FRIGHTENING FLIX BY KBATZ: Dial M for Murder

Dial M for Murder Remains Whodunit Expertise

by Kristin Battestella

Alfred Hitchcock (The Birds) directs the 1954 murder mystery Dial M for Murder featuring Ray Milland as an obsessive husband plotting to kill his adulterous wife Grace Kelly. Yes indeed, despite whimsical music, morning newspapers, and stereotypical bliss, our lady is kissing two men as daytime white robes give way to scandalous red dresses and evening cocktails. The reunited lovers catch up on blackmail, anonymous threats, and whether to tell her husband, but the British accents feel a little put on amid heaps of exposition. Fortunately, the pip-pip cheerio phone manner adds to the fronts presented, and banter about buying a car with his money or hers and who gave up one’s career for whom reveal more than what’s really being said. Dial M for Murder has a lot of laden dialogue, past tense tellings written by Frederick Knott from his stage play, and for some audiences, the meticulous talking about comings and goings we didn’t get to see may be too stiff. However, viewers also need to be informed of each recognition, supposedly coincidental encounter, and unaware pretense as the eponymous request drops so casually. Who’s pulling the wool or has one over the barrel and who’s going to blink first? Devious two-handers elaborately orchestrate the perfect crime via untraceable cash, switched keys, and fatally timed phone calls that can’t prove who really did what. The first half-hour of Dial M for Murder tells you who’s going to be killed, when, where, and why with strategic placements, police scenarios, and assumed deductions. The only person who knows different will be dead, but the victim isn’t where she’s supposed to be, leading to suspenseful slip-ups and costly mistakes. Stag party alibis, nightgowns, behind the curtain veils, roughness over the desk, risque strangulation, and penetrating scissors make for an interesting sexual, even cuckold or homoerotic symbolism. Our husband lets another man enter the home sanctity and do to his wife what he cannot – orchestrating the coughing, gasping, purple bruises, and rough aftermath as an over the phone voyeur. A brief intermission gives the audience some relief before locks, shoes, mud, handbags, and thefts leave holes in the revisionist history. What’s been touched, misplaced, planted, burned? No forced entry and suspicious stockings escalate to lawyers, nightmarish trial montages, and an ominous sentencing. However preposterous or unproven, could there another perpetrator? Jolly good men pour drinks and ponder what if, winking at writing a detective novel and putting oneself in the criminal’s shoes. “Just one more thing” deduction a la Columbo wears down the suspect with crunching numbers and attache cases suspense. Viewers must recall how the chess meets Clue really happened as each tries to outwit and reveal the truth.

 

Former tennis star now working man Ray Milland (The Premature Burial) is so doting he even sends his wife to dinner and the theater with another man when he’s working late. Unfortunately, Tony Wendice is clearly up to something, lying on the phone and faking knee injuries amid arguments about why he gave up sports and what he would do if his wife ever left him. Of course he knew about the affair – blackmailing Margot with her stolen letter in hopes the ended correspondence meant they would live happily again. His being the charming husband, however, only serves to hide his obsessive plotting on how to kill his missus. Tony is so suave about it, yet the detailed character focus reveals how crazy he really is – excited and pleased with his guaranteed calculations. He calls the police about this ghastly accident before serving them tea, planting evidence, and telling Margot to corroborate what lies he told. Tony speaks for her, too, using her shock for oh yes, but you see explanations and tidy answers. The debonair tall tales, however, only lead to more questions he cannot escape. Likewise sophisticated Grace Kelly (Rear Window) has ended her romance for her husband, contented at home even if she doesn’t like listening to radio thrillers alone and seems like a kept little girl doing what her husband tells her. Margot robotically repeats what Tony says, confused by police and breaking down at the disturbing, intimate attack. Despite being the female victim held, used, attacked, and judged by men, Margot does have one moment of impaling power that disrupts her husband’s plans. She’s both numb and overwhelmed, not recalling his face but the horrible eyes and shamefully embarrassed for the adulterous truth to come out in her official statement. After all, scandalous women with secrets are unsympathetic to a jury. Mrs. Wendice lied about her lover, so why should anyone believe her now? Robert Cummings (Saboteur) as suave American writer Mark Halliday is here to be our lady’s holiday fancy, using his literary perspective to help Margot though he can’t quite put the pieces together thanks to carefully worded hypotheticals and holes poked in his theories. Shady criminal Anthony Dawson meanwhile – who appeared in the stage production with our Chief Inspector John Williams – is the swarthy, rough, killer womanizer able to do what our husband can’t. Fortunately, our inspector knows more than he’s saying, pursuing unnerving evidence and paperwork with jolly good deduction to counter every seemingly airtight explanation. He has a slick mustache, too!

Originally Dial M for Murder was designed for then vogue 3-D showings – evident now with obvious outdoor backdrops and exaggerated foreground objects. In hindsight, it makes no sense to have such a talkative piece presented in 3-D anyway, and if I could choose, perhaps Hitchcock’s surreal Spellbound would have been a more interesting visual candidate. Bar carts in the forefront, moving silhouettes on the wall, cameras following the cast toward the screen, and filming through doorways also lend depth, but those are more about Hitchcock’s voyeuristic audience rather than three-dimensional staging. Exceptional lighting schemes, flickering firelight, and strategic lamps also spotlight areas or divide the frame for players with opposite motives. Keys and staircases play their usual Hitchcockian part amid retro rotary phones, giant receivers, vintage cars, fedoras, furs, cigars, and cigarettes. Dial M for Murder relies on a small two-room set cluttered with furniture and objects to consider in the fatal orchestration – mirroring Dial M for Murder itself as the film tells you the plan then leaves viewers to wonder who gets away with it via panning cameras, overhead angles, killer point of view, and giallo mood. Frenetic notes match the violence as well as the internal simmering from our seemingly so cool characters, and when we do have action, it’s claustrophobic, intimate, and scandalous. His and hers separate beds are moved out of the bedroom while the illicit couple is seen sitting on one bed, filmed through the headboard during conversations about which man has her key. While the DVD has a brief behind the scenes chat about the fifties 3-D craze, a twenty-minute retrospective with contemporary directors breaking down Hitchcock’s suspense whets the appetite for more. Of course, there are similar plots to a Dial M for Murder like A Perfect Murder that makes audiences these days more aware of the outcome. The slow, talky nature may bother some, yet that hoodwink, who’s bluffing dialogue helps the suspense. Thanks to contemporary in your face and special effects, there’s also a certain appreciation in how Dial M for Murder doesn’t need elaborate set pieces thanks to deceptive performances, in-camera assaults, and crime complications. In plain sight sleight of hand, nail-biting clues, charming criminals, and reverse whodunit lies remain entertaining shout at the screen excellence for mystery writers, fans of the cast, and Hitchcock enthusiasts.

For more Alfred Hitchcock Suspense, revisit more Frightening Flix including:

Alfred Hitchcock Video Starter

The Birds

Early Alfred Hitchcock

 

Odds and Dead Ends : Checkmate / The mysterious death of Alexander Alekhine

In 1946, a singular event in history occurred. The reigning World Chess Champion, Alexander Alekhine, (pronunciation of his name is debated depending on who is speaking, but most would pronounce it either Al-ek-ine, or Al-yek-hin), died whilst holding the title. This was the first and only time a World Champion has passed during his reign. What makes this intriguing, and curious for discussion here on HorrorAddicts.net, is that despite the coroner ruling Alekhine’s death an accident, conspiracy theories abound to this day about Soviet death squads and secret police murdering him after WWII had ended for political revenge.

