Odds and DEAD Ends: Claustrophobic Killing

The Horror Legacy of Agatha Christie’s ‘And Then There Were None’

Agatha Christie probably isn’t a name you’d associate with horror. She was a crime author; the writer you snuggled up in the armchair with on a rainy afternoon for a good thriller with twists and turns. For the first two decades of her career, the famous detective with the little grey cells, Hercule Poirot, was her livelihood. And yet, in 1939, she unleashes And Then There Were None. This single novel redefined strategic, rhythmic, multiple murders in fiction and would come to change horror itself.

On the documentary The Thing: Terror Takes Shape, John Carpenter cites Christie’s novel as an influence on his adaptation of Campbell’s novella Who Goes There?. In the novella, dozens of scientists find an alien imitator in their midst which is ultimately defeated with only a few deaths. Carpenter’s The Thing is much bleaker, with just sixteen men left to fight and kill, and ultimately are left with two survivors and an uncertain future, desolate and alone.

Strangely, though a larger crowd might sound initially scarier, as they could be so many people, it is when there are fewer characters that the tension mounts. The walls have closed in. There aren’t seven rooms that a killer could be in; there’s only one. And, standing in the right place, you can be sure to see them. Carpenter reduces a few dozen characters to his sixteen, and Dame Christie had already done it with just ten.

Everything about the novel has the purpose of constricting the ten, subjecting them to as much pressure as possible, crushing them. The house is cut off from the rest of the world and those on the mainland have been told not to rescue them. We’re confined to the hallways of Soldier Island’s house, chasing shadows.

Added to this the dripping theme of guilt that Christie presents us with, permeating every sentence, every word of the novel, and we see that she is pressurizing the characters emotionally. The past catching up with them; they can’t escape the killer or their conscience.

But I’m not here to discuss the novel as a whole. What I want to bring to your attention is the legacy of its setup. Just look to The Melancholy of Haruhi Suzumiya. Though light-hearted, there are two episodes of the first series in which the S.O.S brigade are trapped on an island with a single house, in a storm, when a murder takes place. Suddenly everyone begins casting suspicions, doors are kept locked, shadows are seen outside. Though there is only a single murder, as opposed to the many in Christie’s novel, the setup is so similar it borders on parody.

To go even further, die-hard fans of horror-thrillers will remember the series Umineko no naku koro ni, or When The Seagulls Cry. Twenty people on an island in a storm being killed off systematically to appease an old legend. This direct homage is done not just because it’s a nice reference, but because the formula is so easy, simple, and effective. No communication to the outside world, trapped in one place, being killed off by a psychopath in the midst.

This claustrophobic killing rhythm has been replicated so many times now that it’s hard to think that it had an origin of some kind. And there were stories that used aspects of it before And Then There Were None, but none of them had the same impact.

Could you conceive of the modern slasher flick without some of the points mentioned? Could you imagine Alien if it was in a city with a nuke nearby? If the bridge in The Evil Dead were intact? Perhaps Saw II would be better if only two people died in that house? Maybe if the police didn’t keep them caged in the apartment, REC would have been vastly improved?

If you want maximum terror, you keep people confined. This isn’t just a claustrophobia thing; it’s the idea of escape. Freedom. You find what a character wants, and then take it away from them; it’s storytelling 101. In Scream, Sidney says that horror movies are just girls that ‘run up the stairs when they should be running out the front door, it’s insulting.’ But when the front door opens up to a cliff-face or the vacuum of space, there’s no option. We’re trapped. We are creatures constantly in need of control, and when we don’t have control of escape possibilities, we panic. We get scared.

Christie got the formula and nailed it. It hasn’t been beaten since. It’s the reason why The Mousetrap is the longest continuously-showing production of all time. It’s why Waters of Mars was one of the most terrifying episodes of Doctor Who in recent memory. It’s because it taps into our basic instincts and then removes them. We can’t fight and we can’t run. We can only try to survive and hope and pray. And anyway, as Leslie Vernon says, letting people escape ‘is really embarrassing.’ These killers aren’t going to let us off the island.

And Then There Were None is the perfect slasher prototype and should be revered and remembered as such. Agatha Christie wrote the essential horror blueprint. Fact.

 

Article by Kieran Judge

 

Bibliography

Alien. 1979. [Film] Directed by Ridley Scott. United States of America: Brandywine Productions.

Behind the mask: The rise of Leslie Vernon. 2006. [Film] Directed by Scott Glosserman. USA: Anchor Bay Entertainment.

Campbell, J. W., 2011. Who Goes There?. 1st ed. London: Gollancz.

Christie, A., 1952 – present. The Mousetrap. London: St. Martin’s Theatre.

Christie, A., 2015. And Then There Were None. London: HarperCollins.

Doctor Who – Waters Of Mars. 2009. [Film] Directed by Graeme Harper. United Kingdom: BBC.

John Carpenter’s The Thing. 1982. [Film] Directed by John Carpenter. United States of America: Universal Studios.

REC. 2007. [Film] Directed by Jaume Balaguero, Paco Plaza. Spain: Filmax International.

Saw II. 2005. [Film] Directed by Darren Lynn Bousman. USA: Twisted Pictures.

Scream. 1996. [Film] Directed by Wes Craven. United States: Dimension Films.

The Evil Dead. 1981. [Film] Directed by Sam Raimi. USA: Renaissance Pictures.

The Melancholy of Haruhi Suzumiya. 2006. [Film] Directed by Tatsuya Ishihara. Japan: Kyoto Animation.

The Thing: Terror Takes Shape. 1998. [Film] Directed by Michael Mattesino. United States Of America: Universal.

Umineko No Naku Koro Ni. 2009. [Film] Directed by Chiaki Kon. Japan: Studio Deen.

 

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FRIGHTENING FLIX by Kbatz – Kong: Skull Island

Despite Narrative Flaws, Kong: Skull Island is a Rip Roaring Good Time

by Kristin Battestella

 

Without a doubt the 2017 MonsterVerse cum 2014 Godzilla prequel Kong: Skull Island has its flaws. One shouldn’t expect perfection or deep thoughts with this fun jungle ride brimming with action and big monsters. But heck yeah let’s over-analyze the shit out of it, shall we?

