Behind the Couch

Mario Bava with Jacqueline Pierreux ( Black Sabbath ) The undisputed Master of Italian horror cinema, Mario Bava, would have turned 98 years old today. Sadly, Mr Bava passed away in 1980 at the age of 65, but he left behind an astonishing body of work. Specialising in darkly beautiful Gothic Horror, Bava also dabbled in genres as eclectic as sword and sandal peplums, science fiction ( Planet of the Vampires ), comic book adaptations, psychological thrillers and is generally heralded as the filmmaker responsible for kick starting the giallo (later popularised by Dario Argento), with his morbidly exquisite films The Girl Who Knew Too Much and Blood and Black Lace . He also had a tremendous influence on the contemporary slasher movie, with his wickedly humorous whodunit, Bay of Blood . Taking the body-count template of Agatha Christie’s And Then There Were None , Bava created a staggeringly violent, though elegantly lensed shocker that would have an overwhelming impact on the likes ...

This month’s Audiodrome focuses on Johan Söderqvist’s chillingly beautiful score for Swedish vampire film Let The Right One In . Based on the book by John Ajvide Lindqvist, the story concerns Oscar, a lonely little boy, and his tentative relationship with Eli, an odd little girl who turns out to be a centuries old vampire. Söderqvist’s score gently chills the spine with icily subtle moments of terror, and thaws it out again with richly melancholy themes performed by the Slovak National Symphony Orchestra. It utilises spine-tingling sounds such as electric guitar played with a bow and a bass waterphone to eerily beautiful effect. Head over to Paracinema.net to read my full review and listen to an excerpt of the score. While you’re there, why not order yourself a copy of Paracinema issue 16 . There’s an abundance of in-depth articles on the likes of Ken Russell’s The Devils, Assault of the Killer Bimbos , found footage and mockumentary horror, disaster movies, French Science Fi...

2007 Dir. Pablo Proenza When her family moves into a new home, photographer Deborah (Lisa Vidal) gradually begins to suspect sinister things are stirring from the house’s past. She catches glimpses of shadowy figures and doorways that aren't there in the mirrors and reflective surfaces. When she talks to her new neighbours she discovers that the previous owner, a famous artist, vanished in mysterious circumstances. Deborah is further convinced something evil lurks within the house as everyone she photographs dies in unnatural circumstances. Is Deborah experiencing a nervous breakdown? Or are there actually evil spirits trapped in the glass surfaces of her new home, waiting to pounce into our world? The mirror has featured heavily throughout horror cinema as a source of danger and fear. Mirrors are often used to address ideas of fractured identity, fear of one’s self, and psychological breakdown. A common visual motif in films in which someone is suffering from psychologica...

2004 Dir. Brett Sullivan Horror sequels can usually be a bone of contention with fans of the original. Often times sequels simply rehash the plot of the original, with an added emphasis on upping the gore quotient. They can sometimes reek of cashing in on the success of their predecessor and nothing more. It is a rare thing to find a horror sequel that not only matches the original film in terms of quality and originality, but that also opens up and continues the story with new ideas and something of its own to say. Ginger Snaps ended with Brigitte (Emily Perkins) putting her werewolf sister Ginger (Katherine Isabelle) out of her misery, but not before she was also infected with her lycanthropy. Brigitte had discovered a cure and when we last saw her she held salvation in her hand: a syringe of Monkshood (Wolfsbane). For all we knew she could have injected herself with it and went on her not-so-merry way. The film had a fairly closed ending that resolved its story nicely, thou...

1972 Dir. Pete Walker A group of actors are menaced by a homicidal maniac as they rehearse a play in an old abandoned seaside theatre. When it comes to British horror cinema, writer/director/producer Pete Walker is often unfairly overlooked. Beginning his career making sexploitation movies, Walker would later progress to deliberately antagonistic, subversive and antiauthoritarian shockers such as Frightmare , House of Whipcord and House of Mortal Sin . Amongst the nudity and gore of these films were scathing social commentaries on British class, conservative politics and the legal system. Unapologetic, violent, exploitative, strangely thoughtful and always anti-establishment in their outlook, Walker’s later films were controversial, not only because of the extreme content, but also because of their reflection on the darker, seedier underbelly of British society. Walker’s first tentative venture into the horror/thriller arena came with Die Screaming Marianne , featuring Susan G...

