Film Review: Rammstein – 'Paris' (DVD)

RAMMSTEIN
'Paris'
Dir: Jonas Åkerlund
UNIVERSAL MUSIC

It may have seemed odd to a few people that 'Paris', another live DVD release, was scheduled so soon after the band's last one 'Amerika' which was only released in 2015. The answer comes in the fact that 'Paris' is not a live document in the same way that most rock/metal DVDs are. This production is a “Concert Film”, that may sound pretentious, but it is for a good reason.

'Paris', while carrying on the proud tradition of great live Rammstein DVDs, actually has more in common with the likes of Talking Heads' 'Stop Making Sense' or Led Zeppelin’s 'The Song Remains The Same'. Yes it is a concert but with 25 separate cameras, two nights of filming, and additional footage rapidly interspersed with the main show it creates something new, something that was quite rightly exhibited in cinemas prior to its DVD release.

The live mix coupled with the rapid cutting between shots, and subtle use of post-processing effects and additional footage basically turn this into one long music video. If you've previously seen Jonas Åkerlund's video for 'Ich Tu Dir Wehr' you will recognise the editing style. But still, even that doesn't quite scratch the surface of 'Paris'.

The 'Made In Germany: 1995 – 2011' tour on which this was filmed saw Rammstein not only coalesce the best of their sonic output into their setlist, but also the best of their pyrotechnics. From the face-mounted flame-throwers of 'Feur Frei' to the incredible fire-shooting metal wings of 'Engel' it is a master-class of choreographed insanity. Yet the addition of the 'B' stage out in the audience (accessible by a lowered bridge) gives the band the opportunity to a) get closer to the audience, and b) enjoy a more stripped-down performance for a few songs (...bar of course Till Lindemann's infamous ejaculating strap-on).

The songs are performed with precision and passion, the live mix is excellent, and the visuals are a feast for the eyes. 'Paris' is one of the rare examples where a live document of a performance actually does the band the justice they deserve. Rammstein have upped the game of live DVDs consistently since they release 'Live Aus Berlin' in 1999, but this may just be unbeatable.  

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Film Review: Gothic – 'Beneath The Snow – Piovono Ombre'

GOTHIC
'Beneath The Snow – Piovono Ombre'
Dir: James Maximilian Jason

'Beneath The Snow – Piovono Ombre' isn't a film. Yes, it is in the film review section but that is purely because it comes on a DVD. Actually 'Beneath The Snow – Piovono Ombre', the latest project from the Gothic multimedia project based in Italy since 1989, is something much bigger than that. The result of the work of 28 musicians, artists, actors, graphics, technicians under the lead of James Maximilian Jason and David Bosch bring together film, artwork, music, lyrics, and much more besides. It is part film, part video game, part musical journey, part art exhibition, and something much more.

The film element (performed in Italian with English subtitles) sees a number of stories converging under the overall arc. The viewer is challenged to discover the real meaning behind the events through hidden symbols and messages. A truly interactive experience, the viewer must take god-like control of the events at strategic points to inform the progress of the story. Overall there are eleven interactive points, a total of five stories and four possible endings, which means that multiple viewings are guaranteed to reveal something new. The result is much like one of the old “create your own adventure” books, however with everything playing out before your eyes instead of in your imagination.

The soundtrack is expansive and comprised of mainly instrumental electronic gothic pieces that give the piece a strange and dreamy atmosphere. Coupled with the very low budget presentation it has a 90s VHS feel to it that comes off as a little cheap, but entirely reto chic given the growing affinity for glitchy analogue effects in the visual arts at the moment. However the overall presentation is so surreal and unnerving that it remains compelling to watch.

With a near two-and-a-half hour run-time and a blend of Italian with English subtitles, things can get very hard to follow. Luckily though there is a 32-page booklet included with the release that lays the stories out in plain English as well as reproductions of the artwork that is seen throughout the film.

'Beneath The Snow – Piovono Ombre' is an ambitious project that seeks to become something truly interactive. Budgetary constraints aside it remains powerful and engaging across it's long run-time and in terms of presentation evokes the likes of David Lynch's early films such as 'Six Men Getting Sick', 'The Grandmother', and 'Eraserhead', as well as the likes of Darren Aronofsky's 'Pi', and the classic surrealist film 'Un Chien Andalou'.

There isn't really a set genre – a psychological exploration of the subconscious with horror atmospheres would be it's best fit. The dark and sometimes bloody action walks hand-in-hand with an ever present sense of mystery and intrigue. We can't ever be sure of what is transpiring based on it's face values and the decisions we make based on our interpretations of it directly effect its outcome.

Unsettling, claustrophobic, occasionally funny, and always challenging, 'Beneath The Snow – Piovono Ombre' may be a lot to take in for a casual viewer. However fans of avant garde art and cinema, as well as those with a dark surreal outlook on life will find this a very interesting prospect to explore.  

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Film Review: Nine Inch Nails – 'Broken'

NINE INCH NAILS 'Broken'
Dir: Peter Christopherson
UNOFFICIAL/LEAKED RELEASE

The 'Broken' movie is one of those mythical artefacts of modern alternative culture. Never officially released and widely bootlegged in various incarnations the explicit film accompaniment to Nine Inch Nails' 1992 EP of the same name was a holy grail amongst fans. However in the post broadband world of the 21^st century web it has periodically become available to download and distribute electronically. First to the net came the digital rips original early versions derived from existing bootleggs that missed the odd piece of footage. Then came the torrent by the anonymous “Seed0” (widely believed to be the NIN front man himself Trent Reznor due to this post on the band's site "12/21/06: Happy Holidays! This one is a guilt-free download. (shhhh - I didn't say that out loud). If you know what I'm talking about, cool.") who also freely gifted a number of rare treats such as the 'Closure' DVD version to fans through The Pirate Bay. This version of the film released by "Seed0" appears to be complete and in DVD quality which saw a resurgence in its distribution in the NIN fan community. And now the short film has found its way onto archive.org the time seems right to review it.

So what exactly is the 'Broken' movie? Well it is a short 20-minute long film shot partly cinematic and partly in the style of found VHS footage which connects the promotional videos from the 'Broken' EP (directed by Eric Goode, Peter Christopherson, Serge Becker, and Jon Reiss receptively) with a vague but graphic narrative. It' doesn't sound so bad does it? We've all now seen the videos for 'Pinion', 'Help Me I Am In Hell', and the universally banned 'Happiness In Slavery', and while dark and explicit by music video standards, they're no more un-watchable than a lot of horror films out there. The 'Broken' movie does take things a few steps further though.

