More Early Horror!

More Early Horror!

By Kristin Battestella

Not everyone may like the dated production values and low video qualities of film’s earliest efforts. Nevertheless, here’s a quartet of fun, moody, scary, and atmospheric old tales for fans of classic movie macabre.

Frankenstein – Wow! It’s easy to find time for this rediscovered 13 minutes from Thomas Edison Studios just for the 1910 novelty alone. Of course, the print looks poorly, but numerous editions are available now and it’s fascinating this holds up so well. Though the credit admits to being a very loose Shelley adaptation, the new inter titles help clarify the tale and the expected, overdone acting. There are both black and white and sepia or other colored plates, too, and the wonderful period to us design and styles simply cannot be done today. Great music accompanies the touch of scares and the fantastical, fiery monster creation, too. The effects and monster design may seem primitive today, but they are actually pretty well done, even frightful despite the short run time. This one’s perfect for a creepy viewing party or macabre book discussion night.

The Rogues Tavern – The introductory music is somewhat whimsical to start this 1936 hour plus, and the dated, simplistic dialogue, lame humor, and weak investigation will be too old fashioned for some. The video quality is a little poor, too, but interesting panning and dolly camera work and lots of silence add to what is perhaps an obvious or Scooby Doo-ish, old hat premise. The cast of characters trapped in this isolated hotel seem stereotypically familiar- the fool, the detective couple, the creepy old couple, the creepy psychic lady, a man in a wheelchair, a loudmouth with a gun, and an implicated wolf dog. There is some good spin, however, and the early thirties dressings, cool looking staircase, and gothic touches accentuate the murderous screams. Charming ala Clue, the good deaths, tension, and mystery are well paced and entertaining for the duration.

Svengali – John Barrymore (Dr. Jekyll and Mr. Hyde) gives a wonderfully disturbing performance as the eponymous hypnotist in this 1931 gothic drama based upon the book Trilby by George du Maurier. The look foul Rasputin-esque makeup is very effective, and the creepy eye effects are damn near diabolical. The look matches his greedy intentions and the seductively so wrong, suggestive dialogue as sympathy builds for the cute Marian Marsh (The Black Room). No way would anybody today send his or her daughter to this piano teacher! Perhaps it’s too long at 80 minutes and slightly slow when Barrymore is off screen for the standard young love plot, but great zooms, camera work, angles, and shadows keep the pace ghoulish. Fine costumes, décor, a black cat, and French elegance tie it all together as we are tricked into thinking we see more of this pre-code scandal than we actually do. Although some of the singing may be shrill and the acting or humor dated, the music is delightful and this adaptation remains spine chilling.

Torture Ship – This 1939 hour suggested from Jack London and directed by Victor Halpern (White Zombie) has a lot of tough to understand colloquialisms and dialogue. It’s slow to start and a little confusing for such a short piece. The subject matter is also simplistic and not very psychologically deep, and one can’t expect much gore or debauchery from the crooks and titular experiments, either. Fortunately, the mood and creepy are definitely here, with boating sets and nautical touches to keep things interesting. The dark print is tough, granted, but the lighting and shadows are excellent accents to the sinister medical equipment and overboard deaths. Perhaps this one isn’t totally scary, but the atmosphere is twisted, the science is awry, and the fun is quite bizarre.

Conveniently, these particular titles are also all in the public domain and available at varying sources online or streaming. So, there’s no excuse in getting your frightful early film feet wet!

http://archive.org/details/FrankensteinfullMovie

http://archive.org/details/rogues_tavern

http://archive.org/details/SvengaliJohnBarrymoreBKCap1931

http://archive.org/details/TortureShip

http://pubdhub.info/

Early Horror and Silent Hits

Early Horror Delights!

By Kristin Battestella

While some, even the most adamant classic or horror fans, may baulk at the idea of silent films and Hollywood’s earliest horror efforts, there is most definitely a good amount of decent-and in some cases stellar- frights to be found in film’s infancy.

Dr. Jekyll and Mr. Hyde – This 1920 John Barrymore silent classic still looks good, with fine style and design and eerie organ music to match. There’s a lovely level of atmosphere for a spooky event- project this baby on some creepy cloth and you’re set! Granted, it’s a little slow to start and long for a silent film at 80 minutes. The presentation itself is almost Victorian in establishing the parlor goodness before its hint of pre-code sauce- the dance and proposition of Nita Naldi (The Ten Commandments). The posturing and makeup for Hyde may seem hokey, there isn’t that much of a visual difference compared to today’s high tech effects transformations. Nonetheless, Barrymore (Don Juan) sells the depravity without over exaggerating as the era often dictates, and the result is quite timeless.  There aren’t many title cards, either.  As the film progresses, the good and evil torment steadily increases thanks to the freaky pictures and creepy performance. A must see. 

