Tag Archives: cat people

Halloween Terrors

By Andreas

You know what’s really scary? Like terrifying, bone-chilling, never-sleep-again scary? Sure, I could start answering that question broadly with, say, death and loneliness and bodily harm. But I’d rather start small with a few images—the direct, visceral language of the horror movie. So here’s a taste of what scares me, via some of my favorite horror classics…

Cat People

As Poe described it in “The Raven”: “Darkness there, and nothing more.” Is it a panther, or just an inky blur shifting against the wall? The water in the swimming pool plays such tricks with the light. You could be in mortal danger, with a big cat preparing to tear into your neck, or you could just be seeing things. That’s the visual genius of Nicholas Musuraca (who also shot The Seventh Victim) at work, implementing the flair for ambiguity that defined RKO’s Val Lewton unit. It’s such a blurry, disorienting image, but it conjures up a world of pain and possibility. At times like this, you have to ask yourself: “Are you afraid of the dark?”

The Wicker Man

Shot from this angle, those islanders gathered around the vast wicker effigy look like a welcoming committee. They’re here to usher Sergeant Howie along to his destiny, an outcome preordained by his actions, his self-righteousness, and his obliviousness. And isn’t that the most disturbing fate of all? To know that you’re not merely being dragged off to die; as a matter of fact, your personal flaws guaranteed this ending. This is horror at its purest: to be hopelessly, helplessly drenched in anticipation of your imminent, ritualized death. And to top it all off, the air fills with pagan song. The Stepford Wives

This image encapsulates so many powerful fears: the loss of individuality, personhood, free will; the domination (and destruction) of women by a conspiratorial council of all-knowing men; the disappearance of anyone to trust. It’s all in Bobbie’s face as she rattles off idiotic phrases like “How could you do a thing like that!” This once-vivacious woman has been reduced to a babbling automaton, realized with grotesque plausibility by Paula Prentiss. It’s a tragedy and a nightmare.

Onibaba

One last fear-inducing image, this one from Japan, as a monster/woman braves the elements. A lightning flash illuminates her face, now usurped by a demonic mask. It’s the stark conclusion to a religious allegory that’s been transformed into a sweaty, carnal horror story. This is nature at its most basic: total, unrelenting chaos engulfing a vicious, unhappy world. In a perversely moral turnabout, this selfish woman gets what’s coming to her—and we, the viewers, are left with nothing but an empty, scared feeling by this masterpiece of the Japanese New Wave. Happy Halloween, everyone!

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Gender, Sympathy, and the “Monstrous Hero”

By Andreas

Forever ago (i.e., last October), I wrote about my horror-centric comps project. I planned to analyze Cat People, The Haunting, Carrie, and May to glean what each film had to say about female sexuality, and how these ideas manifested themselves stylistically. Well, over the past few months, I wrote that 30-page paper, revised it twice, gave a public presentation on it, and now the process is done! So, just in case you’re really eager to read a mammoth research paper about these movies, I give you my comps paper: “Gender, Sympathy, and the ‘Monstrous Hero’ in the American Horror Film.”

After the jump, read over 8,000 words of theory and textual analysis on horror and sexuality…

Continue reading

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Link Dump: #10

Let me just get this out there: I love the movie Cat People. I love it so much that I’d be OK with it if, every time I was aroused, I turned into the movie Cat People. Don’t question how that’d work. The point is that I really, really love that movie. I love its brevity, its odd visual poetry, its confusing but wonderful morals; I love Tom Conway’s sleaziness and, most of all, Simone Simon’s fractured innocence. Cat People is complex, poignant, perverse, and really sexy. I fucking love Cat People. Anyway, I just wanted to talk about that because I haven’t touched on that movie at all this month. Oh, and I have some links! Read them at your leisure.

