Oddtober 2024: I Always Feel Like Somebody’s Watching Me

When I was a little girl, maybe seven or eight years old, I watched a movie on television that affected me deeply. I’ve discussed some of my very specific fears before on this site and interestingly all of them were provoked by media and not some innate fear common to children. For example, I get very antsy around people wearing full-face masks or too much makeup, and that was the result of being terrified by an Alice Cooper tour commercial I saw when I was very young.

For all that it scared me, this is actually is a very sad film.

The fear I want to discuss here developed after I watched the film Bad Ronald. Have you seen it? It’s a made for TV film adapted from a novel by author Jack Vance and it absolutely messed me up. The plot of the film is that a divorced mother who suffers from mental and physical illness, has raised her with the hopes that he could become a doctor so he can cure her sickness. Her teen son, Ronald, is awkward and an outsider at school – kind of like a male Carrie but without telekinesis – and one day he decides to ask a girl out on a date. She declines and laughs him down. Later her younger sister mocks Ronald, who pushes her so hard on the ground that she suffers a fatal head injury. After racing home and telling his mother what happened, she decides to cover a door with wallpaper and essentially walls Ronald up in the house so the police can never find him. Seclusion causes Ronald to descend into a fantasy world where he is a prince who is going to protect his princess from an evil intruder. Then his mother dies and the house is sold, unaware that Ronald was living in a hidden room. The new owners have three teen daughters and Ronald decides one of them is his princess and that an older boyfriend is the evil intruder and things go bad but ultimately the only other death is a nosy neighbor who is literally scared to death.

Clearly Ronald never crept into the shower.

For the record, it is not a good movie. Not the worst movie made in 1974 but arguments could be made that it belongs on some sort of “worst of” top ten list. It also stars Scott Jacoby, who was also in The Little Girl Who Lives Down the Lane, an early Jodie Foster/Martin Sheen film that also involves a hidden cellar entrance and a creepy man who accesses the house.

Ronald becomes filthy and creeps around the house at night, eating food, stealing family items, watching the family sleep, all while still living in his dream world of himself as a prince trying to protect a princess from harm. The images of him emerging from the dark, dirty and deranged, spying, stealing and moving things around, affected me and eventually every time I heard something creak in the house, I would freeze in fear like a squirrel who sighted a hawk. I began to develop the idea that someone was creeping around in the house between the walls, which would be impossible with the crappy little 1950s house we lived in. I even intuitively understood that we did not have the sort of house that could provide enough room for an intruder to skulk between the walls, but I still could not shake the fear that every time I heard something or felt like something had been moved without me touching it that someone was in the house, stalking me.

This specific fear was cemented during a two month period when both of my parents were working night shift. I was in the third grade and had to be alone in the house from the time I got home from school until my father arrived home after midnight (my parents were broke and had interesting perspectives on child rearing plus we had no family in the area, so don’t think too badly of them). Add to it that at the time we didn’t have phone service, and I spent a nice chunk of time absolutely terrified.

This scenario is somehow still less upsetting than Bad Ronald creeping around the house.

It faded over time, but the fear of someone being in the house would remain a thought in the back of my head until my mother and her new husband moved into a far less ramshackle home. However, even living in a place that made far less noise didn’t eliminate the fear entirely. When Wes Craven’s The People Under the Stairs came out, it revived the fear and twisted it into a generic fear of someone being in the house. Given who I am, when the movie cycled over onto cable, I watched it every time I could. The titular people under the stairs were portrayed as monsters, but they were made into monsters by their captors and ultimately were forces of good, but the idea of ragged, abused people living under my nose without me knowing, was just another wrinkle in the same “someone’s here and watching” cloth.

Then, god help me, I read about the Lalaurie case. Whether or not the details are all true, the accepted story is that Delphine Lalaurie, a demented slave owner in New Orleans, was experimenting on her slaves, chaining them throughout the mansion and performing ghoulish experiments on them that sound as if they were straight out of Nazi research or Unit 731. A fire broke out in the house in 1834, allegedly started by a slave who was chained in the kitchen and was hoping to draw attention to her plight, and the fire brigade discovered the horrific torture chambers. The abuse was so egregious that even during Plantation era slavery in Louisiana, people were appalled and stormed the house, but Madame Lalaurie was able to escape and is believed to have fled to France. No one had any idea she was doing this, torturing, maiming and killing slaves right under the noses of her neighbors. I’ve often wondered if the Lalaurie case was partial inspiration for The People Under the Stairs.

I did not develop a phobia or fear from the Lalaurie case and a Wes Craven film, but the essential premises linked my brain back to Bad Ronald: there may be a hidden place in homes where deranged people are living, or, worse, being harmed. But mostly I forgot about it because I had student loans and the Internet had not been invented yet.

Enter Reddit.

I cannot recall how many times people have found a hidden space in their homes that someone had been living in, or found evidence of someone living in an attic or cellar. Sometimes families lived in those homes for years before discovering someone had been creeping into their house without them knowing, doing god knows what while they were sleeping. When we bought our house, luckily we purchased a more modern built home that is essentially cardboard held together with wall putty but lacks a basement and the only place someone could hide is, interestingly, under the stairs, but we’ve been in and out of that space making repairs over the years, so I know no one is there. Plus an adult male who seldom leaves me alone at night lives here so when the cats do something that produces creepy sounds, he can go and check on it. Also I’m sort of an adult now, and can permit the adult part of my brain to drive me around these days. I still am extremely uneasy when people wear scary masks or wear corpse paint apropos of nothing but I’m not afraid of them. I just wish they wouldn’t. And this is similar. It was never as closely as held a fear as my mask/makeup issues – it’s just something I remember viscerally when “triggered.”

But every now and then, I see something like this and I feel that same sort of chilly creepiness that I experienced the first time I saw Bad Ronald.

Even though this video is fake, it’s still so horrifying I have to include it here. An aspiring actor hoping to go viral concocted this video of a woman living in the crawlspace over his apartment. The premise: he set up the camera because he’d noticed food and things going missing. This woman was descending into his apartment at night, eating food, watching television, and even urinating in his kitchen sink. Because I also have a germ aversion (caused by the same house I lived in when Bad Ronald warped me, a shit heap if there ever was one), the idea that someone could creep around at night and pee in my sink is just too much to think about.

There are a shocking number of videos about this sort of thing happening on YouTube and I am unsure how many have been debunked. It almost veers into the supernatural, thinking about how someone can creep around your home, creating their own home while you sleep or are away, and you never know it until you set up a camera after noticing things going missing, or remodel the house and break through a suspiciously thin wall, or get norovirus repeatedly because a stray human keeps urinating in your sink.

All in all, I have remarkably few genuine fears for someone this neurotic but this was one of those times when the fear that plagued me as a kid actually manifested for other people in real life. But I’m also proud to announce that I watched The People Under the Stairs on Shudder last week and was able to reminisce about my weird childhood rather than force Mr. OTC to search the house top to bottom when our stupidest cat fell off a shelf into the laundry bucket at three A.M.

Tell me about the weird thing that scared you when you were young. Was it the result of unmonitored television time? Did you grow out of it or did it get worse as you got older? Let me know!

10 Best Revenge Movies Written by Women by APac

I ordered this ‘zine recently because it was bundled with some interesting horror film ‘zines, but I am a sucker for these sort of top ten lists because I generally end up with at least a couple of pieces of new media to check out.

There are so many revenge movies that have female protagonists who seek vengeance for terrible things done to them, notably I Spit on Your Grave, The Brave One, and Ms. 45. I tend to thinkCarrie is as well. However, those films were directed by men and this list focuses on those directed by women, which ensured I would find a few films new to me.

