Michael Walters
Notes from the peninsula
2024’s #31DaysofBlackXmas
- Enys Men (2023), dir. Mark Jenkin
- The Car (1977), dir. Elliot Silverstein
- The Eternal Daughter (2022), dir. Joanna Hogg
- Dracula (1958), dir. Terence Fisher
- Gothic (1986), dir. Ken Russell
- The Phantom of the Opera (1998), dir. Dario Argento
- Sleepless (2001), dir. Dario Argento
- The Card Player (2004), dir. Dario Argento
- Red Rooms (2024), dir. Pascal Plante
- I Saw the TV Glow (2024), dir. Jane Schoenbrun
- The Appointment (1982), dir. Lindsey C. Vickers
- The Fearless Vampire Killers (1967), dir. Roman Polanski
- The Day of the Beast (1995), dir. Álex de la Iglesia
- Saint Maud (2019), dir. Rose Glass
- Violent Night (2022), dir. Timmy Wirkola
- Christmas Bloody Christmas (2022), dir. Joe Begos
- Silent Night, Deadly Night (1984), dir. Charles E. Seller Jr
- Anna and the Apocalypse (2017), dir. John McPhail
- In a Violent Nature (2024), dir. Chris Nash
- Nightmare City (1980), dir. Umberto Lenzi
- Maniac Cop (1988), dir. William Lustig
- Mother of Tears (2007), dir. Dario Argento
- Giallo (2009), dir. Dario Argento
- The Hound of the Baskervilles (1959), dir. Terence Fisher
- MadS (2024), dir. David Moreau
- Argento’s Dracula (2012), dir. Dario Argento
- Dark Glasses (2022), dir. Dario Argento
- Cuckoo (2024), dir. Tilman Singer
- Dario Argento: Panico (2024), dir. Dario Argento
- The House with Laughing Windows (1976), dir. Pupi Avati
- Black Christmas (1974), dir. Bob Clark
Enys Men
Director: Mark Jenkin
Release year: 2023
A woman in a bright red coat walks the barren landscape of an island somewhere off the coast of Cornwall. She’s a volunteer monitoring wildlife, in particular a clutch of white flowers of which she records the soil temperature at their roots every day.
It’s a life of strict routine—measure the soil temperature, drop a stone in the shaft of an old tin mine, make a cup of tea, record the details in a notebook. She’s alone, but she talks to a girl who she sometimes sees standing on the shed roof, and the old stone that stands against the horizon is sometimes closer than it should be, and there are children, women, miners in her dreams.
The landscape seems to press closer, and it begins to feel like the island is part of her, and time is playing tricks. A visiting boatman with supplies wears a yellow raincoat that she’s previously found washed up on the rocks. The radio speaks of the anniversary of an accident fifty years before, but the date is in the future of her written temperature log. The mystery mostly resolves itself but not completely, which is just the way I like it.
The Car
Director: Elliot Silverstein
Release year: 1977
Deputy Wade Parent is raising two daughters alone after the death of his wife and policing the usually peaceful small town of Santa Ynez. A black car with darkened windows drives out of the Utah desert and runs two cyclists off a bridge into a ravine. When the deaths start to mount and local suspects ruled out, Wade has to martial the town to stop the car from killing more innocent victims.
This was one of my favourites when I was a VHS kid, up there with Piranha as a repeat watch, another Jaws rip off. I’m surprised how much I cared for the people of Santa Ynez this time around. James Brolin and Kathleen Lloyd are bursting with charisma and easy chemistry, and the supporting cast give all the potentially stereotypical characters unexpected life, helped by the various relationships and backstories that a film like this doesn’t usually bother with.
It’s a town that sees it’s brightest and best mowed down by an evil car, and the grief of their loss is palpable. Once the killing starts, a surprising amount of time is spent with people grieving, which adds to the tension when the car does show up. The standout scene is when the car mysteriously appears in Wade’s garage and won’t let him leave. It’s a shark on desert roads with a knowing, malevolent streak.
The Eternal Daughter
Director: Joanna Hogg
Release year: 2022
Julie, an artist and photographer, takes her mother to a luxurious country hotel for her birthday, but is unsettled by strange noises and half-seen figures. The hotel was once her mother’s family home, and the visit unearths unexpected memories.
Tilda Swinton plays both Julie and her mother, Rosalind, which took a while to get used to. I kept looking to see where the cutaway or stand-in was. Julie spends the whole film trying to make her mother happy, and her mother both appreciates the attention and is frustrated at her daughter being ‘a fusspot’. Julie is sacrificing other areas of her life to please her mother, but can’t ever get the resolution or reaction she needs to be able to relax. Her mother remains distant and elusive.
The setting is wonderful, and the supporting cast adds to the fun, especially the increasingly rude receptionist. It looked like director Joanna Hogg wanted bits to feel like a ghost story, but the potentially spooky scenes didn’t feel spooky at all. Hogg can’t help but make things about making things. As a drama and character study, it’s a moving piece of work, and the ending got me.
