Deliciously disturbing Brit folk-horror in Lip Hook

Lip Hook,
David Hine and Mark Stafford,
SelfMadeHero

Arriving just at the right time of year, as the light retreats in the face of the long, dark, dark nights, Hine and Stafford’s Lip Hook promises a deep, deliciously disturbing read right from the front cover onwards. In fact I sometimes get a vibe on some books, before even starting them, a sixth sense (caused by a papercut by a radioactive book page) that steers me to a book that I just know I am going to love. I’ve learned to trust that instinct over the years, and Lip Hook was radiating that vibe to me before I even started it – once more I was glad I listened to my reading instincts, because it was a delectably creepy and disturbing read, awash in rich symbology, riffing on folklore twisted like a wind-gnarled coastal tree to suit the story’s own particular ends, and with a strong gender element.

Lip Hook revels in that rich tradition of British folk-horror; The Wicker Man and, more recently, Richard Rowntree’s Dogged (reviewed here earlier this year) came to my mind as I read, and in more than a few scenes that creepy short musical riff from Blood on Satan’s Claw would play in my head (horror film fans, you know that piece of music I mean), and classic Pertwee-era Who, The Daemons, also popped into my head several times while reading, and it is no bad thing when a horror tale evokes those predecessors for me.

Vincent and Sophia are on the run, high-tailing it from some unspecified crime, pursued by some group we never see but whose threat drives them to veer off the main road to Lip Hook, one of those small, all but forgotten villages that seems as if it is not only at the edge of the world, but a place caught in its own, little, twisted reality, regardless of the big world outside. Everything here is off – some things only slightly odd, others, increasingly as the narrative unfolds, are frighteningly wrong and twisted, and that feeling of unease grows and swells in the reader’s mind as they are drawn into this isolated village, surrounded by threatening marshes and the omnipresent (and apparently dangerous) fog.

Even the characters are visually disturbing – Vincent reminded me (in the good way) just a little of Marc Hempel’s interesting take on Loki in the Sandman: the Kindly Ones in terms of looks, while our first glimpse of Sophia, headscarf on as she drives, sunglasses like pilot’s goggles, long coat, made me think of a meaner, nastier version of Penelope Pitstop. In fact pretty much all of the characters here have something visually wrong and off-putting about them, including other main players that you actually like, such as local youngsters Falcon and Cal, with others among the locals looking even more unusual and unsettling.

Lip Hook is full of grotesques. It made me think of some of the odd-looking secondary characters Sergio Leone often used in his films, with strange features that he would let the camera dwell on, creating a strange mix of fascination (we can’t look away) and revulsion in the viewer. Here Stafford deploys that device to great effect – it isn’t just the crumbling village or the mist and marsh environment around it that look wrong, even the people do, and it feeds that sense of unease, that something here is simply, deeply, wrong.

In my view good horror requires an effective atmosphere as much as it does a solid, compelling narrative, and Hine and Stafford pay attention to both, allowing them to weave between each other to build a superbly creepy atmosphere; you could almost be in a crumbling old ruin in a Poe tale or wondering what lies round the corner in Innsmouth…. From larger scenes – Sophia being entirely engulfed at one early point by strange butterflies in the mist – to small details – an old portrait on the pub wall depicts a couple in Victorian finery, but closer inspection shows the well-dressed woman wearing a form of Scold’s Bride – Hine and Stafford build that sense of wrongness and unease until you are bursting for some form of release.

It’s just that what Rosie and Margot said to you… it made it sound like men mess everything up.”

Men run things. Things are messed up. Ergo men mess things up. There’s a neat logic to it.”

Traditional and folkloric elements abound, from cricket on the village green (which alters very quickly to something rather less wholesome) to the masks the locals wear to protect from the mists (some recall those horrifying protective masks worn by Plague doctors). The gender element of folklore is especially strong here, from two local women (and lovers) who still practise a feminine form of natural magic (like Wicca a type that celebrates kindness and goodwill and abhors the bad) to legends of a “hag” burned like a Guy Fawkes dummy, a perverted form of an older, female-centric belief system stamped on by previous generations of men in the area (shades of Witchfinder General and others, the men terrified of the thought of empowered women and seeing them as a threat to against their own power, to be contained).

A couple on the run, a strange, isolated, all but forgotten village wreathed in mysterious, dangerous fogs, people who have disappeared, a vile local nobleman who controls the village (or he thinks he does), hidden secrets coming out (literally and metaphorically), astonishingly grotesque characters and locations permeated with an unsettling atmosphere and a narrative that builds extremely satisfyingly towards a climax, pulling you along with it, lost in the mist with the characters and needing that resolution, whatever it may be, good or ill or both. A superbly atmospheric and deliciously disturbing slice of British folk horror. Read by firelight on the long, long nights while you wonder what lies just outside the comforting, warm glow of light from your windows…

Smile-inducing Brit horror-comedy with The Snarling

The Snarling,
Directed by Pablo Raybould,
Starring Julia Deakin, Joel Beckett, Chris Simmons), Laurence Saunders, Ste Johnson, Albert Moses

Ferocious killings and stroppy actors, who knows which is worse?!? A small village is hosting a movie crew, currently shooting a zombie film, with the star, Greg Lupeen (Laurence Sanders) driving the director and producer mad as they strive to remain calm with a forced “okay, luv at each of his self-obsessed, self-important “I’m the star rants and screaming bouts. Meanwhile in the local pub Mike (Chris Simmons), Bob (Ben Manning) and village idiot Les (Sanders pulling double duty) are discussing the film shoot in their not exactly busy boozer (which is also being used as one of the movie’s locations), and are excited at the thought of playing extras in the film, a wee bit of unusual fun in their quiet small town. And they’re all amused to find that Les looks remarkably like the movie’s star, Greg.

But there’s more going on than the excitement of a movie shoot in a wee village – there’s the little matter of the grisly murders. In fact they don’t look so much like murders as wild animal attacks, the victims ripped apart. Except this is Britain and there aren’t exactly a lot of wolves or bears running around to cause that kind of death, so it must be a murderer, right? And the fact they happened during the full moon and seems similar to other incidents which happened in Wales when the same film crew was working there, that’s just coincidence too, isn’t it?? And the fact the leading man was bitten by a wild animal while filming a scene in a zoo in Wales, and now sufferers strange headaches and more mood swings than usual?