Of the ten films, I have seen only three. One is Prevenge, directed by comedian Alice Lowe, which features a pregnant heroine seeking to kill those whom she holds responsible for the death of her romantic partner. I enjoyed it quite a bit, so much so that I watched it three times. My favorite scene is when the protagonist and one of her future victims burst out singing Nik Kershaw’s “Wouldn’t It Be Good.”

Another is Violation, directed by Madeleine Sims-Fewer. I really disliked this film because I disagree with the essential premise. Should a perpetrator who misinterpreted sexual signs, who believed he had consent, be tortured and brutally slain because he got it wrong? None of this was helped by how unlikable the heroine was, because her behavior was so unpleasant that I almost walked away with the belief that she wanted to destroy her sister’s happy life and succeeded in spades. I’m not condemning her by implying she is a “bad victim” but rather stating that her aggressively sexual behavior with her partner and overall behavior with her sister made me think initially that she seduced the man she killed so she had an excuse to kill him. When we saw her perspective later and realized she did feel violated, I was surprised, which points in the direction of inconsistent characterization. If you loved this film, tell me why because I don’t get it but am willing to see other points of view

The third is She-Devil, directed by Susan Seidelman. This is one of the worst films ever made, taking a very serious novel with well-used black humor and turning it into a terribly unfunny slapstick comedy starring Roseanne Barr, Meryl Streep and Ed Begley Jr. I suspect the semi-positive reviews were down to Streep’s presence in the film. However, it was a delight finding it on this list anyway because the screenplay was “based” on the novel The Lives and Loves of a She-Devil by Fay Weldon. Though I have not reviewed any of her work on this site, I’ve mentioned her often, and it was painful seeing her work so terribly degraded because I am serious when I say the film adaptation sucks a’plenty.

Excuse me as I begin to go off on another tangent somewhat unrelated to the ‘zine in question.

But the book the film was based on is resplendent. No one handles revenge better than Fay Weldon did. In fact, critic Regina Barreca included Fay Weldon’s work in Sweet Revenge: The Wicked Delights of Getting Even. It would be a near-book length entry to discuss the things that happened to Weldon that caused her to seek revenge in her often autobiographical  books, but she took some outrageous slings and arrows of fate and turned them into amusing, startling and provocative books. In the actual novel, Ruth, the fat and unattractive protagonist, loses her husband Bob to a beautiful romance novelist, Mary. Mary schemes to break up the marriage and succeeds and Ruth disappears with little more than the clothes on her back. She spends years making connections, earning money, and setting the stage for her ultimate revenge. Brick by brick, she disassembles Mary’s perfect life via her behind the scenes machinations and the coup de grace was several years of surgeries that left her looking identical to Mary. She even had lengths of her leg bones removed to reduce her height. Looking exactly like her defeated rival, she swoops back in to regain her husband who has been so broken by events that one is not sure if he understands he is now with Ruth, and we leave the novel wondering how much Bob is going to suffer for his callous cruelty and abandonment of his loyal wife.

Snerting at two of the three films in this ‘zine isn’t a slight against the list or those who compiled the list. Though these films are touted as the “best” ten revenge movies directed by women, the fact is that there are not that many films that meet the criteria. There are a couple of films on the top ten list I want to see, namely Promising Young Woman because I initially thought that it was based on the Caroline O’Donoghue novel, Promising Young Women. It isn’t but I adore Clancy Brown and the reviews seem good so I am eager to check it out. There are others in there that seem worth watching but I won’t spoil things further and instead encourage you to check out these ‘zine makers.  I will be discussing another ‘zine from APac for Oddtober.

Though this list didn’t necessarily ring many “best film” bells for me, the creators took the time to  search out films that weren’t immediate ringers that many have seen. I know they were trying to present more obscure films because they placed three of the most famous revenge films women directed in a sort of “honorable mention” list. I’ve definitely seen Baise-Moi, Monster and Jennifer’s Body, and excluding them ensured I got to know about more films I hadn’t seen. I appreciate the attempt to introduce the reader to something new. Also extremely helpful is a master list of all the movies they considered for this list and I was pleased to see that Carrie 2 was on it.

And I really appreciate the opportunity to redirect people from the terrible She-Devil to the darkly delightful Lives and Loves of a She-Devil.

I Got That B-Movie Autism by @frankenart13

Mirabelle loves to curl up with a good ‘zine.

It’s a small relief to discuss another single-page ‘zine after Chris Mikul’s much longer, research-heavy ‘zines.  I Got That B-Movie Autism is the work of an artist who goes by the moniker frankenart13 across various social media platforms. I really enjoy little ‘zines like these. They are artfully folded, reminding me of passing notes in school or carefully constructing cootie catchers so my friends and I could hopefully determine who we would marry or if we would be rich when we grew up. There is an interesting intimacy to these small ‘zines that draw me in, and I have a lot of them. I hope to one day find all the ‘zines I’ve stashed all over my shelves and stuck in drawers and behave as if I am collecting these little ‘zines rather than haphazardly accumulating them.

This ‘zine has a very specific mission:

If you’ve ever wanted to be recommended 3 obscure and amazing cult movies by an autistic queer dude, then this is the zine for you!

The three movies Frankenart13 wants to share are Reanimator, The Devil’s Carnival and Repo! The Genetic Opera, and I won’t spoil why he wants to recommend them in case you want to buy a copy for yourself.

I will, however, note that The Devil’s Carnival and Repo! The Genetic Opera are both directed by Darren Lynn Bousman. I enjoyed both films when I saw them, years ago, and had no clue who directed either, let alone that it was the same man, though it shouldn’t be surprising because the two films are clearly siblings with similar aesthetics and style.

I  know about Darren Lynn Bousman because I became very interested in the Saw franchise last spring. With the exception of Saw 3D, also known as Saw 7 (because, shockingly, it was the seventh Saw film in the series) and Spiral, I found all of the Saw movies strangely compelling and compulsively watchable. I had dismissed the films as being little more than torture porn, and in a way they aren’t much more than that, but the character arcs, the plot twists and the grimy visuals ensured that even when the films were bad, they were still sort of good. I found myself watching tons of YouTube videos about the franchise, ranking the best and worst traps, best and worst deaths, best and worst characters, etc.

Saw II, Saw III and Saw IV were directed by Darren Lynn Bousman. Chris Rock brought him back into the fold after seventeen years away for Spiral, which was the worst film in the franchise, in my opinion, and I am unable to express exactly why it didn’t hit me the same way the other films did. Others tended to agree with my puzzled dislike. But Bousman’s miss was offset by Saw II, a film that some horror aficionados consider the best horror sequel ever made. They may be right, as I can’t currently think of a sequel that was as good as or better than the first movie. Saw II was pretty good, with interesting character development, some really grody traps (Shawnee Smith in that needle pit…), and some excellent twists. Bousman is a director with a very specific style that I never would have associated with The Devil’s Carnival or Repo! The Genetic Opera. I want to rewatch both and then rewatch Saw II for the umpteenth time and see if I can pick out details that are Bousman-like in all three.

Not all ‘zines will cause this cascade of reaction but it’s always fun when they do. This ‘zine is, in the end, just a piece of artfully folded paper but because of it I’m likely going to spend six hours watching films in a search that has nothing to do with the original content presented in I Got That B-Movie Autism. Good times!

Catsploitation: A Zine Celebrating Horror Fans & Their Cats

It’s interesting how many of my more recent ‘zine purchases are strangely sweet. During my own ‘zine heyday back in college and shortly after, most of the ‘zines I purchased were decidedly dark. I know there were some very sweet ‘zines available during that time, but I guess I didn’t come across them or I myself was in a place mentally and socially wherein I sought out harsher fare. The ‘zines I have bought in the last ten years have strands of cuteness or charm that run through them. I have some darker ones to share this month, but I guess what I am saying is that it may be true that we mellow when we age.

