strange_complex: (ITV digital Monkey popcorn)
A full list of the 102 films which I watched in 2024, mainly with Joel. Includes 24 films with Christopher Lee in them and 21 Hammer films. My most-watched director was Terence Fisher with 5, while Freddie Francis, Mario Bava and Roger Corman are equal second place with 3 each. There's at least one film on the list for every decade since the 1910s, peaking at 21 each for the 1960s and '70s.

1. Le Frisson des Vampires (1971), dir. Jean Rollin - amazing lesbian vampire film executed with the trippy crushed-velvet excess only possible c. 1970.
2. Daughter of Darkness (1990), dir. Stuart Gordon - not to be confused with Daughters of Darkness (1971). An American woman goes to Romania in search of her father, who turns out to be a vampire.
3. Transylvania (2006), dir. Tony Gatlif - a portrait of the region, focused especially on the Romani people there, seen through the eyes of a Romani-Italian girl who goes there in pursuit of a lost boyfriend. Very rich and human.
4. Il mostro dell'opera / The Vampire of the Opera (1964), dir. Renato Polselli - a vampire haunts a neglected old theatre in which an opera troupe are rehearsing a new production. Not particularly good.
5. Nandor Fodor and the Talking Mongoose (2023), dir. Adam Sigal - about this case. Trying to do something about the reasons why people are drawn to belief in the supernatural, including a personal character arc from scepticism to a desperate desire to believe on the part of Fodor, but somehow a bit flat in the delivery and not really that profound in the end. Good to spot location footage in the Victoria pub, Leeds and Whitby harbour, though.
6. The Woman in Black (1989), dir. Herbert Wise - the ITV version, which now has quite the status of a cult classic in vintage horror circles. Very good, and delivering sustained creepy, squirm-inducing scares in a way that modern jump scares can't really match.
7. Blade II (2002), dir. Guillermo del Toro - I didn't think I'd seen this, but it turned out I had. I just knew I'd only seen one Blade film and assumed it had been the first. Good cyber fun, very of its era.
8. Once Upon a Spy (1980), dir. Ivan Nagy - terrible American wannabe James Bond movie with Christopher Lee as a mega-villain threatening the world with a shrink-ray!
9. The Woman in Black (2012), dir. James Watkins - the revived Hammer version, which I saw in the cinema when it came out. Doesn't have the same atmosphere as the 1989 version, and even the jump scares weren't as effective at home as in the cinema. Still, had a good cast and looks nice.
10. Dark Places (1973), dir. Don Sharp - little-known contemporary-set horror film in which a man inherits a house with money hidden somewhere within it, but is haunted by the tragic legacy of the previous owner, with Christopher Lee in a minor role. Pretty solid psychological horror, better than we were expecting.
92 more films under here )
strange_complex: (Daria star)
So help me, it's a list of every single film I watched in 2023. I've put notes where I could remember anything particular about the film or the viewing circumstances, but haven't tried to do that consistently. This is more about record-keeping than reviewing now.

1. Dracula (1958), dir. Terence Fisher - deliberately chosen as our first film of the New Year so we'd be starting it out right!

2. Fright Night 2 (1988), dir. Tommy Lee Wallace

3. Dracula Has Risen From The Grave (1968), dir. Freddie Francis

4. Hellboy II (2008), dir. Guillermo del Toro

5. The Vampire Bat (1933), dir. Frank R. Strayer

6. Vampire in Venice / Nosferatu a Venezia (1988), dir. Augusto Caminito - would be an amazing film about decay and ageing, if it didn't also have Klaus Kinski being actively peedy in it.

7. Caligula (1979), dir. Tinto Brass, Giancarlo Lui and Bob Guccione - the fullest, unexpurgated version, seen at Wharf Chambers as a Pervert Pictures screening, complete with a contextualising introduction. It's the logical extreme of the decadent Rome trope.

8. The Company of Wolves (1984), dir. Neil Jordan

9. Dracula Bloodline (2013), dir. Jon Keeyes

10. The Curse of the Mummy's Tomb (1964), dir. Michael Carreras

There's another 94 under here )

Books read 2022

Saturday, 12 August 2023 11:42
strange_complex: (Vampira)
Still trying valiantly to catch up, here...

2023-08-12 13.28.13.jpg

1. Marcus Sedgwick (2006), My Swordhand is Singing - a YA novel set in seventeenth-century Transylvania and drawing deeply on local vampire and other folklore. The protagonist, a teenage boy named Peter, has to deal with his alcoholic, troubled father, the cold and poverty of life as a woodcutter in a Transylvanian forest, his feelings for two different girls and of course corpses rising from their graves. My main abiding impressions are of snowy forests, a night in a hut besieged by a vampire, and the family horse, Sultan, who is as much of a character as any of the humans in the book.

2. Tim Lucas (2005), The Book of Renfield: a gospel of Dracula - an attempt at giving Renfield a fully fleshed-out backstory explaining his life and character beyond what Stoker includes in Dracula. In essence, he's been being visited by a divine/demonic being whom he knows as Milady, and we later learn also manifests as Dracula, since his childhood. It engages very closely with Stoker's novel, using an epistolary format and incorporating chunks of the original text (printed in bold type to identify them). But I must say it isn't the backstory I'd have written for Renfield, and in particular I wouldn't have made Dracula so straightforwardly godlike. Some subtlety was lost, there.

3. William Trimble, ed. and Anna Berglund, trans. (2022), Powers of Darkness: the wild translation of Dracula from turn-of-the-century Sweden (read on Kindle) - this is the full, original, free adaptation of Dracula which the Icelandic version found a few years ago turned out to be only about the first third of. It's as much a completely different story as the loosest screen adaptations of Stoker's novel, in that although it does still cover its major outlines, it goes to some completely different places, and ends with Draculitz's (i.e. Dracula's) destruction in London rather than after a chase back to Transylvania. I can't begin to go into detail about it here, and indeed wrote a comparative review of this and the other English translation by Rickard Berghorn released a couple of months afterwards for the Dracula Society zine, Voices from the Vaults anyway, so my thoughts are on record elsewhere. But it was certainly an intriguing read, if not exactly brilliant literature. It's basically hastily thrown-together pulp fiction, padded out with passages borrowed from multiple sources (not just Stoker) and markedly interested in theories of evolutionary degeneration and the supremacy of a superior race. Not unusual stuff for the turn of the century. It will be interesting to see if anyone ever manages to solve the mystery of who wrote it, but a mistake to assume (as several people working on the question have) that the author would be the same person as the author of any of the texts which were plagiarised in the process.

4. Jeanne Kalogridis (1994) Covenant with the Vampire - not recommended. The essential set-up is that the main character and his wife return from nineteenth-century England to his ancestral home in Transylvania, where they are frustratingly slow to realise that the great-uncle and patriarch is a vampire (specifically, of course, Dracula). Later on, it transpires that the family covenant requires the latest male heir, now the main character, to help the vampire cover up his killings in return for him and his own family being protected. In fairness, once this comes out, the very dull process of slow realisation is replaced by a great deal of gory and transgressive detail, including dismemberments, incest and necrophilia. Let's just say that I really did not want to read the word 'thrusting' in that latter context.

5. Jim Shepard (1998) Nosferatu in Love - I picked this out of a box of books being given away by a colleague moving to another university, and it's absolutely the best book I read this year. It might as well be called 'Murnau in Love', as it's the story of his loves and losses over his lifetime - particularly Hans Ehrenbaum-Degele. The main narrative covers Murnau's youth in Berlin, the production of Nosferatu, Der Letzte Mann and Tabu, before a coda returning to 1915 and then his death in 1931. It's lightly unconventional in style without being overly mannered, in that it starts off in the third person, then switches to first-person diary entries from Murnau while shooting Nosferatu, and then moves between the two in the section on Tabu. Its characterisation is great and it's highly readable, but it's also extremely insightful about how silent film works and what it can do, on a level I'd usually expect to encounter in an academic book on film rather than a novel. E.g. in Murnau's diary entries: "We're no longer astonished by the technically unheard-of. We're surprised on those days the newspaper does not trumpet new breakthroughs. So we look for the fantastic within ourselves. We notice the child or the dog who walks to the mirror, caught by the miracle of the doubled face. We wonder: If this second self, the Other, were to come out of the mirror's frame?...." and "For the vampire's arrival: lack of movement makes the eye impatient. Use such impatience." It of course also captures the context of Germany in the 1910s and '20s, including the First World War, post-war inflation, and growing antisemitism (e.g. Murnau and his classmates at Reinhardt's theatre school defend a Jewish student against an instructor's prejudices), and tries to show how some of this shaped Murnau as a film-maker. In flying school at the beginning of the war, Murnau begins to think about the implications for film of a moving perspective, like a plane flying through and across the landscape, and later develops camera tracks to try to replicate it for Der Letzte Mann. But the main impacts for him are of course the losses he experiences: "The war was drinking the blood of millions. Allmenröder was gone. Hans was gone. The war had taken his partner in sadness and, before that, his lover." Highly recommended to anyone who enjoys Murnau's films.

6. Robert Aickman, ed. (1966), The Third Fontana Book of Ghost Stories - bought serendipitously at an instance of the Leeds Alternative Market (a biannual goth market) because it was edited by Aickman and contains a story by him. I read it in the run-up to Christmas, because I like to make a point of reading compilations of ghost stories around that time of year, and discovered in the final few pages that the last story (Aickman's, 'The Visiting Star') actually culminates on Christmas Eve - though I think I ended up reading it on Boxing Day or something like that instead. Just the ticket.

7. Noël Montague-Étienne Rarignac (2012), The Theology of Dracula: reading the book of Stoker as sacred text - argh, this book was so frustrating! I bought it because I could see from Google that it had quite a lot to say about the references to Classical deities in Dracula (Demeter, Morpheus etc), and I wanted to read it for my Classical references in Dracula paper. It gives more attention to that material than any other publication on Dracula that I've seen, and contains some good insights. It also deals with various earlier vampire stories, especially the various theatrical and operatic adaptations of Polidori's 'The Vampyre', and makes good points about their pagan and mystical elements too. But unfortunately the author totally undermines the value of those points by writing throughout as though his reading of the text is a profound revealed truth. Basically, almost every sentence is like this, and it very quickly becomes unbearable: "Feet planted on the Earth, silhouetted against a darkening night sky that glitters with its brilliant inhabitants, crushed serpent, Little Dragon, at her feet, Mina presents an Isaian or Marian figure and returns the narrative to its beginning and the rosary." I would have abandoned it half-way through, except that I had to read so much of it for my paper that it then became a sunk-cost issue, and I persisted out of sheer bloody-mindedness so that I could say I'd finished it.

Books read 2021

Wednesday, 26 July 2023 21:16
strange_complex: (Vampira)
It's another catch-up post in an attempt to clear the unwritten book review slates. Just brief notes on what I can now remember of each. Some were read on Kindle or borrowed from a friend, so aren't in the picture.

2023-07-25 08.58.16.jpg

1. Lady Caroline Lamb (1816), Glenarvon (read on Kindle) - a three-volume novel which famously satirises Byron and many of his circle. I don't think you need to 'get' that to enjoy the story, but it has other flaws. In particular, it's a cautionary example of why the rule 'show, don't tell' exists, as it spends why must be at least the first ten chapters describing its main characters in great detail yet without them really interacting or doing anything, and by the end of that you've forgotten what they're all supposed to be like anyway and have largely had enough. Not helped by the amount of time the heroine then spends hanging around at the bottom of the garden agonising about running away with Lord Glenarvon, only to lose her nerve and abandon the idea.

2. Marin Sorescu (1978) A treia ţeapă / Vlad Dracula The Impaler, trans. Dennis Deletant (1987) - a play by a Romanian author about Vlad Dracula whose original Romanian title means 'The Third Stake'. It's very well researched, and indeed makes good use of the contradictions inherent in the sources, often leaving the reader / audience to decide which of two views expressed by different characters is 'true' and referring within the script to the pamphlets used to blacken Dracula's reputation. It's also quite modernist and surreal, ending for example with a fatally-wounded Vlad passing judgement on himself and going to impale himself. Would be amazing to see it performed.

3. M.R. James (1922), The Five Jars (read on Kindle) - a charming fantasy story for children, in which the narrator finds a box full of magical jars while out on a walk, and is able to see and hear more and more aspects of a sort of fairyland with each one he drinks. Memorable scenes include him being able to hear the thoughts of his cat, which are exactly the same as the sorts of thoughts we all imagine cats having today, and being shown moving images by one of the fairies / elves on a glass device very similar to a modern tablet.

4. Terry Pratchett (2004), Going Postal - a Discworld book I hadn't read before, whose plot is I'm sure well known to everyone. An enjoyable light read.

5. Forrest Reid (1947), Denis Bracknel (read on Kindle) - read after [personal profile] sovay spoke highly of it, and rightly so. The Denis of the title is a strange, withdrawn and probably queer teenage boy whose concerned family hire a tutor for him and who finds an ultimately solace in an ancient pagan altar in the woods. Reid does landscape, weather and seasons exceptionally well throughout.

6. Bram Stoker (1911), The Lair of The White Worm (read on Kindle) - decided to give another non-Dracula Stoker novel a try, after reading The Mystery of the Sea a couple of years earlier. This one's reputation precedes it, but I read it anyway because I knew it had some references to Roman paganism as part of the history of the snake-cult at the centre of the story. It started out OK, but it really does end up pretty incoherent and directionless. It also, just like The Mystery of the Sea, contains some absolute Grade A racism around a black character called Oolanga, who is and quite clearly made black to help code him as evil and bestial. This time it was even worse than in The Mystery of the Sea, because he featured more frequently in the narrative, and the two experiences between them have really made me wary of reading anything else by Bram Stoker other than Dracula again.

7. S.T. Gibson (2021), Dowry of Blood - a fantastic little novel which I came across via recommendations on Twitter, and has since become a major hit for its author. It's about a series of lovers drawn into the polyamorous harem of an ancient and dominant vampire who is certainly a Romanian noble and may or may not be Dracula, told from the perspective of the first one. She and her fellows (one female, one male) are swept away by the intensity of his passion at first, but of course over the centuries his domineering control over them reveals itself as abusive, and the three of them have to work together to find a way of freeing themselves from his power. Dark, sexy and compelling, basically everything you want from a vampire novel.