The director is credited as Peter 'Sleazy' Christopherson of Throbbing Gristle/Coil fame, and aside from a brief cameo appearance by Trent Reznor on the television scree, the other actors identities are conjectural. The film opens with a manically grinning character about to be executed by hanging and as the trap door opens the footage cuts to amateur looking film of someone driving around. The “n” from the EP cover and the title “Broken” are shown as a glass overlay on the footage. The car approaches a young man and the film cuts to him tied to a chair gagged and being forced to watch a TV as the video for 'Pinion' plays.

The scenes begin to escalate in severity between and sometimes in the middle of the music videos with the young man being forced to drink from a jerrycan, being revealed with a dark substance smeared on his face, implied sexual violence. The finale of the film sees the killer finally mutilate and kill the young man in a frenzied manner while footage is shown of two cops searching the premises uncovering a previous victim and a sign saying “Trespassers Will Be Eaten” set to the music of 'Gave Up'. The footage cuts back to the execution as the character of the killer drops with an very long rope down a black shaft until the rope tightens. We then get the “n” from the EP displayed again and after another 30 seconds of black screen we see the killer's head comically flying across the screen.

The violence shown is sadistic and graphic, but the effects are very much of their time and reminiscent of the low-budget video nasties of the 1980s. The film as a whole frames a darker narrative that can't help but affect future listening of the musical content of the 'Broken' EP. And while the sexual slant to the on-screen violence is certainly cringe-inducing, many Hollywood films in the years since have shown much more crude and visceral scenes.

Nine Inch Nails completeists will no doubt already have this release burned to a DVD already. But for those of a curious nature, this isn't some great mystery that underpins the 'Broken' and 'Fixed' EPs in any significant way. It is a dark oddity, a curio, and morbid footnote. The eerily shot amateur style VHS footage with it's rapid glitches and washed out colours is a strong counterpoint to the slick shot cinematic monochrome that frames it. From a technical standpoint it is a very well shot and well-edited piece of film, though the interstitial footage's reliance on graphic depictions removes any need for deeper analysis beyond what is seen. As a horror-exploitation film it is as an interesting piece with limited appeal. But as a lost/unreleased part of Nine Inch Nails' crazy early years it will always have a draw for their considerable fanbase. 

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Dissecting the 'Friday The 13th' franchise

Warning! This article does contain plot spoilers...

Ask anyone to name the best known horror villains and you can guarantee Jason Voorhees will be one of those mentioned. The iconic hockey mask wearing and machete wielding hydrocephalic afflicted serial killer Voorhees has become just a part of mainstream culture as the classic monsters of Dracula, Frankenstein and The Wolf Man. Across twelve films the franchise has grossed over $465 million at the box-office worldwide and Jason has subsequently appeared in other media such as novellas, comics, cartoons and there is even a video game in the works.

The main character Jason Voorhees allegedly drowned in the calm waters of Crystal Lake due to the negligence of the workers at the local summer camp. From that day the lake was said to be cursed and when young, horny and negligent teens venture too close to the water a series of brutal murders will usually follow. It's a simple premise, but one that can be rolled out again and again.

With that in mind, and to celebrate Friday the 13^th in style, we take a look at the entire series to judge the best and worst of the franchise.


'Friday The 13th' (1980)

Written by Victor Miller and directed and produced by Sean S. Cunningham. The first film stars Betsy Palmer as the murderous Pamela Sue Voorhees who psychotically sets out to avenge the death of her boy Jason some two decades previous, due to the neglectful Camp Crystal Lake councillors. After the camp shuts down, Mrs Voorhees makes sure it stays that way and unleashes her vengeance on anyone that ventures into it.

The film was the first to cash in on the success of 1978's 'Halloween' which popularised the slasher genre. Despite it's modest budget of just $550,000, the film grossed over $59,000,000 worldwide. The film is one of the strongest and best loved in the franchise despite the fact that the franchise's most iconic character barely makes an appearance in it. Jason would go on to become the main draw, but Mrs Voorhees maternal rampage in the original outing is a great story. The script may be lacking in part and the focus on scares may be at the expense of character development, but in terms of the music, special effects and focus on the killer the film became another trendsetter to those that followed.


'Friday The 13th Part 2' (1981)

After the success of the first film, a sequel became a necessity. This time with a bigger budget and a new leading killer, 'Friday The 13^th Part 2' picks up directly from the first film. Set five years later another group of teens venture to the cursed Crystal Lake only to be picked off in gruesome fashion by another psychotic killer.

Jason's character is revealed to have survived his drowning twenty years before, and has lived hidden away on the shores of the lake ever since. After the death of his mother at the hands of the first film's heroine he takes his revenge against anyone that comes to the lake. The lead character lacks the iconic hockey mask in this film, but stylistically it is still great with the killer’s first person view replicated from the original and upgraded special effects creating a visual fest. The film's big reveal is as much of a classic as that of the late Mrs Bates in Psycho and far more visceral. The film again did well at the box office and despite contemporary critics being generally negative, the film helped to solidify the cult status of the franchise.

'Friday The 13th Part III' (1982)

'.. Part III' again picks up directly after the previous film's events and this time was intended to be the final part of a trilogy. Jason Voorhees, injured after his last encounter retreats to find a new mask and clothes before continuing his killing spree. The film was released in 3D and includes a disco-tinged soundtrack which as somewhat dated it.

The film did even better at the box office than '...Part 2' despite more negative reviews and served to launch Jason as a modern horror icon with the introduction of the hockey mask to his repertoire. Again the plot of the film does not vary too dramatically from the previous outings, however an even bigger budget and more attention to the script ensure a solid outing that wraps up the original story arc pretty well. If watched back-to-back the first three films support and build on each other really well with each one out doing the previous one in terms of effects. The overall story across them isn't that complicated and the character development is still pretty limited across the board, but '...Part III' provides a fitting finale.




'Friday The 13th: The Final Chapter' (1984)

Nope! Evil doesn't die that easily! Despite '...Part III's' intentions to be the last in the series, the studio knew they were on to a money spinner. And as sequels to other slasher films began to be churned out, Paramount was not going to be left behind. In walks in 'Friday The 13th: The Final Chapter' which picks up once again from the end of the last film.

