shaxper
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Post by shaxper on Oct 17, 2014 9:20:03 GMT -5
Oct 8 entry: #23: King Kong (1933/USA) Inspired equally by the jungle fantasy films of the 1920s and the emerging monster-on-a-rampage niche of the 1930s and '40s, King Kong is really two films in one -- a fantastic adventure set on a remote uncharted island, and a horror film with a body count once we cut back to New York. Thus, the ongoing debate as to whether or not the film counts as horror tends to depend upon which aspect of the film strikes a greater chord with you. In regard to the horror aspect, the film is distinct in its high quality production values (even though, by today's standards, we recognize the stop motion and movie screens used to create the effects), it's scope (cinematic monsters of the time tended to rampage in small, remote villages; not Times Square), and its sheer brutality. It's frankly astonishing how inhuman Kong's violence is at many parts in the film, perhaps most memorably when he casually flings an innocent sleeping woman tens of floors down to her doom simply because she wasn't Fay Wray. In contrast, the film is light on meaning, subtext, tone, and style. Once we're out of the natives' village, the film's only real goal seems to become bringing Kong (and the occasional dinosaur) to life convincingly. Even the message about Beauty killing the Beast seems forced. This is not a film in which an innocent savage is defeated by its willingness to experience vulnerability. It's a predator protecting its acquisition as an angry dog might protect a bone. Still for the sheer spectacle, scope, brutality, and (let's face it) fun, this film is truly an unforgettable guilty pleasure classic. |
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Post by shaxper on Oct 17, 2014 9:21:04 GMT -5
Oct 9 entry: #22: Isle of the Dead (1945/USA) The second (though not final) Val Lewton film to make this list, Isle of the Dead begins as an exploration of a Greek military leader with blood on his hands who refuses to see it, but the film then takes an abrupt departure when he and a reporter following him find themselves quarantined with a small ensemble cast within a house on an island of graves as a plague breaks out (with the infection clearly already in the home). Feeling prototypical of Romero's Living Dead series, the film finds most of its drama in watching characters left with entirely too much time to think and interact, all finding different ways of dealing with the inevitable death that is coming for most of them. The powerful are made vulnerable, old quarrels are resumed, ancient superstitions come to dangerous new life, and suspicions of foul play and attempted murders abound. Did I mention the one character terrified of being buried alive? No foreshadowing there, of course. It still makes for one of the most surprisingly terrifying endings I've ever seen in a horror film. Even Martin Scorcese listed "Isle" as the 11th most terrifying horror film of all time. |
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Post by shaxper on Oct 17, 2014 9:21:57 GMT -5
Oct 10 entry: #21: The Bat (1926/USA) Though often eclipsed by its two more famous remakes (one because Vincent Price took the lead role, and one for its more immediate influence in the creation of Batman), this was the first and arguably strongest of the films, all starring a terrifying master thief known as "The Bat." Originally performed as a play, the film relies more upon drama than special effects to shock us. We're offered a compelling mystery that continues to expand in complexity until the close, dramatic tension among incredibly well acted characters, some truly fun comic relief, and an overwhelming tone of spookiness, mystery, and dread. Though the 1930 remake was the film that directly influenced the creation of Batman, the character's prototypical presence is just as equally felt here in terms of the villain's costume, wall scaling abilities, and even the bat signal he flashes to announce his presence. Though this is not a primary selling point for the film, it's fascinating to watch, nonetheless. Unlike other popular Old Dark House type horror films that depend upon confusion and subterfuge to advance the plot, The Bat adds to this a compelling, terrifying, and anonymous flamboyant villain at the center of it all, as well as incredibly strong directing, acting, and plotting, all to serve up an incredibly captivating mystery horror film. |
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Post by shaxper on Oct 17, 2014 9:22:49 GMT -5
Oct 11 entry: #20: I Walked with a Zombie (1943/USA) Alfred Hitchcock's "Rebecca," meets Jane Eyre, meets a zombie-worshipping voodoo cult. Surprisingly, the marriage really clicks. Add to that some strong acting and writing, plus some masterful scenic direction and signature Val Lewton use of shadows, plus one of the most moving and bittersweet endings in all of horrordom (my second favorite of all time, in fact, after #2 on this list...), and you're in for an unforgettable and thoroughly moving experience. |