Today’s offering is the amusing Catsploitation from 2017. I do not recall where I got it, but it’s published by a guy named Matt and you can contact him via catsploitation@gmail.com. Insanely, again the only place I could find to purchase it was on Etsy and it was awesome to see that there is a part two and a part three available. The first and second editions are only available in digital form, but part three, which is devoted to black cats, is still analog and I bought it as soon as I saw it.

Black cat lying on an orange and blue blanket, with a purple 'zine next to her.
Clio’s expression tells me she knows the black cat edition is on its way and I better have a salmon Churu waiting after her next photo shoot.

 

 

This ‘zine is one of those “my people” ‘zines. You pick up the ‘zine, flip through it, and realize you are among your own kind.

Catsploitation contains photos of horror lovers and their cats, next to interview questions they answered. I think the best way to illustrate what I mean is to reproduce the main questions and answer them myself.

Your top 5 favorite horror/cult movies: Near Dark, Dark Song, May, Halloween, Beyond the Mask: The Rise of Leslie Vernon (Saw franchise and Pan’s Labyrinth are close behind them)

What horror title best describes your cat(s): Clio is the most endearing, silly cat and I can’t think of a film with a horror plot that features a beautiful young woman with a five second attention span who is always ready to sit on your shoulder.

Calliope can best be described by As Above So Below because she mirrors her sister when they sit on a cat tree, occupying the space on the level directly under her. Clio on top, Calliope right underneath, in the same pose.

Pretty Polly Puddin’ Pants is easily described by Drag Me to Hell because that’s what you feel is happening to you when she uses the litter box.

Boo Radley is best described by It Follows because he is always right behind you.

Mirabelle embodies The Lurker because she’s often around corners, peering at you, watching your every move.

What iconic horror villain does your cat act like: Clio is most like Dracula as played by Nicholas Cage in Vampire’s Kiss because she is insane and likes to eat bugs.

Her sister Calliope is most like Michael Myers from Halloween because she never speaks and seldom makes any noise.

Pretty Polly Puddin’ Pants reminds me of the very elderly vampire in the movie version of What We Do in the Shadows because she is old and wants to be left alone.

To Kill a Mockingbird is not a horror movie but needless to say, Boo Radley reminds me of Boo Radley, who isn’t a villain but still…

Mirabelle doesn’t really act like a horror villain. She’s just a tiny little calico cat who really likes treats. If there is a female horror villain who is cute and aloof and adheres to a rigid snack schedule, then that’s who she is like.

What do you think the connection is between loving horror (movies/art) and loving cats: I think cats are perfect little murder machines. They play with their prey before killing it. They even kill just for sport. They are fast, sleek and you can often be alone with a cat in a room and not know it is creeping up on you until it jumps up and hogs the blanket. They can tiptoe across a dresser without moving a thing. Were cats human and humans their prey, we’d all be dead. But they aren’t. They’re furry creatures we can smooch on the head and dress in little hats, and there’s something heady about having these little murder muffins purring when you feed them and curling up next to you for a nap. It’s like owning chaos.

I hope there is a Catsploitation 4 in the works and I also hope Matt sees this and invites me to participate. But until then I will cherish my copy of number three when it comes in. Clio can nap easy… for now.

Election Day Special: The Hunt

Tuesday, November 3, 2020, is going to be a hell of a day.  I despise talking about politics because the only discussions less useful to intelligent discourse lately are forays into conspiracy theory.  But I think I have a perfect way to express the angst, fear and disgust many people have felt when they realized 2020, a year with numbers that represent perfect vision and clarity, was descending into chaos, sickness and violence while those in power exploited the chaos, sickness and violence.

Enter The Hunt.

The conversation about this film gets derailed frequently. Due to release just after the horrific mass murders in an El Paso Walmart in August 2019, The Hunt’s opening was delayed after President Trump and right-wing pundits like Laura Ingraham insisted the film’s goal was to inspire partisan violence against conservatives.  The film’s opening was delayed until late September 2019, then again until March of 2020. It opened right before Covid-19 caused theaters to shut down in the USA. Not many people got to see it on screen, but those who did found the film uncomfortable viewing.  Leftists were angry that the liberals in the film were such assholes.  Those on the Right were angry that the conservatives in the film were such assholes and also felt that the asshole liberals were coded as conservatives.  That, my friends, is a pretty good sign that this is a film that may show you some uncomfortable truths about class, politics, objective and subjective truth, and what happens when the schism becomes all anyone can see.

If it makes you uncomfortable, interrogate that feeling.

Here’s a brief synopsis of The Hunt, and there will probably be spoilers (I don’t think you really can spoil a film like this, but step wisely if you prefer to go into films utterly tabula rasa): The Hunt is a riff on The Most Dangerous Game, humans hunting humans, but this time it’s personal.  A cadre of elite liberals, very wealthy elite liberals, made a dumb joke in a group chat.  One of them spoke of shooting “deplorables” in a hunt, and the others reacted in a tongue-in-cheek manner.  This chat got hacked and released to the public and conspiracy theorists took it seriously.  The elites eventually lost their jobs and decided to track down some of the most virulent proponents of the conspiracy theory and kill them in a hunt, making the conspiracy theory real after the fact.  Conservative and conspiracy theory caricatures were kidnapped, flown to an estate in the Balkans and killed. The last woman standing is Crystal May Creasey, a lower-middle class blonde with a thick Southern accent. The mastermind behind The Hunt, a woman named Athena, researched the prey she and her peers would hunt, but got it very wrong with Crystal.  Athena kidnapped the wrong Crystal Creasey, not knowing the Crystal behind the social media accounts talking about The Hunt spelled her name “Mae.”  That mistake costs her and you need to watch the film if only to see the final confrontation between Athena and the wrong Crystal.

Athena and her comrades in arms are extremely wealthy and very white, with the exception of one Arabic man who is their token minority. They are wealthy in a way that makes them part of the 1%.  They are so wealthy that losing their jobs means little to their overall net worth as they are able to charter airplanes, pay off staff who fly them around, rent entire compounds for weeks, hire a military advisor to help them train, etc. Their absolute privilege fuels their rage at the mostly blue-collar advocates of the conspiracy theory.  How dare those “deplorables” interfere in their lives in such a way? They must be taught a lesson, an individual lesson that results in their deaths. They messed with their “betters” and that cannot stand.

Liberal discomfort at watching these caricatures is interesting.  Athena and her cohorts get very upset over language – while hiding bodies in a back room at a fake general store and gas station set up to catch anyone who escaped the compound, one older married couple argue over whether or not “black” is an appropriate description for human beings. They come to the conclusion that “African-American” is the only polite term, no matter what NPR has to say about it because NPR employs mostly white people. They have no problem policing each other’s language as they literally kill three people with poison gas because they talked conspiracy theory online. Similar conversations happen in a bunker on the compound, as the tiresome elites wait in anticipation for Crystal to return.  When they accidentally shoot a pig named Orwell, their anger at hurting the animal far outweighs any concern they have for the human beings they rounded up and slaughtered.

Oh, and it is a slaughter.  It’s not a hunt. The conspiracy theorists find a box of weapons but the moment they get their bearings in a clearing, they are immediately shot from an enemy they do not know is there, with no knowledge of why they are there and the rules of the hunt. Those who escape instant death are chased into booby traps, tracked with drones, blown up or gassed and the notion of an actual hunt only comes up when Crystal proves hard to kill.  It was never a hunt until Crystal, the wrong Crystal, hunted them.  It was graphic, outrageous revenge against people who had very little power outside of their capacity to talk about jaded and cruel rich people online.

