All Things horror!

It is difficult to know where to start when discussing this intriguing film. Two brilliant actors Kim Stanley and Richard Attenborough star in this hidden British treasure, directed by Brian Forbes (Whistle down the wind & The Stepford Wives) . Kim Stanley was one of the truly great stage actresses of the 20th century, unfortunately her performances are very rare in films. She was nominated for an Academy Award For Best Actress for her portrayal as Myra but lost out to Julie Andrews for Mary Poppins!!

The story centres around Myra (Kim Stanley), a woman who became delusional years ago when her only child was still born. Myra believes she is a true psychic and is in contact with her dead son, Arthur who speaks to her ‘from beyond’. She is married to Billy (Richard Attenborough), a weak and broken-hearted man who knows deep down his wife is mentally ill.

Myra holds a weekly séance and once her customers have all left, 'Arthur' tells her that in order to gain recognition for her ‘supernatural’ talents, she will need to kidnap the child of a wealthy family and collect the ransom then when the police are baffled and press coverage has reached a fevered pitch, she will have a "vision" that will lead to the child's recovery and the reap the rewards of publicity

So Myra sets about her plan to get her weak husband Billy to take part in this scheme

Billy is a man who is deeply devoted to his wife and is willing to carry out this plan. In one scene he finally agrees to kidnap the child and Myra tells him that 'Arthur' reckons it will all be ok – Billy’s reply is ‘Old Arthur says so, does he? Well I mustn’t disappoint’

It is hard to tell if he actually believes anything supernatural is going on, because as the film progresses, the one thing that certainly stands out is that Myra is having, or has already had a serious break with reality!

This is a twisted relationship with Myra totally in control of her husband but things become darker when their plan starts to unravel and the more Myra talks to her ‘otherworldly contact’ (Arthur, her dead son) Billy starts to suspect that his wife may not want the child found alive at all.

While we cannot condone their behaviour we sympathize with the characters, Billy loves his wife despite her self-centred and unhinged behaviour. We can understand him because despite her actions, she is quite vulnerable.

The chilling part is that the plan is actually really well thought out. They've thought about a whole lot of things and the kidnapping gets off without a hitch. What happens next?? ... well, that's why you should watch this film,because you should, it's actually rather splendid!

Despite a somewhat confusing first 20 minutes this is incredible stuff. Forbes direction forces you to feel both sympathy and revulsion at the kidnapping couple.

Kim Stanley, as Myra, gives a rare screen performance here, and is the most disturbed ‘care-giver’ in movie history until Kathy Bates in ‘Misery’. Myra is a fascinating unbalanced woman with vacant eyes that display reserve as if she really doesn’t quite understand what she is doing or saying.

Richard Attenborough follows Stanley like a lap dog, careful not to upset his psychologically fragile wife and he will do anything to keep her happy. He creates the image of a middle-aged man who thinks he was lucky to get the wife he has, and wants more than anything to live a normal, family-orientated life that always seems to be just beyond his grasp.

Their scenes together, where they manipulate each other, are brilliant pieces of acting.

The film doesn't scorn or ridicule mediums, I need to point that out, and in fact, it doesn't give a particular view of such gifts either way. From what we can tell, Myra's gift is actually genuine, or at least it once used to be. It's never a question of her being a fraud and that's why she wants the publicity as a talented medium; it's more that she is actually good at what she's doing, but for some reason, in her head, she's decided that committing a crime is the best way to show off her talents to the world!

This is a superbly acted, terrific piece of film making, heart-wrenching, unbearably suspenseful, a haunting story of madness and kidnapping.

John Barry's musical score is great and used sparingly. The black and white photography does not age the film, but adds to the already ‘grey’ characters. These are people you feel for, and hate, at the same time.

Despite the title, this is not a horror film. This is a psychological thriller that no one seems to be able to make in this day and age. No special effects here, just quiet madness lurking in the same room as where you watch this film

This is a somewhat forgotten British film – and I can assure you that the characters of Myra & Billy Savage will stay with you long after.

Deep Red was written by Bernardino Zapponi (who worked with Fellini) and Argento himself. The film was shot on location in Turin, in 16 weeks, and was a ‘magical’ city according to Argento.

By the time he directed this film he was already a master of his craft with a defined style and this film really demonstrates it. He shows that he knows how to build up suspense and tension with some of the most amazing murder scenes ever put onto celluloid !

The film begins with the murder of German psychic medium Helga (Macha Meril) just hours after she picks up the thoughts of a serial killer. Outside the apartment block an English pianist Marcus Daly (David Hemmings) is chatting with one of his drunken friends Carlo (Gabriele Lavia). Suddenly Helga’s body smashes through a window and Daly dashes up to the flat to help her.

The police arrive and on questioning Daly he can only tell them that the killer wore a brown raincoat. Daly is troubled by the persistent idea that he saw something else in the victim’s flat – something he can’t remember – that holds the key to the murderer’s identity and in a brilliant feat of camerawork and editing the audience has actually seen the same clue.

This becomes his obsession and he teams up with reporter Gianna Brezzi (Daria Nicolodi) to investigate the murders and try to find out what was different about the crime scene.

Supporting characters weave in and out of the story, each of them a possible suspect, well at least until each suspect become the next victim.