  • Have you bought issue 10 of Paracinema magazine yet? If not, look at this. Now are you convinced?
  • Wow, even Fangoria hated the I Spit on Your Grave remake! Then you know it’s bad.
  • THIS is an incredible video and I love it. It’s just so in-your-face and totally refuses to bullshit. Fuck hate! Fuck yeah! (Share it with everyone you know who can take the word “fuck”!) [Via Four of Them]
  • Here’s another great video, this one being an ultra-NSFW song by MC Sex about period sex, accompanied by clips from dozens of gory horror movies. [Via Hold onto yr genre]
  • This is a really, really stupid NYT article that just wastes space. Oh no! We don’t have lines like “Stupid is as stupid does” in movies anymore! How can we endure?
  • Christopher Nolan is finally disclosing some Batman 3 – excuse me, “The Dark Knight Rises” – details. I’ve been back and forth about Nolan lately, but I have to admit a measure of excitement for this movie. And I, for one, thought it was obvious that he wasn’t going to use the Riddler, since 1) how would lime green fit into the Nolanverse color scheme, and 2) wouldn’t another joke-cracking villain be redundant??
  • Neil Gaiman on Arthur. This makes every fiber of my being happy; while watching it, I was literally giggling with joy.
  • And speaking of Gaiman, want to be one of his most iconic characters, Death from The Sandman, for Halloween? Well, The Powder Room’s Locus Ceruleus Media will tell you how with this awesome makeup tutorial.
  • Courtesy of the Wall Street Journal, here’s a listing of some great Japanese horror movies, including a few we’ve talked about on this blog. Any list that includes Jigoku is good enough for me!
  • A few sites have pointed out this video of a Texas NBC station asking the leading question, “Will acceptance of gays lead to the downfall of America?” Jesus. Fucking. Christ. It’s pretty abhorrent and unbearable, and it just gets worse toward the end. People like this make me fucking sick.
  • There comes a time in every boy’s life when he has to explain the Internet to a 19th century Cockney street urchin. This flowchart should help.
  • To tie it back to Paracinema, their blog has been doing a Halloween Countdown of their own! It’s got snuff films, Japanese wackiness, Vincent Price, and more. And on a related note, Stacie Ponder of Final Girl is rounding down her list-tastic Shocktober lists. Read both of these for some great movie suggestions as Halloween arrives! (Just two days.)

On the search terms front, we had some weird shit this past week. One searcher complained that “women never have sex with men”; another creepily wrote, “my daughter in law has good pussy.” I saw the perfectly unpleasant instruction (?) to “pull my pussy n hurt it grrr,” as well as the more reasonable injunction of “don’t piss off your plastic surgeon.” I’m sorry to say that I don’t know what “professor & the sexy girl japanese movie” refers to.

My mention of Ava Gardner’s performance as a real estate agent in The Sentinel earned us such anomalies as “real estate agent rape scene” and “simulated ava gardner naked fucking” (??!). Finally, my favorite two of the week: “licentiously yours,” which I think should replace “sincerely” or any similar sign-off in correspondence, and “recorded in bathroom, guitar, died, fall,” which is just… I don’t even know. What does that mean? I think it means “Happy Halloween.” So yes. Happy Halloween.

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Let’s study some horror movies!

Time for a little personal information that’s very relevant to horror cinema! So: as you may know (if you’ve read our About page), I am a Cinema & Media Studies major at a small liberal arts college who’s only months away from graduation. In order to graduate, every student here has to do a comprehensive senior project – colloquially known as “comps.” Well, I submitted my proposal a few weeks ago, it was accepted, I met with the faculty committee today, and it’s decided: I’m compsing on horror movies!

Tentatively entitled “The Sexual Dynamics of American Horror Films, 1942-2002,” my comps project goes into a lot of the same subject matter that I regularly tackle here at Pussy Goes Grrr. Here’s my abstract, summing up what I plan to research:

Basing my arguments theoretically in the work of Barbara Creed, Carol J. Clover, and other horror film scholars, I will perform a close analysis of four horror films, each of which links violence with female sexuality. By comparing the natures of these links, I will reach conclusions about the representations of femininity within the horror genre.

Those four films are the ones you see above: Cat People, The Haunting, Carrie, and May! The finished paper will be 25-30 pages long, and so the next five months will be filled with hard work (and possibly diminished blogging), but hey, those are the costs of success in academia. (OK: that, and about $50,000 a year.) I’m super-excited to get working on it! I love studying the things I love!

In conclusion, thanks for being a reader. This blog has certainly played a big role in getting me to this point, and your interest and support have been crucial. Hearts and kisses for everyone!

