THE ATTIC 1980
“Louise’s life downstairs is a living hell… and upstairs lurks a haunting nightmare!- She’s Daddy’s Little Girl … FOREVER!”Â
Carrie Snodgress has always been an actress possessed of great dimension, just watch her as Tina Balsar the persecuted down-trodden housewife in director Frank Perry’s Diary of a Mad Housewife 1970. In The Attic Snodgress is yet again a repressed character Louise Elmore, this time a Librarian who is caring for her cruel and ruthlessly controlling wheelchair-bound father Wendell portrayed by a particularly nasty Ray Milland.
Milland toward the end of his career had started appearing in some of these low budget horror/exploitation films like X, The Man with the X-Ray Eyes 1963, Daughter of the Mind 1969, Frogs 1972. The 80s started to really slide into a kaleidoscope of cheap themes and shock value moments. It doesn’t detract from Milland’s contribution to film history, nor does it malign either his or Snogress’ depth of acting. Director George Edwards ( produced Frogs 1972 with Milland, Queen of Blood 1966, Games 1967, How Awful About Allan 1970, What’s the Matter with Helen? 1971, The Killing Kind 1973, Ruby 1977 – all these films with the exception of Frogs, Edwards worked with Curtis Harrington as the director.
You can see Harrington’s influence on The Attic as it represents a small enclosed family environment creates psychological demons, mental disturbances or what I call director Harrington’s The Horror of Personality. With most of Harrington’s work the narrative is less centered around supernatural forces building it’s framework around the product of mental illness and the dysfunctional family trope acted out within closed in spaces, where relationships over time begin disintegrating, with acts of cruelty, despair, loneliness, fear and repression- the family then, becomes the monster…
The Attic is an angry, aggressive, and psychologically sadistic film, where Snodgress is yet again persecuted and trapped in a dreadful life. The hapless Louise is jilted by her fiancé and left at the altar leaving psychic scars, where she begins to go in and out of reality. Calling the Missing Persons Bureau on a regular basis looking for her lost love. She begins to fantasize about rejecting her abusive father whom she must do everything for. After 19 years of being left alone, Louise doesn’t find much joy in life, except for drinking and dreaming about trips she’ll never take, committing arson at the Library, and spending time with her pet monkey Dicky the Chimp. She is befriended by a co-worker who tries to help bring Louise back into the real world again, but the shocking truth that lurks in that creepy attic won’t stay locked away forever!
The Attic also stars Rosemary Murphy who is usually scary in her own right, at least she scares me since You’ll Like My Mother 1972!
PROM NIGHT 1980
“…Some will be crowned, others will lose their heads”
This is one of the earliest masked killer slasher movies where sexually active teenagers are being stalked on the night of their prom because they were responsible for the death of their classmate years ago. Prom Night features Scream Queen Jamie Lee Curtis who set the trend for good girls or The Final Girl trope… you know- the one who survives because of their integrity, purity, and smarts! Also starring one of my favorites Leslie Nielsen and Antoinette Bower.
SILENT SCREAM (1980) us release
“Quick! Scream! Too late! You’re dead”
During her first semester at college co-ed Scotty Parker (Rebecca Balding) is one of several college students who rents a room from Mrs. Engels, the Junoesque Yvonne De Carlo. But there is something very strange going on at this seaside mansion/boarding house–even murder! Mrs.Engels lives at the mansion with her weird neurotic son Mason (Brad Rearden) Scotty is joined by Steve Doubet (Jack Towne), Peter Ransom (John Widelock), and Doris Prichart (Juli Andelman). When Widelock is stabbed to death out on the beach, Police Lt. Sandy McGiver (Cameron Mitchell) investigates and uncovers the family secret. Silent Scream is a more eerie and less typical 80s slasher flick, perhaps it’s due to the weight of the strong cast that inhabits their roles, in what might be a predictable script still possesses that ability to convey the dread in a quietly stylish manner. Co-Produced by Joan Harris
Silent Scream has a claustrophobic melancholic atmosphere instead of utilizing gore it relies more on its Gothic gloomy sensibility, a sense of creepy voyeuristic camera work that makes you feel uncomfortable.
Two names -All you need to know to see this eerie obscure 80s gem Yvonne De Carlo as Mrs. Engels and Barbara Steele as Victoria Engels.
DEADLY BLESSINGS 1981
“Pray you’re not blessed”
Director Wes Craven delves into American rural Gothic horror
After her husband Jim, an ex-Hittite (Doug Barr) has been shunned by his people for having moved away, and marrying an outside. One night after they’ve moved back near the neighboring sect, Jim goes outside to find the word Incubus painted on their barn and then is mysteriously crushed to death by his tractor. A series of grisly murders ensue mostly in broad daylight, as Jim’s widow Martha Schmidt (Maren Jensen) feels increasingly threatened by the sinister neighboring religious community led by the enigmatic Isaiah Schmidt (Ernest Borgnine) who seems to be fanatically obsessed with the idea that Martha is an ‘incubus’ and must be dealt with fire and brimstone!