Deep Red is filled with haunting imagery through occasional insert shots of marbles and toy dolls, we see a disturbing glimpse into the killers mind. The killers hands, clad in leather gloves, (performed by Argento himself) selecting the implements they are going to use for their next brutal killing are perfect. The violence is wonderfully explicit, teeth smashed onto the corner of a table, hatchet wounds blossoming red.. deep red. Argento’s style is the way he moves the camera around the death scenes, framing every shot like a painting.

Deep Red is exciting, slightly perverse and often chilling- no more so than the scene when the laughing mannequin hurtles out from a blackened doorway, rattling unnaturally towards a bemused, but terrified, man. A grotesque prelude to his death by the hands of the killer, who is lurking in the shadows.- ( that scene is a personal favourite).

There's actually some solid acting in this somewhat complex little film. David Hemmings is surprisingly convincing in the leading role, even if his character isn't extremely well fleshed out. His equally as convincing co-stars include Daria Nicolodi, Macha Meril, and Gabriele Lavia. The reason I don't have too much to say about the acting is because there honestly isn't too much to say.

This is arguably Argento’s finest film and it shows him at the peak of his career – every shot executed with flair and precision, the story deeply layered and offers plenty of shocks and surprises. Deep Red is nothing short of dazzling.

The films special effects are by the maestro Carlo Rambaldi – which includes several mechanically operated heads and body parts. Rambaldi is best known for creating ‘ET’ with Steven Spielberg -and for that he won an Oscar

Lighting by Luigi Kuveiller (Blood for Dracula) is rich and wonderful, whilst Ubaldo Terzano’s camerawork makes the most mundane of set-pieces into visuals treats. Terzano was Mario Bava’s long-time cameraman, working on such titles as Blood and Black Lace (1964) and Black Sabbath (1963), and it is to be regretted that he and Kuveiller never crossed paths with Argento again.

The editing by Franco Fraticelli, Argento’s regular editor from Crystal Plumage until Opera (1987) is way ahead of its time and his jagged cutting helps to keep the viewer feeling uneasy throughout. .

Deep Red has inspired countless horror directors from Brian De Palma to John Carpenter (I challenge any Carpenter fan not to think of Michael Myers whilst watching this – almost impossible !!!)

He leads us along with subtle clues, some of them red herrings – he gives us a hauntingly infectious lullaby from the killers past, played on a hand held tape before every crime (I can assure you – you will hum this tune for days!).

Argento left the Giallo murder-mystery for the most part after this film and concentrated on horror with such films as Suspiria, Inferno, Tenebrae & Opera which are all good films. However, Deep Red is a masterfully constructed film, full of visual delights, suspense, an amazing soundtrack (The Goblins) and the best set-piece murder sequences I have yet seen in an Argento film!!

I find the Giallo weirdly fascinating and this film will grab you & won’t let you go until the end – it will certainly leave a lasting impression once viewed.

So if you appreciate good cinema – this is essential viewing and a good place to start if you haven’t, as yet, experienced any ‘Giallo’ – everyone needs to check out the maestro himself Argento.

This is tied for me with Tenebrae as my favourite Argento film ever and without a doubt Deep Red is simply one of the best murder-mystery films ever made!

I could watch this film every week & still find something new to marvel at - it is truly wonderful!!!!!

This is a definate  throwback to the old horror movies that were produced in the 70s and 80s.

Haute Tension is an unrelenting brutal and bloody affair. This second feature by Alexandre Aja (The Hills Have Eyes remake & Piranha 3D) has made a deeply enthralling horror film. There have been far too many films that you feel like you are not watching anything new – too many clichés and forced scares – but every now and again a film surfaces to remind you of how horror films are meant to be.

The plot revolves around two friends Marie (Cecile De France) and Alexia (Maiwenn Le Besco) on a trip to visit Alexia's parents who so happens to live in a farmhouse in the middle of nowhere (as you do...). In the middle of the night a stranger (Phillppe Nahon) rings on the doorbell and the start of their nightmare begins.

One of the most impressive things about the film is the way it engages all the senses, especially sound, to create a mood of mounting dread and suspense. It's all about being haunted by the squeaks of the killer's shoes on the floor, the laboured breathing as he walks up the stairs, or the dull sound his bloodied scalpel makes when he wipes it off on his overalls.

I know the story isn’t the most original but what sets this film apart from so many others is that the director, Alexandre Aja is masterful at his craft. He gives us lots of haunting imagery, intense suspense, and a superb atmosphere. It's what every horror film strives for, but few ever achieve.

Aja knows every slasher cliché in and out and creates excitement by avoiding all of them. Very often the tension builds up and you expect a jump any second because that's exactly what would happen in a "typical" slasher flick. Not so in this film. It's weird but by not making the audience jump, Aja creates something much more unsettling, something that keeps you on the edge of your seat constantly.

The films gore is realistic, graphic and extremely bloody but that is to be expected for film makers who seek out Gianetto de Rossi to man the SFX but this isn’t just all about gore

This is an example of a brilliant and original horror story put on film in a sleek and realistic fashion. Rarely, have there been horror films which are both stylish AND shockingly realistic. Definately a refreshing change in a time of predictable remakes and boring ghost stories.

The title promises "HIGH TENSION" and it truly delivers. From the moment the switchblade wielding maniac first appears with its dark and eerie cinematography and chilling music to its superb acting and intensely realistic violence and gore this movie is a true modern horror masterpiece

Haute Tension  is one the best horror films I have seen in recent years - so watch it alone in the dark ... it is one of those rare horror movies that will actually deliver on its promise.

