I’m not talking about great art in cinematic horror, which I think is different. Kubrick’s The Shining and Polanski’s Rosemary’s Baby are both artistic achievements, but I wouldn’t say that either scared me. I’ve watched them both countless times and can pick out many memorable aspects of them; Jack Nicholson’s masterful performance, Kubrick’s slow and deliberate direction, Polanski’s sheer cleverness in making a fantastic story believable. Both directors are also groundbreaking in using the modern setting for horror. But the films don’t really scare me; I love them just for the brilliant pieces of cinema that they are.
Much hype surrounded the release of Paranormal Activity, a film made in 2007. It attracted instant comparison with The Blair Witch Project in its use of the hand held camera technique and there are other more subtle similarities. But it is unfair to say that Paranormal Activity is a Blair Witch copycat. It’s a much better film, more disturbing and one that demands more than one viewing in a way that its predecessor never did. And whilst The Blair Witch Projectwas a scary film, Paranormal Activity is far scarier.
Katie and Micah are a fairly ordinary suburban couple. It’s the apparent ordinariness that makes this film so effective, particularly in the nondescript house where all of the film is set. Micah is intent on filming life at home. Some of this results in Blair style shaky handheld effects, whilst the rest of his footage comes from the hours of night vision photography taken in the bedroom. The double bed, the large white open door and the stop motion film as they toss and turn throughout the night. Why is he doing this? Katie believes she is being haunted, Micah believes he can solve the problem.
Director Oren Peli impresses in how the tension of this film very gradually cranks up. There’s one scene where a psychic, who appears at the beginning, is called again when things begin to turn bad. He senses the terrible atmosphere in the house and backs away, unable to help. It’s that sense of awful oppressive danger that comes across so well. Partly it’s to do with claustrophobia, the relatively tight setting of the film, but the build up is done so effectively. At first, the night footage reveals nothing more than noises coming from downstairs, although this in itself is disturbing and did cause me an ears-awake sleepless night after viewing this film. Perhaps one of our greatest fears is as simple as the concern about the creaks and unexplained movements we perceive going on around us during the night.
Peli works wonders with only a small set of tools. Most of the results are economically chilling. The noises downstairs. The bedroom door, seen to move on its own when Micah surveys a night’s footage. Katie’s sleepwalking, where she is revealed to stand in the same position for hours at a time. The experiment with talcum powder sprinkled on the landing, exposing far from human footprints. And so on. Like the psychic, the audience begin to sense the awful oppressive air in the house. Unlike him, they probably won’t want to leave it, bearing things out to their horrible end.
I came to Paranormal Activity fresh, not having read any reviews and knowing nothing of the plot. This is the way to approach it and I won’t give anything more away. Suffice to say that I was scared. A rarity. An unusual film indeed.
Mike Carey’s Felix Castor is currently dominating my bedside table. After completing The Devil You Know and Vicious Circle I am now making good progress with Dead Men’s Boots. To come are the fourth and fifth in the series, Thicker Than Water and The Naming of the Beasts.
Carey is an odd writer. At times his prose is extremely atmospheric and effective, but he often sinks into lazy and almost woeful writing. The fault is possibly the sheer weight of what he is attempting to achieve; very lengthy novels produced at regular intervals, where quality sometimes, but not always, suffers from the dictates of pace. Perhaps also Carey doesn’t have much faith in himself as a writer of quality. He is simply content to produce popular, or even pulp, fiction.
At over five hundred pages, Dead Men’s Boots does at times feel overlong. For a reader dedicated enough to reach the series as far as this third instalment it’s possible that Carey doesn’t need to fill in on as much as the background story as he does. Both Castor’s history and the stories of his associates are explained quite fully in both Vicious Circle and Dead Men’s Boots. Castor in an exorcist, discovering his talent at an early age when he had to rid himself of his dead sister’s ghost. He works in an alternative London, one intricately detailed to resemble the real capital but one also populated with a variety of horrors. Ghosts, zombies and loup gorous, demonic werewolf type creatures. He is joined by a series of recurring characters. Nicky is a zombie who has to keep his body chilled to avoid decomposition. He also enjoys a glass of wed wine but only to sniff, his digestive system long shut down. Juliet is a demon who preys on sexual lust, although since the close of The Devil you Know has become less of a threat and more of an ally to Castor. She’s also living in a single sex relationship with one of the supporting cast of Vicious Circle. Then there’s Rafi, a man possessed and incarcerated, whose plight haunts the background of the series.