But bear in mind, the people getting shot and gassed and blown up are also distasteful. One of the guys is a big game hunter, posing with animal carcasses like that asshole dentist who lured a lion out of an animal preservation to kill.  One is a hard-core conspiracy theorist who sees a crisis actor in everyone he sees, even babies, and it strips him of any real humanity and makes him an easy target. Another is a dead ringer for Tomi Lahren, so much so that we don’t need much more from her than a couple of sentences because it’s clear who she is meant to portray (checking the name for spelling showed me as I was typing this, the real Tomi Lahren was tweeting and retweeting about the election and evidently wrote a book called Never Play Dead that came out a year after The Hunt finished production and I sense we’ve come full circle, in a way).  And while I don’t like Tomi Lahren, for many of the same reasons I lipfarted at Phyllis Schlafly, I don’t think it will get me cancelled to say that I don’t want to see her kidnapped and her head blown off.  These ringers aside, the rest are just Q-Anon and Pizzagate true believers who never really understood that there were real people on the other side of their accusations, that what they were saying could potentially ruin lives. If they consider that their actions could ruin lives, they feel it was a morally upright decision to ruin those who prey on the weak, even if the basis for such a decision is bad logic and supposition. They just had the bad luck to cross people more motivated for revenge than the Podesta brothers or that dude who runs Comet Ping Pong.

The Tomi Lahren stand-in and the big game hunter may have had some money, but that they are so easily kidnapped and illegally flown into Europe speaks to being far lower on the financial ladder than the liberals who want them dead. This is a class war, pure and simple, and it is based simply on class because the liberals feel it would be terrible to kill any of the people of color who spread the conspiracy theory about The Hunt. It’s an interesting place to stand, to be so attuned to white privilege that one is willing to kill any number of white people who say the wrong thing but utterly unwilling to kill minorities who do the same because that’s just not politically correct.

In the middle of these warring class factions stands Crystal.  Her skills are of a Neo-in-the-Matrix type and her flat deadpan delivery is often far too calm, but in her hyper-aware, violently competent, quiet sense of self, we see the only real human in this film. She may be part of the working class the elites hate, but she was never a part of the conspiracy theory and as an outsider to wealth and conspiracy, she is the only one who can see clear enough to survive.  While the other hunt victims woke with bits locked in their mouths, convening together in the clearing where a large box containing weapons was placed, Crystal was pulling apart her name badge and placing the pin on a leaf in a pond to show her the way north.  She never banded together with the rest of them until she was forced to when other victims found her  – she didn’t even wait around long enough to find out who they were or what any of them may have known about what was going on.  We don’t know her political beliefs.  We know she was in the military and that she had a crappy job at a car rental place.  Beyond that she’s an Everywoman, a stand-in for every person who has watched the world split apart, with loved ones on either side of the divide, tired of the rhetoric, cruelty, entitlement and fear.

The prelude to the final fight is very interesting. Athena’s arrogance and distaste for the messy lives of the underclass is sickening.  She taunts Crystal, reciting knowledge about Crystal Mae Creasey’s sad life.  Parents were meth addicts, life spent in foster care, and that pedigree of poverty and despair to Athena is a sign that Crystal, in some Calvinist assignation of blame, earned her terrible life because she on some level deserves it, that her misery was pre-ordained.  Crystal Mae was scum, she was foul, and she had messed with Athena via comments online and had to die for it.  It’s just a shame that she kidnapped Crystal May Creasey, whom she knew nothing about.

The end of the fight is instructive, showing the way the 1% looks at those who don’t have an MBA and who live paycheck to paycheck.  All of the victims have nicknames the elites use and they call Crystal “Snowball.”  Crystal asks Athena why she called her that and Athena immediately thinks Crystal is asking because she doesn’t have any idea who Orwell was nor had she read Animal Farm.  She begins to pedantically explain it to Crystal, who cuts her off, telling her she understands the reference but doesn’t get the link between her and Snowball.  Athena is visibly shocked that this woman, this woman whose identity she now knows she fucked up, read a book, let alone a book almost every high school freshman in America reads. Athena is so married to her idea of those unlike her being genuinely deplorable that any sign of intelligence in her perceived enemy is shocking.

By the way, I’ll be damned if I understand the way that this film viewed Snowball, the pig who represented Trotsky and whose death was used as propaganda by Napoleon/Stalin, who bastardized Snowball’s ideas. Perhaps the conspiracy-minded Crystal was Snowball, but the Crystal they kidnapped was not.  More puzzling, Crystal says she thinks Athena is Snowball, and that makes even less sense, unless it is a way to convey that Crystal is going to somehow misuse Athena’s image to achieve some larger goal.  If that is the case, it’s unclear at the end.  And that lack of clarity may be the point.  At the end, education, literary allusion and decent analogy meant nothing – they were all slaughtered like pigs. In that regard, Athena really was Snowball.

This is an uncomfortable movie to watch.  It parodies conservative conspiracy theories and parrots the worst people think about elites who use the lumpen proletariat however they want but tantrum like very pampered babies when the proles speak out of turn.  It shows how impermeable conspiracy theory is to rational or reasonable thought.  It shows how perhaps we are right to be very afraid of those who wield power and have money.  Conservatives thought the immoral liberal elites were a parody of them, and maybe they were.  Liberals really hate the way the elites were more focused on the minutia of civility than the morality of killing people for sport and revenge.  This film shows what incompetent assholes many who are rabidly partisan become, and won’t let us off easy in the end by telling us much about the heroine who outlasted her financial peers and bested her economic betters. We may be far more like Athena or the ersatz Tomi than Crystal.

The days ahead are going to suck regardless of who wins the election.  I’m a liberal, or a leftist – I don’t even know anymore because the labels change online constantly – and I see Athena in some of my own. And I know that though I am far from rich, the intellectual company I keep may make me seem like a pandering asshole to those to the right of me. Enemy lines have been drawn in a way they never have been before and I worry about the days to come.

That’s it.  That’s the end.  I have no great conclusion here. No matter what happens today, restoring our faith in the government, politicians, and even our peers will not come quickly. Maybe watching this film will result in some sort of catharsis but right now it might just feel like the movie gods are mocking us.  Just buckle in and hope your level best that we will one day live in a society wherein it is not so easy to constantly invoke Orwell.

Oddtober 2020: Sinful Cinema Series vol. 5 by Doug Brunell

Book:  The Amazing Mr. X from the Sinful Cinema Series

Author: Doug Brunell

Type of Book: Non-fiction, cinema studies, film criticism

Why Do I Consider This Book Odd: Less odd than disheartening – this book illustrates how it is that being very good at what you do is no assurance you will ever become famous or even well-respected in your craft.

Availability: Published by in 2020 by Chaotic Words, you can get a copy here:

Comments: Doug Brunell has become a staple of my “Oddtober” adventures.  I’ve read a little of his fiction (I read Black Devil Spine and my main criticism was that I wish he’d just let loose a bit more and wallowed in the depravity because he was soooo close to pulling off the most difficult feat a horror writer can achieve – pornographic violence that doesn’t pander) but am mostly familiar with his looks at weird, fringe and/or under-known films.  I hope he keeps updating his Sinful Cinema series until either I or this site dies because I think his work has become the OTC version of It’s the Great Pumpkin, Charlie Brown. You gotta watch Linus out there in the pumpkin patch and you gotta have a Sinful Cinema volume or it just doesn’t feel like Halloween.

I am in a strange place with The Amazing Mr. X because I want to engage in my usual, endless examination, and this film isn’t outrageous like some of the films Brunell has explored. I have had no qualms about spoiling the plots of those films because the plot and characterization took a backseat to the shlock, sleaziness or overall hokeyness.  Few watch Crypt of the Living Dead or The Abductors for plot complexity or interesting characterization and god help those who find such titles and hope that at least the acting is decent.  But Brunell has a gift for seeing the intent behind bad or outrageous films, showing his readers unexpected ways to look at the plots, character arcs that would have been missed among all the stilted delivery and random boob shots, and his biographies of those involved in the films show the crazy ways Hollywood is connected, from the winding paths between sexploitation and Disney franchises to how the name of a small boat that takes a researcher to a vampire-infested, in-bred island can demonstrate the uneasy interactions between rational science and pagan tradition.  Without Brunell, the average film fan might not have ever understood all of these connections and ideas that permeate even the crappiest low budget horror film, and his extraordinary love of the subject redeems films I would have ignored had I known about them.

