Film Noir ♥ Transgression Into the Cultural Cinematic Gutter: From Shadowland to Psychotronic Playground

“Unexpressed emotions will never die. They are buried alive and will come forth later in uglier ways.”
Sigmund Freud

“Ladies and gentlemen- welcome to violence; the word and the act. While violence cloaks itself in a plethora of disguises, its favorite mantle still remains sex.” — Narrator from Faster, Pussycat! Kill! Kill! (1965)

Faster Pussycat
Tura Satana, Haji, and Lori Williams in Russ Meyer’s Faster, Pussycat! Kill! Kill! 1965
Cul-de-Sac
Françoise Dorléac and Donald Pleasence in Roman Polanski’s Cul-de-sac 1966
the Naked kiss
Constance Towers kicks the crap out of her pimp for shaving off her hair in Sam Fuller’s provocative The Naked Kiss 1964
Shock Corridor
Peter Breck plays a journalist hungry for a story and gets more than a jolt of reality when he goes undercover in a Mental Institution in Sam Fuller’s Shock Corridor 1963
CapturFiles_3 copy
Bobby Darin is a psychotic racist in Hubert Cornfield and Stanley Kramer’s explosive Pressure Point 1962 starring Sidney Poitier and Peter Falk.

THE DARK PAGES NEWSLETTER  a condensed article was featured in The Dark Pages: You can click on the link for all back issues or to sign up for upcoming issues to this wonderful newsletter for all your noir needs!

Constance Towers as Kelly from The Naked Kiss (1964): “I saw a broken down piece of machinery. Nothing but the buck, the bed and the bottle for the rest of my life. That’s what I saw.”

Griff (Anthony Eisley) The Naked Kiss (1964): “Your body is your only passport!”

Catherine Deneuve as Carole Ledoux in Repulsion (1965): “I must get this crack mended.”

Monty Clift Dr. Cukrowicz Suddenly, Last Summer (1959) : “Nature is not made in the image of man’s compassion.”

Patricia Morán as Rita Ugalde: The Exterminating Angel 1962:“I believe the common people, the lower class people, are less sensitive to pain. Haven’t you ever seen a wounded bull? Not a trace of pain.”

Ann Baxter as Teresina Vidaverri Walk on the Wild Side 1962“When People are Kind to each other why do they have to find a dirty word for it.”

The Naked Venus 1959“I repeat she is a gold digger! Europe’s full of them, they’re tramps… they’ll do anything to get a man. They even pose in the NUDE!!!!”

Darren McGavin as Louie–The Man With the Golden Arm (1955): “The monkey is never dead, Dealer. The monkey never dies. When you kick him off, he just hides in a corner, waiting his turn.”

Baby Boy Franky Buono-Blast of Silence (1961) “The targets names is Troiano, you know the type, second string syndicate boss with too much ambition and a mustache to hide the facts he’s got lips like a woman… the kind of face you hate!”

Lorna (1964)- “Thy form is fair to look upon, but thy heart is filled with carcasses and dead man’s bones”

Peter Fonda as Stephen Evshevsky in Lilith (1964): “How wonderful I feel when I’m happy. Do you think that insanity could be so simple a thing as unhappiness?”

Glen or Glenda (1953)“Give this man satin undies, a dress, a sweater and a skirt, or even a lounging outfit and he’s the happiest individual in the world.”

Glen or Glenda
Ed Wood’s Glen or Glenda 1953

Johnny Cash as Johnny Cabot in Five Minutes to Live (1961):“I like a messy bed.”

Dr. Moreau (Charles Laughton) Island of Lost Souls: “Do you know what it means to feel like God?”

The Curious Dr. Humpp (1969): “Sex dominates the world! And now, I dominate sex!”

The Snake Pit (1948): Jacqueline deWit as Celia Sommerville “And we’re so crowded already. I just don’t know where it’s all gonna end!” Olivia de Havilland as Virginia Stuart Cunningham “I’ll tell you where it’s gonna end, Miss Somerville… When there are more sick ones than well ones, the sick ones will lock the well ones up.”

Delphine Seyrig as Countess Bathory in Daughters of Darkness (1971)“Aren’t those crimes horrifying. And yet -so fascinating!”

Julien Gulomar as Bishop Daisy to the Barber (Michel Serrault) King of Hearts (1966)“I was so young. I already knew that to love the world you have to get away from it.”