This is an absolute hoot of a Brit comedy-horror, and it clearly knows its audience and plays to it. The puns and jokes are mostly the so-bad-they-are-good variety (deliberately), and like a Carry On movie you can pretty much see the punchline coming, and it doesn’t matter a jot, because you want that punchline, heck you’re probably joining in with it and then laughing happily anyway. The Snarling mines a treasure trove of puns and clichés, such as the hapless, always stuffing his face detective (played by director Raybould) or the lead actor’s name Lupeen (sounding like “lupine”, leading Les to conclude he must be the werewolf, only for his pal to remark yeah, but my dad’s called Leonard, change a letter in his name does that make his a leopard?). This would make a grand night’s fun entertainment as a double bill with Carry On Screaming or Shaun of the Dead.

It’s low-budget and clearly they can’t afford top of the line CG effects for a werewolf, or a Rick Baker practical effects lycanthrope, but they get around, using what they do have, humour, clever editing and cross-cutting, and the dark (one scene involving cyclists being attacked is lit by their bike’s strobing light, which was a clever way to give only glimpses of the monster and also give us another bit of humour at the same time). There’s some really nice attention to detail too, always a good sign of a film crew really trying to go that extra mile – for example, after one of the elderly pub regulars is attacked by the mystery beast you can see a collection tin for him on the bar, and for all the glorying in obvious puns (which I have to say I loved, I mean they had me at that punning title, to be honest) this is also a clever tale, wonderfully threaded with good-natured humour throughout and paying homage to the greats (including American Werewolf) but with its own irreverent yet loving approach. A perfect Saturday night slice of horror-comedy to watch with a bunch of friends.

The Snarling is available on DVD and Digital from November 5th from Left Films

House of Salem

House of Salem,
Directed by James Crow,
Starring Liam Kelly, Jack Brett Anderson, Jessica Arterton, Leslie Mills

First debuting at FrightFest’s New Blood strand in 2016, James Crow’s Brit-horror House of Salem finally gets a DVD release. Josh (Liam Kelly) is a young child with special needs, being left in the care of a teenage babysitter while his parents go for an evening out. As she puts him to bed she teases him that he is getting a bit old for taking a cuddly toy to sleep with – a cuddly lamb – but he is adamant that he needs it and she acquiesces, leaving him to sleep and returning down stairs to indulge in the grand babysitter tradition of chatting on the phone. The peace of a domestic slumbering evening is about to be broken, however, as a group of creepily masked intruders make their way into the home, intent on snatching the boy. So far it’s not that different from any number of other home intrusion thrillers we’ve seen, except Josh hears a spectral warning just before the attack, and attempts to hide and evade his pursuers while his babysitter bravely tries to defend him, but it’s no use, and he is soon in the bag.

Taken to a large but isolated old country house the masked gang, Josh is locked into one of the bedrooms while the gang’s leader Jacob (Leslie Mills) awaits more instructions from their mysterious employers, who will only get in touch via an old, vintage Bakelite landline phone. It is when they settle in for the long wait that the first cracks start to appear, as the different personalities in the gang assert themselves – the belligerent one who thinks nothing of violence or even murder, the cooler headed-one, the solitary women in the group, Nancy (Jessica Arterton), who seems least happy with the whole thing and is clearly protective of the child, despite having taken part in his kidnapping. Mills’ Jacob plays the hard-man leader, the sort who rarely shouts but is all the more threatening and scary for his seeming reserve – you just know this is a man who has done bad things and will do so again in a split second if anyone crosses him, and his authority forces the arguing individuals of his team to try and get along as they wait the night out.

But this is no kidnapping for ransom, this child and this location have been chosen by their mysterious employers quite carefully and carry an awful history of previous, similar events, and it is a history Josh can see and hear. Josh lost a sibling years before and this closeness to death has left him sensitive – he hears noises and voices, then sees figures, usually other children his age, dressed in white sleepwear like him (his hooded onesie recalls Where the Wild Things Are) and bloodied. Are these trapped spirits of other children who had been brought here, and if so, what were they brought for. As with most heist/crime stories they are at their most compelling when it all goes wrong, and between the bickering gang members and then changing plans from their distant employers, then the external threat of someone else being around this supposedly safe house (creepily leaving a dead game animal hanging from a garden tree). No, this is no ransom for money at all, this has a darker – a satanic – element to it and Josh is part of that ritual, and it may be that Jacob knows more about the real reasons behind it all than he is letting on.

While House of Salem has flaws, I’m not going to dwell on them as I think they were mostly down to the perennial problem for all Indy film-makers, lack of budget and shooting time. And while their resources may be slender (Primeval’s Andrew Lee Potts is billed as a star but in truth is only in it for a short time), Crow makes the most of what he has. It’s remarkable how much creepiness you can get just from figures in masks, both the kidnappers, then the Satanic cult members, both groups using very simple masks, nothing elaborate or complex here, but quite chilling in the way they dehumanise the figures and make them quite terrifying.

The mix of 70s style hidden Satanic cult and the crime gone wrong bickering gang works well, and while most of the gang are stereotypes, Arterton’s Nancy is fleshed out more, her backstory slowly emerging (and her relation to leader Jacob, a sort of surrogate father figure), which gives more reason for her defence of Josh. Liam Kelly is quite outstanding as Josh, this young lad gives a superb performance in a complex emotional role as a traumatised child with psychological and emotional problems already, then dealing with the kidnapping, the voices and the visions, it’s quite a performance from one so young.

The film also works in some nice symbology too, notably the image of the lamb and blood which recurs and becomes increasingly creepy as it builds to a climax in the third reel. An intersting, inventive and frequently creepy Brit-horror, ideal for some late Saturday night viewing.

House of Salem is released on DVD and Digital by Left Films from October 1st

Killer App: Bedeviled

Bedeviled,
Directed by Abel Vang and Burlee Vang,
Starring: Saxon Sharbino, Bonnie Morgan, Brandon Soo Hoo

Using internet and social media as a new gateway for evil to stalk pretty, young teens in the American suburbs is hardly new – film (itself a technological artform) has always, since its earliest days, reflected our fascination with and fear of new technology, from the Lumiere’s steam train scaring audiences to the giant engine in Metropolis to recent films using the internet, like Pulse or Unfriended. We’ve seen quite a number in recent years, hardly surprising given our seemingly endless fascination with and increasing use of the online world and social media (especially now it goes everywhere with us on our ever-present smartphones), and horror has often been quicker than most forms to explore our love-hate, desire-fear relationship with technology and how it affects individuals and society.

In Bedevilled it takes the form of the eponymous App, which a group of high school friends are all sent… From their deceased chum. Most of us would be a little worried at receiving an invitation to download an App from the phone of a friend who had died a few days before, but our teens just install it right away (to be honest this doesn’t stretch credulity, I imagine a lot of people who practically live on their phones would just install new Apps without blinking too). Of course any horror flick fan knows that such an App is going to prove to be an open invite to bring evil to play right into the home – in some ways this is the 21st century version of the curious teens playing with an old Ouija Board they found in the loft, and in fact one character comments as much during Bedevilled.