Dracula
Director: Terence Fisher
Release year: 1958
Christopher Lee’s Dracula is iconic. He’s tall, his face carries an animalistic quality when in vampire mode, he’s sometimes slow and imposing, but then he strides up castle stairs three at a time. Beneath his civility is a barely held in check hunger. It’s wonderful to watch. As critic Tim Stanley said, “Lee’s sensuality was subversive in that it hinted that women might quite like having their neck chewed on by a stud.”
Against this power you need a wily, intelligent Van Helsing, and Peter Cushing has those qualities in abundance. I definitely saw this growing up, but I didn’t remember much of it this time around. The finale, where Van Helsing jumps onto a table and runs at the curtains, was familiar, but that was at the very end. The scenes in the local inn are parodied in The Fearless Vampire Killer’s (a comedy that I don’t find funny) and probably many other places. The interiors are lush and colourful, and the clothes pleasing on the eye, which makes me wonder what sort of budgets Hammer was playing with at the end of the fifties.
Director Terence Fisher was clear that being bitten by a vampire was a sexual act. When Dracula closes the door of Mina’s bedroom, the last thing we see is her face looking lustfully and submissively up at her predator. This must have caused a stir in cinemas across the world in 1958, pre-dating Psycho and Peeping Tom, two more serial killers targeting young women and shocking social mores, by a couple of years.
Gothic
Director: Ken Russell
Release year: 1986
Keeping things in the same vein (!), Gothic begins with famous poet Percy Shelley arriving at Villa Diodati on Lake Geneva to visit Lord Byron, with his bride-to-be Mary Godwin, and her stepsister Claire Clairmont. Byron’s physician Dr. John Polidori provides an endless supply of laudanum, sending these literary figures on a riotous, hallucination-filled journey through one stormy night that’s famed for being the source of some of our most famous fictional monsters.
Byron, Godwin, Shelley and Polidori whip each other into a fervour as a metaphor for the artists creative process and the courage required in the face of all the imagery and emotions that can fly around while making art. They bicker and fight and challenge each other in ever more excessive ways. I love Ken Russell. He’s not afraid to be weird, sexual, gloopy and violent.
His camera gets in the faces of the actors, and what actors he found: Julian Sands, Natacha Richardson, Gabriel Byrne, Timothy Spall, and a wondrous Myriam Cyr (here talking about working with Ken Russell who sounds like he was a bona fide genius). Cyr is a new name to me, and had a long career after this in theatre, writing and directing.
The script was written by Stephen Volk (here talking in depth about the history of the Frankenstein story and how he worked with Russell). Volk went on to write Ghostwatch and many other things for television, as well as novels and short stories. In that linked interview he talks about writing being done by aristocrats back in the day, the idle minds that didn’t have to work, and how we’re heading back to that today, with most writers not being able to make a living as writers, and film-makers having to be lucky enough to be supported by rich parents with houses in London.
The Phantom of the Opera
Director: Dario Argento
Release year: 1998
After Hammer’s Dracula and Ken Russell’s Frankenstein origin story, The Phantom of the Opera was an accidentally perfect pick—another turn of the century literary adaptation, another Universal Monster, and the next film in my parallel project to watch all the films of Dario Argento in chronological order.
Looking for films for #31DaysofBlackXmas, it seemed wrong not to continue the Dario Argento quest I started back in June. That stalled because the films got harder to find, and frankly I was getting bored. Argento’s The Phantom of the Opera is only available on a DVD rip of what looks like a VHS (the quality is awful, which colours everything), but it wasn’t expensive, and I didn’t want to let go of the idea without another try.
A baby is put in a basket and released into the sewer. A rat spots it, pulls it to safety, and the rats raise the child as one of their own. This makes Argento’s Phantom the king of the rats when the story starts, but also a hunky blonde stud, played by Julian Sands as beautiful, charming, and with no mask in sight. The Christine he is entranced by is (of course) Argento’s daughter, Asia, caught between the good Baron, who woos her in conventional ways, and the dark Phantom, who can talk to her telepathically, kills people, and wants to keep her forever in his dank rat cave.
It took me a while to accept that Argento has made here a baroque mix of horror, romance and comedy, with some steampunk thrown in, and it was only the extended sequence of the rat-catcher careening through the caverns in a self-built rat vacuum-mincer where that hit home. If you’re looking for a straight horror, or a classic adaptation of the original novel, you’ll be disappointed, but if you’re able to look at this with an open mind (and find a copy of high enough quality to do the sets and costumes justice), then… you might think it works.
Looking back to his 1987 film Opera, the Phantom has always been in the back of Argento’s mind, and I wonder if it was a childhood favourite. He certainly loves theatrical spaces (like the opening of Deep Red). He’s made a long career from mysterious killers stalking artists. I wonder if there’s an interview where he talks about this? (Much scouring of the internet ensued, no evidence was found by the time this went to press.)