The Killing of Sister George (1968) -Suzanna York as Alice ‘CHILDIE’: “Not all women are raving bloody lesbians, you know” Beryl Reid as George: “That is a misfortune I am perfectly well aware of!”

The Killing of Sister George
Susannah York (right) with Beryl Reid in The Killing of Sister George Susannah York and Beryl Reid in Robert Aldrich’s The Killing of Sister George 1960

The Lickerish Quartet (1970)“You can’t get blood out of an illusion.”

THE SWEET SOUND OF DEATH (1965)Dominique-“I’m attracted” Pablo-” To Bullfights?” Dominique-” No, I meant to death. I’ve always thought it… The state of perfection for all men.”

Peter O’Toole as Sir Charles Ferguson Brotherly Love (1970): “Remember the nice things. Reared in exile by a card-cheating, scandal ruined daddy. A mummy who gave us gin for milk. Ours was such a beautifully disgusting childhood.”

Maximillian Schell as Stanislaus Pilgrin in Return From The Ashes 1965: “If there is no God, no devil, no heaven, no hell, and no immortality, then anything is permissible.”

Euripides 425 B.C.“Whom God wishes to destroy… he first makes mad.”

Davis & Crawford What Ever Happened to Baby Jane?
Bette Davis and Joan Crawford bring to life two of the most outrageously memorable characters in Robert Aldrich’s What Ever Happened to Baby Jane? 1962

WHAT DOES PSYCHOTRONIC MEAN?

psychotronic |ˌsīkəˈtränik| adjective denoting or relating to a genre of movies, typically with a science fiction, horror, or fantasy theme, that were made on a low budget or poorly received by critics. [1980s: coined in this sense by Michael Weldon, who edited a weekly New York guide to the best and worst films on local television.] Source: Wikipedia

In the scope of these transitioning often radical films, where once, men and women aspired for the moon and the stars and the whole ball of wax. in the newer scheme of things they aspired for you know… “kicks” yes that word comes up in every film from the 50s and 60s… I’d like to have a buck for every time a character opines that collective craving… from juvenile delinquent to smarmy jet setter!

FILM NOIR HAD AN INEVITABLE TRAJECTORY…

THE ECCENTRIC & OFTEN GUTSY STYLE OF FILM NOIR HAD NO WHERE ELSE TO GO… BUT TO REACH FOR EVEN MORE OFF-BEAT, DEVIANT– ENDLESSLY RISKY & TABOO ORIENTED SET OF NARRATIVES FOUND IN THE SUBVERSIVE AND EXPLOITATIVE CULT FILMS OF THE MID TO LATE 50s through the 60s and into the early 70s!

I just got myself this collection of goodies from Something Weird!

weird-noir
There’s even this dvd that points to the connection between the two genres – Here it’s labeled WEIRD. I like transgressive… They all sort of have a whiff of noir.
Grayson Hall Satan in High Heels
Grayson Hall -Satan in High Heels 1962
mimi3
Gerd Oswald adapts Fredrick Brown’s titillating novel — bringing to the screen the gorgeous Anita Ekberg, Phillip Carey and Gypsy Rose Lee and Harry Townes in the sensational, obscure and psycho-sexual thriller Screaming Mimi 1958
The Strangler 1964 Victor Buono
Victor Buono is a deranged mama’s boy in Burt Topper’s fabulous The Strangler 1964
Repulsion
Catherine Deneuve is extraordinary as the unhinged nymph in Roman Polanski’s psycho-sexual tale of growing madness in Repulsion 1965

Just like Alice falling down the rabbit hole, Noir took a journey through an even darker lens… Out of the shadows of 40s Noir cinema, European New Wave, fringe directors, and Hollywood auteurs, brought more violent, sexual, transgressive, and socially transformative narratives into the cold light of day with a creeping sense of verité. While Film Noir pushed the boundaries of taboo subject matter and familiar Hollywood archetypes it wasn’t until later that we are able to visualize the advancement of transgressive topics.

Continue reading “Film Noir ♥ Transgression Into the Cultural Cinematic Gutter: From Shadowland to Psychotronic Playground”

Sunday Nite Surreal-The Premonition (1976) Carnival Clowns & Deathly Dreams

THE PREMONITION 1976

premonition_1976_poster_01-1

Directed by Robert Allen Schnitzer and written by Anthony Mahon, Schnitzer and Louis Pastore? Okay… While I’ve never seen anything else by Schnitzer, this moody, surreal, haunting and often frenetically disturbing reverie has remained with me all these years. Some people think it’s a weak film, not even a horror movie. I’m not saying it’s a masterpiece, but I think it’s a genre gem!