Jason is dead...or so it seems. But that wouldn't make for a very good story now, so Jason miraculously avoids death once more to renew his killing spree. The initial morgue location is a nice change of setting setting, but perhaps a bit too close to 'Halloween II', so Jason soon makes his way back to familiar ground as a new batch of teens arrive at Camp Crystal Lake. Despite it's predictable flow and somewhat formulaic set pieces but it doesn't set out to parody itself, and '...The Final Chapter' still enjoys some great effects and some decent acting courtesy in particular from Crispin Glover and Cory Feldman. It was once again box office gold, and in spite of it's shaky set up is a genuinely enjoyable addition to the first three films.

'Friday The 13th: A New Beginning' (1985)

As the title suggests, the fifth instalment was intended to begin a new trilogy of films that would feature different villains. Why anyone would have thought this was a good idea when Jason Voorhees was now an iconic horror villain is beyond me. Anyway, we see a decidedly different approach with a more psychological slant on the film.

Jason kind of features in this, and at the same time doesn't, making it a bit confusing. The film tries to keep the killer secret for a portion of the film and taps into the mystery of the original nicely. However this soon goes out of the window and the result is some nice gruesome killings tied together by a pretty weak story that doesn't sit well in the franchise. The film did not do as well as its predecessors at the box office and production was allegedly hampered by hardcore drug use. It was an interesting, if unnecessary idea for a direction to take the film and ultimately the franchise. But it is one that time hasn't been too kind to.

'Friday The 13th Part VI: Jason Lives' (1986)

Despite the fact that the previous two films set up the character of Tommy Jarvis to take over the hockey mask and machete full-time, the idea wasn't met with the greatest fan reaction. In response, '...Part VI' sees Jason Voorhees return, this time as an altogether more supernatural creature rather than the stubbornly hard to kill mortal he had previously been. The undead, superhumanly strong and just as blood thirsty Voorhees would become the standard for every subsequent film.

The film ties into the previous two outings, maintaining that link but ultimately dispensing with the direction and opting for a more self-aware script that would be the first to find favour with critics. The plot was more intricate and where it repeated cliché’s it did so in a knowing way that didn't insult the audience's intelligence. Despite the fact the film breaks the fourth wall and contains no nudity, it did amp up the killings with sixteen gory deaths in total. It didn't do as well at the box office as some previous releases, however it remains a firm fan and critic favourite to this day. The film also has one of the best soundtracks of any of the films, as in addition to music by long-time composer Harry Manfedini, it also boasted tracks by Felony and Alice Cooper.

'Friday The 13th Part VII: The New Blood' (1988)

'...Part VII' marks the beginning of the longest running actor to be associated with the role of Voorhees, Kane Hodder, who would continue his portrayal until 'Jason X'. In terms of Hodder's acting and the special FX makeup, it could be argued that this is the first film to see the definitive Jason Voorhees. But other than that the film has little else going for it.

Again as in previous films, Jason is where we left him on his last outing. No ambiguity this time however. We know he can't die and is at the bottom of Crystal Lake waiting to return to the surface and gut more teenagers. Cue Tina Shepheard, a girl with psychic powers haunted by the death of her father some years earlier on Crystal Lake. She returns to the lake as part of a study into her powers and unwittingly breaks the chains holding Voorhees at the bottom of the lake. It's a plot that clutches at straws at times in order to progress the story, however it is a film containing some nice effects and an impressive fire stunt courtesy of Hodder. It isn't a terrible film, but is formulaic and loses that self-aware charm of the previous instalment, which makes for a poor follow-up.

'Friday The 13th Part VIII: Jason Takes Manhattan' (1989)

'...Part VIII' is another film that intended to wrap the story up but ultimately doesn't. The plot sees Jason stalking a boat full of students as they make their way to New York. It's a nice change of scene on one hand, but again it is a film in the series that suffers from a major lack of plot and character development. And despite its title, very little actually takes place in Manhattan.

The film replays many of the clichés we've come to expect, relying heavily on the setting to add the missing dramatic twists. Which they kind of do, but again it doesn't feel like it does enough with what it has. There were apparently budgeting and scheduling problems plaguing the production which is why there is ample opportunity for a memorable urban rampage, but it unfortunately never lives up to its potential. The end result is the weakest film in the entire franchise that would have been a disappointing final outing for Jason Voorhees if it were not for the perpetual grind of the studio production gears intent on wringing the most out of every idea.

'Jason Goes to Hell: The Final Friday' (1993)

In steps the first and only 'Friday The 13^th' of the 1990s in the form of '...The Final Friday'. This instalment sees a new studio distributing and is the first film to not have a tangible link to the previous one. We left Voorhees dead in Manhattan in '...Part VIII' and are now magically whisked back to Crystal Lake to see a trap set for the undead killer.

The trap is sprung and Jason is apparently dead... again. His remains are taken to the morgue... again. Some shaky supernatural shit happens and the killing begins... again. It's another really flimsy set up. There are some memorable deaths and the plot is so far removed from the rest of the series in terms of outlandishness that it is pretty memorable watch. But the acting isn't great, the script has lots of holes in it, and the effects at this time are beginning to look worn out. On the upside though, Kane Hodder is still an intimidating screen presence, and the film at least delivers on its promise this time. Yet the only real glimmer of light was the final shot of Freddy Krueger's gloved had pulling Jason's mask down to hell setting up 'Freddy Vs Jason'.

'Jason X' (2001)

You were expecting 'Freddy Vs Jason' to be here right? Well, sorry you'll have to wait another couple of years for that. Instead we get Jason Voorhees... in space. We left Jason in Hell and that's exactly where the 'FvJ' film starts up. While it was still in development Todd Farmer suggested setting this story in the future to keep the franchise alive. Well... at least his intentions were good.

Actually, 'Jason X' isn't a bad film. It's not great, but the upgraded special effects, the hungry young cast and the rather witty, almost spoof-life script make this a pretty enjoyable film. It's a bit of a dead-end in terms of the plot, as any direct sequel would also have to be set in the distant future – and with that gimmick already done, where else can you go? It does have a stop-gap kind of feel to it in terms of its place in the franchise. But it does tap into that turn of the millennium fear of the future and past coming back to haunt us. If it had been filmed more in keeping with a film such as 'Alien' it may have been better received, but instead it simply transposed the usual set pieces into a new location. At least this one had its humorous moments though.

