A movie directed by a young Francis (Ford) Coppola and produced by Roger Corman.
A genius plot-
One night, while out rowing in the middle of a lake, John Haloran, and his young wife Louise, argue about his rich mother’s will. Louise is upset that everything is currently designated to go to charity in the name of a mysterious “Kathleen.” John tells Louise that, if he dies before his mother, Louise will be entitled to none of the inheritance. He promptly drops dead from a massive heart attack. Thinking quickly, the scheming Louise throws his fresh corpse over the side of the boat, where he comes to rest at the bottom of the lake. Her plan is to pretend that he is still alive to ingratiate her way into the will. She types up a letter to Lady Haloran, inviting herself to the family’s Irish castle while her husband is “away on business.”
But then after this something happens that changes the course of the whole film (I’m not going to ruin the film for potential viewers). This was a brave move a la Psycho and Night of the Living Dead.
And it works brilliantly. In fact, everything about this film works amazingly. It’s a great film with a great premise, gorgeous cinematography, uniformedly good performances from a cast of unknowns and direction that deftly straddles both drive-in cinema and the Nouvelle Vague. This is part Homicidal (this was made to cash-in on it’s success) and part Carnival of Souls but whilst retaining it’s own identity. Theres a strong Giallo feel to proceedings- the gloved killer with an ax, the sinister doll symbolism.
The location used deserves a mention. A spawling castle in Ireland with a scene that takes place in a Dublin bar make this film even more special. It feels like part film, part time capsule. The costume design of the film is also something to behold- classic men’s suits (think Sean Connery as Bond and Michael Caine in The Italian Job), chic women’s miniskirts and the best bleached blonde 60’s haircuts seen in any film of the period.
Scientists on an island just off Ireland are close to finding a cure for cancer but accidentally produce ‘silicates’: tentacled creatures that suck the bone marrow from their victims.
This is a British film directed by Terence Fisher who made a lot of films for Hammer. The version that I saw had been restored by Pinewood Studios where the film was produced and it looks gorgeous. The cinematography and colour palate of the film have been brought out beautifully.
This is a fantastic invasion movie from a bygone era and feels like something John Wyndham might have written. The creatures are like giant flattened slugs but with a single antennae which in reality are so unthreatening that it’s hilarious. But it adds to the charm of the movie- and it’s still better than some CGI modern multiplex borefest.
But don’t think that this film is a just a cheesy film to merely laugh off. The version I saw had reinstated a sequence in which Peter Cushing’s character has his hand chopped off with an axe. This scene was taken out of prints after the BBFC said that it was too strong for audiences. With the restoration of the film for release on Blu-ray this scene is available to be seen in all it’s bloody glory.
The Odeon UK Blu-ray release of this film looks great. The US Scream Factory release is meant to be even better. I look forward to seeing it.
I remember when I lived in London I loved perusing the list of films being shown citywide in the listings magazine Time Out. In those days (the mid 90s) there were plenty of funky little cinemas showing all manner of films old and new, renowned and obscure.
I remember going to see Witchfinder General and it instantly becoming one of my favourite films. The thing that shocked me most about the film was that it’s based on fact.
Set upon the backdrop of the Civil War between the Roundheads and Cavaliers, there was thought by those in charge to be a surge in lawlessness amongst the populace. With no state enforcers of the law being in place it was possible for self-appointed one-man ‘judge, jury and executioner’ figures to spring up. With these times being still very religious with that fanaticism stretching to superstitious extremes then such a figure could rationalise that he was doing God’s work and stamping out witchcraft and Satan worship.
Step forward Matthew Hopkins (Vincent Price). He leads his team of bloodthirsty underlings from town to town, stamping out ungodliness whilst accusing those who get in his way of being witches and so has the approval of the state to dispose of them in any number of ghoulish ways. One method in which he tests to see if people are witches is to throw them in a local lake or river. If they sink and drown, they weren’t a witch. But if they float then they are evil and need to be burnt, flogged or any other kind of torture. It’s lose/lose for the accused.
Director Micheal Reeves’ film doesn’t flinch away from the sadistic acts that Hopkins (who actually existed) inflicts and how utterly barbaric and cruel the times were. There are some great examples of dark gallows humour too- notice the children who have just witnessed a supposed ‘witch’ being burnt to death. We see them baking potatoes in her still smouldering ashes.