Sleepless
Director: Dario Argento
Release year: 2001
Young Giacomo watches a hidden figure stab his mother to death with a flute. Police Chief Moretti promises the boy he will catch the killer, and he does, but seventeen years later the killings begin again. The retired Moretti teams up with adult Giacomo to catch the Dwarf Killer who seems to be back from the dead.
Doesn’t that sound like the most Argento film ever? And it’s good! It doesn’t match the pizazz of his seventies giallo films, and it’s too long, but it has many other charms, especially the opening murder on the Italian night train. Argento is always looking for the interesting shot, the killings are imaginative and brutal, the Goblin score is great, and Max von Sydow as the elderly, forgetful Moretti brings an unexpected class and lightness of touch to the otherwise pitch black story.
The Card Player
Director: Dario Argento
Release year: 2004
Rome detective Anna Mari pairs up with rogue Irish cop John Brennan to find a gambling serial killer who challenges the police to games of online poker to save the lives of kidnapped women. Twists and turns (but not that many) ensue.
Some people seem to hate that the poker game in this hasn’t aged well graphically, but I prefer to think of how much it would cost a director today to replicate a period technological thriller set in 2003 and just enjoy it for the time it’s set in. It’s an odd film, though. Brennan starts the film as an aggressive idiot and never really becomes believably likeable as the love interest for Mari.
There’s one outstanding set piece in Mari’s apartment where the killer breaks in to kidnap her, but apart from that there’s not much here to make it stand out from most procedural serial killer thrillers. It’s dramatically empty—we just lurch from one game of online poker (on Windows 2000!) to another.
This might be the most disappointing Argento so far. Say what you like about his The Phantom of the Opera, but it tries for something new.
Red Rooms
Director: Pascal Plante
Release year: 2024
Kelly-Anne turns up every day at the trial of a high profile alleged serial killer who is charged with broadcasting on the dark web the torture and murder of three teenage girls. She meets a groupie of the suspect who believes he is innocent, but Kelly-Anne’s motives remain elusive.
Having a main character who lacks empathy is a tricky thing to pull off, but director Pascal Plante and actress Juliette Gariépy do an incredible job of keeping us involved in her unclear quest and guessing at her motivations. She has the mannerisms of someone who might be on the autistic spectrum, and she’s a loner, seemingly a hacker, who loves to take controlled risks. Her sense of morality is different to those around her.
It’s a film about living online today, making a living with software, trading in bitcoin, using the information about us online to hack our emails and our homes. It’s about desensitisation to violence, our cultural love of true crime and serial killers, how our media covers trials, the trauma we carry with us from childhood, and the trauma that can be inflicted on us by the attentions of a psychopath. I couldn’t recommend this film more.
I Saw the TV Glow
Director: Jane Schoenbrun
Release year: 2024
Nostalgia is both comforting and soul crushing. Owen bonds with Maddy over a TV show she’s obsessed with, The Pink Opaque. Maddy is miserable in her life, and decides to run away from home, giving Owen a choice that will affect the rest of his life.
Owen is suffocated at home by a father he’s terrified of. His mother is protective but terminally ill. In Maddy, he finds a kindred spirit, someone who understands him and will leave him videotapes at school when his father won’t let him stay up to watch his new favourite show. Owen is full of confusion and self-doubt over his sexuality. Watching The Pink Opaque, as dark and insidious as it is, he feels safe.
The Pink Opaque is about two friends, Tara and Isabel, who share a psychic connection with each other, have pink ghosts tattooed on their necks, and are in a good-versus-evil battle with a moon-faced Mr Melancholy. It’s a queer allegory, a trans allegory, and also an allegory for anyone who’s felt constricted and denied by the adult/capitalist/religious world.
Both Owen and Maddy work long hours in poorly paid jobs that snuff out their teenage playfulness and curiosity. Only Maddy finds an escape route, and it’s not clear how real even that is. Owen’s final call for help, a scream of agony and despair, is zipped up and apologised for. It’s not enough to keep our real life alive on the inside. We all need help in being real on the outside too.
The Appointment
Director: Lindsey C. Vickers
Release year: 1982
Ian and Dianna live a comfortable existence with their daughter Joanne in a rural English town. The local wood has been fenced off to stop schoolchildren walking through it after a girl was murdered in it three years before. Ian has to tell Joanne that he’ll miss her big musical recital because his company is sending him away the next day for an urgent meeting, triggering a night of anxious dreams and possible premonitions.
The opening five minutes are properly disturbing as we follow a schoolgirl on a path through some woods after we’ve heard words from a police report describing her death. The way she’s pulled into the trees by an unseen force is terrifying and looks amazing, even on such a low budget in 1982. Joanne regularly talks to someone through the fence sealing the wood after school, and it’s unclear if it’s the ghost of the dead schoolgirl or something else.
Joanne isn’t just a daddy’s girl, her relationship with her father is uncomfortably intense, which he brushes off to his wife, but she is clearly bothered by. Joanne is fourteen and seems to always get what she wants from Ian, and in an angry scene Dianna tells him that their family is out of balance and Joanne has created for herself a dangerously delusional world. Ian seems perplexed and disbelieving, but it could also be interpreted that there’s something sexual between him and his daughter, and he has certainly mixed his daughter with his wife unconsciously, and Dianna’s picked up on it.