There’s a pretty decent opening here, with the soon-to-be-deceased member of their group being menaced in her home, with a nicely creepy figure that unfolds itself in the darkness of the nocturnal home. After that though, I have to say it seemed to very much veer into an awful lot of teen horror cliché: of course the youngsters are all good-looking, they all live in large houses (where the parents are almost always absent so they can be alone when spooky noises scare them at night), there is a lot of those daft things people do in horror movies, like deciding to explore the dark house for a noise and not actually switch on the lights, the “this can’t be real” moments, the childhood scares that suddenly become manifest after they’ve discussed them, there are numerous dark scenes shot from low tracking angles and so on.

For the first half I was, I admit, thinking this is running through way more than its fair share of clichés. But then I started wondering if in fact this was deliberate, that the film-makers were actually taking all those many standard tropes of the teen horror and deciding to have fun with them, that they know fine well that horror fans know these are standard elements and we’re all in on the joke here. I really couldn’t quite decide which it was, just running through those clichés or being postmodern and having fun by deploying them. It does offer up some nice little scares though – the talking App invites one girl to pan the phone around her room, like an augmented reality app, and even though you know, you know well before it happens, that as she pans the screen around there will be something horrifying at some point, it still gives you a good jump when you see it (the digital App equivalent to the old seeing something scary standing behind you in the mirror, but when you turn around, it isn’t there trick), and that seemed to reinforce for me the idea that the use of those standard elements was deliberate.

Bedevilled may not be the most innovative horror, or even social media horror, but it does have some cool little moments, and I think it knows its audience. My recommendation is to treat this as fun popcorn horror – watch it on a Saturday night with a bunch of friends as part of a double-bill with some other teen horror, maybe, with the popcorn and booze and that’s just the way to take this.

Bedevilled is out on VoD from The Movie Partnership from 17th September

Creeping folk horror in Dogged

Dogged,
Directed by Richard Rowntree,
Starring Sam Saunders, Debra Leigh-Taylor, Nadia Lamin, Philip Ridout, Jo Southwell, Aiysha Jebali, Toby Wynn-Davies

Richard Rowntree has being paying his dues in the movie business for years, working on all sorts of productions large and small, crafting some of his own short films, and now his directorial feature debut, Dogged. And it is a rather tasty, creepy slice of British folk horror at that.

Young Sam (Sam Saunders) returns to his home, a small island whose causeway is submerged twice a day at high tide, leaving it isolated. The opening montage of rural and coastal scenes would normally be restful, but Rowntree picks angles and perspectives that right from the start convey an impression of something wrong, something out of kilter, of leaving the regular world behind and entering somewhere that conforms not to society’s wider norms but to its own, secretive rules. Just to reinforce the unwelcoming atmosphere, his father picks him up by the causeway without so much as a “hello”, just a bad-tempered “hurry up, the tide is coming in”, while the signs where causeway meets the island all make clear visitors are not welcome here.

Sam was born and raised on the island, but escaped its cloying, inward-looking small community to go to university. He’s only returned now, reluctantly, to attend the funeral of the young daughter of one of their neighbours, supposedly killed in an accidental fall from the cliffs. Except Sam finds it hard to believe this was an accident, all the local kids know to avoid the cliffs… At the memorial service in the small local church the vicar (a superbly, quietly menacing and creepy Toby Wynn-Davies) gives a sermon which seems more of a veiled warning to the mourners than it is a message of hope or comfort. The padre clearly has some power over his local community, more than just a spiritual leader, and he is less than happy to see Sam return as he knows his daughter is fond of Sam, and this is a man who obviously does not like challenges to his authority.

Rowntree litters Dogged with some inventive camera angles and perspectives that make even a leafy country lane or what should be a comforting house becoming filled with menace, along with other nice little touches (the young couple walking into the local tearoom sees all conversation stop as they are stared at, like a scene from a cowboy saloon in a Western). Figures are glimpsed in the woods, one even knocks Sam from his bike before running off, another is lurking near his gran’s house, and for some reason these young men all run around topless sporting animal head masks. It all builds tension throughout the film – it is clear some in the village are not who they seem, that there are secrets, but what secrets, and are they related to the death of the young girl?

Sam is as far from the pro-active horror hero as you can get, a young man who has been under his strict father’s thumb for so long that although he tries to investigate he is often fairly passive and pushed along by events and other characters, although it is hard not to feel sorry for him – he has escaped what he thought was an overbearing, isolated community, come back briefly and found himself not only drowning in it once more, but being submerged into darker, hidden depths that he hadn’t known were there.

I’m guessing Rowntree didn’t have access to a big budget, but he marshals what resources he has quite effectively. The aforementioned clever use of odd camera angles and perspectives, the expressions on the faces of the locals, the simple sight of half-naked male figures in animal head masks lurking in the woods, all combine to raise the tension steadily, leading to a satisfying final reel. Rural horror often plays on the sense of the small, isolated community, and by having this on an island cut off twice a day Rowntree increases that sense of isolation and difference, as well as adding a feeling of claustrophobia, both generally (across the whole community) and more personally (Sam’s own family) and that “you don’t really belong” sense. I was put in mind numerous times of the original Wicker Man, which I think Rowntree was channeling very well here, offering us a creepy, disturbing slice of Brit horror.

Dogged is out now from Left Films

The doctor is in – Greta Helsing returns in Dreadful Company

Dreadful Company,
Vivian Shaw,
Orbit Books

(delectable cover art by Will Staehle)

“An absolute delight.” That was what I said about the first of Vivian Shaw’s Great Helsing novels, Strange Practice, around this time last year (see here for the review). In fact you can see that quote on the back cover of this second book; it really was one of the most enjoyable novels I read in 2017 and made my annual Best of the Year list. So you can imagine that when the second book, Dreadful Company, showed up on my desk you would have seen me shiver with anticip…. ation…. Did the that difficult “second album” live up to the promise of the first book? Nope, in fact it surpassed it; Vivian has taken all of the best elements (characters you really get to know and care about, sly sense of humour, clever references, some social commentary), allied them to an intriguing new story and along the way also nicely expanded the world Greta and her friend inhabit.