Witchfinder General was very controversial when it was first released with the BBFC demanding cuts and most critics denouncing the film’s unblinking depiction of the devilish practices carried out by Hopkins and his cronies. But, some critics saw the greatness in the film and over the years the film has gained a reputation as somewhat of a sick classic. Price’s performance is restrained and nuanced. Reeves’ direction is amazing and it feels almost as if you are watching a documentary rather than a British/American horror film from the late 60’s. American International Pictures invested some of the money for the film to be made but only thought of it as a tax write-off. They were actually very surprised when they saw the finished movie and how good it was. It’s name was changed to The Conqueror Worm for the U.S. Drive-In markets as this was a line from Edgar Allen Poe whose adaptations AIP were (in)famous for.
I love the stories about Price and Reeves not getting along during the shooting of the film. Donald Pleasance was originally chose to play Hopkins but Price was available and a bigger star which could translate as more money at the box office. With Price playing the lead instead the script had to be changed to accommodate him. Reeves wasn’t impressed by this and let it be known that he didn’t want Price in the leading role.
One of many examples of the bitchiness between them was from when they first met. Price’s opening gambit to the 28 year old Reeves was ‘I’ve starred in 87 films. What have you done?’ to which Reeves deadpanned ‘I’ve made 3 good ones.’
Witchfinder General is a warts and all classic. But don’t underestimate it. This is strong even by today’s standards and contains one of the most disturbing endings for a film I’ve ever seen.
I loved Greek mythology as a kid and this film blew me away when I first saw it.
It still more than holds up when I watch it today. This really is a brilliant adventure that the audience is taken on as Jason sails in search of the Golden Fleece.
This is the crowning glory of Ray Harryhausen’s stop motion action sequences. The skeleton fight scene is one of the most brilliant pieces of film I’ve ever seen but the Harpies and Talos are just as impressive. Betsy Palmer’s movements at the end of Friday the 13th reminds me of one of the skeletons from this sequence. I wonder if this was conscious on the part of Sean S Cunningham.
The scale of the film is suitably epic. It must have been mind-blowing to watch this film on the big screen back in the day. This film doesn’t feel dated in anyway through the brilliant crafting of the film. This must have been a labour of love for the filmmakers and cast alike.
With any film in which theres scantily clad men within an all male cast theres also a sense of homoeroticism that underlies the whole film especially regarding the character of Hercules. If his toga had been any shorter this film would have earned an X certificate.
The Bernard Herrmann music score is similarly epic. In fact there are parts of this soundtrack that reminded me of his later score for Taxi Driver.
This was actually an Anglo-American production and so we get the great contributions of Honor Blackman and Patrick Troughton in the cast which is always a great thing.
This film really does capture in abundance a childlike sense of adventure and awe that leaps from the screen. Brilliant.
I woke up to the news a couple of days ago that Charles Manson had died. My gut feeling was one of loss.
Yes thats not the acceptable thing to say when a serial killer dies. And not just any serial killer but the capo of serial killers. A serial killer so conniving that he even brainwashed and groomed others to do the majority of the killing for him. Nice try, Charlie.
He was the person who caused the loss of many innocent lives, even the lives of victims not born yet (Sharon Tate was seven months pregnant when she was slaughtered). He also figuratively ended the lives of the members of his Family who still languish in prison after committing the crimes after being plied with LSD and coerced into committing these atrocities. Just as he set up an alibi for himself for the murders whereby he could demonstrate he didn’t kill anyone, he also tried to conclusively incriminate the Family members who actually did kill on the two nights of massacres.
And yet whilst he was utterly vile in action and deed, I experienced a strange sense of loss because he was and is so very interesting. His actions and deeds are now ingrained in American history and he is seen as ‘The Man Who Killed The 60’s.’ Yes, murder is abhorrent but with such a moniker, as Quentin Crisp observed about the serial killer Gilles de Rais, ‘its hard not to be impressed’. History is balance and Manson seemed to be a one man Yang to the flowers, peace and love of late 60’s America’s Ying.
His image on the cover of Life magazine was possibly the first time that the general public were given a glimpse of the man who had caused all of the carnage they had read about. It didn’t disappoint and perfectly captured who he was, what he had done and what he symbolised in American society. He was The Boogeyman and his iconic picture was enough to induce countless nightmares just like Myra Hindley’s infamous mugshot had a few years earlier over the pond.