Bill Randa (John Goodman) recruits ex-SAS tracker James Conrad (Tom Hiddleston) and anti-war photographer Mason Weaver (Brie Larson) to join the secret government group Monarch’s expedition to the elusive Skull Island alongside Lieutenant Colonel Preston Packard’s (Samuel L. Jackson) elite helicopter escort. Landsat officials and mission science teams use seismic charges to map and study the island – awakening ancient monsters friend and foe, government conspiracies, and personal vengeance as the team rescues crashed World War II veteran Hank Marlow (John C. Reilly) from the fantastic isle protected by King Kong.

 

Kong: Skull Island’s opening World War II crash transitions to newspapers, archive footage, and period photography on the mysterious Monarch organization as audio quotes from Truman and Kennedy lead to bleak 1973 DC protests and ironic quips about the screwed up time in Washington. Monarch needs funding to mount this satellite mapping expedition and its under the rug search amid ominous whispers of ship eating monsters and Bermuda Triangle fantastics surrounding this uncharted Pacific island. Fiery explosives reflect in the aviator glasses, animals flee the seismic bombs, and distorted music is drowned out by the destruction. People who think they are so big are made small by Kong’s giant hands and teeth – an excellent introduction with superb monster graphics and motion capture. Warped gunfire and thumping helicopter blades add foreboding to the mighty monster silhouettes as separated civilians, stranded scientists, and angry military argue who takes orders from whom. Nixon winks, geek references, and “Hold on to your butts!” keeps the old school cool coming early and often alongside minute to minute action montages with diegetic classic rock, first person shooter video game angles, and intriguing camera shots. Skull Island is an embarrassment of riches with too much to see in one viewing thanks to wild giant spider impalements and more well done personal horror vignettes with blood, gore, and brain splatter nods to Cannibal Holocaust and Evil Dead. Slow motion over the shoulder fears, creaking animal approaches, that giant log come to life – aren’t walking sticks bad enough?! The rush to repair a salvaged airplane turned riverboat adds more flying monsters and aerial fatalities to the adventure. Kong is an angry mother, but he didn’t do anything wrong in protecting his home from the dangerous creatures man has stirred, and the mission only has its bombing in the name of science to blame. Fortunately, culture shock jokes create lighthearted fun, since it’s more of a cold war with summers off, a man on the moon is eating Spam after sipping Tang, and The Cubs are never going to win the World Series. Likewise the excellent graveyard sequence combines all Skull Island’s divided and united people with scene stealing visuals, action, and monsters. Retro picture flashes and rewind clicks accent gritty zooms and intense monster filming with green gas heightening the sense of smelly vomit, skulls, bones, and gas masks. Deadly cigarettes, flames, lighters, and fumes add to the swords and machine guns poised atop the triceratops skull as man comes to regret the cruel and violent destruction he has caused.

Of course, Skull Island is also a very messy movie with an uneven dual focus. This should be either a Vietnam, horrors of war, military monster Apocalypse Now with a photographer and a scientist OR the scientific monstrosity adventure a la Jurassic Park with one ex-SAS tracker but not BOTH plots giving nobody their fair share. The us versus them scientists in blue and military in green sitting on opposite sides of the briefing is never capitalized upon but redundantly introduces everyone by name after the port of call arrivals already suffice. Likewise, conflicting, convoluted information dumps on hollow earth inklings, monsters exist proof, nature taking back the planet subtext, and more conspiracies are lost amid who’s doing the suspicious underground mapping or using dangerous seismic charges – and none of it is as important as the visual destruction despite precious little time to enjoy the awe-inspiring views. Increasingly intrusive hip highlights and filler montages distract viewers with busy, loud hyperbole, and fine jokes aren’t needed to alleviate tension because intercutting between separated characters walking to and fro for action fodder never leaves the audience with anyone long enough to appreciate their peril. Casual wonder, superficial dear family letters, and featherweight Icarus speeches can’t keep up with the up up up piecemeal quest, soldiers rightfully spazzing over the giant monkey are paid dust in favor of repeated clicks west or evac north fluff, and one trek in the wrong direction for a dead man proves pointless on top of unnecessary revenge. What should be somber shipwreck history and ancient monster worship become tossed aside double talk, and the science dialogue, monsters, and mission objectives change as people act stupid from scene to scene as needed. Littering the narrative with so many excuses that we just don’t care how each group of people and their monster attacks tie together is incredibly annoying because there is so much more potential to the friend or foe ominous and native people glossed over with photos and peace signs. Slo mo hold me back man tears turn laughable thanks to all over the place point of view voiceovers with no time for a breather properly addressing the nonsensical. Quotes about an enemy not existing until you make one get squashed between more meandering, on the nose rock montages while blow torches are convenient in one scene but forgotten the next. Our two women never talk to each other, and Skull Island can’t stick to telling its story well because it’s so desperate to appeal to as many bang for its buck viewers as possible – leaving the World War II radiation and ancient cave paintings hodgepodge to do nothing but set up the inevitable sequel.