The 1980s produced a lot of horror films that were clearly made just for people to rent on a Friday night to ignore while they had a few beers and a laugh with their mates. While most of these films were instantly forgettable, some were actually quite good and unfortunately have been forgotten along with the forgettable ones.

Seldom is this film spoken of and that's a shame. Impressively written and directed by Canadian filmmaker Sandor Stern (who is probably best known for scripting The Amityville Horror), this underrated psychological thriller comes as a rare and welcome surprise, especially at a time when Freddy, Michael Myers and Jason were hacking their way through theatres (and sadly, hogging most of the attention).

PIN is a quiet, unsettling movie, a horror of the mind, yes it does strongly resemble Psycho – but it still manages to stand on its own as a deeply disturbing psycho-drama.

The plot follows Leon and Ursula who are the children of a joyless couple: an obsessive-compulsive neat freak mother and a hyper-critical, loveless father.

Their father a Doctor only seems to have time for work and his children hang around the office in the hope of catching some quality time with him.

It’s a sad way to spend an afternoon, but Dad’s office contains an item of note — a life-sized fleshless puppet he calls “PIN.”

Ever-present and disturbing PIN is an anatomy model with visible organs used for teaching. As it reclines unblinking in a desk chair Dad delights in using ventriloquism to fool his children into thinking that PIN can speak – what no-one counts on is that Leon taking this act seriously and believing that the dummy really is alive – a childish idea that leads to a very dark future for Leon.

PIN may not be directly homicidal, but he's as dangerous as an inanimate object can be. Although you can never be fully sure, it seems as though his blank, receptive facial expression is even capable of slight changes. Starting out with his internal organs visible and his overall form the colour of raw liver or dried blood, PIN is eventually transformed by Leon into a true member of the family, complete with flesh-coloured makeup and a suit and tie borrowed from his father.

David Hewlett as Leon is excellent, so sad and lost one moment that you simply want to hug him, so vicious and psychotically frightening the next that you want to run the hell away from him. Cyndy Preston as Ursula is one of the most likable characters I've seen in a long time. She is a genuinely sweet person, compassionate and kind, and she loves her brother dearly even though she realizes that he is a paranoid schizophrenic. She is the only one who manages to escape from the cold prison her parents have made for them both. Leon, hopelessly lost to PIN, is ultimately consumed by the dominant personality.

This film is a great example of 1980’s horror at it most creative, quiet, tense, nerve-racking and emotionally involving. Unfortunately it got lost in the spate of splatter films of the same time. It is not a gory film by any means but will chill you to the bone. It is a superbly crafted psychological horror film and the most chilling scenes of course involve PIN it seems to exude a threat even when Leon is not around

To say this is one of favourite films is a vast understatement. It was different and subtle - so if you are looking for scares, seek something else out. If you want a disturbing character study that fully and sincerely draws you into its weird, outlandish and creepy world, you NEED to see this film !!!

The Haunting 1963

There was a time in the not-too-distant past when horror films relied on more than copious levels of CGI and buckets of fake blood to scare people.

Enter director Robert Wise. Wise had read Shirley Jackson's book "The Haunting of Hill House" and was so impressed by it that he swiftly acquired the film rights and met with Jackson, he asked her if she had ever thought of any other titles for her book, she stated that the only other she had considered was ‘The Haunting’ so he decided to use it for his film.

You have to understand that special effects were not especially sophisticated in the early 60's and when Wise finally got the green light, he had only $1.1 million to work with. Even in today's money, that's a pretty slim budget. Wise compensated by pouring most of his budget into set design, turning Hill House into a character all of its own. It was a place of strange angles, labyrinthine rooms, and Gothic extravagance.

The film begins with a wonderfully creepy montage sequence whereby Dr Markway explains the back story of Hill House … ‘ "A house that was born bad".......... He has assembled a group of people who have come to spend a few nights in Hill House in hopes of capturing paranormal activity.

So these are led by the ever-optimistic Dr. Markway (Richard Johnson), and the other members consists of Luke (Russ Tambyln) the house’s sceptic heir willing to sell it for money, sarcastic psychic Theodora (Claire Bloom) and the main lead Eleanor Lance (Julie Harris) who seems to be on the verge of a nervous breakdown for many reasons.

Having been left to take care of her recently deceased mother for the majority of her life, Eleanor sees this little trip to Hill House as an adventure. She feels the craving for romance and the need to belong so much that she so desperately wants to stay in the house forever. Through her voice-overs, the audience gets to hear what she’s constantly thinking and as the film goes on, her thoughts become more insecure and more paranoid.

The actors fit their small roles here perfectly. Claire Bloom as the dryly-sarcastic Theo is definitely a highlight here, while Russ Tamblyn and Richard Johnson both provide some excellent support. However it is Julie Harris who steals the show as the troubled and lonely Eleanor. From the opening inner monologue to the disturbing climax, she truly shines in her performance and it is her heartfelt and unsettling journey that is both deeply disturbing and very touching.

The shocks in The Haunting are some of the most sophisticated and finely constructed ever placed on film. It is here where Robert Wise and cinematographer Davis Boulton really shine.

All ghosts in the film take place entirely by suggestion – the cold spots and the phantom dogs are only mentioned by other people but never seen, the doors that close of their own free will only do so when the camera is not looking.