The reactions to Manson’s death in the media and social media only heightened my sense of loss regarding it. Lots of people were crawling out from under their rocks to type ‘R.I.P’ but taking the time to exclaim to everyone that this in fact meant ‘Rot In Pieces’. And then there were those (and there were many) who took great delight in saying what they’d like to have done to Manson. One sticks in my mind more than others- a Facebook user said that he’d like to ‘bring Manson back to life so that I can beat him to death again with my bare hands’. Nothing sinister or dark there whatsoever.
Within a film group that I’m a member of the news of his death was reported with the group’s admin asking ‘Who should play him in a film?’ Someone responded ‘NO ONE! Why would anyone want to see a film about that psycho nutjob? Why try to romanticise his life?’ In other words this person was wildly trying to virtue signal and say ‘Look everyone, I have higher morals than a serial killer! I’m going to demonstrate them now! When do I get my prize?’ Thankfully not everyone agrees with this dullard.
My initial pang of loss was due to the fact that Manson permeated and overlapped with so much popular culture that I have loved since my teens. Yes he was a serial killer, yes he was interesting in the societal and historical framework of America but also he was really good value for money!
There are numerous great documentaries on Manson and his followers but the one that had the biggest impact on me was one called Charles Manson: Then and Now which I bought on VHS in 1992. I’ve transferred it to YouTube and it can be found here. Note the presentation- an audio track that is so high that its distorted, references to Manson’s influence on exploitation/drive-in films and alternative music (note the picture of Genesis P Orridge from his/her Throbbing Gristle days), sinister horror film incidental music. This is the stuff of mondo culture and I lapped it up as a teen and continue to.
After devouring this documentary I also picked up a copy of the excellent book Helter Skelter by Vincent Bugliosi who was the prosecutor at the Manson trial. Thorough, exhaustive and amazingly researched. Also worth investigating is the book The Family by Ed Sanders (lead singer of the Fugs).
On a lighter note, a book that I picked up much later was this- yes, Columbo takes on the Manson Family. I’m still waiting for the Dirty Harry-Son of Sam crossover novel but it hasn’t materialised yet.
Whilst there were many Manson inspired B- movies that were hurriedly made around the time of Manson’s trial (documented well in the above linked documentary), the best film is Helter Skelter which is more a biopic of Manson and his Family’s life. This was actually a TV movie back in the day and earned massive ratings as viewers couldn’t wait to watch the grisly events unfurl. And the Moral Minority still take the moral high ground and get all Mary Whitehouse about such productions even though they are massively popular.
Helter Skelter is available on DVD and well worth obtaining. It stars Steve Railsbeck who was in Turkey Shoot. If this doesn’t act as a high enough recommendation then I don’t know what will. He is Charles Manson.
Manson also cast a shadow over the work of John Waters which I started watching when I was 13. In the film Multiple Maniacs, Lady Divine holds Mr David in check by continually reminding about that night in the Hollywood Hills and the people they supposedly killed- a reference to the Tate-LaBianca murders that at that time hadn’t been solved or attributed to Manson yet. Waters would later attend the Manson trials.
Also in the film Pink Flamingos Divine walks past a wall that is spraypainted with the moniker ‘Love Tex Watson xx’ Waters’ next film Female Trouble is even dedicated to Charles Watson. The story regards a criminal and eventual murderer, Dawn Davenport who equates crime with beauty and fame. She is encouraged to be even more extreme in her actions whilst keeping them in line with her beliefs after being groomed and brainwashed by Donald and Donna Dasher. This brainwashing is very reminiscent of Manson- in Female Trouble liquid eyeliner takes the place of LSD as a mind-altering lubricant for this grooming and puppetry. Also within this film there are the scenes in which Davenport disrupts court proceedings just like Manson did by screaming the word ‘Liar!’ at certain points. She also makes statements as to her own magnitude and her sense of self-worth.
But Female Trouble’s most perceptive observations are regarding fame and crime. Theres really not much difference between Elizabeth Taylor being filmed and photographed by the press in an airport terminal and Charles Manson receiving the same treatment on his way to court. Yes, Manson was responsible for the murder of several people. Some people would say Elizabeth Taylor’s later celluloid forays were the artistic equivalent.
Waters later said that he regretted his flippancy regarding Manson and his Family in his films as he got to know Leslie Van Houten who hes now friends with and believes is now ready for parole. I’ve never seen Waters more serious in his interviews except when speaking of Van Houten who he says was just a pawn in Manon’s overall scheme- a disillusioned middle class girl who wanted to rebel and came into contact with Satan himself. Shes now free from the magnetic hold of Manson but serving life in prison for her involvement whilst briefly under the influence of a master manipulator. An account of Waters’ friendship with Leslie is a chapter in Waters’ book, Role Models (an amazing book. Highly recommended).
