Plan 9 from Outer Space (1959)

The history of American cinema is full of great movies that earned great recognition due to the impact of their artistic achievements or technological innovations, that in time resulted in fame for their makers. "Plan 9 from Outer Space" is an exception to this, given the fact that the fame that earned for its creator, Edward D. Wood Jr. was that of being the "Worst Director of All Time". Released in 1959, "Plan 9 from Outer Space" was an independent movie that went unnoticed upon release until in 1980 was discovered by film critics Michael and Harry Medved, whom labeled as "The Worst Movie Ever Made" because of the enormous amount of errors and technical problems the film had. Nevertheless, in spite of this, "Plan 9 from Outer Space" has a strange appealing that makes it different from many other awful film: it has a heart. The cinema of Ed Wood is naive and incompetent, but owner of an extraordinary charm. "Plan 9 from Outer Space" is the legacy of a man whose love for cinema was bigger than his own artistic skill, and that was willing to anything to complete his movie.

According to the film's narrator, the Amazing Criswell (as himself), "Plan 9 from Outer Space" is the true account of the facts of the fateful day where a group of extraterrestrial beings arrived to Hollywood in a flying saucer. It all begins in a funeral, where and old man (Bela Lugosi) mourns the loss of his young wife (Vampira). In the meantime, what seemed to be a routine flight for pilots Jeff (Gregory Walcott) and Danny (David De Mering) becomes a close encounter with the flying saucer. The saucer lands on the cemetery, and at night, the gravediggers are attacked by the reanimated corpse of the old man's wife. The very next day, the old man gets killed in a traffic accident, and during his funeral, the dead bodies of the two gravediggers are found. Inspect Clay (Tor Johnson) from the local police begins his investigation in the cemetery. At that moment, pilot Jeff feels uneasiness about his encounter with the flying saucer, and confesses to his wife that the army required him to keep quiet about it. Soon Inspector Clay faces the reanimated corpses of both the old man and his wife, and becomes part of Plan 9 from Outer Space.

Written, directed and produced by Ed Wood himself, "Plan 9 from Outer Space" is a bizarre mix between the kind of science fiction stories that dominated the 1950s and the classic gothic horror films that were a huge part of Wood's childhood. So, "Plan 9 from Outer Space" has the typical plot of alien invasion spiced up by reanimated corpses and Bela Lugosi unexplainably dressed as Dracula. The narration by Criswell gives a sensationalist tone to the story, presented as the "true account" of the survivors of the tale, in an attempt to mimic the tone of veracity in police procedural shows like "Dragnet". However, this effort proves useless by the outlandishly bizarre plot, not to mention the ridicule dialogs that verge on absurdity that Wood has given to his characters. "Plan 9 from Outer Space" also mimics the pacifist message of films like "The Day the Earth Stood Still" (1951), where the alien invasion comes with the purpose of stopping the human race before it becomes dangerous. The most interesting thing in Wood's screenplay is perhaps the clear anti-statist message the film has: for Wood, the government knows a lot more that what we think.

As mentioned before, the fame of ·"Plan 9 from Outer Space" has its origin in the incompetence in which the film was crafted, as director Ed Wood doesn't seem to care much for matter such as continuity and coherence between his material. So, there are moments in which sky can change from day to night and vice-versa, the actors vary in their dramatic intention (if any), and special effects are done without care and in the lowest possible quality. Nevertheless, it's also clear that Wood knew pretty good what cinema could make, as he is able of portraying a car wreck using only sound, and creating entire sequences mixing what was show on set with archive footage. Wood knows how cinema works, he simply does it with extreme carelessness. Whether this had been the result of low budget or if its in fact an excess of overconfidence, or perhaps a combination of both, is something we can't really know. What can be appreciated is the great interest of Wood in telling an epic story despite having low resources, and his determination to do it no matter what (to the point of substituting Bela Lugosi when the horror icon passed away).

Bela Lugosi having a main role (the last of his career) in "Plan 9 from Outer Space" is another fact that has contributed for the film's unquestionable cult status. At the beginning of the 50s, Lugosi found himself working in countless B-movies to sustain his addiction to painkillers. Meeting Ed Wood, a young filmmaker who considered himself a big fan of Lugosi, meant a brief return to starring roles for the legendary Hungarian actor. Bela Lugosi shot with Wood a couple of scenes for a move that would never be finished, due to Lugosi's untimely death. However, that footage would end up as part of "Plan 9 from Outer Space" (albeit without sound). To finish Lugosi's role, Wood hired Tom Mason, who makes a poor impersonation of Lugosi by hiding his face with the cape. Acting, like everything else in "Plan 9" is careless and tacky, though some performers, such as Gregory Walcott do try to make the effort to get a good result. Tor Johnson, Vampira, Dudley Manlove and the Amazing Criswell complete a bizarre cast that's certainly unforgettable, though perhaps for the wrong reasons.

And that's probably the best way to describe "Plan 9 from Outer Space", an unforgettable movie for all the wrong reasons. Everything that Wood wanted to make poignant, ends up as ridicule, and what he wanted to be thrilling, results in absurd fun. Involuntarily, Wood has created an entertaining horror movie that has become a fun genre icon. The reason behind this is precisely the naiveté and utter incompetence in the film's craftsmanship, since probably if the movie was correctly done the story may end up as just another boring run of the mill sci-fi film. And that's something really interesting, as even when the film is plagued of problems, "Plan 9 from Outer Space" is never boring. An achievement that many other films, better done and with bigger budgets, can't say they achieve. It's difficult to consider "Plan 9 from Outer Space" a good movie, yet curiously, it's even more difficult to label it as a bad one, as even when probably the result is far from what director Ed Wood desired when he conceived it, what "Plan 9 from Outer Space" really achieves is probably more worthy.

"Plan 9 from Outer Space" is a movie with a charm quite difficult to explain, as it's images convey a strange fascination. In the movie one can find cheap effects, exaggerated overacting, an absurd screenplay and an weird work of editing, and yet, in the end everything works in such a way that the film remains entertaining from beginning to end. Tim Burton's movie, "Ed Wood" (1994) is a testament of the fascination produced by "Plan 9 from Outer Space". And that's because in away, the making of "Plan 9 from Outer Space" englobes the pain and the glory of making movies, of gathering the talent and resources of a bunch of people (as big or little as they can be) to give life to a dream, to a vision. Ed Wood's vision, a man whose soul was in film despite his talents saying otherwise, is paradoxical in the sense that it completely fits that old statement that the movie is so bad that it's good.

5/10

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The Vampire Lovers (1970)

It could be stated that the 70s were a tough time for the legendary Hammer Film Productions, as after ruling the 60s with their trademark brand of lavish Gothic horrors, their classic formula was beginning to show its age, and on top of that, times were changing, and the company began to face strong competition from the new breed of grittier, edgier films that appeared in that decade. "The Vampire Lovers" is an attempt to spice things up a bit by adding an even stronger dose of eroticism to the Gothic horrors the studio was famous for. Ever since the release of "Dracula" (1958), Hammer Films had subtly played with eroticism in their productions, but "The Vampire Lovers" would be a step ahead. The experienced Roy Ward Baker (of "A Night to Remember" fame) was put in charge of the movie, but it would be the introduction of one of the studios' most iconic actresses, the gorgeous Ingrid Pitt, what would turn the film into a cult classic. This free adaptation of Sheridan Le Fanu's classic Gothic novel "Carmilla", is rightfully, one of the best Hammer films, not only of their late period, but of all time.

In 19th century Styria, a remote region in Austria, a series of deaths amongst the villagers brings back the ancient rumors of vampires, specially when Laura (Pippa Steel), the niece of General Von Spielsdorf (Peter Cushing), falls sick to the same strange disease that it's killing the villagers. Marcilla (Ingrid Pitt), the daughter of a Countess, is living with the General's family as a house guest, after General Von Spielsdorf agreed to have her under his care while her mother is away. Laura quickly befriends Marcilla, who does everything she can to comfort young Laura. Sadly, all is in vain and the beautiful young girl dies. The mysterious Marcilla, vanishes from the General's home without leaving a trace. Several weeks later, the disease returns to the region, this time affecting Emma Morton (Madeline Smith), the daughter of a British nobleman (George Cole) who doesn't believe in vampires. However, Emma has a friend that looks after her, a young woman named Carmilla, that bears more than a passing resemblance to the disappeared Marcilla. Death has arrived to the Morton's house.