That is not the case with The Amazing Mr. X. I can see watching this just because.  In fact, I sort of want to watch it with Mr. OTC to see what he thinks of it.  As Brunell notes in his examination, this film has a lot of things that hamper it, mainly the title, which leads one to believe that this is going to be some sort of character-driven science fiction film.  It’s not.  Brunell says it’s a noir film disguised as a horror film and he’s right.  Every actor hits their mark, the plot is a masterful series of misdirections that never seem forced or false, and all the important characters have unexpected redemption arcs that make sense and are not insulting, forcing a schmaltzy and happy ending.

So I don’t want to spoil this film.  I think you need to watch it, decide what you think is happening, and then read Brunell’s book.  This film is fairly easy to get hold of.  I watched it on Amazon Prime for free but the film is also all over YouTube.

Quick synopsis: The extremely wealthy Christine was widowed when her husband Paul died in a car crash. She feels his presence still and is having trouble moving on. Her somewhat annoying but adorable younger sister, Janet, wants her to accept an engagement ring from her new suitor, Martin, a likeable guy, but on the night when Martin proposes, Christine meets Alexis, a clairvoyant and spiritualist (who has a big squawking crow as his familiar, a bird whose role in this film was not clear to me until Brunell explained the ending), who knows all about Paul and Martin.  His unexpected knowledge weighs on her until she consults Alexis for help and becomes a regular client of his as she uses his psychic powers to try to reconnect with Paul.  Paul’s memory is causing Christine to become unhinged and Janet and Martin become suspicious of Alexis. They hire a private investigator, who is a former magician who knows all the tricks of psychic con men (a sort of James Randi figure, may he rest in peace), to look into the psychic and, sure enough, he has a file on Alexis.  To make sure Alexis is the man he thinks he is, the investigator and Martin send Janet in as bait to get his fingerprints but Alexis is two steps ahead of them because he is, indeed, a con man. That may seem like a spoiler but it isn’t because the viewer knows Alexis is a fraud the moment she sees him.  But in the end, Christine really is in danger, Paul is the source of this danger, and by the time everyone figures out what is going on, Christine is more or less a second thought as far more interesting characters shape the end.

This film is an interesting history piece.  Filmed in 1948, it comes at a sort of crossroads in cultural reactions and social movements.  Young widows filled with grief at the untimely deaths of their young husbands were not uncommon after WWII, so this movie had a sort of anchor in Christine. But spiritualism was dying off, men like Alexis raising more suspicion than praise, so much so that the film’s title was changed from The Spiritualist. But Christine (and Janet) are wealthy, presumably through their family, leaving them prey to con men, while also showing that they didn’t need anyone to take care of them.  Moreover, Alexis, played by Turhan Bey (who was known as the “Turkish Delight” and once dated Lana Turner but couldn’t marry her because his mama didn’t approve), was shoved into a role that was losing potency.  The trope of women swooning over suave sheik types of men was drawing to an end.  Yet in spite of these issues, from the terrible title to the tired tropes to the lack of a “big name,” the film works.  Brunell speculates that if one big name had been cast, this film would today be far better known than it is.

One of the benefits of reading Brunell’s books after watching these films is that they encourage me to watch carefully, almost training me in film analysis.  I missed the subtext behind the ending, and there were other bits and pieces I didn’t pick up on.  But it’s interesting what I did see before I read Brunell, things I would have missed ordinarily.  For example:

–I didn’t entirely connect the dots but I felt a sort of discordance at first because it seemed like Christine, who was played by the lovely Lynn Bari, was the protagonist of the film.  Why was the film called The Amazing Mr. X if Christine is the lead character?  Well, she isn’t.  Alexis is, and that misdirection is intentional and part of why this film is so clever.

–Janet, who is at least ten years younger than Christine, has a chipmunk voice, appears ditzy and silly, and Alexis is able to ingratiate himself to her by insinuating that she is actually the more mature, more grounded of the sisters. Even Christine scoffs at this but Alexis is not wrong. Janet may be silly but she is not plagued by ghosts of dead husbands with questionable motives, she offers unwavering moral support, and is capable of saving lives when the chips are down.  Christine, who has a sort of Joan Crawford, 1940s remote elegance that often is linked to feminine intelligence, is easily fooled, ridiculously unable to act in her own best interests, and at the end the least interesting character in the film.

–I wondered why I liked the bad guy – Alexis – so much when he was a con man.  Because I’m supposed to.  Again, the director laid out a path I was walking on before I knew I was even walking.

And I picked up on these things because I was anticipating Brunell’s book and what it would show me.  It’s a fun sort of mental exercise, a puzzle that connects my experience to the ideas of someone very well-versed in film while showing me the puzzle pieces that I missed.  For example, Brunell’s discussion of the lighting in the film was fascinating and far outside my wheelhouse.

And though the cast and crew biographies are not as salacious as those in the other volumes of Sinful Cinema I’ve read, they are still very interesting.  For example, one of them was blacklisted by McCarthy.  One was utterly beloved by all who knew him. One actress lost her acting contracts when she refused to divorce her husband at the demand of a studio executive. And all of them, very good at their craft, never achieved the fame they deserved.  Seriously, this was a tight cast.  The weakest link was the detective and even he had decent acting chops.  If you dislike Christine, it’s because Lynn Bari’s performance was deliberate in its attempt to create that emotion.  If you begin to enjoy the Gidget-like Janet, well-done because she’s a character who only seems like a caricature of a chatty blonde until you juxtapose her with the more “competent” female character and realize she’s pretty cool.  (And though you aren’t wholly expected to want to root on Alexis as he cons Christine, if you do find yourself feeling ambiguous about him, you’re in good company because I didn’t want Christine to come to harm, but if Alexis got a few bucks out of her, c’est le vie.)

Brunell’s other four volumes in the Sinful Cinema series focus on more outrageous or fringe fare and initially I wondered if I was watching the correct film because I didn’t find myself falling into the sort of MST3K mindset one uses when watching a film that is notably terrible in some manner.  This is a well-crafted, though certainly flawed film, with an interesting script, good actors, and mystery elements that are always honest, never resorting to uneven characterization or left-turn plot twists.  Yet in its own way its as much an outlier as Crypt of the Living Dead because the cast and crew themselves remained outliers in an acting community that never gave them their well-earned dues, the film itself got lost among other noir films that didn’t mislabel themselves via terrible titles, and this film seems… cursed in a way, including a leading lady who died in a notorious fashion before the film began production, and terrible timing.

I really enjoyed Brunell’s tour through The Amazing Mr. X. It was particularly enjoyable seeing his keen eye take on a film that isn’t mostly boobs, poor acting, terrible casting, and inexplicable plot elements.  It’s great to see unexpected weirdness in more mainstream and conventional fare.  Highly recommended.

Oddtober 2020: WNUF Halloween Special

WNUF Halloween Special is one of the best “found footage” films the horror genre has produced in years, which is kind of grim because it was released in 2013.  It doesn’t really matter if the premise has had every drop of ingenuity and decent story-telling wrung out of it.  If it worked once, why not keep doing it until not even the mafia will finance your film?  Given my dim view of other films that mine this vein, the only reason I selected this film on Shudder is because I was doing mindless chores and wanted some background noise. Five minutes in, I understood this wasn’t just another V/H/S.  So I stopped it so I could watch it later and pay attention, and forced Mr. OTC to watch it with me.  Good times.  (By the way, I could only find this on Shudder and couldn’t find it elsewhere to stream, sorry.)