Alekhine was born in October 1892 in Moscow, to a wealthy landowner father, and his mother was heiress to a large textile-industry fortune. Following in the footsteps of his older brother, he began playing in chess tournaments in the local Moscow clubs in his younger age, and by the time he was in double digits, he was addicted, playing games in his head throughout lessons and before bed. Bill Wall notes that ‘Garry Kasparov [the 13th World Chess Champion] tells the story that once in an algebra test, Alekhine suddenly leaped up with shining eyes. The teacher asked if Alekhine had solved the problem. Alekhine responded, “Yes, I sacrifice the knight, and White wins!” The class burst out laughing.’ (Wall, 2008)

As one of the world’s strongest players, Alekhine moved to France in 1921. He played tournaments against the strongest opponents in the world, and in 1928 successfully defeated José Raul Capablanca in a championship match to become the fourth World Chess Champion. Throughout the next decade, Alekhine played in all the world’s biggest tournaments, winning brilliancy prizes for incredibly played games in five Chess Olympiads (the chess version of the Olympic Games). Around 1934 he all but retired from major tournament play. Alekhine lost his title in 1935 to Max Euwe, but regained it again a few years later.

It is in 1939, however, that things changed. War broke out across Europe, and eventually, the champion needed to find ways to escape the continent. Repeated attempts to flee to Cuba, which would also aid the possibility of a rematch with his Cuban rival, Capablanca, were denied. In 1940, the Nazis seized control of the chatellenie at Saint-Aubin-la-Cauf, where Alekhine’s wife, Grace Alekhine, was residing. In order to protect her, Alekhine agreed to participate in many Nazi-controlled leagues and tournaments, as well as write articles and literature on behalf of the party. Many of these were overtly anti-Semitic, claiming things such as the idea that Jewish chess players were incapable of creating true works of chess art.

Come the end of the war, Alekhine was declined entry into all tournaments outside the Iberian Peninsula, with several pre-war invitations rejected. In 1946, The British Chess Federation decided to grant money as a prize fund for a World Championship match between Alekhine and the new soviet superstar, Mikhail Botvinnik. A telegram was sent to the hotel in Portugal where Alekhine was staying, and it was here that, on March 24th, Alexander Alekhine was found and pronounced dead. Alekhine’s funeral was arranged and paid for by the newly-created FIDE organisation (the international chess federation: Fédération Internationale des Échecs).

Here is where the conspiracy theories begin to write themselves. The initial line of inquiry decided that Alekhine had died of a heart attack, and yet articles in chess magazines claimed that the autopsy reports had stated that a three-inch piece of unchewed meat had been found in his windpipe. Due to the high improbability that someone could have effectively inhaled a piece of meat that long without chewing it, rumours began to fly. Theories that the Soviet Union reached Alexander and killed him as payment for both his Nazi affiliation and his denouncement of bolshevism in the early 1920s emerged. Many, including Grandmaster Kevin Spraggett, suggest that it is possible the Portuguese secret police of the time, PIDE, attacked Alekhine outside his hotel room and staged the death (Spraggett, 2010). Some even maintain that the photographs of his body in the hotel room were staged to suggest a natural death.

Debates still abound as to whether Alekhine harboured true anti-Semitic feelings, or whether all of his statements were purely down to a need to keep his family safe. Some have argued both, others have argued that his statements and articles were manipulated by the Nazi to fit their regime, and that Alekhine incorrectly spelled the names of famous players of the past to prove that he didn’t believe the rhetoric he was writing. It is quite likely that this is another issue which, like the true circumstances of his death, will remain forever unknown. In either case, the one thing that nobody doubts was his great chess ability, playing aggressively for the kill with no quarter given, and his death remains a mysterious singularity in the 125+ years of the official title of world chess.

-Article by Kieran Judge

-Twitter: @KJudgeMental

Bibliography

Spraggett, K., 2010. Spraggett on Chess – Part 1: Alekhine’s Death. [Online]
Available at: https://web.archive.org/web/20110708045154/http://kevinspraggett.blogspot.com/2009/03/part-1-alekhines-death.html
[Accessed 05 10 2019].

Wall, B., 2008. Alexander Alekhine (1892 – 1946). [Online]
Available at: https://web.archive.org/web/20091028083454/http://www.geocities.com/SiliconValley/Lab/7378/alekhine.htm
[Accessed 05 10 2019].

Odds and Dead Ends : An introduction to the Giallo

Most people have a fair understanding of the classic slasher flick. Made popular by Halloween in 1978, with predecessors including The Town That Dreaded Sundown, Black Christmas, Psycho etc, the idea of killing people off one by one has been immortalised by the formulae refined by films of this type. However, the slasher film is very closely linked to the Giallo (roughly pronounced jea-low), a type of Italian film which was very popular in the sixties and seventies, and bred a slew of filmmakers still admired and imitated today. This article won’t be a comprehensive discussion of the Giallo, as I’m a fan of the genre and not a scholar of it, but it will hopefully provide an introduction to those not aware of it, and give you a couple of movies to add to the ‘to-be-watched’ list.

Originally, gialli were cheap crime paperbacks, a bit like pulp novels, that were printed by Mondadori and trademarked with an instantly recognisable yellow cover. Hence this gave birth to the term Giallo, meaning ‘yellow’. These were mostly translations of Agatha Christie, Edgar Lee Wallace, Arthur Conan Doyle, and other similar authors. It’s important to make a distinction between the types of crime fiction, however. Gialli focused more on the graphic violence and the sleuths, rather than gun-toting noir police work. As Gary Needham says:

The publication of gialli increased throughout the 1930s and 40s, however, the importation and translation of the 1940s “hard-boiled” detective fictions from the US were prohibited from publication outright by Mussolini on the grounds that their corrupting influence and glamorisation of crime would negatively influence “weak-minded” Italians. (Needham, 2002)

Despite some of the restrictions, the Italians began writing their own gialli, and the literature boomed in the ’30s and ’40s. By the late ’50s, it had started to make its way across to film. The main mastermind behind its initial translation to the screen was Mario Bava, a film legend in his own right. After all, it was his film, Black Sabbath, which gave the band their name, who helped invent and pioneer the Heavy Metal genre of music.

Though he made a splash in ’63 with his film The girl who knew too much, it was his 1964 film, Blood and Black Lace, which really kicked things off. Dispensing with the police-procedural elements of previous films, Bava upped the sex and violence, turning the stalking sequences into major set pieces in their own right. Despite being a financial failure at the time, it has gone on to be critically appreciated and influenced dozens of filmmakers after. It set the template of what was to come after. It also introduced the killer in a black coat with black gloves, very much like Jack the Ripper, which would be the usual getup for Giallo killers as time went on.

A few years later, the most influential Giallo filmmaker would take up the mantle. Dario Argento’s The Bird with the Crystal Plumage incorporated a twisted, convoluted plotline with stunning visuals that earned him the nickname ‘the Italian Hitchcock.’ The film was an international success, and still has one of my personal favourite twists of all time. He followed this up with Four Flies on Grey Velvet a few years later, and then release one of his masterpieces in 1975, Profondo Rosso (Deep Red).Deep Red Poster

Around the early seventies, Sergio Martino also released films such as Torso, All the colours of the dark, and the incredibly titled, Your vice is a locked room and only I have the key. Lucio Fulci also breaks onto the scene here, directing films such as A lizard in a woman’s skin and Don’t torture a duckling in the early seventies. I’ve already written an article on Fulci here on HorrorAddicts.net, and I’ll include a link to that at the article’s end.