'Freddy Vs. Jason' (2003)

Finally, the promise made at the end of 'Jason Goes To Hell...' comes to fruition and two of the silver screen's most memorable monsters face off in a fight of the ages! Well, sort of. It is essentially 'A Nightmare On Elm Street' guest starring Jason Voorhees. Freddy is trapped in Hell and uses Jason Voorhees as a vehicle to return to Springwood and restart his own killing spree.

It's a pretty simple set up for what essentially becomes a good ol' fashioned sloberknocker between two of horror's most iconic villains. The body count is high as lots of unfortunate teens get caught in the crossfire. The effects are great and the soundtrack features some pretty decent bands such as Type O Negative, Murderdolls, Slipknot, Mushroomhead, and The Prodigy. You could argue for that reason it is nothing but an extended music video... but what a video! One drawback was the lack of Kane Hodder behind the hockey mask, which meant Robert Englund's Freddy Krueger outshone Jason Voorhees for the majority of the film. Another was the use of the same old set pieces from both franchises. But after a decade of waiting, long-time fans didn't care and did well at the box office as a result and genuinely breathed some new life into the series.

'Friday The 13th' (2009)

2009's 'Friday The 13^th' is a reboot that sees the legend already in place that somewhat reworks the themes of the first four films into one. And for that it works pretty well. With Derek Mears giving one of the best and most physical, Jason performances in the franchise to date and a strong script that kept the suspense of the originals while adding plenty of gore to appeal to modern audiences. It doesn't set out to reinvent the franchise or the genre, but it does successfully bring the legend of Crystal Lake into the 21^st century.

The film is a pretty standard 'Friday The 13^th' set-up with a gang of teens making an ill advised trip to Crystal Lake. Jason doesn't like this, and the massacre begins. However, as with '...Jason Lives', some decent acting, nice gory effects, and a somewhat self-aware script (minus the spoof) creates a more refreshed atmosphere. The film would go on to become the second highest grossing film in the franchise and has become a fan favourite. The film sets up a lot of potential for sequels or prequels as the legend of Jason is already in place in the context of the film before the action begins. You feel as though you're walking into a murderous local secret which although it reworks some of the established story, still fits into the franchise.

So where will the franchise go from here? It has already been six years since the last film, and a new one has been in development since that was released. It's a frustrating wait but the working title of 'Friday the 13th: Jason Returns' is listed for a 2017 release. There is very little in the way of confirmed information regarding the production, however after a successful reboot there is no reason why a new script couldn't continue to play with the chronology or make a big departure from the established formula. Time will tell, but it is safe to say that like it's lead villain, the Friday the 13^th franchise will be damn tough to kill off for good...

For news, information and merchandise check out the Friday The 13th official website.

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Christopher Lee: The most terrifying roles!

Last week the world of cinema lost arguably one of it's greatest actors with the passing of Sir Christopher Lee. His career is one unmatched by any actor living or dead, spanning nearly seventy years and saw him appear in over 250 films. Lee was at 6'5” one of cinema's tallest lading men and he also held an impressive record of the most on-screen sword fights.

His imposing stature, deep booming voice and chiselled exotic features made him an instant choice to play some of cinema's most memorable villains, including the best James Bond villain in the series as Scaramanga in 1974s 'The Man With The Golden Gun', as well as the sinister Comte de Rochefort in the 'Musketeer' films between 1973 and 1989. Lee's portrayal of Rochefort featured him wearing an eye-patch, which isn't mentioned in Dumas' book, but the role was so iconic it has nevertheless been embraced by film-makers ever since.

In memory of Sir Christopher Lee we return to the genre that made him... horror. And look at his most terrifying roles that scarred our collective consciousness and propelled him to international infamy as the silver screens most identifiable bad guys.



The Creature – 'The Curse OF Frankenstein' (1959)

'The Curse Of Frankenstein' was the role that put Lee on the first rung of international stardom. Playing a damaged marionette-like creature in opposition to his friend Peter Cushing's diabolical Baron Frankenstein, Lee simultaneously imbues a melancholy as well as a malevolence into his character. Lee's creature is simultaneously the dark side of his creator's psyche as well as the result of his genius. Lee sees the creature stripped of his humanity and filled with only the base compulsion to kill. Add to that the grotesque Technicolour visage and the imposing frame on the cinema screen and it makes for a performance you won't forget in a hurry.



Lord Summerisle – 'The Wicker Man' (1973)

'The Wicker Man' is perhaps the finest example of folk horror in British cinema, especially seeing as there is no real horror until the end of the film. Lee's charming a suave Lord Summerisle is calm, reasonable and unshakeable in his conviction. Just as most maniacs think they are doing good, so does Summerisle as he and his people enact their age old rites at the expense of Edward Woodward's Sargent Howie. The plot is a strange one, but unfolds like an odd murder mystery until the final frames when Lee reveals the true nature of Howie's visit to the island. Chilling.



Count Dracula – 'Dracula' Film Series (1958 – 1972)

Of course if there is one character the image of Lee will forever be tied to, it's Dracula. Lee played the count in other films outside of the Hammer franchise, but it is for these titillating and blood-splattered outings that he will always be remembered. And although the film series would see a pronounced drop in quality towards the end of its run, Lee never gave a bad performance. He remained dignified, deadly and always scary. The first instalment though is easily the strongest, and worthy of inclusion on it's own, and features the best death scene in the series. One that is truly the stuff of nightmares!



Saruman – 'The Lord Of The Rings' Film Series (2001 – 2003)
This is the most recent, and the highest grossing series in the list. One that saw Lee draw on a lifetime of villainous roles as well as a life-long love of Tolkien's works. Although this isn't strictly a horror series, the very inclusion of Lee's scenes in the films quickly alter their tone. Lee channels both Dracula and Lord Summerisle into his depiction of the treacherous Saurman The White as he joins forces with the legions of Mordor, breads the demonic Uruk-hai warriors, and duels with Ian McKellen's Gandalf. Despite playing the Wizard in his later years, Lee still brings a gravitas and energy to the role that is captivating



Dr. Fu Manchu – 'Fu Manchu' Film Series (1965 – 1969)

Dr. Fu Manchu has been depicted by many different, and usually white, actors over many different decades. But Lee's full colour films in the late 1960s brought the role to a new generation and subsequently did the round on television for years after. Again, not strictly horror, but the imposing Christopher Lee with his diabolical plans for world domination and destruction are just as unnerving as his final appearance as Dracula where the count attempts to unleash a plague upon the world. Political correctness, notwithstanding, Christopher Lee's turns as Fu Manchu are easily the most memorable in cinema.