 

All the people should have been listed in the blurb at the bottom of the Skull Island poster because no one character is fully developed – least of all top billed Tom Hiddleston as tracker James Conrad, who spends more time giving repetitive exposition on clicks, radius, or distance and unnecessary let’s go, no time to waste obviousness. It’s also noticeable that the character concept was changed when T. Hiddy was cast – perhaps in a Legendary twofer contract with Crimson Peak or during filming, for the grimy shirt jaded and gritty bearded wanderer is traded for a sunshine blonde matinee idol buff. It’s like a different guy shows up for the mission! When meeting Conrad in the bar, he’s ruthless with a cue stick. However, on the island, he’s the team negotiator, going from a rugged bad ass asking for five times the mercenary money to…Tom Hiddleston. Viewers see him as himself in Skull Island and The Night Manager rather than his Loki visage – maybe because it looks like he’s wearing his own clothes again onscreen – but someone should have been in charge of his eye candy fitness as his increasing muscles or shrinking wet shirt vary throughout the adventure. The mysteriously decommissioned tracker also suddenly cares, sneaking into restricted areas to check out the bombs and question the mission even though Conrad never gets to use this seemingly new found good guy muster. His great line, “I suppose no man comes home from war, not really,” and brief mentions of his lost father – Tom, please, no more characters with daddy issues! – go unredeemed save for dad’s handy lighter to rectify a lifetime of searching for something you can never find. Instead of calm, problem solving Conrad challenging Packard, our expert tracker gets lost and seeks higher ground before taking charge anyway after useless self sacrifices. Despite his name, there’s very little Heart of Darkness to Conrad, yet the character remains overly serious and that divine accent feels out of place – taking longer and prettier to say his exposition in a different, formal rhythm amid all the fast, casual slang. Although he has the best gas mask glory moment in Skull Island and some of the samurai choreography is reminiscent of the first advance in 300, our would be hero has no winking Indiana Jones moment nor does he take off his shirt. Why hold back when you can go all the way? But hey, those biceps aren’t enough to forgive the fact that Conrad wears a gun in a shoulder holster and never uses it!

With our rugged man and Brie Larson (Room) as anti-war photographer Mason Weaver, Skull Island feels very The People That Time Forgot. However, Weaver doesn’t cry out for her camera’s safety or click away as much as she perhaps should. She never runs out of film and such gear perils or mishaps could have been an ongoing gag, but Conrad seems to look out for her camera more than she does. There is rightfully no overt romantic plot further crowding Skull Island with unnecessary saccharin, yet their feeling each other out banter should have been utilized more – Weaver interrupts Conrad’s hero zoom by motioning for him to move over on the helicopter seat and he does. All these charming, award winning thespians have so little room to breath, leaving Weaver with lame one liners and nothing to do. The “Bitch, please!” retort for her to have several seats isn’t the right response, but her trite platitudes won’t get all these macho men pointing guns at each other to stand down either. Fortunately, her outfit isn’t uber skimpy, and Larson’s modern earthy look is perhaps the most seventies style in the cast. Weaver goes from skeptical equals Pulitzer to island believer saving injured animals too quickly with no depth to her island connections if any before ending by saying she will expose their information rather than keep this precious ecosystem secret. She could have been a hippie tree hugging activist woman alone in tune for peace with Kong, but Weaver’s touching moments with the ape are too few and far between. Whether there is some kind of native spirit and island good to counter the evil creatures below isn’t explored, and while all the scientists pick up guns, Weaver shoots with her camera only – a nice statement that just leads to her getting rescued by Conrad in every dangerous situation. A brief moment of her refusing a gun and more of her resourceful ingenuity as with Conrad’s handy lighter would have added better character strength and humor. Sadly, Skull Island has both Weaver taking pictures to expose Monarch and John Goodman’s (The Big Lebowski) underutilized Bill Randa recording film for his secret organization’s posterity. What is the point of having both such rival documentarians on the trip when they never even have the chance to object to each other onscreen?

 

But why you gotta be mean like that to Kong, Nick Fury? Despite the Vietnam withdrawals underway and orders to head home, Samuel L. Jackson’s Colonel Packard isn’t ready for the war to end. He wonders what this the fight was all for – accepting this final mission without considering the families and day jobs waiting for his Sky Devils stateside. Packard resents the camera and the media’s influence on the war as more dangerous than a gun, and objects to calling the battle lost. He’s upset at Kong for destroying his helicopter team, blaming the ape and demanding payback when he’s the one who ordered them to fly through the island’s nonsensical storm front. There’s room for more psyche, but other plot contrivances compromise Packard’s fanatical. His insistence on taking out Kong instead of the more deadly skull creature continues even when his reason for pursuing one over the other is proven more fatal, and Packard gets around the island just fine without the obligatory SAS tracker, gutting any tension the two are apparently supposed to have. After aimlessly walking for half of Skull Island, Packard needlessly divides the group when they actually come together, and any deeper hates the monster because he hates himself guilt about man’s supposed superiority is never fully explored. Certainly the Lieutenant Colonel did nothing wrong in ordering his men and defending his homeland from the horrors of war, but he takes the extinguishing the wrong monster too far and doesn’t learn from any of the mission’s bureaucratic stupidity, ultimately using napalm to flush out more creatures than he can handle. Likewise his soldiers – family man macguffin Toby Kebbell (Control), headband wearing Thomas Mann (Me and Earl and the Dying Girl), and letters to his mama Jason Mitchell (Straight Outta Compton) don’t listen to local information on avoiding island perils. At once they decide it’s all for one and one for all while telling others they will be left behind if they don’t like the plan, and none of them go against the Colonel even when he is wrong and the chain of command has broken. Although dead pan Shea Whigham (Boardwalk Empire) eating in the face of giant apes is good levity, the too crowded Skull Island keeps these military men stereotypically hip with shirtless photo sessions and no questions asked until after the fact rather than developing any killer edge e.g. Predator.

There are simply so, so, so many superfluous people in Skull Island that you can argue almost anyone doesn’t really need to be here. Landsat fraidy cat John Ortiz (Fast & Furious) deserves more than ticking the Hispanic check box with his own personal homage to Jurassic World. This looks like a diverse ensemble with representation from all walks of life, but it isn’t diversity if each monster fodder minority has five cliché lines while the white people save the day. Geologist Corey Hawkins (24: Legacy) and biologist Jing Tian (The Great Wall) look like they filmed their scenes separately from everyone else. Their brief conversations happen with no one else around and they don’t really interact with anybody on the island – simultaneously missing the opportunity for statements on the struggles of a well educated black man with a radical theory while nonetheless desperate to appeal to Asian markets with an intelligent but meek biologist who barely speaks. Hawkins’ Houston Brooks objects to the titular craziness with almost the exact same words as Mann’s Slivko, and eventually, the scientists are told to go back to the boat – which they easily find and operate without Conrad holding their hands. The post-credits scene likewise has them repeating Randa’s words on the monsters to come while again telling us not much of anything on Monarch’s intentions. Fortunately, John C. Reilly’s (Chicago) kooky World War II castaway Hank Marlow is the most dynamic character in Skull Island. He’s happy these new found people are real because he’s more than ready to get home to beer, hot dogs, and the Chicago Cubs, becoming the only fish out of water in this crazy habitat that receives any narrative payoff. I also dare say Marlow’s opening cross cultural duel turned bond with Japanese singer Miyavi as Gunpei Ikari and their subsequent hear tell eight attempts to leave the island during their forced twenty-eight year sabbatical may have been the more dramatically interesting tale – “Darmok and Jalad at Tanagra” and all that.