Deadly Blessing also plants a figure of a dated trope–the ambiguous gender & sexuality of one of the characters. That trope stems from a time when gay or transgendered characters were represented as obsessive, neurotic & at times, dangerous. I don’t endorse this weak and disparaging area of the plot, yet I allow myself to experience Wes Craven’s provocative film as a slice of horror history from a decade that hadn’t gotten it quite right yet. Where the film could have taken a bold step in expanding on this subplot instead it is fueled by subversive incitement.
Craven’s film ultimately relies on the supernatural subtext that is fueling the horror and leaves the other theme to hang out there on its own to be (justifiably to some)- offensive. Too many films with gender-fluid characters in past films were represented by psychos, deviants, and killers.
Deadly Blessings co-stars a young Sharon Stone, popular 70s actress (and one of my favorites) Lois Nettleton, Susan Buckner, Lisa Hartman, and familiar Craven regular Michael Berryman. Directed by Wes Craven
Some IMDb Trivia
Sharon Stone’s first big speaking role in a theatrical feature.
The name of the isolated rural farm where the farmers and Hittites lived and worked was “Our Blessing”.
Wes Craven compared his work with actor Ernest Borgnine to John Carpenter’s work with Donald Pleasance in the original “Halloween”. He states that Borgnine was the first “big name actor” he had worked with and was at first intimidated by the actor.
Ernest Borgnine had to be taken to the hospital to be treated for a head injury following a mishap involving a horse and buggy. Moreover, Borgnine returned to the set to continue acting in the film three days later.
Actor Ernest Borgnine, who had won a Best Actor Academy Award for Marty (1955), which also was Borgnine’s only ever Oscar nomination, was nominated for a Golden Raspberry Award for Worst Supporting Actor for Deadly Blessing (1981), but lost out on the Razzie to Steve Forrest for Mommie Dearest (1981).
THE INCUBUS 1981
“The dreams. The nightmares. The desires. The fears. The mystery. The revelation. The warning: He is the destroyer”
WARNING: Though not overtly graphic Incubus is suggestive of rape. For anyone who might be triggered by sexual violence in film, I would advise you to skip this portion of the post and/or the film entirely!
Back in the day when I read a lot of horror fiction, I have a vague recollection of Ray Russell’s (Mr. Sardonicus 1961, Premature Burial 1962, X-The Man With The X-Ray Eyes 1963), novel knocking me out with its supernatural mythology and its brutality. Of course, when it was adapted to the screen in 1982 directed by John Hough (The Legend of Hell House 1973, Dirty Mary, Crazy Larry 1974, The Watcher in the Woods 1980, American Gothic 1987) you know I was there with my milk duds, raisinets, popcorn and a large icy cup of Pepsi expecting something powerful and Incubus collided with the accepted one-gendered fiend that I had grown up seeing within the constraints of a fairly “cultural conservative” as Carol Clover puts it, driven classical horror industry, stories like werewolves, vampires, mummies, phantoms and mad doctors turned into vile fiends.
As Carol Clover states in her Men, Women and Chainsaws: Gender in the Modern Horror Film-“stories that stem from the one-sex era, and for all their updating, they still carry with them, to a greater or lesser degree, a premodern sense of sexual difference…}…{and some people are impossible to tell apart (the figure in God Told Me To who is genitally ambiguous -the doctor did not know what sex to assign, the pubescent girl in Sleepaway Camp who turns out to be a boy, the rapist in The Incubus whose ejaculate consists of equal parts of semen and menstrual blood.”
Incubus is a supernatural film that sneaks into the 80s but carries with it the demonology sensibility of the early-mid 1970s, The Exorcist (1973), The Omen (1976). Adapted from Ray Russell’s disquieting novel about a demon with a dangerously sized phallus who can incarnate in human form, committing several savage sexual assaults and murders in the small California town of Galen. John Cassavetes plays Dr. Sam Cordell who examines the survivor of one of the assaults and is disturbed by the violence of the attack, learning that her uterus has been ruptured. When the local librarian is killed, John Ireland is his usual brackish self this time playing Sheriff Hank Walden, and team up believing that these brutal attacks are the work of only one perpetrator and not a gang. Kerrie Keane plays a reporter Laura Kincaid who insinuates herself into the investigation and begins an affair with Sam. Erin Flannery plays Sam’s young teenage daughter Jenny who is dating Tim Galen (Duncan McIntosh) who has nightmarish visions of the attacks while he is in a sleeping state. His Grandmother Agatha (Helen Hughes -Storm of the Century 1999 tele-series) tries to convince her Grandson that he is not responsible for these horrible events, but she knows more than she is telling, about the arcane secret the town is hiding and the true history of the venerable family name of Galen.
