Re: *** Official 9th Annual HTF October Scary Movie Challenge
10/01/08:
LA FOLIE DU DOCTEUR TUBE (Abel Gance, 1915) 
It’s ironic that, of Gance’s more celebrated Silent work, this should be the one I watch first: it’s a one-reel short about a mad scientist – hence its inclusion in the “Horror Challenge”, though the tone throughout is distinctly comical! The titular figure is played by Albert Dieudonne – later the incarnation of Napoleon in the director’s eponymous epic of 1927 – and who’s fitted here with an exaggerated domed head, which he finally shelters inside a cage!
Even so, its
raison d’etre is Gance’s use of the wide-angle lens in depicting the disorientating effect on people when subjected to a drug (in the form of dust particles) concocted by the protagonist. However, this gimmick – which actually prevents one from following what’s going on! – is kept up for an inordinate length of time: consequently, even at a mere 10 minutes, the gimmick outstays its welcome…
10/01/08:
AMONG THE LIVING (Stuart Heisler, 1941)
I’d always been interested in this one – not least because it involves twinsJ (and, thus, reminiscent of the Boris Karloff vehicle THE BLACK ROOM [1935]) – so that when I came across the film, even if I knew that the quality would be far from optimal, I leapt at the chance to acquire it. While not strictly horror, it involves several elements that are part and parcel of the genre – old dark house, family secret, madness, murder, mob fury, etc.
Despite, as I said, the fact that the video was rather fuzzy – so that the images generally lacked detail – I was nonetheless struck by the film’s cinematography and editing: these were particularly effective during a scene at a bar, where the mad brother (who had been secluded all his life but has now broken loose) is ridiculed by the customers, and the one following it where he chases a girl into an alley and kills her. The two central roles are played by Albert Dekker and he does very well by both, though the mad brother is obviously the showier character – which he invests with a remarkable vulnerability (when seeing the locals indulging in a particularly animated jitterbug routine, he naively asks his future victim who’s accompanying him at the time “What are they doing?”); incidentally, despite the narrative’s Gothic – or, more precisely, Southern – trappings, the setting is a contemporary one.
The supporting cast is a good one and includes: a young Susan Hayward (that is, before she became, the First Lady of Screen Melodrama) as the perky small-town girl who entrances the crazy Dekker – which she’s all-too-willing to play up to, but who promptly and fiercely turns against him when he’s eventually revealed to be the cause of the terror which has gripped the community!; Harry Carey in the ambivalent role of the town doctor who, having been complicit in the cover-up of the mad brother’s existence, fears the repercussions of this act if he were to intervene when – at the satisfactorily frenzied climax – the good Dekker is accused of his brother’s crimes!; and the troubled Frances Farmer who, however, is wasted in the colorless role of the innocent sibling’s wife (in a virtual prerequisite of genre heroines, the actress is also asked to scream – which she does unconvincingly! – in her one scene with the mad Dekker).
The film is a Paramount production and, therefore, currently owned by Universal; while the latter have served their horror back-catalogue reasonably well on DVD, the equivalent stuff from that other studio has been consistently (and bafflingly) neglected over the years – especially since this includes such highly-desirable titles as ISLAND OF LOST SOULS (1932), MURDERS IN THE ZOO (1933) and, now, AMONG THE LIVING itself...
10/01/08:
AU SECOURS! (Abel Gance, 1924) 
Typical haunted house comedy with neglected French comic Max Linder (who recalls both Terry-Thomas and Raul Julia!), in which the hero – a dapper member of a social club – is dared to spend an hour in such a place by its current owner. Incidentally, the film itself seems to have been made as a bet between Gance and Linder (of whose films this is my first sample); given its inclusion in the Scary Movie Challenge, it’s ironic that Linder and his wife committed ritual suicide on Halloween Day, 1925!
Anyhow, the ghouls that terrify the hero aren’t just the usual gimmicks such as skeletons or headless/monstrous figures – but also an assortment of reptiles (snakes, crocodiles) and wild animals (tigers, lions)! Despite the obvious danger to his life, Max holds firm...but is finally deterred from keeping up the bet to the very last when his wife calls at the house and tells him she’s being menaced (which is, of course, a nasty trick pulled by the owner to ensure his triumph in the matter!).
While it’s not exactly remarkable in the horror/comedy stakes – and repetitive to boot, not least because it has Max mostly stuck in one room (incidentally, I watched the 23-minute version and not the reportedly longer ‘restored’ one at 40)! – Gance once again lays on the technique (though the image unfortunately suffered from distracting jitters all the way through): especially creative is the scene in which Max is hanging on to a chandelier which, declining under his weight, literally pulls the picture down with it!
10/01/08:
SWEENEY TODD, THE DEMON BARBER OF FLEET STREET (George King, 1936)
This is only the second Tod Slaughter vehicle I watched after the superior THE FACE AT THE WINDOW (1939), which I had come across during my tenure in Hollywood; I became even more interested in acquiring it after checking out Tim Burton’s excellent 2007 filmization of the Stephen Sondheim musical rendition of the popular “barnstormer”.
While the plot (which, for what it’s worth, is given a contemporary framework in this case) is obviously similar, here, the titular figure is unsurprisingly depicted as an out-and-out villain – which the star (Britain’s answer to Bela Lugosi rather than Slaughter’s own more versatile countryman Boris Karloff) approaches with trademark hamminess, rubbing his hands together and laughing maniacally when about to indulge in his nefarious deeds. Typically, too, he covets a young girl (daughter of a merchant) in love with a poor boy (a sailor on one of his ships) and isn’t above blackmailing her father in order to guarantee the mismatched union!