Because of their frequency of production and release at this time, gialli ended up like the Saw films did, with each film trying to out-do the previous in terms of twists and turns. I recall hearing Luigi Cozzi talk about this in relation to when he and Argento were batting around ideas for a film in which someone foresaw their death, then had to try and explain how it happened without psychic powers. The film, Profondo Rosso, was eventually made without Cozzi’s involvement, but he does own a horror memorabilia shop in Italy named after the film.

The gory death sequences continued throughout the seventies, continuing into Argento’s most famous film, Suspiria, which had a remake released last year. The brutal opening death scene with a body crashing through a stain glass window is as in horror history as Johnny Depp’s demise in the original Nightmare on Elm Street, and Goblin’s score for the film is something you find yourself humming walking down the street. Filled with vibrant colours and haunting imagery, it’s still shocking even today.

By the time the eighties came around, however, the Giallo was beginning to fade. Fulci’s return to the genre after doing his Gates of Hell trilogy were fairly laughable (Murder Rock is just funny, and there’s not a person in existence that can’t think of The New York Ripper without saying ‘quack’. If you haven’t seen it, go watch it and you’ll understand what I mean), and Argento has been making movies to this day, but nothing of any real note after the mid-eighties with Phenomena and Opera. The American slasher had taken the spotlight, and even that was, by the late eighties, beginning to run down its original formula.

These films are still influential, however. The film Abrakadabra, released last year by the Onetti Brothers, is a wonderful homage to the giallo, nailing everything from the groove-rock soundtrack to the quick zooms and grainy footage. Gialli are a wonderful time, those made around the late sixties/early seventies especially, as they have their own unique vibe, shooting style, and soundtracks. Unlike the slasher or the ghost story, it’s something that I highly doubt will ever make a proper return, but will stay immortalised as the brilliant pieces of cinema that they are. Sleazy, shocking, suspenseful; the Giallo is one of a kind.

-Article by Kieran Judge

-Twitter: KJudgeMental

FURTHER READING ON HORRORADDICTS.NET

Bibliography

A Nightmare on Elm Street. 1984. [Film] Directed by Wes Craven. United States of America: New Line Cinema.

Abrakadabra. 2018. [Film] Directed by Nicolas Onetti Luciano Onetti. Argentina/New Zealand: Black Mandala.

All the colours of the dark. 1972. [Film] Directed by Sergio Martino. Italy: Lea Film.

Black Christmas. 1974. [Film] Directed by Bob Clarke. Canada: Ambassador Films.

Black Sabbath. 1963. [Film] Directed by Mario Bava. Italy/France: Emmepi Cinematografica Societe.

Blood and Black Lace. 1964. [Film] Directed by Mario Bava. Italy: Emmepi.

Don’t Torture a Duckling. 1972. [Film] Directed by Lucio Fulci. Italy: Medusa Produzione.

Four Flies on Grey Velvet. 1972. [Film] Directed by Dario Argento. Italy: Seda Spettacoli.

Halloween. 1978. [Film] Directed by John Carpenter. United States of America: Falcon International Productions.

Lizard in a Woman’s Skin. 1971. [Film] Directed by Lucio Fulci. Italy: International Apollo Films.

Murder Rock. 1984. [Film] Directed by Lucio Fulci. Italy: Scena Film.

Needham, G., 2002. Playing with genre: an introduction to the Italian Giallo. [Online]
Available at: http://www.kinoeye.org/02/11/needham11.php
[Accessed 20 07 2019].

Phenomena. 1985. [Film] Directed by Dario Argento. Italy: DAC Film.

Profondo Rosso. 1975. [Film] Directed by Dario Argento. Italy: Seta Spettacoli.

Psycho. 1960. [Film] Directed by Alfred Hitchcock. United States of America: Shamley Productions.

Saw. 2004. [Film] Directed by James Wan. USA: Twisted Pictures.

Suspiria. 1977. [Film] Directed by Dario Argento. Italy: Seda Spettacoli.

Terror At The Opera. 1987. [Film] Directed by Dario Argento. Italy: ADC Films.

The Bird with the Crystal Plumage. 1970. [Film] Directed by Dario Argento. Italy: CCC Filmkunst GmbH.

The New York Ripper. 1982. [Film] Directed by Lucio Fulci. Italy: Fulvia Film.

The Town That Dreaded Sundown. 1976. [Film] Directed by Charles B. Pierce. USA: Charles B. Pierce Film Productions, Inc..

Torso. 1973. [Film] Directed by Sergio Martino. Italy: Compagnia Cinematografica Champion.

Your room is a locked vice and only I have the key. 1972. [Film] Directed by Sergio Martino. Italy: Luciano Martino.

Fiction and Genre Panel – 3rd Indie Author Day Event

Moderator and horror author Brian McKinley is joined by science fiction writer William Gold, humorist Loretta Wish, mystery and thriller author J. Lauryl Jennings, dark fantasy author Kristin Battestella (yes that’s me! Your trusty Kbatz!), and urban fantasy storyteller Laura Kaighn for the Fiction and Genre Panel at the 3rd Indie Author Day hosted at the Heggan Library in Sewell, NJ.

You can see the entire 7 part video below or also view the Childrens and Non-Fiction Panel from the Indie Author Day.  For more photos and author events, visit the South Jersey Writers Conference, Facebook Page.

 

 

 

FRIGHTENING FLIX BY KBATZ: An Alfred Hitchcock Primer

 

An Alfred Hitchcock Primer

by Kristin Battestella

Fans of old school thrillers young or old can earn their suspense credentials with these early Alfred Hitchcock nail biters.

The Lady Vanishes Only one lovely train passenger has seen the titular dame, causing rail car mayhem for Margaret Lockwood (The Wicked Lady) and Michael Redgrave (Mourning Becomes Electra) in this 1938 mystery. Travel delays and assorted languages invoke the tourist hustle and bustle as our ensemble is humorously introduced – from the governess rambling about her past charges and country songs or dances to cranky Englishmen commandeering the phone just to ask the line from London for the cricket scores. All the rooms are let out in this hectic hotel save for the maid’s quarters, and she comes with the room, wink! The bellhop is trying not to look at the scandalous bare legs as our bachelorette orders caviar and champagne, but the men in bed together is gay in both senses of the word with jolly good innuendo. This quirky inn comforts the audience yet there are whispers of pretty American girls and the almighty dollar getting preferential treatment, newspaper sensationalism, and intensifying continental troubles. A hit on the head at the train station leads to a kaleidoscope of confusion, unfamiliar faces, magic tricks, and slight of hand illusion. Everyone’s interconnected – incognito affairs, musicians, a famous doctor, magicians, and foreign diplomats. Some genuinely don’t recall seeing the woman in question, but others have an ulterior motive for not wanting the train delayed, willful gaslighting compounded by lies, lawyers watching their own back, and that unreliable bump on the head. Tea in the dining car alone, suspicious wine glasses – complaints about non-English speakers, nationalism, political secrets, and conspiracies. Who’s really on who’s side? Train whistle harbingers pepper the constant hum of travel, matching the rail montages, impressive rear projection, and black and white photography. Despite the confined setting, the pace remains fittingly on the move with perilous comings and goings between cars. There are stoles and divine hats, too, but that giant monogram scarf looks more like a napkin stuck in her collar! Humorous bunging in the cargo with magician’s rabbits, trick boxes, false bottoms, and contortionists is good on its own, however, perhaps such fun should have happened earlier before the serious mystery escalates. There are some contrived leaps as well – it’s amazing how all the Englishmen can shoot to kill and do it so easily – and though not naming the enemy country is understandable thanks to political relevance then and now, the obligatory bad guys are just nondescript. Likewise, one can see why the sardonic comedy teams and shootouts were included, and Flightplan really steals from this right down to the writing on the foggy window. Fortunately, the ticking clock race to the border, wrong track turns, gunfire standoffs, and international chases roll on right up to the end. But seriously, what it is with Hitchcock and trains already?

