also established the idea of the summer blockbuster, where studios would release all of their anticipated big money-makers in the summer when audiences were more primed to go to the movies.  While other films like Gone with the Wind and The Sound of Music were massive box office hits before, Jaws created an entire season for it. 

Money isn't the only reason for this film to qualify for Essential status, though that is a major part of it. Jaws, is at its core, an endlessly entertaining adventure film, a chilling horror film, and a thrilling suspense film, no matter how much money it put in the pockets of studio executives. But on top of all of that, it also launched Spielberg's career to the moon. He had some minor successes before, but the Great White success of Jaws really put him on the map. Spielberg would go on to helm some of the greatest and essential films of the last 50 years, including Close Encounters of the Third Kind, Raiders of the Lost Ark, E.T. The Extra-Terrestrial, Jurassic Park, Schindler's List, Saving Private Ryan, Minority Report and Lincoln. Jaws and Spielberg's influence on cinema is incalculable. So, don't be afraid to go back in the water and watch this essential classic.

- I used to hate the water...

- I can't imagine why.

Notable Awards & Accomplishments

• Adjusted for inflation, Jaws is the 7th highest grossing movie of all time.

• Winner of 3 Academy Awards: Best Sound, Best Film Editing, Best Music Score

• Nominated for Academy Award for Best Picture

Let's Watch GRAVE ENCOUNTERS (2011) Together! *First-Time Reaction & Com...

Alien (1979)

ALIEN

1979 • Ridley Scott

Screenplay: Dan O'Bannon

Story: Dan O'Bannon, Ronald Shusett

Producer: Gordon Carroll, David Giler, Walter Hill

Cast: Tom Skerritt, Sigourney Weaver, Veronica Cartwright, Harry Dean Stanton, John Hurt, Ian Holm, Yaphet Kotto

Cinematography: Derek Vanlint

Music: Jerry Goldsmith

20th Century Fox

Awards & Honors:

Academy Awards

• Nominee: Best Art Direction-Set Decoration
• Winner: Best Visual Effects

I can't lie to you about your chances, but... you have my sympathies.

To this day, this film continues to be one of the scariest horror films of all time as well as being a fantastic science-fiction epic. Not only did it win an Oscar for Best Visual Effects, but it also is currently in the National Film Registry in the Library of Congress and has appeared in various American Film Institute countdown lists. This film proves that genre films can also be as engaging, provocative, and influential as the heaviest dramas. Originally called "Star Beast" before it went into production, Alien spawned a Quadrilogy of sequels (including the amazing Aliens), spin-offs (Alien VS Predator), and prequels (Prometheus).

What Ridley Scott accomplished with Alien was to blend science-fiction and horror in a way no one had ever done before. What appears to be a sci-fi flick actually turns out to be a completely terrifying horror film. A team of space miners comes across an S.O.S. signal right before they are about to head home after long several months on the job. When they go to investigate the seemingly deserted planet, an alien life form attacks and attaches itself to one of the crew's faces, putting him in a comatose state. The alien is eventually separated from Kane's (John Hurt) face... but not before laying eggs in his belly. In what has to be one of the most disturbing scenes in film history, an alien bursts out of Kane's chest and quickly grows to monstrous size as it picks off the crew one by one.

Alien is a masterclass in suspense and tension. Ridley Scott's direction creates an atmosphere of claustrophobia and dread, as the crew members navigate the labyrinthine corridors of their spaceship, constantly aware that a deadly creature lurks in the shadows. The design of the alien itself is iconic and remains one of the most memorable monsters in cinema history. The slow reveal of the creature's full form, combined with its relentless pursuit of the crew, creates an escalating sense of terror that keeps the audience on the edge of their seats.

The film is elevated by a stellar cast, including Sigourney Weaver in her breakout role as Ripley, the strong and resourceful heroine who defies expectations and becomes the last line of defense against the alien menace. The performances are uniformly excellent, with each actor bringing a sense of realism and vulnerability to their characters. At the time, Weaver was not a well-known actress, so the audience’s expectations would be subverted by having her be the ultimate survivor, instead of Dallas (Tom Skerritt), the captain of ship. Interestingly, the screenplay apparently didn’t assign genders to any character, so Ripley could have ended up being portrayed by a man. Thankfully, that didn’t happen. The script, written by Dan O'Bannon, is tight and efficient, delivering memorable dialogue and building a sense of camaraderie among the crew before tearing it apart.