Grigori Rasputin – 'Rasputin, The Mad Monk' (1966)

Turning the very real historical character of Russian priest and mystic Grigori Rasputin was easy for Lee. His natural stature, booming voice and fierce eyes brought Rasputin back to life and turned him into a supernatural villain with powers gifted him by the devil. Lee also had a very real connection to Rasputin having met on of his assassins as a child. In the film Lee is wild, and at times seems on the brink of a frenzy, but will suddenly return to a calm and composed demeanour that is rather creepy. This is another character that has one of the most memorable deaths in cinema courtesy of the power of Lee's performance.



Father Michael Rayner – 'To The Devil A Daughter' (1976)

By 1976 Lee was looking further afield for acting opportunities and Hammer as a cinematic powerhouse was on the way out. However, there was still time for one final collaboration. 'To The Devil A Daughter' was the second novel by Dennis Wheatley to be adapted by Hammer after the successful 'The Devil Rides Out'. The film suffered greatly by succumbing to the latter-day formulaic Hammer production and dispensing with a lot of the source material. However Lee as Father Michael Rayner is at his Satanic best with another charismatic but disturbing shadow cast over the entire length of the film.



Count Regula – 'The Blood Demon' (1967)

Whatever name you may have seen this film under, it is one of Lee's most underrated roles. This German production loosely based on Edgar Allen Poe's 'The Pit And The Pendulum' sees Lee as a bloodthirsty black magician/murderer returned from the dead to complete his plans to become immortal. Lee is chilling as he brings elements of Dracula and Rasputin to the role all the while retaining an aristocratic dignity to the proceedings. It's a shame it isn't more widely appreciated for the atmospheric mix of gothic and gore that it is with Lee's performance tying it all together.



Dr. Charles Marlowe / Edward Blake – 'I, Monster' (1971)

'I, Monster' is another fine pairing of Lee and his friend Peter Cushing, this time set against an adaptation of Robert Louis Stevenson's 'The Strange Case Of Dr. Jekyll An Mr. Hyde'. Lee takes on the role of the renamed lead characters and draws on his strengths in portraying the man and the monster. Again as Lee adopts the heavy make up of Edward Blake he easily suspends disbelief as he descends into a murderous rampage. Although the film performed poorly on its initial release, it remains as a testament to both Lee and Cushing as they craft fine gothic presentations throughout the film.



Kharis – 'The Mummy' (1959)

'The Mummy' was the third iconic horror role that Lee took on with Hammer films. Although it wasn't as shocking as 'The Curse Of Frankenstein' and he didn't have the dialogue of 'Dracula', Lee nevertheless captivated as Kharis, and ancient Egyptian priest brought back to life as a tool of death. Lee shows his true stock as a great actor being able to convey everything he needs to with just his eyes for the majority of the film. Although he wouldn't reprise the role in any of the subsequent 'Mummy' films by Hammer, his performance left a high bench mark that has yet to be surpassed.


That was our run-down of favourite terrifying outings from the late and very great Sir Christopher Lee. It's by no means exhaustive and certainly doesn't begin to touch on his other roles as both a villain and good guy, whether in horror or not. But these are certainly classics that any fan should watch. And we hope you do.

http://christopherleeweb.com/

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Come to Daddy: 5 Things we want to see in the new Hellraiser (and 5 things we don't)

"You opened it, we came" - The Lament Configuration

For the last two years horror master Clive Barker has been giving us little to no clues to what lies in store for us with his final chapter on the reboot of his classic horror series 'Hellraiser'. Barker hasn't really been involved since the third film, calling most after 'Hell On Earth' a bastardization of his work, but with the new movie on the horizon here's what us fans would like to see, and not to see happen to our favourite slice of darkness.


Things we'd likes to see 

1) Classic Barker
Since he left the 'Hellraiser' franchise back in 1993, Barker has been keeping himself busy. With cult success from movies like 'Nightbreed' and 'Candyman' to the Books of Blood series and other works of literature. His last few films have had little notification, with 'Midnight Meat Train' possibly being the stand out of the bunch. The last thing we want is for him to write something that will easily be forgotten. To any who have read the book 'The Hellbound Heart,' you will know that it is filled with stuff that at the time could not be conceived at that point in movie history. The first chapter alone with Franks' re-birth and awakening to the world changing around him once he opened the box, was changed to a more brutal, yet still satisfying scene. We hold out hope for a bigger budget so he can realize the tales true potential.


2) A sturdy origin tale
As Barker was not involved in the writing or creative background of the fourth installment to the franchise it was up to new blood to create a new twist for the origins of the Hell we had seen so far. Doug Bradley's character as the enigmatic Pinhead had been given a good origin story in 'Hell on Earth', so the only conclusion was to go even further back for a good story. 'Hellraiser: Bloodline' is about a man on a spaceship (yup, it's one of those sequels) that comes from a long family line starting with a toy maker who made the puzzle box. Known as the "Lament Configuration" (after it's creator) it is a box that once opened will bring forth the soldiers of Leviathan and send you back to their world for more than a bit of slap 'n' tickle. There are two tales told of the box. The first is told partly in The Hellbound Heart' and is given an epic backstory in the comic book series. The other comes in the fourth film, where space-age Lamerchand must call forth Pinhead and his army to put a stop to the curse on his family once and for all.
We have been tantalized by Barker that he will be doing his own origin story in the new film, where it shall be set on Devils Island with Lamerchand. Other than that it's anyone's guess on what will happen, but lets hope it's good.


3) Doug Bradley returns!
Good news people! It has already been announced that Doug Bradly, the man behind the pins, shall be returning to the role of Pinhead in this reboot. Barker has stated that there was no question on who should play the head of the Cenobite family (he bowed out when it came to the last film). It's good news for fans as he was the only thing keeping the franchise alive after Clive left for pastures red. Bradley had once admitted that the only reason why he took the role in one of the later films was because his wife said they needed a new fridge(!) so lets hope he's back on form for when the chains fly.