 

Fine gunfire, brief World War II designs, aerial action, and impressive photography also pepper Skull Island. A variety of cool ships accent the beautiful, tropical, misty, hot locations from Hawaii, Australia, and Vietnam amid lovely waters, deadly swamps, and killer jungles keeping everyone good and sweaty. There are dangerous rocks, mountains, vegetation, and animals, too – but that giant water buffalo thing has a cute nose! Unique patinas, golden sunsets, neon, bright blues, red lighting, and choice zooms set off every frame in Skull Island, and a fiery haze makes the night time battle with Kong befitting of the island’s devilish face shape. However, despite all the old school touches, Skull Island doesn’t feel as aged as it could be. A 1973 Life Magazine and a record player don’t a la the past when everybody looks so today. The money here is rightfully spent on the badass ape kids will dig, but younger audiences probably won’t notice the early computers, retro televisions, dark room photography, old reel frames, slide projectors, or rotary phones and period references. Fortunately, these creatures are so big that director Jordan Vogt-Roberts (The Kings of Summer) must pull the camera back – we can see the well choreographed rumble without hiding behind panoramic swoops and hectic editing. Kong breaking free from a shipwreck’s chains is a fine homage, and the deleted scenes with more platoon camaraderie and a bristling introduction between Conrad and Packard should have been kept. Of course, Skull Island is available in different video editions with seller and regional behind the scenes exclusives. An official comic book also continues the adventure, but I wish the background material or what happens next wasn’t relegated to extras or waiting on another picture in the franchise. Although, ironically, Skull Island might have made a great limited television series with fulfilled episodes dedicated to our mad military man, lost tracker, photographer, castaway, or scorned scientists.

Kong:Skull Island seems like it began with storyboards of cool things for Kong and company to do with everything else as filler to meet the feature length duration. There’s no time to stay on Skull Island and explore its myths or monsters, and this does indeed feel like one mere stepping stone toward the inevitable Godzilla vs. Kong anticipation in 2020 thanks to postscript MonsterVerse revelations. Though entertaining, the forties bookends are abrupt and in between viewers are spoiled for choice of eye candy. Skull Island is meant to be a monster money maker and it shows with this sweet but shallow action. It wants to be man versus man, man versus nature, and man versus himself, but superficially potlucks all the deep possibilities. Thankfully, Skull Island is not a film meant for critical eyes and that isn’t necessarily a bad thing. Despite its narrative flaws, there’s just so much fan service that Kong: Skull Island was bound to be an enjoyable success.

 

The Other Woman by Jesse Orr Episode 11: Civil War

11: Civil War

“Ma’am,” the officer said, leaning down to peer through the window, “do you know why I pulled you over?” He was a large man with a stomach to match. His wheezing breath spoke of emphysema and many nights chain-smoking during stakeouts. Broken blood vessels stood out on his nose but his eyes were sharp behind them. They were busy eyes, taking in the interior of the car even as he asked the question.

“Not a clue,” said Princess, her voice airy.

Officer Benton, according to his nametag, allowed his roving eyes to settle on her again. The corners of his mouth turned down a bit more and he shifted his weight from one foot to the other as though it hurt. “You pulled out of that parking lot with no signal.” He gestured to the road before them. “Two lanes of traffic might like the hint as to which way you’re going.”

“Now now, hints would be telling,” Princess said, and giggled.

Benton’s eyebrows disappeared under his hat. “Excuse me?”

“I’m just fooling around, Officer. I’m awful sorry about that, I must have just been in a hurry,” Princess sighed. “Can you forgive me?”

The corners of Benton’s mouth turned down still farther. “Ma’am, I’ll need to see your license and–”

“UNIT 34 COME BACK,” the radio shouted without warning, punctuating its transmission with a healthy hiss of static. Princess and Benton both winced and he straightened up, his hand going to the radio.

“34, go,” he said, and the radio’s reply turned into a drone of garbled vowels and consonants as he turned the volume down.

Princess took a drag from her cigarette as her eyes traveled down the officer’s ample frame, his gut heaving as he spoke into the radio. Her gaze settled the butt of his gun, which stood right in front of her through the open driver window. Right there. So close.

Missy felt the idea grow in Princess’s mind and almost at once the hand not holding the cigarette raised from the armrest, reaching for the gun. As though in a daze, Missy watched Princess stretch out the arm they shared. The fingers grazed the butt of the gun.

NO!!!…

With a sudden stab of pain in her head, Missy felt the butt of the gun under her fingers and snatched them away just as Officer Benton leaned back down to peer in her window.

“Ma’am, you’re free to go, but please remember: blinkers save lives.” He tipped her a little salute and was stumping back to his car before Missy could even say anything. She watched, her limbs weak with relief as he got back into his car, turned on all his lights and pulled out with his own screech of tires. He didn’t use his turn signal.

“Sissy Missy,” sang Princess, the rage she felt at being balked almost palpable. “Can’t take a joke.”

“Oh yes, let’s steal the cop’s gun and shoot him on a busy street. Really funny,” Missy snapped, signaling to turn onto the road behind the cop who was now just a blue and red blur in the distance. “I really don’t know where you get your material.”

“Your problem is you just don’t know how to have fun,” Princess said.

