Watching The people under the stairs
An image from an old film haunted me for some years in my childhood. Only recently did I discover somehow, without watching it, that the image was from The people under the stairs.
Now I’m going back in to a film I may have seen as a child and possibly blocked out, out of trauma.
Afterward
This film was amazing. I need to write up some thoughts on it soon.
The second film in the Friday the 13th series and first appearance of Jason.
I absolutely loved this film.
I found myself constantly second guessing what was going to happen next.
Apart from being an entertaining and very 80’s killing spree around the cursed area surrounding Camp Crystal Lake, I thought this was a really well made, and clever horror film.
The opening scene was, for the lack of a better word, perfect. The sustained tension through the entire five to ten minute opening with the first film’s lone survivor almost gave me a stomach muscle ache i think.
The camera direction was incredible in pointing my attention to places I was certain someone would appear from. Even the shower room POV shot — done Psycho style — ending in the lady all but winking to the camera to say to the audience “I know what you were thinking”, had me smiling to myself.
Smiling and nerve-wracked all the way to the opening scene’s superb climax.
One of the best opening scenes in a horror film I can remember seeing.
The rest of the film was great from beginning to end too, with some great moments of tension throughout.
There was even one particular death that I found myself second guessing again too. I wont say which, but after what I’d consider clever uses of misdirection up until now, I found myself assuming that a certain scene was going to be more drawn out and elaborate than it was.
When in fact it couldn’t have been more straight forward and to the point. #BladeToTheFace
As far as the killings go, this wasn’t as gory as I was expecting it to be. I think that maybe as this series is one of the bedrocks of slasher films, it has a level of infamy that can easily hype it up in the minds of those that haven’t yet seen it. Despite my saying that, I think that the level of violence in general will keep any horror fan salivating.
One thing that did surprise me was that Jason felt much more human than I was expecting. In all of the references I had seen to him up till now, he is portrayed almost like a machine that can not be killed. Although saying that, there was an awesome scene as he is revealed in full for the first time — where he stands up from under a cover, towering over his next victim.
A really imposing figure and one of my favourite scenes of the film.
His ability to get back up after certain injuries seemed almost plausible here too. However, I am fully expecting his recoveries to get less and less plausible as I delve deeper into this series.
I had to smile and grimace at times when either a couple would have sex or someone would say “I’ll be right back” — I was immediately reminded of a key scene from Wes Craven’s Scream, where a horror film nerd would describe these dangers and things to not do in a horror film. It seems that he was right.
I had already enjoyed the first Friday the 13th film some time ago. And now that I have enjoyed this one even more, I am really looking forward to getting further into Jason’s world.
Despite my expecting them to start degrading with originality over time, from what I’ve heard at least, I am really excited to be going on the ride for the first time.
Watching Friday the 13th part 2
Loved the first film but have never got round to watching the others. It’s about time I remedied that.
Watching Suspiria 2018 remake
I am in love with the original Suspiria. Hoping for a different take in the remake.
The New York Ripper has been one of the most challenging films I’ve watched in recent times. It’s violence and sexuality are off the charts — all in all a cracking Giallo thriller.
New York is being terrorised by a serial killer who seems hell-bent on cutting up young women, seemingly for some kind of sadistic sexual pleasure. And these acts of violence are put front and centre in your face. Every. Single. Time.
The opening credits consisted only of the still image of the dog with the severed hand in his mouth that he’s just found in a bush. With this and the funky 70s television flavour soundtrack, it felt almost like a black comedy of sorts.
I don’t know why I kept getting the vibes of a black comedy in this film. Perhaps it is the super over-the-top depictions of killing and the fact that the killer pretended to be a duck whilst murdering people.
Ducks… Yer… So, the killer begins quacking like a duck as they begin violently cutting open their victims. Stay with me though. At first it was kind of funny and a complete juxtaposition to what was going on on-screen.
But as the film went on, that sound became bloody terrifying to me. Like a razor sharp shriek cutting straight into my brain. Walking down the canal feeding the ducks with my lady will never be the same again…
I liked how there is actually a reason for that duck sound too (no — the killer is not a duck) and it is actually more of a grounded reason than I was thinking it would be.
And when it comes to the identity of the killer, I found myself guessing right up until the point at which one of the characters clocked it. Yes I am a bit slow, but I think that Fulci did a great job at dropping red herrings here and there.
Only after I wrote that heading did I realise how mental it sounds. Oh well, it’s staying. haha.
I don’t often find any sort of pleasure out of people being killed in films — unless they have it coming of course — but I can appreciate a really stunning piece of cinematography from the violence. And this film has those throughout — and not always in relation to a death scene.
Despite many of the scenes being so graphic — in both sex and violence — the director, Lucio Fulci, has created some incredible-looking sequences throughout his film, that just beg to be looked at again and again.