NIGHT SCHOOL 1981
A is for Apple B is for Bed C is for Co-ed D is for Dead F is for Failing to keep your Head!
Aka known as Terror Eyes
Night School has an unnerving tone, an almost oppressive atmosphere that looms over the film. The 80s was fertile for the slasher films that were popping up in variations of the same narrative, using different methods of death as the centerpiece to highlight the story. In this film, a mysterious killer is decapitating students at a night school for women. I won’t reveal the killer, but I will say that there is misogyny afoot. Originally picked to direct was Alfred Sole, best known for his phenomenal psychological horror masterpiece Alice, Sweet Alice (1976) which would have most definitely improved on the depressing aura the film gives off. Directed by Ken Hughes who wrote the screenplays for The Trials of Oscar Wilde 1960 and Chitty Chitty Bang Bang 1968. His direction was superior in the dark and dogged Wicked As They Come 1956 starring Arlene Dahl and Phillip Carey.
Night School stars Rachel Ward, Leonard Mann, and Drew Snyder.
ALONE IN THE DARK 1982
“They’re out… for blood! Don’t let them find you!”
Along in the Dark is a highly charged psycho thriller that wants to be a black comedy. The inmates let loose upon an unsuspecting town and mayhem ensues when they target the home of Pleasance’s (Dr. Leo Bain) therapist Dr. Dan Potter (Dwight Schultz) psychiatrist. During a statewide blackout, a group of 3 particularly nasty homicidal maniacs get free from their maximum security ward at the mental Institution and set out on an adventure. Alone in the Dark opens with Donald Pleasance as a short-order cook who has gone berserk and wielding a meat cleaver. Martin Landau is splendid as crazed Byron ‘Preacher’ Sutcliff who likes to set things on fire. Then there’s Erland Van Lidth (from The Wanderers 1979) as a sex maniac Ronald “fatty” Elster with a penchant for younger kids. The best psycho next to Landau, is Jack Palance. The Special Effects are by Tom Savini.
Alone in the Dark is a frenetic ride and you must watch out for the scene when Preacher insists he wants the mailman’s on the bicycle’s hat!
CREEPSHOW 1982
“The Most Fun You’ll Ever Have… BEING SCARED!”
An anthology that tells five terrifying tales based on the E.C. horror comic books of the 1950s. Directed by George A. Romero, with the original screenplay by Stephen King. Stars include Hal Holbrook, Adrienne Barbeau, Fritz Weaver, Leslie Nielsen, Carrie Nye, E.G. Marshall, Viveca Lindfors, Ed Harris, Ted Danson, Stephen King,
HALLOWEEN 3: SEASON OF THE WITCH 1983
After the failure of Halloween II (1978) to excite people at the box office, John Carpenter decided to put a different twist on the creepy goings on for Halloween III (1983) and adapt a script from Nigel Kneale who wrote the Quartermass series, who removed his name from the credits, leaving Tommy Lee Wallace as the writer. I do not hate this film in the way that other fans do. I rather like the odd and malevolent tone of the film, like a dark Halloween fairy tale journey. The idea, children all over America can not wait to get their hands on 3 frightfully popular offerings of rubber masks for Halloween. The jingle for the TV ad alone is enough to send suspicious shivers up a more discerning eye. There is a plot run by an old Druid toy-maker (Dan O’Herlihy) who is perfectly menacing and wants to actually harm the children once they wear the deadly masks, in order to bring back the olden days of black witchcraft and magic. There’s also a sense of a vengeful bitter spirit in Conal Cochran (O’Herlihy) toward consumerism and the misguided exploitation of Halloween.
Halloween III: Season of the Witch also stars Tom Atkins and Stacey Nelkin.
THE SENDER 1982
“Your dreams will never be the same.”
This is British director Roger Christian’s first feature film he worked as assistant art director on the tense thriller And Soon the Darkness (1970)
The Sender works on so many levels, first of all, it stars an impressive cast of accomplished actors. The incredible Shirley Knight, and two very thoughtful actors from the 1980s- Kathryn Harrold, and Zelijko Ivanek.
From Kim Newman’s Nightmare Movies talks about the trend that began with Brian DePalma’s Carrie (1976) “created a briefly popular horror movie sub-genre, the ‘Psichopath’ film. Damien Thorn and Carrie White, like Jim Hutton in Psychic Killer (1975), Alan Bates in The Shout (1978), Lisa Pelikan in Jennifer (1978) Robert Thompson in Patrick (1979) and Robert Powell in Harlequin (1979) are ‘Psichopaths’, seemingly ordinary individuals with hidden, awesome paranormal powers. The wish fulfillment fantasy element of the Psichopath film is obvious.The usual formula finds the Psichopath humiliated, abused and pushed beyond endurance, whereupon immense mental powers are unleashed in an orgy of mass destruction.”