Vicious Circle featured several interconnected stories, something Carey is revealing himself the master of. A missing ghost, a haunted church, both were extremely believable threads for a fantasy novel. In Dead Men’s Boots he appears more ambitious, and introduces several tales in parallel. The Rafi story continues, and Castor and his exorcist peers are tormented by a mysterious band of exorcist bashers. In the foreground however is Castor and Juliet’s investigation of a brutal murder. A man is convicted of the crime but was it really him? Or perhaps the ghost of a dead American criminal? Carey takes his characters beyond their usual setting with Castor and Juliet travelling to the US.
With five novels in three years, Mike Carey has created a successful franchise that, with a little tidying around the edges, will no doubt make the transfer to film or television that it’s crying out to do. However, in the Twilight soaked climate that also finds room for Being Human and True Blood it’s difficult to see how this would really be worthwhile. What Carey really needs to do is hone in his writing talent to produce a leaner piece of work that is content to stay on the page and not reveal itself as a wannabee screenplay. Somebody needs to give him a push, just a little one, for him to realise that he could be a quality author.
The Devil you Know is my first foray into the world of Felix Castor, the opening novel in Mike Carey’s successful horror series. The book was partly a success for me; I liked it enough to buy the second instalment of the series, although I’m holding back on the decision to invest in all five. Carey mixes a noirish thriller with the supernatural, where an alternative London is crowded with ghosts, zombies and loup garous, which are a sort of animal-spirit hybrid.
The Devil you Know has a stunning plot, which involves exorcist for hire Castor investigating the haunting of a document archive in London. Particularly effective is the novel’s opening, where Castor reveals a ghost at a children’s birthday party. It’s a well written and suitably creepy piece that wouls stand up on its own as a great short story. What lets the book down is both its length (200 odd pages of this sort of thing is great, 470 is far too much) and Castor-as-narrator with his often clichéd and grating style which can make Sam Spade sound like he’s giving a Shakespeare soliloquy. And what disturbs the most is that the living characters are as unconvincing as the dead in this novel; villains are pantomime drawn, and Castor’s associates don’t really stick in the mind.
That Mike Carey has written five Castor novels suggests that he’s doing something right. However The Devil you Know comes across as very hurriedly written, and this author does appear to bash his books out. There are some great ideas though, such as Castor’s talent for sniffing out the ghosts he’s called upon to destroy, and at times this novel is genuinely and satisfyingly scary, but Carey needs to ditch some of the well worn scenarios that appear to be grafted on for effect – for example the Dr Lektorish prisoner that Castor calls on for a chat, which didn’t add anything to the book for me. But if you like literary ghosts, then the one haunting the central story of the book will probably satisfy you. Her plight is creepy, sad and well thought out.
Shall I move onto the second instalmant Vicious Circle? Oh, go on then.
There’s something unsettling about London on film in the 1970s. Streets appear a little too empty. What traffic there is flows freely, with cars slowing down to park easily so their drivers can reveal what’s concealed inside the boot. Police come across as particularly inept, and allow teenage gangs to run riot on their motorcycles. Teenagers in general tend to fall into two general camps in 70s horrors; the easy victims or the out and out nasties. It’s a bleak and creepy 70s landscape.
Creepier still if it’s a Pete Walker film. Frightmare was directed by Walker in 1974 and follows his similarly gruesome offering from the same year House of Whipcord. Like the earlier film, Frightmare leads the viewer down an increasingly dark and narrowing path, where no-one is saved and the viewer is left particularly aghast. Or all the 70s horror films, it is one of the most shocking.
Frightmare begins in the 1950s, where a lone figure (Andrew Sachs) is murdered at a run down funfair. Jumping to the present day, Edmund and Dorothy Yates (Rupert Davies and House of Whipcord‘s Sheila Keith) are released from a mental institution. Apparently they are now cured of their irritating cannibal tendencies. So we can all rest peacefully. No, hang on a minute, this is a Pete Walker film…
If you’ve dared to watch the trailer, the film provides reassuringly melodramatic music to its horror, and as well as the London setting Walker uses a desolate but far from comfy farmhouse, where open fires provide easy access to red hot pokers. The nastiness of Frightmare will be no surprise for anyone familiar with Walker’s work. The director kept British cinema alive in the 1970s, although perhaps alive is the wrong word to use for a series of films generally dealing with some degree of bloodbath. Walker directed a series of successful films before retiring in the early 1980s. Rumour has it that he became a property developer. As well as horror films, Walker knocked out a series of mild sex comedies, the most well known probably being Tiffany Jones in 1973. He almost directed a movie starring The Sex Pistols, possibly more interesting than Julien Temple’s limp Great Rock and Roll Swindle. But we’ll never know. Walker’s final film was a brilliant swansong. The House of Long Shadows brought together Vincent Price, Peter Cushing, John Carradine and Christopher Lee.