There are deep shadows, unsettling angles and stark and soft focus within shots of the hallways, stairs and rooms of the house. The interior of the house is foreboding and alive. Wise, using his actors remarkably well, uses sounds, light and shadow to provoke fear from them. Particularly in the bedroom sequence where Eleanor and Theo are trying to console each other as a loud, evil presence proceeds to march up and down the hallway, scratching and then hammering on their door …. It is what we do not see that scares and unnerves us and Wise makes sure of this.

As I said, you never actually see the ghost(s). Most of the phenomena is unclear whether it's genuinely supernatural or Eleanor's descent into madness. The gore is nonexistent but the atmosphere is laid on thicker than cement. When the phenomena begins, the camera becomes as mobile as your own eyes might be. The sets are designed in such a way to emphasize the sense of isolation and subtle wrongness.

The Haunting to me is one of the scariest movies ever made. After watching it for the first time, I had trouble getting to sleep., Psycho and the original Halloween did make me skittish about turning corners at night in an unfamiliar house, but I didn't actually lose sleep over them. The point is that Robert Wise's masterpiece of a haunted house film will scare the bejeezus out of you because Wise knew you're better at scaring yourself when in the proper mood.

This is why The Haunting is and will remain one of my favourite all time films - i can watch it countless times and it still has that same effect - especially the 'who was holding my hand scene' definately one of the most chilling things i have ever seen put to film........

So watch this if you will and as per the opening lines of the movie: "Silence lay steadily against the wood and stone of Hill House, and whatever walked there... walked alone."

Highly recommended and it gets a 10/10 from me!

Salem’s Lot is a 1979 made for television two part mini-series and is based on Stephen King's second published novel, King has said he found inspiration for the book after reading ‘Dracula’ in his English class at School. His book is a variation on Dracula but King subverts the story by making the gradual takeover of a small American town by vampires the focus.

It's one of King's most accomplished early works. Originally meant to be directed as a feature film by George Romero (Night of the Living Dead, Dawn of the Dead) but once Universal announced its remake of Dracula, the production company put the project on track as a television miniseries.

Written for TV by Paul Monash, screenwriter who adapted the marvelous TV series, "V," and directed by one of the Masters of Horror, Tobe Hooper, this film (in the extended version) closely follows Stephen King's original literary work much better than expected and is made all the more effective when you consider this was originally shown on television and that the idea of a big budget TV mini-series based on a horror novel was unheard of in 1979 !!!

Director Tobe Hooper proves that his talent for creating good horror is not just limited to the big screen and he sets up a great atmosphere of darkness and dread that makes this captivating. It does not rely on gallons of blood and high-tech special effects to achieve its shocks. There are scenes of terrific suspense and plenty of hair-raising chills to be found.

The story surrounds Ben Mears (David Soul) who was raised in Salem’s Lot, having moved away as a small child, now returns as a somewhat successful author and recent widow to exorcise the ghosts of his past and write a book about the ‘Marsten House’ -the local haunted house in which Straker (James Mason) now resides. Straker sticks out like a sore thumb in this tight-knit community when he moves there and opens up an antique shop. His European accent and expensive suits make him an item for gossip. Mark Petrie (Lance Kerwin) a newly arrived teenager with a collection of horror movie posters and models are the 3 main characters and are drawn together as people in the town start to go missing and no one can accept what is really happening. Ben fears that the answer lies in the old eerie Marsten House with its mysterious new occupants, Straker and the elusive Mr Barlow. So it is up to them – the author who knows, the teenager who believes and the human who is a monster – to solve the mystery.

David Soul may not be the best choice for a leading man but it has to be said that he does okay here and certainly doesn't harm the proceedings and is extremely believable as the town starts to fall apart around him and his suspicions are realised.

James Mason is breath-taking as he quietly sets up his little antique shop in this sleepy town - awaiting the imminent arrival of the equally mysterious ‘Mr Barlow’!!!! And he just does NOT disappoint! He plays the part like he was born to play ‘Straker’ & I can’t imagine anyone bringing such a role to life…and when he utters those immortal cult classic lines ‘You’ll enjoy Mr Barlow. And he’ll enjoy you’ it will send a shiver up your spine

When the vampire finally appears, curled up like a piece of cloth on the floor, it is a frightening, exhilarating experience, with his pointy close set teeth and hypnotic stare which will make the hairs on the back of your neck stand up. Barlow (Regie Nalder) is a wonderful vampire, a fine salute to ‘Nosferatu’ , ugly and vile and Straker with the iconic line “Back Shamen, Back holy man, your faith against the master faith” truly unforgettable !!!!

Throughout there are some truly chilling moments, which despite being made for television came out during a golden era of horror -- and it shows; a recently deceased schoolboy appearing outside his brother's bedroom window in a supernatural fog, calling to be let inside; a huge crate being transported in a truck sliding slowly towards the frightened occupants of the driver's cab; Ben hurriedly preparing a makeshift cross while waiting for a recent victim to return from the dead: it is expertly crafted. When you consider that this was made half a decade before "Fright Night" and "The Lost Boys," "Salem's Lot" was way ahead of its time. But then the novel is a classic too. It also captures a time when there was no internet or mobile phones. It was an eerie town, a spooky house and a time that if such an evil could infest in a small town, it probably would spread as fast as depicted in this film. Needless to say, Hooper did an excellent job of adapting it. Special mention should also go to composer Harry Sukman for his powerful music score.