8. J.S. Barnes (2020), Dracula's Child - this, meanwhile, was the Dracula spin-off novel getting all the big attention while Dowry of Blood remained barely known, and it was pretty disappointing by contrast. It's basically about Jonathan and Mina's son Quincey, who turns out to have something evil in him thanks to Dracula's blood passed on via his mother, and is defeated at the end by the Power of Love. There's a lot more along the way, but I found it drawn-out and forgettable compared to Dowry of Blood. It tries to engage closely with its source material BY using an epistolary format, including many of the same characters and referring back to the events of Dracula. But it doesn't always get it right, for example saying that Van Helsing's wife and children had died, rather than the wife being confined to an asylum.

9. Robert Lloyd Parry (2020), Ghosts of the Chit Chat - a collection of short stories and other pieces by members of Cambridge's Chit Chat Club, of which the most famous was M.R. James. Lloyd Parry has done a brilliant job of just finding out who they all were and how the club functioned via archival work, let alone identifying writing of various kinds produced by them. Obviously in some cases the scrapings were thin, but I was mainly just impressed by how much he had found, and found out, and pleased to be able to understand this major crucible for James' creative writing better.

10. Sorcha Ní Fhlainn and Xavier Aldana Reyes, eds. (2020), Visions of the Vampire: Two Centuries of Immortal Tales (borrowed from S) - a collection of short vampire stories, many of which I had read before (and therefore skipped). Some great stuff, though. I particularly welcomed the opportunity to read 'The Room in the Tower' properly, enjoyed the absolutely classic Anne Riceyness of 'The Master of Rampling Gate', and loved 'Let the Old Dreams Die', a coda to the novel Let The Right One In which reveals through the story of a ticket collector and a detective involved in the events of the original story that Eli and Oskar are in Spain, and that he too is now a vampire.
strange_complex: (Vampira)
I'm watching huge numbers of films at the moment, mainly with Joel, and indeed going about all over the place doing lots of cool things as well. Which is awesome, but while I'm managing to record the various trips and adventures on FB at least, there is a big queue of films waiting to have anything at all written about them anywhere. This post is an attempt to address something of that backlog.


33. The Monster Squad (1987), dir. Fred Dekker

Watched with Joel in Whitby on my birthday, and not of course to be confused with The Monster Club (1981). While we should in theory have been able to cast it onto the massive TV on the wall of the apartment where we were staying, unfortunately the wifi was so bad that we actually couldn't, and ended up watching it huddled over his phone instead. Ain't technology marvellous, eh? It's about a bunch of kids who love classic monster movies, and have a club which meets in a clubhouse lined with posters from them. But little do they know, monsters are real, and Dracula is busy gathering together / resurrecting his own squad of monstrous chums to try to take over the world via the medium of a powerful amulet. They, of course, have to figure out how to stop Dracula and save the world, with the aid of a diary written by Van Helsing exactly a century earlier and a neighbour who lives in a scary, dilapidated old house, but turns out to be very kind and helpful towards them - and is also incidentally a Jewish former concentration camp inmate.

It's fun, silly, and a nice example of the self-referential humour which flourishes within the horror genre. I think in fact that the kids in the squad probably map fairly directly onto the monsters in theirs - e.g. one of them has a dog, which matches up with the Wolfman; Sean, the ring-leader, wears black and red just like Dracula; his little sister develops a special affinity with Frankenstein's monster which is clearly meant to recall the (doomed) friendship between the monster and the little girl by the lake in the original Universal movie, etc. But I was a bit too tired to really put the full details of that together as we were watching. Meanwhile, as Joel pointed out, it has one of the most bad-ass Draculas ever committed to celluloid, who fights practically every other character in the film, lobs live sticks of dynamite about the place, rips the door off his own hearse with his bare hands, etc etc. All good stuff.


34. Byzantium (2012), dir. Neil Jordan

I've watched and written about this before (LJ / DW), but on my first viewing I had no idea how good it was going to be, so have long wanted to revisit it with the full focus and attention it deserves. Luckily, Joel was amenable to the suggestion. ;-) And it does indeed very much reward a second viewing. There is a great deal in the early scenes which makes fuller sense in the light of what the film later reveals about the characters than it can on a first viewing, such as Clara singing what is clearly a nineteenth-century nursery song to Eleanor in the cab of the lorry as they flee their original location. And so many other clever echoes between the present-day and flash-back scenes, like Eleanor desperately sucking up Frank's blood from a discarded tissue after he has cut himself, followed later by Clara coughing up her own consumptive blood into a similar handkerchief. Having not felt like I did this film justice last time I wrote about it, because it was part of a multi-film catch-up post written long after the fact, I'm annoyingly in much the same position again now. But suffice it to say that I love it, and it remains very comfortably within my top five non-Dracula-based vampire films.


35. Penda's Fen (1974), dir. Alan Clarke

A folk horror classic which I've been wanting to watch for an extremely long time, and therefore put on the birthday present wish-list which I supplied to my family. It's basically about both homosexuality and paganism bubbling up from under attempted suppressions, impossible to eradicate no matter how hard conservative society might try - all of which is obviously immensely appealing. It's surreal, contemplative and very beautifully filmed, and will certainly reward repeated viewings. I also hadn't really taken on board before watching it just how deeply engaged it is with the landscape and history of my native Midlands, what with its setting amongst the Malvern hills (prominent and extremely recognisable in the photography), its interest in the music of Elgar, who was born in Worcester, and of course the appearance of the eponymous Penda, king of Mercia. As for Byzantium, it's one I'll probably want to rewatch now that I know all that, so that I can really appreciate how it all works together.


36. Bram Stoker's Dracula (1992), dir. Francis Ford Coppola

A re-watch, with a previous write-up here: LJ / DW. My basic opinion that it is tonally uneven, with flashes of what could have been a great film just serving to show up the flaws around them, remains unchanged. I particularly bridle at the stuff around Dracula's wife, which rolls two misogynistic tropes into one. First, her death provides Vlad's whole motivation for turning against the church and becoming a vampire, so is a prime example of fridging, and second the whole reincarnation trope inevitably erodes Mina's agency - although, to be fair, Mina does not just fall straight for Vlad, as usually happens with reincarnated lost lovers, but rejects and resists him at first, and has some general conflict about the whole thing.

But the reason we watched it was following a conversation about some of the Classical references in it, such as moving snakes in one of the brides' head-dresses very clearly referencing Medusa, and it was worth returning to with those eyes on. There's actually quite a lot of Classical statuary and artefacts dotted about the place, and generally used intelligently to add extra dimensions to the story - e.g. a bronze head and vase in a cabinet at the party where Lucy's suitors are introduced, signalling that the hosts are established aristocrats whose ancestors did the Grand Tour, a Marsyas in the cemetery / garden, signalling punishment and torment, and a Lar on Lucy's nightstand signalling domesticity. So, again, an insight into what some people involved in the film were trying to achieve, even if the efforts weren't consistently sustained.


37. Razor Blade Smile (1998), dir. Jake West

I hadn't (that I can remember) heard of this film before, but Joel suggested it because he thought I'd appreciate its '90s Goth vibe, which I did! It's basically about a vampire called Lilith who spends her time partly hanging out in Goth bars and partly operating as an assassin hunting down the members of a mysterious and evil sect. It's extremely low-budget, but it was evidently made with enthusiasm and is definitely a nostalgia-trip as far as '90s fashions and interior decor are concerned. Lilith wears a great deal of PVC, and indeed has something of the vibe of Tanya Cheex from Preaching to the Perverted (which came out the year before) about her, but she still has a terrible pine bed-frame, exactly like that found in every teenager's bedroom and rental property at the time. Oh, and there's a nice little twist ending, where it turns out the whole assassin / sect thing is just a game she plays with her long-term lover to while away the centuries. Excellent fun, but should definitely be watched with alcohol.
strange_complex: (Cicero history)
Hey there, LJ / DW. I did All The Things for a few weeks there, and I am really not sure how I will ever get you caught up on it all. But let's have a go at writing about just one Thing - going to see Spartacus on a frankly ENORMOUS screen at the National Media Museum's Widescreen Weekend with [twitter.com profile] HickeyWriter.

It looked SO GOOD. It was the 2015 restoration, which not only included all the deleted footage put back in 1991 (oysters, snails and all), but had clearly been carefully visually cleaned up as well. It was incredibly crisp, bursting with colour and detail, and sometimes almost looked like it was in 3D when there was something prominent in the foreground and the camera was moving round to track something in the middle distance. It really showed off the epic scale of the closing battle scenes as well. I had a go at counting the numbers of Roman soldiers by row and by column as they performed their opening manoeuvres before Spartacus' forces, and realised to my astonishment that I was looking at easily 20,000 people on that side alone. The spectacle of them all filing into lines and presenting shields in perfect synchronicity was genuinely awe-inspiring, and really helped me to understand the psychological impact such displays must have had on opposing forces in antiquity. On the other hand, the big-screen experience perhaps revealed more than a small one might that the editing and continuity left some room for improvement. People having conversations with each other were often visibly in completely different positions when the camera cut between shots seen from the front and behind, while the final few scenes revealed the remarkable colour-changing properties of Varinia's baby's hair.

I am not going to say much about the plot or its political resonances, all of which is well-documented, but it did really strike me how we are carefully shown enslaved women and children in the gladiatorial school, not to mention a very diverse range in Spartacus' roaming troupe, including elderly people and a dwarf. We're left in no doubt of the wide-ranging impact of slavery, or the inclusiveness of Spartacus' revolution, and this shows up in its logistics as well as its demographics. It's made very clear that weaving is as important to the revolutionary cause as fighting, with a role even for Antoninus the musicus. He seems to personify the (slightly apocryphal) quotation from Emma Goldman: "If I can't dance, I don't want to be part of your revolution."

The art (wall-painting, statues, etc) and architecture are often a little anachronistic, but that's par for the course in screen depictions of antiquity. In fact, I found the inclusion of statuary from right up to the late antique period in the opening credits actually worked in a positive sense, in that it could be taken as signalling that the moral issues at the heart of the story remained in place throughout the Roman period - though that reading was then undermined by an opening narration suggesting that the coming of Christianity had helped to overthrow the tyranny of slavery, which it very much did not! In any case, the sets all looked broadly Roman at least, and some aspects of them were carefully researched and thoughtfully conceived. I had to suppress a squee at the sight of an hourglass-shaped millstone in the kitchen at Batiatus' gladiatorial school. Oh, and talking of Batiatus, Peter Ustinov really is just truly amazing in a film chock-full of great actors playing great characters. I understand he won an Oscar for Best Supporting Actor in it, and it could not have been more deserved.

Although I've seen the film before, I've learnt a lot more about both late Republican politics and modern politics since then, so that political exchanges which had rather passed me by on previous watches struck closer to home this time. In some ways, this was irritating, because it opened up new dimensions of anachronism for me. For example, in the period when the action supposedly takes place, there was no such thing as a First General of the Republic (which is what Crassus is introduced as), a garrison of Rome (six cohorts of which Glabrus takes against Spartacus) or a governor of Aquitania (to whom Gracchus sends Batiatus and Varinia at the end of the film), which had not been conquered yet. Nor was there any prominent politician called Sempronius Gracchus. Rather, Laughton's character seems to be a sort of splice between Crassus' main opponent Pompey (whom he can't literally be because Pompey was away in Spain for most of the crisis) and Tiberius and Gaius Gracchus, the late-second-century BC populists. On the other hand, I was able to be forgiving about all this because I could also see how the politics of the Roman Republic was being used as an analogy for American politics, with Crassus as a Republican leader and Gracchus as his main opponent - perhaps an idealised Kennedy?

Although we didn't know this before we arrived, it happened that this film was the first screening of the Widescreem Weekend's 25th anniversary edition, so we got free drinks beforehand, free ice-creams in the intermission, and free cup-cakes to take home afterwards. Given how good the film itself was, I didn't need those perks to make for an excellent evening, but they certainly didn't hurt.
strange_complex: (Asterix Romans)
This film came to my attention because I noticed people were tweeting about it on the ClassicsTwitterMovie hashtag. It was too late for me to join in the communal watch by that point, but I saved the information and watched it myself a few weeks later. It's available on Youtube with English subtitles, though you have to actively turn them on by clicking on the cog, bottom right.

It is the second Romanian film I have watched, the first being Vlad Tepeș (1979) in February of 2015 (DW / LJ). I had made some attempts to learn some Romanian already at that point, ahead of a visit there that May, but only from a teach-yourself book - I hadn't yet discovered Duolingo. I see I judged in my review that I was able to understand about one word in a hundred, which wasn't much to celebrate! Watching The Dacii was a sober reminder of how far I still have to go, despite being 3/5 of the way through the Romanian Duolingo course now. Romanian speakers seem to go at a similar speed to their Spanish cousins when speaking to each other, which would explain why I've needed to make a lot more use of the 'speak at half-speed' button on Romanian Duolingo listening exercises than I ever have with German. On the other hand, I definitely understood a lot more than I did in 2015. The subtitles seemed to appear on a slight delay by comparison with the actual speech, which meant that once or twice I was able to parse a shorter sentence before the translation appeared. For longer sentences, I was probably understanding something more like about one word in three, but not really getting the time I needed to figure out what the sentence as a whole might mean before the next one started. Still, it is progress.

The story deals with the Dacian resistance to Domitian's campaign against them in AD 86-88, led by Decebalus. As such, it belongs to a wider genre of stories about antiquity which similarly focus on resistance to Rome's military might by peoples from the same geographical area as the contemporary nation making them. Comparable material from other nations includes the Asterix books, Los Cántabros (1980), a whole German mythology around Arminius and a similar British one around Boudicca. Rather like most of these other examples, the Dacii are cast as fighting not merely to defend their own territory, but as the last great hopes for resistance to Rome, all of which is made quite explicit via opening dialogue between a Roman at the gates of a Dacian fort and the inhabitants within. This seems to fit with Romanian foreign policy at the time, at least insofar as I've gleaned it from Wikipedia, which involved Ceaușescu in the early years of his regime winning popularity by taking a stance against the authority of the Soviet Union. Wikipedia also tells me that the film itself is extremely popular in Romania, standing as their second-most-watched historical film and fourth most watched of all time, so it seems that message of brave nationalism did indeed resonate.