While scriptwriters Harry Fine, Tudor Gates and Michael Style do take some liberties with "Carmilla"'s plot, "The Vampire Lovers" is actually one of the most faithful adaptations to Le Fanu's novel, in the sense that it remains true to the novel's spirit and its balance of sheer Gothic horror and classy eroticism. The plot is quite well developed and there's an interesting attempt at building up a new mythology separated from Hammer's Dracula films. Also, the story plays nicely with suspense remarkable, as even when the story is told from the point of view of the "antagonist", the tension (both sexual and non-sexual) is always at the upfront. Keeping a balance between horror and eroticism is hard, but "The Vampire Lovers" manages to make a vivid portrait of those important aspects in the nature of the vampire myth. Carmilla is a temptress and a predator, a wild force of nature that, true to the vampire iconography, represents chaos and wilderness. What's interesting is how despite the outcome of the fight between the vampire and the civilized men, the vampire is always treated as the most charismathic figure.

The experienced Roy Ward Baker (who had already done a film for Hammer, "Quatermass and the Pit" in 1967) brought to Hammer Film Productions his extraordinary ability to do wonders with limited resources, a trait that suited like a glove the lavish look of the low budget horror films that made Hammer famous. What director Roy Ward Baker gives to the film is certainly class, a certain subtlety and elegance in his use of the camera that work wonders for the eroticism inherent in the story. While this subtle approach may seem restrained, it actually enhances the eroticism of several scenes, as what's implied is often more tempting than what is shown (and it's shown a lot). Despite the low-budget, the movie looks very good, as Roy Ward Baker makes an excellent use of his resources allowing him to create nightmarish scenes despite the budget constrains. An instrumental figure in this is cinematographer Moray Grant, who employs his talents to give the film a haunting atmosphere of dark fantasy that fits nicely with the Gothic tone of the story. "The Vampire Lovers" is one of the best looking horrors from the Hammer house.

It's more than clear that "The Vampire Lovers" is basically a star vehicle for the beautiful Ingrid Pitt, and she truly makes the most of the chance. As the lead character, Carmilla, Pitt is simply breathtaking, and not only because of her imposing beauty. Pitt manages to create a character that's both seductive and terrifying, alluring and destructive, the very essence of the horror tale. With her powerful screen presence, Ingrid Pitt carries the film with ease and creates an iconic figure in the process. And her strong personality makes a pretty good contrast with the innocence portrayed by actress Madeline Smith as Emma Morton, her counterpart in several scenes. Smith makes a fine job in her role, but her character is sadly a tad underdeveloped and ends up as just another damsel in distress (the real star is Carmilla of course). Kate O'Mara delivers another of the great performances of the movie as Mme. Perrodot, a governess infatuated by Carmilla's power. George Cole, Douglas Wilmer and the legendary Peter Cushing complete the cast, bringing excellent support due to their experience and great talent.

It would be very easy to dismiss "The Vampire Lovers" as just an erotic film about lesbian vampires, particularly now that the theme of lesbianism in vampire films has been overdone, but this movie truly offers a lot more than that. For starters, it's a horror movie centered around its characters, with Carmilla at the center, playing with the rest of the characters as pieces of a game of chess. The atmosphere plays an even more important role in "The Vampire Lovers" than in usual Hammer films, as Roy Ward Baker aims for an aura of romanticism for the movie. Certainly, the low budget is at times noticeable and it may lack the dynamism and energy of the Hammer films directed by Terence Fisher, but this approach to the vampire film was not only daring and refreshing in its time, it was the next step in the road that Hammer had been taking the vampire film since "Dracula" (1958): the vampire was not only a monster, it was an attractive monster. Roy Ward Baker's version of "Carmilla" began its own "subgenre", becoming the main influence to the many subsequent erotic films about vampires that were done across the world.

The 70s would prove to be a difficult time for Hammer Film Productions, as in order to keep up with the times the company would begin to produce all sorts of variations to its horror films. Some would be set in modern times, while other would be bizarre combinations of genres ("The Legend of the 7 Golden Vampires", mix of Gothic horror and martial arts is a perfect example of this). Nevertheless, "The Vampire Lovers" is one of the forgotten gems of that period in Hammer history where experimentation was needed to survive. In the case of this film, the experiment worked, and two more films were done in this model, making what is now known as the "Karnstein Trilogy" (with the films "Lust for a Vampire" and "Twins of Evil"). Despite its problems, "The Vampire Lovers" can be considered amongst the best Hammer films, not only of the late period of the company, but of all its history.

8/10

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Asylum (1972)

When talking about 70s British horror, the obvious reference is of course the classic gothic horror films produced by Hammer Film Productions during that decade. Nevertheless, Hammer Films and their monsters weren't the only horrors coming from the United Kingdom at the time. Inspired by the success of Hammer Films in the horror genre, Amicus Productions began to produce their own genre films in a similar visual style (in color, and often with the same cast), though with several obvious differences: while Hammer was making period gothic horror films, Amicus set its films in contemporary times, and instead of gothic horror the Amicus films were mostly anthologies, portmanteau horror films consisting of four or sometimes five short horror stories linked by a common theme or frame story (inspired by the British classic, "Dead of Night"). "Asylum", released in 1972 and directed by Roy Ward Baker (whom already had spent a time at Hammer, directing "The Vampire Lovers" in 1970 among others), is a perfect example of the kind of horror films that Amicus would be producing during the 1970s.

"Asylum" (also known in the U.S. as "House of Crazies"), takes its title from the fact that its framing tale is about a physician, Dr. Martin (Robert Powell), whom arrives to the asylum of the title for a job interview. Dr. Lionel Rutherford (Patrick Magee), the man who is conducting the interview, decides to put Martin to test: one of the inmates at the asylum is Dr. Starr, the former head of the Asylum who lost his mind after a complete mental breakdown. Dr. Martin will have to interview the inmates at the asylum and identify which one of them is actually Dr. Starr. If he manages to recognize him, Martin will get the job. So, Dr. Martin gets into the asylum, meeting each patient in their solitary confinement cells and listening to their tales. Patient Bonnie (Barbara Perkins) will tell a tale of ambition and voodoo, while tailor Bruno (Barry Morse) will reveal his bizarre experience with a quite special fabric. Barbara (Charlotte Rampling) will detail her cherished friendship with the mischievous Lucy (Britt Ekland), while Dr. Byron (Herbert Lom) will talk about a terrifying experiment with soul transference.

Writer Robert Bloch (author of the novel "Psycho", adapted to the screen in 1960) takes on the scriptwriter duty in "Asylum" taking as basis four of this short stories, to which he adds the asylum theme as framing story for the film. While the use of a framing story as bookend for the rest of the tales is a pretty common device in Amicus Productions' anthologies, the fact that Bloch uses the asylum motif gives the movie a quite particular identity of its own, as it allows the tales to move between the more realistic horror to the realm of pure fantasy with great ease, as after all, these are the stories of a group of mad people. Two major themes appear in each one of Robert Bloch's stories: the animation of inanimate objects, and the concept of identity and its deviations. This one ultimately echoes through the whole film, as the framing story involves Martin trying to discover whom amongst the inmates is actually Dr. Starr in disguise. however, this theme ends up a bit forced in the framing tale as it0s obvious that at least two of the interviewed inmates are too young to be seriously considered as candidates to be Dr. Starr.

By 1972, director Roy Ward Baker was already considered as one of the most experienced filmmakers in the United Kingdom, having directed classics as "Morning Departure" (1950) and "A Night to Remember" (1958). While working at Amicus Productions meant lower budgets, Baker already had the talent and experience to do more with less, and "Asylum" shows this at its best. If there's something inherent in anthology films is that, by their own nature, they have the tendency to be uneven in terms of the quality of the stories that conform them, and sadly, "Asylum" is no exception. However, director Roy Ward Baker manages to lessen this a tad by keeping an equal degree of quality and stylistic coherence through every story. While the tales may shift in tone, the visual style that Roy Ward Baker keeps through the whole film gives the movie an ominous atmosphere of uneasiness, of dark abnormality that benefits the film a lot. So, even if Robert Bloch's screenplay is no the strongest element in "Asylum", its impeccable manufacture certainly is.