“My problem is that I haven’t killed myself yet. I’ll have you know that the only reason I don’t drive this fucking car off a cliff or into a wall is that now I can take over you if you start acting like a psycho and if I hadn’t we’d be eye deep in shit right now so you should be thanking me for not killing us both by making that cop shoot us!” Missy’s voice had risen as she said all this until she was nearly screaming. An sports car that had been pacing her suddenly sped up, its driver irrationally disturbed by the thing he had seen screaming at itself in the car next to him.

Princess laughed without mirth. “You poor weak thing,” she sneered. With a sudden sinking feeling, Missy saw that she was no longer moving the hands she saw grasping the wheel. One of them let go and extended the middle finger toward her. “You pathetic little piece of trash. You think you have any power over me? You truly have no reason to be alive, and you will never control anything again, least of all Us.” The hands moved, pulling a cigarette from the pack and lighting it, then taking it out of the mouth and holding it. Princess stared at Missy in the mirror, eyes devoid of reason. “I will see you die, locked deep inside wherever you are now, before I tolerate your presence again.”

Missy felt herself go cold, wherever she was. She tried to do whatever it was that she had done to take over, to stop Princess grabbing the gun. Pushing with her mind clumsily, she shoved with all her might, her head aching, until she realized she was standing in the same place, doing nothing. Wherever she was, she could see Princess smile and blow a kiss in the rearview mirror at her. You bitch, Missy screamed as loudly as she could. Princess laughed.

“I can see you in there, Miss. But you’re never getting out. Maybe you haven’t figured it out, but I don’t care about what happens next. All that I see is what happens now. I guarantee, by the time we die, we will have had more fun together than you ever could have by yourself.”

Missy’s eyes, wide and terrified, suddenly shifted from the eyes in the mirror to the road behind them. Look out, she shouted.

Princess’s eyes widened and she jerked the wheel to the right even as the SUV behind them rammed into their rear bumper, sending the car forward in a wide sweeping skid. Princess fought the wheel and succeeded only in making the car slew around to the left as it crossed the shoulder and wrapped itself around a telephone pole with a bang and a sickening crunch.

HorrorAddicts.net, 160 Michele Roger

Horror Addicts Episode# 160

SEASON 13 “We’re CURSED!!!”

Horror Hostess: Emerian Rich

Intro Music by: Valentine Wolfe

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egyptian curses

michele roger | the mummy 1959 | the barbarellatones

Find all articles and interviews at: http://www.horroraddicts.net

53 days till halloween

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Ranker.com Curses Came True?

https://www.ranker.com/list/ancient-egyptian-curses-unleashed-by-archaeologists/tamar-altebarmakian

Jeff – Mummies link

http://www.foxnews.com/science/2018/08/21/cursed-ancient-egyptian-sarcophagus-reveals-its-grisly-secrets.html

 

The Harpist voices

Narrator: Emerian Rich

http://www.emzbox.com

Elizabeth- Astrid Madsen

https://www.facebook.com/astridmad

Mike – Jeffery Kohld Kelly

https://horroraddicts.wordpress.com/author/mourninglightrecords/

Marty – Jesse Gilbert

https://www.facebook.com/RazTSlasher

 

 

HorrorAddict.net Sub Call Kill Switch

https://horroraddicts.wordpress.com/2018/03/09/submission-call-tech-horror-kill-switch

Belfry App

https://play.google.com/store/apps/details?id=tv.wizzard.android.belfry&hl=en_US

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Write in re: ideas, questions, opinions, horror cartoons, favorite movies, etc…

horroraddicts@gmail.com

————————

h o s t e s s

Emerian Rich

s t a f f

Dan Shaurette, KBatz (Kristin Battestella), Mimielle, D.J. Pitsiladis, Jesse Orr, Naching T. Kassa, Daphne Strasert, Russell Holbrook.

Want to be a part of the HA staff? Email horroraddicts@gmail.com

b l o g  / c o n t a c t / s h o w . n o t e s

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t h e  b e l f r y  a p p

https://play.google.com/store/apps/details?id=tv.wizzard.android.belfry&hl=en_US

 

Chilling Chat Episode 160 Michele Roger

Michele Roger is an author and harpist living and working in Detroit. Her previous novel, The Conservatory, was published in 2014. Her second book, Eternal Kingdom: A Vampire Novel, was published in 2015 and made into a film script. Dedicated to furthering the reach of women in speculative fiction, she is a founding member of, “The Wicked Women Writer’s Group.” Her short stories have been published in anthologies in both the US and UK. As a harpist, she is the founder of the Michigan Conservatory. She was a Detroit Music Awards Finalist for best classical composer in 2015.

Michele is an innovative and artistic woman. We spoke of music, the creative process, and her advice for the burgeoning female writer.

NTK: Welcome to Chilling Chat, Michele! Thank you so much for chatting with me.

MR: I’m thrilled to be here. Thank you for the invite!

NTK: You’re an accomplished musician. How does your background in music influence your writing?

MR: That’s a great question. In reality, there isn’t an easy answer. The two creative outlets sometimes inspire one another. That’s when it feels like a blessing. I can be writing a conversation between two people falling for one another and the music will start to play in my head. The epiphany will hit me that it’s not a song I’ve heard before. Then, I stop writing words and start writing notes on a music paper. Sometimes, the two outlets compete for my attention. I can wake up at 3 am with a story and the theme music and the entire movie score in my head. Then, it feels like a curse. Which do you act upon first? Honestly, it’s a good problem to have.

NTK: Do you find inspiration in dreams?

MR: My biggest inspiration is walking. But, dreams do come into play. If I set a story and its characters aside to do my day job teaching music or playing Harp concerts, the characters sneak into my dreams. It’s always the same dream to start. I’m asleep in bed inside of a glass box. The characters come and gently knock on the box while I’m sleeping. The characters return each night, knocking louder and eventually pounding on the glass until I finally start to write their story. Then, the dreams end.

NTK: Did The Harpist come to you in this way?