The basic plot sees the Romans turning up for conquest and taking a Dacian encampment after an epic siege with a cast of thousands and lots of good details like a siege tower and a battering-ram with a roof covered in soft sacks to protect the men wielding it. The two sides then send ambassadors to one another, but both are clearly basically preparing for further war. The Dacians manage to ambush the Romans in a narrow pass, throwing rocks and felling trees on them a bit like the Ewoks. But this is not the end. Things culminate in a major battlefield confrontation, where although the Dacian leader Decebalus and a sympathetic Roman character named Severus try to defuse things, the Romans march forward anyway and we fade to an ancient battle scene relief. It's hard to map the events of the film very closely onto the actual history of Domitian's campaigns, as several licences have clearly been taken. E.g. history records that the Roman general Fuscus died in battle during the campaigns, but the film has him dying as the result of a sword-fight with Severus. Perhaps the decision to end with the battle and not show who wins was a way of capturing the somewhat ambiguous / unfinished outcome of the campaigns themselves? It seems a slightly odd choice given the evident desire of the producers to deliver a nationalist message, but perhaps it was better for them than either a) showing an outright Dacian victory, which wasn't really true, or b) Decebalus ending up suing for peace and becoming a Roman client king, which didn't really fit Ceaușescu's stance of resistance to the USSR. The mid-battle ending instead allows the producers to send the audience out of the cinema with the message that the battle of resistance against external authority is never-ending ringing in their ears.

Meanwhile, there's a lot going on around that bare-bones outline of battles and their outcomes. First the Dacians. Our sympathies are clearly supposed to lie with them. Charming pastoral hunting scenes early on in the film secure that, and contrast sharply with establishing scenes of the Roman characters which show Domitian's generals conspiring to undermine him and the emperor himself more concerned with gold than victory. The Dacians are coded in various ways which make the analogy with contemporary Romanians very clear - for example they wear embroidered clothes much like traditional Romanian garb, and send their women and children away from war to the mountains in carts much like the ones used there today - what Stoker calls a leiterwagen in Dracula.

But they are very much also the noble barbarians of the ancient Greco-Roman sources, which likewise suits the nationalist agenda very well. They wear the Phrygian caps and carry the dragon-headed standards shown on Trajan's column and various other Roman victory monuments. In the early siege of the Dacian encampment, the Romans manage to take only one prisoner alive, who promptly grabs a sword and kills himself. Later on, Decebalus explains to the sympathetic Severus, who has been sent to him as an ambassador, that the Dacians always fight to the death because they have no fear of it, and die laughing because they are going to their god, Zalmoxis. Indeed, there is lots of Zalmoxis business as the film goes on, which was one of my favourite things about it. Once Decebalus has resolved on war, he reluctantly agrees on the advice of his priest to send a message to Zalmoxis via his son Cotizo using the ritual of impalement on three spears (described by Herodotus), which they then proceed to do in front of this rock formation, which some people say is the face of Zalmoxis. I'd love to know whether that association predated the film or was created by it. Zalmoxis takes his time to respond, but does, sending torrential rain which floods the plains where the Romans are, causing them all sorts of trouble. It is all very cool stuff to see enacted on screen.

Decebalus himself is of course idealised as a wise and capable leader. We meet him for the first time when he is overseeing training contests (so, showing appropriate leadership in a state based on warfare), and then see him with his council of advisers being cautious yet firm and taking the necessary measures to protect the Dacian women and children. The councillors respond by casting doubts on Decebalus' strategy, which I found interesting because the motif of the wise leader surrounded by doubters and hot-heads was something I also recognised from Vlad Tepeș (1979). I am going to place a guess that this was part of Ceaușescu's self-fashioning, and I can see how that would be a useful narrative for an autocratic leader to create about the relationship between their own personal qualities and those of the people around them. He must have created it early, though, because (just guessing from its release date) this film probably went into production only about a year after he took power. Anyway, in the film Decebalus is of course proved right by the course of events, but is still having to rein in hot-headed generals right up to the final battle scene, where they force full-blown warfare despite his attempts to resolve things via intelligence rather than machismo.

Meanwhile, the Romans are fairly recognisable as the relentless military machine portrayed in many a Hollywood film, except here presumably standing for the Soviet Union rather than the Evil Brits. We see huge numbers of them marching to relentless music, but they are also humanised and characterised. Severus, the sympathetic one who spends time with the Dacians and comes to understand them, is of course portrayed as skilful and likeable from the beginning. On the other side, we have Fuscus, who is shown early on conspiring to undermine Domitian, and later decimates (literally) a legion whom he thinks have let him down. Domitian is of course a classic Bad Emperor, who sits arrogantly on Burebista's throne in the Dacian camp after the Romans have captured it to receive ambassadors from Decebalus, and has a tame historian following him round writing everything down - presumably in a suitably panegyrical manner.

Overall, definitely one I'm glad I watched. It certainly is nationalistic, but so are many Roman historical films, and it was fascinating to see that from a specifically Romanian angle. It's not naturalistic or subtle as a piece of cinematic art, but it makes the most of the assets Romania could command in the 1960s - beautiful landscapes and lots of people. And it's good to find that the time I've spent on Duolingo has had at least some impact at least. Here's to further progress!
strange_complex: (Cities condor in flight)
This is a collection of short stories whose author is known in this parish as [personal profile] sovay. I hope she won't mind if I proceed to just call her S for the rest of this review, a) to save myself having to keep typing out the code for [personal profile] sovay, and b) to signal that I'm writing about her in a different way here anyway, which bridges both [personal profile] sovay, the DW friend, and Sonya Taaffe, the author.

We've been DW friends for a few years now (probably about four-ish?), and I have been following S's writing career all that time. It is obviously a big passion and a serious commitment for her - she regularly posts to say that she has had an individual short story or poem published, attends readings and cons to present / talk about her work (in pre-COVID times anyway), and of course reported the publication of this book a couple of years ago. I've been a little slow to get round to acquiring and reading it, but not because I had any doubt that it would be good. I'd already read a couple of the individual stories in it anyway which S had shared, and been extremely impressed. I'm just slow, is all.

I've never met S in real life, as she lives in Boston, but she tells her DW readers a lot about herself, and has clearly put a lot of the same self into her stories too. So I had very much the same experience reading this book as I did when reading my friend Andrew Hickey's novel Head of State (LJ / DW) of recognising the person I know through DW in the stories. S's passion for the sea, knowledge of Classical myth and literature, Jewish heritage, and queer identity are all here, combined with a fine-detail observation of urban landscapes and a sense of colour and the best words for conveying it vividly which really struck me in the first of her stories that I read.

I'm not going to write about every single story, because there are twenty-two in the book altogether, but here are some notes on my favourites ones and what I liked about them )

In short, a very impressive and enjoyable collection which I highly recommend. S has a real gift for taking established literature, myth and history, combining it with close observation and transforming it into something completely new and unexpected. Here's to her further success as a writer.
strange_complex: (Dracula 1958 cloak)
I'm uncomfortably aware that I haven't written anything other than WIDAWTW posts for over a month, or indeed commented much on other people's entries. The approach of term coincided with the local constituency party that I am chair of having to go into high alert due to the likelihood of a General Election being called at any moment, so it has all been teaching-related activity and campaigning. Last weekend, though, I took myself down to London for an epic weekend which combined delivering a talk on Dracula and Classical Antiquity to the Dracula Society on the Saturday evening with going to the immersive musical version of Jeff Wayne's War of the Worlds the following day - and today I finally have a day off to write about it.

Dracula and Classical antiquity )

Jeff Wayne's War of the Worlds - the immersive experience ) Then at the end, we were invited to pose in our pairs for pictures in front of a green-screen, of which this was very much the best final result for me and Fiona, pretending to be menaced by Martians:

P_WOTWL-N13HA-6D13K~001.jpg

I'm normally pretty cynical about that kind of add-on money-making ploy for an experience which you've already paid quite a considerable amount of money for, but given that it had actually been a really enjoyable afternoon, and that the full set of pictures came complete with a digital download code which meant that we could both access them, I decided to go for it. All in all, A++ would fight my way through red weed again.
strange_complex: (Meta Sudans)
This novel was written by two sisters, of whom the elder, Emily Gerard, was a Polish cavalry officer's wife and spent time living in the Transylvanian Romanian towns of Sibiu and Brașov where he was stationed. It's well known in Dracula circles that she used that time to research an article and book on Transylvania which were used in turn by Bram Stoker in the course of his research for Dracula:
  • 1885: 'Transylvanian Superstitions' in The Nineteenth Century 8: p. 128-144.
  • 1888: The Land Beyond the Forest: Facts, Figures, and Fancies from Transylvania, New York: Harper.
But her experiences also clearly informed this novel, which itself also relates closely to Dracula. The connection is flagged up explicitly in the one and only newspaper interview which Bram ever gave about his best-selling novel, conducted by one Jane Stoddard, which begins like this:
One of the most interesting and exciting of recent novels is Mr. Bram Stoker’s “Dracula.” It deals with the ancient mediaeval vampire legend, and in no English work of fiction has this legend been so brilliantly treated. The scene is laid partly in Transylvania and partly in England. The first fifty-four pages, which give the journal of Jonathan Harker after leaving Vienna until he makes up his mind to escape from Castle Dracula, are in their weird power altogether unrivalled in recent fiction. The only book which to my knowledge at all compares with them is “The Waters of Hercules,” by E.D. Gerard, which also treats of a wild and little known portion of Eastern Europe. Without revealing the plot of the story, I may say that Jonathan Harker, whose diary first introduces the vampire Count, is a young solicitor sent by his employer to Castle Dracula to arrange for the purchase of a house and estate in England.
It's important to notice here that Stoddard isn't saying that Bram's novel wholly resembles the Gerards' - only that theirs is the only other novel she can think of which, like the first 54 pages of his, is set in Eastern Europe. But, recognising the surname from the publications on Transylvania, that was enough to make me look out the novel, and see just what Stoddard meant about its resemblance to the opening chapters of Dracula. None of the libraries I have easy access to had a print copy, and it seems long ago to have gone out of print so that there wasn't a cheap second-hand paperback or Kindle copy available either, but it is on the Internet Archive, and after a bit of experimentation I discovered that downloading the pdf version to my tablet resulted in a readable text which I could take to bed with me. So away I went.

It's a Victorian novel written by women for women, so it isn't a great surprise that the main subject-matter of the book is the question of who our main character, Gretchen, will marry. There are multiple contenders in the field - the sensible, middle-aged, middle-income lawyer Dr. Komers, the wealthy, aristocratic and childishly selfish Baron Tolnay, and (very much lagging behind the field and utterly repulsive to Gretchen) the obsessive Dr. Kokovics. A lot of time is spent establishing their (and multiple other) characters, at first in Gretchen's German home-town and then in the valley of the Waters of Hercules, to which the action shifts from the 7th of the novel's 53 chapters. Gretchen herself is bright, perceptive, and (as we are repeatedly told) sensible, but she begins the novel rather obsessed with the idea of marrying into wealth. Needless to say, she will learn over the course of it that there are other things more important, and that the lawyer has hidden depths which weren't initially apparent on his sensible-to-the-point-of-dullness surface. The style was pleasantly easy to read. The Gerards like to play with our expectations, setting up a scene from one point of view and then switching to another which reveals something different. They are good at establishing settings and moods, and occasionally quite happy to devote a whole chapter to what might seem like a mere comic distraction (such as the various fishing methods espoused by different visitors to the Hercules Valley), but which of course reveals a great deal about character in the process.

The titular and main setting for the story is a very real valley and spa town in what is now part of western Romania, but belonged to Hungary at the time when the novel is set. It contains healing baths and a statue of Hercules, who is supposed to have stopped in the valley to bathe and rest. But much of the action and drama of the novel is in fact driven by another (as far as I can tell) fictional location in the mountains somewhere above the valley: Gaura Dracului, a yawning and apparently bottomless chasm with many a legend attached to it, which wanderers through the forest come upon almost before they have realised it is there, and sometimes stumble and fall into as a result. Obviously, the name of this geological feature is yet another of the likely pointers which nudged Bram Stoker towards settling on the name 'Dracula' for his aristocratic vampire, and indeed it may also lie somewhere behind references to 'deep caverns and fissures that reach none know whither' of which Van Helsing speaks in Dracula's Transylvania. In this novel, the name of the chasm has nothing to do with the Dracula family, and simply means ‘The Devil’s Hole’ - actually a very common name for deep caves and pools all over the world (see here for just a few largely English-language versions). But that is quite enough to underpin a number of Gothic horror tropes which run throughout the novel alongside its main romance story.

As the action shifts into the Hercules Valley, the Gerards work hard to establish the right kind of atmosphere of lingering paganism and local superstition for the legends of Gaura Dracului to work on their characters and within their plot - just, of course, as Stoker does on Jonathan Harker's journey into Transylvania. Indeed, Gretchen and her family's journey to the valley adheres to the same basic Gothic model of the journey into a strange and dangerous land as Harker's. Once they get to the valley, we hear a lot about how paganism has survived there, overseen by the statue of Hercules whom the locals treat as though he were still a literal god, and we are treated to some ripe stereotypes of the superstitious Romanian peasant that will be instantly recognisable to anyone who has read Dracula. Indeed, when Gretchen asks some local goatherds where she can find Gaura Dracului, they react with terror and cross themselves. Gradually, we learn that the god of the valley has sworn that the hole must have human blood once a century, which to me rang bells of Polidori's The Vampyre, in which Lord Ruthven must have it once a year. Indeed, a prologue set in the time of Trajan establishes that this has been happening since the Roman period. That was particularly interesting to me in light of the paper I gave on Dracula and Classical antiquity at the Brașov conference, because it means the Gerards were here doing one of the very same things I had argued Stoker was doing in Dracula - rooting his menace in the ancient, pagan past as a way of emphasising how long and deeply-established it is, and of capitalising on the blurry line between pagan gods and demons in the western Christian tradition. Meanwhile, we also hear that Gaura Dracului contains secret hidden hoards of Turkish, Russian and many other coins, just like the dusty corners of Dracula's castle, and all sorts of Gothic vocabulary is used to describe it. It is an open grave, haunted and full of ghosts; it has fanged jaws like a monster; Gretchen feels when lost in the forest around it as though the bats and moths flitting about her are phantoms; and a climactic fire-storm which rages through that same forest in the final chapters of the book contains descriptions of trees writhing in agony and an army of fire-demons rampaging through them.

