Eraserhead

"Eraserhead" (1977, David Lynch, American Film Institute, Libra Films International) is a surrealist, body horror film from the mind of David Lynch during his studies.

Henry Spencer (Jack Nance) lives in a run-down, industrial city in a small apartment. He has strange dreams about the Lady in the Radiator (Laurel Near) and the Man in the Planet (Jack Fisk). He is informed by the Beautiful Girl From Across the Hall (Judith Anna Roberts) that his girlfriend, Mary X (Charlotte Stewart), has invited him for dinner with her family. He goes to her strange little home and meets her strange parents; her overly familiar mother (Jeanne Bates) and talkative father (Allen Joseph). They don't get to eat any dinner because when they try to carve the 'bird', it begins to twitch and bleed. Mary's mother informs Henry that Mary has had a child and that it is his.

Soon, Henry and Mary are in his little apartment caring for their child; a swaddled, crying creature with an inhuman appearance. When the child won't quieten down, Mary goes back to her parents' leaving Henry alone.

After further strange dreams, Henry cuts open the child's swaddling to reveal its true form.

A strange film, it manages to be both grotesque and beautiful. The dreamlike quality of the styling and the black and white colouring create a strange and surreal dreamscape in which the film is set. Everything is slightly unfamiliar and odd. It's a real study in human strangeness and in the urban decay in which many of us surround ourselves. A strange, uncomfortable film, it is a classic within its own right and spawned much of the outlandish scenes present in films since.

[image: American Film Institute]

Hani

The Visit

"The Visit" (2015, M. Night Shyamalan, Blinding Edge Pictures, Blumhouse Productions, Universal Picture) is a thrilling found footage film. And believe me, you don't hear me say that often. I usually detest found footage, but this one really hit the right notes for me!

Budding documentary maker, Rebecca (Olivia DeJonge), and her little, rap-loving brother, Tyler (Ed Oxenbould), are going to stay with their estranged grandparents for a week. Their mother, Paula (Kathryn Hahn) has not seen her parents since she left home to run away with her much older lover, against her parents' will. Her parents have found Paula and her family via the internet and are trying to at least patch ties with their grandchildren.

Rebecca and Tyler set off together as Paula heads on a cruise with her new boyfriend, Miguel. Their grandparents, John (Peter McRobbie) and Doris (Deanna Dunegan) meet them both at the train station and appear to be perfectly normal grandparents.

Everything seems fine except for two rules: do not leave your bedroom after 'bedtime' (9.30pm) and do not go into the basement. Ignoring the first rule, Rebecca leaves her room on the first night after curfew and finds her grandmother behaving very strangely. Over the next few days, the behaviour of both grandparents becomes more suspicious until finally the kids realise that they have to leave... Something is very, very wrong!

A great jump fest with some tropes, but so well executed that they were actually effective. I believe mostly the reason I enjoyed this film, despite its found footage styling, was down to the stellar performances from the cast. Both DeJonge and Oxenbould portrayed a realistic sibling relationship with humorous quirks and banter. Both are normal, somewhat annoying, kids who think they are smarter than they are but are adorable in their own way. I also really appreciated the chilling performances of both McRobbie and Dunegan, however, Deanna Dunegan remains the overall winner of the shit-your-pants-scary award. The switch from doddery old sweetheart to terrifying nightmare creature was truly awe-inspiring.

The film flows really well, with a great setting, enough happening to keep you interested and some excellently unsettling scenes. Definitely one to watch with the lights off.

[Image: Blinding Edge Pictures]

Hani

The Man Who Laughs

"The Man Who Laughs" (1928, Paul Leni, Universal Pictures) is a wonderfully dark silent film based on the book by Victor Hugo. Whilst it was not intended to be a horror film, the plot and the gloomy expressionist styling of the production lend itself to the genre.