The premise is fairly simple: The news station on WNUF, Channel 28, in some northern town some time in the 1980s is hosting the “first live on TV seance.” We are watching a VHS video someone recorded of the news program that aired right before the Halloween special, wherein we learn about this little town and all its problems. Periodically, the film fast forwards through repetitive or uninteresting sections, mimicking what we all used to do when we recorded network television back in the day, placing the audience in the role of an active viewer of the tape. Interspersed throughout the news and the later seance special, we see commercials that are so absolutely true to 1980s concerns, mores, cultural issues and consumer habits that it was hard not to cringe at how awful the 80s really were. The program for the seance begins after the news, and the audience learns that a son slaughtered his parents in the house, and a couple who are paranormal investigators, a hapless priest, an oily reporter and a cat find out that the dead should be the least of anyone’s concerns.

The only way to discuss this film is to recount both the plot and the running commentary Mr. OTC and I engaged in, as we were delighted and utterly appalled by how much this film got completely right, balancing perfectly between retro cringe and upbeat nostalgia, lampooning and lauding the 1980s.  I’ll swap back and forth between the plot and the best of the commercials, but know that if I could explore every commercial without writing a novella-length discussion, I would.

The film begins with a fast forward through commercials, some of which are helpful PSAs (“Wait! Stop! Think! There’s nothing sexy about STDs!”) and then the news begins.  We meet hosts Gavin Gordon, looking like a young Fred Willard in a vampire costume, and Deborah Merritt, with perfect mom makeup, wearing a witch hat and a saccharine smile.

First thing they tell us about is the upcoming special with reporter Frank, and make terrible Halloween jokes.  “No, you didn’t tune into the Transylvania Public Access station,” Gavin says.  Then they give a rundown of the evening’s news stories: a religious organization is praying for the end of Halloween because Satan is bad, the ads in the governor’s race are getting dirty, and they announce Frank Stewart is going to take us along as he traipses through a murder house.

***

Mr. OTC: Did you see that smile and little shrug she gave him.  You know that wasn’t on the cue cards.  He’s ad libbing and she hates him.  I bet he even bounced the whole Transylvanian cable access joke off her beforehand and she told him she’d strangle him if he did it and he did it anyway to piss her off.

Me: Really?  I got the impression those two are having an extramarital affair.  That’s weird sexual tension, I think.

Mr. OTC: No reason it can’t be both.

Happy Halloween!

Well, I had intended to follow up yesterday’s entry about the WKCR radio broadcast hijack with some new information I found about the names uttered in the chant in the audio clip.  I have, predictably, fallen down a rabbit hole.  Like I think maybe I’ve solved the link between the names but need some more time, or I’ve hit the bottom of an empty rabbit warren and need to dig my way out, probably filled with shame at my hubris.  We’ll see.  Once I know which way it’s going, I’ll post about it.

And that’s kind of a lame way to end Oddtober 2019.  But hey, I’ve written about a lot of weird crap over the years and I seldom do revisiting compilations so I feel like maybe I’ll just link to some of my lesser seen odd/creepy/horrific entries and get back to listening to a weird audio recording that reminds me I have tinnitus every time that bell rings.

But anyway, read away and enjoy your day!

Murder/Serial Killers

The Nutshell Studies of Unexplained Deaths

Thirteen Girls

The Postcard Killer: The True Story of J. Frank Hickey

The Paranormal

Darkness Walks: The Shadow People Among Us

How People Who Don’t Know They’re Dead Attach Themselves to Unsuspecting Bystanders and What to Do About It

Aliens

Abducted: How People Come to Believe They Were Kidnapped by Aliens

The Cryptoterrestrials

Horror or Unsettling Fiction

House of Leaves

Drujika, Contessa of Blood

The Cannibal’s Guide to Ethical Living

Ruthless: An Extreme Shock Horror Collection

Necrophilia Variations

Dust

Horror Films

Only Lovers Left Alive

The Bunny Game

Places and Personal Stories

Ben Thompson’s Grave

Slave Cemeteries

The Liberty Hill Witch Grave

Baby Head Cemetery

The Mom Ghost

The Abductors, #1 in the Sinful Cinema Series by Doug Brunell

Book: The Abductors: Sinful Series 1

Author: Doug Brunell

Type of Book: Non-fiction, cinema review, film history

Why Do I Consider This Book Odd: Because the film is a huge, steaming pile of horse shit but Brunell’s love and enthusiasm for this type of grindhouse/sexploitation genre actually made me second guess my initial reaction.

Availability: Published by Chaotic Words in 2016, you can get a copy here:

Comments: Jesus Allah fuck, this is a terrible film.  I’m not going to say you in particular would hate this film because a lot of you have weird tastes or you wouldn’t be reading here in the first place. Also, if you mute it so that you are not subjected to appalling dialogue delivered by people who probably would have been better used in outright porn, there are some interesting things going on. For example:

–If you are tired of seeing buoyant, surgically enhanced breasts, the natural boobs in this film may be just what the doctor ordered.  Additionally, people tired of the PAWG trope will delight in the mostly flat, often saggy butts found on the women (and men) in The Abductors.

–How do you feel about pubic hair?  Fans of the bush will love this movie.

–Do you have strong opinions about hairy chests on men lacking even the 1970s Burt Reynolds version of muscles, who look hilarious when they get handcuffed to trees?  You are in luck.

–Do you harbor unresolved and unsettling feelings about helicopters, especially when you see them flying low over trees or landing on lakes so small you sense that they received a fine for even trying to land, let alone trying in the dead of night? Take this film to your therapist.  It could be key in your recovery.

–Have people told you that if the Olympics had a “cringe” category, your grimaces could bring home a gold medal?  Do you need practice covering up second-hand embarrassment so that you can endure your Uncle Jack’s casual sexism as he gets drunk at Christmas dinner?  Consider this film your training camp.

So it’s clear that this is a bad, bad film.  And that’s okay.  Without bad films we wouldn’t have had Mystery Science Theater 3000. The bad film has its charms, and Doug Brunell has such a keen eye and sympathetic take on the genres that bring us terrible films that if you read his books after you watch the films he discusses, you can genuinely find yourself wondering if maybe you got it all completely wrong.  To be completely frank, you probably won’t find much in Brunell’s writing that redeems this film, nor does he serve as an apologist for bad cinema (he refers to this film as being part of a “sleaze saga”). Rather, he accepts films as they are, discusses the times that spawn such films and the career arcs of the people involved. He recognizes the film’s many (many, many) flaws, but he also has such a great knowledge of genre, the specific cinematic tropes at work when older schlock was released, and the various ways filmmakers attempted to subvert those tropes, that the background he gives as he discusses the movies is the price of admission for the Sinful Cinema series.

And to be blunt, there is charm to schlock. For interior designers, it’s the Memphis Group.  For bibliophiles, it’s the “so bad it’s good” that writers like Richard Laymon and VC Andrews bring to the table. What would bad music discussions be without The Shaggs and Jandek?  When you read Brunell’s take on schlock films, you see the charm.  Whether or not the charm works on you is subjective.  But when you read Brunell’s work, objectively you see how one bad movie’s reach can extend into cinema you’d never expect from a sexploitation film.  Brunell sees how it is that the worst can be a link to the best, or maybe just a link to something that isn’t quite as bad. His knowledge and love of the topic are infectious, so much so that I actually sat through the whole of The Abductors so I would be assured I could follow his book about the film.

Quick synopsis: This film is the second in the “Ginger” trilogy but if Doug Brunell doesn’t write a book about the other two films I’ll be damned if I watch them.  So the plot is simple: White slavers are kidnapping women to sell to men who can blow $100k in 1970s money on cheerleaders taken hostage and “trained” to be excellent companions for really old men who wear Sansabelt slacks and live in a split-level home with orange shag carpet. After a convertible with three witless cheerleaders is run off the road, the three women kidnapped, a private investigator calls in Ginger, a woman who may be a spy, may be a detective, but never wears a bra, to help him.