Incidentally, when the film opens, barber Todd (and the female owner of a neighboring pie-shop) is already well into the habit of disposing of his customers – his motive being simply greed rather than revenge as in the later film version. By the way, the fact that the victims end up as ingredients in the woman’s ‘recipe’ (via a rotating chair in his shop which sends them tumbling down her cellar!) is merely intimated here – but it’s perfectly understandable for a product from 1936. The climax, then, is a bit contrived as both hero and heroine don disguises in order to expose Todd – however, it all leads to a nicely ironic twist when, amidst the flames which have engulfed his establishment, the demon barber gets to make use himself of the very contraption he had devised!
In the end, this is watchable – if essentially crude and stodgy – fare which, however, isn’t helped by the annoying practice of excessively cleaning up the soundtrack i.e. virtually all noise apart from the dialogue is bafflingly eliminated…except that the former, undercut as it is by relentless hiss and crackle, comes across as muffled most of the time and, thus, rendering the ensuing digital manipulation all the more blatant!
10/02/08:
THE BESPOKE OVERCOAT (Jack Clayton, 1956)
Celebrated British fantasy short from an equally famous source, a story by the great Russian novelist Nikolai Gogol which has been filmed several times (I own two other adaptations myself: the 1952 Italian version and a 1954 TV program also made in Britain: interestingly, both of these had served as dramatic showcases for comic stars i.e. Renato Rascel and Buster Keaton[!] respectively). For the record, yet another acclaimed cinematic rendition of the tale is the Russian one from 1959.
In the case of the film under review, however, the essentially low-key handling benefits tremendously from the presence of character actors in the central roles (and also by emphasizing their Jewishness): Alfie Bass – some of his mannerisms here would be reprised in Roman Polanski’s horror spoof THE FEARLESS VAMPIRE KILLERS (1967)! – is the poor and meek clerk, who wishes to own an overcoat that would shield him from the cold environment at his workplace (ironically, a textile business), and David Kossoff the modest but “Number One” tailor he entrusts with the task.
Actually, the film begins with Bass’ funeral – and Kossoff buries the coat with him, the former having died (of a broken heart from being sacked) before it was completed. Subsequently, the tailor is visited by the ghost of the clerk – recounting the animosity with his employer, how the ownership of the overcoat became a question of dignity and pride, how he lost his job and ensuing lonesome death. Bass, however – who feels spited, having been shown no gratitude for the service he diligently rendered for so long – asks Kossoff to accompany him to the shop intending to ‘abscond’ with a piece of expensive fabric (finally settling on a sheepskin coat).
Director Clayton boldly chose to treat ghost stories with the same level of realism accorded to a gritty drama (see also THE INNOCENTS [1961], on whose R2 SE DVD this short was thankfully made available) and for which he employed cinematographer Wolfgang Suschitsky (especially effective are the transitions from the present to Bass’ recollections and back again) and composer Georges Auric (who supplies a lovely score). The end result – which emerged both an Oscar and Venice Film Festival winner – is fascinating and virtually flawless, ensuring its solid reputation (for a short subject) among cineastes.
10/02/08:
GENUINE – THE TALE OF A VAMPIRE [Condensed Version] (Robert Wiene, 1920)
I’ve been wanting to give this a whirl ever since acquiring it six years ago – as part of the Kino edition of the same director’s THE CABINET OF DR. CALIGARI (1920). However, the result (without taking into account its obvious narrative gaps, being incomplete in this version) is nowhere near as groundbreaking or even compelling as that earlier classic – despite the comparable Expressionist look (including a clock standing in for the face of a skeleton[!] and which is still its best quality).
The plot revolves around a
femme fatale called Genuine – hence, the vampire of the title is not of the blood-sucking variety – who had actually been the high priestess of some cult. Due to a clash between factions, she ends up in a slave market (featuring surprising but discreet nudity) and is eventually bought by an eccentric old man (among other things, he likes to doze off while being shaved daily!), who keeps the girl in the cellar of his ‘notorious’ mansion so as to shelter her from the vices of modern life; incidentally, one is never quite sure in which era this is all supposed to be taking place – since the dapper but doddering old man has an Arab, with painted bare chest, for a servant! The irony, then, is that the girl’s own nature – she has a feral countenance and wears a skimpy striped outfit! – is infinitely more dangerous to the young men she enslaves (one of whom sports a highly anachronistic Duran Duran hairdo!). These, in fact, are somehow driven mad (as it stands, the details aren’t very clear – particularly with respect to the old man’s nephew); when the son of his exclusive barber is similarly afflicted, the latter rouses the populace against her and – in a scene which basically replicates Cesare the somnabulist’s fate from the aforementioned THE CABINET OF DR. CALIGARI – she dies in the ensuing pursuit.
In conclusion, the treatment afforded the film isn’t sufficiently gripping to rate it higher than a mere curio at this juncture; besides, it’s all the more disappointing coming from Wiene (who, besides CALIGARI also made the equally influential THE HANDS OF ORLAC [1924]). By the way, another interesting effort of his – the Dostoyevsky adaptation RASKOLNIKOV (1923) – will soon be released on DVD by the budget label Alpha (under the alternate title of CRIME AND PUNISHMENT)…