Greta is, like almost all GPs, constantly run off her feet, but her medical practice in London takes in an unusual set of patients, ones who otherwise would struggle to obtain healthcare – vampires, ghouls, werewolves, mummies and more, Greta treats any who need it. Unusually Dreadful Company takes her away for a few days, both from her practice and from London, invited to fill in at short notice at a medical conference for those with her unusual selection of patients, Greta is in Paris for a few days. Lord Ruthven returns from the first book (yes, that Lord Ruthven) and he is delighting in escorting Greta, treating her to the finest the City of Light has to offer – sumptuous hotel, elegant evening dress, a night at the opera in the Palais Garnier. Vivian has a delicious line in descriptive prose, and here the overly ornate opera house decor as possessing the “same kind of uninhibited, glittering cheer as a polished drag queen’s performance.”

The use of the opera house offers up the first in a number of references to one of the great classics of horror literature, Gaston Leroux’s Phantom of the Opera, even down to a scene on the grand staircase where Ruthven feels as if another presence is watching them close by (a nice nod to the 1920s film version of Phantom with Lon Chaney Snr, which used some remarkable early colour for the staircase scene and remains an astonishing piece of early cinema). Of course they are indeed being watched, there are local Parisian vampires at the opera – opera being one of those things that just attracts vampires, as is noted wryly in the book. And it isn’t long after Ruthven has to take his leave that Greta finds herself in trouble, snatched by the leader who has an entire coven of vampires in the infamous catacombs near the Père Lachaise cemetery (where else??), and this leader has a grudge against Ruthven, putting Greta in a huge amount of danger.


(the ball sequence in the opera house from the 1920s Phantom of the Opera)

Into this mix come new characters such as the werewolf St Germain (a nod to the famous vampire novel series?), who is effectively the supernatural protector of Paris. In a nice touch St Germain’s origins allude to the real historical mystery Beast of Gévaudan from 1700s France (still a fascinating mystery to this day), and two immortals who are very good at clearing old haunting sites, helping spirits move on, Crepusculous and Brightside, who put me in mind (in the good way) of Aziraphale and Crowley from Good Omens. The kidnapping plot is just the tip of the iceberg here though, and Vivian weaves an increasingly compelling story with many winding side-branches that twist around much like those ancient Parisian catacombs, before very satisfyingly coming together again, both the narrative and the character arcs being rounded up nicely. And no, I’m not going to say any more on the plot because I don’t want to spoil any of it for you.

There is a real sense of world-building going on here – Vivian is expanding that mix of the real and the supernatural world that Greta lives in, the history, the geography, the characters, and it is all tremendously satisfying – it reminded me of early Jim Butcher Dresden Files novels in that respect, in that each book had a self-contained tale but also built up that world with more details in each book so you became more immersed into them. As well as the expanded sense of Greta’s world and a compelling story, the wicked sense of humour in some of those descriptions there is also a nice line in geek-friendly references from the aforementioned Phantom of the Opera and Beast of Gévaudan to tips of the hat to Armand’s subterranean coven of blood-drinkers in The Vampire Lestat and how many other writers manage to work in an underground jail scene which manages to take in both “Oh whistle and I’ll come, my lad” and The Prisoner? This is the sort of book which will deserve a second read further down the road and I am sure I will spot more references, not just thrown in but nicely woven into the actual story. This is an utterly delicious read.

High school, zombies & musicals: Anna and the Apocalypse

Anna and the Apocalypse,
Directed by John McPhail,
Starring Ella Hunt, Malcolm Cumming, Sarah Swire, Christopher Leveaux, Ben Wiggins, Marli Siu

High school. Zombies. Hard to tell sometimes which is more horrific. Add Christmas concert, overbearingly strict new headmaster, boyfriend troubles, arguments with parents, worrying about what you’ll do with your future plus a zombie apocalypse and set much of it to music and you have Anna and the Apocalypse.

I’m sure I’m not alone in loving Once More, With Feeling, the musical episode of Joss Whedon’s Buffy the Vampire Slayer; it was one of those episodes that, on paper, sounded like a terrible idea that would fall flat, but actually it was enormous fun and also moved on the story arc and character developments. There’s a lot of Once More, With Feeling in Anna’s DNA, and a touch of those wickedly satirical musical episodes of South Park too, I think (indeed the opening credits are animated and have a slight similarity to South Park’s style). Here, while the young cast (sensibly) play it all straight, it’s also clear the film-makers are having a huge amount of fun taking the American style high school musical, populated by teens with whiter than white teeth who love in sunny, Californian towns and royally taking the mickey out of them.

The sight of a bunch of Scottish school kids and staff in a wee town near Glasgow bursting into this very US style (complete with teachers and even the dinner ladies dancing) is side-splitting, while lyrics like “not a Hollywood ending” further satirise the American musicals and teen comedies Anna riffs on (although not in a nasty way, you get the impression they like laughing at them but still like them). And as one character comments when the action starts, this sort of thing happens in other countries, not in a wee town in Scotland, and that is part of the fun here.

We have the Usual Suspects – Anna (Ella Hunt) is a gifted, smart, intelligent girl, approaching the end of school and scared to tell her father she’s going travelling before she applies to university (he is over protective after losing his wife), her friends John (Malcolm Canning), Steph (Sarah Swire), Chris (Christopher Leveaux), Nick (Ben Wiggins) and Lisa (Marli Siu). The kooky, daft but loveable one, the “best friend” who is so obviously totally in love with her, the geeky one, the obsessive, intense one, the trying to be a hard-man jock but masking inner feelings one, and naturally a nasty headmaster (Paul Kaye) who would probably have enjoyed teaching at Sunnydale High, the sort of headmaster who clearly hates kids and resents that they may grow up to have a happier life than he has had.

Anna and the Apocalypse takes all of these generic elements but filters them through a small, west-coast Scottish town sensibility, and that’s funny in itself seeing such very American stylings done in a wee Scots school as they prepare for the annual Christmas concert (especially slightly ditzy but delightful Lisa, who plans a somewhat more risque number than she told the headmaster she’d perform). And then, wouldn’t you know it, the zombie apocalypse happens. And at first Anna, John and the others don’t quite notice. Heading out of her house, walking down the rainy winter street Anna is singing and dancing, earphones plugged in, while behind her neighbours flee from their homes pursued by the undead, fires burn, cars lie crashed and she’s oblivious with her phone, singing and dancing away, until she bumps into John dancing and singing his way to school, they duet and, of course, that is the moment a zombie in a snowman costume attacks them (hey, we’ve all been there).

After that it is the quest for survival, Anna and John finding some other friends along the way, trying to sneak across their town to school to find their other friends and families, and because authorities have issued emergency alerts saying the school will be the evacuation point for the town. And as with all such films, it’s a guessing game as to which characters are going to make it, which are going to end up becoming finger food for the ravenous undead who are rapidly over-running their town. And again while this takes the well-known generic tropes, it does so with such a knowing nod and wink – these people are fans and they are in on the joke, they know we are in on the joke and, to be honest, the young cast are so damned likeable that you buy into it happily. Of course the flipside of that is that you know not all the characters you come to love are going to make it. But they may go out with a song!

