Curtis Harrington’s Night Tide (coming up on TCM on Thursday) is a thing of sunshine and jazz music, set at a seaside amusement park. Instead of assaulting the viewer with gore or violence, Harrington finds suspense in such subtleties as watching a girl eat a fish, and or when she then catches a seagull with her bare hands.
This is still a genre film, mind you–Dennis Hopper plays a sailor who falls in love with a girl who believes herself to be a mermaid–but the casual naturalism of the film seems unrelated to the world of gothic monsters and bug-eyed aliens that characterized horror fare of the early 1960s. If audiences had ever seen anything quite like this before, it would have been in Jean-Luc Godard’s Breathless—a riff on lowbrow genre elements to provide structure to a film that presents itself as slice-of-life glimpse of a disaffected youth culture. The distributors recognized the affinity, and played it up as a marketing strategy. The press kit sold Night Tide as a “unique American New Wave thriller,” and went on to highlight Harrington’s work in experimental film.
Let’s set aside the incongruity of a movie company trying to sell a teen-oriented horror flick on the basis that it was an arthouse film in the French tradition made by an underground artist. That’s weird, but it’s not even the weirdest aspect of all this.
Posted by Susan Doll on March 16, 2015
Last fall, businessman Russell Edwards announced that he had finally uncovered the truth behind history’s most famous serial killer, Jack the Ripper. Edwards claimed that DNA left behind on a victim’s shawl was used to identify the Ripper as Aaron Kosminski, long considered a primary suspect. As soon as the news was announced, DNA experts and Ripperologists came forward to denounce the findings based on doubts about the shawl’s provenance and the likely contamination of the evidence. And, so it goes with our fascination with the Ripper mythology: We want so badly to find out his true identity, but then again, we don’t.
The mystery behind Jack the Ripper’s identity allows filmmakers and writers to use him as a symbol or representative force. The Ripper has been part of cinema history since 1924, when he appeared in a nightmare sequence in the German Expressionist film Waxworks. Since then, a variety of directors have interpreted the mystery, adding to the rich folklore surrounding the historical figure. I recently caught a film version of the Ripper story released in 1953 called Man in the Attic, starring Jack Palance, Constance Smith, and Frances Bavier, and I was reminded of how potent a character he could be.
So—later this week, TCM will be running Night of the Lepus. It’s been on TCM before—but usually relegated to the late night TCM Underground slot. This Wednesday it’s on at 6pm Eastern where decent folk might stumble across it unawares. Which is awesome.
There are few films as mocked as Night of the Lepus. You only have to mention the premise (attack of the giant bunnies!) and the derision sets in on its own. It’s a wonder the whole genre of horror didn’t just curl up and die in embarrassment. Legions of film critics, genre fans, and innocent bystanders have set up their tents in the let’s-make-fun-of-the-dumb-bunnies camp—all sharing the assumption that the problem here was the choice of monster. How could killer rabbits ever be scary?
But if it is self-evidently obvious that rabbits can’t ever be a scary monster… then what would motivate a motion-picture institution run by responsible adults to invest in a thing like this? What were they thinking?
Come on—click the fold and find out. I know you want to. I promise the answer will surprise you.
Posted by Kimberly Lindbergs on January 8, 2015
I know what you’re thinking. Another list?! Forgive me my trespass but as a member of the Alliance of Women Film Journalists I’m asked to compile a list of my favorite films each year and I wanted to share some of my viewing highlights with you. These are the films that have been occupying my thoughts in recent weeks and many of them haven’t gotten the critical attention that I think they deserve. What follows is an alphabetical list of my 15 Favorite Films from 2014 along with some comments. I had hoped to write more about them all and why I find them worth recommending but I managed to sprain my hand last week, which has limited my typing abilities so some films only get a sentence or two. That said, I hope you’ll find some of my viewing suggestions worth investigating further.
Posted by Kimberly Lindbergs on November 6, 2014
Since Michael Reeves unfortunate death in 1969 at the age of 25, the British director’s life has become the stuff of cinematic legend. His reputation as a sort of Byronic hero who challenged the British film establishment was secured when he died much too young due to an accidental drug overdose leaving behind just a handful of low-budget horror films that attained cult status in subsequent years. His distinct talent and the ephemeral nature of his work have led many of Reeve’s colleagues and admirers to speculate on the direction his career might have taken if he had lived longer and it’s not uncommon to see his name mentioned along with better known British filmmakers who also dealt with controversial material including Michael Powell and Ken Russell. Reeves’ bone-chilling WITCHFINDER GENERAL (1969), which explored the brutality of the witch hunts in England during the 17th century, is often cited as one of the greatest and most gruesome horror films produced during the 1960s but his most intimate and introspective film might be THE SORCERERS (1967).
Posted by Susan Doll on November 3, 2014
In David Fincher’s Zodiac, the protagonist Robert Graysmith discovers that some of the letters written by the infamous Zodiac killer contain partial quotes from the 1932 film The Most Dangerous Game. In an incredibly tense sequence, Graysmith visits the projectionist of a revival theater where the Zodiac may have seen the film. The creepy projectionist lures Graysmith into his basement to look for a poster as sounds from above suggest the pair is not alone. In the plot of The Most Dangerous Game, a character hunts human beings for sport, not unlike the Zodiac killer and, ironically, not unlike Graysmith, who spent years of his life obsessed with finding the identity of the Zodiac. If you are curious about the movie forever linked with one of the most notorious unsolved murder cases in history, The Most Dangerous Game airs on TCM this Wednesday at 4:30pm.