(Honest to god, the first time we see her in street clothes, she is wearing a cropped denim vest with no buttons or zipper and no top underneath.  Later when she tries to seduce a bad man who unties her bizarre top that looks like the old Dallas Cowboy Cheerleaders’ tie uniform but as imagined by Fredrick’s of Hollywood and made by a hippie who learned to crochet in rehab, she takes forever to retie it and when she does, she ties it with her boobs outside of the fabric.  She spends a lot of time topless or naked. Oh, and I remember this most clearly: the credits say “Chantilly Place” provided Cheri Caffaro, the lady who played Ginger, with all her “knits.”)

Together Jason, the private eye, and Ginger manage to track down the slavers by recruiting a pretty private eye and having her swallow a pill of some sort that allows them to track her for up to 25 miles. But before this happens, Ginger gets involved with a pudgy dude who looks like Steve Majors but isn’t (the scene where he dances with Ginger in what appears to be the courtyard of a rest home for geriatric hotel band members is cringe-gold – she’s actually got maracas). Pretty private eye gets kidnapped by slavers, Ginger watches her be relocated on a helicopter on pontoons, and is so upset she befouls a white shag carpet with like-Steve-Majors-but-isn’t and dun-dun-DUN, afterward he takes her hostage because SPOILER ALERT: he’s the head slaver.

Predictable stuff happens – all the men involved are dumb and will spill any number of beans if you show them boobs or grab their dick. Sex is had atop a pool table. An enormous henchman who “trains” the girls gets kicked in the crotch by a girl and then kicks her in the crotch in response (his name is weird and I cannot recall it now but Mr. OTC and I called him “Jablowme”). A woman gets gut punched, sexual torture is implied, but it all ends well when Ginger escapes and gets all the information she needs out of like-Steve-Majors-but-isn’t by, and I shit you not, restraining him in a shower, spraying him with water from the shower head and soaping him up.  He is utterly undone by the water spray, begging her not to spray his chest anymore.  Brunel actually manages to discuss this scene in a thoughtful manner that never would have occurred to me.

The three kidnapped girls end up really liking the men who bought them and stay with them. Ginger and Jason are nearly shot by a banker’s desk guns, but good prevails, the end.

The biggest problem with the film is that no one can act. Ginger speaks only in double entendres and they are delivered with a flat, smirking dullness. The men are all dumb or speak in gangster-ese. Every man seems like he’s dressed like a leisure-suit Harlequin, all the women have their nipples exposed at all times, and what is represented as the height of luxurious domestic decadence would need to be fumigated to qualify as a modern Motel 6.  The abducted girls only speak when they are introduced to the used car salesmen who purchased them, asking them innocent questions over dinner, wondering how they will be able to explain to the neighbors that they are sex slaves.  But the plot, oh the stupid plot, and the acting, tend to make all the excellent cheese turn into something that is merely cheesy.

Most notable is how difficult it will be for modern audiences to stomach this film.

This 90 minute film is sometimes a chore to watch. Bad acting, inexplicable costume and hair changes in the middle of a driving scene, and the idea that all women need is either a skilled lover or to be raped in order to “break” them all work to erode the average viewer’s patience, tolerance and sanity. Watching young women’s breasts be groped and twisted as they are told they are about to be tested for their sexual skills is something rarely seen in current non-pornographic, semi-mainstream or mainstream films, though it was a bit more common place in the daring ’70s.

But applying current mores to an old film should only be done when one is comparing the changes, not condemning that which is outdated for being outdated.  Brunell doesn’t do that and his refusal to condemn these films for their lack of PC content is refreshing.  He actually reproduces a couple of lines from an Amazon review that remarks that this film is an affront to all that is politically correct.  But placing the film in the context of the time when it was made, Brunell points out that while the film is sexist, even as it tries to make Ginger into a badass investigator/spy who can kick ass and suck cock and always solve the case, it is notably lacking in the casual racism that was part and parcel of the sexploitation and grindhouse film industry.

And because he has watched all three Ginger films, Brunell can sincerely explain how this film is an improvement upon the first, that Ginger has a character arc that was as important to the filmmaker as showing her boobs in every scene.  I think that’s important to know, that underneath it all, goals were set and achieved and that some people may have actually improved their acting chops. This was someone’s artistic vision – they were trying very hard to make a good movie.

The best part of Brunell’s examinations of these films is his look at the people in the films and where they ended up.  He has an interview with Jeramie Rain, who played “Jane,” one of the three abducted cheerleaders (she’s the one with the short dark hair, which naturally means she’s the one who was best suited to be a dominatrix, hilariously beating the bed next to her new owner with a double-coiled black whip). Rain is very notable for her role in The Last House on the Left, the Wes Craven film that fucked me up so badly that I will never forget Mari’s near-pre-Raphaelite death scene, her hair spreading out into the water as she dies.  Rain plays Sadie, the psychopathic moll who delights in the violence her male friends inflict on the girls they abduct.  Rain has some interesting stories about the film.

Brunell also notes that future porn actor Harry Reems, from Deep Throat, has a role in this film of the “blink and you’ll miss it variety.” Best of all, he shows the direct line from the director of this sleazy and unintentionally hilarious film to a lucrative Disney franchise. The cast info at the end of Brunell’s books never fail to surface some WTF details that show how small the entertainment world really is.

So what I am trying to say here is that this is a terrible film and you should only watch it in conjunction with Brunell’s Sinful Cinema series.  The worst film has to offer is often swallowed easier when you have someone who is knowledgeable in the genre, both sympathetic to and willing to discuss with humor the film’s many flaws, and able to write about it all in books that inevitably are better than the films that Brunell examines.  I highly recommend you check out Brunell’s work.

And yeah, this is more Odd than October, but maybe if you watch The Abductors, you’ll find the perfect Halloween costume.  Seventies banker, hot pants cheerleader, plaid-suited sex lord, or maybe you can just walk around naked like Ginger did. All you’ll need is a platinum wig!

Thanatomorphose, Oddtober 2019

Film: Thanatomorphose

Director: Éric Falardeau

Type of Film: Body horror

Availability: Released in 2012, you can get a copy here:

Comments: I’ve shared more than once that I sit on the OCD spectrum.  I specifically struggle with dirt, grime and germs – basic contamination obsessions.  While the obsessive element of contamination fears will likely always be at the back of my head, the compulsive element seems better in check these days.  I can get a little tense if things get dusty or if the cats have been shedding or puking a lot, but I don’t really find myself wanting to crawl into the vents to scrub them with a tooth brush anymore. Over the years I guess age and a good pharmacological combination have helped me tamp down the worst of it but mostly I’m doing pretty good, OCD-wise.

So of course I watched a movie about a woman who, essentially, rots to death. Of course I did. My skin crawled, I felt my scalp prickle, and about half-way in, I began to mindlessly tug on the hem of the t-shirt I was wearing. Luckily the film ended before I began chewing on my hair.  It’s a bad sign when I begin to chew my hair.  It means I will be going to Target to get several bottles of Lysol, sponges with a mesh scrubber on one side, and a new pair of rubber gloves.  What I am trying to convey is that this film ended just in time for me to be able to collect myself and avoid sanitizing everything in the house for the next couple of weeks.

Also, I feel I should mention I will be spoiling the hell out of this film.

