One Hundred and One Dalmatians (1961)
“I live for furs; I worship furs!”
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Response to Peary’s Review: Redeeming Qualities and Moments:
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Dr. Terror’s House of Horrors (1965)
“There is within each of us a twin destiny: the natural and the supernatural.”
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Review:
— this disappointing horror anthology fails to live up to its potential. The first vignette — starring Neil McCallum as an architect who discovers the tomb of a werewolf in his ancient familial estate — shows some promise but never really pays off:
The second — involving a man (Alan Freeman) whose home is overrun by a killer plant — is, sadly, laughable rather than terrifying:
… and the third — following a jazz musician (Roy Castle) who arrogantly steals a sacred song he hears in the West Indies, and is visited by a voodoo curse — is nearly unwatchable, thanks to Castle’s utterly insufferable personality.
The fourth vignette — starring the inimitable Christopher Lee as an arrogant art critic whose harsh indictment of an artist (Michael Gough) comes back to haunt him, via an increasingly gruesome disembodied hand that refuses to “die” — is the most satisfying by far:
… while the fifth — in which Donald Sutherland discovers he’s married a vampire (Jennifer Jayne) — at least offers an unexpected plot twist at the very end.
But the film as a whole never really musters any collective tension, and remains of interest primarily for its historical importance as the first horror “portmanteau” film produced by Amicus Studios (a competitor with Hammer Studios). Click here for an interesting background article on Amicus. Redeeming Qualities and Moments:
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I Walked With a Zombie (1943)
“Because I loved him, I felt I had to restore her to him — make her what she had been before.”
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Response to Peary’s Review:
Directly inspired by Jane Eyre (and preceding Jean Rhys’ post-colonial follow-up novel Wide Sargasso Sea by more than 20 years), the richly layered film is “set up like a Greek tragedy”, in which “a house has been ripped asunder by infidelity, meddling in-laws, sibling rivalry, and calling on pagan gods to carry out selfish bidding”; it even includes a “one-man Greek chorus” in Sir Lancelot, a calypso singer who fills us (and Dee) in on the family’s past troubles through a cleverly written ditty. (“Ah, woe! Ah, me! Shame and sorrow for the family.”)
Peary notes that “the lyrical quality of the long silent passages” — most famously “Dee and Gordon’s nocturnal walk through the mysterious woods” —
contribute towards this film’s status as possibly “the most visually impressive of Lewton’s films”. Certainly, the “shadows, the lighting, the music, [and] the exotic settings contribute to make this one of the masterpieces of the genre” — a “beautiful nightmare” which lingers in one’s memory. As in Cat People, the film’s horror elements here are left up to viewers’ imaginations: is Gordon insane, or “is her zombie-like state the result of a voodoo curse”? Other than a few highly suggestive scenes near the end, the answer is entirely unclear throughout, and “we never find out for sure”. What we “come to believe”, however, as Peary notes, is “that there is just as much validity in believing in the powers of voodoo as there is in believing God will answer prayers”.
To that end, Lewton noticeably “does not belittle the island blacks by mocking their beliefs, customs, and religious practices”, given that it’s the whites who “wallow in confusion and terror”. As Chris Dashiell of CineScene.com writes, “Although the film occupies the European stance towards the black ‘other’ that was always assumed in commercial films at that time, Tourneur is much more sensitive in this regard than one might expect.” Redeeming Qualities and Moments:
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(Listed in 1001 Movies You Must See Before You Die) Links: |
Cat People (1942)
“Cats don’t seem to like me.”
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Response to Peary’s Review:
Peary notes that, “as in several other Lewton films, evil and good fight for control of his characters” — and, “like Lewton’s other tragic heroines… Irena doesn’t have the willpower to reject her evil side”, especially when she begins experiencing (justifiable) jealousy towards her husband and his co-worker, Jane Randolph (waiting conveniently in the wings).
As so many have noted, Lewton’s RKO “horror” films were true masterpieces of suggested terror — and Cat People is a prime example of this. With the exception of a few highly contested shots of a giant cat later in the film (most likely inserted by the studio against Lewton’s will), Irena’s neuroses could be viewed as purely psychological. Each of the film’s justifiably “classic horror sequences” — “terrified Alice [Randolph] being followed through a dark park, jumping when a bus screeches to a halt next to her:
… Judd (Conway) trying to seduce Irena, only to be attacked by a giant cat:
… Alice swimming alone in an indoor pool when the lights go out, [as] cat shadows appear on the wall and growling can be heard”:
— succeeds largely because of what’s implied rather than what’s actually seen. To this end, as Peary notes, director Jacques Tourneur “does a wonderful job of creating tense atmosphere”, and he’s helped in no small part by d.p. Nicholas Musuraca, who “does wonders with light and shadows”. Cat People is a rare breed of literate horror film that — even at just 73 minutes long — merits repeat viewings in order to allow for full appreciation of the nuanced plot. Much like with its sequel (The Curse of the Cat People, a masterful film in its own right), Cat People is rich enough to be viewed and debated on numerous levels; a quick glance at IMDb’s message boards provides evidence of this ongoing phenomenon. Peary suggests that this would make a good double bill with Hitchcock’s Marnie (1964), “because of strikingly similar sexual themes and plot elements”. Remade by Paul Schrader in 1982 in a much more literal fashion (a title included in Peary’s book as well). Redeeming Qualities and Moments:
Must See? Categories
(Listed in 1001 Movies You Must See Before You Die) Links: |
Curse of the Cat People, The (1944)
“Amy isn’t lying to you. It’s an unseen companion; children love to dream things up.”