MR: Yes. The ghost in the story, Emma, came to see me first, as I was out for a walk. That night, I dreamed of her outside the glass box. She scared the hell out of me. But as a paranormal writer, that’s an advantage, I suppose. Elizabeth and Detective Flannery came to me the next day.

NTK: That’s a fascinating process. What is the difference between paranormal and horror?

MR: Paranormal, by my definition, is like a flavor of a story. There are elements that are scary or ghostly but those elements are just tools for telling a story. The Harpist is definitely paranormal. I’ve written two horror novels. The entire story builds and builds becoming more frightening at every turn.

Paranormal uses scary elements to tell a great story. Horror uses a story to convey something really scary.

NTK: Are your stories character driven? Or, plot driven?

MR: Depends on the story. My sci-fi book, Dark Matter was definitely plot driven. So was [ ETERNAL KINGDOM: A VAMPIRE NOVEL Paperback ] Roger, Michele ( AUTHOR ) Jul - 20 - 2014 [ Paperback ]my horror novel, Eternal Kingdom. But my latest shorts, like Addicted to Love and now this new novel, The Harpist, is far more driven by the characters.

I think, as I get older, the more I like how beautiful it is when characters are vulnerable.

NTK: How much control do you exert over your characters after they come to you? Do they retain their free will? Do they come to you with vulnerabilities?

MR: They come to me dragging their huge amounts of baggage. It’s just my job to spoon their personality and flaws out to the readers as needed.

NTK: What writers have influenced you most?

MR: My first love of literature bloomed after reading F. Scott Fitzgerald. When I read that Hunter S. Thompson said he wrote passages from The Great Gatsby over and over again to learn how to write well, I tried it. That’s when I knew I wanted to write. I didn’t realize I wanted to write speculative fiction, sci-fi, and horror/paranormal until I devoured Stephen King’s short, Thinner. Then, The Visitor series in the 80s and finally, Margaret Atwood’s The Heart Goes Last, had me writing in the genre and never looking back.

NTK: Were you a reader as a child?

MR: I loved to read. It was always my escape.

NTK: What got you into horror?

MR: In 8th grade, a friend gave me a copy of Stephen King’s, The Eyes of the Dragon. It was a fantasy story he wrote for his daughter. I was already reading all the sci-fi and fantasy I could get my hands on secretly (my mom thought I should read romance) so King’s fantasy novel became my gateway drug into his other stories.

NTK: What do your parents think of your writing? Have they encouraged you?

MR: Before my dad passed away, he came to every signing and author event I had; often buying a copy of books he already had just to show his support. My mom is supportive of all my creative endeavors.

NTK: You said your mom wanted you to read romance. Do you like to write romantic scenes in your books?

MR: The first romantic scene I ever had to write, I was so nervous, I had to have a cocktail to get through it. Now, I have become much closer friends with my characters. I adore helping them find their loves. Maybe, that’s the difference between writing my first love scene in my early thirties and writing now at 46. I’m more comfortable with my own sexuality and hence, I’m more comfortable with the romance scenes of my characters.

NTK: That’s great! Do you enjoy horror movies and television shows? If so, which are your favorites?

MR: Hmm. I love Stranger Things but really, I don’t watch much TV or movies. I’m a print junkie.

NTK: What do you like about Stranger Things?

MR: I love the duality of worlds; one we can see, one only a select few can see. I also adore how much they’ve embraced the deliciousness of the 80s, right down to the plaid flannel shirts. Seeing the story through the eyes of kids is one of the best parts.

NTK: You’re a founding member of The Wicked Women Writer’s Group. Could you tell the Addicts how that came about?

MR: Early on in my writing, a publisher told me that it would be hard for him to market my work if I used my real name. Horror and sci-fi readers didn’t buy work written by women (or so he thought.) I didn’t want to hide behind a male pen name. Instead, I started a group for women who wrote speculative fiction. I wanted it to be a positive place for female horror writers to support one another. It’s become so much more and I couldn’t be more proud of all the members and our collaborations.

NTK: Very cool! Thank you for starting this group and giving women writers a place to get together. What advice would you like to give prospective women writers out there?

MR: Just this week, The Guardian published an interview with Phillip Pullman, author of His Dark Materials series, and president of a UK author society. He said that the publishing world isn’t supporting authors. Less than 30% of authors can make a living by writing solely as a career. For women, the percentage is even lower. Hence, my advice is this: 1. Buy the work of all authors you love. As a woman and a writer, we appreciate the grueling art form. Particularly, buy the work of female authors. Show appreciation with our dollars. 2. If monetary support is out of reach, support women’s writing by posting great reviews of their work. 3. Never give up on your dream.

NTK: Wonderful words! Michele, as you know, Season 13 of HorrorAddicts is CURSED! Do you have a favorite curse? If so, what is it?

MR: Curses are definitely a powerful female tool. My favorite thing about them is that they’re more frightening than a threat. A curse actually feels possible. My favorite curse? “I hope you have a kid just like you!” That curse came true in my two kids. And, I couldn’t be more proud.

NTK: What does the future hold for you? What books, stories, and music do HorrorAddicts have to look forward to?

MR: The Harpist (Cursed) will be released this fall 2018. A short holiday story with Elizabeth and Flannery is in the works and the sequel to The Harpist is already outlined and taking shape. As for music, I’m working on another Celtic harp album which will hopefully be released in the spring of 2019.

NTK: Thank you for chatting with me, Michele. It’s been fun.

MR: Thank you so much for the interview.

Addicts, you can find Michele on Twitter.

Odds and DEAD Ends: Resurrecting The Queen

Resurrecting The Queen: Queen Tera in Bram Stoker’s The Jewel of Seven Stars,

When people think of Bram Stoker, they invariably think of Dracula. His novel, The Jewel of Seven Stars, is perhaps overshadowed simply by the importance of the vampire, but it is by no means an inferior novel. Detailing the attempt to resurrect an ancient Egyptian Queen, the novel went on to inspire movies such as Hammer’s Blood from the Mummy’s Tomb, and in some ways the Universal adaptation of The Mummy with Tom Cruise. In this article, I will discuss Queen Tera, and the way she is portrayed as a constant threat to patriarchal society.