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Post by shaxper on Oct 17, 2014 9:23:54 GMT -5
Oct 12 entry: #19: The Cabinet of Dr. Caligari (1920/Germany) The ultimate embodiment of German Expressionism, this early horror thriller is perhaps best known for its ambitious, otherworldly visuals. While some of it comes off awkwardly (especially the cardboard backgrounds of the village), the most prominent portions are unforgettable in their strangeness and have left an undeniable impact on modern filmmakers (most notably Tim Burton). Additionally, Caligari features one of the more memorable twist endings in horror cinema. It's frankly astonishing to consider that the ending was a tacked on last minute idea. It would be a very different film without it. In the end, while Caligari is not a masterpiece in terms of characterization nor in storytelling, the visuals and twist ending have left an impact on cinema that, nearly a century later, is still unmistakably prominent. |
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Post by shaxper on Oct 17, 2014 9:24:52 GMT -5
Oct 13 entry: #18: House of Dracula (1945/USA) Universal's "Monster Mash" films of the mid-1940s, in which they threw all of their more successful but now ailing horror franchises together into one film, were tacky by nature, and yet also had a lot going for them. House of Dracula, the last of the serious monster mashes, suffers from plot holes a mile wide as well as a few notable absurdities in script and story, but the cinematography and tone are quite strong, some of the dialogue is quite compelling, and the acting is phenomenal -- particularly John Carradine as Count Dracula. No one was ever going to fill Bela Lugosi's shoes, so Carradine took a completely different approach, and it truly worked. In addition, the Lawrence Talbot Wolfman is at the end of his personal character arc, with a character now juggling his own powerful desire for death with his sense of obligation towards others, and then there's the self sacrificing hunchback with a heart of gold, as well as the altruistic doctor turned Mr. Hyde, rounding out a cast of truly endearing characters, each with their own powerful motives to be reconciled by the close. Really, this is the very last time a Universal horror film was both moving and fun. In most respects, the era of serious Universal monster films went out with a bang here. No, this isn't the 18th most QUALITY film ever made, but the amount of fun and strong ingredients it brings to the production certainly qualify it as the 18th GREATEST in my book. |
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Post by shaxper on Oct 17, 2014 9:26:27 GMT -5
Oct 14 entry: #17: Shadow of a Doubt (1943/USA) One of Alfred Hitchcock's many gifts was his ability to blur the genres of mystery/suspense and horror. As a result, it's incorrect to squarely label Shadow of a Doubt as a horror film, though it does feature a psychologically deranged killer and a desperate gambit for survival by its close. Beyond being a fantastic film that leaves you on the edge of your seat in its own rite, the film casts a wide sphere of influence, being felt in such disparate later films as Wes Craven's A Nightmare on Elm Street (vulnerable young girl forced to find the inner strength to make the bad man go away when no one else can help/believe her) and Christopher Nolan's The Dark Knight (explaining this one would give away much of the ending). This was supposedly Hitchcock's favorite of his own films. I can't say I agree, but it's riveting throughout and likely to raise the hairs on the back of your neck at least twice. |
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Post by shaxper on Oct 17, 2014 9:27:16 GMT -5
Oct 15 entry: #16: House of Frankenstein (1944/USA) The greatest of the Monster Mash films, this one truly strove to throw everything but the kitchen sink into the mix, and yet weave it together meaningfully, with fantastic drama, superior acting, and great direction. The odd part is that the two mainstay characters, Dracula and the Frankenstein monster, spend so little time in the film. Instead, the film strives to tell its own story with a new mad doctor driven by vengeance (one of Boris Karloff's finest roles of all time), and his tragic side kick hunchback loosely enacting the tragedy of The Hunchback of Notre Dame (one of J Carol Naish's finest roles, as well). Beyond even this, though, lies the absolute most powerful chapter in the Wolfman saga as the character who began as a frightened and somewhat whiny man-child is now maturely resigned to his fate -- determined to die if he cannot be cured. The final moments of the film are amazingly powerful as a result, as two interweaving tragedies (The hunchback's and the Wolfman's) come to a close all at once. Unforgettable film, even in spite of the absurd marketing stunt it was intended to be. Had Dracula had a more comfortable place in this production (played by John Carradine, no less. What a waste!), and not seemed like such an arbitrary inclusion, this film would likely rank even higher on the list. |