Alien is a timeless classic that continues to captivate and terrify audiences over four decades after its release. Its blend of science fiction and horror, combined with its superb craftsmanship and unforgettable characters, cements its status as a genre-defining film. Whether you're a fan of horror or science fiction, Alien is a must-see film that showcases the power of cinema to thrill and provoke.

In space, no one can hear you scream.

The Silence of the Lambs (1991)

THE SILENCE OF THE LAMBS

1991 • Jonathan Demme

Screenplay: Ted Tally based on a novel by Thomas Harris

Producer: Ron Bozman, Edward Saxon, Kenneth Utt

Cast: Jodie Foster, Anthony Hopkins, Scott Glenn, Anthony Heald, Ted Levine

Cinematography: Tak Fujimoto

Music: Howard Shore

Orion Pictures

A census taker once tried to test me. I ate his liver with some fava beans and a nice chianti.

This is the greatest serial killer movie of all time. The film has everything: Scares? Check. A great villain? Actually, TWO great villains. Double check. A sympathetic hero? Check. A phenomenal story? Check. The Silence of the Lambs is so good, it was the first, and so far only horror film (though some call it a thriller) to ever win the Academy Award for Best Picture (three others have been nominated: The Exorcist, Jaws, and The Sixth Sense.) Not just that, but it hit a grand slam with awards for Director, Actress (Foster), Actor (Hopkins), and Writing. Foster stars as Clarice Starling, a fledgling FBI agent on the trail of a serial killer known as "Buffalo Bill." She thinks she can get some information from his former confidant, psychiatrist/cannibal Dr. Hannibal Lecter. Lecter spends his sessions with Clarice analyzing her and playing a chess game of wills, meanwhile, the clock ticks away on if the feds will ever catch up with Bill. Is he trying to help Clarice? Or does he just enjoy toying with her psyche?

Few films have managed to grab "The Big 5" nominations at the Academy Awards, and even fewer have actually won all five. Lambs sits in exclusive company with It Happened One Night and One Flew Over the Cuckoo's Nest. You'd have to be brilliant to accomplish those wins, and Silence is most definitely absolutely brilliant. Taking a look at it as a whole, there is nothing in this film that does not work. First, the acting. Obviously, you have Hopkins and Foster in the leads, but more on them later. Often overlooked are the exemplary performances of the supporting cast. Scott Glenn plays the veteran FBI officer that is mentoring Clarice Starling in her first major assignment. Glenn is always solid, but his performance helps ground the film. Anthony Heald, one of the few actors besides Hopkins himself to appear in Lambs, its sequel Hannibal and its prequel Red Dragon, is fantastic as the smarmy Dr. Chilton - the self-serving psychologist that runs the psychiatric institution in which Lecter is imprisoned. And finally, you can't talk about supporting actors without mentioning the menacing Jame "Buffalo Bill" Gump, portrayed by Ted Levine. Levine is a chameleon. It's hard to believe that this is the same actor that appeared for many seasons on the television show "Monk" as the gruff but loveable Captain Stottlemeyer. Buffalo Bill is overshadowed by Hopkins' Lecter, but he is a true villain. There are few things more unnerving than "it puts the lotion on its skin or else it gets the hose again."

A little piece of knowledge for the next time you are at trivia night... Anthony Hopkins, despite winning an Oscar for Best Leading Actor, was, in fact, only onscreen for a total of 16 minutes of the film's 2-hour running time. Yet his performance was so powerful that it seemed longer. Hopkins’s Lecter is a living presence in the film, even though the film's narrative isn't even really about him. After all, the story is about Starling attempting to catch a completely different killer. But Lecter is what everyone remembers because his presence is so strong. Not only strong but terrifying as well. Hannibal Lecter is universally recognized as one of the greatest screen villains of all time. Hopkins imbues Lecter with an unmatched sinister intelligence that continues to frighten audiences over 30 years later. It's not just that he's a serial killing cannibal, but add to that the fact that he is a brilliant psychoanalyst. There are a few shots when he is addressing Clarice that he stares unblinkingly into the camera. This is a nice bit of direction from Demme as well. Lecter isn't just talking to Clarice, he's staring into the soul of the audience as well. He's trying to get under your skin... before he eats it. Late in the film, when Lecter finally does become a physical threat, the audience is completely sold on the danger he represents. You know exactly what's about to happen when he breaks free from prison and it does not bode well for anyone. Hannibal Lecter is such an amazing villain and could not have been brought to life by anyone other than Anthony Hopkins.