So, yes, it definitely has more than a touch of the Gothic to it, and does resemble Dracula in more than the purely geographical matter of being set in Eastern Europe. I don't think we have any proof that Stoker read it, while since we do have proof that he read the article and book on Transylvania by Emily Gerard which I've mentioned above, it's quite possible that a lot of what appear to be connections between this novel and Dracula were actually ideas he took from those. But, having read it, I could definitely believe that he had done so too. I think one of my little projects for the next year might be to read up a bit more on the Gerards, including reading Emily's work on Transylvania and learning a bit more about their biography, so that I can understand their influence on Dracula more fully. It might well make a decent paper for another Dracula conference at some stage.

Meanwhile, there were other themes in the novel I found interesting in their own right, regardless of any connection to Dracula. One, inevitably, was its assumptions about and attitudes to gender. It's no surprise that Gretchen's main concern is marriage, or that this is couched primarily in terms of how she can best marry her way to a comfortable lifestyle, but I found it interesting that one of the plans she hatches over the course of the novel is to find the treasures supposedly hidden in Gaura Dracului, on the grounds that if she finds her own fortune she can marry whoever she likes. This is hardly a feminist parable, of course, since she still clearly doesn't have the option to lead a genuinely self-sufficient working life, but the very idea is still one of the ways in which Gretchen is cast as a radical, modern thinker, and she feels she needs to hide it like a guilty secret from her more traditionally-feminine Italian friend, Belita. I was also struck by two separate scenes in which Gretchen is cornered very horribly by entitled suitors, and which read very much like the sort of horror stories women have to relate all too often on Facebook and Twitter about their experiences with creepy men today. In one, she is trapped in a gorge with a sheer drop at the end of it by Dr. Kokovics as dusk is falling, and her terror as he approaches, coupled with his dismissal of her terror, together made it very clear (without ever spelling it out) that her basic fear was of being sexually assaulted. In the other, Baron Tolnay gets her alone in dark forest, demands her love on the basis that he has proved his to her by committing a terrible crime, and tells her that him doing so was all her fault for leading him on - which she internalises and believes. Between the two they very much demonstrated how much the novel acted in the Victorian period as a forum for women to share such experiences under the cloak of fiction.

Also striking was the carefully-ranked hierarchy of national stereotypes into which all of the characters are slotted, and which belong very much to the fundamentally racist thinking of the day. Strong east-west and north-south fault-lines are in evidence, so that the Romanians are swarthy, Oriental, lazy, stupid, natural liars and superstitious, the Hungarians are more competent but ultimately not to be trusted, and the Germans (our point-of-view characters) are blond, noble, intelligent and morally sound. Gretchen's Italian friend is warm and effusive but thinks of little other than fashion and status; the novel's one English character, Mr. Howard, is reserved and hidebound by social etiquette, but does warm up and come round to Gretchen and her family over the course of the story; and a reference to hook-nosed Jews pops up in the context of a discussion about debts. All of this, too, can be found in Stoker's Dracula, of course, though there's no need to believe he got it from here. It is the widely-accepted thinking of the day, occurring unsurprisingly in both novels. That's Victorian literature for you. If you can read round it, though, and like the sound of pagan superstitions, yawning chasms and a German girl's marriage prospects, I would on the whole very much recommend this one.
strange_complex: (Saturnalian Santa)
This is one of Hammer's non-horror films, shown recently on the excellent [twitter.com profile] TalkingPicsTV channel. It's a crime drama, and for Hammer was clearly a B-feature: you can tell because it is in black and white, despite them having moved definitively into colour for their horror pictures several years earlier, and according to Wikipedia the total budget for it was £37,000 (contrast £81,000 for Dracula three years earlier). It's an absolute cracker, though, with well-scripted characters masterfully acted by Peter Cushing, André Morell and the like, and a beautifully-paced plot which keeps you guessing right up to the end. I sort of watched it with [personal profile] lady_lugosi1313, although not quite in the usual way of being present in the same room together. She was in her house and I was in mine, but as we both knew the other was watching it we exchanged texts as we went along, marvelling at the wondrous talents of Mr Cushing and the twists and turns of the plot.

Because of those twists and turns, I'm going to put the rest of this review under a cut, just in case there is anyone out there who might wish to watch it unspoiled. I do heartily recommend doing so if you have the opportunity. But if you've already seen it or don't care about spoilers and do want to know what it's like, click on... )

All in all, a thoroughly good evening's watch, and a strong reminder that there are still many Hammer gems awaiting me, both within the horror genre and without.
strange_complex: (Dracula Risen hearse smile)
This book is obviously exceptionally relevant to my interests! The main body works its way through each of the sixteen vampire films made by Hammer from the 1950s to '70s, covering the production process for each one followed by commentary on the story itself, its themes and its cultural resonances. It also sets the Hammer films themselves into the wider context of the evolving vampire genre through opening and closing chapters on screen vampires before and after their heyday, as well as references to related contemporary productions in the main chapters.

The source material is a combination of other published work (contemporary reviews and publicity, more recent books on Hammer, its stars and its productions) and interviews conducted directly by Hallenbeck himself over the years - often for his articles in the occasional horror magazine Little Shoppe of Horrors. Because I spend most of my time reading academic books, I struggled a bit initially with the fact that the publications Hallenbeck had used weren't properly referenced (e.g. via footnotes), but their authors and titles are provided in the text and / or in a bibliography at the back of the book, so I eventually realised that they were all traceable - it's just that actually doing so would require a bit more digging than it might have done. In fact, this book is as well-researched as could reasonably be expected given that it isn't aspiring to academic levels of rigour and support.

I didn't feel I'd got a great deal out of either the opening or the closing chapters, basically because of what they were taking on - giving a bird's-eye overview of a large number of films in a short number of pages. It was never going to be possible to say anything very original about them in that context, so most of it I already knew or could have read on the relevant Wikipedia pages if I didn't. But the main chapters have a lot of interest and detail to offer, even for someone like me coming to them with a very good knowledge of these films already, while Hallenbeck's commentaries on the stories are good at drawing out the themes and dynamics at work within them.

Some points I found particularly interesting follow below:

In re the references to vampirism as a survival of an ancient pagan cult in Brides of Dracula, Hallenbeck says that producer Anthony Hinds 'professed himself to be enamoured' with pagan religion (p. 64). This rings true from the content of several of the films he was involved in, which certainly reflect a prurient thrill around paganism, but it's one of the statements in the book which isn't properly referenced - it might come from an interview in Little Shoppe of Horrors #10/11 which is listed in the bibliography, but that isn't fully clear, and Google isn't bringing up anything much to support it. That's annoying, because I'd like to know more about it.

Hallenbeck cites interviews with both Andree Melly (Gina in Brides, p. 63) and Barbara Shelley (Helen in Prince of Darkness, p. 94) saying that they were explicitly encouraged by Terence Fisher to play up the lesbian connotations of their lines after they have been transformed into vampires (respectively, "Put you arms around me, please - I want to kiss you Marianne" and "You don't need... Charles"). As he points out, Hammer later moved on to entirely explicit lesbian vampirism with The Vampire Lovers (1970), but it's interesting to know that it was consciously and deliberately being slipped past the censors in subtextual form as early as Brides (1960).

Shelley further states (same page) that to prepare for her role as a vampire, and particularly to lend herself the required air of 'evil and decadence', she drew on the days when she 'used to study the old Greek dramas and studied the use of that sort of feeling of the Furies'. Very interesting indeed to see her instinctively turning to classical archetypes there, in a markedly similar way to Bram Stoker, John Polidori and more.

Hallenbeck isn't a big fan of Dracula AD 1972 himself, but he gives it a fair write-up, and I was fascinated to note that this included multiple references to good reviews which came out on its original release. This isn't to say there were also some pretty luke-warm ones, but Variety liked its slick script and fast pace, and Films and Filming thought it had a fresh cast playing against a background of quality (both p. 163). That's interesting, because less fair-minded contemporary commentators tend to foster the impression that it was widely received as an ill-conceived mis-step even on first release (as opposed to dating quickly, which is a different matter), but that obviously isn't entirely true. It was also clear by this point in Hallenbeck's book how much Hammer's real problems in this period stemmed from struggling to get proper promotion and distribution for their films - i.e. if audiences were slipping away, it's partly because they simply didn't know about or couldn't access new releases, rather than necessarily because they hated them (though I realise that if audiences had remained really keen, the distributors would have been sure to cater to them).

He's not a great fan of Vampire Circus (1972) either, the difference there being that this time I agree with him (LJ / DW)! Indeed, he introduces it thus: 'The vampire as child-molester. If that sounds like a distasteful idea, it was only one of the many in Hammer's Vampire Circus...' That's without even mentioning the supposed monster attacking people in the woods which is actually quite clearly a sock-puppet. Hallenbeck's behind-the-scenes details do cast quite a bit of light on why I didn't much enjoy it, though - e.g. I noted in my review that this was director Robert Young's first film, and he was clearly a bit out of his depth, and Hallenbeck fleshes this out by explaining the time-pressures and poor communication from the producer and head office which exacerbated the problem.

Beyond those points, I obviously generally enjoyed revisiting and expanding my knowledge of the Dracula films, and also came away feeling I must (in most cases re-)watch their other non-Dracula films (apart from Vampire Circus and Captain Kronos, both of which I've seen already within the last few years). As luck would have it, the one I want to see most, Kiss of the Vampire, was on the Horror Channel yesterday, so I now have that safely recorded and ready to enjoy in the full light of Hallenbeck's commentary. It's definitely one I'll keep taking down from the shelf as I revisit these films over the years.
strange_complex: (Dracula Risen hearse smile)
This is short story collection subtitled 'A Connoisseur's Collection of Victorian Vampire Stories' which I bagged for a bargain price at the Dracula Society auction in Whitby last autumn (LJ / DW). It basically aims to trace the evolution of vampire mythology, mainly in fiction but also in accounts of real folk beliefs, up to the point when Dracula was written and a little way beyond. That made it a very useful research resource for the paper I am writing about Classical references in Dracula, as it would allow me to get a sense of the extent to which they were a standard characteristic of the genre before Bram wrote. I already knew that much of both Polidori's 'The Vampyre' and Byron's fragment (here called 'The End of my Journey') take place amongst Grecian ruins, for example, but wanted to see whether the same equation persisted beyond high Romantic literature. Obviously I would not dream of assuming that Bram read every story in this book, but for some stories it's clear from tropes which he absorbed and replicated that he did, so anything Classical sitting alongside them is of particular interest.

The full table of contents reads thus )

I'm not going to review every single one, so anything which I haven't commented on specifically below can be assumed to be a very enjoyable story to read. But these were my thoughts on a few which particularly struck me - for good or ill:

'The Deathly Lover' - this was originally published in French in 1843 under the title 'La morte amoureuse', and is often also known as 'Clarimonde' after the vampire main character. It is actually set in Italy and told from the perspective of a priest, who falls under the spell of Clarimonda (as her name is spelt in the English translation I read) and begins leading a strange double life, where he is a priest living in a simple hut by day and her lover living in the lap of luxury by night, to the point where he no longer fully knows which is his real life and which a dream. We don't know for sure that Stoker read it, but a scene in which the priest cuts his finger while paring some fruit, and Clarimonde leaps out of bed to suck at the blood certainly resembles the scene in which Dracula does much the same after Harker cuts himself shaving. In another passage, she is also compared in short succession to both Cleopatra and Beelzebub, which is likewise very similar to the ways in which Bram associates Dracula both with Classical antiquity and the Devil, and is exactly the sort of stuff my paper will be about.

'Varney the Vampyre' - one of several entries in the book which is actually an extract from a much longer text, rather than a complete short story. The original is in fact c. 667,000 words long! Like most people who are into vampire fiction no doubt, I have occasionally harboured ambitions to read the whole thing, perhaps even as part of an online reading group with other people at an instalment a week. But this extract, which was simply the opening instalment of the story, reminded me that although it is fun in its own way and doubtless an influence on much later vampire fiction, it was very much hammered out with the aim of filling the maximum amount of magazine space for the minimum amount of intellectual effort, and thus utterly hackneyed and melodramatic. I mean, yay for that, but I have a finite lifetime so I think I will prioritise better things.

'The Mysterious Stranger' - Bram pretty clearly read this as well. It's set in the Carpathians, and involves travellers beset by wolves and a mysterious tall pale man who can command them at will. He proves to live in a semi-ruined castle, visits the main family of the story as an apparently-human guest but refuses all food and drink while their daughter grows pale and sick, and is eventually defeated using much the same sort of vampire lore as applies in Dracula. I was additionally fascinated to notice that while Bram does not seem to have made anything out of this line: "Azzo [the aristocratic vampire] stretched forth his hand, and grasping the sword in the middle, it snapped like a broken reed", Jimmy Sangster, the script-writer for Hammer's Dracula, Prince of Darkness certainly did:

Sword snap gif.gif

(Sorry, for reasons I can't figure out, it seems to be necessary to click through to see the gif in action. It's worth it, though!)

'A Mystery of the Campagna' - this basically constituted hitting gold re Classical references, as the vampire in this story is literally a Roman woman named Vespertilia, buried by her husband in a large sarcophagus inside an ancient catacomb, who still lures, ensnares and feeds upon the inhabitants of a villa on the land above up to the story's present day (the 1880s). There is a Latin funerary inscription to translate and everything! Unfortunately there's no particular reason to believe Bram ever read it, but it certainly shows what antiquity can lend to a vampire story, building logically on Byron and Polidori's precedents and anticipating Anne Rice's Roman vampire characters by a solid century. This volume's introduction to the story annoyed me intensely by 'explaining' that the Campagna of the title "refers to a populous region in southern Italy now usually spelled Campania", though. It really isn't - the main characters are artists living in Rome, one of whom decides to rent a villa in the countryside outside the city in order to concentrate on his art, so it is very literally and specifically set in the Campagna. I'm pretty sure the internet contained enough unambiguous information about both the Campagna and Campania already in 2010 to mean that the editor of this book has no real excuse for not understanding the difference.

'Let Loose' - I hadn't read this before, but it was one of the best discoveries of the book for me, mainly because it is just really well written and conveys an atmosphere of mounting fear extremely effectively. It's about a young man who goes to draw a fresco which (for some reason) is on the wall of a rarely-visited and securely-locked church crypt, and of course hears strange noises and inadvertently frees a Something while he is down there working. It's quite Jamesian in the way it builds up the tension through small, unsettling details, but I should warn that anyone who loves dogs (and even I was charmed by the one in this story, who is called Brian) might find the end rather distressing.