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Post by shaxper on Oct 17, 2014 9:28:08 GMT -5
Oct 16 entry: #15: The Black Cat (1934/USA) In classic horror, there are no greater giants than Boris Karloff and Bela Lugosi, and there are no classic horror Hollywood feuds that are better remembered, either. Though the two teamed up several others times, so much of the magic of The Black Cat is how much the actors almost seem like they are playing themselves -- civil colleagues on the surface with a bitter hatred towards each other simmering just beneath. Chances are, this story is far more meaty than the actual hostilities that flared between the two actors, but it's a fantasy worth subscribing to. The odd civility with which they engage each other, even sitting down to play a friendly game of chess while shooting daggered glances at each other and discussing the most dire of wagers, is remarkable (and clearly laid the way for the Professor Xavier/Magneto relationship in the first X-Men film), leaving one to constantly question just how far either is capable of taking things, as well as when they might finally act. Additionally, both legends bring superb passion and complexity to their roles, further enriching the conflict with glorious depth. There's a worthwhile plot and back story as well, fantastic (though to be expected) Universal-level production qualities and tone, and there's a black cat in there somewhere too, but don't go expecting too much of an homage to Poe, here. This is, quite simply, an ultimate must-see for any fans of Karloff and Lugosi and, if you're not already fans of theirs, watching a few of the other films on this Top 50 list will quickly cure you of that. |
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Post by shaxper on Oct 17, 2014 9:29:04 GMT -5
Oct 17 entry: #14: The Mystery of the Wax Museum (1933/USA) Combine a sub par B movie script with some of the most terrifying and innovative images ever committed to film, and you get the mixed blessing that is The Mystery of the Wax Museum. This early Technicolor gem starring Lionel Atwill and Fay Wray is chock full of suspense and eerie visuals that will knock your socks off by the close, even if the story, itself, leaves a lot to be desired. Still, the characters are charming, the acting is strong, and the camera work, visuals, and pacing are out of this world, truly finding new ways to terrify on several occasions. Plus, I can't get enough of that early Phase II Technicolor look. It's used to amazingly disturbing effect here. |
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Post by MDG on Oct 17, 2014 12:02:22 GMT -5
#37: Island of Lost Souls (1932/USA)...There's no film out there that disturbs quite like "Island" does. Haven't seen this one in a while, but, yeah, some ugly things implied. Lugosi was in a few good movies right after Dracula that were pretty damn dark (remember, we're still pre-code here). A couple more are coming up. Sept 25 entry: #36: The Hunchback of Notre Dame (1923/USA)In an era in which Hollywood understands that even the most poorly done low budget horror films are instant box office moneymakers, it's hard to understand the ambition behind the 1923 Hunchback film -- to make America's first big budget horror experience, pulling out all the stops to make it a cinematic spectacle. Well, I think this was sold more as a historical spectacle based on a famous novel than as a horror film. Sept 26 entry: #35: The Murders in Rue Morgue (1932/USA)See my comment on Lost Souls above. Apparently, this was a bone thrown to Robert Florey for being taken off Frankenstein. Also, pretty much a remake of Caligari. Sept 27 entry: #34: Mark of the Vampire (1935/USA)I think it's true that every Tod Browning film borders on artistic perfection, but is always weighed down by one significant fault. In the case of Mark of the Vampire, had the script been stronger (and the ending entirely different), this film would have easily made the Top 10. I disagree with your first sentence, but agree with the second. None of Browning's films are really satisfying for me, and a lot of the parts I do like, I don't necessarily credit to him (but I have to dive into the silents more). But, boy, is this one ruined by the ending. Better to just have the thing on with the sound off. Oct 2 entry: #29: The Wolf Man (1941/USA)Though this is not a thrilling