To note, I’m using a copy of the novel which includes the original ending and the second, revised ending. I’m basing my discussion on the original ending because it’s darker and, presumably, the direction Stoker originally intended. Also, selfishly, because I much prefer it.

Let us first note that, aside from Margaret Trelawny (and a brief mention of her mother), Queen Tera is the only female character in the novel, and she never utters a word. Her characterization is presented through the male characters of the novel; the documentation of Van Huyn’s book, or the recounting of Corbeck and Trelawny. The power that she exhumes, therefore, may or may not be interpreted to be being played up by the male characters to increase the sense of a threat that she poses. Note that before we are given a name, we have the warning that “‘The “Nameless One” has insulted them and is forever alone. Go not nigh, lest their vengeance wither you away.’” (P.84)

With all that in mind, what is initially deciphered from the sarcophagus reveals Tera to have challenged the male-dominated society of the priests, “‘who had by then achieved immense power’” (p.87). “‘In the statement, it was plainly set forth that the hatred of the priests was, she knew, stored up for her, and that they would after her death try to suppress her name.’” (p.88). Their motivation is her strength in being able to combat their overthrowing of the monarchy, “‘They were then secretly ready to make an effort… that of transferring the governing power from a Kingship to a Hierarchy.’” (p.87) The priests, to their own gain, attempt to get rid of her, “‘make out that the real Princess Tera had died in the experiment, and that another girl had been substituted, but she conclusively proved their error.’” (P.88)

Tera, however, shows incredible resilience thanks to her own determination and learning from her father, “‘He had also had her taught statecraft, and had even made her learned in the lore of the very priests themselves.’” (p.87). She even breaks the tradition of a male ruler, though others try to align her to it. “‘In the following picture she was in female dress, but still wearing the crowns of Upper and Lower Egypt, while the discarded male raiment lay at her feet.’” (P.88). She is very much her own woman, not afraid to show her sex, going against the patriarchy set up for the Kingship, and against the priesthood. “‘She seems to have seen through the weakness of her own religion.’” (p.113)

Her intelligence is noted by the present-day protagonists, who even say that the mummy’s gender may affect their knowledge of the situation, that “Men may find that what seemed empiric deductions were, in reality, the results of a loftier intelligence and a learning greater than our own.” (P.164) Mr. Trelawny also states that:

“We might have known that the maker of such a tomb – a woman, who had shown in other ways such a sense of beauty and completeness, and who had finished every detail with such a feminine richness of elaboration – would not have neglected such an architectural feature.” (P.95)

However, Queen Tera possesses a knowledge which the others do not, which ensures their eventual demise and her assumed resurrection. As is noted by Carol A. Senf, “What makes Tera so overwhelming is her violence and ability to over-power the assembled experts.” (p.107). The science and understanding of all the men in the room cannot save them from Tera’s avenging evil, just as the priests could not stop her eventual revival.

It is this knowledge of another world, knowledge beyond that of the priests and the protagonists, that they fear. Women’s rights movements are slowly gaining momentum at the time, and just a few years before the novel’s publication, in 1898, Stoker’s native Ireland had the Irish Women’s Suffrage and Local Government Association arise from the Dublin Women’s Suffrage Association. Gender politics is on the rise, and the female threats to patriarchal power could not have been far from Stoker’s mind.

This fear of female invasion to the modern patriarchal society is what makes Tera so terrifying. Killing dozens of people throughout the recorded events, based on a combination of ambition and supernatural power, fuelled by a wrath based on gender politics very closely linked to the rising gender politics of Stoker’s time, Queen Tera is an overshadowed classic villain of gothic horror. With gender politics still very much in the public consciousness in today’s world, perhaps revisiting this pushed-aside novel by one of modern horror’s founding fathers, is worth the time for all of us.

Article by Kieran Judge

Bibliography

Blood from the Mummy’s Tomb. 1971. [Film] Directed by Seth Holt. United Kingdom: Hammer.

Senf, C. A., 2010. Bram Stoker. Wales: University of Wales Press.

Stoker, B., 2009. The Jewel of Seven Stars. United States of America: Seven Treasures Publications.

The Mummy. 2017. [Film] Directed by Alex Kurtzman. United States of America: Universal.

 

 

FRIGHTENING FLIX by Kbatz: Mummy Movies!

Unwrapping a Mummy or Two!

By Kristin Battestella

 

Seen any good mummy movies lately?

 

Blood from the Mummy’s Tomb – Based upon Bram Stoker’s The Jewel of Seven Stars novel, this 1971 Hammer outing gets right to the saucy, sexy mummies, colorful jewels, tombs, and classic Egyptian designs not through spectacle of production but via subdued lighting, firelight, soft music, foreboding curses, and a silent, dreamy start. The intriguing father and daughter dynamic between Valerie Leon (The Spy Who Loved Me) and Andrew Kier (Quartermass and the Pit) is both endearing and suspicious – straight jackets, psychics, ominous constellations, cluttered museums, and sinister relics likewise contribute to the visual mixing of old, Egyptology styles and early seventies designs. Pleasing hysterical fears, snake scares, uneasy reunions, and power struggles unravel the reincarnation tale nicely. It is tough, however, to see some of the night sky transitions, and the simmering 94 minutes may be too quiet or dry for today’s speedy audiences. Subtitles would help with the exposition as well – especially for the fun homage character names like Tod Browning that may be missed otherwise. Brief nudity, one by one deaths, the collecting of killer artifacts, and a resurrection countdown also feel somewhat rudimentary at times, predictable before snappy and missing some Hammer panache in cast or direction. Considering the on set death of director Seth Holt (Taste of Fear) and the departure of Peter Cushing – both briefly discussed in the DVD’s features – the film’s flaws are certainly understandable. Besides, this is still most definitely watchable with an enjoyably moody atmosphere and fun, subjective finish.

