Cinematically Kubular

Ramblings about cinema and whatever else I'm thinking at the time!

Tag: Gothic

Halloween to Sleepless

Well, kinda realised the thing about blogs is you actually have to write something and then post it. So here it is, this week’s update!

Over the last week I’ve actually been watching quite a few interesting pictures (each of them interesting enough to write a post about) but none of them had me motivated enough either, though some of them had me very close.

Interestingly the film that had me most motivated was that famous American film Halloween (John Carpenter, 1978). Not because I thought it was good, rather the opposite. It’s one of the most boring horror films I’ve ever watched. Which (some might say) is ironic, because it’s the only one I actually own a copy of.

Halloween actually starts off quite strongly, it’s creepy and generates a genuine sense of suspense as it leads up to the film’s first murder. It’s the first scene that I find the most interesting, not only because it spells out the film’s themes rather succinctly but also because it feels like Carpenter is making a genuine statement. Halloween‘s opening scene actually feels like it contains some genuine emotion… which is something I can’t really say about the rest of the film.

I wonder if Carpenter is making an artistic (and if he’s capable of it) statement too. Admittedly, I’ve been watching an awful lot of Argento lately but Halloween’s intro definitely feels to me like it’s referencing Argento stylistically. The way the point of view is shot combined with the way information is presented to us… the kitchen knife… Michael watching through the windows… the only thing that’s missing is an extreme closeup of Michael’s eye as he watches through the crack between some curtains (or something). Perhaps the release date supports that idea. After all, Suspiria (Dario Argento, 1977) was released only a year earlier. So Halloween came just at the end of Argento’s Giallo run. It definitely reads to me as if Carpenter was trying to put the Italian Giallos to rest in the opening, and signal to the audience that Halloween was something different, something new.

You could argue that the main section of the film is purposefully dull. Perhaps it’s trying to bore the audience enough so that the ghost train style ending is more shocking and (potentially) disturbing once it arrives. Personally I think that Carpenter didn’t really know how to play on the audience’s fears or sense of suspense. The idea of a mysterious stranger hiding behind bushes and stalking students might have seemed like enough without requiring any special attention. Personally, I feel the film misses a few tricks, and doesn’t do enough to be visually involving. Feel free to disagree.

Anyway, since Halloween I’ve also watched Mask of Satan (Mario Bava, 1960), Trauma (Dario Argento, 1993) and Sleepless (Dario Argento, 2001). Mask of Satan (aka Black Sunday) is a beautiful and fantastic film. For those readers that haven’t heard of it, it’s an Italian Vampire film that draws its inspiration from titles such as Hammer’s Dracula (Terence Fisher, 1958) starring Christopher Lee and Peter Cushing (another film I adore). Mask of Satan not only uses the same gothic and fantastical eastern European setting as Dracula but turns up the fear factor – and gore – to make a wonderfully suspenseful and tense experience. For those of you out there who also find the way Horror films interact with the viewer and comment on voyeurism, it’s certainly one for the watch (or research) list.

Trauma was probably on a par with Halloween when it comes to pace and excitement. It started off promisingly but quickly sank into a relatively dull (and somewhat unimaginative) narrative about a troubled and anorexic teenager and her relationship with an older artist (and surrogate father figure). The film does bear the distinction of being the only film I’ve seen about a killer armed with a handheld decapitation machine (an ingenious Garrot on a motor) and picks up a lot toward the end. The last act of the film is genuinely interesting and reminiscent of Argento’s earlier work. I don’t want to be overly harsh on the film, it’s probably more entertaining than Halloween, probably.

The blurb called Sleepless “a return to form” for Argento, which I felt promised a lot. Fortunately I wasn’t too disappointed. The film is far better than Trauma and probably would be even better if it wasn’t for some of the worst voice acting I’ve heard since watching VHS Manga releases in high school. The first major set piece in the film is almost ruined by the awful dubbing of the female lead (at this point) but is rescued by the awesome bass grooves looped throughout the film (which make a welcome change to the rather cheesy score in Trauma). Also, after the film gets going it drastically improves. Max von Sydow gives a wonderful performance as the ex Chief of Police Moretti, who suffers from amnesia in his old age. Sleepless is a wonderfully entertaining thriller which is genuinely tense but unfortunately doesn’t manage to recall the kind of skillful music video style set pieces of Argento’s early work. Having said that, if approached with lower expectations than might be held by those of us who are fans of Profondo Rosso (Dario Argento, 1975) and Suspiria I think it would hold its own. Especially if some characters could be redubbed.

Anyway, I’ll leave this, mostly, aimless waffle for now and go find something interesting to watch (or listen to). Please, feel free to comment.

Here’s the trailer to Profondo Rosso, one of my favourite films:

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What’s Gothic?

Just a quick one this evening.

Been reading Art of Darkness: The Cinema of Dario Argento (edited by Chris Gallant – FAB Press, Surrey, October 2001) and the second chapter In the Mouth of the Architect: Inferno, alchemy and the postmodern Gothic starting on p21. It starts out by quickly sumarising how problematic defining what is Gothic. Admittedly, this is something that I’ve found myself struggling with often, and the first couple of pages more or less followed my thought process exactly (but better read).

The highlight is when it references the venerable Peter Hutchings from “Sage, Victor/Lloyd Smith, Alan: Modern Gothic (Manchester University Press, Manchester, 1996), p89″. That’s Gallant’s reference, fyi. I don’t always agree with Peter but on this he pretty much marks the spot.

Quote from Art of Darkness:

Peter Hutchings has observed that ‘horror’ is frequently identified as “a vulgarised, exploitative version of Gothic” and that ‘Gothic horror’ cinema is often perceived as a genre or sub-genre which draws on the iconography of medievalism and feudalism (Roger Corman’s Poe films, for instance, or the Argento/Soavi collaboration The Church). Hutchings extends his argument to the slasher films of the 70s and 80s, with their emphasis upon the consequences of a repressed, hidden or forgotten past (the hit-and-run accident in I Know What You Did Last Summer, to cite a recent example) and the transformation of the familiar, domestic environment into a dark, alien space concealing imagined terrors, vengeful assailants or the threat of unfamiliar sexuality.