'A True Story of a Vampire' - this, by contrast, was easily the most unpleasant story of the collection by dint of its skeeviness. It is sort of a take on 'Carmilla', in that it involves a vampire coming to live in the house of its victims like a cuckoo in the nest, and indeed it announces the link by naming the main female character who narrates the tale 'Carmela'. But she is not the vampire. Instead, he is an adult man and his victim is her younger brother, Gabriel, who runs about the garden in short trousers playing with birds and squirrels. Furthermore, the vampire preys on Gabriel specifically by kissing him on the lips, which seems to drain his energy in some psychic fashion. Now, obviously although Carmilla presents as a teenage girl, and thus of a similar age to her victim, she is technically centuries older, in fact of course vampires are an enormous bucketful of metaphors, and most people therefore read 'Carmilla' as a thinly-veiled story of lesbian teenage love. On the same basis, this story reads as a thinly-veiled account of predatory paedophilia. So, not good.

'The Tomb of Sarah' - this was published in December 1897, so about six months after Dracula, and is the first story in this collection to show clear signs of Stoker's influence. The vampire lore is much the same, involving for example the use of mortar infused with the host and a sacred circle, and most tellingly of all the vampire lady 'champs' her teeth exactly like every female vampire in the whole of Stoker's novel. It's fairly run-of-the-mill as an actual story, but fascinating to see Stoker's tropes (most of them of course collected in turn from elsewhere) bursting into the mythos.

I think that's it. Several of the others were very good; some I had read before but often not for a long time. Generally a very good collection, apart from the editor's inexplicable ignorance of the Campagna. Definitely more than worth the couple of quid I paid for it.
strange_complex: (ITV digital Monkey popcorn)
Starburst magazine ran a film festival in late August 2016, which I went to with friends and wrote up on my 'starburstff' tag (LJ / DW). It was badly advertised and organised, but actually the films, the guests and the friends I went with were all great, so we had a brilliant time - something I particularly needed back then, as it was still less than two months after my Mum had died. They attempted to put another one on about a year later, but I guess got even lower take-up than the previous year, so that it ended up being cancelled. This time, though, they hit upon the cunning ruse of giving away the tickets for free, which of course meant people snapped them up and it went ahead this time. (Clearly their business model does not really depend on box-office takings.) Andrew, [twitter.com profile] Extinction65mya, [personal profile] lady_lugosi1313, [livejournal.com profile] planet_andy and I went along and enjoyed a mixture of brand new and vintage films and the delights of the local food outlets, while periodically boggling out of the windows at the snow swirling upwards between the towers which make up most of Manchester's Media City area, and wondering nervously how we were going to get home. Thankfully, all trams and trains were running smoothly today in spite of the weather, which is more than I can say for Friday when I travelled over. So I'm now safe and warm on the sofa, and able to write up what I saw:


6. The Gatehouse (2016), dir. Martin Gooch

This is basically the story of a ten-year-old girl called Eternity who likes digging in the woods. Eternity is the kind of girl who, when she digs up what looks like an eighteenth-century lady's pistol buried in a tin box, steals a book on guns from the library by stuffing it under her coat (but does give the girl on the desk a cheese sandwich on the way out), finds out what she needs to restore it to working order, talks her Dad into taking her to the hardware store and tells the man working there that it's none of his business when he queries what on earth she wants all this stuff for anyway. And not only is she the central character, but the motifs and logic of the story are those of an imaginative, strong-minded ten-year-old girl too, involving magical stones, a horned god roving the woods turning people into trees, a secret chamber under her house, people who appear to have been shot dead turning out to be fine after all (possibly the blood that looked like jam really was jam?), and her playing a central role in helping the horned god to sort everything out. In fact, it’s a lot like the sort of story my six-year-old niece Eloise tells me when we play with her story-cubes. And while a film matching that description could be dreadful, this one really wasn’t, because all of the characters were so believably written and played (very much including Scarlett Rayner as Eternity, in what I see was her first film role), the horned god was shot just on the right side of obliquely enough to keep him mysterious and stop him looking too much like a guy in a suit, and actually the whole thing was very impressively framed and edited and shot, making very good use of some nice British countryside.

The trailer is a bit misleading, because both Eternity and her Dad are troubled by post-traumatic bad dreams following the death of her mother (in a highly-implausible boating accident which also comes across like the kind of story dreamt up by a ten-year-old), and a lot of the soft shocks which the trailer chooses to foreground are actually those dreams rather than the ‘real’ (insofar as it tries to be anything of the sort) main story. Meanwhile, it entirely misses delights like local teenagers Poppy and Daisy’s drunken walk home from the pub, Poppy's folk-Gothic Lithuanian-accented tarot-reading friend, or Eternity’s Dad teaching her to call up (imaginary) Roman legionaries to help see off the school bullies. Actually the Romans were bumping about quite a lot in this story, not only as Eternity’s personal bodyguard but also as the people who supposedly first built a structure on the site of the gatehouse which she and her Dad now live in. For a moment at the end, Eternity called up her imaginary legionaries to protect her against the horned god, and it looked like we might actually get a stand-off between the might of ancient Rome and the spirits of the British woodlands, which I would have been very interested in. It was not to be, but a great film nevertheless, and in my view the best of the new productions I saw during the festival.


7. Black Site (2018), dir. Tom Paton

The festival schedule had a different film by the same director lined up in this slot, but as the editing on this one had just been completed this week, he decided to treat us to a test screening of the new piece instead. I was a little bit sad about this, as the scheduled film (Redwood) was about vampires in the woods, but then again this one was very solid and it's always exciting to see something absolutely brand new which hasn't reached the general public yet - so I didn't mind too much in the end.

Black Site draws on Lovecraft's Cthulhu mythos, but the format of the film is 'trapped in an enclosed space with something bad', as per (for example) The Thing or (as [twitter.com profile] Extinction65mya pointed out) Die Hard. The enclosed space in question is the Artemis complex, an underground military facility used to deport Elder Gods who have returned in weakened form to our universe (I think - I'm not sure I fully followed that bit). Once they have been tracked down by field agents and ‘bound’ into human bodies, they are brought to the Artemis complex for deportation back to hell - a complex process which requires a deportation agent to recite a text which he has memorised. Most of the time, though, it’s a quiet place run on a skeleton staff, which only comes into action when a deportation candidate is brought in. As as result, it's not as secure or well-maintained as it should be, so between that and the complexity of the deportation process, there is plenty of scope for things to go wrong.

Our main character is Ren Reid, who saw her parents killed by the Elder God Erebus as a child, and is now working at the Artemis complex, desperately trying to qualify as a field agent and get out of there, but constantly failing her psych test because of ongoing trauma from her childhood experience. Then one day Erebus himself is brought in for deportation, along with the deportation agent (a rather clueless public-school type) and closely pursued by a group of cultists who want Erebus back so that they can carry on drinking the blood of the succession of human vessels they had been trapping him in before the field agents bust in and took him from them. Chaos ensures, and most of the film then consists of Ren fighting her way through the cultists while protecting the clueless deportation agent, so that she can get him to Erebus at the centre of the complex and complete the deportation.

It was a well-paced, well-crafted story making excellent use of a well-chosen location. I particularly enjoyed the confrontation with Erebus at the end, which proved not to be fighty at all (as he was held safely captive behind an Electronic Light Field - ELF, geddit?), but instead focused on dialogue in which he told the humans just how insignificant they appeared from his out-of-time perspective, and eventually revealed that he had set the whole thing up from the beginning because he wanted to be deported anyway in order to be reunited with his love, Nyx, deported 20 years earlier. (So it was only the cultists getting in the way of the Artemis complex's normal procedures after all.) I am a real sucker for supernatural beings whose power is such that they are simultaneously dangerous to humans and yet also possessed of insight and perspective we can only dream of (it's a lot of what I also like about vampires), so this ticked my boxes in a big way - and all the more so for tagging it onto real-world ancient Greek mythology.

It was also good on female representation. Besides Ren, it also features two other well-defined female characters who are far from constrained by gender roles - her savvy, hard-headed boss and the samurai-trained leader of the cultists. A conversation between Ren and the boss about her career prospects secures a Bechel pass, while we all enjoyed a trope-aware scene at the end in which the deportation agent tried to suggest to Ren that as the 'hero' of the hour, he should get the girl, and she snorted and told him it was never going to happen. It didn't do so well on race, though. It gave Ren a black friend / mentor, but of the four main good human characters (along with Ren, her boss and the deportation agent), he was the only one not to survive the film, and the way this played out was definitely tropey - heroically trying to protect others and then entirely focused on motivating Ren to carry on as he dies. We were also under-whelmed by the American accents which the actually mainly British cast had been asked to adopt. On the whole, though, jolly good and a worthy follow-up to The Gatehouse.


8. The House of Screaming Death (2017), dir. Alex Bourne, Troy Dennison, Rebecca Harris-Smith, David Hastings and Kaushy Patel

This, by contrast, was just terrible! It was meant to be an homage to the great British horror films of the 1950s-'70s, and had adopted in particular the Amicus speciality of the portmanteau format. The framing narrative consisted of Ian McNeice, sitting down to tell an audience whom at first we couldn't see some stories from the bloody history of 'Bray Manor'. You'd think you couldn't go too far wrong with something that had Ian McNeice in it, and the trailer had conveyed a generally promising impression. It's also worth saying that the films of Hammer, Amicus, Tigon and the like were all low-budget and contain much which is rough around the edges. What they do offer, though, is decent acting, characters, stories, period settings, direction and dialogue - which this did not.

Would you, for example, enter the pub in a village where you are staying, and, on the back of having been (rather improbably) told earlier by the local priest that several local people had disappeared about a year ago, announce at the top of your voice to the entire assembled company, without any preludes or introductions, that you wished to express your sympathies for their recent losses? No? Well, a character in this film did. He also turned up in the village without a hat, stood at the bar in shirt-sleeves with no cuff-links, said 'OK' and ran past visibly-modern radiators, even though it was all supposed to be set in 1888. Meanwhile, another story featured a character explaining how she had once murdered someone using a stake from a fence in the process of construction while we saw a flash-back of the action, except that in the flash-back she was very clearly wielding a garden fork, not a fence-stake. Plus all of them relied heavily on scenes of people standing still and delivering exposition to one another, while we had got a good twenty minutes into the film before a single woman spoke.

At the very end the framing story offered the chance to excuse the utterly inept period detailing at least, since it turned out that all of the main characters from the stories were gathered together in one time and place as the audience listening to Ian McNeice's narration, after which he proceeded to murder them all. So maybe they had never 'really' inhabited the various time-periods when their stories were supposed to be set at all, and were actually just the modern victims of a modern serial-killer. But that is to cut the film a lot of generosity for something which it gave no convincing sign of having thought through in advance, and I personally didn't have any such generosity left to give after everything we'd sat through for the previous two hours. Not actually the worst film I've ever seen, but very, very disappointing.


9. Tremors (1990), dir. Ron Underwood

Our final two films were oldies, so I won't bother with plot précis. I've only seen Tremors the once before, on TV when baby-sitting around the age of 15 or so. I wasn't expecting much from it, but I remember getting sucked into its silly fun at the time, and can very much see why now. For what is essentially a wild west film (but with worms instead of armed bandits), it's not bad for diversity either. Finn Carter as the geologist, Rhonda, has a purpose and agency of her own, isn’t overtly sexualised, contributes plenty of good ideas throughout and indeed is seen by the two main male cowboy characters as an authoritative source of information. Sure, Kevin Bacon's character does ‘win’ her at the end (in exactly the trope parodied in Black Site), but there's a knowingness about it even here in the way he doesn't do it in self-assured alpha-male fashion, but is clearly pretty nervous and has to be chivvied along by his friend. In the racial diversity stakes, we have a Chinese store owner who dies, but a Mexican character survives, and like everyone else in the cast gets to make his own contribution to the rescue effort by having the idea to set a tractor running to distract the worms, and the bravery and physical skills to do it. All in all, it's one of those films which actually just ends up reminding you how little progress we've generally made on diversity in film almost thirty years later (for all that the past few years have served up some stand-out exceptions). Probably my favourite moment of this viewing was sitting next to [twitter.com profile] Extinction65mya, who is a palaeontologist, when Rhonda observed that there are no fossils of anything like the worms threatening the town, and that therefore they must 'pre-date the fossil record'. She head-desked. I also kept thinking Kevin Bacon would end up riding one of the worms, but I guess I was getting that mixed up with Dune. His cliff-face grand finale defeat was great anyway.


10. Plan 9 From Outer Space (1959), dir. Ed Wood

Another very special genre classic, which I last saw a little more recently that Tremors, but only by about three or four years. As [twitter.com profile] Extinction65mya observed, you've had one hell of a film-watching day when (thanks to The House of Screaming Death), this is definitively not the worst film you've seen. But of course the reason everyone loves it is the surreal charm of its particular form of ineptness, underpinned by a sort of cheerful exuberance which somehow carries you along for the ride. We howled with laughter throughout, in a fond and appreciative way. My only real disappointment is how little Vampira really gets to do in it, and I'm now keen to watch some of the other films which Maila Nurmi played in her Vampira persona, so that I can enjoy more of her obvious excellence.


With that, we called it a day, and [personal profile] lady_lugosi1313, [livejournal.com profile] planet_andy headed off for a terrifying white-out drive along the M62, while Andrew, [twitter.com profile] Extinction65mya and I merely walked across the square for dinner at Prezzo. Here's hoping we're all back in Manchester before long for more from the Starburst crew - but ideally without the snow!
strange_complex: (Dracula Scars wine)
Bram Stoker worked on Dracula on and off for six years between the commitments of his job as Henry Irving's manager. During that time, the way he ensured that he did not lose track of what he was doing was to take notes falling into two main categories: his plot and character ideas, and research notes on books and places providing details and settings to flesh them out and cloak them in verism. Those notes are held now by the Rosenbach Museum and Library in Philadelphia, where they lay more-or-less untouched until the early '70s when Raymond McNally and Radu Florescu visited the library to view one of the fifteenth-century pamphlets published about Vlad the Impaler, and the archivist casually asked them if they would like to see Bram Stoker's notes for Dracula too? Since then they've been used by various scholars researching the genesis and development of the novel, and indeed parts of them have been made available as quoted extracts or transcripts within those people's publications. But this book has made them available in full to the general public for the first time.