What’s really strange about this hidden terror film is cinematographer/director Victor Milt ( Run Stinky Run, Sex Wish) has done some weird really obscure stuff after working on The Premonition and director- writer Schnitzer hasn’t done anything I can talk about here either. So how did this remarkably creepy film become what it is??? I wish I knew the answer, but there have been memorable films created by one time feature film directors like Herk Harvey’s who usually did shorts or documentaries who envisions the gorgeous dreamlike Carnival of Souls 1962. At least writer-actor Richard Blackburn did Eating Raoul 1982 after his unbelievable Lemora: A Child’s Tale of the Supernatural 1973. (Coming to the Last Drive In soon!)

Great character actor Jeff Corey plays the investigating Police Det. Lt. Mark Denver. There’s even a gypsy woman, played by Wilmuth Cooper. 

CapturFiles_176
Jeff Corey plays the investigating Police Det. Lt. Mark Denver.

I saw The Premonition when it first arrived in theaters in 1976. It frightened the bejesus out of me then, with it’s nightmarish segments in particular Jude’s (Richard Lynch) and Andrea’s (Ellen Barber) uncontrollable fits of rage. Their joint psychosis was a very powerful elixir as part of the carnival set piece. Their relationship alone could have made for an interesting story of madness, obsession and self-destruction.

CapturFiles

CapturFiles_3

CapturFiles_9

CapturFiles_10

CapturFiles_17

CapturFiles_22

CapturFiles_28

CapturFiles_32

CapturFiles_33

CapturFiles_35

CapturFiles_37

This film was my introduction to the interesting actor that is, Richard Lynch. The film has stayed with me. I’ve read other people’s reviews who think the script is ridiculous, muddled and the pacing is choppy. Still it has a haunting quality to it, especially Lynch and Ellen Barber’s performances. The music by Henry Mollicone is fantastical for the vibe of the film and fascinates me, now I have to see his musical performance in the fascinating documentary The Face on the Barroom Floor 2013.

The lens has a ghostly haze over it. with a low drab subdued tonality. The music brings you in like a soft waling of an otherworldly siren. An eerie Glossolalia , the fluid vocalizing of the tormented Andrea. Reminding me of the amazing Lisa Gerrard from Dead Can Dance.

The institutional green bus pulls over and Andrea grips herself looking toward something. The clear pale blue sky hovering over Andrea feels chilly. She is beautiful yet strange, walking slowly toward the carnival grounds. A flutter of birds let out into the air, the vocalizing continues and Ferris Wheel comes into focus with another stomach turning carnival ride. These daydreaming machines add the color to the midway landscape. It is desolate here.

carnival of souls

It somewhat creates a colorful version of Carnival of Souls the haunting set pieces of desolation, and otherness that play on our deepest thoughts. The impressions effervesce in fair grounds and we construct fantasies.

Dulcimer and glistening piano bring forth Jude, a cigarette hanging out of his oddly angular face and lion like blonde mane, he’s almost sexy ugly. The film still lensed in cold aqua greens and pale blue. He steps out of his trailer, we see he’s wearing white ballet slippers like a mime. The piano rolls magnificently. Henry Mollicone is a virtuoso. With electronic music by Pril Smiley.

Jude steps out onto the pavement, wearing suspenders he begins a series of theatrical movements. Moving dramatically with his scarf.

Jude expresses with his body more fervently as if he hears the grand piano playing. He reaches up to the blue sky so vivid so crystalline blue. As Jude it is a lonely dance for a sad solitary clown. As he bends downward he sees Andrea standing there. It a portent, life is about to be turned truly upside down.

The story is a simple and unreserved one, gripping and nightmarish for all the players and we who witness a small girl being hunted psychically by her dangerously unstable biological mother who is traveling with a carnival.

CapturFiles_38

CapturFiles_40

CapturFiles_43

CapturFiles_45
The scene cuts to them sitting in his trailer she’s looking at photographs through a spy glass. He says “Look at those eyes, Andrea, and the mouth… see that. I saw her yesterday when I took the photograph. This time I’m positive I know it’s her” “You sure her name is Janie” “Yeah I’m sure, here look” He flips the photo over and the name and age is on the back.
CapturFiles_48
“Janie Bennett the age is right… it all figures… it’s gotta be her” Andrea asks, “Where does she live?” Jude tells her, ” Dover about 5 miles from here.”