If you are of the new teen-horror-movie-goer type, then I have only one recommendation for you - get to know your 70s and 80s horror movies and learn as much as you can about the films that were made in these two striking decades. If you can get into these horror movies then Salems Lot shines through for what it is worth - i.e. extremely frightening for its time and especially as it was actually shown on Network TV!!

There is something that makes a great horror film, when I say horror, I mean atmosphere, eerie, scary, terror, fantasy and all the legendary horror films have this element. Some people think horror is about showing people's limbs being ripped apart with blood flying all over the place! If you are a real horror fan, then you will like this film. I wish more horror film makers would do that and let the real gruesomeness come from the viewer’s imagination rather than showing every little splatter etc.

Salem’s lot left an unforgettable impression on me when I first saw it however today’s audiences may not have the patience for the lack of action but it is well worth the time spent watching I don't want to give too much away, but the mention of "Danny Glick" still upsets my sister, Me, I try to avoid basements--you never know what's in them !!!

A Short Biography

Leonidas Frank Chaney AKA Lon Chaney is often classified as a "horror" actor, or someone who could do practically anything with make-up.

Chaney was born to deaf parents in Colorado Springs, Colorado, on April 1, 1883. He was forced to withdraw from school in the fourth grade to care for his invalid mother and younger siblings. This experience contributed to the talents he would later use so effectively in film and he started to develop a repertoire of facial as well as body tics and gestures to cheer up his mother, friends and neighbours.

He made his first films in the mid-1910s, and by 1920 he was already creating roles that required him to be armless, legless, crippled, or otherwise deformed.

Chaney scored his first big success as the fake cripple in the critically acclaimed The Miracle Man (1919). He created another strong performance as the double-amputee crime boss in Goldwyn's The Penalty (1920). Chaney did not use special effects to appear legless, but devised a leather harness that allowed him to strap his legs behind him and actually walk on his knees.

The Hunchback of Notre Dame (1923) bought Lon Chaney to worldwide stardom. His portrayal of Quasimodo stunned critics and the public alike; he was no longer a character actor, but Hollywood's character star.

Chaney is barely recognizable under the 40 pounds of make-up he wore ; a misshapen face with an eye that droops almost out of its socket, mouth with jagged teeth, twisted legs and wavy hair. I have no trouble believing the stories of people saying that Chaney actually was deformed after seeing this..

"The Hunchback of Notre Dame" was Universal's most successful film of 1923, and honestly, it's not hard to tell why. Not only Lon Chaney's magnificent performance as Chaney (as well as his outstanding work of make-up) is a true highlight of the film, the lavish sets built for the movie are definitely one of the most amazing works done in silent films, with the reconstruction of Notre Dame's Western facade being extremely detailed and actually very accurate. He certainly ‘rings the bell’ for Universal in this role!

The Phantom of the Opera (1925) was another triumph for Chaney and one of my personal favorites……

In an age where all movies are flashy and CGI loaded, it's good sometimes to sit down and view a classic silent film where everything was done for real.

Being limited by the technology of the time Chaney designed with great creativity the iconic ‘skull face’ of the Phantom, and probably the best he ever did in his career. It is still just as monstrous and grotesque watching it today.

For some shots a wire and rubber device was used, which cut into his nose causing considerable bleeding. Cheeks were built up using a combination of cotton and collodion. Ears were glued back and the rest was greasepaint shaded over the face.

Indeed, the scene where Christine pulls off the Phantom's mask is still scary 80 years after its release. People in 1925 must have been nearly frightened out of their seats. This film is indeed the Exorcist of the 1920s.

The film was one of 1925's biggest hits at the box office. Chaney then signed a long-term contract with Metro-Goldwyn-Mayer, where he reigned as one of the studio's top stars for the next five years.

He was the predecessor to a swarm of studio-created monsters that descended on the industry later on in the 1930s. The only difference was: Chaney didn't need a makeup assistant.

During the filming of ‘Thunder’ in the winter of 1929 – Chaney developed pneumonia and then later in the year he was diagnosed with bronchial lung cancer. Made worst when the artificial snow (made out of cornflakes) lodged in his throat during filming and he became ill with a serious infection.

In 1930, Chaney was one of the last silent film stars to make a talking picture debut in a remake of his silent success, The Unholy Three. When the film premiered in July of that year, Chaney's success in talking pictures was assured unlike many other silent screen stars, and the studio had plans for several new projects

Despite quite aggressive treatment, his condition worsened, , and seven weeks after the release of the remake of The Unholy Three, he died of a throat hemorrhage.

His death was deeply mourned by his family, the film industry and by his fans.

At the time of his funeral, the studios observed a moment of silence for their star, and many movie theaters held their own memorial services. At a moving tribute in Rock Springs, Wyoming, where Chaney's The Unholy Three was being shown, the entire audience rose and stood in a moment of silence as the opening credits flashed on the screen. Each subsequent screening found the same tribute repeated.

The US Marine Corps provided a chaplain and Honor Guard for his funeral. He was interred at Forest Lawn Memorial Park Cemetery, in Glendale, California, next to the crypt of his father. His wife Hazel was interred there upon her death in 1933. For unknown reasons, Chaney's crypt has remained unmarked

His ability to transform himself into these ‘monsters’ is truly uncanny and they remain some of the most famous in film history, proving once and for all why he earned the nickname of "The Man with a Thousand faces".