 

 

Lifeboat – Journalist Tallulah Bankhead is stranded on the high seas with torpedoes, sunken ships, u-boats, and Nazis in this 1944 self-contained thriller nominated for Best Director, Story by John Steinbeck, and Black and White Cinematography. There’s no need to waste time on spectacle with the in media res sinking – flotsam and jetsam with everything from English playing cards to dead Germans heralds the nationalism and wartime grays to come amid damp passengers, dirty sailors, famous dames, mothers, babies, and injuries. Tallulah’s in furs, smoking a cigarette, and dictating what junk to bridge aboard, and despite the tiny boat space, multiple conversations happen fore and aft thanks to strategic intercutting between the immediate wounded and more self-absorbed survivors. Fog and windswept water sprays accent the superb rear projection, and the strategic filming captures everyone from all angles with foreground zooms and background silhouettes. Natural ocean sounds and the rocking of the ship, however, might make sensitive viewers seasick. There are numerous colloquialisms as well as accents and translations, but conversation is all we have – a stage-like talkative jam packed with insinuating layers, interrogations, and double meanings. Can you make your own law in open waters and toss the Nazi overboard? Everyone feels the need to establish who’s American, Christian, or had relatives in Czechoslovakia and France, and the black cook is surprised he’s included in all the decisions. It’s unfortunately expected that Canada Lee’s (Cry the Beloved Country) Joe is the least developed character, yet he’s also the most genuine person starboard. This is also a more diverse ensemble than often seen in today’s movies, and three women talk to each other about shell shock and lacking supplies but nobody knows the right prayers for a burial at sea. Cold, wet, sleepless individual vignettes allow the refreshingly flawed stranded to come clean, and at the time having a Nazi officer as a realistic character rather than an evil archetype was understandably controversial. Testy questions on who’s skipper, united sympathies, and diplomatic delegating drop the formalities, as after all “we’re all in the same boat.” However, information is not always forthcoming and no one knows the course to Bermuda – except Herr Kapitan. Can you trust his seamanship? A compass, typewriter, watches, diamond bracelets, brandy, and newspapers with Sir Alfred in the classifieds add tangibles and some humor alongside baseball talk, debate on the superior rowing capabilities of the Master Race, and other unexpected camaraderie, for “dying together is more personal than living together.” Repeated “Some of my best friends are…” quips also address differences as rambling on past regrets becomes veiled talk about shocking revelations and amputations. Lost material possessions give way to symbolic shoes, bare feet, shirtless men, and tattoos, but there’s time for intense poker, lipstick, and flirtation. Bermuda is the macguffin, and storms, hunger, delirium, suspicion, and men overboard get in the way of getting there. Rather than just special effects cool, wet and wild action heightens the internal boat suspense as beards grow and tables turn. They’re surrounded by undrinkable water, rain is precious, fishing bait is nonexistent, and sudden twists happen with nothing but a splash. Violent mutinies and shellfire are surprising to see in a forties movie, but Bankhead is a stunning, strong, sexy older woman able to be kissing or angry in the same scene – a multifaceted female role few and far between these days. Once stripped bare by the consequences of welcoming your enemy, do you accept your fate, continue to row, or laugh at the irony? Perhaps this warning against fatally lumping all together and the guilty lessons learned in such a no win situation can only be appreciated in retrospect, as this tale tries to see everything from both sides, remaining gripping from beginning to end with nothing but eight people in a boat in the middle of the ocean intensity. It makes one wonder why nowadays everything is so gosh darn bombastic.

 

SabotageBuzzing light bulbs go dark in this 1936 caper based on The Secret Agent by Joseph Conrad – not to be confused with Hitchcock’s previous Secret Agent or later Saboteur. Whew! Crowds are both confused and giggling in this blackout, singing or arguing by candlelit and wanting their money back from the down picture show. Flashlights, the silhouetted skyline, shadow schemes, and askew camera angles add to the power tampering suspicion, and suspenseful notes follow our mysterious man in black as he returns home, washes his hands, and claims innocence – despite his neighbor’s claims to the contrary. He talks of money coming soon yet doesn’t want to draw attention to his cinema business, but the professional, public, and domestic are intertwined with families living above the bustling marketplace. Fine dresses, fedoras, and vintage cars add to the quaint, however no one is who they seem thanks to grocers with an angle, Scotland Yard whispering of trouble abroad, and shadowed men with their backs to the camera conversing over promised payments. The innocuous movies, aquarium, and pet shop host seemingly innocent ingredients used for making bombs, and onscreen days of the week lie in wait while the public is occupied by the picture show, hoodwinked by what’s in plain sight. Creepy packages, trick bird cages, and threatening “sleeping with the fishes” coded messages become a tongue in cheek nod to the nature of cinema and hidden observations as covers are blown and men scatter. Our wife is clueless abut her husband and oblivious to her family being used for information, creating an interesting dynamic for her between the handsome detective and a damn cold, cruel husband. Who are behind these plans and why? Despite several great sequences, convenient plot points leave too many unanswered questions. The busy start is rough around the edges, meandering for half the movie before becoming eerily provocative as a child delivers a fatal ticking package in the middle of the crowded market. We know the route and the time – delaying for street sales, demonstration detours, and interfering parades ups the suspense alongside traffic jams, stoplights, and montages featuring clock tower gears, dangerous flammable film, our innocuous brown papered package, and the puppy on the bus next to it! A clock on every street corner checks each five minutes passing amid town criers, newsboys, crescendos, and clues in the film canister that go for the big shocker while silent visuals bring the threats home to the dinner table. Although I don’t think today we’d have a cartoon singing “Who killed Cock Robin?” but that might just be me.

 

The 39 Steps – Like Maugham’s Ashenden stories, I wish there were more adaptations of the other Hannay books by John Buchan, not just numerous remakes stemming from this unfaithful but no less landmark 1935 picture with Robert Donat (Goodbye, Mr. Chips) joining our original icy blonde Carroll and all the Hitchcockian one can muster including the mistaken man, foreign intrigue, macguffin secrets, and budding romance. Cheeky dance halls host marriage jokes, brawls, chases, and gunshots with shadowed men in trench coats, pipes, and fedoras. Double decker buses, netted pillbox hats, stoles, and more period touches such as newspapers, lanterns, and milkmen contrast mysterious maps of Scotland, missing fingers, knives in the back, and a gal whose name depends on where she is and which country is the highest bidder. The mercenary espionage, air defense hush hush, and ticking clock is upfront in telling us what we need to know whilst also revealing a whole lot of eponymous nothing. Danger tops each scene thanks to suspicious phone booths, perilous bridges, and jealous husbands spotting those knowing glances across the dinner table during Grace. Police at the door and women both helpful or harmful compromise potentially rural calm – news travels fast and a spy must always be on the lookout. Whom do you trust when no one is who they seem? Lucky hymnal twists and false arrest turns escalate from one location to the next with ironic parades, impromptu speeches, cheering crowds, and charismatic escapes despite handcuffs, sheep, and romantic comedy tropes. Filming through doors, windows, and Art Deco lines accent the men in disguise, overheard rendezvous, and small hiking silhouettes against the pretty mountain peaks. Trains, airplanes, and rapid waters add speed to the pursuit. The superb cabin car photography and railroad scenery don’t need the in your face action awesome of today, for chitchatting folks reading the daily news is tense enough for the man who’s picture is beside the headlines. While some may find the look here rough around the edges or the plot points clichéd, many of our cinematic caper staples originate here. The full circle music, memories, and shootouts wink at the facade of it all, remaining impressive film making for the early sound era with great spy fun and adventure.