Edinburgh International Film Festival 2018 - Anna and the Apocalypse 02
(a very happy director: John McPhail talking to the late night film festival audience before Anna and the Apocalypse screened in the Edinburgh Filmhouse)
Edinburgh International Film Festival 2018 - Anna and the Apocalypse 03

This was my final movie of the 2018 Edinburgh International Film Festival, part of the late night strand the EIFF does each year (and don’t horrors suit the late night slot?). Director John McPhail and many of the cast and crew were at the screening, and clearly extremely excited and buzzed to bring their Indy Scottish film to the country’s most famous film festival. As a very delighted John McPhail told the audience, this is their home-town showing, screening to a Scottish audience, and the pleasure and excitement he and the others showed in being allowed to make this film then get to screen it at a packed festival showing was infectious. The festival audience didn’t just laugh at the humour or wince at the (deliberately) OTT violence (very cartoony), the whooped and hollered and clapped along to the musical numbers, it was almost like being at a Rocky Horror screening, and that made it ten times more fun (the festival crowd was also treated to a special sing-a-long segment after the screening).

This is gleeful film-making, loving but also happy to play with the generic tropes of horror, teen drama and musicals, and has future cult film written all over it. Best seen with a group of friends.

The Most Assassinated Woman in the World

The Most Assassinated Woman in the World,
Directed by Franck Ribière,
Starring Anna Mouglalis, Niels Schneider, Jean-Michel Balthazar, Julie Recoing, Michel Fau, André Wilms

Another evening at the Edinburgh International Film Festival and another intriguing film, this time from French director Franck Ribière, this partakes of elements of murder-thriller, period piece and delightfully lurid horror. Set in the famous/infamous Le Théâtre du Grand-Guignol in the Pigalle district of Paris during the 1920s, The Most Assassinated Woman in the World takes real-life settings and historical characters – most notably the theatre’s great scream-queen, Marie-Thérèse Beau, better known by her stage name of Paula Maxa, played by Mouglalis, an actress who was slaughtered in thousands of violent and gorey ways every night on the tiny stage of the theatre. It’s claimed she was “killed” some ten thousand times, and early on her character lists many of the ways, from strangling to stabbing, slashing, burning, boiling, decapitation, being pulverised. And yet, she shrugs, here I still am…

In some ways this listing of nightly horrors enacted on the stage of this notorious theatre (which only closed in the 1960s) and the fact that Paula “survives” it all and keeps going is part of the central theme here: we were told in the post screening Q&A with the film-makers that they were not aware of a violent assault Paula had endured in her younger years, and yet they had written such a scene in affecting her and a sibling, in an uncanny art imitating life moment. They were exploring the nature of horror and violence, how it affects people, even the pretend violence of the horror on stage or in the movies, both those who watch and those who act it out (imagine being an actor having to be killed in inventively gruesome manners every single night). Experimental psychologist Alfred Binet, another real-life character involved with the actual theatre, is also, appropriately, a figure here, helping owner De Lorde construct not just physically awful torments and demises for Paula, but mentally brutal as well, pushing, pushing, pushing, aided by the giant figure of Paul, the special effects wizard (another real life character, apparently his stage blood formula is still used to this day).

Mixed into these factual elements are more fictional dramatic ones – a young journalist from Le Petit Journal, Jean (Niels Schneider), investigating both the moral brigade demanding the theatre should be closed for indecency (forerunners of later “we should control what everyone can see, for their own good” types that burned rock and roll records or the Mary Whitehouse mob) but also a series of disappearances and murders around the Pigalle and Montmartre areas (loved by tourists today, but rather rougher back then). Is the murdered inspired by what he sees on stage, is it driving his fantasies to act them out for real? Who are the figures haunting Paula? Does her work help her excise her own demons or is it all pushing her to brink – and do those in control of the theatre even care or are they happy to push beyond the limit?

The film is set in mid 1920s Paris, but the cobbled back streets, the heels clicking on them through foggy nights, the evening capes, they could all come from a Victorian-set Hammer film, and the gallons of luridly red “Kensington Gore” as the blood flows scarlet stands out against the dark, mostly nocturnal scenes, as vivid a claret as ever flowed in a Hammer film. Interestingly they film-makers told the festival audience that originally this was to be an English language film, set in New York, but as they explored it more, found the historical Paula Maxa, it became clear they really needed it to be a French film, set in Paris. They struggled for funding, but a Belgian film fund stepped up, as did Netflix, who they thought would ask for it to revert to the original English language premise, but instead were quite happy for it to be a period French piece.

In fact Franck Ribière commented on the “Netflix issue” which has come up at quite a number of film festivals around the world, most notably at Cannes, where some are glad of the new stream of funding and distribution while many others are horrified and say it is killing cinema with movies going straight to television streaming and bypassing cinemas. I can see arguments on both sides, but that’s a debate for another article, not a review. I will note that Franck Ribière explained he didn’t see the problem, it was another welcome source of funding for film-makers, and nobody makes a director or writer work with Netflix, it is up to them to approach them about partnerships, and that he is happy to be able to watch films as he wants, in cinemas, on TV, on his phone. Many other directors, I am sure, disagree, but it was interesting to hear him comment.

Edinburgh International Film Festival 2018 - Most Assassinated Woman in the World 02
(Director Franck Ribière in dark shirt on the right and his colleagues at the post-festival screening Q&A with the audience)

No news on a UK release for this one yet, but as it is co-funded by Netflix I assume it won’t be long before it appears online, so those of you who don’t have a film festival or arthouse cinema nearby will be able to see it too. All in all I really enjoyed this, it offered both the over-the-top horror the Grand Guignol was famed for (and which it has given its name to as a general term in horror now) mixed with a more psychological aspect, and layers of “plays within plays” as we see fictional and real elements of Paula’s life mixed with pretend versions for the film and more pretend but almost real versions on the stage, until we’re left wondering what elements are real, what scenes are what they seem to be and which are theatrical artifice, all shot in a beautifully sensual manner. One of the smarter, classier horrors I’ve seen recently, and yet one which happily plays with elements of classic horror too.