Lets not make this mistake again...

4) A Great score
In the first film the iconic music score was written by Christopher Young. Although it is a well known piece it was not the first choice. Originally the job had fallen to Industrial duo Coil, who wrote something so terrifying Clive Barker called it "Bowel churning"! It was rejected, but still released as an EP, and Young took on the role and wrote for the first two movies, gaining a Saturn Award for best music for his troubles. Since then he's been keeping busy, making scores for horrors such as 'Nightmare On Elm St. 2: Freddy's Revenge' & 'Drag Me To Hell'. Barker would be a fool to miss out on the opportunity to bring back that epic orchestral score that kept us awake at night. Failing that Mr. B (see what I did there) can always ask some of the more modern composers. Charlie Clouser ('Saw', 'Resident Evil 3'), Danny Lohner ('Underworld') and maybe even Trent Reznor (Nine Inch Nails, 'Tetsuo: The Bullet Man', 'Gone Girl') would probably jump at the chance (Reznor being a huge fan and even writing a song inspired by Books Of Blood).


5: Leviathan
Not much is known of the God featured in the second installment to the franchise. Seen as a giant diamond in the sky, the omnipotent being decides upon whom shall become one of his army of Cenobites, and even shines a black light over you to discover your secret sins. After the box was closed inside Hell, causing him to close into itself, we saw no more of this gargantuan figure. Perhaps after Barker left so did the inventive way of writing, rendering the series less of a journey through a persons soul to more being a thriller or gore-fest. We hope to find out more about this dimension and what else it may hold.

Hell has no time for health & safety, just don't look down.

5 Things we REALLY don't want to see 


1) CGI
We may be safe on this one, but it depends on what the film companies and producers say. Barker has always hated CGI, and any true fan of the film series will solidly agree that it has little to no place in the new film. When the first movie was made it was all done through animatronics, and it still holds true today. From Frank's return after drinking Larry's spilled blood, to the skeletal dragon that takes the box away, it still has a gripping effect and will engross and amaze even the new younger fans. If CGI was added it would ruin the realism and would ultimately cost more, leaving little creativity on set and less fun for the cast and crew. If you don't believe me go back to the first one, go on. Head over to your DVD collection, pick it out and watch all 93 minutes of it and tell me it still doesn't kick ass!


2) Changing the movies' theme
The major buzz-kill for near enough every Hellraiser fan was watching the fifth film, 'Hellraiser Inferno', and finding that gone were the intricate plot lines over good and evil (and the questioning of what WAS good and evil) and in it's place was more a gritty cop thriller. What followed was a dull head-fuck that left us bored and unsurprised by it's ending (I won't give it away if you haven't seen it, I wouldn't want to waste the word count). The only good thing to come out of it were some creative Cenobites (that didn't even get a lot of air time) and the fact that the lead character of Detective Thorne was played by Craig Sheffer. The ardent Barker fan would remember the name as he had played the lead role of Boone in Barkers' earlier work 'Nightbreed'. The films after that just got even worse. Even a reprise role of Kirsty Cotton and even another glimpse into the world of the Lamerchand linage wasn't enough to keep us sated, and when 'Hellworld' came along it was a gracious attempt at a clever story, but only if it had been done ten years previous it may have gone down A LOT better... I shall even spare you from the horrific 'Revelations'. I'm just glad I live in the UK where I don't have the autistic yearning to buy the piece of stool. Venting aside, I think we may be safe on this one. The only person who hates those movies more than us is Clive Barker himself, but once again he has to face those dreaded movie execs.


3) Pointless gore or 'Jump scares'
In modern day 'horror' the genre is split into two themes. The first are the jump scares, mostly coming from "found footage" movies like 'Paranormal Activity' (yawn). The second is UBER GORE! AKA lets take an original film and take it to the hilt to see if anyone gets grossed out or pissed off at it's content (*cough* 'Evil Dead' *cough*). Both of these have no place in the 'Hellraiser' world. Sure the original trilogy had a lot of gore, but it all served a role. Adding unnecessary gore to this new film would be like a Steampunker adding cogs to a coffee mug. If it doesn't serve a purpose then it will just end up looking silly to the serious fan. Same can be said of the "jump scare". It's lazy writing and gives the viewer a little scare only to ruin the true horror ahead of them. It would be like Pinhead hiding round the corner and then going "BOO!"

Watch out, he may be hiding in that cupboard in the dark room!

4) A small release
After all the hard work of keeping the execs at bay from the script, Bradley spending hours in the chair, all the SFX people working tirelessly to make this dream come alive, wouldn't it suck if the movie was given little to no promotion and just ended up as a straight to DVD/Blu-ray/Netflix release? The biggest thing that makes a movie lose credibility is the lack of backing from people in the industry. If this movie were to get over-looked due to yet another remake in 3D being promoted by a different big film company then it would be a true kick in the nuts to all the fans out there. We want posters, figurines, hell maybe even a lunchbox! What would be heaven would be after all the dust had settled, an amazing box set would appear, featuring all the films (good and bad) along with bonus features and remastered versions of the original trilogy. Failing that, perhaps an epic release by Arrow Films, with their own artwork and a sprinkle of the fairy dust that makes their company amazing. Seen as the UK aren't getting 'Nightbreed' any time soon I think we're deserved it.

(On a side-note also making the movie 3D can sod off as well.)


5) and lastly NO SEQUEL!
This has been Barkers' idea from the very beginning. Too many times has his work been given "new life" by means of an opening at the end of every film. Clive now wants to put this masterpiece to bed and wants it to go out with a bang, so who are we to question him? We don't want to sit through what could be the most amazing horror movie we will see next year (well I'm not 100% on the release date, but then again no one is) only to have Pinhead's withered hand twitch whilst under a pile of burning rubble at the finale. Saying that, if Pinhead is to well and truly kick the bucket we would want to see it done on an epic scale!