CapturFiles_49

CapturFiles_50

CapturFiles_55

Jude begins to put on his heavy white grease paint. Andrea goes to the board and touches the photo of Janie…
She turns to him… ” I thought you’d forgotten about me Jude” ” I told you I’d call you as soon as I found something didn’t I?” “Jude what if its not her, what if it’s like all the other times… what if we come out with nothing what then?” Then we wait and we keep on waiting until we find her”

CapturFiles_5

CapturFiles_7

CapturFiles_8

CapturFiles_9

CapturFiles_12

CapturFiles_13

CapturFiles_15

CapturFiles_16

CapturFiles_19

CapturFiles_21

CapturFiles_22

CapturFiles_23

CapturFiles_25

When Andrea shows up at Janie’s school, the music becomes a flutter of wings with flute as the children run free from their inside captivity. Andrea fingers the metal holes in the fence moving slowly, waiting for her little girl to appear. Finally Janie is standing before her she calls to her, then Janie runs to her adoptive mother Sherrie who is waiting in the car.

CapturFiles_27

CapturFiles_35

CapturFiles_36

CapturFiles_31

CapturFiles_32

CapturFiles_33

Back in Jude’s trailer-Jude says, “We were lucky it couldn’t of taken years to find her” “It did take years… five stinkin’ years in that rotten pit” Jude answers,”Oh it wasn’t all that bad, I mean we wouldn’t have met otherwise.” 

CapturFiles_38

CapturFiles_39

CapturFiles_40
Andrea’s horrible beer drinking tv junkie landlady in curlers

CapturFiles_45

CapturFiles_46

CapturFiles_50

CapturFiles_51

CapturFiles_52
The use of ‘red’ in this movie is distinct. It is the characteristic color that symbolizes Andrea’s passion, madness and self destruction. Red is Andrea’s COLOR… down to her lipstick

CapturFiles_53

CapturFiles_55

CapturFiles_56
The window impresses me as a Mark Rothko painting. The color red is very impressionistic and so vital to the film’s narrative.

CapturFiles_59

The use of ‘red’ in this movie is distinct. It is the characteristic color that symbolizes Andrea’s passion, madness and self destruction.

Jude tells Andrea that he has found a house. A small house in the woods, a nice place to settle down with the kid.

CapturFiles_61

CapturFiles_62

CapturFiles_64

CapturFiles_65

Andrea glows a weird smile emerges at first “Settling down!” Then clenching her teeth as she drags the comb through wet raven tresses. “What are you talking about settling down for… what are you talking about. Sometimes I just don’t understand you Jude. Settling down for what…?this comes first! “

But Jude explains that they can hide out in that house til things blow over. She walks away towel drying her hair.

He remains on the topic “nobodies lived there for years. they’ll never find us”

Jude lays on the bed smoking a cigarette while Andrea in red bathrobe, plays a beautiful piece of music on the piano.

The scene switches to Miles talking to Dr Kingsly his associate about parapsychology as she instructs a small class-

CapturFiles_67
“The Clairvoyant reality is totally rejected by science and finds expression only in our art, music religion”

“The Clairvoyant reality is totally rejected by science and finds expression only in our art, music religion”

CapturFiles_69

CapturFiles_70

CapturFiles_71

CapturFiles_73

CapturFiles_74

CapturFiles_76

At the same time the film is juxtaposing images of Andrea having a primordial psychic meltdown. Not even maternal scream, just a core anaphylactic roar from deep within.

CapturFiles_79

CapturFiles_80

CapturFiles_82

Sherri begins to see visions of a volatile confrontation between Jude and Andrea. On the spectral plane it comes across in distorted yowls and negative film images. It’s quite a frightening effect. I remember being terrified by these scenes in the darkness of the theater. Like little shock treatments to a burgeoning MonsterGirl mind…

For people who think there isn’t enough explanation to the narrative Sherri’s friend hints at the idea when spending the night telling Sherri that she had heard of two minors who had been trapped for several days, they began sharing the same hallucinations. In this way, her question about Sherries disturbing visions somehow being linked to Janie’s bad dreams is true.

A psychic storm is brewing from the rage and unrequited desires from both Jude and Andrea. Janie and Sherrie naturally begin to form a single wave length that tunes into this frequency. At least this is the premise of the film. The one link is Janie the child… and who will be the conquering mother?