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Response to Peary’s Review:
it actually defies categorization, and should probably not be labeled a “horror” film at all. In classic Lewton fashion, its chills and frights are suggested rather than shown; indeed, the only monsters here are ones created through the tragedy of life — such as the nearly psychotic Russell, who is being slowly driven off the deep end by her mother’s maddening refusal to acknowledge her existence.
Screenwriter DeWitt Bodeen’s inclusion of this subplot in the storyline at first appears a bit odd — until one begins to recognize the parallels between Russell and Amy: both are lonely, misunderstood individuals who are alienated from their parents, but while one chooses fantastic escape, the other wallows in increasingly hostile and dangerous bitterness to soothe her emotional wounds. Interestingly, while Peary labels this a “so-called sequel” to Cat People, arguing that it “has no resemblance to its predecessor”, this isn’t technically accurate: Bodeen’s screenplay actually creatively imagines what might have happened to each of the central protagonists of Cat People a few years after that film’s tragic denouement. In this follow-up story, Smith is now (predictably) married to sympathetic Randolph, and they have a child:
— but Smith remains so haunted and guilt-ridden by his troubled past that he suspects Carter of somehow representing or channeling his late wife. Meanwhile — depending upon how literally one wishes to view Carter’s imaginative friendship — Simon’s character here could be viewed (as one contributor on IMDb’s message board posits) as finally having achieved some peace after her tortured life, and bringing her new-found happiness to the daughter who might have been her own. Despite a few creakingly dated elements (wait until you hear Carter’s teacher’s opinion about spankings!), this remains a true sleeper, one which all film fanatics are sure to want to check out. Note: This was, as Peary notes, “probably the first horror film ever screened at child-psychology courses”. Redeeming Qualities and Moments:
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Cinderella (1950)
“Why, it’s like a dream — a wonderful dream come true.”
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Review: Redeeming Qualities and Moments:
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Sleeping Beauty (1959)
“Before the sun sets on her 16th birthday, she shall prick her finger, on the spindle of a spinning wheel — and die!”
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Response to Peary’s Review: While Peary refers to Aurora as “one of the sexiest and most beautiful of Disney’s animated heroines”, she unfortunately — much like Snow White — can’t really be considered the film’s central protagonist, given that she only appears on-screen for 18 minutes. Meanwhile, her romance with Prince Philip (Bill Shirley) is as slight and meaningless as Snow White’s with Prince Charming. Instead, it’s Aurora’s fairy godmothers — “who are like three lovable, squabbling, slightly daffy maiden aunts” — who drive the story forward, and are featured in some of the film’s most enjoyable scenes. The most justifiably celebrated sequence, however, is the “spectacular” “climactic battle on Forbidden Mountain”, between Prince Philip and the evil Maleficent — this scene, while far too scary for young viewers, is a truly thrilling, masterfully animated denouement. Redeeming Qualities and Moments:
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Little Lord Fauntleroy (1936)
“If I have to be an earl, I can try to be a good one.”
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Review: Note: As a public domain title, this film is available for free viewing at http://www.archive.org. Redeeming Qualities and Moments:
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Dumbo (1941)
“You all oughta be ashamed of yourselves — a bunch of big guys like you, pickin’ on a poor little orphan like him.”
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Response to Peary’s Review: Note: Other than the “traumatic” mother-child separation scene cited above, Dumbo is probably the film most suitable for young children out of all of Disney’s early features. Redeeming Qualities and Moments:
Must See? Categories
(Listed in 1001 Movies You Must See Before You Die) Links: |
Heaven Can Wait (1943)
“I can safely say that my whole life was one continuous misdemeanor.”
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Response to Peary’s Review:
Peary argues that while the “film is a bit too long”, “its rewards are plenty”: in addition to its “superb” acting, he calls out the “consistently splendid dialogue by Samson Raphaelson”, noting that “every time anyone says anything, you’ll think that’s exactly what should have been said”. He cites a number of “wonderfully written, beautifully played two-character scenes”, and notes that, “this being Lubitsch’s first color film, much attention was paid to period detail and art design”. Interestingly, the film’s flashback structure — beginning and ending in a remarkably tasteful Art Deco Hell — wasn’t part of the original play upon which the film is based (Birthday, by Leslie Bush-Fekete); yet it firmly grounds this episodic story as the reflective tale of a man who feels deeply guilty for not being more faithful to his gorgeous, loyal wife (Tierney, truly stunning in Technicolor turn-of-the-century outfits).
Ironically, it’s this very premise (Ameche’s enduring playboy lifestyle) that’s somewhat lacking in the film’s screenplay — perhaps to strategic effect. One’s first reaction while watching this film is, “Hey! When are we going to see some evidence of Ameche’s supposed Casanova ways?”, given that other than his nicely handled wooing of Tierney — and a later seduction scene with a young chorus girl (in which all is not what it seems):
— we really don’t see adult Ameche playing the field at all. Instead, we’re a witness to his extreme devotion to Tierney over several decades — a devotion which belies his own belief that he’s somehow sullied their marriage enough to merit a permanent spot in Hell. And perhaps — as Peary suggests — that’s the film’s essential point. Redeeming Qualities and Moments:
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