Coming soon: 'Hellraiser 11: Franks' Revenge'

Let us trust in the creator and hold out hope that this film is going to be as amazing as the rumors have got us constantly checking for updates. On the plus side a good thing to do while you are waiting for this movie to come out is get your mitts on the quite amazing documentary coming out next month via a Kickstarter campaign. 'Leviathan: The Story of Hellraiser and Hellbound: Hellraiser II' is an amazing feat of fan engineering. Hailing from Birmingham (UK) it features nearly three hours of interviews by everyone involved in the first two movies. They leave no stone un-turned, even including a bonus feature about the Coil incident, as well as amazing artwork and booklets. It shall be available to pre-order 6th April on the teams' website: www.leviathan-hellraiser.co.uk

As for the new film, lets hope Mr. Barker has some sights to show us...

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Screams in the silence: Horror films of the silent era (Part 2)

Max Schrek as Count Orlok in 'Nosferatu...'

In part one we looked at the pioneering and highly influential work of George Méliès, the business model as created for the American market by Thomas Edison that would pave the way for the big Hollywood studios of the 1930s, and the first major star of horror Lon Chaney. In Part two we cast our eyes back to Europe to look at the shadowy world of the German Expressionist movement in cinema, as well as Britain's contribution to the history of horror, and finally how the monsters finally got their voices.

German Expressionism
The German Expressionist movement, perhaps more than any other style of cinema, has gone on to cast the longest shadow over horror films. Highly stylized and dreamlike, films made use of bizarrely constructed sets, long shadows, and distorting reality full of themes of a deeply psychological nature. The Expressionist films of the 1920's began to gain international notoriety as the anti-German sentiment of the post war years gradually began to fade and would have an noticeable effect on horror and film noire in the 1930's both in terms of the look of the films, as well the style of direction with several stars and directors making the jump to Hollywood when the Nazis gained power.

The origins of the Expressionist movement can be traced back to 'The Student Of Prague' in 1913. Written by Hanns Heinz Ewers and directed by Stellan Rye (his only film before dying in France during World War I), the film is a Faustian tale of obsession and magic that led to the film's star, Paul Wegener, gaining the role in the famed 'Golem' trilogy. The film displays many of the prototypical features that would become prominent in later expressionist outings for the likes of F.W. Murnau, Robert Wiene and Fritz Lang. 





However, it is 1920's 'The Cabinet Of Dr. Caligari' that has the honour of being the most definitive of all the expressionist films. Directed by Robert Wiene and staring Conrad Veidt as the murderous somnambulist Cesare. '...Dr. Caligari' is one of the most overt uses of what would come to be known as horror to date. The angular misshapen sets, the dark-eyed and twisted antagonists, stark lighting with emphasis on dark shadows, murder, madness, and a twist ending have continued to resonate with fans of horror cinema ever since its release.

...'Caligari' had an undeniable star in the form of Conrad Veidt who would appear in another of Wiene's production 'The Hands Of Orlac' (1924) – a dark tale of a concert pianist who loses his hands in an accident only to have a murderer's hands transplanted on and which drive him to a killing spree. Films such as 'Waxworks' in 1924, and the 1926 remake of 'The Student Of Prague' ensured Veidt was written into the annals of Horror Cinema, while his performance as the disfigured Gwynplaine in the Paul Leni directed 'The Man Who Laughs' put him on a par with Lon Chaney for his dedication to uncomfortable makeup effects.




The other film that can just as easily claim to personify the German Expressionist movement is also the first attempt to bring literature's most famous vampire to the big screen. 'Nosferatu: Eien Symphonie Des Grauens' (1922), directed by F.W. Murnau and staring Max Schreck as Count Orlok, is an unauthorized adaptation of Bram Stoker's 'Dracula' that was nearly lost save for one copy that survived and continued to influence horror fans. Schreck's rat-like count is reminiscent of the angular sets of 'The Cabinet Of Dr. Caligari' while the long dark shadows and stop-motion gives the film an undeniably nightmarish quality. It is the film's use of shadows that has given rise to the most famous scene in all of silent cinema, where the count's shadow is seen climbing a staircase and opening a door near the climax of the film. It is a simple enough effect, but one that has reached into the fabric of cinematography. Today 'Nosferatu...' may look clichéd in a world full of vampire films, but this is one where all of the conventions and themes of the vampire film began. 

The shadow of the vampire...

Murnau made another important contribution to horror in the form of 'Faust' in 1926. Based on both the Goethe novel as well as traditional versions of the tale, Lang brought the infernal characters to life in an lavish production that would push the finances of UFA to their limits (only to stretch them further the following year with Lang's sci-fi epic 'Metropolis'). With a bigger budget, and better effects, the film is a richer production than 'Nosferatu', and it has stood the test of time as well even going on to influence Disney for the film 'Fantasia'.

F.W. Murnau circa 1920

Fritz Lang dipped his toe into the horror genre as well with the 1921 framed portmanteau 'Destiny'. The film isn't strictly a horror but the plot involving a woman trying to make a deal with death to save her lover does aesthetically link it to the likes of '...Caligari' and 'Nosferatu'. The film veers into fantasy, drama and adventure that proved to be a big influence on Douglas Faibanks for his film 'The Thief Of Baghdad' (1926), as well as the likes of Alfred Hitchcock and Luis Buñuel.

The expressionist style soon began to spread out from Germany to other European nations with the likes of 'Haxan' (Swedish/Danish), 'The Phantom Carriage' (Swedish) and 'The Fall Of The House Of Usher' (Spanish) all taking their cues from the pioneering styles of likes of Wiene, Murnau and Lang. These may have been overshadowed by the German film makers for much of the 20^th century, but the docu-drama style of 'Haxan', the structure and effects used in 'The Phantom Carriage' and 'The Fall Of The House Of Usher' have had a strong effect on later directors such as Ingmar Bergman. 

Ivor Novello as Johnathan Drew in 'The Lodger...'

Ghoul Britannia

Great Britain's contributions to horror cinema are inexorably bound to the films of Hammer and Amicus in the 50s, 60s and 70s. But Britain's contribution to the silent roots of the genre, while somewhat eclipsed, was still developing in it's own unique way. From the short trick films of early cinema, it slowly evolved and developed throughout the silent era and into the talkies until the British film industry was forever linked to horror.

Shortly before the pioneering effects of George Méliès would go on to capture the pre-first world war imagination on both sides of the Atlantic, an English inventor named Robert W. Paul made his mark on the fledgling medium. Starting out in the Kinetoscope market, Paul would go on to invent the first British-made film camera and projection system. His biggest innovation came in 1896 with the invention of a portable field camera that could capture multiple exposures on the same role of film, which would directly lead to the the first “trick” films that would make use of these special effects. 