Another aspect of Manson and his legacy that I found intriguing was his position as a countercultural icon. Once Manson’s face and crimes were well known his image would appear on all manner of merchandise to be lapped up by the darker components of the counterculture and those who wanted to stick two fingers up at authority. You’re an angry teenager who wants to shock all those around you and give Mom and Dad a coronary? Buy a Charles Manson t-shirt. This action was akin to the first London punks wearing a swastika. They might not have been Nazis but they wanted to shock and outrage. The older generation who had used the ‘I fought the war for your kind!’ line would be apoplectic with rage at a fashion accessory like a swastika armband. Job done.
But there were also those in the counterculture who looked to Charlie as some kind of religious leader just like his Family members did. A major source of his twisted philosophy were his lyrics. Yes, Charlie was a singer, musician and lyricist. His songs are actually pretty good. But I’ve never subscribed to this ‘Charles Manson, philosopher’ schtick. Hes too much of a fucking nutjob for that.
So, Charles Manson has died. The end of the end of the 1960s and the beginning of the 1970’s. Altamont, Nixon, Vietnam…Charlie’s place in this dark period of American historical events is assured.
Please don’t take the moral high ground by suggesting that reading and watching about Manson and his dark, warped place in American history is bad. Through examination and analysis maybe there are clues to the prevention of such a bloodsoaked chain of events ever occurring again. And if there aren’t signs as to this and you’re not a moralistic twat on Facebook then you’ll realise that its still just a really interesting topic, no matter how grisly.
It seems to me that its the people who try to suppress and prevent others from investigating the darker incidents from history that have more to hide and conceal themselves. After all, Fred West’s favourite movies were exclusively made by Disney as he didn’t approve of violence in films. And we all know how fucked up he was.
The daughter of a famous plastic surgeon causes a car accident in which his daughter’s face is disfigured. The surgeon has a new theory hes dying to carry out which involves transplanting a face to replace his daughter’s maimed features but this involves donors- willing or not.
I forst saw this film when I was studying film analysis and writing at University. I throughly enjoyed it but I’ve only just rewatched it now. This film is haunting, poignant and so very sad. Everything about it is pinpoint perfect from the cinematography, the music score and the acting. Edith Scob’s portrayal of the surgeon’s daughter Christiane needs highlighting here. Never has a performance been so nuanced and touching as Scob comes across as vulnerable, child-like and so sad. On of the most touching perfomances I’ve ever experienced in the whole medium of film.
The film has some amazing observations to make about beauty, self-image and superficiality. Beauty is only skin deep and is also transitory. In these times of facelifts, implants and Botox, this film is even more relevant.
There is also a running theme in the film regarding being caged or constrained and being free- bother physically, mentally and ideologically. If I went into these themes anymore I’d ruin this film experience for anyone who hasn’t seen this gem.
What a cracking film to start my 31 Days of Halloween with.
This is a British film which stars Bette Davis as a nanny for a family living in London in which a young boy has been sent away for supposedly killing his sister. The boy is due to be released after two years and return to his family home and under Ms Davis’ supervision.
The boy vehemently protests his innocence and insists that instead it was the nanny who committed the terrible deed. Is he right? Or is the nanny indeed guilty?
Theres already the almost unspeakable taboo of a child killing another child within this film which gives the film a grittiness right from the get go. The household in question is steeped in gothic tension even though it is in fact light and airy. No Baby Jane mansion here.
Theres also the stifling formality of English life at this time. There are so many manners and formalities at play that are overwhelmingly suffocating and claustrophobic.
Within the film there is also a delicious generation gap which underlines this and presents a tangible ‘Old vs new’ scenario. The boy in question, Joey forges a friendship with a 14 year old girl who lives in the same building. She dresses like a hip 60s girl, all white lipstick and black eyeliner. When we see within her bedroom Joey gazes up at a Beatles mobile she has hanging from the ceiling and at one point we see her reclining on her bed reading a copy of the girls magazine Jackie which has a pin up of Brian Jones of The Rolling Stones on its back cover.
Beautifully acted (especially Ms Davis of course, whose character has a pair of the ugliest eyebrows ever captured on film) and elegantly directed, this is one of Hammer’s finest films.
Of course this would only have been made with Ms Davis if Hollywood wasn’t casting the very best stars of yesteryear anymore. Every cloud has a silver lining. What was Hollywood’s loss was very much Hammer’s gain.