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20 Horror Faves

Way back when, Stacie Ponder of Final Girl requested that all the horror-loving folks out in blogland send her their 20 favorite horror movies. They responded en masse. I was part of that masse! Well, I figured, why not milk that list for some actual content? Thus, here it is: my list, in its chronological, 20-entries-long glory. It was a painful list to come up with, and I’m missing some of my other special favorites, but it’s decent, I think.

  • The Unknown (Tod Browning, 1927): So macabre, so weird, so Freudian, so fucked-up. Also, probably Lon Chaney’s best surviving performance. (I mean, Burt Lancaster loved it!)
  • Dr. Jekyll and Mr. Hyde (Rouben Mamoulian, 1932): The best version of Stevenson’s tale, no matter what the Victor Fleming partisans tell you. Also, Miriam Hopkins’ sexy leg [courtesy of Lolita’s Classics]:

  • Freaks (Tod Browning, 1932): Um, duh! More about this forthcoming later in the month.
  • Maniac (Dwain Esper, 1934): “DARTS OF FIRE IN MY BRAIN!” Looniest, wackiest, most maniacal exploitation movie of all time.
  • Bride of Frankenstein (James Whale, 1935): Whale at his gleefully perverse best. I wish Dr. Pretorious was my boyfriend!
  • Mad Love (Karl Freund, 1935): Peter Lorre is a creepy fucker, plus obsession and grand guignol! I adore this movie.
  • Cat People (Jacques Tourneur, 1942): One of the seminal Hollywood horror movies, at once erotic, repressed, and scary as hell.
  • The Seventh Victim (Mark Robson, 1943): And another Val Lewton masterpiece! Unbelievably morbid and moodily poetic.
  • Dead of Night (Alberto Cavalcanti et al., 1945): The segments are uneven, but Michael Redgrave vs. a ventriloquist dummy, together with the nightmare finale, is more than worth it. Ealing should’ve made more horror.
  • Eyes Without a Face (Georges Franju, 1959): Franju tells his really icky mad scientist story with a delightful sense of humor. Valli makes a great (evil) lab assistant, and the design of the mask is so simple as to be nightmare-inducing.
  • Carnival of Souls (Herk Harvey, 1962): This is easily in the top 5 on this list. Independently made with an unblinking vision of existential horror, it also has one-time actress Candace Hilligoss giving the performance of a lifetime. “WHY CAN’T ANYBODY HEAR ME?”
  • The Haunting (Robert Wise, 1963): I fucking love Julie Harris here; she leads a pretty much perfect cast as they navigate the recesses of a very angry house.
  • Onibaba (Kaneto Shindo, 1964): I talked about this recently, but to recap: it’s a brutal tale of two women and a man in the wilderness, with a big hole in the middle. So greasy and desperate, I love it.

  • Night of the Living Dead (George Romero, 1968): It’s a pretty canonical choice. Romero was a true original, resourcefully squeezing all the metaphorical value he could out of a solid cast, a boarded-up house, and some brain-craving zombies.
  • Cries and Whispers (Ingmar Bergman, 1973): SO DEPRESSING. Watching this movie is like masturbating with a shard of broken glass. OK, I’m done drawing analogies now. But seriously, Bergman turns family drama into ultra-visceral horror.
  • The Tenant (Roman Polanski, 1976): The underrated third member of Polanski’s Apartment trilogy, it’s really stuck with me. I don’t know if it’s Trelkovsky’s miserably kafkaesque relationship with his neighbors, or him wearing a dress and whispering, “I think I’m pregnant!”
  • The Thing (John Carpenter, 1982): When Poe wrote the words “desolate yet all undaunted, on this desert land enchanted,” I think he was anticipating the lingering dread and scary-as-shit special effects of Carpenter’s masterpiece.

  • Dead Ringers (David Cronenberg, 1988): I wish Jeremy Irons were my drug-addicted gynecologist brother. But then I’d have to be Jeremy Irons. Also, mutant vaginas. What’s not to love?
  • 28 Days Later… (Danny Boyle, 2003): I wasn’t expecting it, but Boyle’s neo-zombie odyssey across postapocalyptic England has insinuated itself into my bloodstream like a particularly pernicious virus.
  • Let the Right One In (Tomas Alfredson, 2008): Aren’t those kids cute? And isn’t that movie startlingly beautiful and well-written?

Are you shocked by my bad taste? Or shocked by my good taste? Comment below.

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