 

The Monster Walks – There’s poor sound, dry dialogue, and it’s almost tough to tell what’s going on in this 1932 caper. The ladies are stereotypical and we have an utterly inappropriate portrayal of subservient black chauffeur: “I’d just love to take my shoes off and skip in the rain! Yes’um!” Is he supposed to be some sort of comic relief, the first example of a wise cracking brother?! Faults of the time aside, a creepy opening scene, eerie décor, spooky lighting, and a “must stay the night” storm make for a dangerous setting as the will is read and the scares come in the night. Of course, an evil ape must be involved, but fortunately, there’s some good suspense. The story gets better as it goes on, with plotting over the inheritance, mysterious passages, erroneous deaths, and family secrets to up the ante for this entertaining little hour.  

 

A Shriek in the Night – This 1933 crime stopper is loaded with hokey effects, wooden investigators, copper colloquialisms, annoying old ladies, and yet another racist, subservient portrayal, “It’s too much, yes sir!” Fortunately, the interesting and inventive penthouse crimes are accented with awesome vintage cars, glorious fashions, and period style.  Famous song and dance star Ginger Rogers (Kitty Foyle) looks sweet as a sassy get the scoop reporter, and her fans will enjoy this serious, pre-Astaire turn.  For only being an hour long, the plot meanders somewhat with seemingly useless, sexist scenes. However, today’s audience can see the attempted establishment of the suspense procedural and murder mystery. It’s not major scary, despite a few good screams and light and darkness tricks, but fans of the mystery genre and its evolution onscreen can have a good time with this predictable, but fun study.  

The Unknown – Lon Chaney (The Phantom of the Opera) and Joan Crawford (Whatever Happened to Baby Jane?) star in this short but memorable 1927 silent from writer and director Tod Browning.  Similar to Browning’s Freaks in many ways, the grotesque yet tender and sympathetic love triangle here is fast paced and well edited with intense twists and a great, revitalized score.  Sure, it may be a Leap of Faith in taking Chaney as armless and the carnival set-ups are hokey- but trust me.  There’s no over the top acting, only perfect expressions and emotions all around. Crawford looks dynamite, too, with great eyes and readable lips that don’t need inter titles. It’s not all Chaney’s footwork and bravo to his double Paul Desmuke; their combination is strangely delightful to watch. It’s probably a tough concept for some contemporary, effects-obsessed audiences to comprehend, but hearing or reading words aren’t required for the viewer to receive the trauma here.  Yes, some of the essential plot points are fairly obvious today. However, the performances keep it splendid nonetheless. This hour is by necessity of the silent style yet also very modern in its own way. It’s definitely a must see for classic fans, lovers of the cast, and film makers or would be actors- who should definitely take a lesson on the big reveal here!

Vampyr – It’s tough to partially pay attention to this restored 1932 international horror tale, as it has both subtitles for the spoken German and English title cards between scenes. It’s a lot to read onscreen, and won’t be easy for everyone to watch. However, I like the fun opening spider web designs, lovely yet creepy music, and excellent lighting and shadows. I can’t imagine director Carl Theodor Dreyer (The Passion of Joan of Arc) receiving bad reviews for its debut. The candles and décor complete the mood and atmosphere and set the scares perfectly. There’s a foreboding feeling, and one can get chills just by watching a few minutes. Again, this is a great one to play in the background for a theme night or viewing party, as one ends up stopping, captivated into taking notice of this peculiar little tale.  There’s a beautiful and careful attention to detail, making each shot look like a pretty picture in addition to advancing the story. There aren’t any in your face jump out and scare you moments, just a lot of artistic brooding and a total sense of macabre. Of course, the women are a bit much, with typical old ladies of the time, and it is a slow, heavy 70 minutes devoid of today’s simply mindless entertainment.  There’s even some religious study with innocent, virginal victims, nuns, and white/purity symbolism battling against a demented, unholy photography of skeletons, poisons, and surreal death dreamscapes. Thankfully, it really is stylized- I want to say exquisite- work, and students of horror and early film should at least take a look. Ironically, one may very well be delighted here.