Like most of the movies released by Amicus Productions, the cast is made up of a mixture of legendary stars of the horror genre (Peter Cushing and Herbert Lom), and young rising artists looking for the chance to shine (Britt Ekland and Charlotte Rampling). The result, as in every portmanteau film, varies from tale to tale, though in general the acting in "Asylum" is of great quality. On one hand there are haunting performances, as the ones by Mores and Cushing in "The Weird Tailor", in which both actors manage to capture perfectly the slightly hammy tone that a tale of dark supernatural fantasy like this one demanded. On the other side, Britt Ekland and Charlotte Rampling aren't as fortunate in their tale, which moves in the terrains of psychological horror. While the story where they work, "Lucy Comes to Stay", is perhaps the dullest of the four, a better work by the two actresses may had meant a significative improvement. Patrick Magee, who plays the sinister wheelchair-bounded Dr. Lionel Rutherford in the framing story, makes a terrific work as the authoritarian and devilish doctor.

Despite some rather mediocre performances, "Asylum" doesn't have its weak spot in the acting department, as the cast as a whole makes an effective job. The film's weakness is perhaps hidden deeper in the Robert Bloch's screenplay. As mentioned before, it's common in anthologies that some of the stories are less functional than the rest, and that's unfortunately the case in "Asylum", as while "The Weird Tailor", "Frozen Fear" and the framing story are brilliant and quite interesting, "Mannikins of Horror" and particularly "Lucy Comes to Stay" fail to reach that level. The case of "Lucy Comes to Stay" is specially interesting as its plot is some sort of variation of the one in "Psycho" (so it's not a strange territory for author Robert Bloch), though set in a more youthful atmosphere that doesn't match the solemn way the story is developed, making it feel a bit slow and dull in comparison to other stories from "Asylum". A similar case is the problem of "Mannikins of Horror", as it has a quite interesting premise that would had benefited from a less campy, and more serious and somber tone.

While of a budget considerable lower than the gothic horrors of Hammer Film Productions (and that's saying something), Amicus Productions' anthology films could be as interesting or more than some of its rivals' horror movies, and "Asylum" is perhaps the best proof of that. While it may not be the best work of writer Robert Bloch, the movie benefits enormously from the masterful way director Roy Ward Baker crafts the movie, as well as the classy work by cinematographer Deny N. Coop, who manage to return that mysterious and somber atmosphere of classic gothic horror to the very modern contemporary England. It's a perfectly done mix of the old and the new. Despite being lesser known than the movies from Hammer Film Productions, it's worth to discover the oeuvre of Amicus Productions, and "Asylum" is a great way to start.

7/10

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Supernatural (1933)

In 1932, siblings Victor and Edward Halperin released their independent horror film "White Zombie", which had actors Madge Bellamy and legendary Bela Lugosi in the main roles. Directed by Victor Haperin, "White Zombie" turned out to be the Halperins' first real hit (they began their careers in the silent era), and its success made them receive an offer from Paramount studios to make a horror film for them. Certainly, this was an offer the Halperins could not turn down, because working for Paramount meant a bigger budget to work, and a better distribution for their work. With this in mind, the Halperins gathered again their crew from "White Zombie" to make the movie that would receive the title of "Supernatural", a story of ghosts that would also include the added value of having in its cast an actress that later would become one of the greatest of her time: Carole Lombard. Unfortunately, the movie wasn't the box office success that Paramount was hoping, finishing with this the Halperin's career with the major studios. Something that's a bit unfair, as the movie isn't really bad.

"Supernatural" begins with the arrest of Ruth Rogen (Vivienne Osborne), a merciless serial killer who is condemned to death for her crimes. Rogen is convinced by Dr. Carl Houston (H.B. Warner) to donate her body to science, as Houston has the theory that a supernatural influence takes place after the execution of a killer. In the meantime, rich heiress Roma Courtenay (Carole Lombard) is mourning the tragic death of her twin brother, situation that's quickly exploited by phony medium Paul Bavian (Alan Dinehart). Inviting Courtenay to his establishment, Bavian employs his theatrical skills to convince Rom that he has truly been contacted by her deceased brother. ROma's fianceé, Grant Wilson (Randolph Scott) is decided to prove that Bavian is a fraud, so he asks help to his dear friend Dr. Houston. However, the strange experiment that Houston is conducting with Rogen's corpse takes an unexpected turn when Roma becomes possessed by Ruth Rogen's spirit, whom holds a grudge with the mischievous Paul Bavian.

Based on a story written by Garnett Weston (whom also penned "White Zombie"), the screenplay for "Supernatural" was written by Weston himself collaborating with scriptwriters Harvey F. Thew and Brian Marlow. While certainly the structure of the story is problematic, there are many interesting elements in "Supernatural"'s plot line, the first of those being the fact of presenting a cold blooded female serial killer as starting point for the story. Another interesting point is the contrast done between the characters of medium Paul Bavian and Dr. Houston: both claim to be able of finding life after death, though only devoted scientist Dr. Houston actually makes it, while Bavian is merely a fake psychic. Something interesting about "Supernatural" is that the scriptwriters dedicate screen time for character development, as even when they begin as stereotypes, a defined identity begins to be developed for them as the story unfolds. However, it's worth to point out that this also makes the plot to move slowly at the beginning, while the second half of the tale gets solved in a somewhat rushed manner.

As in their previous film, "White Zombie", director Victor Halperin again employs atmosphere as the main element in "Supernatural", giving great use to the work of his usual collaborator, cinematographer Arthur Martinelli. However, unlike the static style of silent cinema employed in "White Zombie", in "SUpernatural" Halperin uses a more dynamic narrative style, moving his camera through the spaces with great detail, making them integral part of the characters that inhabit them (as different are Bavian's humble apartment from Houston's laboratory and Roma's luxury mansion). Despite the urban atmosphere the story has, Martinelly and Halperin manage to give the film a quite haunting visual style, employing skillfully the lighting and their scenery to create an ominous supernatural atmosphere. However, despite Halperin's achievement of creating a visually strong film, not everything works that fine in "Supernatural", mainly due to problems inherent to a screenplay that feels a tad incomplete, and a cast that'ts a bit irregular.

In "Supernatural" there's the unusual casting of Carole Lombard in a horror role. While by 1933 Lombard still wasn't the big star that she would become, her career was already on the right track thanks to the many comedies she starred during the early years of sound, so Lombard didn't considered herself appropriate to horror. Nevertheless, Lombard was assigned to "Supernatural" despite her disagreements (and the Halperins' as well, as they would had preferred Madge Bellamy), so it's probable that her performance suffered due to those frictions. While Lombard doesn't make a bad job in the role, she surely feels insecure and without the spark she had in her comedies, resulting in her performance being overshadowed by the superb work done by Vivienne Osborne, who plays the sadistic Ruth ROgen. With a great skill to move from subtlety to intensity, Osborne makes the best performance in the film despite not having much screen time. H.B. Warren also makes an effective job as Dr. Carl Houston, taking good advantage of a role that, while limited, allows him good chances to shine.

As Roma's fianceé, young Randolph Scott feels wooden and rigid in his role, lacking the necessary strength to make a good counterpart to Lombard. However, it's actually Alan Dinehart who delivers the worst performance in the film, making a villain without a defined personality. Certainly, the character is interesting by its own right, but Dinehart fails at making him memorable (it would had been interesting to see someone like Lugosi in the role). Despite those problems with the cast, what truly affects "Supernatural" is having a screenplay that feels incomplete in its final act. While Halpering manages to create an interesting group of characters and an intriguing premise (that would be exploited in many films during the following decade), during the second half of the film it seems as if they had cut down the screenplay given how rushed the climax unfolds itself. Also, there are several holes in the plot that remain unexplained at the end, showing that the writers should had worked a bit more on the screenplay (perhaps Paramount's pressure explains this).

Despite its multiple flaws, "Supernatural" is a pretty entertaining and interesting horror film. The Halperins have earned a reputations as "one hit wonders" due to the abysmal difference between the mastery shown in "White Zombie" and the ineptitude of its sequel, "Revolt of the Zombies" (1936) and their subsequent works. But while maybe "Supernatural" isn't up to the level of their legendary zombie classic, it's is proof that Victor Halperin's talent wasn't limited to just one occasion. Sadly, after the box office failure of "Sipernatural" and a lawsuit by the company that helped to finance "White Zombie", the Halperin saw their reputation severely damaged and their resources diminished to the point that their posterior films show a complete lack of interest in filmmaking. Anyways, "Supernatural" stands as an interesting project that allows us to see a quite different side of the legendary Carole Lombard.