Lon Chaney's weathered face could have been the basis for a character in its own right. He looked like someone with the world on his mind. Perhaps it was the continuous flow of grotesque images and the methods by which to achieve them running through his mind. One thing is certain - whatever ideas he had, he would make them work. Using only a modest box to hold his various mediums and a small mirror, he constructed the most memorable and timeless faces that Hollywood has ever seen……

And were it not for his un-timely death Chaney, rather than Lugosi would have been Tod Browning’s choice for the lead role in Dracula (1931)

If there ever comes a moment when you think that silent films are really primitive and don't have much of a quality, just take a look at one of these classics and I dare you to argue with me.

Burnt Offerings (1976)

"Burnt Offerings" was directed by Dan Curtis, a veteran of the "Dark Shadows" TV series who also made some excellent TV movies based on the Frankenstein and Dracula legends and is best known for ‘Trilogy of Terror’. This film is based on the Robert Marasco novel of the same name. It was released in 1976 and won the 1977 Saturn award for Best Horror film.

There are some obvious similarities between this film and Stephen Kings ‘The Shining’ and King has admitted that his book was inspired by both the film and the novel.

This film also inspired the creators of PHANTASM to drive up to Oakland and use the same mansion as the infamous Morningside Mortuary.

When the Rolf family rents a huge country estate for a summer for only $900 Benjamin Rolf (Oliver Reed) thinks there is something slightly off with Roz Allardyce (Eileen Heckart) and Brother (Burgess Meredith) the eccentric owners.

There must be a catch. Roz assures him there is no catch apart from their 85 year old mother has to stay there, but it is only a matter of preparing meals for a woman who never leaves the house, or her room, in the attic, for that matter.

Creepy at first, this idea warms to the Rolf’s as they realize maintenance for the mother will be relatively minor. She keeps to herself with her curious collection of old-time photos and only requires three meals a day as upkeep. Plus, the house is VERY nice. The Rolf’s accept this stipulation and move into the house with their son and Benjamin’s Aunt Elizabeth (Bette Davis)

Everything is so lovely at first but their tranquil summer starts to be interrupted by strange happenings; memorable scenes include a swimming pool that behaves like a storm at sea and the house ‘renewing’ itself by replacing its tiles

This house should come with a warning: May cause mood swings, fatigue, advanced aging...oh yeah and death.

The cast features cult stars Oliver Reed as the father who becomes more confused, nervous and outright scared as things get stranger, Karen Black as the mother who becomes obsessed with the antique items in the house, and keeps a close, possessive watch over the old woman's room, as well as classic actress Bette Davis who realizes something is wrong with the house.. All three of these have their place in horror history, and all of them give great performances; particularly Oliver Reed who is more down to earth than usual but still manages to provide a gripping performance

Eileen Heckart and Burgess Meredith are wonderfully quirky as the weird sister and brother owners of the expansive mansion.

But for me the one person you will remember is Anthony James’ frightening turn as the The Chauffeur – this is the stuff of nightmares and I can assure you he WILL make you cringe with horror.

Dan Curtis takes his time to build up the suspense and the film works so well because of what we don’t see, there is not too much violence and not much gore or blood.

The main focus being on the house with a mysterious old woman living in the attic, the hallucinations and moments of fear create an overall disturbing atmosphere, the sense of menace and foreboding begins almost as soon as the Rolf family enters the house.

The film changes moods and levels of intensity so we, as the viewer, are both frightened and confused. Horror plots should be a bit more confusing because it is always creepier when you are unsure of what is going to be happening next!!!!

BURNT OFFERINGS is well worth your time. I loved this film - but don't expect any real jolts or screams. But turn off the lights and let it really sink in. There are many moments during the film that are bizarre and horribly fascinating so if you like old films of psychological terror with a real plot then this is one for you – see it and prepare to be "rejuvenated!"

When I was around 10 / 11 I was allowed to stay up late one Saturday evening with my dad and watch his favourite ‘Bride of Frankenstein’ ever since then I have been transfixed by horror movies – most of them the classics, such as Dracula, Frankenstein, but this one is a personal favourite and will always hold a very special place in my heart.

The Bride of Frankenstein.

There are a few sequels that are superior to their predecessors, however, in my opinion Bride of Frankenstein not only equals it's masterful original prototype Frankenstein (1931), but is just better in every way.

Frankenstein obviously has the classic reputation and brought Karloff into the frame as ‘the monster’ but to me it isn’t as witty or satirical as The Bride of Frankenstein. It is full of gothic horror, black humour, religious motifs and sexual innuendo – it is to me one of the pure greats of horror. So add to that ‘The Bride’ being one of the most obscure of Universal’s Monsters, is only on screen for less than 5 minutes and the only Classic Monster never to kill anyone – and you have me hooked!

James Whale following on from his huge success with Frankenstein, The Invisible Man and The Old Dark House interestingly enough didn’t want to make a sequel to his incredibly successful 1931 Frankenstein – but he finally said yes after Universal agreed to let him have complete artistic freedom!

The original ‘Bride of Frankenstein’ was named – The Return of Frankenstein and was adapted by William Hurlbut and John Balderston – and loosely based on an incident in the Mary Shelly novel, - and herein is where the similarities end in the story - Dr. Frankenstein creates the Bride, but instead of bringing the her to life, he decides to destroy her and that is where the film adaptation differs from the novel.