Jodie Foster scored her second Academy Award for her portrayal of FBI Agent in Training, Clarice Starling. Starling is inexperienced and thirsty to prove herself. Not only is she academically intelligent, but as the film progresses, she demonstrates her ability to follow leads and clues and solve puzzles. Yet her desire to prove herself is a mask for her vulnerability. A vulnerability that Lecter is able to spot and exploit for his own pleasure. Starling is haunted by the death of her father and a traumatic childhood memory involving the slaughter of lambs. Could her father's death, who was a lawman himself, and the killing of the symbolically innocent lambs have led her to the path of law enforcement? Is Lecter, recognizing her desire for the father figure that's been missing most of her life, sadistically filling that role? But her vulnerability does not define her. Foster plays Starling as a vulnerable rookie, but, most importantly, a competent rookie. In a world with countless male screen heroes, Starling is one of the most exceptional screen heroines. Her "hero moment" at the end of the film will invoke cheers from any audience member.

Speaking of the end of the film, it is during the climax that Demme's direction pays off. Demme masterfully built an atmosphere of suspense all throughout the film. Starling and Lecter's "therapy sessions" as well as Buffalo Bill's abduction of Catherine Martin, played off each other well. You knew Martin is in danger while Lecter analyzed, and yes, mentored, Clarice. The clock is constantly ticking away on when the FBI will catch Gumb. This culminates when Scott Glenn's Jack Crawford tells Clarice that he and a team of agents are about to take down Gumb. Meanwhile, Clarice is still doing some legwork on the case. While Gumb is threatening to kill Catherine Martin, a doorbell rings. We cut to the FBI agents ringing a doorbell, waiting to take Bill down. When it rings again, Gumb reaches the door and reveals... Clarice. At this point, the audience fears for Starling's life as she is alone with the killer. Inevitably, when the showdown occurs it's in the basement in complete pitch black. We are able to see Starling through Gumb's night vision goggles. The audience, like Gumb, knows what he plans on doing to her. It is one of the most suspenseful scenes in cinema. A great climax to a great movie.

Everything about The Silence of the Lambs works in perfect synchronization. Demme's expertly crafted suspense combined with Howard Shore's score is the perfect vehicle for Hopkins, Foster, Glenn, Levine, and others to deliver Ted Tally's brilliant script. The Silence of the Lambs is not just essential horror, it's one of the greatest films ever made and should be seen by anyone that appreciates or wishes to craft a perfectly executed story.

I do wish we could chat longer, but... I'm having an old friend for dinner.

Notable Accomplishments

• Winner of the “top 5” Academy Awards: Best Picture, Director, Actor, Actress and Screenplay (Adapted)
• American Film Institute's 100 Years...100 Movies — #65
• Golden Globe Winner: Best Actress

Psycho (1960)

PSYCHO

1960 • Alfred Hitchcock

Screenplay: Joseph Stefano; Based on Psycho by Robert Bloch

Cast: Janet Leigh, Anthony Perkins, Vera Miles, John Gavin, Martin Balsam, John McIntire, John McIntire, Simon Oakland, Frank Albertson, Pat Hitchcock

Cinematography: John L. Russell

Music: Bernard Herrmann

Producer: Alfred Hitchcock

Paramount Pictures

Well, a boy's best friend is his mother.

Everything you have read, seen, or heard about Psycho is probably true. Unfortunately, the "twist" ending has been parodied to death (no pun intended) and it, along with its iconic score, is part of the American pop culture landscape. However, if you have never seen Psycho, then you owe yourself a good scare. The movie is shrouded in an aura of intrigue and suspense, with a storyline that seamlessly intertwines horror, mystery, and psychological thrills. From the infamous shower scene to the eerie Bates Motel, every element of Psycho has become ingrained in the collective consciousness of audiences worldwide. References to the movie abound in various forms of media, from movies and TV shows to advertisements and Halloween costumes.

Behind Jaws and The Exorcist, Psycho is easily one of the best horror, thrillers, or horror/thrillers of all time. It's not just because the film features a serial killer (although that plays a significant role), but because the film is genuinely terrifying and shocking to the senses.