This is obviously amazing for me, because I've long been aware of these notes and wanted to read them properly anyway, and that interest has become all the more pressing now I've decided to write a paper about Classical motifs in Dracula. Realistically, I wasn't going to travel all the way to Philadelphia just to research that - but thanks to Eighteen-Bisang and Miller, I can now do it in the comfort of my own home instead. It certainly paid off with regards to the specific topic of my paper. There is all sorts of evidence that Stoker actively set out to include antiquity within the scope of his researches – for example, he created a timeline of Transylvanian history for himself which extends from the 1st to the 19th century AD, which very much supports my core argument that this was the background and context into which he wanted to set Dracula as a character. But there are huge amounts of interest here beyond that one specific topic, ranging from watching Stoker develop and narrow down his list of key characters to scrutinising the little maps he drew to help make sure he could describe Whitby harbour accurately. You can even see how he added little notes to himself as he thought of new ideas, crossed items off as he put them into the novel itself, and had to fill in by hand gaps left in typescripts evidently done by someone else who could not always decipher his handwriting!

Indeed, that same issue clearly affects some of Eighteen-Bisang and Miller's own transcriptions of the hand-written portions of the notes. Stoker could write neatly when he wanted or needed to, but when writing notes intended for his own use, he didn't always bother. For the most part, Eighteen-Bisang and Miller clearly capture his meaning correctly, and I appreciated that they also occasionally signalled in footnotes when other authors had published different readings from theirs. But I noticed that they often ignored the symbols '+c' (for etc) and '+' (for and) in their transcriptions, while on one page they had transcribed "Roumenians take it that death is only sleep requiring cooking" for what was clearly actually "Roumenians take it that death is only sleep requiring waking" – as two seconds of thought and a bit of common sense should surely have told them. I also didn't feel their footnotes added very much to what was alresdy in the notes anyway. The majority of the footnotes just point to corresponding passages in the final novel, which I suppose saves us looking them up, but seemed a waste when they could have been used instead to provide further information about the content actually contained in the notes, similar to an annotated edition of an actual novel.

The appendices, which covered topics such as major themes in the novel as finally published, Bram's life and other publications, some of the major literary influences on his work (not reflected in any of his working notes) and what we know of the contents of his own library, were better. But even these are each individually rather short, and again mainly focused on the novel as published, rather than attempting to offer interpretations of the notes themselves. The only appendices which really relate to the actual notes are the final two, which outline the major differences between the notes and the published novel – but again, anyone who knows the novel would have seen those differences for themselves as they read the notes. The larger task of thinking about what the content of the notes really reveals in its own right – e.g. what the inclusion of particular characters, motifs or research details suggest about Stoker's initial conception of the novel and what their later rejection signals about how it evolved – hasn't really been attempted here. I guess the emphasis was always on getting the primary material of the notes themselves out, which I certainly appreciate, but it's a pity that the opportunity for an extended essay thinking seriously about them as a corpus was missed.

Edited to add: having checked my email after writing this, it turns out that while I was doing so my abstract for the 2018 Dracula Congress was accepted. So project 'Classical references in Dracula' is now definitively GO! I look forward to many happy evenings and weekends spent researching it and writing it between now and October, not to mention a trip to Romania at the end - hooray! :-)
strange_complex: (Dracula 1958 cloak)
I reckon if I just crack on with it and don't allow myself to get too carried away with any individual one, I can get my 2017 book reviews finished today. Let's see how that goes...


6. Nick Clegg (2016), Politics: Between the Extremes

I am Quite Ashamed that Nick Clegg has written and published a whole other book during the time it's taken me to get round to reviewing this one. I read it largely in the bath or by the pool-side in Cyprus, and for a book on politics it worked remarkably well in those settings. Clegg's written prose is impressively clear and fluent, while his content is very perceptive and intelligent on the current state of UK politics, articulating the significance of what's happened in recent years very clearly and often appearing extremely prescient on some of the things which have happened since it was published. It's exceptionally frustrating that he has undermined so much of what he might have had to offer in this book and in politics generally as a result of how he approached coalition government. No matter how thoughtful, valuable or well-meaning much of what he has to say is, he has now so completely trashed his capacity to reach a majority of people in this country that there is a significant extent to which he may as well not bother. But I do admire the thickness of skin which allows him to continue nonetheless, and in fairness he certainly isn't hoarding the lessons of his rather unique path through British politics to himself. He quite openly acknowledges that the coalition wasn’t exactly a roaring success for the Liberal Democrats, and sets out at least some of the reasons for that with considerable humility and perspicacity. Who can say whether he could have handled it better given the chance again, but I think his comments on the negotiation process and the day-to-day business of working with the Tories will be exceptionally useful to any smaller party attempting to form and work within a coalition with a larger party in the future. Indeed, I wondered wryly last June whether the DUP leadership had read it, given how efficiently they appear to have wrung everything they could out of the Tories in return for a mere confidence and supply deal. Few will agree with every political position he expresses - there were certainly a couple of passages which made me want to give him a shake and point out his blind-spots (though unfortunately I can't remember what on now, as I didn't take notes at the time). But it’s hard not to come away with the overall impression of an intelligent and compassionate man who is much more genuinely committed to improving the life-chances of everyone in the UK and beyond than he is often given credit for.


7. Radu Florescu and Raymond McNally (1989), Dracula, Prince of Many Faces: His Life and His Times

Read on my Kindle in Australia. Florescu and McNally are famous in Dracula circles above all for their 1972 book In Search of Dracula, in which they argued that Bram Stoker was inspired to write Dracula by a deep and profound knowledge of the historical Vlad III Dracula (rather than setting out to write a vampire story and dressing his creation in an impressionistic mish-mash of elements which certainly include Vlad's name and a few pickings from his life-history but don't privilege them). This isn't that book, but it's important context for how I approached this one, and relates directly to the next book I read as well. Basically, although I haven't read the 1972 book, it's famous now above all for over-interpreting Bram's prose to assume things without sound justification - e.g. assuming that wooden stakes are a key weapon against vampires because Bram knew Vlad had used them to impale his enemies, rather than because he had encountered this standard method of despatch during his research into general vampire lore. But it was also clear to me from what I'd read about the 1972 book that half the problem was that it was the work of two (somewhat over-enthusiastic) historians approaching a piece of literature without really understanding how an author like Bram works. On that basis, I was prepared to give Florescu and McNally a try as historians of the real historical Dracula, which is what they are being in this book. As such, for me it was a complement to reading Treptow's book on the historical Dracula a couple of years ago (LJ / DW).

Indeed, as history, it was pretty good, and certainly better than I'd feared from the things people say about the authors' 1972 book. In particular, they present lots of direct quotations from the primary source material, which is what I’m really after with regards to the historical Dracula (and why I liked Treptow's book so much). They also took a more systematic narrative approach that Treptow, who groups his material more thematically, which helped to fill out some details and clarify causes and effects for me where I hadn't fully understood them before. But there are some errors to catch - e.g. they think Whitby has a ruined Cathedral rather than an Abbey. And, more seriously, their interpretation of some of the primary material needed more thought. They are fully aware that the German and Russian pamphlets about Dracula’s atrocities were written with strong political agendas which have obviously strongly distorted their content, and indeed they discuss those agendas and the role of the pamphlets in furthering them at the appropriate point in the book. BUT they also still take the contents of the pamphlets very nearly at face value in other parts of the book when it suits them to do so. In other words, they commit the classic undergraduate dissertation student's error of explaining the 'problems' with the primary sources in their introduction, and then ticking that task off their to-do list, dusting their hands and going on to use those sources completely uncritically in the rest of the work. Luckily I have the training and experience to realise that that is happening and read around it, but it's irritating to see professional historians doing this, and perpetuating myths as a result.


8. Elizabeth Miller (2006), Dracula: Sense and Nonsense (2nd edn)

Also read on my Kindle in Australia. The basic premise of the book is that people talk a lot of unsupported nonsense about Bram Stoker’s Dracula, so Miller goes through the most persistent and egregious myths systematically, quoting examples and explaining the problems with them. She explains the approach herself on this publishers' page about the book. I completely see the need for this. People do churn out ill-researched books on Dracula because anything with his name in the title sells, and I’ve been irritated myself often enough by the constant repetition of well-worn canards. Florescu and McNally's 1972 book claiming that Count Dracula the vampire was inspired by a detailed knowledge of Vlad III Dracula (mentioned above) is obviously a prime example, but there are plenty more. In general, Miller unpicks them very fairly, drawing on what is clearly an exceptional knowledge of the book, Bram's writing process and the scholarship around it, and guided by unerring critical facilities and a very sophisticated understanding of how both history and literature work. That said, I think the format of this book often encourages her to go a bit too far to the opposite extreme in the cause of killing off popular myths.

In the case of the relationship between the historical Dracula and the vampire Count, the detail of Miller's deconstruction of Florescu and McNally's claims is very good and entirely justified. As she shows, Bram's research notes make it very clear that he developed the character before he found the name, and probably only knew a few basic details about Vlad III Dracula's actual career. BUT the antagonistic 'what nonsense!' tone in which she presents her case has I think inspired a lot of people to take the whole issue on too much of a black-and-white basis. It's not exactly Miller's fault that lots of blokey horror fans on Facebook groups now rush to inform everybody that Bram's Dracula has 'nothing to do with' the historical Vlad every time the subject comes up, because in fact she herself is far more nuanced than this and entirely acknowledges that Bram did use snippets of Vlad to round out his creation without intending Dracula wholly to 'be' Vlad. But I think she has fed a climate in which the baby is entirely thrown out with the bathwater by people unable to appreciate these sorts of nuances. The same goes for other examples as well. E.g. she calls the idea that Bram drew on his relationship with Henry Irving to help develop his characterisation of Dracula 'fabrication', but to me 'over-simplification' would be fairer. Obviously authors draw on the real personal relationships they have experienced when crafting their characters, at least subconsciously, and there has to be a middle ground between ‘Stoker's Dracula is a thinly-veiled caricature of Irving’ and ‘Stoker's Dracula has nothing to do with Irving’ which allows for Irving to have been just one of the character's many real-world ancestors.

I spotted one actual error, which is that Miller insists Dracula's famous cape comes only from film adaptations and is not mentioned in the novel. But unless we want to argue that a cape is meaningfully different from a cloak, these words from Jonathan Harker's journal (12 May, chapter 3) contradict her: "I saw the whole man slowly emerge from the window and begin to crawl down the castle wall over the dreadful abyss, face down with his cloak spreading out around him like great wings." In complete fairness to Miller, though, it's quite clear that she would acknowledge the issue straight away, as she does in fact once or twice hold her hands up to her own previously-published erroneous assumptions within this book. She also provides a very helpful annotated bibliography of major publications on Stoker and Dracula, some of which I will certainly be reading. I came away feeling great admiration for both Miller's scholarship and her open style of debate, but wishing she had presented what she knows about Stoker and his novel straightforwardly, rather than in the format of killing canards. Thankfully, elsewhere she has, so I've since acquired a copy of her book Bram Stoker's Dracula: A Documentary Journey into Vampire Country and the Dracula Phenomenon and look forward to reading it.


9. Bram Stoker (1897), Dracula

So it was fairly inevitable in the light of the other reading I'd done this year - especially Makt Myrkranna (LJ / DW) and Miller's book - that I would feel the urge to Go Back To The Text; and this feeling was only intensified by the approach of our DracSoc trip to Whitby in September (LJ / DW). I read Dracula first when I was nine, and reviewed it here on my last read in 2004: LJ / DW. I find some aspects of that review a bit cringeworthy now, feeling that it largely presents a lot of very obvious and widely-recognised points as though they were original observations. But then again, I had certainly had much less exposure to other people's writing and discussion about Dracula then than I have now, my friends at the time seemed to like it, and it's a very early example of me reviewing anything at all online. I didn't start doing it regularly and systematically until 2007, and the fact that one of the occasions before then when I was inspired to do it was after reading Dracula says quite a lot about how much the novel has always meant to me.

I enjoyed the re-read, and it certainly enhanced my trip to Whitby to have those sections fresh in my mind. I was struck throughout by Bram's facility for descriptive prose, and particularly liked the newspaper account of the storm as it brews in the prelude to the arrival of the Demeter. I also appreciated his ability to capture plausibly the voices of women. I commented on the strength of Mina's character in my last review, but here I mean rather things like the tone of her and Lucy's letters to one another, Lucy's internal thoughts as her mysterious illness increases and Mina's sensible, clear-headed pragmatism throughout. I don't mean to claim that Bram is a great feminist or his women perfect literary creations - in particular, Mina's description of herself as unclean and dramatic requests to be put out of her misery should she become a vampire come across very much as the stereotypical melodramatic and self-sacrificing Victorian female heroine. But I just mean it's better than you might expect for a late-Victorian male writer, and Bram deserves the credit for that. I was also surprised by how quickly Dracula leaves London once the vampire-hunters start seriously invading his lairs, which slightly undermines his characterisation as the ultimate demonic enemy. Within a day of snarling out his famous line at the house in Piccadilly that "My revenge is just begun! I spread it over centuries, and time is on my side", he is on a ship out of there, so that the line falls a bit flat really in retrospect. Meanwhile, with my Hammer lenses on, I enjoyed the moments when their various crystallisations of the novel suddenly flared up on the page, and indeed spotted one I hadn't really taken on board before: that even as late as The Satanic Rites of Dracula, when you would think the novel had entirely been left behind, the way Jane (Valerie Van Ost) experiences Dracula's approach in the form of a mist billowing under her door while she lies helpless on the bed, unable to escape, is actually very directly based on how he gets into Mina's room in Seward's asylum in the novel.