All of which gives the second half of the film it’s bite. Whatever is in the woods, through Joanne, attacks Ian through woozy dreams and nightmares that blur with their nightly reality. As Ian sets off on his long trip away from his family, the ending seems inevitable. This is a film about minding boundaries. If you don’t, whatever is in the woods will get you.
Director: Roman Polanski
Release year: 1967
I wanted something light. I remembered not enjoying this a few years back but loving it as a kid, so I gave it another go. It’s a farce based on a mixture of Hammer horror and Universal Monsters. Roman Polanski directed such amazing films in this period, but this is still disappointing on second watch.
The set design and consumes are wonderful. Watching these shallow comedic characters flap around is made more bearable when the locations look so exquisite. Sharon Tate is luminous, some of which is because we know her fate not long after this was made, but also she shows great comic timing in her role as the captured daughter of the innkeeper our intrepid non-heroes are staying with.
It’s the pacing that kills it. There’s not much story because it’s a pastiche, deliberately similar to all that’s come before. The characters spend too much time running around the beautiful sets and being too goofy for my taste. I did enjoy the arrival at the inn after recently watching Peter Cushing’s Van Helsing rock up at the original in Terence Fisher’s Dracula.
This is broad, obvious slapstick comedy with strong Jewish roots. The actors seem to be having fun, but I didn’t find it funny, which is a killer blow for a comedy. I did admire lots of the camera work and character comedic details though. It was more enjoyable than last time, I’ll give it that.
The Day of the Beast
Director: Álex de la Iglesia
Release year: 1995
The first real Christmas movie of my #31DayofBlackXmas, it’s a real horror comedy to repair the damage of Polanski’s vampire farce. A priest thinks he has solved the puzzle of when the Antichrist will be born, and goes to Madrid to stop it which involves giving his soul to the devil.
The genius of this film is that it’s funny, but not too funny, and grim to just the right level, and director Álex de la Iglesia shoots with a strong streak of Almodóvar. The dialogue is sharp, the action anarchic, the horror served reverently even when surrounded by comic actors.
The threesome of the priest, record shop metal head and conman Satanist makes for surreal, violent fun. To sell his soul, the priest has to do evil deeds, and do them he does. There are a couple of moments of true devilish horror scattered throughout, including the devil as a horrific goat, and a homeless man being burnt alive as a symbol of the coming apocalypse. Surprisingly excellent.
Saint Maud
Director: Rose Glass
Release year: 2019
Maud, a private nurse from a care agency, starts a new job looking after acclaimed dancer Amanda who has Stage 4 cancer and is close to death. Amanda still lives a hedonistic, drama-filled life which clashes with Maud’s newfound faith. When Amanda affectionately calls Maud her saviour, Maud takes this as a sign to try and save Amanda’s soul.
This is writer and director Rose Glass’s first film, and with cinematographer Ben Fordesman, she makes Scarborough, which is not far from where I live, shine with a (forgive me) religious light. Morfydd Clark’s Maud is a terrible delight, oscillating between a lost, unsure woman with a troubled past and determined follower of the voices in her head. It’s disturbing to see reality flex under Maud’s psychosis.
Amanda is a fascinating figure, bored with dying, used to a far more social and exciting life, and stuck up in a big house on the cliffs. She’s already halfway to heaven, but Maud can’t let her be, confused by Amanda’s sexuality when she has her own orgasmic relationship with God, and convinced she needs saving from damnation before she dies. Amanda calls out Maud’s meddling in front of friends at a birthday party—her scorn comes back to bite her.
Violent Night
Director: Timmy Wirkola
Release year: 2022
Santa Claus is drunk in a bar, despairing of children’s greed, and thinking about giving it all up. While delivering presents to a rural mansion, he interrupts a robbery, and to save good girl Trudy he has to call on his skills as a Viking warrior.
You can imagine the pitch—Die Hard meets Home Alone with Santa—and it plays out exactly like that. There are some outstanding fight scenes between Santa and the mercenary military home invaders, but the first half is a struggle because it’s not as amusing as it thinks it is, the characters are annoying, and you just want to see Father Christmas fight people. Once he gets his sledgehammer, it becomes far more fun.
It’s exceptionally violent. There’s a sequence where the girl, Trudy, hides in the attic and sets a series of Home Alone traps, and the ensuing mutilations are grim and hilarious. There’s a heart of gold beneath the broken jaws, cracked limbs and decorations in eyeballs, I just wish it was twenty minutes shorter.
Director: Joe Begos
Release year: 2022
A grimy, low budget, fun-but-annoying mashup of Terminator, every sleazy slasher ever, a hangout movie, Texas Chain Saw Massacre and… First Blood? I don’t want to criticise too hard because it’s clearly a labour love made with no money and some ingenious effects to bridge the funding gap.