Huge fun in Blood Fest

Blood Fest,
Directed by Owen Egerton,
Starring Robbie Kay, Seychelle Gabriel, Jacob Batalon, Barbara Dunkelman, Tate Donovan, Zachary Levi

It will surprise no-one who is a fan of fun, punk-ethos Indy studio Rooster Teeth their latest live-action film is a supercharged, gleefully genre-mashing and referencing outing with as many laughs as it has splatter (and even the odd quiet, emotional, character moment). Owen Egerton writes, directs and indeed stars as the leering, bloodthirsty showman (I could imagine Alice Cooper playing this role when younger) who orchestrates the eponymous Blood Fest, a festival for horror fans. Within the large, walled grounds (actually a re-dressed Renaissance Fest location in Texas, we were told at the post-show Q&A) there are multiple locations based on horror genre tropes – the high school prowled by a serial killer, the circus with evil clowns, vampire girls seducing drunken lads, zombies and more.

In a film which revels in multiple, loving references and homages both to other Rooster Teeth creations and many horror movies (even the title is a nod to the famous/infamous Blood Feast), Blood Fest opens, rather nicely for an old horror fan like me, with a nod to Carpenter’s Halloween, zooming in on the suburban American neighbourhood on Halloween, and a young boy watching classic Universal horrors with his mum. Until a shadowy figure is glimpsed when she goes to the kitchen for snacks (a scene telegraphed by the tell-tale sign of the room light refusing to come on, a deliberate take on a generic device in slashers). Fast forward and that young boy, Dax (Robbie Kay) is now a young man, and one who has embraced the horror genre as a coping method for dealing with his fears and his horrible experience of seeing his mother murdered in front of him, before being rescued by his father. His father who is a famous psychologist and who blames the entire horror genre for creating the urge for violence that killed his wife (carefully ignoring his own culpability – the murderer was one of his own patients).

Needless to say the father is not going to allow his son to go off with his friends, Sam (Seychelle Gabriel) and Krill (Spider-Man Homecoming’s Jacob Batalon) to the largest, splatterest horror gathering ever, and equally needless to say our plucky teens find a way around dear old dad, who is busy telling network television how horror is to blame for everything bad in society while the kids sneak off to indulge their love of the genre. And I doubt it will surprise any horror fans that (bit of a spoiler alert!) that Blood Fest is not exactly what it seems. When the showman takes the stage for the opening ceremony (Egerton again) and bemoans how stale the genre has become, how mainstream (“we put Freddy on a lunchbox!”) then cries out to his baying crowd that they want to make horror scary again, I think most genre fans will suspect what is coming (and if not the bouncers standing between the crowd and stage, clad in pig-head masks also telegraph trouble in advance). The blood here is not fake, the fans are trapped inside this compound as the showman makes his own demented horror to end all horrors by filming them as they are slaughtered in a variety of horror tropes (this includes zombies with Go-Pro cameras strapped to them to record the carnage!).

I don’t think that’s much of a spoiler though, as this happens very early on in the film and is pretty much the basis of it – also, as I said I think serious horror fans (who are the main audience for this, after all) will guess what is coming, at least for that part. After that reveal and the commencement of the carnage it becomes a battle of survival for our young friends who have to cross the various themed horror locations to try and escape. Along the way Egerton packs in so many references to a multitude of horror films, but this is done in a fast-paced, loving and hugely fun manner – this is the film-makers letting us know they too are fans and winking to us, we’re all in on this together. Who is going to make it, who is going to die, how are they going to die? Egerton and his team take us on a well-paced rollercoaster, gleefully throwing in slapstick as well as splatter, and sometimes both at the same time, as well as delighting in doing a little genre-mashing.

For all the well-paced fun and loving references to the genre’s history, however, there are some serious elements in here; not for the first time horror, that genre often much-maligned by certain groups in society, holds up a distorting mirror to that society. The reactionary elements blame the genre for everything bad in the world – this is not unlike the idiotic Wertham “Seduction of the Innocent” which blamed comics, especially horror comics, for a perceived growth in societal ills. In recent decades is has been horror movies, rock music, rap music, video games and others that are easy to blame rather than turn attention to what is really wrong, what really causes violence in society, and, without giving too much away, there is a later element in this frantic fight for survival where Egerton makes clear that there are other forces in society that we should be far more worried about than horror-inspired slashers, killer clowns and monsters.

It’s clever, fun, well-paced, packed with multiple references for fans to pick up on, laced with dark humour and even a few gentle character moments and emotional elements, it’s pretty much ideal for most horror fans, I think, I can easily see this becoming a future cult horror flick. Egerton and a bunch of the Rooster Teeth family were at the Edinburgh Film Festival UK premiere of Blood Fest, and Egerton especially was on terrific form, full of energy, talking up the crowd both before and after the showing like a delightfully demented horror version of PT Barnum. There was a group of Rooster Teeth fans in the audience and the interaction between them and the film crew, and the other audience members (some of whom were new to RT productions but clearly looking forward to seeing more), was terrific, there was just such a huge, positive, good-natured vibe at this late night festival screening, and Egerton et al seemed more than happy to be invited to such a prestigious film festival and join their long-running roster of late-night horror delights.

One of the Rooster Teeth producers was asked when the film would be getting a UK release; he replied they couldn’t say just yet, but that they would be making an announcement very soon, so keep an eye on the RT site and twitter for more, because this is one horror hounds are going to lap up.

Delightful chills in The Secret of Marrowbone

The Secret of Marrowbone,
Directed by Sergio G Sánchez,
Starring George MacKay, Anya Taylor-Joy, Charlie Heaton, Mia Goth, Matthew Stagg, Nicola Harrison

My first movie at the world’s longest continually running film festival, the Edinburgh International Film Festival, and it is one I have been eagerly anticipating, arriving with some good word of mouth. It marks the directorial debut of Sergio G Sánchez, who also wrote the story; although this is his first time as a director many film-lovers will know his name from writing the likes of the superbly creepy The Orphanage.

Marrowbone itself is the name of an old, semi-derelict, sprawling house in an isolated rural part of America, the family home of the mother (Nicola Harrison). She returns here after decades away, bringing her young family, fleeing some horrible catastrophe which has left a trauma on them all, some terrible event way back across the ocean in Britian. She draws a line in the dusty floor and declares to all of them that when they cross it and join her they leave their past and memories behind, and even their family name, for now they will take the surname of their home estate and be the Marrowbones, starting a new life, a free life, a new beginning.

Brave words and at first it seems they are starting a new chapter, the youngsters coming out from that dark cloud, almost literally as Sánchez has them exploring the nearby countryside and beach in glorious summer sunlight, meeting Allie (the remarkable Anya Taylor-Joy from The Witch) at a skull-shaped rock where she is one of the few to get to know the withdrawn, secretive family, to become close to them. For a few scenes it seems they have turned that corner, playing with delight in the sun with their new friend, smiles, laughter.