Pete Walker creates an absurd world that is really beyond criticism, and his recent appearance at the BFI easily proves this. An amiable and eloquent gentleman, he comes across as something of an English Roger Corman. An exceedingly nice man who just happened to make horror films, there’s little point in digging too deeply into the meaning behind the flicks. The films, if you like this sort of thing, are just fun, and Walker is happy to admit that he stopped directing at a relatively early age simply because he’d run his course as a filmmaker. And, more to the point, how could you possibly top The House of the Long Shadows?
Walker’s cinema remains elusive and obscure, making him the truest cult filmmaker. His movies rarery, perhaps never, appear on television and are difficult to track down on DVD. So sadly many of his feature have escaped my attention, such as this intriguing looking film with the bizarre casting of the singer Jack Jones and the future Mrs Connolly Pamela Stephenson:
The Comeback looks fantastic, but I’ll have to make do with the trailer for now – that familiar deep voice telling me
Perhaps he is going mad. Or perhaps there is someone there…
What does a filmmaker with a thirst for the vampire movie do when audiences are dulled by the Twilight franchise?
Tomas Alfredson’s Let the Right One In provides an answer. This is a beautifully shot and thoughtful film that is part coming of age love story and part horror movie. The Swedish director takes aspects of the vampire legend and moves them to early 1980s Stockholm, where tower apartments are eerily lit by bright, white, virgin snow.
Oskar (Kåre Hedebrant) is a sensitive twelve-year old boy tormented by his peers who befriends the unarguably odd Eli (Lina Leandersson). This is a girl who lurks around in dark corners to prey on the unsuspecting, so it’s in Oskar’s favour when the lonely lad finds some affinity with her. They form a friendship, of sorts, that appears to lead to something stronger. The most unusual of cinema’s adolescent love affairs as Eli is something quite unwordly.
Although this is essentially a horror film, and an at times unsettling one, Alfredson mainly concentrates on Oskar’s loneliness; his bullying and the seperation of his parents. Eli acts as a catalyst for Oskar to stand up against his enemies, and the story works best when exploring his journey there. And once he does arrive, the film is unambiguous as to whether he is actually any better off after sealing his fate with Eli. It’s an unusual movie, and describing it as bleak and depressing failed to set any of my friends alight with enthusiasm. I hope they don’t wait for the impending Hollywood remake, which may pointlessly turn it into another boring teen vampire movie (and they have already messed up by renaming it Let Me In). However bleak and depressing it is, Alfredson’s film certainly isn’t dull.
Let the Right One In has plenty of disturbingly effective scenes that you’d expect from a horror film. There’s the best use of cats in the genre since The Uncanny, where a flat full of the sensitive creatures take a unanimous dislike to a newly infected vampire. The film also makes a memorable and spectacular use of a swimming pool setting, where Eli proves her attachment to Oskar. Kind of. And there’s a very touching although certainly offbeat ending too. Although I admit that my taste in cinema is often odd, I found this a refreshing film. It’s challenging and consequently very rewarding. The leads were particularly superb, especially Leandersson, who just needs to learn the finer points of napkin etiquette.
Incidentally this is based on the 1994 novel by John Ajvide Lindqvist, which in turn took part of its inspiration from a 1988 Morrissey song Let the Right One Slip In. Those immersed in vampire folklore will be aware that the undead cannot enter your home until invited, although I think this is only a minor comfort. Like Oskar, we may suddenly and unexpectedly meet our own Eli.
Much hype surrounded the release of Paranormal Activity, a film made in 2007. It attracted instant comparison with The Blair Witch Project in its use of the hand held camera technique and there are other more subtle similarities. But it is unfair to say that Paranormal Activity is a Blair Witch copycat. It’s a much better film, more disturbing and one that demands more than one viewing in a way that its predecessor never did. And whilst The Blair Witch Project was a scary film, Paranormal Activity is far scarier.
The Devil you Know is my first foray into the world of Felix Castor, the opening novel in Mike Carey’s successful horror series. The book was partly a success for me; I liked it enough to buy the second instalment of the series, although I’m holding back on the decision to invest in all five. Carey mixes a noirish thriller with the supernatural, where an alternative London is crowded with ghosts, zombies and loup garous, which are a sort of animal-spirit hybrid.
What does a filmmaker with a thirst for the vampire movie do when audiences are dulled by the Twilight franchise?