Tori runs a record/video store in a small Californian town. It’s Christmas Eve, it’s snowing, and she has a Tinder date lined up. Her clerk employee Robbie convinces her to spend the night getting drunk with him instead. Neither of them have accounted for the malfunctioning military-grade RoboSanta that is at the local toy store, and when they meet friends there after hours for a festive drink, the robot sets its sights on killing them all.
The first thirty minutes is an improvised hangout movie, and the banter between Tori and Robbie, which is natural and fun to a point, tips into annoying and expletive-laden posturing, so that when the killer RoboSanta arrives it’s a relief they stop talking. An unexpectedly disturbing sequence where the couple have sex while the robot slaughters the family next door, with the edit cutting back and forth, is a particularly odd choice.
There’s a police ex-boyfriend, a joke about pegging, real explosions, Tori screams a great deal, the robot just won’t die, etc, etc. It was clearly made with a ton of love and enthusiasm and about $10,000.
Director: Charles E. Seller Jr
Release year: 1984
On the way home from visiting his grandfather on Christmas Eve, young Billy Chapman watches his parents slain by a robber dressed as Santa Claus. At an orphanage, Billy is punished repeatedly by the Mother Superior for not coping with the trauma. His first job at eighteen is at a department store, and when Christmas Eve comes and Billy has to dress as Santa Claus, wearing the costume triggers his own killing spree.
This is a surprisingly rich stew of repressed trauma and violence that manages to be brutal, odd, amusing and quite moving in places. The child actors are excellent. In the opening scene, Billy meets his hospitalised grandfather, who terrorises him with the idea Santa Claus punishes children who are not perfect. He then witnesses the murder of his parents that includes the sexual assault of his mother by an unhinged assailant in a Santa Claus costume. Later, at an orphanage, he is punished for making a violent drawing, and when he observes through a keyhole a nun having sex with her boyfriend, he hears them beaten with a belt by the Mother Superior.
Billy learns through beatings to keep his mouth shut. It’s both funny and tragic that his homicidal rage comes out as Father Christmas. Violence, sex and Santa Claus make a combustible combination! In one chillingly amusing scene, a girl refuses to admit any naughtiness and so, unable to punish her, Billy begrudgingly gives her his blood-covered knife as a gift. The same scene in Christmas Bloody Christmas results in a more modernly obnoxious child getting an axe to the head. I prefer the original.
Anna and the Apocalypse
Director: John McPhail
Release year: 2017
Staying festive, a Scottish zombie musical about a girl longing to escape a small town, the tricky relationships we navigate as teenagers, with peers, parents and teachers, and the power of musical theatre to kill the undead.
Anna has bought a flight to Australia in her gap year without telling her dad. Her friend John has a secret crush on her and, while he wants to go to art school, doesn’t want her to go so far away. Steph’s parents have left her alone for Christmas. The three band together with a handful of others to try to escape the hordes of zombies attacking their town.
The songs and choreography are decent, but I’m no musical aficionado, and that didn’t stop the gore from being intense when they use whatever they can get their hands on to crush undead heads. It’s heartfelt, and the youngsters suffer real hardship in the second half, so it becomes increasingly bleak. Ella Hunt should be in more films, she’s luminous here as Anna, and so is Paul Kaye as increasingly unhinged headteacher Arthur Savage.
In a Violent Nature
Director: Chris Nash
Release year: 2024
It’s rare that a film comes along in the horror space and asks questions about the form. Cabin in the Woods did it back in 2011, and this does it with the slasher genre, subverting its conventions in pointed and interesting ways. I knew too much in advance of seeing this for it to be a surprise—I can imagine this would have been even more impactful if I’d gone in blind.
A group of teens explore woods where a man, Johnny, was killed decades before, and find a locket hanging on a pipe in an abandoned hut. One of them takes the locket for his girlfriend, not realising it’s on Johnny’s grave. Johnny climbs out of the earth to methodically track the teens through the woods to get the locket back, picking them off in increasingly violent ways.
The camera tracks Johnny from behind for most of the film. It’s a video game point of view that goes back to the original Lara Croft. Nature is ever-present on the soundtrack, with bird calls, the crunch of grass underfoot, wind in the trees, the buzz of flies, but all Johnny is listening for are human voices and car engines. At the ranger station he looks at the displays and lifts a photograph. When he walks into a house and sees a similar locket, he remembers his father giving it to him as a symbol of love from his mother.
The only character of note amongst the teens is Kris, accidental holder of the locket, who sees Johnny’s bottomless pool of rage at the locket’s theft, and who wisely leaves it for him to collect. On the road, she’s picked up by a woman who tells a story about the random violence of bears, but that’s a misdirection—we’ve seen the killer is not random, has suffered terrible losses, and his fury doesn’t stop even in death.
Nightmare City
Director: Umberto Lenzi
Release year: 1980
A radiation incident is reported in an anonymous Italian city moments before a military plane lands at the civilian airport. Mutant humans pour out and begin a city-wide massacre, killing indiscriminately, drinking victims blood, and infecting everyone who manages to survive.