In the sequel we have most of the original cast remaining - Colin Clive who had suffered a broken leg (after a horse-riding incident) and so for most of the scenes of him played Dr Frankenstein are of him laying down! But even then he does an incredible job in his portrayal of that evil doctor - even though he has a mostly back seat role and in my opinion he is just the perfect choice!

Now enter one of horror’s most unforgettable performances Ernest Thesigner as the infamous and truly strange Dr Septimus Pretorius. He gives a truly mesmizing portrayal of a ‘mad scientist’!

There is a sexual uncertainty to Pretorius' character and many suggestions of homosexuality. With the films masterful blend of horror and black comedy, it's Thesiger who shines best and in many ways the film is stolen by him when he's seen on screen!

Much of the film concerns itself with the Monster (Karloff) trying to find a place in the world and his character is seen as a ‘human being’ craving for the company and acceptance of others but is mostly rejected.

Of course, everyone finds him too frightening, however, in one of the many incredible scenes the film provides, the Monster is eventually provided with sympathy and encouragement when he encounters the old blind hermit (O.P. Heggie), who becomes the Monsters first true friend. Karloff's performance is truly remarkable, as it was in Frankenstein. Although, we all know he strongly opposed that the Monster speak, his character benefits greatly from this, as he finds room to expand on his already brilliant craft.

Elsa Lanchester has a dual role as both Mary Shelly and obviously ‘The Bride’. Who can ever forget the truly memorable sequence of bringing the ‘monster’s Bride to life? It is in my opinion unequalled – even the original scene in Frankenstein pales in comparison.

The presentation of the ‘birth of the Bride; is just stunning as Clive (Frankenstein) screams those immortal words “She’s alive! ALIVE!” Lanchester who only stood 5'4" tall was placed on stilts that made her 7'0" tall, as well as, her unforgettable shock hairstyle which stood up and hinted that the electricity had shocked her to life was held by a wired horsehair cage. The bandages were so tightly on her that she was unable to move and had to be carried around the studio & fed through a straw!!!!! Her darting swan-like movements were inspired by the angry swans in London's Regent Park. (what actors used to do for their craft!) Although, the Bride's appearance is extremely brief, it's most certainly worth it, especially when she finally encounters the Monster.

Bride of Frankenstein is also presented with the same terrific German expressionist camera-work by cinematographer John J. Mescall, although reportedly drunk through much of the production, uses brilliantly effective camera movements and angles that added eminently to the creation of the Bride scene.

Mescall also composed a number of bizarre and inventive angles that intensified Thesiger's skeleton-like frame and vivid characteristics aiding his already superb performance. Although for Karloff, the four hour makeup job done by Jack P. Pierce, which was blue-green in colour, gave Mescall nothing but problems. The film is also accompanied by a fascinating score composed by Franz Waxman, which is nothing less than a masterpiece of excitement and melody. Though it wouldn't be Waxman's most mature work, it most certainly remains one of his most famous and probably his most influential.

Frankenstein owes much of its power to its directness--it has a raw energy that is difficult to resist, still more difficult to describe – but for me The Bride of Frankenstein owes its power to its complexity. Nothing here is quite what it appears to be, and throughout the film we constantly receive mixed messages about the characters and implications of their situations. While Thesiger's Dr. Pretorius is justly celebrated as a covert gay icon of the darkest possible variety, and while many people quickly grasp Whale's often subversive use of Christian imagery, the film has many, many layers that do not reveal themselves upon a single viewing

The macabre, satirical Bride of Frankenstein is a key film to the horror genre (perhaps the best) and one of the genuinely great films of any genre. It's one of the most wonderfully crafted films in cinema history and is easily Whale's finest screen hour. This one has rightfully deserved it's ranking amongst the best of what Hollywood has to offer

Whatever the case, if you are a fan of 1930s horror or a proper horror fan and James Whale in particular, this is a must own see, must own!

AMERICAN GOTHIC

When "American Gothic" premiered in 1995, it had quite a pedigree backing it up. Sam Raimi was executive producer, overseeing creator and show-runner (and former Hardy Boy) Shaun Cassidy. The mere presence of Raimi almost always brings with it the eventual appearance of either his brother Ted or long-time friend and punching bag Bruce Campbell, and "American Gothic" was no exception: they both put in appearances before the lone season was done.

The show's writing staff included a cast of characters who would go on to put mobsters through therapy (Mitchell Burgess on "The Sopranos"), drop astronauts through wormholes (David Kemper on "Farscape"), and even win an Oscar (Stephen Gaghan for Traffic). Add to that the presence of Gary Cole (Office Space, "Crusade") as one of the most fiendishly entertaining villains ever, and a twisting storyline that mixed elements equal parts dark humour, supernatural thrills, and Southern charm, and "American Gothic" had all the makings of a hit – if only it had found an audience!!

This is a dark, strange series set in the sleepy South Carolina fictional town of ‘Trinity’ and weaved through the 22 episodes is the story of Caleb Temple (Lucas Black) & the town’s corrupt & evil sheriff - Lucas Buck (Gary Cole). Buck is Caleb’s biological father after having raped his mother in front of Caleb’s older sister Merlyn (Sarah Paulson).