The way in which he uses colour alone is incredible — most notably a scene with live sex performer Eva, as she is returning to her dressing room.
I loved this section so much that I have included five none-spoiler screenshots of it here:
Eva’s scene reminded me of Alfred Hitchcock’s Vertigo. Specifically a hotel room scene in which a character is bathed in the neon green light of the hotel sign outside the window. This isn’t the first time I am reminded of Hitchcock’s work in a Giallo film either.
Some of the scenes in New York Ripper reminded me heavily of a more modern film I’ve seen too — The Neon Demon. No doubt the director of that film, Nicolas Winding Refn, took heavy inspiration from the Giallo genre — something I am only just uncovering for myself in my new obsession.
This scene from Fay’s train ride had some great set pieces in it too. The train itself and shortly after, the cinema:
If you are feint of heart please do not watch The New York Ripper. It uses extreme close-ups of killings like my partner uses Ketchup: in large doses.
However, if you dig over-the-top violent scenes with elements of beauty in films, then this could be right up your street.
Despite my constant mention of violence and sex in this film, it does have a good story. A story quite typical in the world of slasher / giallo films I think: detective tries to track down violent serial killer as more killings unfold in more beautiful and dramatic ways.
And although it shares so many Giallo characteristics, it is uniquely memorable in so many ways.
The next film in my Giallo journey was Dario Argento’s Phenomena — arguably one of his best. Although, to be fair, I haven’t seen a bad Argento film yet.
From it’s wide open start amongst the Swiss countryside — where a student girl misses her bus — to the claustrophopic, insane ending, this film had me hooked and anxious throughout.
I thought that with Jennifer Connelly as the main star, along side Donald Pleasence, I would feel relatively safer than I have with previous GIallo films. I knew her mainly for the film she did the year following Phenomena: The Labyrinth. But how wrong I was.
The film is about a young girl, Jennifer, who is sent to a Swiss girls school by her father. She already knew that she had an affinity with insects, but it is during her short stay at this school where her affinity grows stronger and stronger.
In the area there is a serial killer who seems to be picking off the girls from the school. And after Jennifer witnesses something she shouldn’t have whilst sleep walking, she fears that she is next.
In her travels she meets a local scientist — one who specialises in insects (very apt) — who she teams up with to try and track down this killer on the loose.
Phenomena’s soundtrack was partly done by Goblin, as with other films of Argentos’. And it is as awesome as you can imagine, (if you’ve seen films like Deep Red or Suspiria before). If you haven’t, then you are in for a real treat in experimental music.
Joining Goblin, and some others, on this kick-ass soundtrack, is none other than Iron Maiden. Namely the song “Flash of the Blade” from their 1984 album “Powerslave”. One of my favourite Iron Maiden albums, and the first album of theirs that I bought coincidentally.
The soundtrack does wonders for this film’s pacing. At one point I was anxious and nervous following these characters. But then when that crazy opening to “Flash of the Blade” came on, a huge smile took over my face. I found myself simultaneously foot-tapping to a great song i’d forgotten about, and worried for a woman’s life as she ran from a merciless killer.
Alfred Hitchcock is a huge influence on so many film makers, especially the ones worth their salt in my opinion. Some directors make this more obvious than others in some of their films (and I don’t mean that negatively). One good example that springs to mind is the look and feel of Martin Scorsese’s Cape Fear. I remember feeling that if Hitchcock was alive and made that film, it would be very similar aesthetically*. This was aided in no small way by employing Hitchcocks long-standing music maestro Bernard Herrmann.
*Disclaimer: I’m not a film student so am probably talking absolute crap 😀
Anyway, there is a scene in Phenomena where Jennifer is trying to track down the killers hideout using a very unconventional method — I’ll let you discover the method. But method aside, the entire bus ride she takes from the town centre out to the rolling swiss countryside hills was a complete callback for me to Torn Curtain — Hitchcock’s lesser-known, but no less incredible, political thriller film from 1966.
This feels like the most accessible of Argento’s films I’ve watched up till this point. I mean, they have all been on Amazon Prime, but due to the use of more western actors who I’d known from previous films, this film felt that bit more familiar to me. Of course this is only from my own perspective. Also I often prefer not knowing any actors in these Giallo films — it somehow makes them feel more dangerous.
That said, I thoroughly enjoyed Phenomena for every single moment of its almost-two-hour run time. One thing I’m noticing from Argento is that I am finding myself remembering so much from his films — due to so many of his scenes feeling so iconic.
The violent pane-smashing opening, the unconventional vat of… stuff, and of course that scene with the chimpanzee (spoiler: the chimpanzee survives this crazy story**).