FRIGHTENING FLIX BY KBATZ: Recent Horror Ladies

Recent Lady Horrors

By Kristin Battestella

 

These contemporary pictures provide a little bit of everything for our would be ladies in peril – be it camp, scares, ghosts, or morose thrills.

 

The Love Witch – Artist, witch, and murderess Samantha Robinson’s (Doomsday Device) romantic spells go awry in this 2016 comedy written and directed by costumer/producer/Jill of all trades Anna Biller (Viva). Rear projection drives and teal eye shadow establish the tongue in cheek aesthetics while cigarette smoke, colorful lighting schemes, purple capes, and nude rituals accent flashbacks and sardonic narrations. Magic has cured our dame Elaine’s nervous breakdown after her husband’s death, and she’s starting fresh in a quirky tarot themed apartment inside a sweet California Victorian complete with a bemusing chemistry set for making potions with used tampons. Kaleidoscopes, rainbow liners inside dark retro clothing, blurred lenses, and spinning cameras reflect the “vodka and hallucinogenic herbs” as magic bottles, local apothecaries, and pentagram rugs set off the pink hat and tea room pastiche. Our ladies are so cordial when not plotting to steal the other’s husband! Her dad was cruel, her husband had an attitude, and her magic guru is in it for the sex, but she’s spent her life doing everything to please men in a quest for her own fairy tale love. When is Elaine going to get what she wants? She’s tired of letting the childlike men think they are in control, but she puts on the fantasy each man wants nonetheless, impressing a literary professor with her libertine references as the to the camera elocution and intentionally over the top Valley acting mirrors the courting facade. Psychedelic stripteases tantalize the boys onscreen, but the actresses are not exploited, winking at the customary for male titillation while instead providing the viewer with a sinister, if witty nature and classic horror visuals. Different female roles as defined by their patriarchal connections are addressed as ugly old eager dudes tell matching blonde twins that stripping or a rapacious sex ritual will be empowering – because a woman can’t be content in herself or embrace sexuality on her own terms unless there is a man to ogle her – while our man eater must break a guy down to the emotional baby he really is for her gain. It isn’t Elaine’s fault if men can’t handle her love! A man not in love can be objective while one wanting sex will excuse anything, and the shrew wife or female black subordinate are put out to pasture for an alluring white woman – layering the women in the workplace and racial commentaries as similar looking ladies must switch roles to keep their man. Tense evidence creates somber moments amid police inquiries, toxicology reports, and occult research – so long as the casework doesn’t interfere with their lunch order, that is. Is this woman really a witch or just a bewitching killer in both senses of the word? Is it batting her eyelashes lightheartedness or is she really an abused, delusional girl masking her trauma as a blessed be? The serious topics with deceptive undercurrents and feminist statements will be preachy and heavy handed for most male audiences with uneven pacing and confusing intercuts. However the fake blood in the bathtub, renaissance faire ruses, and melodramatic humor combine for a modern Buffy trippy satire dressed as a retro gothic That Girl homage that takes more than one viewing to fully appreciate.

 

My Cousin Rachel – Rachel Weisz (The Constant Gardener), Holliday Grainger (The Borgias), Ian Glen (Game of Thrones), and Simon Russell Beale (The Hollow Crown) begin this 2017 Daphne du Maurier mystery with happy strolls on the beach and fun bachelor times be it lovely greenery, carriages in the snow, or reading by the fire. The epistle narration gives a hear tell on the titular marriage via secret letters recounting illness and a wife forbidding correspondence before final, unfortunate news leaves the estates to heir Sam Claflin (The Hunger Games) on his next birthday – not the unseen widow said to be so strong and passionate. She’s a suspicious enigma for the first twenty minutes before a cross cut conversation introduces the charismatic storyteller, where the audience isn’t sure who is more uncomfortable or telling the truth despite the captivation. Divine mourning gowns, black satin, and lace veils add to the half-Italian allure amid more period accessories, libraries, old fashioned farming, candles, and top hats. Between would be scandalous horseback rides, church whispers, and awkward tea times, our once vengeful youth is smitten by Rachel’s progressive charm. Interesting conversations on femininity break Victorian taboos, for childbirth is the only thing a man knows about a woman and if she has a foreign remedy she must be a witch. Is Rachel wrapping her wealthy cousin around her finger? Can she when he is forbidding her work giving Italian lessons? Rachel is dependent on his allowance, and at times they both seem to be recreating the late benefactor and husband between them – the awkward new master wearing the dead man’s clothes and she the woman he didn’t think he needed. Such romance and heirloom Christmas gifts could be healing for them both, but viewers except the other gothic shoe to drop amid holiday generosity, seasonal feasts, and group songs. Overdrafts at the bank, raised allowances, a history of previous lovers and duels – Rachel puts on her finest grieving widow pity with a child lost and an unsigned will that would leave her everything. Is she orchestrating a careful seduction or is he a foolishly infatuated puppy despite clauses about remarriage or who predeceases whom? The ominous nib etching on the parchment leads to cliffside shocks, birthday saucy, blundered engagements, drunken visions, and poisonous plants. The suspicions turn with new illnesses and financial dependence, as Rachel goes out on the town and says what she does is nobody’s business. After all, why can’t she have a life of her own if the estate is now hers? Why should her independence be defined by a man’s piece of paper? We relate to Rachel, but she can only cry wolf and fall back on her sob story so many times… While this isn’t as creepy as it could be – audiences expecting horror will find the pace slow – the drama and mood are well done amid the wrong conclusions and written revelations. Were the suspicions warranted? The finale may not be satisfactory to some, but the unanswered questions and ultimate doubt remain fitting. 

 

What say you, Addicts?

A Dark Song – Psalm warnings, beautiful skyscapes, and an old house with no heating paid for up front set this 2016 Irish tale amid the train station arrivals and others backing out on this specific plan with west facing rooms, twenty-two week diets, and purified participants having no alcohol or sex. More fasting, dusk to dawn timetables, serious interviews on why, and reluctant rules of the procedure build the cryptic atmosphere as the price for this dangerous ritual rises – speaking to a dead child isn’t some silly astral projection, angel psychobabble bollocks, basic Kabbalah, or easy Gnosticism you can find on the internet. The isolated manor with salt circles and invocations feels seventies cult horror throwback, however the metaphysical talk and extreme meditation bring modern realism as tense arguing, religious doubts, and questions on right or wrong match the bitterness toward the outside world. Hallucinations, sleep deprivation, and vomiting increase while physical cleansings and elemental phases require more candles and blood sacrifices. Some of the slow establishing and ritual minutia could have been trimmed in favor of more on the spooky half truths, suspect motives, need to be pure, and distorted state of mind. Black birds hitting the windows and missing mementos don’t seem to get the waiting for angels and forgiveness rituals very far for the amount of time that has passed, and heavy handed music warns us when something is going on even as more should be happening. A third character also seeking something he cannot find may have added another dynamic rather than two extremists getting nowhere, and short attention span audiences won’t wait for something to appear in those first uneven forty minutes. After all, with these symbols painted on the body and awkward sex rituals, wouldn’t one suspect this is just some kind of scam? Untold information, vengeance, backwards baptisms, near death extremes, and knife injuries meander on the consuming guilt and mystical visions before demons in disguise make for an obvious finale treading tires when the true angels, spirits, and goodness revelations were there all along. Maybe more seasoned hands were needed at the helm or a second eye to fix the pacing and genre flaws, for the quality pieces suffer amid the bleakness. This really shouldn’t be labeled as a horror movie, but it doesn’t capitalize on its potential as a psychological examination and surreal stages of grief metaphor either.