Psycho follows Marion Crane, a young secretary who embezzles money from her employer and decides to go on the run. Tired and caught in a rainstorm, she checks into the secluded Bates Motel, owned by the enigmatic Norman Bates and his overbearing mother. Marion's decision to stay at the motel sets off a chain of horrifying events, culminating in one of movie history’s most iconic scenes. The film slowly uncovers the dark secrets hidden within the Bates Motel, leading to a shocking revelation. The film explores themes of identity, madness, and the blurred lines between reality and delusion.

Psycho was adapted from the novel of the same name by Robert Bloch. Bloch's narrative provided Hitchcock with a foundation for his screenplay, allowing him to delve into the complexities of the human mind and create a story that both disturbed and fascinated audiences. Ed Gein was a notorious American murderer and grave robber, who served as an inspiration for several on-screen villains, including Psycho. It’s important to note that this is not the story of Ed Gein. Hitchcock and Bloch drew inspiration from Gein’s murders but does not retell the story. Gein's twisted psyche and the gruesome discoveries in his home fascinated the public and the media, influencing numerous works of fiction in both literature and film. Hitchcock's decision to draw inspiration from Gein's story added a layer of real-life horror to the fictional narrative, intensifying the impact of Psycho on audiences' collective psyche.

Psycho stands as one of the earliest and most influential "slasher" films in cinematic history. Released in 1960, it revolutionized the horror genre by introducing elements of suspense, psychological terror, and shocking violence. Alfred Hitchcock's meticulous direction and storytelling techniques set new standards for horror filmmaking, making Psycho a trailblazer for the countless slasher films that would follow.

One of the reasons this film is so scary is that the scares are earned by a well-crafted screenplay. Instead of using the tired conventions of modern horror films where something "jumps out" at the audience, the screenplay builds its characters, their motivations, and their actions so well that when the scare comes it is natural and organic instead of contrived. What is quite genius about Stefano's script (which was based on a novel by Robert Blotch), is that Marion has what appears to be a petty motivation at the beginning of the film. However, without entering into spoiler territory, Hitchcock completely manipulates your expectations and as Act I ends and Act II begins you are completely caught off guard as to what to expect in the film. It's at this point that the Norman Bates character becomes the main crux of the story. His motivation and character development are so fascinating that it dwarfs the rest of the plot and characters. The mystery surrounding what is truly going on at the Bates Motel is one of the most well-written in cinema history.

Central to the film's enduring impact is Bernard Herrmann's iconic score. Herrmann's music, especially the shrieking strings during the famous shower scene, became synonymous with fear. His composition elevated the film's tension, creating an atmosphere of unease and anticipation that intensified every moment, making audiences hold their breaths in terror.

Obviously, Hitchcock's value can never be understated, but he truly did create a horror milestone. Just examine the infamous shower murder scene. A scene that even people who have never seen the film can immediately call to mind when the film is mentioned. It is incredibly frightening, disturbing, and terrifying. Notice, however, there is no gore. None. You see a knife, a shadowy figure, you hear the screaming terror, and finally, some blood trickles down the drain. You never see the knife wounds or stab marks, however the rapid-fire editing, the point of view shots (from both the victim and the killer), the sound effects, and of course that unnerving score by Bernard Herrmann all combine to make one of the most violent scenes of all time.

Psycho is Hitchcock's A-list B-movie. Despite its relatively low budget and unconventional narrative, the film showcased Hitchcock's mastery of suspense, effectively blending high-quality production values with a compelling, provocative story. Its success challenged the industry's perception of what a blockbuster could be, proving that a film didn't need a massive budget to captivate audiences and become a critical and commercial triumph.

While Hitchcock certainly had his easily recognizable styles and themes, they never overshadowed the actors or the performances. Whether it was Jimmy Stewart in Vertigo or Cary Grant in North by Northwest, Hitchcock always populated his films with incredible actors. Janet Leigh and Martin Balsam both give fine supporting performances, but the true star of the film has to be Anthony Perkins. Perkins' portrayal of Norman Bates is all at once terrifying, pathetic, sweet, and off-putting.

Hitchcock's reputation and persuasive skills played a pivotal role in convincing Paramount Pictures to distribute Psycho. Initially skeptical, Paramount executives were hesitant to back a film with such a shocking storyline. However, Hitchcock's belief in the project, combined with his willingness to finance it himself and his clever marketing strategies, eventually convinced the studio to support the film. His decision to deny advance screenings, urging theaters to enforce a strict no-entry policy after the film began, further fueled curiosity and anticipation, contributing significantly to the film's eventual success.