The most surprising and entertaining part of this film is the frenzy with which the mutants go at innocent bystanders, using whatever implements are to hand, seemingly impervious to bullets, leaping and mauling—if you told me the mutants were from a musical or dance company, I would believe you. It’s fun!
The “radiation” spreads like the rage virus in Danny Boyle’s 28 Days Later. Lenzi’s cameras are constantly moving around the action, zooming and panning, and he loves to end a kill with a shot of a mutant wiping his mouth with satisfaction, or rolling his eyes as he looks for his next victim.
The standout scene is the mutant takeover of a TV station where dancers in aerobics outfits are murdered with ridiculous gusto, although there are several other set pieces just like it. The pace is relentless. When things do slow down, ideas are touted about why this is happening, and even in 1980 they knew mankind couldn’t be trusted with the increasing powers of technology.
At the beginning of the film, Jessica, the artist girlfriend of General Warren, unveils a bust she’s working on that makes him look like a mutant. People in the late seventies were frightened of nuclear power and nuclear war. Her work is a premonition of what is to come. Jessica’s studio is full of strange sculptures and paintings. Dario Argento would have approved.
Maniac Cop
Director: William Lustig
Release year: 1988
The VHS cover for Maniac Cop was iconic to video shop-haunting teens like me who were too young to rent it, not really interested in a New York police film anyway, but saw it in every horror section. I did not know Bruce Campbell was one of the stars, although it’s hard to know if Evil Dead 2, which came out in 1987, had taken off at this point, so he might just have needed a gig.
Tom Atkins plays Tom Atkins as detective Frank McCrae, hunting a mysterious police officer who’s killing innocent people on the streets of New York. He believes two-timing officer Jack Forrest (Bruce Campbell) has been set up for the murders and enlists the help of Forrest’s girlfriend, Teresa, also a cop, to hunt the real killer down. But is the killer alive or dead?
The script by Larry Cohen is awful, but it’s directed competently and the acting talent does a great job with what’s there. The maniac cop’s face is cheap and cheerful in HD—they wisely hide it until close to the end. The final car chase is impressive but, you know, none of it makes any sense. Somehow, I still had a good time.
Mother of Tears
Director: Dario Argento
Release year: 2007
A grave containing a rune-covered box is discovered outside a churchyard in Rome. Art restoration student Sarah Landy helps her tutor open the box, which contains magical artifacts including a tunic that bestows great power to the still-alive medieval witch Mater Lachrymarum. Landy escapes an attack by demonic creatures and goes on the run as Rome falls into chaos, but Landy learns she is the daughter of a powerful witch and might be able to stop Mater Lachrymarum from bringing the second age of magic.
That’s a lot of plot. Also, the police are chasing Sarah, a gang of partying goth witches are roaming the city, Sarah’s friend and lover Michael loses his son to the Mater, an alchemist gets involved, and Sarah’s dead mother can talk to her from another realm. Dario Argento and Daria Nicolodi were inspired to write the “Three Mothers” films (Suspiria, Inferno, Mother of Tears) by Thomas de Quincey’s 1845 prose poetry collection, Suspiria de Profundis. That explains the involved and detailed lore that the characters discuss, which adds a layer of mystery and weight to the story, but also can be pretty confusing.
There’s a flavour of The Omen to the scenes Rome residents start doing terrible things. The brutality of the violence seems like an attempt to capture medieval tortures mixed with a vision of hell seen as the cruelties people will inflict on each other. The Mater likes to lick the tears from her tortured victims.
There are a few Argento flourishes with the camera, and towards the end there’s a subtle variation of the original Suspiria soundtrack by Goblin, which is fun. It’s a flawed film, but full of energy and life, and I respect a trilogy of films that are in the same universe with the same overarching story, but which are stylistically and in the pacing of things so different.
Giallo
Director: Dario Argento
Release year: 2009
Inspector Enzo Avolfi specialises in finding serial killers. In Turin, someone is cutting up and killing beautiful young women, and when model Celine fails to arrive to meet her sister, Linda, Avolfi has to help her search the city before Celine becomes another victim.
Could you have a more generic plot than that? Perhaps after finishing Mother of Tears Argento wanted something simpler to work with. Ironically, this isn’t a giallo, it’s closer to Silence of the Lambs or Seven in its story structure. We still get flashbacks to childhood that reveal motivation, but the inspector gets them far more than the killer, who has a deformed face and the rather obvious desire to deface beauty in others.
The script has nothing to it. There are several gratuitously ugly torture scenes whose only purpose seems to be to make sure we know how fucked up the killer is. Once we see him sucking on a baby’s dummy and masturbating to photos of cut up faces, it’s fair to say no more proof-of-fucked-up-ness is required. Put some story in there instead, screenwriters!
Adrien Brody played both the killer and the cop, and he also sued the producers of the film for not paying his full fee, blocking it from being released in the US. Argento has disavowed the film, saying he didn’t like the producer’s cut of it, but he also was saying at the time he felt blacklisted in Hollywood because it couldn’t get distribution. It’s a depressing state of affairs all around.