**If I thought a Chimpanzee was going to be killed I probably wouldn’t watch it, so wanted to put your mind at ease there. 🙂
Initial thoughts
What a fucking incredible film. From start to finish I was gripped. Jennifer Connelly is great; Dario Argento is at the top of his game; and Donald Pleasance was a joy to watch as always.
The film was violent, creative and awe-inspiring in equal measure.
And that ending. That vile ending that just kept me second guessing myself until the credits rolled.
Thank you once again, Argento you crazy beautiful film maker.
Watching Five Dolls for an August Moon by Mario Bava.
Watching Deep Red.
The type of shit that causes mass confusion
Fight Music — D12
And drastic movement of people actin stupid
The Lighthouse is a slow-burn descent into madness expertly portrayed by Robert Pattinson and Willem Dafoe.
They play lighthouse keepers with the task of manning the lighthouse on a rock out at sea for four weeks. But their isolation and growing annoyances of the other, soon guide them down the path of madness.
Directed by Robert Eggers, the man behind another favourite film of mine from recent years — The Witch.
I found myself completely transfixed to these two people throughout the entirety of this film. From their initial landing on the island — passing their predecessors on the walk to their new, month-long home — up to the crazy final scenes that played out like some kind of demonic version of Alfred Hitchcock.
While I’m not going to spoil anything here, what I will say is roughly what the film is about — very roughly.
Pattinson and Defoe play two lighthouse keepers. Pattinson is new to the job and quiet initially, whilst Defoe plays an almost-caricature of a typical old sea-dog with many old tales and superstitions to impart.
Their relationship is pretty intense throughout, as would be expected between boss and worker that also live together — especially in such a close and isolated proximity.
I’ve lived and worked with a boss-like figure in the past and I can tell you for one that it can get pretty tense pretty fast if you’re not careful.
They often argue and disagree, usually with Defoe coming out on top, but at times they let off steam by getting completely drunk and sing songs of old times in their drunken stupor.
The film’s climax is one that I will be thinking about for days to come, I think. It has no hard explanation, at least not that I could tell. What it does have is a heart-pumping ending that leaves itself open to interpretation — complete with metaphor and Greek mythological imagery.
I’d not seen Robert Pattinson in anything before, so didn’t know what to expect. Willem Dafoe, on the other hand, I had seen a few times and so was aware of him and his idiosyncrasies as an actor.
What I found was that both of their performances were absolutely incredible. As I heard in a review after watching the film, this film displays the whole gamut of human emotions. We see both characters at their most powerful and their most vulnerable too, I would say. From the heights of joy in alcohol-fuelled excitement, to some moments of personal fantasy and depravity.
Willem Dafoe’s Shakespearean, powerful monologues were absolutely hypnotic to watch — as were his eyes whilst he delivered said speeches. Lit up like someone would be at a campfire telling ghost stories — a piercing light shining from below and up against his intense expression. He became almost scary to see but I found myself unable to look away.
I’d only heard about Robert Pattinson through knowing about his starring roles in the Twilight films, so that had coloured my perception of him if I’m honest (despite having never seen them). But all I can say is “wow”, based on his role in The Lighthouse. His descent into madness and the odd visions that he witnesses in the desolate, rocky surroundings, are pieces of cinema I wont forget in a hurry.
The was a heavy air of suspense throughout the entire film, which for me didn’t really end until the very final shot. At times I felt like I was watching the love child film of both Alfred Hitchcock and David Lynch.
The film was presented in an old-style square frame as opposed to the typical widescreen format that we are used to nowadays. It was also shot completely in black and white. These two factors, along with the fucking incredible score by Mark Korven gave the story the added claustrophobia that the characters on screen were no-doubt facing themselves.
And as for that score, it was intense, atmospheric and downright terrifying at times. That, coupled with the films overall great sound design, made for what I can’t help but feel will be one of the greatest auditory experiences I will experience in the cinema this year.
It was just a shame that some dick in the row in front of me kept piping up to his mate with short sentences after some of the film’s big moments.
What can I say other than this is a film that will treat all of your cinema-viewing senses to a real treat. The performances are incredible; the story itself is left up to you to interpret; and the atmosphere is one of constant isolation and sustained dread.
I loved it from beginning to end and found myself enjoying the emotional journey that these two men were going on. The more I sit and think about it now afterwards, the more my mind is starting to think about the possible symbolism throughout the film. And the more I am starting to form my own interpretations of what I have seen tonight.
Maybe I’ll write these interpretations into a separate post once I have some kind of coherent way of putting those thoughts together.
If you enjoyed The Witch, to which this is a sort of spiritual companion, or are simply open to something very different from your regular cinema experience, then I can’t recommend The Lighthouse enough. If you can watch it for the first time at a cinema then you definitely should.