film throughout, if you watch it through the symbolic lens of the father/son relationship, the end is simply staggering in its implications. Yeah. This was lost on me for a long time, since it seemed that NY TV used to cut out the early scenes in Talbot Castle. Oct 3 entry: #28: The Invisible Ghost (1941/USA)Of course, Kessler has two other problems. For one, every year on his anniversary, Dr. Kessler loses his mind, believing he is still married to his wife and is madly in love with her, spending the whole day talking to thin air. Second, there have been a series of unexplained murders on his property. Do the two connect in some way? Is Lugosi reverting to type as a psychopathic murderer after all? Just found this one recently--its PD, so easy to find online. Surprisingly well done (by the great noir director Joseph Lewis), since the story doesn't make a lick of sense. I wonder how many dead people I could find in my house and still have the police not even consider me a suspect? Oct 4 entry: #27: Son of Dracula (1943/USA)But still, you'll have to make your peace with a lead actor who never seems comfortable in the cloak, portraying a weirdness that is too subtle and unfocused for the role he is attempting to undertake. Perhaps, had the lead role been cast better, this would be a more widely celebrated film, as well as far higher up on the Top 50 list. Lon gets a bad rap for this, but I like him in it. He's a m ore physically threatening Dracula--one you don't want to f**k with--and then a woman tries to f**k with him. Could do a very interesting feminist reading of the movie. Probably the last great Universal. Oct 9 entry: #22: Isle of the Dead (1945/USA)The second (though not final) Val Lewton film to make this list, Isle of the Dead begins as an exploration of a Greek military leader with blood on his hands who refuses to see it, but the film then takes an abrupt departure when he and a reporter following him find themselves quarantined with a small ensemble cast within a house on an island of graves as a plague breaks out (with the infection clearly already in the home). Great, but one of those movies that just confused 9-year-old Creature Feature viewers. Oct 11 entry: #20: I Walked with a Zombie (1943/USA)Alfred Hitchcock's "Rebecca," meets Jane Eyre, meets a zombie-worshipping voodoo cult. Surprisingly, the marriage really clicks. Add to that some strong acting and writing, plus some masterful scenic direction and signature Val Lewton use of shadows, plus one of the most moving and bittersweet endings in all of horrordom (my second favorite of all time, in fact, after #2 on this list...), and you're in for an unforgettable and thoroughly moving experience. An almost perfect movie. Oct 14 entry: #17: Shadow of a Doubt (1943/USA)One of Alfred Hitchcock's many gifts was his ability to blur the genres of mystery/suspense and horror. As a result, it's incorrect to squarely label Shadow of a Doubt as a horror film, though it does feature a psychologically deranged killer and a desperate gambit for survival by its close. This was supposedly Hitchcock's favorite of his own films. I can't say I agree, but it's riveting throughout and likely to raise the hairs on the back of your neck at least twice. Well, again, psychologically deranged killers weren't sold as horror movies until after Psycho. That doesn't mean they wewren't in movies, but like The Lodger or Hangover Square, sold as thrillers. Horror movies usually had a supernatural or fantastic element. Oct 15 entry: #16: House of Frankenstein (1944/USA)The greatest of the Monster Mash films, this one truly strove to throw everything but the kitchen sink into the mix, and yet weave it together meaningfully, with fantastic drama, superior acting, and great direction. The odd part is that the two mainstay characters, Dracula and the Frankenstein monster, spend so little time in the film. Instead, the film strives to tell its own story with a new mad doctor driven by vengeance (one of Boris Karloff's finest roles of all time), and his tragic side kick hunchback loosely enacting the tragedy of The Hunchback of Notre Dame (one of J Carol Naish's finest roles, as well). Unforgettable film, even in spite of the absurd marketing stunt it was intended to be. Had Dracula had a more comfortable place in this production (played by John Carradine, no less. What a waste!), and not seemed like such an arbitrary inclusion, this film would likely rank even higher on the list. The best thing about this movie is one of the few times where Karloff plays an unapologeticly evil character, and he's great in it. And I like Carradine as the count. Unfortunately, I don't care for Naish here. Oct 16 entry: #15: The Black Cat (1934/USA)This is, quite simply, an ultimate must-see for any fans of Karloff and Lugosi and, if you're not already fans of theirs, watching a few of the other films on this Top 50 list will quickly cure you of that. Another one that just confused kids watching on TV, though great to watch now. |