7/10
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Leptirica (1973)

According to an old Serbian legend, in the village of Zarožje there was a man named Sava Savanović, who worked in the mill that was close to the river Rogačica. Despite already being an old man, Sava Savanović married a beautiful young lady he loved. However, the young lady was in love with Sava's brother, and the couple began an affair. In an act of fury, Sava Savanović murdered the two lovers inside the mill. When the villagers of Zarožje discovered the crime, they captured and lynched Sava Savanović, and then buried his corpse deep in the woods. Soon after this rumours were heard about Sava Savanović, who supposedly now was a vampire roaming the old mill. With this legend, Sava Savanović would become one of the first vampires in Serbian folklore, and his popularity was such that celebrated writer Milovan Glišic wrote a novel based on the old story ("Posle devedeset godina" or "After Ninety Years" in 1880). The plot of this novel would be taken as basis for a TV movie released in 1977 by director Djordje Kadijevic with the name of "Leptirica" ("Лептирица").

"Leptirica" (literally "The Moth" or "The She-Butterfly", which is the English title of the film), begins with the mysterious death of the town's new miller, Vule (Toma Kuruzovic). As he prepares to spend the night at the mill, Vule is murdered by a strange creature with dark skin and long fangs. The following day the villagers are worried since Vule is the fourth miller in the year to be killed under strange circumstances while spending a night at the old mill. In the meantime, the humble Strahinja (Petar Božovic) is madly in love with the beautiful Radojka (Mirjana Nikolic), the daughter of rich landlord Živan (Slobodan Perovic). Strahinja asks Živan to allow him to marry his daughter, but he refuses to accept his daughter marrying someone as poor as young Strahinja. Disappointed, Strahinja decides to leave the town, but instead ends up convinced to take the dangerous job of miller. Strahinja spends the night at the mill and manages to survive the monster's attack. After this, Strahinja and the villagers decide to discover the nature of the creature, so they find out about the legend of Sava Savanović.

Adapted by director Djordje Kadijevic himself, "Leptirica" is developed precisely as the thing that originated it in the first place: a folk tale. That is, at taking "Leptirica" to the screen, Kadijevic opts to give it a simple approach, avoiding to make the plot too complicated and focusing in enhancing the legendary (or better said, mythical) aspects of the story. Thus, the characters are basically a group of classic fairytale archetypes, in a story that transcends its origin in Serbian folklore and becomes a universal tale: "Leptirica" becomes essentially the story of a young humble man who must prove his worth to society and himself. The vampire myth in "Leptirica" is more a force of nature, with Sava Savanović acting as demon of the woods, an opposition to the civilized villagers. There's also in "Leptirica" a subtle subtext of vampirism taken as an equivalent to sexual awakening inherited from Glišic's novel. With a certain touch of comedy, Kadijevic keeps his plot between horror and fantasy, using a light-hearted tone that evokes the rural fairytale origin of the story of Sava Savanović.

Director Djordje Kadijevic makes a simple yet effective work in his making of "Leptirica", capturing the atmosphere of myth that the story has with great skill. In fact, this atmosphere is perhaps the most important element in "Leptirica", as Kadijevic manages to give his film the sensation of being set in an undefined period of history, in a timeless fantastic Serbia where myth is mixed with reality. This is particularly obvious in the horror scenes of the film, which have a certain surreal beauty in their craftsmanship thanks to the great use given to the work of cinematographer Branko Ivatovic. However, Djordje Kadijevic isn't that lucky in the making of the comedic scenes of his movie, which feel a tad forced and stagy, in sharp contrast to the aforementioned horror scenes. Certainly, Kadijevic is a devoted horror fan, (in fact, his 1969 film "Darovi moje rodjake Marije" was the first 100% Yugoslavian film with horror touches), and this becomes obvious in the great care given to the making of the horror scenes. Nevertheless, it would had been better if the same care had been put in the rest of the film.

The performances in "Leptirica" are a bit regular, as while there are a couple of great quality works, others aren't really that good. Of the former it's worth to point out the work of Petar Bozovic, whom plays young Strahinja, the archetypal rural hero of the story. Poor and humble, but noble in heart, Strahinja would rather leave before watching his beloved married to another man. While looking a bit too old for the part, actor Petar Bozovic makes a pretty good job and manages to capture the naiveté and nobleness of his character. However, it's actually Slobodan Perovic whom shines the most in "Leptirica" as the harsh landlord Živan. Perovic makes an excellent job, to the point that it would had been good to see more of his character. Young actress Mirjana Nikolic also makes an effective performance as Radojka, the beautiful daughter of Živan. The change her character endures as the film unfolds makes her an iconic figure of Serbian horror. The rest of the as isn't really up to the level of the aforementioned, and this is probably one of the film's weakest elements.

Done as part of a series of horror movies for the Yugoslavian television (the other films are "Devicanska svirka", "Sticenik" and "Zakletva", all directed by Djordje Kadijevic), "Leptirica" suffers from the technical and budgetary limitations of being a product made for television. However, the real problems of "Leptirica" aren't really related to its poor production values (director Kadijevic manages to do wonders with limited resources), but with his screenplay, which seems to be divided between a desire for being both a true horror film and an accessible rural comedy at the same time. Kadijevic fails to keep a balance between both genres, resulting in haunting horror scenes of great quality and moments of comedy that feel cheap and rushed. The contrast between them is abysmal, and truly show that the real interest of director Kadijevic was in the horror moments of his film. Despite this problem, "Leptirica" is still a quite interesting vampire story that, spiced up by Serbian folklore, gives a nice spin to the classic myth.

Considered as a classic of Serbian horror, the work of Djordje Kadijevic offers an interesting vision of the genre deeply rooted in his country's folklore. From amongst his works, "Leptirica" is perhaps the better known film, a movie that perfectly captures the essence and symbolism of Serbian folktales and transports them to the screen. Owner of a surreal atmosphere and an interesting visual design, "Leptirica" presents an interesting twist to the vampire myth, portrayed in the film as a force of nature that evokes the ancient fear to the unknown, to the savage: the woods, the darkness, the night. More symbolic than descriptive, the film is a faithful representation of a mythic struggle in film. While far from being a masterpiece, "Leptirica" has a certain charm that could only be described as "magic".

7/10
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The Ape Man (1943)

Truly a real icon of the horror genre, Hungarian actor Bela Lugosi was immortalized when he played the legendary vampire, Count Dracula, in the film adaptation directed by Tod Browning for Universal Studios in 1931. However, after the role that would take him to the top, Lugosi would face the problem of being type-casted as a horror villain, thanks in part to his heavy foreign accent. While at first Lugosi enjoyed constant work at Universal Studios, when the company decided to close the production of horror films, Lugosi saw himself forced to work in low budget films in the harsh world of B-movies. Working for Sam Katzman's Monogram Pictures during the decade of the 1940s, Lugosi would perform in films of regular quality, as his career was being forgotten by mainstream audiences. "The Ape Man", directed by William Beaudine and released in 1943, is a clear example of this, as it presents Bela Lugosi working under a badly done work of make up as the titular ape man. While it's worth to point out that, despite this, the Hungarian actor does a quite professional job.

"The Ape Man" begins with the arrival of Agatha Brewster (Minerva Urecal), a professional ghost-hunter, who's coming to the city after receiving the news of the disappearance of her brother, the famed scientist Dr. James Brewster (Bela Lugosi). Reporter Jeff Carter (Wallace Ford) is waiting for her, eager to get an interview, but unfortunately Agatha is in a hurry, and his attempt ends in failure, as even the photograph taken is a mess. The reason of Agatha Brewster's hurry is that Dr. Randall (Henry Hall), her brother's colleague, has informed her that James has not disappeared, but that after a tragic lab accident, he has been turned into an ape man. In the meantime, Jeff Carter receives the mission of making a proper interview with Mrs. Brewster, and much to his dismay, he is partnered with a new photographer, Billie Mason (Louise Currie). The team will try to find out why is Mrs. Brewster so secretive, but they'll discover the twisted mind of Dr. Brewster, whom is now desperate to find a cure for his condition, and with that in mind he's willing to do the unthinkable.

