Category Archives: Movies

Movie Review: Death on the Nile

 

2022’s Death on the Nile is the second Hercule Poirot adaptation directed by and starring Kenneth Branagh as Christie’s famous Belgium detective.

After a brief prolog set during World War I, supplying some details of Poirot’s background, and a short sequence in a London Jazz club establishing some of the central characters the story starts off in earnest along the Nile river where, by seeming chance, encounter Poirot meets with an old friend and is soon entwined with a wealthy heiress’ wedding celebration. The heiress, Linnet Ridgeway and her husband are fearful a jealous ex-lover is stalking and may do harm to Linnet for stealing away her fiancé. Also aboard are a collection of eccentric characters who later all are revealed to have possible motivations for murder.

A good half of the film is dedicated to the set-up, giving the audience plenty of time to learn about the characters from their actions before Murder starts the tension climbing. After the murder and with suspicions quite high life aboard the chartered steamer turns dangerous and with its body count Death on the Nile does a far impression of a slasher where the kills are not graphically on screen.

Unlike the previous film in the adaptation series, Murder on the Orient Express, the resolution is quite believable though pushed the edge of credibility. The screenplay retains Christie’s hobbit of withholding some clue and revealing them only in the detective monolog but aside from that aspect the movie is quite enjoyable. Apparently invented for this film the background on Poirot gave the story some added depth and emotional resonance.

Death on the Nile is a decent film, better that Murder on the Orient Express and worth a watch.

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Near Noir: The Shadow on the Window

 

Noir Archive: Volume 3 a collection of Columbia film noirs, kicks off with The Shadow on the Window, a movie that might be better called noir-adjacent rather than an actual film noir.

Petey, a little boy, is traumatized after witnessing the murder of an elderly farmer and an attack on his mother. Nearly catatonic he runs/wanders off until through a few concerned citizens he is delivered to the police station where the audience learns he is the son of a detective, Tony Atlas, recently separated from his wife. Aware that his wife would never carelessly loose Petey, and that some traumatic events has unbalanced his son, Atlas and the police force begin search for the mother and attempt to unravel the mysterious event in a race against time.

The Shadow on the Window is a straightforward narrative with no unexpected reveals and twists in the plot. Linda Atlas is being held by three thugs who hadn’t intended on murder as part of their robbery and who now argue over how to deal with their captive. Detective Atlas follows leads and clues as he attempts to track back Petey’s course aware that his woofer is in danger but ignorant of enough specifics to effect an immediate rescue. With a short running time of 73 minutes Shadowdoesn’t lag or waste screen-time, always moving forward which helps considerably with its lack of mystery. In my opinion the best noirs often have a reveal in the third act that recontextualizes the previous story elements without that aspect Window plays more like a procedural drama than a murky noir of concealed motivations and alliances. Still, it entertains for the hour and a quarter it plays and the filmmakers throw enough obstacles into Detective Atlas’ investigation that the film has sufficient tension despite its production code enforced ending.

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The Downside of Easy International Media

 

The internet gives us access to news and popular culture from around the globe and sometimes that access prompts frustration.

This morning as I ate my customary breakfast of toast and eggs, yes, I live such an exciting life, one of the social media sites threw up the news that this year there was going to be a Norwegian werewolf movie, Vikingulven (Viking Wolf), complete with trailer.

Man, that looks good, and it had a Norwegian release date of August 27th but as of the time of this writing no US distribution. (Disappointed werewolf whimper.) There are few really good werewolf movies and this looks promising.

I guess I will have to wait and hope that one of the streamers picks it up. (Yes, I am looking at you Shudder.)

 

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More thoughts on Nightmare Alley (2021)

 

Given that I had appointments to keep today I took the day off from my day-job and that provided me the opportunity to head out to the cinemas and see Nightmare Alley: Vision in Darkness and Light which is the Guillermo del Toro production presented in black and white.

First off let me say that the feature was absolutely fabulous in B&W. There have been other feature films in recent years that have released monochrome editions, Mad Max: Fury Road Black and Chrome and Logan Noir, and neither of these alternative versions were as beautiful or as fitting as Nightmare Alley’s. I think del Toro envisioned the feature in black-and-white, with all the production design aimed at that target. Also as a period piece we movie lovers are so used to seeing that era in monochrome that it feels more natural and strangely more realistic without vibrant colors. That is not to say that the production design suffered in color. It was beautiful and captivating and a true testament to the artistry and skill of the team.

Where The Tragedy of Macbeth in Black and white feels stagey, unreal, this film feels grounded because of it.