But the family has run away from a terrible past and harbours a horrible secret, and the past never really releases us, no matter how we try to move on. Their mother knows she is dying and fears what will happen – Jack, her eldest, must reach his 21st birthday to claim his inheritance and to be legal guardian to his siblings. She makes him promise to always keep the family together, even though it means concealing her death until his birthday allows him to legally take over. He vows to keep his family together, but it is not going to be easy.

Their lawyer is suspicious of this family which rarely leaves their dilapidated home, keeps itself to itself, he is jealous too of Allie’s obvious attraction to Jack, and he wonders why their mother is always too ill to see him to sign important papers. He also hints ominously to Allie about the dark secret the family is running from, that their father was a monstrous figures who was eventually brought to justice back in Britain for his crimes but later escaped. Jack tells her he was indeed a monster, hence their flight to Marrowbone, to changing their name, trying to keep a low profile, but he also adds that their father is dead.

If he is dead, though, what are they hiding from? And what is the ghost that young Sam talks about hearing in the middle of the night. Why are all the mirrors in the home taken down and shoved into one room they never enter, save for a couple too large to move, instead covered up, including a huge one on the staircase, which seems to drop its dustcover by itself? What are those many noises? The soundscape here is exploited well, Sánchez mines the old, wooden country home location for maximum effect, every creaking floorboard, and sigh of wind through gaps in windows serves to immerse the viewer into the film, building layer upon tense layer, crafting an atmosphere of wrongness, a sense of something unnatural, disturbed.

Even when nothing obvious threatens the chill of fear and menace is palpable. And there are questions outside the family – their lawyer wonders why the mother is always too ill to see him, and he is increasingly jealous of the obvious love growing between Allie and Jack. He knows a little of their secret, but not all of it, there are layers here, to be excavated like an archaeological dig; the past does not let go with a simple act of starting again, but neither does it give up its secrets easily or quickly…

Sánchez avoids the cheap “jump scares” too many modern horror film-makers use to get a quick scare (I don’t count those as real scares, it’s just reflex, real scares are when they storyteller plants unsettling ideas right into your mind). Instead this film takes its time to patiently build that disturbing atmosphere, giving more hints at the secrets the family is hiding from, slowly cranking it up, trusting the viewers to invest into it until they too are permeated with that atmosphere and almost feel like they too are in that old, creaking house, slowly building to a climax, which I will not ruin here save to say it was, refreshingly, not what I expected and again show trust in the audience to interpret much themselves.

Sánchez and some of his young cast were at the festival screening last night, and he commented that he never set out to be a screenwriter (I am glad that he did though!), and that he and his regular film-making partner had been looking for something just like this to be his first directing gig, and what a wonderfully disturbing, chilling debut it is, moving from the sunny moments of friendship at the start (reminiscent of some old Enid Blyton tale of children’s adventures away from the adults) to the increasingly shadow-laden, creaking sound infested house and a feeling of the past closing like a noose around them and a secret that just cannot be contained. There is a timeless quality to the film, it feels like it could be set in 1860 as easily as the modern day for much of the running, until we see a 1960s wall calendar in one scene and 60s cars on a rare trip into the small town nearby.

Sánchez praised his young cast saying how lucky he was to have them for his debut, and indeed they were superb, despite their youth. It is a lot for such young actors to carry most of a film, but they do it so well, not least the youngest, wee Matthew Stagg, who takes little Sam from wide-eyed childish joy playing with Allie or his big brother Jack showing him how to send Allie morse code signals by light at night to her nearby farmhouse, to wide-eyed fear at this “ghost” and the sounds and movements in the old house, and grief at the loss of his mother. This is a slow-burn film, trusting the audience to wait, to slowly let themselves be immersed into that ever more disturbing atmosphere, leaving you wondering how much is true, is there a supernatural element here or is it all in their traumatised imaginations? What is the secret they must contain, what causes those noises, why does the top staircase end in a bricked up doorway? This is a delicious chiller that draws you into film beautifully. It is on general release in mid July.

Reviews: disturbing Gothic horror in The Atrocities

The Atrocities,

Jeremy C Shipp,

Tor.com


(cover art by Samuel Araya, design by Christina Foltzer)

Turn left at the screaming woman with a collapsing face. Turn right at the kneeling man with bleeding sores the size of teacups. If you come across a big-breasted bear with a child’s head in her jaws, you’re going the wrong way.”

Right from this opening paragraph Jeremy C Shipp’s novella The Atrocities crafts a delightfully, delectably creepy sense of unease. A tutor coming to a mysterious, isolated old home is, of course, hardly new in the fantastic genres – the governess in an old mansion with peculiar owners and even more peculiar children has been a staple of Gothic fiction since the 1800s, and the Old, Dark House has haunted our fictional nightmarescapes for just as long. It’s been quite a while since I came across someone opening up that particular playset again though, and I’m glad to report Shipp not only plays with an old generic type, he twists it and has fun with it; clearly he has a lot of love for some of those older tales, and that shows in the craft and attention to building mystery and atmosphere in The Atrocities.

The garden maze and bizarre, disturbing statuary could have come from the Addams Family mansion, but the constant, growing sense of unease, of things simply not being right, owes much to masters like Poe – there’s a feeling of dread growing throughout this book. On the surface it seems a very straightforward appointment: Danna has been engaged to tutor Isabella, the young daughter of Mr and Mrs Ever in Stockton House. There’s one somewhat unusual factor here though: Isabella is dead. Deceased. She has ceased to be, joined the Choir Invisible.

Mr and Mrs Evers, however, do not see this as any reason she should not have her education continued, like any proper young lady. Isabella is, according to Mrs Ever at least, still here, a phantom, and a playful impish one at that. Danna can see why previous teachers declined to stay, but is talked into giving the post a go, mostly because it may be emotionally helpful to Mrs Ever, who is unable to let her little girl go – has she lost the balance of her mind due to her grief, imagining that Isabella is still with her in her home, in spectral form?

Naturally there is much more going on here, but given how short this is, I’m not going to risk potential spoilers by dropping any major plot points. Besides, as with Poe the real prize here is the brooding, menacing, disturbing, Gothic atmosphere. That’s not to downplay the narrative here, which works beautifully – I’ve always thought shorter fiction is a good way to measure some writers, it is, contrary to what some think, harder to build a solid story, create characters and craft atmosphere in a short space, compared to a full-length novel. When someone does so, as Shipp does very well here, it is, to my mind, a mark of someone who really understands their craft.