Posted by Kimberly Lindbergs on October 30, 2014
Halloween is fast approaching and tonight TCM is starting the party early with a batch of great haunted house films beginning at 5PM PST (8PM EST) followed by a 24-hour classic horror movie marathon that’s sure to please the most finicky horror connoisseur. With so many terrifically terrifying films to choose from I decided to ask some of my favorite female film journalists who also happen to be fellow horror devotees to join me in recommending one movie from TCM’s Halloween line-up for your viewing pleasure. I think you’ll enjoy our enthusiastic endorsements but you might want to approach them with caution. A few contain minor spoilers along with some surprising scares but I hope that won’t stop you from joining us in celebrating Halloween with TCM. Demonic monsters, scary chauffeurs and axe-wielding killers are just a few of the shocking thrills that await you!
Posted by Kimberly Lindbergs on October 23, 2014
Hammer Films produced four Mummy movies between 1959 and 1971 and this coming Saturday (Oct. 25th) TCM is airing one of my favorites, Seth Holt’s BLOOD FROM THE MUMMY’S TOMB (1971). This unabashedly sexy horror extravaganza was the last Mummy movie produced by the ‘Studio that Dripped Blood’ and thanks to a great cast and some creative directing choices it turned out to be one of their best. But before it reached the screen the production was plagued by some serious setbacks that seemed to resemble the effects of a ‘mummy’s curse’ that’s often associated with doomed adventure seekers and tomb raiders. Was it just circumstance and bad luck or did something supernatural interfere with the making of the film? Read on to find out!
Posted by Pablo Kjolseth on October 19, 2014
A Night at the Movies: The Horrors of Stephen King (Laurent Bouzereau, 2011), an hour-long documentary with the iconic best-selling author, premiered three years ago on TCM and is being brought back this Saturday. The topics covered include the early horrors that both scared and inspired him as a kid, moving on to films like Dementia 13, Night of the Living Dead, both versions of The Thing, his love of B-movies, ghosts, vampires, religion, slashers, and a section I’m especially looking forward to seeing where he discusses the movies that were made from his books. With the latter in mind, I’m here to provide a few highlights from a 600+ page paperback released five years ago that I stumbled across while attending the last Telluride Film Festival titled Stephen King Goes to the Movies. [...MORE]
Posted by Kimberly Lindbergs on October 16, 2014
The setting is London in the early 1900s, where a young Scottish woman named Phyllis Allenby (June Lockhart) is preparing to wed her beau (Don Porter). The happy couple’s plans are interrupted when someone or something begins killing locals at a nearby park. Terrified Phyllis is certain an old Scottish curse that has plagued her family for centuries is turning her into a bloodthirsty werewolf while she sleeps but her domineering aunt Martha (Sara Haden ) and lovesick cousin Carol (Jan Wiley) seem to think otherwise. Is Phyllis a werewolf? Is she going mad? Or is something else even more sinister stalking the nearby park under the cover of night? SHE-WOLF OF LONDON (1946) is often dismissed as one of the lessor entries in the Universal monster cannon but while watching this briskly paced B-movie again recently after decades of reading numerous dismissals, I was swept up by the films moody atmosphere and shaken by its surprising brutality. The film may not satisfy viewers anticipating a typical monster movie but SHE-WOLF OF LONDON has plenty of things to recommend it and with Halloween quickly approaching it seemed like the perfect time to praise its unsung sinister charm.
MovieMorlocks.com is the official blog for TCM. No topic is too obscure or niche to be excluded from our film discussions. And we welcome your comments on our blogs and bloggers.
See more: facebook.com/tcmtv
See more: twitter.com/tcm
3-D Academy Awards Action Films Actors Actors' Endorsements Actresses animal stars Animation Anime Anthology Films Art Direction Art in Movies Asians in Hollywood Australian CInema Autobiography Avant-Garde Aviation Awards B-movies Beer in Film Behind the Scenes Best of the Year lists Biography Biopics Black Film Blu-Ray Books on Film Boxing films British Cinema Canadian Cinema Character Actors Chicago Film History Cinematography Classic Films College Life on Film Comedy Comic Book Movies Crime Czech Film Dance on Film Digital Cinema Directors Disaster Films Documentary Drama DVD Early Talkies Editing Educational Films European Influence on American Cinema Experimental Exploitation Fairy Tales on Film Faith or Christian-based Films Family Films Film Composers Film Criticism film festivals Film History in Florida Film Noir Film Scholars Film titles Filmmaking Techniques Films About Gambling Films of the 1960s Films of the 1980s Food in Film Foreign Film French Film Gangster films Genre Genre spoofs HD & Blu-Ray Holiday Movies Hollywood history Hollywood lifestyles Horror Horror Movies Icons independent film Italian Film Japanese Film Korean Film Literary Adaptations Martial Arts Melodramas Memorabilia Method Acting Mexican Cinema Moguls Monster Movies Movie Books Movie Costumes movie flops Movie locations Movie lovers Movie Reviewers Movie settings Movie Stars Movie titles Movies about movies Music in Film Musicals New Releases Outdoor Cinema Paranoid Thrillers Parenting on film Pirate movies Polish film industry political thrillers Politics in Film Pornography Pre-Code Producers Race in American Film Remakes Revenge Road Movies Romance Romantic Comedies Satire Scandals Science Fiction Screenwriters Semi-documentaries Serials Short Films Silent Film silent films Social Problem Film Sports Sports on Film Stereotypes Straight-to-DVD Studio Politics Stunts and stuntmen Suspense thriller Swashbucklers TCM Classic Film Festival TCM Underground Television The British in Hollywood The Germans in Hollywood The Hungarians in Hollywood The Irish in Hollywood Theaters Thriller Trains in movies Underground Cinema VOD War film Westerns Women in the Film Industry Women's Weepies