Tag Archives: the rules of the game

Link Dump: #51

You know what’s an underrated animated/horror movie? Henry Selick’s Coraline. And you know who voiced a kitty in Coraline? Keith David, Childs from The Thing and Roddy Piper’s co-star in They Live and an all-around bad-ass. You are awesome, Keith David. In other news, you may have noticed a mighty hush lately across Pussy Goes Grrr. Long story short, we’re currently resting and preparing—sorting out writing projects and real-world obligations as our big end-of-year sprint across the finish line approaches.

December is going to be mind-blowing. In order for that to happen, though, November has to be kinda “meh.” You’ll see! It’ll be worth it! In the meantime, here’s a few cool links:

No good search terms this week, alas. We hope that next week brings a search term bounty, however, as befits Thanksgiving.

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Horror is everywhere (1)

Since so much of the critical discourse around horror tends to describe it as a “ghetto genre,” stuck in the gutter of low budgets and low culture, it’s easy to imagine it as walled off from the rest of film. But, well, that’s just not the case – and the sooner we realize it, the happier we’ll be. Because the fact is, as I say in the title of this post: horror is everywhere. It’s not just in ’50s B-movies and ’70s slashers and monster rampages and gore. It’s all over the place in mainstream Hollywood cinema. It’s in austere art films. Only a thin, imaginary line separates the worlds of Herk Harvey, Lars von Trier, Herschell Gordon Lewis, and Ingmar Bergman.

In order to demonstrate this point, I’ve gone through the They Shoot Pictures, Don’t They? aggregated list of the 1,000 highest-ranked films of all time, and picked out ones that show the influence of the horror genre. Because horror isn’t just a hidden, perverse bastard genre. It’s an impulse whose tentacles reach into all eras and regions. Horror touches all artists whether they like it or not. So here are some critically acclaimed films that deserve to be located within the tradition of horror.

Citizen Kane (1941) – TSPDT ranking: #1

Who do you think dwells in that far-off, menacing mansion? Maybe Dr. Frankenstein? Mr. Sardonicus? No, that’s Xanadu, the final home of the title character in Citizen Kane. In the film’s opening sequence, Welles invokes haunted house iconography, moving us closer and closer to Xanadu through a series of eerie dissolves; Bernard Herrmann’s creepy score accentuates the feeling. Welles was no stranger to scaring people (remember, he’d punk’d the nation with The War of the Worlds just 3 years earlier), and he knew how to make Kane seem distant and foreboding: introduce him with a dash of Gothic horror. Kane’s rigid, Karloffian outburst after Susan leaves him later in the film just drives the point home.

Vertigo (1958) – TSPDT ranking: #2

Like Welles, Alfred Hitchcock was no stranger to horror. He flirted with the genre throughout his career, producing movies that were terrifying and mysterious, but still better categorized as “suspense” or “thrillers.” Still, he made one of the earliest serial killer movies (The Lodger), and helped establish the slasher and killer animal subgenres with Psycho and The Birds. In Vertigo, often considered his masterpiece, he even dabbled with the supernatural through a red herring reincarnation story. Sure, Madeleine/Judy turns out to be a total fake, but the film still contains moments of potent psychological horror – like the wonderful dream sequence pictured above, which is easily one of my favorite cinematic nightmares.

The Rules of the Game (1939) – TSPDT ranking: #3

I’m not trying to suggest that Renoir’s playful, lusty tragicomedy is secretly a horror movie. But I just really love Camille Saint-Saëns’ Danse Macabre, and I love Renoir’s very theatrical take on it. This macabre little dance routine is performed by members of the nobility for the benefit of their friends, and also for us, the audience. In a movie where trivialities and misguided passions lead to serious consequences, it only makes sense that skeletons and ghosts should be reduced to characters in a brief entertainment.

The Third Man (1949) – TSPDT ranking: #30

Postwar Vienna is a scary place. At least, that’s the lesson learned by hack writer Holly Martins after he pays the city a visit. In addition to dealing with international politics, canted angles, and the maybe dead, maybe evil Harry Lime, Martins and his not-quite-girlfriend Anna have to evade this creepy little Austrian kid who’s accusing them of murder. Throughout the film (which is one of my favorites ever), director Carol Reed pours on the expressionism, to the point that you’re not sure whether Holly and Anna are coming or going. The war-damaged state of the city’s streets and buildings doesn’t help. Combine this disorientation with a demon child right out an Austrian version of The Omen, and you’ve reached the point where noir meets horror.

The Conversation (1974) – TSPDT ranking: #166

Most of Francis Ford Coppola’s least-recognized masterpiece sits in “lonely paranoid thriller” territory, very much in line with the ’70s work of others like Scorsese, Pakula, and Polanski. But toward the end, as Gene Hackman’s surveillance expert Harry Caul realizes the complexity of the conspiratorial web he’s trapped in, the movie has some hallucinatory moments of real horror. Caul glances around an empty hotel room where he suspects a murder has been committed, then innocuously flushes the toilet… and out pours blood in a Shining-style deluge. We’ve also got Robert Duvall’s bloody handprint smeared on a window.

Initially, The Conversation‘s iciness and formal refinement may seem light-years away from the off-the-cuff gruesomeness of something like The Texas Chainsaw Massacre. But really, to paraphrase Gloria Grahame in The Big Heat, they’re “sisters under the mink.” Or, to put it in more prosaic terms, they’re “surprisingly similar after you disregard artificial notions of high and low culture.” Whether you love or hate horror movies, it’s time to set aside these false distinctions, break through the self-imposed barriers, and realize that all of cinema is interconnected. And to hammer that point home, I’ll have more “Horror is everywhere” for you each week throughout October.

Pleasant nightmares, all!

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