Director: Terence Fisher
Release year: 1959
Renowned detective Sherlock Holmes sends his friend and helper Doctor Watson to Dartmoor to protect Sir Henry Baskerville, new owner of Baskerville Hall, after his uncle dies in mysterious circumstances. There is a convict on the loose, the villagers are not friendly, and there might be a monstrous hound prowling the moors.
This was a dose of good cheer after watching Dario Argento’s Giallo. A Hammer Studios production, Peter Cushing, André Morell and Christoper Lee, as well as a supporting cast of luminaries, play off each other beautifully. Fisher made this not long after Dracula, and the sets and costumes are similarly lush.
The opening is surprisingly vicious. I couldn’t remember the original Conan Doyle story well enough to recognise changes to it, but I was surprised at the working class anger driving the core of the story. Everything British has class in the mix, and as clearly evil as the plot to kill Sir Henry is, the ruling classes (from Sir Henry to the local Bishop and even Holmes) have a contemptuous streak, and I couldn’t help being a little on the side of the ones who had been stolen from and were seeking revenge.
MadS
Director: David Moreau
Release year: 2024
Romain tries a new drug from his dealer before going to a house party in the suburbs of a French city. On the way he picks up an injured woman covered in bandages who can’t speak and is in distress. From there things get progressively darker as he tries to work out if the drug is playing tricks on his mind or if there is an infectious plague sweeping across the city.
As an older guy, watching young people freak out and lose control of their minds and bodies is upsetting. The performances are naturalistic and the camera follows them closely, over their shoulders, in their faces, constantly moving and making it feel like a found footage film. It looks as if it was shot in one take, moving from house to house by foot, on bikes and in cars. Once you get used to the kinetic style it sweeps you along on its nightmarish current.
The four lead actors are all excellent. Romain’s girlfriend Julie has an extended breakdown in the toilet at a bar that shows how it might feel to see your body become something alien and how the voices of the infection might close in to make you do violent things. It’s disturbing, but also a creative and fun new take on a zombie-style apocalypse.
Argento’s Dracula
Director: Dario Argento
Release year: 2012
There’s a moment when Rutger Hauer’s Van Helsing arrives two-thirds in and my spirits lifted because perhaps the film could be saved, but the moment he started to say his lines, I knew it was actually a stake through my heart.
There are shades of Phenomena in the wildlife and insects being sometimes sentient, but here they are in league with the villain. This Count Dracula has lots of powers not given to the 1959 Hammer Dracula, and seems closer to the original novel. He can project an image of himself into others’ minds, has telekinesis, can transform into animals, and mesmerise people to do his will.
I wonder what changed between the rather good Mother of Tears in 2007, the troubled (and terrible) Giallo in 2009, and this monstrosity. It was made in 3D, which might explain the bad CGI. Perhaps they were the bits that would have come out of the screen. The scene where Dracula is a seven-foot preying mantis and ripping a man to pieces in a hallway wouldn’t look good in any format. I don’t know what happened. Was there no money? Did something go wrong behind the scenes? What’s the story behind this film?
Dark Glasses
Director: Dario Argento
Release year: 2022
Diana, a sex worker, is chased by an unknown assailant, leading to a car accident that kills the parents of a young boy and leaves her blind. She slowly adapts to her new life and temporarily takes in the orphaned boy, but the killer returns to finish the job.
This was the final Dario Argento film in my 2024 challenge and an interesting contrast to what’s come before. Giallo was modern, but still had an otherworldly quality because of the flashbacks and Adrien Brody’s energy in his dual performance. Dracula was a straight-up homage to Hammer. Dark Glasses is a straight thriller that feels like it was made today, but includes classic Argento moves—the blind protagonist and child (as in Cat O’ Nine Tails), a random animal attack (see Inferno), a black-gloved killer, and a pounding soundtrack.
This is Argento reckoning with all the people he’s killed in his films, mostly female, and presenting a more empathic view of what it might be like to survive an attack by one of his murderers. Ilenia Pastorelli does an excellent job of playing a woman who goes through incredible trauma only to have it continue when she’s most vulnerable.
I can’t think of an Argento film before this one where we see an actor really act. That’s quite a statement, right? One of the joys of his earlier films are the lightness of the characters while terrible things happen. People show emotions, but his characters don’t go through an arc—they don’t change. The Stendhal Syndrome’s Detective Anna Manni is the closest I can think of, but Asia Argento was young and relatively inexperienced, and her transformation was from sane to insane. Diana’s world is portrayed sensitively and the horrors of her blindness not ignored.
That realism also makes the film less fun. The initial draw of Dario Argento was the wildness, the unexpected, the ideas, the return always to art, theatre, performance, architecture, and the charismatic faces, the variety of characters, the roving camera. Empathy seems to have replaced experimentation, but that can be no surprise in a director who is eighty-four years old. I wonder if he has another film in him?
Cuckoo
Director: Tilman Singer
Release year: 2024
After her mother dies, Gretchen moves with her estranged father’s family to a resort in the German Alps. To stave off boredom, Gretchen takes a job at the resort reception, where she notices the odd behaviour of the residents and of her boss, Herr König.