 

Skip It!

Shut In – Widowed Maine psychologist Naomi Watts (The Ring) is trapped in a storm while being haunted by little Jacob Tremblay (Room) in this 2016 international but already problematic PG-13 paint-by-numbers crammed with the isolated blonde, ghosts, kids horrors, weather perils, and one spooky basement. Accidents and home movies on the cell phone also laden the start before the lakeside locales, snowy blankets, and paraplegic burdens. The grief and inability to care for an invalid teen is understandable, and our step-mom considers sending him to a facility. However, the frazzled woman increasingly replacing her sick son with a younger therapy patient and the creepy temptations on holding the invalid under the bath water become hollow thanks to the obligatory it was just a dream jump cuts. Unnecessary technology and time wasting glances at watches and clocks are also intrusive – the camera focuses on dialing 911 with the finger poised over the send button and intercutting person to person like a traditional phone call flows much better than up close Skype screens. Weatherman warnings and news reports as the research montage lead to flashlights outside, icy footprints, and car alarms, but again the tension falls back on textbook raccoon scares with round and round scenes outside in the snow or inside on the phone doing little. Maybe one doesn’t think straight in the panic, but most of those frosty searches include shouting for a deaf mute boy who can’t hear you nor answer back. The psychology is also common fluff, i.e. teens have difficulty with divorce, you don’t say – Skyping Oliver Platt (Chicago Med) provides better therapy, so we know what’s going to happen to his character! Besides, all the shadows in the hallway, hidden wall panels, unexplained scratches, locked doors opening by themselves, and ghostly little hands in the bedroom yet the women still end up talking about a man. Fading in and out transitions mirror the sleeping pills and drinking, but such shifts break the world immersion before the storm even hits. When the doctor says her bloodwork indicates she’s being drugged, mom doesn’t even care – because the twist is for the audience not the main character. Lanterns, black out attacks, and video evidence right before the power failure could be good, but random people arrive despite blocked roads and the oedipal sociopath jealously provides a dumb chase finale as the stalker conveniently sing songs “Hush Little Baby” so we know where he is when he’s coming for you. Good thing that foreboding blizzard talked about the entire movie stops in time for the lakeside happy ending that apparently has no legal, medical, or parental consequences.

David’s Haunted Library: Sleep Savannah Sleep


 

Jason Crandall needed to make a new start, he worked in Los Angeles as a Marketing executive for years. Sadly his wife died leaving him as a widower with an 18-year-old son and an eight-year-old daughter. He decided to start his new life in Shadow Springs by becoming a massage therapist. Shadow Springs seems like a nice little town but before long before cracks start to form in the town’s illusion of normalcy and secrets come to light.

First Jason has to deal with a jealous husband of one of his clients but life gets more complicated as the beautiful Savannah Sturgess goes missing. Jason starts to have horrible visions that make him doubt his sanity and some people are looking at him as a suspect in the disappearance.  Everyone in town has their own set of secrets, but the biggest secret is what happened to Savannah and why won’t the dead rest in peace?

Sleep Savannah Sleep by Alistair Cross is a book that works on several levels. It’s a murder mystery, horror novel and ghost story with the perfect setting of a small mysterious town.  The first half of the book takes its time making us feel empathy for the characters. By the time strange things happen in the second half you’re totally hooked and wanting to see what happens next.

The detail put into each character makes them come to life and while they are shown one way, to begin with you see other sides to them as the story moves along. Savannah, in the beginning, is seen as the town whore but when we get into why she is the way she is, she becomes a sympathetic character. Also, Flynn Garvey who is Savannah’s boyfriend has no personality in the beginning, but later we dig a little deeper and find he has a secret and there is more depth to him than we thought. Even the character of Tabitha Cooper who is not in the story much is someone you feel for. She is seen as a crazy old witch, but in reality is very different than others see her. All of the characters present an image to the outside world but if you scratch the surface a little they show another side. You care about these people because you can relate to them and that makes things even scarier when odd things start to happen.

The best part of this book was when Jason is questioning his sanity. You see him as just a guy dealing with the loss of his wife and trying to raise his kids to the best of his abilities but as he is having visions that make no sense his life quickly unravels. The feeling of losing your mind when you know people are dependent on you is the worst kind of fear and Jason is also dealing with ghosts from his past. In Sleep Savannah Sleep the horror doesn’t come from what you see, it comes from what you don’t see. This is an old school horror novel that preys on your emotions rather than showing you horrific imagery, though it does that too. Alistair Cross shows that he is a master storyteller by giving us memorable characters and a twist ending that you’ll never see coming.

 

David’s Haunted Library: Greylock

David's Haunted Library

27108969Alexei Georg was born to be a famous musician, his father was a pianist and Alexei’s only desire was to follow in his footsteps. Alexei has created a name for himself by writing and performing a sonata called October. At least that’s what people believe, Alexei has a dark secret. He found the sonata in an old 19th century Russian sea chest. When he performs it a dark creature appears and stalks him and now his career is going downhill.

To make matters worse Alexei is having an affair and his wife has been murdered with the evidence pointing to him. In order to revive his career Alexei plans to write a symphony based on the songs of the beluga whales while in isolation on Mt. Greylock. Though even alone on the mountain he can’t escape the creature that he has brought into the world or the accusations of murder. Alexei must face the darkness he has unleashed or it could use him as a conduit forever.

Greylock by Paula Cappa is a supernatural murder mystery where mythology and music create a dark mood. The music itself is like a character and what and how something is being played has an effect on everyone else in the book. It’s through the music that evil gets unleashed, but it’s also how Alexei expresses his emotions. Music is his life and it’s what makes him happy, even if some think he is not really that good at it. Alexei is a complicated character, at first I found I didn’t like him because he is having an affair, talks about murdering his wife and he is lying about the music he creates. Though as you get to know him you see him as someone who wants to live up to the family legacy and is willing to do anything to do so. This is a need that’s easy to relate to. By the end of the book you see a very different Alexei then you see a the beginning and its the character’s transformation that makes the book memorable.

Another thing I liked about Greylock was how the mystery unfolds. there are two different mysteries going on at the same time and in the case of the murder mystery there were times in the story where I was pretty sure that three different people were the murderer but I was wrong each time. This was enough to hold my interest throughout and the other mystery of who the dark entity is was just as compelling.

Greylock is not your average horror novel, it’s more personal. There is no over the top violence but you see Alexei deal with such personal horrors as abandonment, betrayal, wanting something he can’t have, his own insecurities as a musician and his need for fame. On a smaller level we also see the other characters in the book deal with the same issues and see what different paths their choices lead them in. Greylock is the kind of book you may have to read twice to catch all the subtle details, it’s about creating a mood and not in your face like some horror is. If you enjoy a good supernatural mystery then you should check it out.

Nightmare Fuel — Elisa Lam

Hello Addicts,

This week’s Nightmare Fuel looks at the mysterious case of Elisa Lam.  Lam was a twenty-one year old Canadian college student on a trip through California that included a stopover in Los Angeles.   On January 31st, 2013, an elevator security camera in her hotel, the Stay on Main, filmed the student enter and press multiple floor buttons.  When the elevator doors didn’t close after a few seconds, Elisa stuck her head into the hallway and looked to her left and right in a quick turn of her head.  Seeing nothing out there, she backed up to the middle of the elevator car before pressing her back against the wall with the buttons.  Throughout her entire time with the elevator, the doors didn’t close and her behavior became more erratic.  Eventually she is seen walking out of sight of the camera, and the elevator doors close.  As the car stops on each floor, the shiny doors open and close just like normal.