But the main thing that happened on this read, and which I had certainly never noticed before, is that I found myself seeing a nexus of Classical references woven into the book, and indeed enough of them for it to be worth writing a paper on the topic. This is very exciting, because having enjoyed the World Dracula Congress which I attended in Dublin in 2016 (LJ / DW) and knowing that another is coming up in Brașov this October, I had been increasingly thinking that it would be really nice to attend the next one as a presenter rather than just a listener. Well, now I've found my topic and indeed have got far enough with developing the idea to have submitted an abstract to the conference committee (which I'm currently waiting to hear on). I won't say too much about it here, as it's a separate matter from an ordinary book review, and besides I don't want to give too many details of my argument away before the actual conference. But a simple and typical example of the sort of stuff I've been collecting is represented by this little speech from Van Helsing:
Let me tell you, he is known everywhere that men have been. In old Greece, in old Rome; he flourish in Germany all over, in France, in India, even in the Chersonese; and in China, so far from us in all ways, there even is he, and the peoples fear him at this day. He have follow the wake of the berserker Icelander, the devil-begotten Hun, the Slav, the Saxon, the Magyar.
There, Bram is situating Dracula within a frame of reference which explicitly extends to antiquity, although of course only alongside a whole symphony of other cultural resonances. My point is essentially going to be that we wouldn't want to isolate the Classical references from the rest of the mix, but since they are there they are worth exploring and understanding properly - and while people have spent a lot of time examining Stoker's use of Eastern European history and folklore, personal knowledge of Whitby and London etc., no-one has really pulled together the Classical references and shown what they contribute to the novel as a whole and the characterisation of Dracula in particular. I've got about 25 in all, scattered fairly evenly through the novel - some straightforward and explicit like the one I've included here, others more allusive, and others still quite fundamental and structural. Anyway, I am enjoying pursuing and thinking about them all HUGELY, and assuming that my paper is accepted will probably be banging on about this topic quite a lot more over the next few months as I steer my leisure reading in its service. You have been warned!


10. Charles Dickens (2009) Complete Ghost Stories (Wordsworth Classics edition; editor unnamed).

Finally, this was my Christmas reading. I had read M.R. James' full oeuvre the Christmas before (LJ / DW), so wanted something in the same vein but not actually James, and Dickens seemed the obvious choice. I read parts of it on a train to Göttingen, looking out over wooded valleys and light driving snow, and finished it on New Year's Eve in the somewhat chilly garret of my sister's Georgian house, listening to fireworks going off all around me - all of which (except perhaps the fireworks) seemed extremely appropriate. You can see the full table of contents via Amazon's look inside function, but I will confess that I skipped 'A Christmas Carol', on the grounds of having read it at least twice already. Several of the earlier stories in particular are actually extracted from ongoing serials such as The Pickwick Papers, rather than having been written as stand-alone stories as such.

Generally I enjoyed the collection hugely, and one of its pleasures was the organisation of most of the content into chronological order, starting in 1837 with The Queer Chair and finishing in 1866 with The Signalman (a lot of the remainder of the book after this actually consists of tongue-in-cheek meta-commentary on the standard tropes of ghost stories, rather than straightforward stories per se). In broad terms, the earlier stories show a greater interest in exploring the capacities of language, repeatedly delighting the reader with descriptions which are just perfect for and evocative of whatever is at hand, yet always original and surprising. They lean towards the moralistic, though, in a way that can sometimes strike a modern reader as rather sickly and cloying. The later stories, by contrast, are perhaps simpler in their language, but more complex in their morality - edges are greyer now, and there is less of a sense that Dickens wants to convey a Lesson. In other words, there's plenty of pleasure and value to be had throughout, though of different kinds.

My least favourite story was 'The Haunted Man and the Ghost's Bargain', which read like an attempt to recreate the success of 'A Christmas Carol' five years later, with a similar central motif of a self-centred elderly man learning to be a better person after supernatural intervention. But this one certainly did suffer from cloying morality without ever offering anything of the seasonal good cheer also inherent in 'A Christmas Carol'. My most favourite, after giving each entry a fair hearing, was still 'The Signalman', for its masterful portrait of the human psyche under the strain of isolation and an overwhelming sense of responsibility. There's a good reason why that one was selected for the BBC's annual ghost story adaptations in the '70s. The most surprising moment, though, came in the middle of 'The Ghosts of the Mail', in which the narrator's somewhat inebriated uncle, walking late at night through the street of Edinburgh, comes across some abandoned mail-coaches, and experiences visions of the eighteenth-century cads, adventurers and damsels who once travelled in them. The story unfolds of a distressed young lady who is clearly being abducted by her male fellow travellers, and whom the uncle (now fully absorbed into his own hallucination) resolves to rescue. Once the coach stops and everything erupts into actual sword-play, though, this happens:
At this very moment, the gentleman in sky-blue turning round, and seeing the young lady with her face uncovered, vented an exclamation of rage and jealousy, and, turning his weapon against her beautiful bosom, pointed a thrust at her heart, which caused my uncle to utter a cry of apprehension that made the building ring. The lady stepped lightly aside, and snatching the young man's sword from his hand, before he had recovered his balance, drove him to the wall, and running it through him, and the panelling, up to the very hilt, pinned him there, hard and fast. It was a splendid example.
One of Xena Warrior Princess and Buffy the Vampire Slayer's literary ancestors there!


OK, I did it. That is 2017's books all written up. That doesn't mean I'm quite at the top of my pile - I still have six 2017 films to do, besides another three already for 2018 and one book. But getting completely up to date is looking more achievable right now that it has for a long time. That is a good feeling.
strange_complex: (Me Huginn beak kiss)
A couple of weeks ago, [livejournal.com profile] ms_siobhan and I spent a very enjoyable evening at the Howard Assembly Rooms in the Grand Theatre building, Leeds. The first half of the evening consisted of a lecture by Christopher Frayling, roaming around the various topics of a book he has recently published, which takes his friendship with the author, Angela Carter, as a spring-board for a miscellany of broadly Gothic topics. I must admit to not having a terribly deep knowledge of Angela Carter's work before we went. I have heard a radio adaptation of her short story, 'The Lady of the House of Love', which I thought was amazing; the film version of The Company of Wolves has been waiting patiently on my Lovefilm list for several years now; and that's about all I got. I definitely came away wanting to get to know her work better, though.

Frayling spoke mainly about their friendship and shared interest in the strange, the fantastic and the Gothic while they were both living in Bath in the 1970s. This was a world in which he had tried to get the local council to extend its series of plaques commemorating the visits of Charles Dickens, William Wordsworth and Jane Austen to include Mary Shelley, who spent six months living there in late 1816 while working on Frankenstein, only to receive a snobbish and bureaucratic reply indicating that the author of such a sensationalist novel was hardly worthy of the honour. Yet there, in a pokey little house which she could barely afford to heat, lived Angela Carter, busily redefining both feminism and the Gothic on her own terms. She and Frayling geeked out together over vampire books, screenings of classic films (e.g. Nosferatu (1922)), the ballet and much more, while she kept notebooks of their conversations and used snippets of them years later in her work.

In between the bits on Carter herself, Frayling scattered snippets of his thoughts and experiences on related topics, showing us for example pictures of his visit to Romania in the mid-1970s (most of which looked more or less identical to my own from two years ago) or talking about the film we were about to see: its 18th-century origins, Cocteau's particular take, and how it had directly inspired much of Disney's animated version (e.g. the anthropmorphic household objects). He concluded with some thoughts on how the status of Gothic literature (and, implicitly, film) as a subject of study has changed since his days in Bath with Angela Carter, from the radical and innovative to the new mainstream.

Then, after a short break, it was on to the film itself. It is visually beautiful in a way I can't really do justice to simply by describing it. To 21st-century eyes used to watching a lot of fantastical screen drama, it may only appear averagely creative and opulent, but I'm quite sure it must have seemed incredible in a France only just emerging from the end of a devastating war, and it remains entrancing and engrossing today. The story itself is told fairly straightforwardly, but actually it was the first time I've really sat through a full telling of it in any form, and I spent quite a lot of the time, especially during the early stages of Belle's time in the palace, thinking "Gosh, this is basically Cupid and Psyche, isn't it?" You know - one of three daughters ends up living in a magical palace far removed from normal humanity with a husband who has strange powers, only appears at night and begs his wife not to look at him directly. Indeed, it turns out from the Wikipedia page on the original fairy tale that I was not the only person to have noticed that.

That page doesn't make any mention of Diana in the original fairy tale, however (although I wouldn't take that as proof that she isn't in it!), whereas she is an important element in Cocteau's film. His Beast explains to Belle that Diana's Pavilion in his palace grounds contains the true source of his riches, and entrusts her with a golden key to it which she conscientiously does not use. Her greedy human sort-of-boyfriend, though, has different moral standards, and breaks into it to try to steal the Beast's riches, only to be shot by Diana and transformed into a beast himself. So this looks to me like Cocteau going back past the fairy tale to draw on its Classical antecedents - not straightforwardly or directly, since it is Venus as Cupid's mother who is the source of his power, but rather by choosing an appropriate equivalent figure for the rather different character of the Beast, whose animalistic nature as a hunter is indeed Diana's domain. Besides, Diana had form for turning people into beasts as punishment: ask Actaeon.

There are fairly obvious metaphors going on here about sexual restraint as well, given that Diana-the-huntress is famously virginal. Cocteau makes a big point of the Beast respecting Belle's personal agency and autonomy, for all that she is his prisoner - itself a role she has chosen voluntarily to pay off her father's unwitting crime of cutting a rose for her. He tells her that he will ask her each evening to be his wife, but accepts her repeated refusals with grace and humility, treating her with nothing but kindness and devotion. When the Beast gives her the key to the temple of Diana, asks her not to use it, and she respects that wish, she too is choosing not to violate this potent symbol of his chastity. This is also a shift in their relationship, as he grants her a form of power over him, and she repays his behaviour by respecting him in return. Set alongside all this, though, her left-behind boyfriend, Avenant, stands as a contrasting example, quite happy to break into the virgin goddess' temple and plunder its treasures, and reaping the punishment for doing so.

I have no idea how this sits along the typical themes and concerns of Cocteau's work, because I just don't know enough about him, but anyway, that is how this one seemed to me. I'm certainly up for a bit more of his stuff, should the occasion arise.

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strange_complex: (Cyberman from beneath)
My final film watched of 2015, I recorded this one off the Horror Channel a while ago, and watched it on New Year's Eve. It's a Hammer horror classic, right from their glorious hey-day, in which the Germanic village of Vandorf is troubled by the spirit of a millennia-old Gorgon who comes out when the moon is full and turns people to stone. It is also one of Christopher Lee and Peter Cushing's twenty-odd screen collaborations. I have seen it before, but a looong time ago - probably a good 20 years, I reckon.

It is almost really brilliant. Much of the usual reliable production team is here - James Bernard doing the music, Bernard Robinson the sets, Michael Reed the photography, Rosemary Burrows the costumes and Terence Fisher the direction. Quite apart from Lee and Cushing, the cast is great too. Richard Pasco, Michael Goodliffe and Patrick Troughton are all worth the entrance fee alone, but Barbara Shelley particularly shines in a role which really shows her range: kind, gentle and loving, strong-willed yet afraid and internally conflicted, while always remaining entirely convincing as a single, coherent character. I already loved her from Dracula Prince of Darkness (in which she is similarly wide-ranging), Rasputin the Mad Monk and Quatermass and the Pit, but she really excelled herself in this one, and I'm now thinking I should make a point of seeking out some of her other appearances.

What lets it down, though, is a story-line which doesn't fully work through its potential. There's a good idea on the table. But discussing it involves spoilers, and it is best to see this film unspoilt if you can )

I am also going to come right out and say that I don't think Christopher Lee is particularly good in this film either. His character is actually the good guy, who arrives half-way through the story, applies an open-minded rationalism to what is going on, figures out what the villagers are hiding and eventually dispatches the Gorgon. And this is something he is definitely perfectly capable of doing well, as his performance as the Duc de Richleau in The Devil Rides Out shows. But for some reason he evidently decided to give his character in this film a sort of brusque gruffness which just didn't work for me. This isn't to say he's abysmal. He has some good confrontation scenes with Peter Cushing, where there is a lot going on emotionally on both sides of the equation. But of the two, Cushing's depiction of a man who, while rather unlikable overall, elicits our sympathy through the obvious mental anguish caused by his attempts to cover up spoiler's ) crimes, is distinctly more compelling and interesting to watch.

Finally, what can we make of the use of a Greek mythological creature in this film? It's only to be expected, really. Hammer in this period were clearly working their way through every monster they could think of in their search for suitable new material, and they were bound to turn to Greek mythology at some point. It also happens to make the middle entry in a nice trio with The Mummy (1959) and The Viking Queen (1967): Egypt ✓, Greece ✓, Rome ✓ - and I think there is clear hierarchy of priorities at work in the order they went about them, basically working from the culture with the most potential for macabre fantasy stories to the one with the least. The particular choice of a Gorgon I would guess probably springs from a fairly simple pragmatic equation - another spoilery bit here ), and her only non-humanoid attribute is the snakes, making the special effects relatively manageable too. (This film pre-dates Clash of the Titans (1981), so its Gorgon does not have a snaky tail - Ray Harryhausen invented that.) The effects are still pretty poor, and this is a major flaw in the film - but imagine how much more trouble they would have had trying to do the sphinx, harpies, Echidna or similar.

Meanwhile, Bernard Robinson took up the Greek cue in his set design, making a nice replica centrepiece of the Belvedere Torso for the entrance-hall of the castle where the Gorgon likes to lurk, which was used to good effect in turn by Michael Reed's photography:

The Gorgon castle.jpg

On one level, this was a reasonably obvious creative touch for a film about people being turned to stone by a monster from Greek mythology. And the particular choice of the Belvedere Torso is not difficult to explain. It's an extremely famous piece of Greek sculpture (technically a Roman copy of a Hellenistic original, but that is true of most surviving 'Greek' art), of the type which you would come across pretty quickly if you picked up any book on the topic. But then again, there would have been lots of other options in the same book too, and homing in on one which expresses anguish and tragedy so eloquently through its twisted pose and fragmentary state deserves credit; as does the fact that its missing limbs and head both resonate rather nicely with what happens to some of the Gorgon's victims, and eventually also the Gorgon herself, over the course of the film. Possibly the Laocoön, with its snaky theme, would have been an even better choice - but then again I see why a replica of that statue would be considerably more time-consuming and expensive to make. Also, it left the stage clear for 28 Days Later to use the Laocoön statue in a very similar way many decades later - maybe even inspired by Bernard Robinson's set designs, who knows?

Overall, worth watching for Barbara Shelley, the Lee-Cushing pairing and the general Hammery goodness, but not in the first rank.