The screenplay for "The Ape Man" was written by Barney A. Sarecky, taking as basis a story by Karel Brown, whom was a famous cinematographer of the days of silent cinema that later became a writer during the 30s, penning among others, the classic thrillers "The Man they Could Not Hang" and "Before I Hang". As in those films (by the way, both starring Boris Karloff), the main character is a scientist facing the tragic consequences of having experimented with himself. Being a victim of his own experiment, Dr. James Brewster has become a violent sociopath interested only in his own recovery. Certainly, this makes Dr. Brewster a quite interesting character, but Sarecky's screenplay opts to leave him aside in favor of the couple made by Carter and Mason, the classic wisecracking reporters that were so common in horror films during the 30s and 40s. It may seem as if with this choice, "The Ape Man" was now turned into a pretty ordinary film, but actually Sarecky's screenplay generates interesting dynamics between the two reporters, playing with Carter's uneasiness at having a woman in his team.

The role of director is taken by the veteran b-movies filmmaker William Beaudine, whom by then already had the reputation of being an efficient and practical craftsman. However, this emphasis on practicality often resulted in a sacrifice of the film's quality in general, not to mention the downplaying of other artistic values. And unfortunately, "The Ape Man" is a clear example of this, as while the screenplay isn't really a bad idea, Beaudine limits himself merely to shoot the film without caring too much for creating atmospheres or a particular emotion with it. Beaudine's style is quite conservative, and while it may be a style that could work in less fantastic melodramas (in fact, the screwball comedy between the reporters actually works just fine), "The Ape Man" would had been benefited by a more creative approach from the director, more willing to take risks and innovate. The result is that "The Ape Man" is ultimately a lot less interesting that what could had been, with a pretty slow rhythm only improved by the good performances the film has.

And that's because if there's something valuable in "The Ape Man" is that in general it has a good amount of pretty good performances (in comparison to other B-films of its time). First of course is Bela Lugosi, whom despite having a badly done work of make up in his face, does a pretty professional job as Dr. Brewster, turned into a being half man half ape. There's a certain care in the way that Lugosi creates his character, as rather than making a mere caricature of an ape, Lugosi makes a restrained, perhaps even subtle performance out of it. Wallace Ford, famous for his role in Tod Browning's "Freaks", shines with his particular charm and comedic talent in his role as wisecracking reporter Jeff Carter. However, his character wouldn't be the same without his counterpart, Billie Mason, played with great talent by Louise Currie, the film's true surprise. Veteran actress Minerva Urecal isn't that lucky, and her performance as the sister of the unfortunate Dr. Brewster, Agatha, is a tad exaggerated and overacted.

The case of "The Ape Man" is definitely one of wasted potential, as amongst the many movies done about murdering apes (which were pretty popular during the 30s and 40s), this one is certainly amongst the best written. Scriptwriter Barney A. Sarecky balances quite well comedy and horror, and there are even some clever situations and pretty interesting moments through the story. However, William Beaudine's work as a director turns ordinary a tale that could had resulted in a remarkable film. As mentioned before, Beaudine's simplistic narrative manages to work well in the comedy scenes (which also are enhanced by the great chemistry between Ford and Currie), but not in the horror ones, which look even stagy in their execution. On top of that, the poor quality of the special effects truly harm the film, particularly the make up done for Bela Lugosi and Emil Van Horn (who plays an ape) is of an awful quality (though of course, with a better done work of cinematography, this could still had worked, with those flaws hidden in the shadows as in 1932' "Murders in the Rue Morgue").

There's no doubt that William Beaudine's working style was pretty functional for film studios eager of having new material to show in little time (in fact, that's precisely the reason why Beaudine would later work in television), however, films like "The Ape Man" certainly deserved a bit more of care in its making. There are many good and interesting elements in "The Ape Man" (the cast for example), but they are inevitably overshadowed by the uninspired work of director Beaudine, who merely translates what's on the script to the silver screen without putting any emotion in it. Finally, a film that could had been quite entertaining, ends up looking a bit silly, slow and even boring. "The Ape Man" isn't really a bad film per se, but it's truly a pretty average one, and it leaves the sensation that the story deserved something better. The work of Currie, Ford and Lugosi certainly deserved better.

5/10
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Man with Two Lives (1942)

Across the history of cinema, very few events have had the tremendous impact that the arrival of sound had. As a factor that redefined the art of cinema for ever, it meant as well a forced changed in the careers of many artists. Naturally, this is of course more than obvious in the case of actors, forced to adapt themselves to the changing art; however, it also represented a challenge for the filmmakers, who experienced the shaking of the foundations of an art they had come to dominate. While some of them, like Fritz Lang, managed to make a notable transition from silent cinema to "talkies", many others weren't that lucky and saw their careers finished. The case of director Phil Rosen could be considered a middle ground, as while Rosen could still work in sound films, he went from being a filmmaker of a certain name to an unknown yet efficient artisan making genre films in the world of B-movies. The film "Man with Two Lives", a mix of horror and science fiction released in 1942, is a typical example of the kind of cinema that Rosen would do in the sound era.

"Man with Two Lives" begins in the laboratory of Dr. Richard Clark (Edward Keane), whom along his young assistant Reginald Bennett (Tom Seidel), has dedicated his job to find a way to resurrect the dead. So far, it seems that Dr. Clark has achieved his goal, having been able to keep a heart beating for days; however, he hasn't been able to try his theories on a human being. The opportunity would come to him in a tragic way, when Reginald's brother, Philip Bennett (Edward Norris), loses his life in an unfortunately fatal car accident. Desperate, Philip's father, Hobart Bennett (Frederick Burton), begs Dr. Clark to put his theories to the test in order to resurrect his son, who had a promising future and was set to marry the beautiful Helen Lengel (Marlo Dwyer) in the following days. Dr. Clark accepts, though not without some reluctance. Fortunately, the experiment success and Philip Bennet is alive again. However, something is not right with Philip, who doesn't remember anyone and on the contrary, seems to know a lot about Wold Panino, a criminal who was executed at the same time Philip was resurrected.

Written by veteran scriptwriter Joseph Hoffman (who would have a prolific career in B-movie cinema), "Man with Two Lives" is another reinterpretation of the popular theme of change of personalities, having in this case the soul of a gangster in the body of kind and responsible Philip Bennett. Thus, Hoffman's tale moves between science fiction and crime melodrama, as the recently resurrected Panino uses Bennett's body to try to recover his criminal empire. As can be guessed, a lot of the drama in "Man with Two Lives" comes from the fact that Philip is a well liked member of high society, so his family and friends end up shocked as they discover the places and the people that Bennet is now visiting after his resurrection (not to mention his new activities). Hoffman's script is a tad predictable (not to mention it borrows a bit too much from Arthur Lubin's "Black Friday", released just two years before), though it does include a couple of interesting moments where the ruthless personality of Panino is evident. Sadly, Hoffman fails to explore more this aspect and even betrays himself with pretty cheap finale.

Director Phil Rosen gives life to Hoffman's screenplay in a pretty simple and traditional way. In fact, this simplicity in its visual narrative, though certainly effective to work with little time and low budget, results in a movie that feels even more antiquated than it really is. With a pretty static style that opts for practicality instead of a properly defined artistic vision, Rosen crafts an uninspired film that hardly takes advantage of the locations and props the film has (which include laboratory devices brought from previously done horror films). Despite the touches of horror and science fiction the story has, Rosen builds up his movie without paying too much attention to those aspects, leaving "Man with Two Lives" as mainly a gangster film and focusing more in the contrast between the two lives that his character experiences: the luxury existence of wealthy Bennett and the sordid life of ruthless criminal Panino. Even when Rosen himself had a solid background as cinematographer, the use he gives to the work of Harry Neumann in this department is pretty simplistic.

The performances by the cast in "Man with Two Lives" aren't really bad, so it's a bit sad that they hadn't a better material to work in this movie. Edward Norris plays the nice Philip Bennet, whom after suffering the unfortunate accident finds himself with the personality of the violent Panino. As Bennett, Norris is a bit wooden, even stagy in his performance, though once the personality of the criminal begins to control his character, Norris actually makes a pretty good job (certainly Norris was more comfortable playing the gangster than the nice guy). Marlo Dwyer, playing socialité Helen Lengel isn't bad in her role, though she's overshadowed a lot by actress Eleanor Lawson, who plays Panino's former girlfriend, confused at finding in Bennett the traits of her deceased lover. As Dr. Richard Clark, Edward Keane makes a job that's reminiscent of Lionel Atwill's style, though of course without the same level. Young Tom Seidel makes a pretty acceptable job as young Reginald Bennett, to the point of overshadowing Norris at times.