Psycho is a horror film without monsters, ghosts, or gore, yet it will never cease to terrify audiences. It challenges expectations and its ending will drive you crazy. But that's OK... we all go a little mad sometimes.

She just goes a little mad sometimes. We all go a little mad sometimes. Haven't you?

Notable Awards & Accomplishments

• Academy Award Nominee: Best Actress in a Supporting Role - Janet Leigh
• American Film Institute 100 Greatest Films: #14
• Director’s Guild of America Awards Nominee: Outstanding Directorial Achievement in Motion Pictures - Alfred Hitchcock

The Essential Films Podcast Episode #61 - Short Subjects: INGLOURIOUS BASTERDS (2009)

 

Taking a look at Quentin Tarantino's 2009 modern classic INGLOURIOUS BASTERDS

THE BRIDE OF FRANKENSTEIN 1935 • James Whale

THE BRIDE OF FRANKENSTEIN

1935 • James Whale

Screenplay: William Hurlbut, John L. Balderston; Based on the Premise suggested by Frankenstein 1818 novel

Producer: Carl Laemmle Jr.

Cast: Boris Karloff, Colin Clive, Valerie Hobson, Elsa Lanchester, Ernest Thesiger, E. E. Clive, Oliver Peters Heggie

Cinematography: John J. Mescall

Music: Franz Waxman

Universal Pictures

To a new world of gods and monsters!

This sequel to the 1931 film Frankenstein is considered by many to be one of the best horror films ever made. It stands as a classic in the horror genre and a testament to the ingenuity of early Hollywood filmmaking. This iconic film took the legacy of Mary Shelley's Frankenstein to new heights, introducing memorable characters and delving into themes of creation and humanity.

The movie picks up where the original left off, with the monster surviving the fire that ended the first film. The film follows the monster's journey as he tries to find his place in a world that rejects him. The insane Dr. Pretorious convinces Dr. Frankenstein to build another creature, this time a female mate as a companion to his first, tragic monster. The original Universal Frankenstein film left out many details of the book, including the section in which the Monster demands the mate, which is fully fleshed out as an entire film here. Much different than the source material, however, as there is no Dr. Pretorious in the novel who blackmails Dr. Frankenstein into creating a new monster.

Even before the original film's release, Universal Pictures considered the possibility of continuing the story in a sequel. This foresight led to significant changes in the film's original ending, allowing for Henry Frankenstein's survival and the opportunity to explore new narrative horizons. Director James Whale believed that The Bride of Frankenstein would be unable to surpass the success of its predecessor. Instead of trying to outdo the original, he decided to make it a memorable "hoot." This approach gave the film a unique charm and an enduring appeal.

The mysterious bride is credited in the film as “?” but was in fact portrayed by Elsa Lanchester. But she also played another pivotal role in the film: Mary Shelley. The film begins with a prologue featuring Mary Shelley, where she discusses the moral lesson behind her novel with Percy Bysshe Shelley and Lord Byron. This addition connects the film to its literary source and emphasizes the cautionary tale of playing God. Elsa Lanchester's portrayal of the Bride's hissing was inspired by the hissing of swans. Her dedication to the role even led to her suffering a sore throat during the filming of the hissing sequence, which director Whale shot from multiple angles. Jack Pierce's makeup work for The Bride, with input from director James Whale, resulted in an iconic and unforgettable look. The Bride's distinctive hairstyle, inspired by Nefertiti, remains a symbol of classic horror. The final reveal of the Monster's Mate at the end of the film is worth the journey after a thoroughly enjoyable film.

Colin Clive, who played Henry Frankenstein, was struggling with alcoholism during the filming of The Bride of Frankenstein. However, director Whale believed that Clive's "hysterical quality" was essential for the character, so he retained him in the role. One can argue the morality behind that choice, but it does work quite well as Clive plays Dr. Frankenstein as desperate, on the edge of a breakdown, and mentally exhausted.

Dr. Pretorius is a new character added to the story, one which does not appear in the novel. His inclusion brings a weird and wonderful campiness to the sequel. The film takes a sillier and campier tone when Pretorious appears on screen, as Ernest Thesiger chews scenery until nothing is left. One of the stranger aspects of the film is the inclusion of homunculi, miniature humans created by Dr. Pretorius. These peculiar creatures were brought to life through innovative filming techniques that involved shooting actors in full-size jars against black velvet, creating a visually striking effect. Another odd scene features Pretorius enjoying a light supper in a crypt, speaking to himself in exaggerated tones and gestures. In such a macabre setting, this may jar some viewers.