I don’t want to say much more than that, because it’s a fun story with a few surprising twists. The tone switches skilfully from unsettling to amusing to frightening, but it’s held together by Gretchen’s grounded teenager vibe.
Hunter Schafer is sensational as Gretchen and commands every scene she is in. I loved her facial responses to the increasingly disturbing events, first surprised, then disbelieving, and she always makes sensible decisions. She also plays guitar, has a liaison with a flirty customer, and knows how to use a switchblade. Top drawer heroine.
Dario Argento: Panico
Director: Dario Argento
Release year: 2024
This is the documentary that gave me the idea to watch all of Dario Argento’s films this year, and it was interesting to watch it again at the end of the project. It’s a good inclusion for #31DaysofBlackXmas as well. Knowing the list of Argento’s films in advance made it more of a chore, whereas with #31Days I could twist and pivot as my mood took me. I wish I wasn’t so susceptible to the power of a list. Perhaps keeping it organic and taking some pressure off is something to try in 2025.
The documentary’s conceit is that Argento is going to a hotel for a few weeks to finish writing a manuscript for his next film, which is something he’s done all his life, and a film crew will interview him while he’s there. We see the maestro arrive, and we see him leave, awkwardly and sweetly interacting with the staff all the while. The main section is a series of interviews with him about his life and career, backed up with the views and memories of family members and key collaborators.
What becomes clear is that Dario is a complicated man, and in the first half of his life he carried a lot of anger and competitiveness to be successful because, as he openly says in a seventies interview clip, he wanted to be loved. His mother was a famous film star photographer, and his father was a film producer, Salvatore Argento, who backed his son’s films right up to his death in the late eighties. He seems to have been brought up in great privilege, but also to have a lack that he was always trying to fill. He was a maverick, a risk-taker, a public personality, and he used film as a way to channel his darker instincts.
After his father died, his daughter Asia became a muse, and she starred in many of his later films. Asia’s thoughts on her father and family are the most poignant in the whole documentary. Some of the fire went out of his films in the nineties. Yes, television money became dominant and contracts required less violence, but he was still writing the scripts (with collaborators), and the later films lack the vitality and narrative quality of earlier ones.
There is almost always something to admire in even a disappointing Dario Argento film. Dracula and Giallo are the only true stinkers. He describes his need to continue to make films as an ongoing investigation of the depths inside himself. He seems to have lived the classic Jungian arc of creating a career and family with the first half of his life, then switched to a more inward journey in the second. It’s inspiring.
Director: Pupi Avati
Release year: 1976
Stefano arrives in a half-empty Italian town at the behest of the mayor to restore a fresco inside a local church. The fresco shows the suffering of St. Sebastiano and was painted by a long-dead artist, Bueno Legnani. The locals seem to always be listening to Stefano’s conversations, and when he has to move from his hotel to a remote local house, he discovers in the attic a tape recording of a man’s voice who he begins to believe is Legnani, sending him down a rabbit hole he might not come out of alive.
Highly recommended on podcasts and online, I had no idea from the title what to expect, but this is impeccably crafted and scuzzy Italian folk horror. There is a yellow tint that makes the viewer feel dirty, and the barren landscape of river inlets, abandoned houses and deserted roads is endlessly unsettling. The fresco looks disturbingly modern in the old church, and the gradual uncovering of morbid details adds to the increasing sense of dread.
It’s described as a giallo, but it’s not. There are few deaths. Instead, there is a skillful ratcheting up of tension through artful use of the camera, the deserted locations, and the script taking its sweet time revealing key details through Stefano’s conversations with local townsfolk. The final fifteen minutes are wild and strange. The quality of the print on Amazon Prime wasn’t great—this deserves to be in HD.
Black Christmas
Director: Bob Clark
Release year: 1974
In the days before the Christmas break, a killer breaks into a sorority house and begins to pick off the girls one by one. The girls are also being plagued by obscene phone calls from someone who calls himself Billy. When a concerned parent involves the police, can they find the killer before he kills again?
This film didn’t do well when it was released and was disparaged by critics, but has gone through a reappraisal in recent years as one of the first slashers, after the Italian giallo films of the early seventies but before Halloween. It is well acted with plenty of heart in how the girls are presented, and funny, knowing the younger audience it’s aiming at. The killer, Billy, is disturbing, the effect made almost entirely by voice as he talks to himself in the attic and to the girls on the house phone. His garbled obscenities got under my skin.
Jess, the girl who lasts to the final scenes, is pregnant by a manipulative boyfriend, Peter. She is clear she wants an abortion, and he won’t listen, the outcome of which leads to the semi-ambiguous ending. Billy speaks to Jess the most on the phone, talking about something terrible he once did to a baby, and one reading of the film is that Jess is being tormented by a patriarchal society for her decision to terminate the pregnancy.
It’s a richly layered film with plenty of political meat on its bones for what could have been a cheap thriller for teens.