Brief synopsis: Thanatomorphose literally means the signs of decomposition the body exhibits after death. This film’s title is what happens in the film. Laura, the heroine, begins to show signs of the sort of decay commonly experienced after death.  Initially, she has a few bruises and her joints are stiff, but once she turns the corner from freshly dead to recently departed, her bodily decay begins in earnest and speeds up.  All of this is normal if one is actually dead, but Laura still breathes, still walks, and still talks, though all of that becomes harder and harder as her body continues to decay. Eventually genuine death catches up to the rot and she finally decomposes past the point of being able to remain mobile and sentient and the film ends.

This is not an allegory.  There is no subtlety.  Laura may be able to breathe, have sex, interact with others, but she’s dead.  She’s an artist  – a sculptor – but she is unable to make any headway into becoming a working artist.  She had just moved into the apartment where the first scene takes place – unpleasant sex with her boorish boyfriend Antoine – and one of the first things she does is uncover a clay sculpture she was working on, an oval, almost egg-like mound of clay, but can find no inspiration.

Antoine steps on a nail after having sex with Laura, and she takes care of his wound with competence but shows little caring.  She’s naked, sponging off the wound, pouring peroxide on Antoine’s instep, and the first signs of rot show on her body.  She has a bruise along her jaw, a large bruise on her upper arm, and one on her ass. The bruises were settled and showing brown or purple – they were not fresh. I believe they were the first signs of Laura’s death.  After Antoine leaves and she gives up on trying to work on her sculpture, she attempts to masturbate but cannot reach orgasm. This implies she probably didn’t have enjoyable sex with Antoine – which seems very likely, actually – and she’s feeling increasingly separate from her own body.

The next morning, she wakes and gets ready for work. While in the shower, she drops the soap and catches her nail on the drain, pulling it off.  The rot is beginning to accelerate.  She goes to work and comes back to a rejection letter from an art co-op. Later her friends come to visit until her landlord throws them out.  One of the friends, Julien, comes on to Laura, annoyed that she seems to prefer the brutish Antoine.  When her friends leave, Antoine again forces himself on Laura, even hitting her at one point.  He comments that her body is very cold, and he means it literally, but she doesn’t seem aware of it.  She taunts him, insinuating that she is cold because he is lousy in bed and more unpleasant sex ensues.  After they go to sleep, she wakes and vomits on him, collapsing several times as she tries to get water or go to the bathroom.

Evidently Antoine leaves her in this state because when she rises again that morning, it is undeniable what is happening. Laura is dead.  Her body is showing the sort of effects one would see in a corpse dead for around 24 hours in a hot place.  She is unsteady on her feet, and it is here that she gives into the death that she clearly wants.  She accepts no help and asks for no help.  Julien shows up at one point and is appalled by what he sees happening to her but she refuses to leave for the hospital. Instead she gives him a blowjob, and he is both upset but unwilling to make her stop.  She’s already beginning to smell, her head is bleeding from one of the falls and he ends up with her blood on his hands, yet he doesn’t make her stop.  He leaves after ejaculating and she spits it onto the floor that previously she kept spotless.

Antoine comes back and Julien returns a second time, but I won’t reveal exactly what happens to them but it really can’t be called murder because the dead cannot form intent to kill.  Laura descends into a claustrophobic nightmare, wherein she begins to document her decay, using fingers and teeth that fall off in her egg-like sculpture.  She duct tapes her limbs when tendons begin to separate from the bone. She cloaks the windows with sheets or tapes trashbags over them in an attempt to cool her apartment because the summer heat is accelerating her decay.  She puts ice in cold baths, she becomes riddled with maggots, shits out the lining of her intestines, vomits up maggoty bile, and tries to preserve the parts of herself that she cannot tape or sew back on, in jars with some sort of alcohol, taking Polaroids when she can.  At some point she attempts to masturbate again, and this time she is able to climax, thinking about harming Antoine, which may have happened or may not have happened.  I’m not sure.  But only after she accepts her death does her sex drive return.

And she does accept her death.  She’s suffered a metaphorical death in that she hates her relationship, her friends seem like assholes, her new apartment comes with a pushy landlord who considers people listening to music a party, and her art offers her no sense of accomplishment.  She’s already dead but doesn’t lie down yet.  She seems to revel in her decay, the ultimate form of self-harm – rotting to death while photographing the ruin of her body.

However, at the end, just before her body finally falls apart due to the rot, heat and continual submersion in cold water, she accidentally knocks over her sculpture and breaks it. She no longer has the physical capacity to pick it up and make it right again. I initially thought that the pain and misery of dying this way caught up with her because it was here that she showed her first real sign of anguish, screaming in torment.  She has another spell of screaming when she deals with Julien the second time, and she lets out a banshee-like wail just before the remaining components of her body give way to decay.  Her scream ends when her jaw falls off and her skin falls away, her limbs dis-articulating.

She wants this death.  She’s a calm, competent young woman.  There is nothing hysterical or irrational in her behavior. She’s had enough of her life and the world as a whole. But her death takes long enough that she engages in diversions of the sort that give the viewer a belief that perhaps if she manages to create the piece of art that shows her talent and expresses her inner loathing, she may escape this death, maybe it’s a hallucination caused by a breakdown and not really happening.  But it is happening.  And there’s no way out.  This is one of the most complete forms of self-annihilation you’ll ever see in a film, and she embraces it without equivocation.

This sense that she wanted this suffering, this end, is probably what kept me from bathing in bleach the moment the film was over.  She did not feel misery because she was rotting.  She was rotting because she was miserable. The decay was her salvation. In a way that made the film easier to stomach.

This film takes place entirely in Laura’s apartment – a living area with a kitchenette, a bathroom and a bedroom. As her decay progresses, the space seems even smaller as Laura blocks out the windows and makes makeshift dividers between rooms to filter out the light.  It wasn’t an entirely claustrophobic feeling, seeing this play out in a small apartment but it was certainly stifling and limiting, an apt description of Laura’s life.

Additionally, the actress who played Laura, Kayden Rose, was naked throughout most of the film.  Once she took off her clothes after sex with Antoine after the “party,” she never again has on clothing.

 

 

 

Kayden Rose’s body’s decay is hard to watch.

The actress herself is attractive, and she possesses a thin but decidedly “skinny fat” build, with little muscle tone.  Her continual nudity, even before the rot really set in, stopped registering as nudity.  Her body was a repository of death and maggots, and in that state the most beautiful of bodies stops possessing any erotic qualities (unless you have some very specific paraphilias). Her body was a waiting room in the ICU. It was waiting for the end, as well.

Kayden Rose also has a capacity to look gawky when her hair is swept off her forehead and she is wearing glasses, to looking beautiful when her hair is loose and wearing makeup.  Sometimes just a change in lighting could cause her to look angelic one moment and distressingly plain the next. Similarly, her naked body could in some scenes look like an Hellenic marble statue with hipster tattoos or could look strangely flabby and unkempt.

The ability to offer such differing views of her body in a film wherein her body was rotting away, is an interesting talent.  Kayden Rose carried this odd, upsetting film all on her shoulders, and to be able to change how the viewer perceives her form is remarkable.  I looked her up after the film ended but she’s only been in three other films, two short films and one segment of a larger film.  Finding out she has not done more since this film was akin to watching Morten Klode in a death metal video and finding out he’s never starred in a leading role in a film.

I guess sometimes you have to take what you are given. But it’s a shame she’s not in more recent films.

Though it really did make me physically and psychologically uncomfortable, I’m glad I watched this film.  I found it on Amazon as I was searching for a copy of yesterday’s film, Where the Dead Go to Die. I deliberately try not to know too much about a film before I watch it, but by the title I more or less knew what I was walking into. But the film was simultaneously far more disturbing and much more appealing than I anticipated.  Bodily rot will always be disturbing but for me there is something very compelling about a heroine who has just had enough and embraces her end, however slow it comes.  This film is a slow suicide with no redemption but in the end Laura had more control than she ever had before in her life and once you get past all the “suicide is bad mmmmkay?” bullshit, this is a compelling, weirdly comforting film.