The movie's standout performance is undoubtedly Boris Karloff as the monster. Karloff delivers a remarkable performance as the creature, adding a layer of humanity to a character that is often portrayed as a mindless monster. In a departure from the novel, the film portrays the Monster's learning of English and kindness from the Blind Man as taking place in a matter of hours. Narratively, this allows the film to move along at a quicker pace, but it does very much deviate from the book where the process takes weeks. Boris Karloff strongly objected to the decision to allow his character to speak. This decision marked a significant departure from the silent, imposing figure of the Monster in the original film. That said, the monster only speaks about 40 unique words, so much of his performance still relies on the magnificent body language and facial acting of Karloff.

Aside from its outstanding performances, Bride of Frankenstein is notable for its impressive special effects. The film's laboratory scenes, elaborate set designs and intricate props, elevate the production value of the film. The film's score, composed by Franz Waxman, also adds to the movie's overall eerie atmosphere. Its stunning visuals, outstanding performances, and haunting score make it a must-see for horror fans and cinephiles alike.

The Bride of Frankenstein continues to captivate audiences with its blend of horror, humor, and social commentary. James Whale was himself a gay man, as was Ernest Thesiger. Colin Clive was also rumored to have been closeted. Many scholars have suggested that the film could be seen as a metaphor for the ostracization of gay men, adding another layer of significance to this cinematic masterpiece. It's important to note that this is not a universally accepted or confirmed reading of the film's subtext. The idea of the film serving as a metaphor for the experiences of closeted gay men seems to be an extrapolation of the knowledge that Whale, Thesigerl, Clive, and potentially others were themselves gay. The Monster is a classic outsider figure. He is misunderstood, feared, and rejected by society, much like LGBTQ+ individuals have historically been marginalized and stigmatized. The dynamic between Dr. Pretorius and Henry Frankenstein has been interpreted by some as having homoerotic undertones. Their close collaboration and the intensity of their relationship have led some viewers to speculate about a deeper subtext. The Monster's desire for a mate in the film might be seen as a representation of the universal human desire for companionship and love, even if that love is considered an “abomination” by societal standards. Some also interpret this as reflecting the yearning for acceptance and understanding that closeted gay individuals might have felt in a society that often condemned their identity. However, it's crucial to remember that these interpretations are not definitive. Whale himself never openly discussed such intentions in relation to the film.

It's also important to recognize that The Bride of Frankenstein is a complex work with multiple layers of interpretation. While it may resonate with some viewers on a metaphorical level, it should not be reduced solely to a representation of any one particular experience. Ultimately, the film's lasting legacy lies in its ability to provoke thought, spark discussion, and continue to captivate audiences with its rich and multi-faceted storytelling, regardless of the specific interpretations applied to it.

The film's enduring legacy paved the way for a series of sequels and adaptations. In classic Universal Pictures fashion, the studio followed up Bride with a series of films including Son of Frankenstein, Ghost of Frankenstein, Frankenstein Meets the Wolf Man, The House of Frankenstein, House of Dracula, and Abbott and Costello Meet Frankenstein. Bride of Frankenstein's closest remake was The Bride (1985), a retelling of the tale with musician Sting playing Dr. Frankenstein and Jennifer Beals as the titular Bride. Another remake was planned for Universal’s doomed Dark Universe series, starring Javier Bardem and Angelina Jolie as Frankenstein's monster and the reluctant bride respectively. The project was canceled when Universal pulled the plug on the Dark Universe.

There is a fictionalized behind-the-scenes retelling of Bride of Frankenstein in the 1998 film, Gods and Monsters, in which Ian McKellan plays director James Whale in the last days of his life, and also delves deep into his experiences as a gay man in Hollywood. This serves as an excellent companion piece to the film and McKellan was nominated for a Best Actor Academy Award for his performance.

We belong dead.

Notable Awards & Accomplishments

• Academy Award Nominee: Sound Recording

• National Film Registry: Class of 1998

• Included in Time Magazine’s “100 Greatest Movies of All Time”

Frankenstein (1931)

FRANKENSTEIN

1931 • James Whale

Screenplay: Garrett Fort, Francis Edward Faragoh from the novel by Mary Shelley

Producer: Carl Laemmle Jr.