CapturFiles_83

CapturFiles_84

CapturFiles_85

CapturFiles_87

CapturFiles_88

CapturFiles_92

CapturFiles_93

CapturFiles_98

While Miles is not working late with the attractive professor Kingsly, he’s eating cotton candy and riding the merry go round with her.. hhm… at the carnival-definitely research related… as she suddenly looks down at Mile’s wedding band her happy expression fades away.

Meanwhile Andrea and Jude pull up in that fabulous green pick up. The crickets and chorus frigs are singing their night song. Jude shuts the motor off. In her red dress, nails and oz slippers like the witch of the west Andrea creeps or slithers into the house to take Janie.

CapturFiles_101

CapturFiles_103

CapturFiles_104

CapturFiles_105

CapturFiles_108

CapturFiles_113

CapturFiles_114

CapturFiles_118

CapturFiles_120
the frame appears to give an almost fun house effect with the striped wall paper that disorients us
CapturFiles_121
Andrea’s presence on the stairs casts a dark menacing shadow along the wall, reminiscent of Nosferatu

CapturFiles_122

The use of electronic sounds is excellent.

Andrea’s casting a darkness, shadowing the wall is reminiscent of Nosferatu. Andrea is almost as icy as a dead thing herself… wanting to lure the child back, it looks and feels vampiric. Yet this is Janie’s biological mother, which creates some ambivalence for me as she deserves to have at least guided contact with her daughter, otherwise why let her out of the mental hospital?

It creates the effect of psychic static the use of sound used whenever the camera focuses on Andrea’s movements.

And the framing of Andrea looking back into the den while Sherri sleeps utilizes the striped walls as they also become as distorted as fun house room. Very disorienting.

The last remnant of shadow left from andrea creeping up the steps is eerire as Sherri sleeps as if under a spell. Once again… a notion of Nosferatu. Andrea even has a dark complexion that could even be considered eastern European gypsy, like Bela Lugosi.

CapturFiles_124

CapturFiles_127

The use of electronic static, noise represents Andrea’s state of mind at the moment. The use of low lighting and color is well placed and create a surreal atmosphere of worlds colliding.

The electronic noises that represnet Andrea’s madness and presence are like a metalic insect. As if she hisses and slithers into Janie’s room. Everything is back lit. Andrea’s color is hot reds, and Janie is cool blue.

Sherri wakes up to the sound of the rocking chair in Janie’s room.

No body can tell me that this film isn’t an eerie, haunting little story, that stays with you… If it doesn’t deliver on the kinds of gruesome gory chills you’d expect from a 70s horror story then you’re watching the wrong film. But this film is highly underrated and often shot down by critics who feel it falls short. Oh well… The rest of us who know it’s strength will continue to advocate for it…Back to the film….-MonsterGirl 

CapturFiles_129

CapturFiles_131

CapturFiles_132

CapturFiles_133

CapturFiles_134

CapturFiles_136

CapturFiles_140

CapturFiles_141

CapturFiles_142

Andrea runs down the stairs taking one of Janie’s dolls  after fighting with Sherrie who is clinging to Janie on the bed. Andrea screams up to Sherrie… “She is Mine… she will always be mine-!!!!!!” Her voice is strained, powerful, almost magnetic.

Back at Jude’s little house in the woods, Andrea is holding Janie’s doll as if it were her.

CapturFiles_143

CapturFiles_144

CapturFiles_145

CapturFiles_147

“You are such a pretty baby” Andrea says to the doll. Jude staring out the bleak window of the little house looks on with a worried stare. He rips the head off the doll as it squeaks Andrea screams and cries. Jude has become more unhinged himself. It has been brewing in him since the beginning. But it is not working out the way he had envisioned. He can’t control Andrea, and she obviously doesn’t care for him the same way. Two mentally ill people fighting over their own neurosis.

CapturFiles_150

CapturFiles_151

CapturFiles_154
“What’d you do to my baby?”
CapturFiles_155
“Your baby, your baby is back in the goddam house with its mother”

CapturFiles_158

CapturFiles_159

CapturFiles_160

CapturFiles_164
“What’s it to you? You’re not her father!! You are nobodies father. And you’re never gonna be anyone’s father… You aren’t even a goddam MAN!!!!

CapturFiles_165

CapturFiles_169

Andrea destroys Jude’s manhood as if she took a knife and thrust it in.