As mentioned before, "Man with Two Lives" is a film a bit too predictable for its own good, and pretty much lacking in originality. The fact that it's plot is too similar to "Black Friday" doesn't help much (specially when in said film one finds the performances of the two greatest icons of horror: Bela Lugosi and Boris Karloff), and unfortunately "Man with Two Lives" does little to move away from that comparison. Without a doubt, with a better developed screenplay, the film could had explored far more interesting territories. Unfortunately, it would seem as if Hoffmand had been consciously trying to avoid risk at all cost, for example. after having taken the story to a climatic scene of a certain strength, Hoffman's script opts to take a easy way out that feels gratuitous and cheap. Phil Rosen's uninspired work of directing is another negative element in the film, as while the acting isn't really bad, Rosen does little to establish an atmosphere or a mood for his film, leaving "Man with Two Lives" as just an average gangster film of the 1940s.

Monogram Pictures was a pretty important studio in its time, as it served as production company and distributor to the works of many filmmakers forced to thrive in the world of B-movies. While there are many Monogram films of great quality, unfortunately Phil Rosen's "Man with Two Lives" isn't one of them. A hybrid of horror and gangster film, "Man with Two Lives" sets aside its horror genre inheritance and focuses more on being a typical crime melodrama. Despite its lack of originality, there are certain elements in the film that could had elevated the film a bit. Unfortunately, those elements aren't exploited and the film ends sadly as a pretty forgettable story.

4/10
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La residencia (1969)

While in many other national film industries, the horror genre had been previously explored almost since the beginning of cinema, in Spain its development had been almost null, as other than some fantasy experiments by film pioneer Segundo de Chomón and Edgar Neville's 1944 film "La Torre de los Siete Jorobados", there wasn't really a proper horror film made by the Spaniard film industry until the arrival of the 1960s. The main reason for this was the hard censorship that Francisco Franco's government had over filmmakers, but in 1962 several changes began to take place in the industry that opened the door for horror movies. And the two most important persons in this rising genre were the filmmakers Jesús Franco and Narciso Ibáñez Serrador. Born in Uruguay to a family of actors, Ibáñez Serrador began his career in Spain initially on theater, later on television, where he put his taste for horror to work in the legendary TV series "Historias para no dormir". After the huge success of this TV series, Ibáñez Serrador released in 1969 his feature length debut: "La residencia".

Set in 19th century France, "La residencia" (in English "The House that Screamed") is the story of a boarding school for girls directed by the strict Mrs. Fourneau (Lilli Palmer). To the school arrives a new student, Teresa (Cristina Galbó), who soon discovers the secrets hidden by the facade of discipline the school has. One of the students, Irene (Mary Maude), trusted assistant to Mrs. Fourneau, takes a particular interest in Teres, and seeks to torture here and humiliate her every time she can. Mrs. Fourneau herself doesn't miss a chance to violently punish the rebel Catalina (Pauline Challoner). While this takes place, Teresa secretly befriends Luis (John Moulder-Brown), son of Mrs. Fourneau, who lives hidden at the school, as his mother doesn't want him to befriend the young girls of the house. Teresa wishes to leave, not only because of the constant humiliations she suffers, but also because several students have gone missing without a trace in the last days, so fear begins to run rampant through the walls of the house.

Based on a story by Juan Tébar, the screenplay for "La residencia" was written by Narciso Ibáñez Serrador himself (under the name of Luis Peñafiel), whom mixes several classic elements of horror to shape a quite innovative story for Spanish horror. On one hand, the setting on an isolated mansion of 19th century brings back memories of traditional Gothic horror fiction, while the plot line of having Teresa facing the tortures of the sadistic Irene give the story a pretty subversive touch of rebellion against authority. Finally, the main plot of the serial killer on the loose, makes "La residencia" an interesting ancestor of the slasher subgenre. However, the most interesting thing in "La residencia"'s screenplay is the amount of readings its plot can have, as there's not only a thinly veiled criticism to authoritarian regimes (such as the one headed by Francisco Franco), but the way Ibáñez develops his characters includes a risky but quite elegant touch of lesbianism in the relationship between Teresa and Irene.

Elegance is perhaps the best way to define the style that director Narciso Ibáñez Serrador employs in "La residencia", style that gives a greater importance to suspense and tension. With a remarkable work of cinematography by Manuel Berenguer, director Ibáñez Serrador creates a film where the atmosphere of repression is felt in every frame. Taking good advantage to his location, Ibáñez Serrador makes his young characters more like prisoners than students, under the strict rule of Fourneau (and the ruthless enforcement of Irene). The fear felt by the characters towards their oppressive environment, is portrayed by Ibáñez Serrador with great detail, and the perfect example is the knitting lesson sequence, where with a brilliant use of montage, the director manages to show the sexual repression latent in the young ladies. As it can be seen, it's suspense rather than horror what makes the most predominant element in the film, though when the killer finally strikes, Ibáñez Serrador creates several images of great impact (and innovative for its time).

With "La residencia", Ibáñez Serrador was trying to reach an international public, so despite its multinational cast, the film was dubbed to English (a common practice in Eurpean cinema of its time). The dubbing isn't that bad, the great quality of some of the performances can still be felt. The crown jewel of the film is the performance by German actress Lilli Palmer, whom as Mrs. Fourneau makes one of the best works in her entire career. With great dignity and an extraordinary screen presence, Palmer creates a character of such an intensity that truly leaves a powerful impression even when she's not in the screen. Palmer manages to fuse the oppressive Mrs. Fourneau with the ominous atmosphere of her school. Excellent as well is the performance of British actress Mary Maude as Irene, who makes a superb work of acting as Mrs. Fourneau's loyal assistant, abusing her position of power to torture her classmates. In front of such excellent jobs, Cristina Galbó is a tad overshadowed, however, she manages to rise up to the challenge and deliver a terrific job.

Being without a doubt one of the best works in Spanish horror, "La residencia" is a great example of Gothic horror that quite possibly serve as inspiration to Italian filmmaker Dario Argento to make "Suspiria" (which is also set at a boarding school). Innovative, captivating and full of suspense, "La residencia" rests on the great care that director Narciso Ibáñez Serrador put in its making. However, despite its many virtues, there are some details that can't be totally forgotten. Perhaps the most obvious one is the complete abandonment of some of the film's most interesting subplots (specially one referring to Catalina), which end up unresolved in favor of the main plot. This is probably the result of a screenplay where Ibáñez Serrador tried to include multiple ideas that in the end had to be sacrificed. Another detail is that perhaps the identity of the killer is a bit too predictable, though it's worth to point out that this doesn't diminish the climax's impact, which is enhanced by a remarkable camera-work and the superb work of Lilli Palmer.

Despite its flaws, "La residencia" is a major work of Spanish horror, and a clear example of the great talent of director Narciso Ibáñez Serrador (talent that would shine again in his 1976's classic "¿Quién puede matar a un niño?"). With its beautiful cinematography and the haunting musical score by Waldo de los Ríos, "La residencia" is a film that, like the best Gothic horror stories, employs the conventions of its genre to make a subtle and elegant portrait of sexual repression. While the film had a pretty cold reception upon its release (in both Spain and in foreign markets), "La residencia" is a film a lot more intelligent that what would seem at first sight, because behind its plot of a serial killer is hidden a harsh criticism to oppressive regimes and their followers. A true forgotten classic of horror cinema.

9/10
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La corta notte delle bambole di vetro (1971)

Having done a career as assistant director during the last years of the decade of the 1960s (in works such as Bernardo Bertolucci's "Il conformista" and several films with director Maurizio Lucidi), Italian filmmaker Aldo Lado got his chance to debut as a director with a story of mystery and horror (a giallo film) with the title "Malastrana". Executives from the film's distributor thought the title, which was a reference to the Malá Strana neighborhood in the city of Prague (where the story was set), was a bit too ambiguous and wasn't working, so it was decided that the film would be titled "La corta notte delle farfalle", meaning "Short Night of the Butterfly". To director Aldo Lado's misfortune, that very same year another tale of mystery was being released in Itay with butterflies in the title: "Una farfalla con le ali insanguinante", so another title changes was required at the last time, settling for the more ambiguous and poetic "La corta notte delle bambole di vetro", or in English, "Short Night of Glass Dolls". The film would end up being considered one of the most celebrated and unusual within the giallo subgenre.