Cast: Boris Karloff, Colin Clive, Mae Clark, John Boles, Edward Van Sloan

Cinematography: Arthur Edeson, Paul Ivano

Universal Pictures

AWARDS & HONORS

American Film Institute:

100 Years 100 Movies (1997 List) - #87

100 Years 100 Movie Quotes - #49 ("It's alive! It's alive!")

100 Years 100 Thrills - #56

National Film Registry

Inducted in 1991

THE MAN WHO MADE A MONSTER!

Look! It's moving.  It' alive. It's alive! It's alive! ... In the name of God! No I know what it feels like to be God!

SPOILERS AHEAD

Dr. Henry Frankenstein is obsessed with death. He believes he can give life to dead flesh and creates a man to prove his theory, he creates a man by sewing together body parts from various corpses.  Instead of a man, he gives birth to a monster. Unfortunately, the creature's abnormal brain causes him to break free and escape his creator as the film then focuses on the monster's attempt to find its "humanity."

One of the first books and films to really start blending genres. The film itself is not a perfect adaptation of the book. In fact, it takes many liberties, with the creation of the monster's mate left for another movie altogether. Unlike a lot of early talking pictures, Whale was relatively light on dialogue, letting the monster's actions and appearance do a lot of the talking on-screen. Whale (through Shelly's work) used elements of science fiction and horror to create the monster, and his "birth" scene is still one of the most memorable in film history. Frankenstein was responsible for the imagery modern audiences associate with the Monster: Tall, Flat Top, Bolts in the neck.

This brings us to the immortal Boris Karloff. Never before or again has an actor so perfectly embodied the monster he created on-screen, save for his Universal Pictures contemporary Bela Lugosi with Dracula. Karloff's Frankenstein Monster is an achievement in makeup, costuming, and performance. It would be easy to portray the character as a mindless killing machine, as others have in other adaptations. In fact, Bela Lugosi was originally offered the part when the character was scripted as such... he turned it down.  However, Karloff manages to emote sincerity through the heavy makeup, forcing sympathy from the audience. The final fiery end (or is it?) for the creature is truly tragic.

Two key scenes to point out for viewers of this classic: First, the "creation" sequence, perhaps the most famous and iconic of horror history, and even film history. Parodied endlessly throughout the decades, it still is a beautiful example of direction, art direction, and editing. From the shots of the laboratory equipment to the lightning-filled skies, to the hand slowly lifting as it is regenerated to life... it's all perfectly executed. Colin Clive as Dr. Frankenstein is a little hammy throughout the rest of the film, but here it's completely appropriate. He screams, in an almost orgasmic delight, "It's alive. It's alive! It's alive! ... In the name of God! No, I know what it feels like to be God!" His joy at playing God is the terror here.

The second scene, less famous to mainstream audiences, but unforgettable to admirers of the film is the scene with the little girl by the lake. The monster, still learning with his damaged, abnormal brain, befriends an innocent little girl. She shows him beauty in the world, beauty with the flowers she is picking and how pretty they look floating on the water. Karloff's look of innocence here is disturbing juxtaposed with what we know comes next. The monster throws the little girl into the water (off-screen of course) so he can see her float... her death as a result triggers the townspeople to light the pitchforks in search of the monster. A beautiful and haunting scene.

The movie was a huge success and is synonymous with Universal which sequel-ized and spun-off the monster in various films: The Bride of Frankenstein (1935), Son of Frankenstein (1939), The Ghost of Frankenstein (1942), House of Frankenstein (1944) and Abbott and Costello Meet Frankenstein (1948). Not to mention all other interpretations of the character who followed in Universal's footsteps like Curse of Frankenstein (1957) and Mary Shelley's Frankenstein (1994), but the original remains the go-to classic.

CHECK OUT THE ESSENTIAL FILMS PODCAST EPISODE ON FRANKENSTEIN

I think it will thrill you. It may shock you. It might even horrify you. So if any of you feel that you do not care to subject your nerves to such a strain, now is your chance to, uh... well, we've warned you!

THE MAN WITH THE GOLDEN GUN (1974)

THE MAN WITH THE GOLDEN GUN

Guy Hamilton • 1974

Screenplay: Richard Maibaum, Tom Mankiewicz; Based on The Man with the Golden Gun by Ian Fleming

Producers: Harry Saltzman, Albert R. Broccoli

Cast: Roger Moore, Christopher Lee, Britt Ekland, Maud Adams, Hervé Villechaize

Cinematography: Ted Moore, Oswald Morris

Music: John Barry

United Artists

- A duel between titans… my golden gun against your Walther PPK.

