Regular Columns

It hardly needs to be pointed out that the DVD revolution has been a boon for fans of European horror. Where once we had to make do with grainy bootleg VHS copies of the works of Argento, Fulci and Bava, now we can pick up beautifully transferred copies of pristine prints of uncut versions. Life is good. What has also followed is a massive increase in the availability of films by the less commercially successful, more niche-oriented directors – I’m thinking particularly of Jess Franco here. Franco, through sheer volume of work alone, retains the crown of king of erotic horror. But he does have a serious competitor, whose films are finally becoming easily available on disc. I refer here to Jean Rollin.

Samuel Goldwyn’s endlessly quoted “If you want to send a message, call Western Union” is a dictum that films beyond counting have challenged, some more successfully than others. It’s a tricky balancing act – audiences tend to resent being preached at, but if the message is coupled with a strong story, the result can be powerful.

It must be at least five minutes since I last complained about ill-advised remakes, so it's past time I returned to the subject. It was recently brought to my attention that yet another remake of The Lodger is in the works. The trailer is up on YouTube for those of you with a masochistic bent to examine. Now, far be it from me to prejudge a film based solely on the trailer, but I'm going to do it anyway.

When I wrote about Curse of the Mummy’s Tomb, I said I would get around to talking about Terence Fisher’s The Gorgon (1964). So today I will. Curse is an example of Hammer at its most workmanlike. The movie, as I said, is fun but slight. The Gorgon, on the other hand, is Hammer and Fisher at their best, a film of considerable beauty and resonance.

After a young artist’s girlfriend is killed and turned to stone, and he hangs himself, the inquest declares the deaths the result of a crime of passion. The artist’s father, understandably skeptical, refuses to leave the little town of Vandorf after the inquest, despite the villagers’ hostility. He discovers the existence of Megara the gorgon, but at the cost of his life. His second son (Martin Pasco) arrives to continue the investigation, and after a near miss that nearly costs him his life, he is joined by his mentor (Christopher Lee), while falling in love with his nurse (Barbara Shelley). The road to true love does not run smoothly, however, as the film makes it quite clear midway through that Shelley is in fact Megara. She doesn’t know this herself, but local doctor Peter Cushing certainly does, but his obsessive love for Shelley leads him to cover everything up.

Rip-offs. In the realm of the psychotronic, we love them and loathe them in equal measure. There are those strange and rare moments where the rip-off not only beats the original to the theatres, it out-grosses its rival and turns out to be better, to boot, as was the case with Death Race 2000 triumphing over Rollerball. At the other end of the scale, there are the innumerable “mockbusters” pumped out by The Asylum (Death Racers, The Day the Earth Stopped, Transmorphers, Snakes on a Train, and so on), which actually manage to degrade the term “rip-off” (though I have to say, the climax of Snakes on a Train, where a giant snake eats a train, remains one of the most unusual sights I’ve encountered in the last few years).

Back in the 70s, a little something called Jaws inspired innumerable imitators. Most were execrable. One, Piranha, actually managed to become its own wonderfully oddball work, thanks to the warped sense of humour of Joe Dante, John Sayles, et al. But today, let’s consider a far lesser work: the 1977 Italian exercise in cheese known as Tentacles (released a while back as a double-bill with Empire of the Ants as part of the MGM Midnite Movie series).