Based in England in the late 1690s, we are introduced to King James II and his psychotic jester. A Nobleman has insulted the king and is swiftly executed via the infamous Iron Lady. Before his demise, the nobleman learns that his only son, Gwynplaine, has been captured and delivered to the monstrous Comprachico surgeon, Dr. Hardquannone, who has surgically disfigured the child's face into a horrific and permanent grin.

On a cold evening, young Gwynplaine (Julius Molnar Jr.) is seeking shelter when he finds a dead woman clutching a still-living, blind infant. He takes the baby girl with him and seeks help at the nearest house, that of Ursus (Cesare Gravina). Ursus quickly sees an opportunity to use the disfigured boy to make money.

Years pass and the now adult Gwynplaine (Conrad Veidt) is making a relatively good, but unhappy, living as a sideshow attraction known as "The Laughing Man", with Ursus and the captivating and kind hearted, blind girl, Dea (Mary Philbin). Gwynplaine has fallen in love with Dea, but although Dea returns his feelings and Ursus has offered to marry them, Gwynplaine does not think his grinning visage is worthy of such a beautiful creature.

On their travels, Gwynplaine's noble heritage is discovered and Queen Anne (Josephine Crowell) decides that the raunchy, badly behaved Duchess Josiana (Olga Vladimirovna Baklanova) should marry Gwynplaine as the true heir to his father's estates. Things do not go well, as you can imagine.

This film is wonderful. It is shocking and dark with such a horrific premise. The styling of the "Laughing Man" character is very ahead of its time with impressive prosthetics and makeup. He portrays a grotesque yet sympathetic character.

The silent era of films created such beautiful and disturbing films. If you have not seen one yet, I would recommend starting with The Man Who Laughs due to its beautiful score by Ernö Rapée, Lew Pollack and Walter Hirsch (which you will recognise as having been sampled for some of the Batman movies), clear imagery and acting, relatively fluid plot and swashbuckling scenes.

The Man Who Laughs was also the key inspiration behind the Joker character from Batman and Rob Zombie also has a track named in the character's honour.

[Image: Universal Pictures]

 

Hani

 

Freaks (1932)

"Freaks" (1932, Tod Browning, Metro Goldwyn Mayer) is a controversial 'horror' about a travelling circus. All of the sideshow performers were played by actual performers with various deformities, not people wearing make-up. While this was the main reason for the film's financial failure in the '30s, today it adds a new dimension to this, now cult, film.

Cleopatra (Olga Baclanova) is a trapeze artist at the circus. She is known for her beauty but not her kindness. While already seeing the strong man, Hercules (Henry Victor), she becomes aware that Hans (Harry Earles), the small man, has come into a lot of money and decides to marry and then kill him to steal his fortune. Hans is in love with Cleo and heartily agrees to the engagement, much to the heartache of his previous sweetheart, the small woman, Frieda (Daisy Earles).

Cleo and Hans marry, but Cleo is scared when the 'freaks' hold a welcoming ceremony for her, chanting 'We accept her. One of us!' and passing around a goblet of wine. She insults them, chases them away and then proceeds to try to poison poor Hans.

With the help of Venus (Leila Hyams) and her clown boyfriend Phroso (Wallace Ford), the 'freaks' stop Cleo in her devious plan. But they can not stop the other circus performers exacting revenge on 'normal' Cleopatra, with rather frightening results!

A quite perturbing film, it all but ruined Browning's career due to its unsettling images which caused some audience upset. While still effectively shocking to today's audience, the film is more like an apt social comment and a record of circuses of old. Various scenes throughout the film demonstrate the day to day lives of the circus performers, which don't add to the plot particularly, but are an excellent addition and really demonstrates the lives and challenges the performers face in their daily lives.

The 'normal' people in the film are seen as the real monsters. However, the scene when Cleo is chased and captured by the angry circus people is very eerie.

Iconic and infamous, this film is an unusual black and white.

[Image: Metro Goldwyn Mayer]

 

Hani