The video itself might seem a little creepy to some and strange to others, but that isn’t where the story ends.  A massive search involving the FBI begins at the request of Elisa’s parents, but nothing was found.  A week after her last conversation with her parents, the video is released and becomes viral.  As popular as it is, the footage doesn’t help in finding the missing student.

Around February 19th, 2013, the hotel sends a maintenance worker to the water tanks on top of the hotel’s roof after guest complaints about the low pressure, discoloration, and oddly tasting water.  Inside the tank he found the naked decomposing body of Elisa Lam with her clothing and personal effects floating next to her.  Her death is ruled an accident, although some people point the cause finger at the fact that she was bipolar or may have been under the influence or some other illicit drug.  What is never completely answered is how she wound up in the water tank with the unhinged lid closed behind her.

While she is gone from the land of the living, the bizarre circumstances of her death and its influence is still seen.  Some people have noted the similarities between the case and the 2005 horror movie Dark Water, and there are a slew of movies and television series that have used the case in their plots including Castle and the latest season of American Horror Story.  As strange as this story is, it is not the only strange thing about the Stay on Main, also known as the Cecil Hotel, but that is fuel for another episode.

Morbid Meals – Chocolate Coconut Oblivion Cake

EXAMINATION

Death by chocolate seems like a great way to go. My favorite recipe comes from a cookbook called A Taste of Murder. This killer culinary collection was edited by Jo Grossman and Robert Weibezahl and contains recipes written by authors of mystery novels.

Their recipe to undertake Death by Chocolate basically makes a devil’s food cake by a mix, and adds a package of instant chocolate fudge pudding, and a whole bag of chocolate chips, with sour cream instead of milk. This makes a luscious, deep dark chocolate cake to be sure. By now I’m sure you noticed that I never do anything instant when it comes to Morbid Meals. (If you do make their original recipe, consider using the Sanguinaccio Dolce from episode #103 instead of the instant pudding.)

As I’ve mentioned before, I’m on a restricted diet. Their recipe may not kill me, but I would definitely suffer. So this time, instead of presenting a mundane recipe and offering GF suggestions, I decided to create a completely grain-free recipe. You might even prefer this to a wheat cake. The secret? Coconut!

ANALYSIS

Makes: a two-layer cake

For the cake batter

1 cup softened butter
1 2/3 cups coconut sugar (or brown sugar)
10 large eggs
1/2 tsp vanilla extract
2 cups coconut flour (9.75 oz / 275 g)
1 cup unsweetened cocoa powder (or carob powder)
1 1/2 tsp baking soda
1/2 tsp baking powder
1 tsp salt
1 1/3 cups canned coconut milk
Extra butter to grease the pans
Extra cocoa powder to dust the pans

For the ganache

1 cup chocolate chips
1/2 cup canned coconut cream

For the frosting

1/2 cup softened butter
2/3 cup powdered sugar
1/3 cup cocoa powder (or carob powder)

Apparatus

  • Two 9-inch (or 8-inch) layer cake pans
  • Electric mixer or hand mixer/beater
  • Two mixing bowls

Procedure

  1. Pre-heat oven to 350°F. Grease up both layer cake pans with butter and dust with cocoa powder.
  2. In a mixing bowl, combine butter and sugar; cream together for about 2 minutes with an electric mixer on medium speed.
  3. Set the speed to low and add the eggs one at a time.
  4. Add the vanilla extract then beat at high speed for about 3 minutes.
  5. In another mixing bowl, combine the flour, cocoa powder, baking soda, baking powder, and salt. Now add the milk and mix thoroughly for about 2 minutes.
  6. Add the wet flour mixture to the egg mixture. Beat together at high speed for about 5 minutes.
  7. Split the cake batter into each cake pan.
  8. Bake in the pre-heated oven for 30 to 35 minutes at 350°F.
  9. Remove the cake pans to a cooling rack for at least 10 minutes before removing the cake layers from the pans. Allow the cakes to cool completely before frosting.

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Making the ganache

  1. In a small saucepan, heat the coconut cream over high heat until it begins to simmer, but stop before boiling. Remove from heat.
  2. Add the chocolate chips and let the chocolate melt in the cream, stirring occasionally until incorporated completely. Refrigerate until ready to use.

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Making the frosting

  1. In a mixing bowl, combine butter and sugar; cream together for about 2 minutes with an electric mixer on medium speed.
  2. Add cocoa powder and beat to combine well. Continue to beat the frosting until it forms high peaks. Refrigerate until ready to use.

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Assembling the cake

  1. On a serving platter or cake stand, lay the first layer down.
  2. Spread the ganache on the top of this layer, as thick as you can. If you want a lighter filling, beat with mixer until fluffy before spreading it on.
  3. Lay the second layer cake gently on top. Spread the frosting on the top and sides of the full cake.

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DISSECTION

Since this recipe is made with coconut flour, substitutions are impractical with other flours; even almond meal doesn’t work out quite the same. So if you don’t like coconut or are allergic, grab a box cake and enjoy with my apologies.

As it happens, it is less expensive and quite easy to make your own coconut milk and coconut flour. Just know that if you do decide to make your own coconut flour, you will need to do that a day before you make the cake, as you must dehydrate the coconut for at least 8 hours.

If you are avoiding dairy, you can definitely substitute coconut/palm shortening for the butter in the cake and frosting. Do not use coconut oil; even solidified it becomes oil too quickly and then will not cream properly.

POST-MORTEM

This cake can be made as described as a double layer cake or as a bundt cake, but in that case simply dust it with some powdered sugar then drizzle the ganache on top and skip the frosting.

This cake is moist, tender, and full of rich chocolately goodness to die for. It can be a little gritty, but the ganache and frosting tends to make up for this. Your grain-free / Paleo friends will thank you.

Free Fiction Friday: The Weeping Woman

16231423For this week’s Free Fiction Friday selection we have Patricia Santos Marcantonio’s, The Weeping Woman. We have two copies of this great paranormal mystery to give out. All you need to do is be one of the first two people to leave a comment on this blog post and the book is yours. Here is a reprint of my review if you need me to persuade you to get your free copy:

Every culture has their ghost stories and one Mexican legend is the tale of La Llorona, The Weeping Woman. There was once a beautiful woman named Maria who had two children but was never married. She fell in love with a man but he did not want her kids, so Maria drowned them in the river. God punished her by taking away her beauty and leaving her to wander the earth yelling “where is my children.” To this day, kids  scare each other by saying “if you don’t watch out La Llorona will get you.”

This is the legend behind Patricia Santos Marcantonio’s The Weeping Woman. In San Antonio, children are going missing and detective Blue Rodriguez believes someone is copying the story of La Lorona.  Blue is a cop with a tortured past and when she is close to a dead body she has the ability to see what they saw and feel what they felt before they died. The kidnappings are taking place in her old neighborhood and to make matters worse, there is also an arsonist torching the city. Blue gets paired up with FBI agent Daniel Ryan and together they investigate several false leads before they figure out who is kidnapping the children. The kidnapper has powers of her own and has a connection to Blue. Blue has to face down her demons and come to terms with her past in order to save the children from The Weeping Woman.

What really made this book good was the characters, they are all three-dimensional with good back stories. The main theme of The Weeping Woman is that everyone has secrets in their past and even though you may try to hide them, they effect everything you do. The way the author proves her point is by showing how all the characters are all tortured  by their past .

