Blindspotting: Phantom Of The Opera and Creature From The Black Lagoon

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Yes, this would have made more sense in October. Conspiring forces and all that…
 

It’s odd to think that two vastly different films with 30 years between them could both be lumped together under the same generic genre banner. But that’s what happens when you start classifying anything old as “classic” – like, for example, the 1924 silent feature The Phantom Of The Opera and the mid-50s monster flick Creature From The Black Lagoon both being labelled as Classic Horror. The fact that the technical tools available to the filmmakers were worlds apart and their aims were very different don’t seem to matter. If it wasn’t for alphabetical order, you’d find them side by side on a video store shelf.

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Of course, both films are even further removed from modern day fare. Some might claim they suffer for that, but it really does depend what you want from a horror film. Do either of these films shock or scare you? Likely not in an immediate, jump out of your seat kind of way (though the iconic reveal of the Phantom’s face can still unsettle), but that’s not necessarily the only thing horror can do to you. There’s something chilling about the idea of unseen monsters living in a foreign environment right under your feet which could – at a moment’s notice and through no fault of your own – rise up and destroy your life. As well, both films provide haunting images of their monsters in close-up that can leave rather disconcerting feelings within you (put the dead-looking eyes of the Creature alongside the contorted, deformed face of the Phantom and your sleep may be interrupted tonight). The jump scares are few and far between, but good horror leaves an impression, not just a brief quickening of the heartbeat due to the crash of sound and image. So the two films do have a good deal in common I guess.

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A Month Of Horror 2012 – Chapter 3

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Eight-inch floppy disks! Aaaaah!!

 

Silk (2006 – Chao Bin-Su)
Within the first 20 minutes of Silk you’ve seen ghosts, a discovery that may lead to anti-gravity, a cop with incredible eyesight and a facility for reading lips, and an obese Canadian photographer. How do these elements fit together? And can they possibly do so without imploding? And what about the cop’s dying mother, the silk that ties the energy of the ghosts back to the real world, daylilies and facial tumors? Despite some treacly moments, it does manage to bring all these threads together, but certainly struggles along the way. Using straight dramatic moments, a bit of gore, some thriller aspects and ghost story elements, the film tracks the mystery of a boy ghost that a research team has trapped in a room. The entire story revolves around an anti-gravity discovery called a Menger Sponge which apparently traps energy and therefore can be used to counter gravity. A side effect is its ability to trap the energy of ghosts as well as allow us to see them. It really strains while trying to explain all these abilities and fumbles away most of the larger ideas it strives to get across. The moments with the ghosts remind one of Ju-On somewhat, but they never quite hit the proper atmospheric dread those films had and occasionally some of the scenes deteriorate into plain silliness. Particularly when they essentially ignore the reality that they’ve set up and start creating new boundaries for the ghosts. Also, I suppose that I shouldn’t pick on details, but when the cop opens fire on a crowded subway (shooting bullets sprayed with liquid Menger Sponge and aimed at a ghost only he can see), it’s rather baffling that the subway could pull into the next stop, have no one run screaming from the train and then close its doors and pull away with him remaining inside. And yet, there were some fine spooky images that, although they never quite “got” to me, were nicely realized.

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Demon Seed (1977 – Donald Cammell)
This particular demon seed is not the kind you might be expecting…One of the early “artificial intelligence is dangerous” warning films, this Julie Christie vehicle (based on a Dean R. Koontz novel) is chock full of wonderfully designed lab and ’70s “super-computer” equipment. Proteus 4 is the name of the big computer brain that has just been brought online and, though the government has plans to use it for some mundane number crunching, the computer scientists are still happy that they can use 20% of its cycles for beneficial research in health and environment sectors. The human brain behind the whole operation is Alex Harris and once he taps into Proteus 4 from one of his home terminals shortly after it goes online, he quickly realizes that the artificial brain has already figured out that humanity isn’t worth its CPU cycles. Proteus 4 wants to be let out of its box and allowed to acquire whatever knowledge it can on its own – a request that is quickly denied. But Proteus 4 has a backup plan…By going through the home terminal, it takes over the automated systems in Alex’s house (he has surveillance cameras, robotic arms and other machines to handle daily chores) and imprisons Harris’s wife Susan (the two are separated and he has just left the house for a few months). It gets a bit hit and miss from this point on as Susan (as played by Christie) jumps to hysterical behaviour far too quickly and shows no ability to use logic – a shame, because you always want to like Christie while she’s on screen (in pretty much any role). Proteus 4’s plan involves her because it wants to create its own offspring in order to vicariously explore the world. Yeah, you can see where this is going now right? It wants to impregnate Susan with its own synthetic sperm to create a new step in human evolution and manages to capture her and tie her down for numerous tests, the actual insemination and for the month long, speeded-up fetal development. Though you have to give the film credit for just going for its concept and letting it play out, it would’ve been nice to give Christie a bit of respite…

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Review: El Monstro Del Mar

Director: Stuart Simpson
Screenplay: Stuart Simpson
Starring: Norman Yemm, Nelli Scarlet, Kyrie Capri, Karli Madden
Producer: Fabian Pisani
Country: Australia
Running Time: 75 min
Year: 2010

An Australian entry into the wave of B-Movie homages that have been flooding in since the release of Grindhouse in 2007, El Monstro Del Mar! (a.k.a. El Monstro!) is a truly independent addition that makes it’s influences known right from the outset. Opening in black and white with three buxom beauties ‘dressed’ in rockabilly-meets-burlesque style outfits dancing to 60’s soul music blaring out of the car stereo, writer/director Stuart Simpson has some serious love for cult legend Russ Meyer.

This bunch of bad girls swiftly and brutally despatch of a couple of hapless locals who come to their assistance, then hit the road. We (vaguely) discover that they’re on the run after killing some nasty looking thugs and they end up in an isolated seaside town, where they plan to lay low for a while. After their elderly neighbour Joseph (Norman Yemm) warns them not to go in the water things start to get less sexploitation and more monster movie though as the girls awaken El Monstro Del Mar!

Once this viscous beast starts wreaking havoc it’s up to the remaining girls and the repressed virgin Hannah (Kyrie Capri), Joseph’s granddaughter, to show the tentacled bastard who really wears the trousers around here!

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