 

The Curse of the Mummy’s Tomb – Hammer producer Michael Carreras (Maniac) wrote and directed this 1964 sequel to The Mummy, and it’s a well shot piece with plenty of Egyptian color, tombs, flashbacks, artifacts, humor, and film within a film carnival spectacles. The 1900 designs are also period fine, but some scenes are obviously on-set small scale and lacking the expected all out Hammer values, making this follow up feel like some one else’s beat for beat B knock off rather than an authorized continuation. Opening blood and violence, characters at each other’s throats in fear of the eponymous threat, brief debates on traveling sideshow exhibitions, and scandalous belly dancing can’t overcome the slow, meandering pace while we await the well wrapped and perfectly lumbering Mummy violence. Jeanne Roland (You Only Live Twice) is very poorly dubbed, and beyond the over the top, annoying, love to hate Fred Clark (How to Marry A Millionaire) as a sell out American financier, the rest of the cast is interchangeably bland with no chemistry. The somewhat undynamic writing is uneven, with twists and mysteries either out of the blue, too tough to follow, or all too apparent. Though the sinister deaths aren’t scary, it’s all somehow enjoyably predictable because we’ve seen so many rinse and repeat Mummy films. This isn’t a bad movie, but it takes most of its time getting to the Mummy scenes we want to see – and we can see a lot of fact or fiction Egyptology programming today. It’s not quite solid on its own and feels sub par compared to its predecessor, yet this one will suffice Mummy fans and fits in perfectly with a pastiche viewing or marathon.

 

The Mummy – Karloff, Karloff, Karloff! The drawn, crusty, and dry opening makeup and mummification designs looks dynamite- accenting OMK’s tall, imposing, sullen, and stilted presence. His silent up close shots are indeed hypnotic and powerful- even if modern audiences might find this one more fanciful fantasy than truly frightful. Even though there is some tell, not shown off-screen action, the plot is well paced, with nice dialogue and support from Zita Johann (Tiger Shark) and Edward Van Sloan (Dracula). Some of the 1932 style or mannerisms, foreign languages, and customs of the time might be strange to us now, but the mysteries and iconography of Ancient Egypt look delightful. An action packed pseudo silent styled flashback also works wonders. The CGI spoiled may of course find things here slow and dated compared to the 1999 The Mummy, but seeing a film done when Egyptology was arguably at its height allows a little more of all that onscreen glamour and gold to shine through. Actually, I am usually completely against it, but I’d love to see this in color- at least once anyway. Sweetness!

The Mummy (1959) – Hammer perennials Peter Cushing and Christopher Lee team again for this well paced if somewhat familiar plot. Though he looks like the Creature from the Black Lagoon in some scenes and is styled more like a Bond henchman doing the evil deeds of late Victorian villain George Pastell (also of The Curse of the Mummy’s Tomb); Lee’s reanimated and mummified priest Kharis is dang menacing but no less tragic in his violence and lost love. His overbearing stature works wonders against the intelligent and suave archaeology gentleman Cushing- whether he’s in the dirty wraps or decked out in great Egyptian costumes, color, and brightness. The sets, however, could use some work, as the exteriors are a bit, well, plastic looking instead of mighty stonework monolith. Yvonne Furneaux (Repulsion) is also a lovely but slightly lightweight façade that’s a little out of place with Cushing’s take action and dueling wit. Fortunately, the musical charms accent the Egyptian suspense and cap off the scares beautifully. Toss in some humor and great fun and this version equals total entertainment.

 

The Mummy’s Curse – Stay with me now – this 1944 hour long Universal sequel marks the final appearance by Lon Chaney Jr. as Kharis after The Mummy’s Tomb and The Mummy’s Ghost, which follow the 1932 original and The Mummy’s Hand. Got that? Of course, the timeline and locales are all over the place at this point anyway! We open with a French sing along to set the inexplicably changed Louisiana setting here before getting to the expected accursed mummy swamp recovery, investigating archaeology professors, and screaming dames. It’s amusing to see all the fearful and faux French accented locals, and reused stock footage from prior Mummy films creates further humor. But why is this exact same story being told to us again? Again but in a Louisiana swamp? A swamp that lies below a conveniently abandoned chapel where the Mummy hides? Fortunately, once the audience takes these leaps, Chaney’s resurrected and deadly, limbering monster can be enjoyed thanks to well done shadows, lighting, and crisp black and white photography. Virginia Christine (Tales of Wells Fargo) also has an excellent entrance as the revived Ananka, with eerie music, stilted movement, and great horror editing. Despite the spooky bayou atmosphere, this isn’t as scary movie as it should be – somehow Chaney’s crippled, dragging Mummy seems sad and used more than frightening. Poor thing misses a victim or two thanks to them, you know, walking away from him! Thankfully, the quick fun here is still watchable for fans, especially in a Mummy or Chaney viewing marathon.

 

The Mummy’s Hand – Be he curse protector or resurrection accomplice, George Zucco (Dead Men Walk) is slick as ever in this 67 minute 1940 Universal sort of sequel that’s otherwise lacking in the expected Mummy stars such as Karloff or Lon Chaney, Jr. These different characters create more remake than follow up feelings, and after awhile, these Mummy films do seem somewhat the same anyway. There’s a little too much humor and bumbling rivalries away from the titular action for this installment to be scary, too. Who has the money for the expedition? Who doesn’t want the archaeology to happen? What’s pretty daughter Peggy Moran (King of the Cowboys) doing pointing a gun at folks? Wallace Ford (The Rogue’s Tavern) is also an unnecessarily fast talking swindler sidekick for by the numbers Dick Foran (The Petrified Forest), and the then-modern Cairo pre-war styles and colloquialisms slow the plot down when there’s no time to waste. Fortunately, despite the black and white photography, the opening Egyptian flashback provides the expected regalia and spooky curses. Perhaps this entry is typical or nondescript in itself, but its fun for a classic marathon. When we finally do get to the tomb robbing action and Tom Tyler (The Adventures of Captain Marvel) as the murderously lurking about Kharis, this becomes a pleasant little viewing with a wild finish.