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shaxper
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Post by shaxper on Oct 17, 2014 16:45:06 GMT -5
Oct 3 entry: #28: The Invisible Ghost (1941/USA)Of course, Kessler has two other problems. For one, every year on his anniversary, Dr. Kessler loses his mind, believing he is still married to his wife and is madly in love with her, spending the whole day talking to thin air. Second, there have been a series of unexplained murders on his property. Do the two connect in some way? Is Lugosi reverting to type as a psychopathic murderer after all? Just found this one recently--its PD, so easy to find online. Surprisingly well done (by the great noir director Joseph Lewis), since the story doesn't make a lick of sense. I wonder how many dead people I could find in my house and still have the police not even consider me a suspect? The film does attempt to explain this, both by suggesting how powerful Dr. Kessler is in the community and also how respected/essential he is to its well being. In the end, when the truth is revealed, you can pretty much see in each police officer's face the the reaction of "Oh crap, no. I don't want to believe this is true, and I DO NOT want to deal with the fallout from this." Granted, the concept is silly from the get-go and has its problems to be sure, but you can shoot massive plot holes through almost any film on this list. |
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Post by Deleted on Oct 17, 2014 17:14:46 GMT -5
I need to go back & start commenting on some of these (i.e. the ones I've seen, pretty much). Been both busy & preoccupied of late. *sigh*
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Post by Jesse on Oct 17, 2014 17:20:21 GMT -5
#38: Werewolf of London (1935/USA) Great film and one of my all time favorite Jack Pierce special effects makeups. #37: Island of Lost Souls (1932/USA)You're not going to get caught up in the plot of this film, the main characters aren't going to win you over, Bela Lugosi will give one of his absolute campiest performances (this coming from an avid fan of his) Still I love how he delivered the "Are we not men?" speech. #36: The Hunchback of Notre Dame (1923/USA) I had an English professor that showed us this film and talked about it at length. I have a lot of respect for Chaney's special effects makeups in this film. I heard the hunch prosthetic itself was actually quite heavy to carry around. #33: Dead of Night (1945/United Kingdom) Definitely one of the best anthology movies ever made. "Golfing Story" based on the H.G. Wells story was surprising lighthearted and fun. It sort of changes the entire mood of the film but only briefly. Arguably the creepiest ventriloquist dummy on film. #29: The Wolf Man (1941/USA) I think the best performance in this film is not from Chaney or Raines but from Maria Ouspenskaya who plays Maleva the old gypsy fortuneteller. She steals every scene she's in. #24: Vampyr (1932/Germany) I caught this on TCM and was really impressed by it. Dreyer captures the creepy atmosphere perfectly. #20: I Walked with a Zombie (1943/USA) Arguably the best pre-Romero Zombie movie and definitely one of Jacques Tourneur best films. An incredible collaboration between Tourneur and producer Val Lewton. The mood is intense and creepy throughout. #17: Shadow of a Doubt (1943/USA) An excellent Hitchcock film and a great performance from Joseph Cotten but I consider this to be a thriller not a horror movie. #15: The Black Cat (1934/USA) If there's a better collaboration between these two I've yet to see it and an outstanding film in its own right. |
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Post by shaxper on Oct 17, 2014 23:01:11 GMT -5
Oct 18 entry: #13: The Phantom of the Opera (1925/USA) There are always two disclaimers I feel the need to provide before discussing how amazing and groundbreaking this film was: 1. Lead actress Mary Philbin is an absolute disaster. The film will make it up to you. 2. Though the plot and characters are nearly identical, this is absolutely nothing like the famous musical/2004 film. That being said, this film is the benchmark for nearly every horror film that followed over the next two decades, featuring that gorgeous shadowy feel, elaborate Gothic sets, and ominous tone that were the benchmark of nearly all Universal horror films that followed, as well as Hollywood's first truly memorable "monster" thanks to Lon Chaney's self-inflicted make-up job. This isn't really a film I find myself watching for the story, but rather for the style and mood, which is breath-taking and yet to be surpassed in many respects. |
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