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strange_complex: (Dracula Risen hearse smile)
20. Night at the Museum 3: Secret of the Tomb (2014), dir. Shawn Levy

I watched this on DVD from Lovefilm in August while writing my half of a co-authored chapter on Augustus on screen, so that I could check a) whether this latest entry in the franchise cast any further light on whether Octavius (Steve Coogan's character) is meant to have anything to do with Octavian / Augustus or not, and b) what exactly was meant by the character listed on the IMDb cast-list as 'Augustus statue'.

In case you too are burning to know the answers to those questions, I can report that Steve Coogan's Octavius still has no connection to the historical Augustus - it's just a classic case of name-borrowing. There were some distinctly slashy moments between him and the cowboy Jedidiah, though, that were just subtle enough to go unnoticed by children and a certain type of adult, but very definitely there for those of us who like to look for that sort of thing. Meanwhile, the Augustus statue turned out to be a bust of Augustus wearing the civic crown, who shouts to Octavius and Jedidiah from inside his glass case to try to warn them that they are standing inside a model of Pompeii, and are about to be killed in the eruption. In fact, the entire scene is on Youtube, so we may as well have it here:


This film is set in the British Museum, but oddly they don't have a head of Augustus anything like the one seen in this clip. In fact, as far as I can tell, the bust in the film is actually modelled after this one in the Glyptothek, Munich, also known as the Bevilacqua Augustus (after an Italian collection it once belonged to). The British Museum does have a very famous head of Augustus - the Meröe head, which was even the subject of its own little exhibition at the end of last year. So you might ask why they didn't use that. But we flip back and forth between careful reconstructions of actual British Museum galleries and completely invented spaces throughout the whole film, and besides it's not like this bust even needs to be Augustus at all anyway. Titus would have been a rather better choice, given that Vesuvius actually erupted during his reign.

The rest of the film was much as we've all come to expect from Night at the Museum films - fun, but not exactly life-changing. But there was one other scene which deserves noting down here for its Classical receptions relevance. The premise of the film is that Larry (Ben Stiller's character) brings the magic tablet which has been bringing museum exhibits in America to life to the British Museum, where obviously it has the same effect on the exhibits there. So as he and the pals he has brought over from America explore the galleries of the British Museum for the first time on the night of their arrival, all the exhibits around them are also coming to life for the first time - and behaving rather confusedly and erratically as a result. Put that idea together with probably the most famous of all the British Museum's galleries - the one containing the Parthenon sculptures - and what you get is the strange spectacle of figures from the relief friezes groping and leaning outwards, while half-broken marble bodies from the pediments limp and writhe weirdly across the floor.

It's good as an early scene in the film for building up creepy tension before the later and more threatening exhibits, but I also liked the angle it cast on the sculptures themselves. Art historians wax lyrical about how 'mobile' these sculptures are, but seeing them literally trying to move in a fantasy film throws into sharp relief what a rather silly thing that is to say about a solid stone statue. And then we get all caught up in stuff about Greek ideals of bodily beauty, including this recent exhibition which was actually at the British Museum (though after this film came out), which rest very heavily on looking straight past the badly damaged condition of a lot of surviving Greek art to a perfect original which now exists only in our imaginations. So, similarly, seeing these statues as broken bodies moving with a far-from-ideal grace rather punctures all that stuff too, and perhaps allows the statues to be the rather fragile artefacts they actually are, rather than the icons of something else which they are often treated as. So, in short, I came to this film for Augustus, but stayed for the Parthenon marbles.


21. The Wicker Man (1973), dir. Robin Hardy

We've reached late August now, when I went to see this with the lovely Andrew Hickey, miss_s_b and magister at the Hyde Park Picture House. We were so convinced it was going to be the (so-called) final cut which came out two years ago that we got ourselves all confused when it wasn't, and couldn't work out what version we had seen. But I think on sober reflection that it must just have been the short version - i.e. the film as it was originally released in cinemas in 1973. It's just that who ever watches that when you have longer versions available? So to us it seemed strange and unusual - hence our confusion.

It was a really nice, sharp clear print, though, with full rich colours and every tiny detail standing out in bold, eye-catching fashion, so I spend most of the film just wrapped up in small points of set-dressing and the behaviour of extras. I have seen it a lot of times, so as with the Dracula films, it doesn't take me long to tread the familiar paths of thought which the film provokes, and after that I am at my leisure to go off the regular pistes and into strange territories of my own. This time for some reason (perhaps because I was watching it in a gas-lit cinema), I became fascinated with the question of whether or not Summerisle has its own electricity supply. The answer is that although you see plenty of oil-lamps in interior scenes, so the islanders clearly aren't solely dependent on electricity for their lighting at least, Summerisle definitely does have an electricity supply as Howie switches on an electric light using a pull-cord when he breaks into the chemist's dark-room. So we must then ask how it is produced, because I can't somehow see Lord Summerisle entering into any kind of contract with a mainland electricity supplier. I think something like the hydroelectric power system at Cragside in Northumberland provides a suitably independent and Victorian solution, though, except that of course on Summerisle the source of the power would probably be tidal instead.


22. Tempi duri per i vampiri (aka Uncle was a Vampire, 1959), dir. Steno (aka Stefano Vanzina)

Finally, while I was in Whitby with DracSoc only three weeks ago, we had an early dinner on the Sunday evening, and then all piled into one couple's hotel room to watch this. Like so many of Christopher Lee's films, and especially the ones in which he plays vampires, I have wanted to see this for literally decades, so it was very exciting indeed to be hanging out with people who felt the same way. OK, so it is a '50s Italian comedy, with lots of jokes about put-upon men and busty ladies, which I probably wouldn't find interesting in the normal course of things. But what makes it so fascinating is that it features Lee playing Dracula-by-any-other-name (he's actually called Baron Rodrigo), only one year after his first iconic appearance for Hammer, and years before he would play the role again for anybody else. Well done to the Italian director for spotting the commercial potential of Lee in that role so early, and for helping Lee to establish himself as a European, as well as British, film star along the way.

Irritatingly, the English-language version of the film uses someone other than Christopher Lee to speak his lines, so you don't get his trade-mark voice. But the way he plays the ancient and noble Rodrigo is very much in line with his performance as Dracula in the Hammer films - demonic outbursts, anguished looks and all. Indeed, it would I think be possible to slot this film into the Hammer Dracula canon, since it is set at the time of its release, and no other Hammer story occupies that time-period. So this could be a little Italian vacation which the Hammer Dracula enjoys before turning up in London in 1972 to be 'resurrected' by Johnny Alucard. Certainly, he talks of having to move from tomb to tomb and castle to castle (presumably in order to keep his identity a secret), so we only have to add that 'Rodrigo' is an assumed name, and he can easily be Dracula in disguise.

The direction is quite different from the Hammer films, though, and doesn't always lend Lee quite the same gravitas as they managed. I felt the lack of shots allowing him to loom over the viewer, or close-ups of his blazing eyes. In fact, this director just didn't really seem to do close-ups at all. His characters were consistently shot at most from the waist up, and often in full length, almost like an early film. And actually the take on vampirism is pretty different, too. Lee's Baron Rodrigo is tired of his life as a vampire, and half-way through the film manages to pass the curse onto his nephew, meanwhile allowing him to retire to his tomb for uninterrupted eternal rest. I'd reconciled myself to that being it for Lee's appearance in the film, but about half an hour later he reappeared, thanks to a Buffy-like scene in which the nephew shook the curse back off again after a moment of true love, and eventually managed to end the film in happy comedic style, walking off set with an attractive young lady on each arm.

Quite an oddity, then, but I'm very pleased to have seen it, especially in company with fellow aficionados. And actually it turns out the whole thing is on Youtube, so I can give it another look whenever I feel like it. Meanwhile, there's just One More Time and The Magic Christian to go, and I will have seen every Lee-as-basically-Dracula appearance there is. A sad thought. :-(


And for now - that's me up to date! On films, at least. Books are a whole nother matter...

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strange_complex: (Dracula Risen hearse smile)
Last weekend, the lovely [livejournal.com profile] ms_siobhan and I set off on a Hammer horror-related adventure, the first leg of which took us to Luton. More or less every person to whom I mentioned the Luton part of this endeavour curled up their lips in disdain, from which I gathered that Luton's public image is more or less equivalent to Birmingham's. But, just like Birmingham, Luton is actually well worth visiting for the under-rated treasures it offers to the intrepid visitor. In our case, the main attraction was the Stockwood Discovery Centre - once the grounds of a stately home; now home to a multiplicity of attractions, including gardens, adventure playgrounds, a local history museum and the the Mossman Carriage Collection.

What was so exciting about the Mossman Carriage Collection? Well, it contains more or less every horse-drawn vehicle ever to appear in a Hammer horror film, not to mention at least 50 other films made between 1937 (Doctor Syn) and 1985 (Out of Africa) besides. Basically, if you have ever watched a British-made film or TV production from that period which featured a carriage, the odds are it came from this collection. The man behind it was George Mossman, a Luton businessman born in 1908, who realised just at the time when horse-drawn transport was passing out of regular use that it would be a) fun and b) a good idea to buy up and restore some of the many carriages which were by then languishing away in barns and coach-houses across the country. Lending them out to film companies was of course one way of helping to make back the cost of buying and restoring them, and on Mossman's death the collection passed to the Luton Museum Service in 1991.

Before we went, I spent the best part of every evening for a week screen-capping every single carriage to feature in a Hammer Dracula film, and combing through the pictures on the Mossman Carriage Collection website to try to identify them. I'm glad to say that on arrival, my identifications proved 100% correct, so below each cut which follows you will find historical information about the carriage in question as taken from the website, pictures of it as it appears today, and screen-caps showing it in use within the Dracula films. Any pictures with me in them were of course taken by my trusty travel companion and acclaimed professional photographer, [livejournal.com profile] ms_siobhan. Oh, and it's important to note that the paint colours on the carriages today don't always match up with how they look in the films, but as the website notes explain for the Private ‘Favorite’ Omnibus (first entry, immediately below), Mossman himself was quite happy to repaint them as required for film commissions. In most cases, I was able to confirm what previous colours each of the carriages had been painted by simply looking closely at the inevitable scratches in the finish to see the previous layers.

Private ‘Favorite’ Omnibus, about 1880 )

Hearse, about 1860 )

Town Coach, about 1860 )

Victoria, about 1890 )

Brougham, about 1860 )

Round Backed Gig )

So far, so lovely, then. But after this, things got a bit frustrating. Because on arrival, we discovered that a wedding reception was going on inside the largest room of the collection, housing on my estimation at least half of the carriages. And we were not allowed to go in. That's pretty damned annoying when you have travelled all the way from Leeds to get there, I can tell you - especially when there is nothing on their website to warn potential visitors that this might happen. I'm pretty sure that there were at least three more carriages in that room which were used in the Dracula films, but I could only see one of them well enough to get a photograph of. Thankfully, it was the carriage I was second-most excited about seeing after the hearse, but I would really have liked to see it a lot better than I did - to say nothing of the other two which I think were in there.

Travelling Chariot, about 1790 )

There are a number of other carriages in the Hammer Dracula films which I never could identify on the Mossman Collection website, and after having visited as much as I could of the collection and looked through their excellent souvenir brochure as well, I have concluded that this is probably because they never came from it in the first place. From about 1970 onwards, Hammer must have been hiring from somewhere else - or possibly even making their own replicas, which would of course have had the advantage of being able to be bashed about a bit in the course of filming if needed. Certainly, I can't identify the Hargood family coach in Taste, the coach which Paul falls into from the window of Sarah's party in Scars, or the coach from the famous opening chase-through-Hyde-Park sequence at the beginning of Dracula AD 1972.

Meanwhile, the Mossman Collection Carriages of course had a wide and varied film career which went well beyond the world of Hammer. On the whole, I didn't worry about this - indeed, I didn't even worry about Hammer films other than the Dracula cycle. There's only so much film-geekery one brain can manage, after all. But I was excited to stumble across a replica chariot which its information panel informed us had been custom-made by George Mossman for use in Ben Hur (1959):

Replica Roman Chariot )

The fact that I was able to stand in it was in keeping with the collection's general policy, which was that genuine antique carriages had 'do not touch' labels on them, whereas visitors were allowed to sit or stand (as appropriate) in the replicas. This seems reasonable, but on the other hand I'm not sure they have thought hard enough about the heritage value of even some of the replicas, especially where they have appeared in really famous films like Ben Hur. Certainly, they don't draw very much attention to it. Only one small section of the museum mentions it, and this was the only information panel I saw which linked up a specific vehicle with a specific film. Meanwhile, as you can see in the photos, the decorative detail on the chariot is badly degraded. At first we assumed that this was just because it had been made in the first place of materials which had naturally perished over the years, but this is a picture of the same chariot from the collection's souvenir brochure:

Roman chariot from brochure.jpg

And this is it again in a video which was playing in one of the rooms of the museum:

2015-08-15 15.43.44.jpg

Judging by the hair and clothes of the people in the video, it must have been made within the last ten years at most. And meanwhile, when we looked closely at the chariot we realised that all the damage to its decoration is concentrated on the side of it which faces outwards from the arched entrance-way where it stands, and hence towards the elements. So in other words, at some point in the last ten years it has been placed facing into an open courtyard, and the result is that an iconic prop used in one of the biggest block-busters of the 20th century, which was fine ten years ago, has degraded into the state seen in the above pictures.

This makes me feel really sad, not only because it is a neglectful waste, but also because it is surely very short-sighted on the part of the museum management. Film tourism is a real thing, as our own visit proved, and the value of a prop from a film like Ben Hur is only going to grow as time goes by. Imagine being able to say at the time of its centenary in 2059 that you have a chariot used in that film! You know, a film which is famous for its chariot races... Except that a prop which is rotting away in the rain is going to be a lot less of a draw than one which has been kept in good condition.

In fact, I think the Mossman Collection could do with getting some film specialists to collaborate with them asap to draw up a proper and comprehensive list of all the films its vehicles have been used in, complete with screen-caps of the kind I've done here for the Dracula films, which could be displayed on their website and within the museum. They could reach whole new audiences by publicising that information properly - but right now, it is acknowledged only fleetingly and incompletely. It is up to geeks like me to create their own guide to the carriages used in the films they are interested in if that's what they want to see - and while I will do it and enjoyed the results enormously, even I would have been glad of a guide which covered just the other Hammer films at least.

A bit of a sad note there at the end, then, and the wedding reception thing was annoying too. But on the whole I would very much recommend a visit to the Mossman Collection, especially if you are a British film geek. You just might need to be prepared to do your own research in advance...

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