Jude looses it… we hear screams.

CapturFiles_171

CapturFiles_172

At the same time…Sherrie gets cold in the bathroom, the mirror freezes over. She cannot see herself. It’s a supernatural event that begins to connect the events surrounding the players involved.

Jeff Corey the investigating cop shows up at Janie’s biological father’s house to ask some questions about Andrea.

I’ve noticed the narrative uses a lot of frames where people are either looking out windows or doors or standing in the doorframe looking in. It’s that tout to parapsychologies’ introspective plane of existence…the within powers that surround all of us on a personal level. The character look inward, we’re watching them look inward and we wind up looking inward with them…

CapturFiles_173

Danielle Brisebois makes her debut playing Janie Bennett the wee one who is being visited by her psychic/psychotic mother through horrifying visions like a vampiric wraith filtering through the ether reaching outward to contact her little girl who was given away to foster parents while she was in the mental ward. But Janie is terrified and wants to remain with her foster parents Prof. Miles and Sherri Bennett played by Sharon Farrell  (Larry Cohen’s It’s Alive 1974) and Edward Bell. Farrell is always good at playing adorable cheap, neurotic and a little over the edge. Brisebois was still really cute at this stage before she became Archie Bunker’s annoying niece, until she grew up into a sexy rock singer.

I have to admit that seeing this film in the theater when I was an impressionable teenager really freaked me out a bit. The images were quite startling, and in retrospect anything Carnival related is wonderfully creepy and wonderfully eerie, as it attains it’s own self contained world. The vision of the crazy Andrea Fletcher are quite stunning as well, so as far as the pacing being muddled or uninteresting, I suppose those people who hated this film were looking for more 70s bloody, axes, psycho-sexual mind games, animals attacking or devil children. This story is a bit of a childlike nightmare amidst, Folie à deux insanity, loss, possession, motherhood and longing. The narrative slips between a mordent sense of all these themes, as it expands beyond the literal world and works on our unconscious participation in moral ideals of motherhood, rights of and the boundaries that separate us all by a psychic thread.

Andrea (Ellen Barber  who plays Mickey Roarke’s secretary in Nine 1/2 Weeks (1986) comes to Janie’s school to try and grab her, but Janie’s new mommy Sherri has a premonition and manages to arrive just in time to save Janie. Andrea lives with her wildly menacing boyfriend, a clown named Jude. Yikes, as if Lynch wasn’t frightening on a good day, wearing white face paint and painted on tears… it still gives me the heebie-jeebies.

CapturFiles_189

CapturFiles_190

CapturFiles_191

CapturFiles_192

Andrea is obsessed with getting Janie back, and Jude will do anything for his nutty girlfriend. The pair manage to kidnap Janie leaving the Bennetts in a panic who then seek out the help of a parapsychologist Dr. Jeena Kingsly (Chitra Neogy) a colleague of Miles. They hope that she can decipher Sherries terrifying visions, as she also has a psychic link to Janie she must try and track her down before the unstable Andrea loses it completely and harms her daughter.

The story makes it hard for us to sympathize with Andrea as a protagonist longing to be reunited with her daughter, because she herself is such a threatening figure. She’s been recently released from an institution and is still emotionally volatile. She met Jude while she was hospitalized. Jude keeps a watchful eye out for Janie, working for the carnival he’s in the position to see a lot of children pass through. One day he spots Andrea’s daughter with Sherri.

He tells Andrea that he’s seen Janie which is the catalyst for a wave of psychic visions that beset Sherri. Dr Kingsly tries to guide Sherri to use her powers of ESP to find Janie and connect with her to track her down and bring her back.

CapturFiles_184
Jeff Corey is on the scene talking to the landlady helping to locate the kidnapped Janie

CapturFiles_185

Filmed in Mississippi the look has a haunting rustic and starkly Gothic feel to it. There’s an untouchable sense of dreamery, a trance like aura that surrounds the frames. It disconnects us from all things being easily explained, but dreams are like that and the atmosphere of the eerie and urgent narrative compensates for the lack of cohesive and sensible plot design.

In the 70s not all things were explained coherently. Sometimes the figures floated upon landscapes that were nightmarish and made no sense. As in Let’s Scare Jessica to Death 1971, and yet it was this ambiguity that created the mystique, the mystery and the mood.