Watching the film a second time it grew on me more and I was even more deeply immersed in the story and the characters.  The film is layered and the performances at time quite subtle. With a repeat viewing I became more aware of symbolic establishments that foretold the eventual end for the charlatan Stanton Carlisle. It was also clear in subtle moments when characters had committed themselves to irrevocable courses of action. I enjoyed the movie the first time, last night I loved it.

 

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Streaming Review: Lake of the Dead (1958)

 

Despite what the title might lead you the think the 1958 Norwegian horror film Lake of the Dead contains zero zombies or undead.

Instead, it is the story of six adults friends, none of them remotely close to being a teenager, who vacation at a remote cabin that boasts a horrific and ghostly legend. Fairly quickly it is suggested that the ghost of the peg-legged murder may be possessing the vacationers and the clock is ticking for the group to solve the mystery of the lake as the dangers grows.

I wish I could say that I liked Lake of the Dead, but while it did not tempt me to switch it off nor did it fully engage me. The story is told entirely in flashback so on one level there are at least a set of character the audience is aware are going to survive their experience. I do appreciate the approach that had different character holding vastly different theories concerning the existence of the supernatural. However, a trained psychiatrist simply pronouncing the fact of telepathy as something as routine as antibiotics grated me in an entirely wrong manner. That said this film undoubtedly works for some and is competently crafted.

Lake of the Dead is currently streaming in Shudder.

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Streaming Review: Boris Karloff: The Man Behind the Monster

 

I recently ignited a spirited discussion on the questions was the original novel Frankenstein science-fiction or not. A number of people argues the process of using electricity to vivify the creature as a principal aspect of the science in this fiction. But that image, the grand storm, the massive bolts of lightning, the sparking machinery, all originate with the 1931 film Frankenstein and if any visual image leaps into your head of the creature, particularly if that image is hulking, brutish, and mute then the person leaping to your mind is Boris Karloff.

This week I watched a fantastic documentary on the life of Karloff, Boris Karloff: The Man Behind The Monster and while I knew some of the story there was a great deal about this extremely talented actor I never knew. For example, due to the racism of the times he hid and never discussed his ethnicity and what I had assumed was a ‘Hollywood tan’ George Hamilton was actually his South Asian (Indian) heritage.

Remember almost exclusively in popular culture as Frankenstein’s monster, a part he gave pathos and empathy to that lives on nearly a century later, Karloff’s best work came in other films. Personally I have not seen a finer performance by him than as the murderous cabman in The Body Snatcher, (1945) where he is not only frightening but also disarmingly charming. However, The documentary also gave me new films to seek out and watch with the amazingly versatile man such as Lured starring Lucile Ball searching for a killer in London, or The Black Room where Karloff plays noble brothers with one decidedly evil.

The film covers his life, its hard knocks, and that somehow this man remained giving, gracious, and inspiring throughout the turbulent turmoils. For fans of good documentaries, classic horror, and above all Karloff, this is a must see.

Boris Karloff: The Man Behind The Monster is currently streaming on Shudder.

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One Third of The Unholy Trinity: Blood on Satan’s Claw

 

In the realm of cinematic folk horror three films are enshrined as ‘the unholy trinity’, The Wicker Man, The Witchfinder General, and The Blood on Satan’s Claw. Of the films only The Wicker Man has a contemporary (at the time of production) setting with the other two set in historical times.The Witchfinder General is set during the English civil war and while no magical or supernatural events takes place it is a film with characters obsessed with witchcraft. The movie I watched this past Sunday night The Blood on Satan’s Claw takes place in the early 1800’s when the enlightenment, for the educated, has dispelled superstition but unlike The Witchfinder General, here the supernatural is real and evil stalks the land.

Originally conceived as an anthology film The Blood on Satan’s Claw kicks off with a country lad discovering inhuman remains in a field he was tilling. The educated judge visiting the isolated village dismisses any talk of demons as superstition leaving the villagers to face the growing threat alone. The children of the village fall under the thrall of some unseen influence bringing death and terror to the adults and children resistant to the unholy call.

While lacking in the gory effects made popular in the 80s cycle of horror films and not quite up to the standard of psychologically themed horror films, The Blood on Satan’s Claw, though not a massive hit in its time, has come to be seen as one of the founding films, along with the others in the unholy trinity, of the genre folk horror. What makes this movie effect as a horror film is that apparent randomness of the violence and misfortune that befalls various villagers. There is no ‘transgress and die’ pattern at work nor are the people targeted a direct danger to the growing evil. Terrible fates fall upon characters without reason leaving an existential dread in the air that anyone at any time is a potential victim.

Perhaps slow by today’s standards The Blood on Satan’s Claw is still worth a watch and is currently streaming on Shudder.