1967 Dir. Samuel Gallu AKA Blood Fiend The investigation into a number of grisly murders in which the victims bodies have been exsanguinated, leads detectives to a creepy Parisian theatre specialising in horror productions. Could someone at the theatre be responsible? No! Surely not ! Opening with a scene in which a woman is forced onto a guillotine and decapitated in front of an appreciative audience, only for her to emerge alive and well from behind the theatre curtain to accept her applause, Theatre of Death is intent on letting us know from the outset that all will not be as it seems. The lines between what is real and what is not twist and turn throughout proceedings. Setting the story in the real-life Theatre du Grand Guignol in Paris is an inspired choice. Between the years of 1897 and 1962 it specialised in the production of deliberately shocking and lurid plays, the raison d’être of which was to depict bloody scenes of murder and torture on stage to titillate and te...

1967 Dir. John Gilling When a group of British archaeologists uncover the secret desert tomb of a child Pharaoh outside Cairo, they invoke an ancient curse and the murderous wrath of a mummy... If the above synopsis sounds familiar, that's because it is. The Mummy's Shroud boasts a typical mummy movie narrative in which a group of stuffy British archaeologists go snooping around in a Pharaoh's tomb and one by one are violently killed by a mummy - in this case, the faithful servant of the child prince whose burial place they desecrate. It was the third mummy movie made by Hammer. Director Gilling and writer Anthony Hinds don't really bring anything different or unusual to the tale, as it unravels (pun intended!) in the most stringently conventional way. Gilling's prior Hammer titles The Reptile and Plague of the Zombies were much more interesting, offbeat and effective horror films that at least tampered with convention and expectations. While the predicta...

A few weeks back I was invited to make a podcast with Aaron Duenas of The Death Rattle . We chatted for a couple of hours over Skype - Aaron in Hawaii, me in Northern Ireland - about Italian horror cinema, my book on Dario Argento, and the little seen Italian-shock cult oddity, The Spider Labyrinth . The podcast is now online, so why not head over to The Gentlemen's Blog to Midnite Cinema to check it out.  For great appreciations and critiques of everything from Seventies Ozploitation to lesser spotted Eurocrime titles, plus a slew of in-depth interviews with the likes of Laurence Harvey ( The Human Centipede II ), Sherilyn Fenn ( Twin Peaks, Boxing Helena ) and John Jarratt ( Wolf Creek, Picnic at Hanging Rock ) to name but a few - don't forget to check out Aaron's blog The Death Rattle . Adios!

Gerard Damiano’s moody 'porno-chic' title The Devil in Miss Jones (1973) straddles an odd divide between art house and hardcore pornography. Upon release it was described as "More morality play than masturbation aid." It follows the tragic story of Justine Jones (Georgina Spelvin), who dies by suicide only to end up facing an eternity in Hell because she took her own life. She insists that if she’s given another chance she can ensure she lives a life that truly warrants such eternal damnation. So begins an X-rated and oddly emotional odyssey of lust. The lush piano driven score courtesy of Alan Shuman highlights the melancholy at the heart of the story and negates typical conventions of kinky Seventies porn soundtracks. Head over to Paracinema.net to read my review of Shuman’s wistful score.  While you’re there, why not pre-order a copy of issue 16 of Paracinema Magazine? It’s packed with in-depth critiques and articles on the likes of The Devils, Assault of...