What makes a story a thing that is haunting are visions not clearly defined, nor affirmations said aloud. The outstanding theme that jolts you into a sense of agony is the pull between two mothers, one who is emotionally destructive yearning for her child, and the other, desperately trying to protect the child she believes is hers now.

Caught in between is Janie who can only feel the thrust of possession surrounding her, the vivid nightmares and fears of innocence and unknown. Also tangled in the web of possession is Jude who is merely being used as a means to procure Janie for Andrea. His frustration turns outward like the rage of a tornado. Lynch’s face reveals his turbulence well. Andrea taunts him until he is so wounded that he keeps the child even when he doesn’t have to. If I say more I will give away part of the story…

CapturFiles_177

CapturFiles_179

CapturFiles_180

CapturFiles_181

CapturFiles_186

CapturFiles_188

There are some truly shocking moments-The painting crying blood when Dr Kingsly tells Sherri just to let it flow when trying to teach her to hone in on her psychic insights. -Andrea wearing  a ruby red evening gown soaked in blood appears in Janie’s bedroom with rocking chair (turtle lovers look away) it is extremely eerie and somber. Her hands seem like talons, once again The Monstrous Feminine arrives on cue.

There are a few visions or apparitions of Andrea drenched in blood and the recurring forming of ice on those iconographic mirrors. Mirrors, the pathway to see ourselves is clouded by ice in order to obscure Sherri’s view into the psychic world.

The climax is a mesmerizing sequence, one that will either have you laughing and dismissing this film completely as others have done, or it will stay with you as it has with me, a beautiful little nightmare.

A Trailer a Day Keeps the Boogeyman Away! The Nanny (1965)

“Would you trust the nanny . . . or the boy?”

THE NANNY (1965)

The Nanny film poster

Director Seth Holt and screen writer Jimmy Sangster put Bette Davis in the role as Nanny based on the novel by Marryam Modell (Bunny Lake Is Missing)

CapturFiles_1

Davis plays kindly, attentive Nanny who is in charge of looking after precocious 10-year-old Joey Fane (William Dix-Tommy Stubbins in Doctor Dolittle), who has just been released from a hospital for emotionally disturbed children. It is believed that Joey was responsible for the bathtub drowning death of his little sister.

CapturFiles_6

The film works so well fielding paranoia as Joey persecutes Nanny, trying to get his family to believe that it was Nanny who was the one who killed his sister and now looking to do him in. Once his mother Virgie Fane (Wendy Craig) becomes poisoned, a very tautly wound game of cat and mouse ensues as he enlists the help of the girl Bobbie who lives upstairs played by the wonderful Pamela Franklin. The film also stars Jill Bennett as Aunt Pen, James Villiers as Joey’s father Bill, and Maurice Denham as Dr. Beamaster. Bette Davis is purely marvelous as the very emotionally destructive older woman who has a few secrets that haunt her…

No one straddles the Grande Dame Guignol trope quite like the inimitable, the superb Bette Davis.

I’ll be doing a more extensive post about this film, as well as Dead Ringer 1964, as I just can’t get enough of those eyes – that voice…

Hush Hush… Sweet Charlotte
Hush… Hush Sweet Charlotte 1964

CapturFiles_4

CapturFiles_3

CapturFiles_7

CapturFiles_9

CapturFiles_8

CapturFiles_2

CapturFiles_5

Yours truly, MonsterGirl

Val Lewton’s Curse of The Cat People (1944) “God should use a Rose Amber Spot!” Seeing the darkness thru the ‘Fearing Child’ and ‘The Monstrous Feminine’ Part II

https://monstergirl.wordpress.com/2012/10/23/begin-the-bagheeta-val-lewtons-fantasy-reality-world-of-curse-of-the-cat-people-fearing-the-femalefeline-monster-and-the-engendering-child-part-i/ 

This post is continued from Part 1: at the link above!

And now Part II

From page 112 Chapter 7 J.P Telotte Dreams of Darkness

FANTASY as REALITY, REALTY as FANTASY

The Curse of the Cat People (1944)

-The child per se makes us uneasy, ambivalent ; we are anxious about the human propensities concentrated by the child symbol. It evokes too much of what has been left out or is unknown, becoming easily associated with the primitive, mad and mystical. – James Hillman ” Abandoning the Child” in Loose Ends

The evil little girl in Master of the Macabre Mario Bava’s Kill Baby Kill (1966)
The embodiment of evil in a little blonde girl from Federico Fellini’s segment Toby Dammit of 1968’s Spirits of The Dead
In stark contrast to those 2 iconic evil imps of horror (above), Amy Reed is not supposed evil incarnate, but she does threaten the equilibrium of the ‘normal’ world her father inhabits.