In addition to inventing Paul would also, like Edison, found his own film production company and film studio that would produce a variety of different kinds of short film for music halls around the country. Two of the most notable are 'The Haunted Curiosity Shop' (1901) and 'Scrooge, Or Marley's Ghost' (1901). 'Scrooge...' being the oldest adaptation of a work by Charles Dickens for cinema. The film is a heavily streamlined retelling of 'A Christmas Carol' that dispenses with multiple ghosts in favour of Scrooge's deceased friend Marley showing him his past present and future. Like Méliès the films lack any potential shock, and instead plays up the camera trickery. 




Another film to come out of Paul's production line is the dark but ultimately comical 'The Freak Barber' (1905). Directed by J.H. Martin, the film sees a barber behead his customers, who eventually rise up and dismember him in return for his diabolical crimes. Again with a comedic element to it and an emphasis on the clever camera tricks the film lacks any real sense of horror, but its subject matter is nonetheless quite dark.

Cecil M. Hepworth circa 1915

A contemporary of R.W. Paul, Cecil M. Hepworth was also quick to sieze upon the popularity of moving pictures. Hepworth produced a large number of short films in the pre-war years before moving into longer productions. He is perhaps most notable for being the first person to commit 'Alice's Adventures In Wonderland' to film in 1903, as well as developing an early method of adding sound to his films with his Vivaphone invention. But for the purposes of this article it is his 1914 film 'The Basilisk' that links him to the development of horror cinema.

This 28-minute long film sees a mesmerist become obsessed with a young woman who is engaged to someone else. He uses his powers to put her into a trance and orders her to kill her fiance but is foiled by the appearance of a deadly serpent. The occult power of mesmerism echoes the later 'Cabinet Of Dr. Caligari'as is a classic morality tale which sees good triumph over evil in a more horror-orientated style than previous films.

Like George Méliès Hepworth's fortunes would ultimately take a turn for the worse. His melodramatic style failed to keep up with the grand productions of Hollywood and the cerebral style of the Germans. Ultimately his production company would fold, despite his earlier acclaim, and he would declare bankruptcy.

However, thanks to the likes of Hepworth, British horror cinema would go continue to grow and develop its own identity. Adaptations of great novels such as Dr Jekyll and Mr Hyde (1913), The Picture Of Dorian Gray (1916), The Hound Of The Baskervilles (1921) would become the first of many film outings for their authors works. While characters such as She, Faust, and Sweeny Todd would become popular in their own right inspiring many films both in the silent era and beyond. Also locations such as Madame Tussauds would also become ingrained in the public consciousness thanks to films such as 'Chamber Of Horrors' (1929), which would use the wax museum as a backdrop for it's plot Indeed the groundwork was laid for British horror's ultimate coming of age in the 1950s, 60s and 70s with Hammer and Amicus' glorious and titillating technicolour productions.

A young Alfred Hitchcock

Britain's undisputed biggest contribution to horror though came in the form of the renowned director and master of suspense, Alfred Hitchcock. The young director worked in his native England and briefly in Germany before finding fame in Hollywood. Initially his films proved to be cursed. Starting out as a title designer he worked his way up to the position of director and took the helm for a number of pictures in the early 1920's for Gainsborough Pictures a combination of financial problems and commercial flops almost ended his career before it had begun. However during this time he was able to work in Germany and witnessed part of the filming of F.W. Murnau's 'The Last Laugh' an experience that, in combination with Fritz Lang's 'Destiny', would profoundly impact the future style of the young Hitchcock.

These German Expressionist influences would emerge in Hitchcock's first major hit film, 'The Lodger: A Story Of The London Fog' (1926), which would also be his first major contribution to the horror genre. This atmospheric thriller stars Ivor Novello in the title role, playing a shady man that has taken up residence at a London boarding house against the back drop of a hunt for a Jack The Ripper style serial killer known as “The Avenger”. The film saw the introduction of classic “Hitchcokian” themes that would continue through films such as 'Rear Window' (1954), 'Psycho' (1960), and 'The Birds' (1963). 

Bela Lugosi in 'Dracula'

It... speaks!

“How do you do? Mr. Carl Laemmle feels it would be a little unkind to present this picture without just a friendly word of warning: We are about to unfold the story of Frankenstein, a man of science who sought to create a man after his own image without reckoning upon God. It is one of the strangest tales ever told. It deals with the two great mysteries of creation; life and death. I think it will thrill you. It may shock you. It might even horrify you. So, if any of you feel that you do not care to subject your nerves to such a strain, now's your chance to uh, well, ––we warned you!!” - Edward Van Sloan in the introduction to 'Frankenstein' (1931)

This brings us back neatly to where we began. The slow development of the horror genre from the advent of trick films, though the stream-lined melodramas to the German Expressionist movement would come together with one more important element to kick off horror as a genre in it's own right... sound. Experiments with adding sound to film had been around for a couple of decades in various forms, and indeed some silent horror films had elements of sound featured with them as a result. One prime example is the Carl Dreyer directed film 'Vampyr', which was actually recorded in 1932. As a result of the new technology the film was recorded in different languages and therefore featured little dialogue, relying instead on title cards. The shooting of the film pre-dates the advent of the Universal Studios monsters, but German studio UFA delayed the release until the American films had premièred. In comparison of 'Dracula' (1931) and 'Frankenstein' (1931), Vampyr feels archaic. Its expressionist and often dreamlike style is still very much in keeping with the conventions that Universal incorporated into their own films, but the lack of faith in adding audible dialogue led to the films commercial failure.

'Dracula' and 'Frankenstein' however, proved to be huge international hits. Bela Lugosi's suave persona and exotic voice would form the blueprint for every subsequent depiction of Count Dracula in popular culture. As would Boris Karloff's staggered growls and lumbering gait serve to cement the image of the creature. Drawing elements from the early trick films, the lavish makeup of Lon Chaney, and the shadowy expressionist movement, the addition of sound brought a whole new and much more personal dimension to the monsters that would, as Edward Van Sloan says in the introduction to 'Frankenstein'; “thrill”, “shock”, and even “horrify” the audience and turn horror into Hollywood's biggest money maker.


That's it for the final part. Don't forget to have a look at part one if you haven't already, and make sure you add these films to your Halloween viewing this year!

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