"La corta notte delle bambole di vetro" begins with the discovery of the corpse of Gregory Moore (Jean Sorel), an American reporter who had gone missing a couple of days before. However, while it's apparently clear that Moore is dead, he is actually alive and conscious, trapped in a body that he can't control and unable of any form of communication. Confused by this, Moore tries to understand what has happened to him, remembering how everything started: with the mysterious disappearance of his beautiful girlfriend Mira (Barbara Bach) after a party they had attended. Moore begins to remember the events that took place after her disappearance, as while the local police had quickly dismissed the case as the bitter splitting of a couple, Moore had discovered a link between Mira's disappearance and other cases of missing girls in town. Moore's co-workers, Jessica (Ingrid Thulin) and Jacques (Mario Adorf) try to help him, though without really believing the clues that Moore follows, clues that will lead him to discover the morbid secrets of Prague's high society.

Written by director Aldo Lado himself along veteran scriptwriter Ernesto Gastaldi (writer of several Italian films of the genre), the story of "La corta notte delle bambole di vetro" presents an unusual spin to the mystery thriller at basing the plot in a series of flashbacks to reporter Gregory Moore's memories, while at the same time he tries to recover the control of his body. It's in this element where suspense comes into play in the story, as Gregory Moore isn0t really dead, just completely paralyzed by some reason unknown to himself, so tension rises by having him unable to communicate or defend himself. Mystery is perhaps the most important element in "La corta notte delle bambole di vetro", because as the plot unfolds it makes some unpredictable twists and turns that take the story each time closer to more extraordinary and morbid terrains. Certainly, "La corta notte delle bambole di vetro" moves away from the classic model of Italian giallo (stylish thrillers with great emphasis on graphic violence and eroticism), however, it truly keeps the horror and tension typical of the genre.

Another giallo element that remains intact in "La corta notte delle bambole di vetro" is its great visual stylization. Director Aldo Lado creates in "La corta notte delle bambole di vetro" an ominous atmosphere of mystery that reaches a haunting oneiric level as the plot unfolds and Moore gets deeper into the horrible secrets of Prague. It's interesting how what starts as a somewhat typical thriller get a greater stylization as Moore descends into darkness. Despite this being his feature length debut, director Aldo Lado shows a great domain of his camera and a quite developed visual narrative, as he manages to take full advantage of the awesome work of cinematography done by Giuseppe Ruzzolini. As mentioned before, suspense is a fundamental thing in "La corta notte delle bambole di vetro", and the film has director Aldo Lado showing his great domain over it. Besides this, it's worth to point out the truly remarkable musical score composed by the master Ennio Morricone, which truly enhances the ominous atmosphere of surreal nightmare that Lado's film has.

Acting in "La corta notte delle bambole di vetro" is in general of great quality, even taking into account that the work of dubbing done in the film (a common practice in Italian cinema) is less than stellar. Leading the cast is French actor Jean Sorel (known for his work in Luis Buñuel's "Belle de jour") as reporter Gregory Moore. While nothing truly outstanding, Sorel makes a pretty acceptable job and, despite his dubbing, manages to carry the weight of the film without problem. However, he is a bit overshadowed by Ingmar Bergman's legendary muse, Swedish actress Ingrid Thulin, who plays his coworker and former lover, Jessica. Thulin manages to create a pretty complex character despite having a character with less weight in the plot, showing her talent as a woman divided between what she feels for Moore and her hatred towards his new girlfriend. As Mira, Barbara Bach (in her second giallo after "La tarantola dal ventre nero") makes an acceptable job, and even when her character is limited to looking good, Bach manages to fill the screen with her great presence.

The rest of the performances are pretty good, and even the dubbing isn't really that aggravating (with the sole exception being the case of Mario Adorf's dubbed voice). "La corta notte delle bambole di vetro" reveals itself as a quite atypical giallo, gifted with a great visual beauty and an attractive plot that aims for tension and suspense instead of graphic violence. If there's any problem in "La corta notte delle bambole di vetro" is that probably director Aldo Lado at times abuses too much of the resource of having Gregory Moore's narrating the film, resulting in moments that could seem a bit ridiculous. Another problem is that the film becomes a bit slow in occasions, however, it's worth to point out that it never becomes tedious or boring. Certainly, the premise where the story rests requires a bit more suspension of disbelief than what would be desired, given how extraordinary the situation is. Fortunately, the film more than compensates this with an unpredictable plot and a superb finale full of tension.

In this his debut, director Aldo Lado manages to create an excellent story of suspense and mystery that breaks the classic conventions of Italian giallo. Focused more on mystery than on violence, "La corta notte delle bambole di vetro" opts for a kind of horror a bit different, one based on tension and paranoia rather than in visual shock (which isn't bad, really). Lado keeps his moments of violence for carefully established moments, which enhances a lot the film's suspense. While far from the traditional style of "thriller all'italiana", Director Aldo Lado's film "La corta notte delle bambole di vetro" is one of the best films ever done within the giallo subgenre. With a haunting visual beauty and a captivating musical score, "La corta notte delle bambole di vetro" is a forgotten classic of horror and mystery.

8/10
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The Dead Outside (2008)

Ever since the release in 1968 of George A. Romero's classic horror film "Night of the Living Dead", zombie films quickly became a quite popular subgenre of horror; and that was because the type of scenario that Romero's film introduced to the world allowed countless narrative possibilities (worth to point out that its direct ancestor was Richard Matheson's novel "I Am Legend"). From the gory violence of Lucio Fulci's "Zombi 2" (1979) to the comedy of Wright's "Shaun of the Dead" (2004), to even more existentialist meditations like "I, Zombie: The Chronicles of Pain" (1998). The renewed popularity that the zombie film experienced at the dawn of the 21st century has brought new ideas on the subject, and amongst them there's the one presented by the British film "The Dead Outside", an independent production released in the year 2008. Directed by Scottish director Kerry Anne Mullaney, "The Dead Outside" fits in the kind of zombie film that focuses more on the social repercussions of the outbreak of a virus. Unfortunately, the result is not that stellar.

"The Dead Outside" is the story of David (Alton Milne), a young survivor of a devastating neurological epidemic that has ravished the world. The disease, of an unknown origin, is highly contagious and the result in those infected is a loss of reason, of sense and an increase of violent impulses, reducing them essentially to partially sentient creatures unable to feel pain. David wanders in his car through the fields of Scotland looking for other survivors, as the group where he was living was attacked with him as sole survivor. In his quest, David finds a farm that seems inhabited, so he decides to spend the night there. While he rest, he is surprised by the house's owner, April (Sandra Louise Douglas) and her old rifle. After making sure that David is not infected, April allows him to star for a while. Soon, the differences between them will make their personalities clash, because while David still sees the infected as humans, April exterminates them without any remorse, full of a fury that intimidates David. But under that anger, April hides a very important secret.

Written by Kris R. Bird and director Kerry Anne Mullaney herself, "The Dead Outside" tackles the zombie film genre from an interesting point of view: that of those who survived the apocalypse. So, rather than being a traditional horror film, "The Dead Outside" is a character study about these two characters that circumstances have gathered in a lonely farm in Scotland. As David and April face the infected that occasionally get near the farm, the writers contrast the different ideas both characters have about their future, with David hoping to recover a certain degree of normality while April only wants to be left along. In general, the premise of "The Dead Outside" is interesting as it aims for psychological horror instead of a more visceral type of it, as it focuses on the frail balance that exists in the relationship between David and Apri. Unfortunately, Bird and Mullaney's screenplay fails to truly explore those themes, as it doesn't develop its characters beyond the stereotype, which eventually becomes a bigger problem when the plot doesn't have much going on in it.

While her screenplay is pretty much lacking, as a director, Kerry Anne Mullaney has better luck, as "The Dead Outside" shows she has a well defined vision for her quite particular brand of zombie apocalypse. Working with minimal resources, Mullaney creates a minimalist film placing greater emphasis on atmosphere and tension between her characters. The key element in "The Dead Outside" is the feeling of loneliness that invades the characters and their reactions to it. Mullaney reflects this loneliness by taking great advantage of the work of cinematographer Kris R. Bird, who makes an effective job at capturing the strange beauty of the desolated Scottish fields. In "The Dead Outside", Mullaney employs a slow, contemplative narrative, which goes hand in hand with the screenplays' focus on the characters and their loneliness. The atmosphere of desolation generated by Mullaney is effective in the realist way it presents her apocalypse, an apocalypse of loneliness where survivors only have their memories with them. Sadly, Mullaney doesn't manage to do something with this, thanks to a story that goes nowhere.