Some folk would tell you Sheriff Buck is an evil man, but he prefers to think of himself as a devoted peacekeeper with a liberal interpretation of that whole "protect and serve" clause. He'll do whatever it takes to protect Trinity, whether through badge, bullet, or black magic…so long as it aligns with his own agenda. And that agenda gets spun clean off its axis one stormy night when a young girl named Merlyn Temple (Sarah Paulson) is nearly murdered by her drunken father. The sheriff shows up in just the nick of time and – well, that'd be telling. Suffice to say, the night's aftermath leaves the fate of Merlyn's little brother, Caleb (the ironically named Lucas Black), up in the air…and his fate could be more important than anyone but the sheriff could ever imagine.

As the characters at the heart of the series' conflict between good and evil, innocence and experience, Lucas Black and Gary Cole are ideal; it's impossible to imagine the show working without either one of them. Black is one of the most charismatic child actors I've ever seen, and he convincingly brings to life the many facets of Caleb, from his vulnerability and intelligence to his potential for cold-blooded evil. The series demands a lot of him as a leading man, and he shoulders the load with astonishing capability.

As his father figure and corruptor, Gary Cole is captivating and this role was just made for him. He has had a variety of parts during his career but as Lucas Buck it really showcases his considerable talents. He plays the sheriff as easygoing and charming, with a sense of (often ghoulish) humour and a relish for his work—but even think of crossing him, and he reveals the iron hand beneath the velvet glove. Turning to Sheriff Buck for anything in Trinity is a sheer act of desperation. The devil isn’t always in the details and even as we recognize him for what he is, it's almost impossible not to find him attractive (bad is definitely sexy!) —and that makes him a formidable force indeed. It's rare to see the seductive quality of evil portrayed so believably!

The supporting cast turns in excellent work as well. Nick Searcy (Fried Green Tomatoes), as Lucas's harried deputy Ben, engages our sympathy as a basically good but weak man whose conscience struggles against his loyalty to (and fear of) his boss. Brenda Bakke, (she played Lana Turner in L.A. Confidential) as the seductive schoolteacher Selena Coombs, Lucas's sometime sexual plaything hating her one moment but as soon as he wants something he changes back into that charismatic guy and she positively smoulders.

One of the pleasures of American Gothic is the way it develops characters like these two by spotlighting them in different episodes, giving us a deeper understanding of them. "Potato Boy," for example, unaired during the original network run, gives us a poignant glimpse of Selina's back story and her loneliness, while "Dead to the World" shows Ben's frustration at having been replaced in the lives of his ex-wife and son. We quickly come to care about all the major characters, so we are invested in their struggles against (or alliances with) Sheriff Buck.

It's also fun to spot well-known faces in guest appearances. Followers of Sam Raimi's work will enjoy seeing Ted Raimi and especially Bruce Campbell, who has a noirish cameo in "Meet the Beetles." Alien's Veronica Cartwright makes a memorable appearance in "Doctor Death Takes a Holiday," and Pat Hingle (Commissioner Gordon of the Batman) turns in a strong guest turn as a priest in "Inhumanitas."

Atmosphere is definitely the key to this series, and by filming in Wilmington, North Carolina the filmmakers established an authentic Southern feel and grounded the more fantastical story elements in concrete reality. The distinctively creepy flavour is no doubt due—at least in part—to the presence among the show's producers of Sam Raimi (director of the Evil Dead and Spider-Man films). The humid Southern days and nights are rife with skin-crawling dread, gallows humour, and seething passions and grudges.. Emotions are heightened by a vivid, even flamboyant, visual style: There are extreme camera angles and dramatic lighting effects, not to mention lots of "boo" moments.

In my opinion there has never been another television show quite like American Gothic, which is part of the reason its followers are so passionate about it. As soon as we see rivulets of blood form the message "Someone's at the door," we know we've departed from the standard family drama.

Yes television has become much more explicit in the past years, but in its day American Gothic pushed the envelope in terms of blood, violence, and shock. At the same time, the writing always prevented the series from descending into pure pulp; the characters are compelling, and we care about the decisions they make and the consequences they will face. Even Merlyn, the dead character—make that the major dead character—still grows, changes, and develops over the course of the series. You may notice the eerie atmosphere and distinctive visuals first, but you'll be drawn in by the characters and their stories

Who would have thought that Shaun Cassidy, the teenie bopper of so long ago would have a dark side to him? - A dark side nothing short of pure brilliance!! "American Gothic" is a show that stands alone in the world of television entertainment. Never before and never since has a show been aired on a major network with such a deep devotion to production and attention to detail on a subject never touched before. Great character development, superior acting and directing, fabulous story arcs and wonderfully filmed.

CBS cancelled this show because they said it didn't follow the format of their line up for the rest of the week. If that's the case, why was it aired in the first place? They had one of the best shows ever to grace the TV screen, and they just cast it aside as if it was another one of their flops. – it was original, unique and instantly addictive – so shame on them for showing no respect for imagination and ingenuity!!

Unfortunately, American Gothic will never be renewed again with the original cast. Most of the actors have said they enjoyed working on the show, but are involved with too many other projects to return.

Instead of being bitter about not being able to see this show anymore I am very thankful that it has been released onto DVD! (which I now own) American Gothic was so different, so forward thinking, just the fact that it was aired at all is a tribute to the producers, actors, writers and all involved.

This show is quality viewing for a discerning market hungry for quality viewing..

You don’t have to believe in good or evil to enjoy this gem of real storytelling – if you are one of American Gothic’s followers, you don't need me to tell you how terrific this series is. If you missed out on it before, get yourself the DVD and seriously get ready to be hooked!!