2000 Dir. John Fawcett ‘Monstrosity is explicitly associated with menstruation and female sexuality... woman’s monstrous nature is inextricably bound up with her difference as man’s sexual other.'  Laura Mulvey ( Visual Pleasure and Narrative Cinema ). ‘The release of sexuality in the horror film is always presented as perverted, monstrous and excessive; both the perversion and the excess being the logical outcome of repression.’ Robin Wood ( The American Nightmare ). Written by Karen Walton, Ginger Snaps tells of a young woman who is attacked by a werewolf on the night she begins to menstruate, and begins to transform into a monster. Links between the menstrual cycle and lycanthropy cunningly swirl together to form a twisted tale of monstrous pubescence filtered through a chilling body-horror narrative. The result is a dark, savagely funny and haunting film that staggers blinking and bloodied into the unkind light of day as the most significant ‘menstrual horror’ since Carr...

Issue 16 of Paracinema Magazine is now available to pre-order. Amongst the myriad articles are This Ain’t Hollywood XXX: The Cultural Significance of the Porn Parody by Justin LaLiberty; “Images of Horror and Lust” in Ken Russell’s The Devils by Samm Deighan; Rehabilitating Daddy, or How Disaster Movies say it’s OK to Trust Authority by Jon ( Shocks to the System: Subversive Horror Films ) Towlson; The Films of René Laloux: Notes on the Golden Age of French Science Fiction by Derek Godin; plus much, much more. There’s also my essay,  Shadowy Suggestion in the Weird West: Val Lewton’s Apache Drums.  Sound good? Fancy picking up a copy? Head over to Paracinema.net and pre-order one now . Support independent publishing! 

1981 Dir. Gary Sherman This original and atmospheric horror flick comes courtesy of the director of cannibals-in-the-London-Underground shocker Death Line and the chaps responsible for penning such classic genre titles as Alien , Return of the Living Dead and Total Recall (Dan O’Bannon and Ronald Shusett). It should come as no surprise then that it unravels as a rather unconventional and off the wall yarn with more than a few surprises up its bloodied sleeve. When a number of vicious murders occur in the sleepy seaside town of Potter’s Bluff, Sheriff Gillis (James Farentino) suspects that something sinister is afoot. The further he submerges himself in the investigation, the more he realises that all is not what it seems in Potter’s Bluff, nor has it been for some time… Opening with a shot of a black and white photo of the town that dissolves into live action, Dead and Buried immediately evokes contemplative notions of yesteryear and its roots in the past. This concept und...

The Titanic Mummy On a recent visit to the newly opened Titanic Belfast®, I’m sure you can imagine my excitement when I discovered that one of the myths revolving around the sinking of the ill-fated vessel concerns a mummy that was secretly stowed away onboard. There was even a creepy mummy on display in the centre. Naturally I took pictures. The mummy has been a popular stock figure throughout the history of horror cinema and literature, and it has long been associated with a terrible curse that brings about the untimely deaths of those who dare to enter its sacred burial place and disrupt its slumber. This belief probably stems from the supposed curse on the tomb of Tutankhamen and the death of Lord Carnarvon who was present during its excavation. Six weeks after his involvement in the project, Carnarvon died from blood poisoning caused by a mosquito bite. From Bram Stoker’s 1903 novel The Jewel of Seven Stars , (later adapted as the 1971 film Blood from the Mummy's Tomb...

2012 Dir. Monthon Arayangkoon A recent emergence of striking fright flicks from Thailand has included a number of memorable titles such as Shutter, 4bia , Meat Grinder , Sick Nurses and The Victim – not forgetting of course the moody The Eye films. The House is the latest edition to this strikingly eclectic fold and it boasts the same unique tone and idiosyncrasies as its creepy peers.  The serpentine story coils around investigative journalist Shalinee (Inthira Chaloenpura) who is commissioned to make a documentary about several doctors who brutally murdered their wives. As her investigation continues, she uncovers some odd connections and similarities between the killings, including the sinister fact that throughout the years, all the murderous doctors had at one time or another lived in the same house near the hospital. Despite warnings from spooked (and spooky) neighbours, Shalinee enters the house in search of further clues. What she finds there plunges her and her hu...