- One bullet against my six?

- I only need one, Mr. Bond. 

James Bond investigates a notorious assassin, Francisco Scaramanga… or, the Man with the Golden Gun. I’m assuming most Gen X and Millenial readers have played the legendary Goldeneye for the Nintendo 64, one of the best video games of all time. And what makes it so damn fun is the player vs player mode where you can run around military bases and match wits against your friends. One of the modes in the game is “Golden Gun.” In this mode, you have to find the Golden Gun and when you shoot your opponent, one shot is all it takes and you win.

Well, they got that concept from this movie. The golden gun in question belongs to Francisco Scaramanga, an international hitman with an island full of gadgets, half-naked women, and a little person. Scaramanga uses said golden gun to kill his targets, and he NEVER misses. One shot is all it takes. So, this makes him already one of the coolest James Bond villains ever, right? Well, it gets better, because the Man with the Golden Gun is played by none other than Christopher Lee.

It’s not a perfect Bond movie, by any stretch of the imagination. The plot is nonsensical, as a lot of Roger Moore Bonds were. Expect lots of goofy campy fun. But really you’re watching this movie for Christopher Lee playing the heavy. Can’t get much better than that. The final face-off between Bond and Scaramanga is one of the best in the history of Bond films.

Short Subjects: INGLOURIOUS BASTERDS (2009) - Video Essay

LIVE AND LET DIE (1973)

LIVE AND LET DIE

1973 • Guy Hamilton

Screenplay: Tom Mankiewicz; Based on Live and Let Die by Ian Fleming

Producer: Harry Saltzman, Albert R. Broccoli

Cast: Roger Moore, Yaphet Kotto, Jane Seymour, Clifton James, Geoffrey Holder

Cinematography: Ted Moore

Music: George Martin, Theme song “Live and Let Die” by Paul McCartney

United Artists

A man comes. He travels quickly. He has purpose. He comes over water. He travels with others. He will oppose. He brings violence and destruction.

James Bond is back, and this time he's facing a villain like no other – a powerful heroin drug lord with a sinister worldwide network, bolstered by psychics and voodoo mysticism. But don't expect a dark and brooding Bond this time around. In Live and Let Die we are introduced to a whole new flavor of 007 – one that embraces campiness with open arms.

Throughout the years, we've seen various actors breathe life into the iconic character, each bringing their own unique touch to the role. Roger Moore's interpretation of Bond is no exception. With a wry and dark sense of humor, he adds a distinctive charm to the character. While all the Moore-era Bond films exhibit an endearing level of silliness and campiness, Live and Let Die serves as the introduction to this lighter take on the beloved spy.

In an era replete with Blaxploitation films like Shaft and Superfly, the 1970s gave birth to a Bond/Blaxploitation crossover. The result is wacky and, at times, a hilarious ride. The film has its fair share of quirks, with the word "Honky" playfully thrown around and a voodoo witch doctor adding a touch of mysticism to the plot. Watching James Bond dash through the vibrant streets of Harlem only adds to the film's charm.

Live and Let Die marks the beginning of the Moore era, embracing a lighter and more whimsical approach to the character. Some might argue it veers away from the traditional Bond formula, but at its core, it's still unmistakably James Bond. The movie delivers thrilling car chases, jaw-dropping explosions, an array of alluring women, and, of course, a healthy dose of bad guys meeting their timely demise.

So, if you're in the mood for some pure, unapologetic escapism, Live and Let Die is the perfect choice. It's a Bond film that revels in its campy goofiness, and you'll find yourself thoroughly entertained from start to finish. After all, who doesn't want to witness the world's most famous spy tackle voodoo, psychics, and a powerful drug lord with a grin on their face? In the end, this movie delivers precisely what you'd expect from a Bond film – action, intrigue, and a whole lot of fun. And there ain't nothing wrong with that.

Plus, how awesome is the Paul McCartney song?

- There seems to be some mistake. My name is...

- Names is for tombstones, baby! Y'all take this honky out and waste him! Now!

Notable Awards & Accomplishments

• Academy Award Nominee: Best Song - “Live and Let Die” by Paul McCartney & Linda McCartney

• Grammy Nominee: Best Score for a Motion Picture

• 7th Highest Grossing Movie of 1973, $161.8 Million worldwide ($1.1 Billion adjusted for inflation)