I would also include Brian DePalma’s The Fury (1978) featuring Amy Irving who possesses the psycho-kinetic powers.
When The Sender (Ivanek) is sent to an Institution after a public suicide attempt, psychiatrist Kathryn Harrold as Gail Farmer realizes that he possesses the ability to channel his frightening and often volatile visions to receptive people on the psyche ward. There are truly enigmatic hallucinatory segments of the film which create real apprehension and shivers. In one particular scene where they are juicing Ivanek with electro-shock therapy, his mental waves send a storm of havoc through his personal pain. In the midst of this theme there lies an even dark more disturbing element to the story. There are ghostly visitations from his creepy mother played by the amazing Shirley Knight as Jerolyn. She would make a formidable more temperate yet sinister sister of Carrie White’s hellacious mother -Piper Laurie!
I have followed Shirley Knight’s underrated and outstanding career from her divine performance as Polly in Sidney Lumet’s The Group (1966), the tv series Naked City 1962, The Eleventh Hour 1963, as the gently Noelle Anderson in The Outer Limits 1963 episode The Man Who Was Never Born co-starring Martin Landau. The Defenders 1964, The Fugitive 1964-66, Petulia 1968, The Rain People 1969, The Bold Ones, Circle of Fear, Streets of San Fransisco 1973, Medical Center, Marcus Welby, M.D, Murder, She Wrote, Law & Order 1991 and more… The gravity of each of Knight’s performances has a quality that draws you into her orbit –experiencing her as genuine and engaging. Even as the wraith-like mother figure who comes calling on her son- The Sender, Knight makes you believe in the low-key, spine-chilling moments on screen. She is the catalyst for The Sender’s secret dilemma.
At times The Sender sends its universe into mayhem, at other times it’s a very creepy, restrained atmospheric horror story that is perhaps one of the best films of the 1980s.
CURTAINS 1983
The one impression I took away from Curtains is the iconic sinister hag mask that the killer wears and the scythe or sickle they wield as they creepily skated across the small pond. It’s the kind of moment from a moment that stays in the brain forever!
This stylish Canadian horror film is directed by cinematographer Richard Ciupka (Atlantic City 1980) Curtains stars John Vernon as the typically caustic alpha male Jonathan Stryker director and British Scream Queen Samantha Eggar (The Collector 1965, Doctor Doolittle 1967, The Dead Are Alive 1972, A Name For Evil 1973, All The Kind Strangers 1974, The Seven-Per-Cent Solution 1976, The Brood 1979) who plays Samantha Sherwood an actress who has always gotten top billing in Stryker’s works and in his bed. Samantha believes she is getting the role of a lifetime, the chance to play ‘Audra’ in his next film. Stryker insists that Samantha inhabits the role, to bring out the realism of Audra’s character by having herself committed to an asylum as background research. (It seems Audra was a psychiatric patient.) Stryker is a sadist and leaves Samantha in the hospital for an indeterminate amount of time, while he auditions other young actresses- each who has their own motivations for desperately wanting the part.
Samantha escapes her confinement and goes back to the menacing old mountain cabin during a snowstorm, where Stryker is putting the various women through their acting trials.
Interesting that the character of Samantha in studying the mindset of a mentally ill woman, becomes too well aware of insanity during her own ordeal. The film does a particularly effective job of projecting the intensity that actors experience when trying to lose themselves in a role, keeping their footing in reality.
At the center of this interesting chamber piece is the psychopath in a nightmarish old hag mask who begins killing off the women!
Curtains also stars Linda Thorson (Tara King in The Avengers 1968-69), Anne Ditchburn, Lynne Griffin (Black Christmas 1974) Sandee Currie, Lesleh Donaldson, and Deborah Burgess.Â
According to Mark Allan Gunnells in his essay in Hidden Horror edited by Aaron Christensen-Curtains took 3 years to make it to it’s release due to reshoots and rewrites. “It is suggested that a lot of the problems stemmed from producer Peter Simpson who, having produced the Jamie Lee Curtis vehicle Prom Night, wanted another straight forward horror flick. Director Richard Ciupka, on the other hand, chose to go against the established slasher grain, bringing more European sensibility to the production. The original screenplay even had a supernatural element, with a creature designed (but never used) by makeup legend Greg Cannom (…) As Gunnells points out about the films many chilling scenes, a few that stand out are the dream sequence with a creepy life size doll and the chase scene that involves a hiding place that winds up becoming a “deathtrap.”