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Tilbury: an Update and recommendation

 

On Friday Jan 28th I posted my review and comments on the 1985 made for television Icelandic Folk horror movie Tilbury and in that essay, I commented that the film apparently took an antisemitic turn in its final act.

I am pleased, very pleased, to report that such an interpretation is at odds with the director’s intention and the Menorahs visible in the setting of the films climax were ultimately just an element of set decoration that carried the potential for misinterpretation and not confirmation of a character’s earlier accusations. The film’s reached out to me to discuss this matter and I’m happy to revisit my thoughts on this interesting piece of folk horror. (I also want to note that my Sweetie-wife strongly disagreed with my initial interpretation.)

Tilbury with its folklore that is unfamiliar to most people beyond Iceland and its strange nightmare logic sequences is not the sort of cinema that everyone enjoys but that we need more of, off beat and willing to be something more than a machete wielding masked madman. So please check out this unique piece of cinema currently streaming on Shudder.

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Icelandic Folk Horror: Tilbury

Icelandic Folk Horror: Tilbury

Made for Icelandic television in 1987 Tilbury is a short, just 53-minute, folk horror set during the British occupation of Iceland in 1940.

Audun is young man from rural Iceland. When he is sent near Reykjavik to part of the labor force building up defenses for the occupying British forces, he’s asked by the village priest to check in on a young woman, the priest’s daughter, who traveled there earlier and who has now fallen out of contact.

Out of place and naive Audun eventually finds the young woman but begins to suspect that a British officer she’s having an affair with may in fact be an imp from Icelandic folklore. As Audun investigates his experiences become more and more nightmarish.

Despite the limitations of television and budget Tilbury has much to offer; Lynchian dream logic sequences, amusing portrayals of British and American stereotypes by Icelandic performers, and a different vibe of folk horror.

The follow bit of text I am striking through. Please see my follow-up post but essentially it was wrong and I regret the error.

That said it must be noted that halfway through the run time the piece takes an ugly anti-Semitic turn that is truly baffling and utterly unnecessary to story or plot. At first these viewpoints can be dismissed as a character’s bigotry but the movie’s climatic sequence present imagery that invalidates such an interpretation.

With such an ugly turn I cannot recommend anyone support what otherwise might have been an interesting discovery.

Tilbury is currently streaming on Shudder.

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A Phantom Fidelity: Frankenstein Monster’s Creation

 

It is difficult to count the number of times Mary Shelley’s 1818 novel Frankenstein has been adapted in some form or another to motion pictures, but the count is in the scores. Some have attempted to hew closely to the novel as in Kenneth Branagh’s 1994 Mary Shelley’ Frankensteinwhile other are so disregarding of the text that creature is made into a kaiju fighting other oversized monsters in the Japanese wilderness.

What nearly all these adaptations have in common is a visually dynamic creation process where the creature is brought to life. The method varies wildly, in the first film adaptation from Edison’s company the creature is born in fire and in the aforementioned 1994 film the processed is wet and liquid much like a fetus growing in a womb. However, the most famous and most used process is lightning during a fantastic storm as inspired by the pre-code 1931 James Whale film Frankenstein. (Ironically it is not electricity that provides life the creature in this film but the undiscovered ‘Great Ray’ beyond ultraviolet that is the source of life, but the movie fixed in the popular imagination the idea of electrification into life.) This production also created another recurring fixture in future adaptations, the twisted assistant, here named Fritz, who later and indelibly became Igor.

What makes these phantom fidelities is that the novel spends an amazingly little amount of time or text on the creation itself. One paragraph, 98 words out 75,000 depict the creature creation.

” It was on a dreary night of November that I beheld the accomplishment of my toils. With an anxiety that almost amounted to agony, I collected the instruments of life around me, that I might infuse a spark of being into the lifeless thing that lay at my feet. It was already one in the morning; the rain pattered dismally against the panes, and my candle was nearly burnt out, when, by the glimmer of the half-extinguished light, I saw the dull yellow eye of the creature open; it breathed hard, and a convulsive motion agitated its limbs.“

And yet I think it would be very difficult to persuade a production company to fund a new adaptation of Frankenstein without a climatic creation scene present. And Igor has become so accepted as cannon that in the 2004 film Van Helsing when asked why he tortures the creature Igor responds, “It’s what I do.” His existence not only as assistant but as tormentor is so fixed it no longer needs any form of explanation. The mad scientist, the sadistic assistant, and the grand act of creation seem foundational to the story and none of it existed in the original text. Perhaps the person who casts the longest shadow in the universal myth, second only to Shelley herself, is James Whale.

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