To continue with this blog post about one of Lewton’s very precious stories, less darker than his others, and dealing with childhood, the fears of and by children.

All of Lewton’s works dealt with subject matters that forced us to push the boundaries of ‘the familiar’ and challenged us to face a darker more mysterious reality of the natural world, and the incomprehensible landscape of the human psyche.

Curse of the Cat People (1944) acts as a cinematic continuum to Lewton’s Cat People 1942, featuring Simone Simon once again as the alluring, and sensual Irena Dubrovna Reed, who may or may not have belonged to a race of beings that could shape shift into the physical form of a large cat or black panther, when sexually aroused.

The symbol of Irena synthesized the fear of women’s sexuality, sexual freedom, the women’s body, and often the correlation that is made with women’s emotional existence and madness. What is engendered in Cat People (1942) is far less about a woman who can morph into a predatory feline, and more about the collective fear of ‘The Monstrous Feminine.’

Amy lashes out at the little boy who has crushed her beautiful friend, the butterfly. Fear the woman/child.

While Amy is not Irena’s biological daughter. Amy is truly more of a progeny to Irena and the mystique she embodies, because they are both alienated figures who are frustrated and misunderstood. Who stand outside the social community which is pumped from the veins of ‘rational’, normative thoughts and behaviors. Amy is the figure of ‘The Fearing Child’, an innocent who not only has ‘power’ she can wreak havoc in our ‘normal’ world.

Both characters are imaginative, and rely on their senses. They are more connected to the natural world, to the darkness which is associated with the feminine energy and less intellectual which is considered a masculine marker. They are considered emotional, irrational and dangerously unpredictable. Oliver Reed is just as frightened and moreover threatened by his six year old little girl as he was of his beautiful and tragic wife Irena, who was more a victim than ever the ‘monster’ she was perceived to be.

In Cat People, Curse of the Cat People, I Walked With A Zombie, The Leopard Man, The 7th Victim and Isle of The Dead there aren’t concrete Monsters as in Universal films as in Frankenstein’s creation, Dracula or The Wolf Man.

Universal’s Bride of Frankenstein 1935 Literal monsters in a corporeal world.

RKO studio heads had a mistrust of Lewton’s creative vision, his unconventional approach to some esoteric subject matter or volatile subjects such as a woman’s sexual desires. Lewton, rather than using literal lumbering, fanged or hairy monsters, used the powers of suggestion and shadow to tell the story.

Irena emerging from Lewton’s shadow world in Cat People 1942
Little Amy lost within the emerging shadows of the old dark house in Lewton’s Curse of The Cat People 1944
Barbara Ferran always placed by a door like a bystander, she is bombarded by Lewton’s shadows.

Lewton disliked mask like faces, that were hardly human, the kinds of images that were expected from the horror genre he was infiltrating. Lewton liked to reveal the monsters that were lurking in the subconscious primitive recesses of our own imaginations. Shadows become the monster in these films, they are the mysterious layer that surfaces in world that only makes sense in the light of day. And Amy draws the shadows to her…

They do not have scary faces, they are quite human and in fact ordinary. He takes the ‘familiar’ and inverts it, subverts it, rattles the soundness of an accepted experience, and turns it into either an illusion, a nightmare, or a fit of paranoia. He taps into our childhood fears, and sets those fears on the frightened characters in his shadow plays. Usually because the thing they fear, is uprooting of their own personal desires and the fear of coming face to face with them.

The tragic and tormented Irena in Cat People 1942

Oliver couldn’t handle Irena’s sexual desires, nor her desirability, it triggered too much of his own primal urges, and so he demonized her, a fragile girl in a foreign country who believed in folklore from her very ancient set of beliefs handed down for centuries.

Oliver Reed has a fear of foreign Objects!-Cat People 1942

A story which quite often itself was ambiguous as to whether the threat was real or imagined. RKO wanted to be in competition with Universal, so they added footage of a menacing Panther which was inserted into several scenes of Cat People.

Continue reading “Val Lewton’s Curse of The Cat People (1944) “God should use a Rose Amber Spot!” Seeing the darkness thru the ‘Fearing Child’ and ‘The Monstrous Feminine’ Part II”