For example, the arsonist wants to burn buildings down but you start to feel sorry for him as you hear why he does it. Also there is a drug dealer and you see how bad he is, but as you get into his background, you understand him and feel for him. Also the reaction he had when he helps lead the detectives to the missing kids, proves he is not all bad. There was also a suspect in the beginning whose last moments are described and you can’t help to feel compassion for him even though he was a bad person. Patricia Santos Marcantonio must have done a lot of research for her characters because they all seemed very real to me. Blue’s abusive mother and the arsonist’s drug addicted sister were excellent characters and I loved how Blue’s mother reacts when Blue stands up to her.

There were several sub plots in the story and Patricia does a great job weaving them together. There is also a point about loosing faith and getting it back again that I liked.  The Weeping Woman is an excellent tale that masterfully combines horror and mystery. The characters are great and the story line is like a Criminal Minds episode geared towards a horror fan. If you like a mystery with a paranormal twist, check this one out.

If you want a free copy of The Weeping Woman, please leave a comment below.

The Weeping Woman

16231423Every culture has their ghost stories and one Mexican legend is the tale of La Llorona, The Weeping Woman. There was once a beautiful woman named Maria who had two children but was never married. She fell in love with a man but he did not want her kids, so Maria drowned them in the river. God punished her by taking away her beauty and leaving her to wander the earth yelling “where is my children.” To this day, kids  scare each other by saying “if you don’t watch out La Llorona will get you.”

This is the legend behind Patricia Santos Marcantonio’s The Weeping Woman. In San Antonio, children are going missing and detective Blue Rodriguez believes someone is copying the story of La Lorona.  Blue is a cop with a tortured past and when she is close to a dead body she has the ability to see what they saw and feel what they felt before they died. The kidnappings are taking place in her old neighborhood and to make matters worse, there is also an arsonist torching the city. Blue gets paired up with FBI agent Daniel Ryan and together they investigate several false leads before they figure out who is kidnapping the children. The kidnapper has powers of her own and has a connection to Blue. Blue has to face down her demons and come to terms with her past in order to save the children from The Weeping Woman.

What really made this book good was the characters, they are all three-dimensional with good back stories. The main theme of The Weeping Woman is that everyone has secrets in their past and even though you may try to hide them, they effect everything you do. The way the author proves her point is by showing how all the characters are all tortured  by their past .

For example, the arsonist wants to burn buildings down but you start to feel sorry for him as you hear why he does it. Also there is a drug dealer and you see how bad he is, but as you get into his background, you understand him and feel for him. Also the reaction he had when he helps lead the detectives to the missing kids, proves he is not all bad. There was also a suspect in the beginning whose last moments are described and you can’t help to feel compassion for him even though he was a bad person. Patricia Santos Marcantonio must have done a lot of research for her characters because they all seemed very real to me. Blue’s abusive mother and the arsonist’s drug addicted sister were excellent characters and I loved how Blues mother reacts when Blue stands up to her.

The only thing I didn’t like about the book was that there was a love story between two characters that I thought was out-of-place. I felt it slowed things down and there was already a good love story between Blue, her sister and their aunt. There were several sub plots in the story and Patricia does a great job weaving them together. There is also a point about loosing faith and getting it back again that I liked.  The Weeping Woman is an excellent tale that masterfully combines horror and mystery. The characters are great and the story line is like a Criminal Minds episode geared towards a horror fan. If you like a mystery with a paranormal twist, check this one out.

Little Deaths and The Eyes of The Stars

What do you do when your girlfriend dies and you have a problem letting her go? If you’re a collector and you own a  pair of neck bolts that Boris Karloff wore in the original Frankenstein movie you might be able to bring her back to life. Of course that could become a problem once the body decomposes.

This is one of the story lines from John F.D. Taff’s Little Deaths. This anthology includes 19 short horror stories that take a look at how humans react to bizarre situations. Another story in this collection looks at a woman named Melinda who marries a man named Josh. Josh has a book that tells every detail of his and Melinda’s life from birth to death. Despite her husband’s warnings to not look at the book, she does look and doesn’t like her destiny. She decides to rewrite the book and change everything but now she has to face the consequences.

My favorite stories in this anthology were the ones that mixed Science Fiction and Horror such as But For A Moment…Motionless which tells the tale of a man walking the streets of a deserted city and discovering that he may be the last one alive. I liked how the main character describes what he will miss about humanity and how he reacts when he learns what really happened.

I also enjoyed Snapback which tells what happens in the future as people learn how to master time travel. This one is told through a series of scientific reports and I thought it was interesting hearing how the tone of the reports change as the scientists discover that there is a problem.

Other good stories for the hard core horror fan include include The Mire Of Human Veins that had a Neil Gaiman feel to it and is about a girl who has a strange home life. Another one is Child Of Dirt about a baby who’s father may not be human.  Also if you are into ghost stories, The story Here is a ghostly love story that has a good sense of humor and will appeal to all dog lovers.

I enjoyed John F.D. Taff’s Little Deaths more or less. I thought all the stories were well written and I like how the author describes the action and setting in each story. I also like the way he describes his characters.  That being said I did have a problem with some of the stories. Such as The Scent, BoltsHelping Hands and Calander Girl which were based on good ideas but had endings that left me confused. John F.D. Taff does make up for this though in the end of the book when he tells his idea behind each story and your able to find out what he was thinking as he wrote it. I do think Little Deaths is a good anthology and I look forward to seeing a novel by John F.D. Taff in the future.

The next book I want to look at combines mystery and horror while taking a look at a secret society and ancient religion. Its called The Eyes Of the Stars by Malcolm J Stewart. The story follows Chicago homicide detective Paul Gminski who is haunted by dark dreams of his mother’s death. Unable to rest, Paul and his partner Ivey are called to The Field Museum to investigate the brutal murder of one of the museum’s employees. The employee is a member of  The Council of Six whose members are being viciously slaughtered by something that is not human. The only clue they have is the word Amuz written in blood on a wall at two of the crime scenes.

Each council member possesses a piece of an ancient collection of relics called The Eyes of the Stars. Paul finds himself in a desperate race against time as he battles to unravel the mystery of the Eyes of the Stars. But doing so will pit him and Chicago against an ancient, forbidden evil awaiting rebirth under the city’s streets.

I thought The Eyes Of The Stars got off to a slow start and I was confused at first because the religious aspects of the book and the secret society were not explained until later on, so you have to get past the beginning to get into it. Also there were some typos in the version I read which did take away from the story a little.

On the bright side I like how the mystery unfolds. Little by little you find out about the Council of six’s motivations and you learn about the zealots and Nephilim and what they have to do with the murder spree. My favorite part in the book was when a character named Sulya describes what the bible is really all about. Also the villains in the story are great. I don’t want to give anything away but I loved how The forbidden One is revealed.

I also like how its shown what side of the fence another one of the characters is on. When the other villain finds out that bringing The Forbidden One back to Earth is not in their best interest, its great watching them get there just desserts. I guess the point here is, it doesn’t pay to be evil. The scene where The Forbidden One rises and you see what makes up this creature is an extremely creepy scene.

My favorite character was Paul. I like how his past was presented and seeing how an event from his childhood managed to destroy his relationship with his wife and daughter and effect every aspect of his life. There is one scene where two of the heroes in the story are having a romantic moment and he wonders if he has ever had a love like the one they share and then he remembers he has had that with his ex-wife.

Paul doesn’t want to be the person he is but he can’t get over his past and it effects everything. I think the theme Malcolm J Stewart is trying to get across here is how one person making a bad decision and not being able to get over it effects everyone. There is also a good point made about how religion is created and the true difference of good and evil.

The Eyes Of The Stars works on several different levels. It is a character driven piece, a horror story, a mystery and a story about philosophy. I think its a book that everyone can get something out of.