By
Kristin Battestella
Silent
or talkie, the stars not only came out during the Great Depression to make some
dang fine horror films and suspense thrillers but churned out a smorgasbord of
scary classics!
The
Bat – The 1959 Vincent Price
remake of this 1926 once lost silent is a fine little caper, but this moody
little mystery is a treat all its own. The perfectly atmospheric music accents
the interesting stage like perspectives and design. These painted backgrounds will certainly look old
and cheap to modern effects laden eyes, but there’s also something fun and
distinctive about the look. Great bat costumes, shadows, and silhouettes also
work wonderfully with the spooky mansion interiors. The opening establishing shots and long
transitional action scenes do seem slow at times, however. When sequences are
too long without intercard breaks, it is tough to tell who is who, where they are,
or what’s going on. It’s almost tempting to watch at 1.5 speed, and for those
unaccustomed to silent films, 80 minutes will seem overlong. Unfortunately, there’s also some early Asian racism
and a stereotypically hysterical maid, but the touches of humor and bemusing
title card beats do wonders. I’m not
sure why infamous director Roland West felt the need to remake his own work
here again in 1930, either. The cast interplay is solid, and the mystery intensifies
perfectly. Besides, who doesn’t love a
lost film found?
Condemned
to Live – Sympathetic vampires
take an early forefront in this 1935 hour. Familial angles create emotion and
relationships in contrast to the would-be sinister and village paranoia, and
the lovelorn twists and internal conflicts make for a likeable dilemma. The
gothic music, old school vampire bats, tolling bells, and period dialogue may
seem simple at times, and the vampire mechanics come a little too easy, sure.
Thankfully, the ambiance of it all adds to the love triangle, and there is some
thematic smartness, “Fear of the monster?” “No, fear for the monster.” The tone feels more like a drama or a tragedy
that happens to have horrific elements rather than a shock and scare in your
face pace. Plot reveals and exposition are presented with honesty, feeling, and
concern, and the sincerity forgives any early hunchbacks and angry mob
clichés. But who doesn’t love a good
angry mob anyway?
The
Devil Doll –Tod Browing (Dracula) directs Lionel Barrymore (It’s a Wonderful Life) and Maureen
O’Sullivan (Tarzan and His Mate) in
this demented 1936 tale based upon the book Burn
Witch Burn. It’s all somewhat preposterous, of course- shrunken people
being passed off as dolls in order to exact their master’s revenge! Fortunately,
the fun if primitive effects and tiny treats don’t look too bad and actually add
to the neat laboratory and science abominations. Yes, all these Parisian folks have American
accents, some of the miniature scenes are comical before scary vengeance, and there
is a brief scene that won’t be for dog lovers. Thankfully, quality mistaken
crimes, good old-fashioned payback, and an entertaining chase montage keep up
the pace. More intriguing, however, is the unique cross dressing disguise
toeing the Hayes Code here. Barrymore works it wonderfully; we never get the
feeling the fashion or tone is hammy. By contrast, there is an element of
sophistication and superior thought. It may seem odd to have such wacky science
alongside these early taboos, mature suspense, and crime thriller designs, but
the stars keep the humanity fun, relatable, endearing, and certainly worth a
look.
Fall
of the House of Usher – This
very early 1928 silent adaptation of Poe’s macabre tale is only 13 minutes.
There are no inter cards to read, nor what we would call dialogue. The fashions
are decidedly Roaring instead of Victorian, too. The visuals are so out there-even
nonsensical-that it’s almost tough to see Edgar in any of it. Nonetheless, this moody piece is perfectly
disturbed with great, haunting organ music and eerie, distorted photography. It’s trippy, unexpected, and a little scary. This
is another one of those old films that makes for a great demented projection
during a spooky party or ghoulish gallery presentation. Though not for
everyone, anyone who is a fan of early film experimentation or audiences who
just like weird shows should definitely check this out.
Maniac –Shades of Poe strike again in this quick 1934 study
of fear and unnatural science from director Dwain Esper (Marihuana). How does the
brain work? Are the mania stages mental disease or intelligent design? Taboo
topics such as suicide and some hidden kinky are unfortunately hampered by the
over the top identity crisis acting and confusing plot holes- not to mention a
very poor video print. Perhaps the weird medical jargon filled intertitles are
meant to explain or bemuse, but they interrupt the twisted action and building
insanity. Creepy cat violence, code side-stepping lingerie, nudity, and
catfights of a different kind add to the nonsensical presentation here. The
realization and premise here certainly could be better- this one is really
pretty bad overall. Yet, I must say, there’s an audience for this kind of avante
garde tongue in cheek raunchy and hair brained macabre.
The
Vampire Bat – Fay Wray (King Kong), Dwight Frye (Dracula), Melyvn Douglas (Hud), and Lionel Atwill (Captain Blood) get right to the
bloodsucking crimes, superstitions, and disbelievin’ for this 1933 scary. Though the picture quality is poor for the
hour and there are several versions available, fun dialogue, intelligent debates,
and modern science versus medieval fears drama make up for any innate production
flaws. Classic sets, bemusing laboratories,
and an on-form stellar cast accent the spooky mystery mood. There are a few
jump moments, twists, chases, and good old-fashioned screams, too. It’s actually somewhat pleasing to not see
any of the would-be supernatural, but follow the early paranormal investigation
and village paranoia instead. Are these
murders fantastic or criminal medicine? The audience is slowly let in on the
secrets, and the pace builds perfectly for a perilously fun and entertaining
finish.
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