As mentioned before, "The Dead Outside" is more a character study than a typical horror film, exploring the consequences of the epidemic in two of its survivors. By focusing on its characters, the performances become instrumental to the success of "The Dead Outside", but unfortunately, the acting in the film is pretty much average. Alton Milne is maybe the only exception, making a pretty acceptable job as the traumatized survivor Daniel, who tries to start his life again. In a retrained yet still emotive performance, Milne manages to transmit his characters' loneliness and melancholia, after having lost everything except hope. On the contrary, SandraLouise Douglas makes an unfortunately bad job as the mysterious April, making an exaggerated performance of the anguish and anger of the characters, resulting in her making April look like nothing more than a capricious and bitter teenager. Of course, not everything can be blamed on Douglas, as her character doesn't give her much space to do something better. Sharon Osdin appears as a third survivor, making an OK performance, though nothing surprising.

"The Dead Outside" is an independent horror film with as many virtues as it has flaws, which results in a movie that's never entirely satisfying at all. Technically, it's remarkable how director Kerry Anne Mullaney manages to do it with such limited resources, but ultimately, her film suffers from the greatest sin a movie can commit: being boring. As mentioned above, the problem is not in its premise, which is certainly interesting, it's problem is that "The Dead Outside" never truly moves on to something, as while it establishes several subplots that point towards something interesting, nothing relevant really happens. The clash between two characters, based mainly on the contrast between David's desire for returning to society and April's hate towards it, only results in discussions where April ends up just screaming in anger demanding to be left alone. Thus, a character that's the center of the main plot and whom should be interesting, is left reduced to an annoying stereotype that makes her lose her supposed importance in the plot.

In this her debut, director Kerry Anne Mullaney certainly shows a defined vision and narrative style, as well as a great skill to do a lot with very little. It's a shame that there hasn't been more care while developing the screenplay, because "The Dead Outside" ends up looking like an incomplete work. In fact, it's quite probable that if the movie had been developed as a short film, "The Dead Outside" could had worked a lot better, as what results is a film of a terribly slow rhythm where ultimately nothing happens. Despite its interesting premise, "The Dead Outisde" ends up as a film that sadly is neither good nor bad, just simply forgettable. Nevertheless, films like "The Dead Outside" prove the great versatility that the zombie film subgenre has for storytelling.

5/10
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The Others (2001)

In 1996 a young 24 years old man named Alejandro Amenábar broke into the Spaniard film industry with his feature length debut "Tesis". The film, which was a horror story about snuff videos, would end up winning seven Goya awards and quickly became a classic of the Spanish horror that was on the rise at the moment. "Tesis" was followed by "Abre los ojos" in 1997, a science fiction film that would impress American actor Tom Cruise so much that he would buy the rights to produce a remake with the name "Vanilla Sky" in 2001. As part of the deal, Cruise would produce a movie for Amenábar, allowing him to enter the American industry. Amenábar began to develop a project, and found his inspiration in an old chapter of the British TV series "Armchair Theatre" that was essentially a ghost story and was titled "The Others". Taking the same title for his story, Amenábar began the production of a film of Gothic horror in the most classic style, pretty much akin to Jack Clayton's 1961 classic, "The Innocents". The result would be outstanding.

"The Others" is the story of Grace Stewart (Nicole Kidman) and her children Anne (Alakina Mann) and Nicholas (James Bentley), who live in a huge mansion in the British Crown Dependency of Jersey, during World War II. Anna and Nicholas suffer from a rare disease, xeroderma pigmentosa, which gives them extreme photosensitivity and forces them to live in the dark, so no light can enter the Stewart house. Strange events begin to take place in the house's rooms, when Anne begins to talk about seeing other persons in the house, including a kid named Victor. As this takes place, three servants arrive to the house looking for a job, they are Mrs. Bertha Mills (Fionnula Flanagan), the gardener Mr. Edmund Tuttle (Eric Sykes) and the young mute girl Lydia (Elaine Cassidy). Grace decides to hire them and explains them the very strict rules of her house, designed to protect her children from the light. Anne keeps talking about Victor, and soon Grace herself begins to experiment the unexplainable evens that Anne has been mentioning. Convinced that they aren't alone in the house anymore, Grace will try to protect her kids from the others.

With a screenplay written by Amenábar himself, "The Others" is, in a certain way, a ghost story done in a pretty traditional style. Firmly rooted within the Gothic horror subgenre, "The Others" has all the key elements of this type of stories, beginning with the huge mansion in the dark, isolated from society. However, something that separates "The Others" from most ghost stories (resulting from the huge influence it receives from Henry James' classic novel "The Turn of the Screw") is the strong emphasis that Amenábar places on his characters. Certainly, very strange things begin to take place in the Stewart mansion, however, the greatest danger seems to be not inside the house, but inside Grace's mind. Lost in uncertainty regarding the fate of her husband (who was sent to the war), Grace's state of mind begins to suffer the ravaging of a growing obsession with the safety of her children, which gets worse as she face the fact that Anne claims to have seen several strangers in her own house.

The refined classicism of the story is reflected in the style that Amenábar employs to craft his film. Opting for a slow and clam rhythm, Amenábar gives "The Others" an elegance and subtlety in its craftsmanship with recalls Jack Clayton's "The Innocents" (not a coincidence, as Clayton's movie is an adaptation of James' "The Turn of the Screw"). In "The Others", as in the classics of Gothic horror, the atmosphere becomes the most important element, and Amenábar focuses on developing a constant sensation of paranoia and suspense within the dark Stewart mansion. forced The darkness of the house, coupled with the loneliness and the uncertainty generate a mood of constant tension that Amenábar transmits through Grace's eyes. It's interesting that Amenábar, in the psychological focus he gives to ghost stories, rather than showing directly what is happening in the house, he narrates it through the expressions of his characters, particularly Grace. So, her eyes become true windows that allows us to gaze into the deep darkness of her mind.

As can be seen, Grace slowly becomes the center of "The Others" and, being this a film where the characters' psychology is so important, the performances by the cast become of enormous importance. Fortunately, Australian actress Nicole Kidman shows to be up to the challenge and delivers one of the best works in her career. Certainly, there are moments where Kidman shows a bit of a tendency to overact a little, however, in general her performance as Grace is charged with a restrained intensity that effectively transmits the fragile state of mind that her character has. As the mysterious Mrs. Mills, Fionnula Flanagan delivers an excellent job that serves as the perfect counterpart to Kidman's, establishing herself with a strong screen presence. Eric Sykes is a bit less fortunate, though his work as Mr. Tuttle isn't any bad. The film's surprise comes from the young actors Alakina Mann and James Bentley, whom deliver performances of great quality as the Stewart children, who try to live a normal life despite their disease.

Without a doubt, a lot of the ominous atmosphere that Amenábar creates in "The Others" is thanks to the excellent work of cinematography done by the veteran Javier Aguirresarobe. Taking great advantage of the darkness that reigns in the Stewart house (as the characters are afraid of sunlight), Aguirresarobe plays with shadows and sources of light to give a supernatural beauty to Amenábar's film. And yet, the technical perfection of the movie never overshadows its story, which is a wise choice by director Alejandro Amenábar, whom despite playing with several of the genre's classic conventions, never loses the focus on his characters. Amenábar makes an intelligent and honest film that without big pretensions, dwells in its characters' psychology without cheap devices and keeping true to the genre. While the film could be accused of being a tad simplistic (especially when compared to Amenábar's previous film, "Abre los ojos"), what Amenábar achieves in "The Others" is to take a very traditional kind of horror story to a nearly sublime artistic level.

Certainly, "The Others" is often noted by the final plot twists of its story, in the sense that it seemed as if the movie was a mere excuse to employ that twist. However, "The Others" is a lot more than a surprising plot twist, as just like the best films with this kind of endings ("The Usual Suspects" or "The Sixth Sense" for example), the twists is not the reason for the film's existence, it's just the icing on the cake that crowns a pretty satisfying story. That is, even when knowing the nature of the twist, the film doesn't lose a bit of its strength. And this is because Amenábar doesn't have this final twist as his only card, he begins to build a fascinating and engaging plot that gives good use to the best elements of the Gothic horror subgenre and makes a work of art out of them. A true heir of Clayton's classic film.

10/10
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