Tor has been putting out some quite brilliant novellas and novelettes in the last couple of years, science fiction, fantasy and horror, and we’ve been loving them on here. A brilliant way to experience writers you may not have read before, also ideal for a quick read electronically, and The Atrocities is a very fine, hauntingly creepy addition to that range.

This review was originally penned for the Forbidden Planet Blog

The Modern Prometheus still sparks fire from the Heavens

January 1st marked the 200th anniversary of one of the first and most influential works of science fiction and horror, Mary Shelley’s Frankenstein, or The Modern Prometheus, first published, anonymously, in January of 1818 by the small press of Lackington, Hughes, Harding, Mavor & Jones, a run of only 500 copies. Two hundred years on and Frankenstein remains unbelievably influential, in storytelling, as a cautionary note in scientific research, of the dangers and responsibilities of human knowledge and abilities. Of all the books ever published over the centuries many, even those which were huge bestsellers in their day, fall into obscurity, remembered only on the odd literary course. A few, a very few, achieve a form of literary immortality, remaining in print, still read, translated into other languages for even more readers around the world.


And of those few only a handful penetrate and suffuse the popular culture to such an extent that ideas and terms from the books are borrowed regularly and used even by those who haven’t read the novel, but who are still aware of what the ideas are. We are still, to this day, borrowing from Shelley’s novel – when reporters write a piece on genetic modification, her creature is evoked: GM crops become “Frankenfoods”, the possibility of genetic manipulation of the building blocks of our human DNA raises dire warnings drawn from Victor Frankenstein and his unfortunate creature (Frankenstein is tormented by visions of any female mate he makes for his creature joining with him to breed a new race that would outstrip by design mere, naturally evolved humanity). These also go hand in hand with worries about the pace of discovery and advancement, which often seem to move to fast for us to adapt to and outstrip our ability to moralise and legislate upon – the Universal film’s cry of “In the name of God. Now I know what it feels like to be God!” remains a pertinent warning to us that we always need to consider what we are doing and why.

In part this is due not just to the longevity of the original novel, but the way it and its themes have drawn other creators to adapt it, or to be influenced by it, for other media. Within just a few years of publication Frankenstein was on the stage. In the dim, early days of flickering light from the first motion picture cameras, the Creature was there, right at the beginning of the medium, in a short silent from the Edison Company in 1910. And the, of course, that first golden age of horror film from Universal in the early 30s, bringing us first Lugosi’s Dracula then Karloff’s wonderfully nuanced creature in Frankenstein and the Bride of Frankenstein, with Jack Pierce’s iconic make-up. A couple of decades on and Hammer would revive both Dracula and Frankenstein for a new audience, in colour, with plenty of “Kensington gore”, and another iconic actor in both roles, the great Christopher Lee. Endless film adaptations, even more films and television programmes inspired by the themes in Frankenstein, the new medium of video games, and comics – notably the superbly illustrated work by the late Bernie Wrightson – those classic Aurora famous monsters model kits, even humour (think Herman Munster, or Mel Brooks’s wonderful young Frankenstein), Frankenstein has permeated our culture.

(above, the great Bernie Wrightson’s superbly detailed, iconic comics take on Frankenstein. Below, horror legend Karloff, whose subtle playing through Jack Pierce’s visually iconic make-up, gifted the cinematic monster with humanity, emotion and empathy. Bottom, Johnny Lee Miller and Benedict Cumberbatch in a modern stage version of Frankenstein, in which both actors took it in turns on different nights to play either Victor Frankenstein or the nameless Creature)

It’s not hard to see why – one of the keys of great writing is that it remains relevant to readers long after the time in which it was written. New decades and new centuries roll on relentlessly, new readers pick up the book and see in its themes comments and warnings applicable to their own contemporary world (again think of the conflation of Frankenstein’s creation with the worries over genetic research today). Of course it isn’t just the theme of humans dabbling in areas they shouldn’t, or the classic “mad scientist” who goes too far just because he can, it’s also the personal elements, the human elements – love, hate, responsibility, life and mortality, the powerlessness we have in the face of the death of loved ones, the duty we have to others, all are aspects of human nature that do not change, and so still resonate with us today. Guillermo Del Toro once described the book as one of the best “teenage” stories ever, as the unfortunate, rejected creature bemoans his state; he never asked to be created, didn’t have a choice in this life, is left rejected and alone and wondering why do I exist, why was I brought into this brutal world, what am I meant do to, what meaning is there to any of this?

We’ve all wondered that, especially in those formative teens years. I was to be your Adam, the creature tells its creator, instead I am your fallen angel. Milton’s Paradise Lost was a major influence on Shelley, the creature wants to be good, but his constant rejection and the fear others show him drives him away; can he be good? He’s not naturally created, does that mean he lacks a soul that God would have given any naturally born person? Does that mean no matter what he tries to do he can never be good, that he will always be a damned creature, except instead of being banished by his Creator to the Pit, he is rejected by his human who tried to steal the fire of creation, banished to the wastelands where no human feet walk, bereft, rejected, alone.

Other elements that remain very relevant to us: the gender roles of men and women – here a man who defies nature by creating life by himself, rather than from the womb of a woman. Is it hubris or is it fear of woman’s sexuality that drives him to try and become a creator of life himself, to take that power of generation for his own? And what does it say about relationships between men and women, about birth, death and creation? Gender even shows in the original publication, the first editions nameless, and while the first couple of editions generated mostly good reviews, some, now aware who wrote it, would sniffily dismiss it as an overwrought work of ‘a woman’, and therefore not worthy of contemplation. Two centuries on and how many women writers, especially in the fantastic fiction fields, have written under names that use only androgynous initials, or a name that could be male or female, because of the publisher’s fear that SF&F by women won’t sell as well? We’re getting past that a bit more now, but it still happens, and we still have a number of female writers who have had to do that to build a readership. Some elements, it seems, will remain with us for quite a while. At least we’re talking about it now.

Even the circumstances of the creation of Frankenstein fascinate us. The macabre experiments of Luigi Galvani with early electricity, notably the gruesome public experiment that saw him applying electrodes to the corpse of an executed criminal, creating spasmodic movement, grimacing facial expressions, all in a dead body. What was this power? Could it actually restore animation to the dead? Nobody knew, imaginations ran riot, and some of this is captured in Shelley’s dreams of an artificial being (along with, possibly, a visit to Castle Frankenstein, rumoured to once have been home to an alchemist who tried to find the secrets of life). And bear in mind this is a time when mortality, especially among children, was far higher than today, a sad fact Mary had horrible first hand experience of, even dreaming once that her dead little baby came back to life in her arms as she warmed him by the fire. Oh to have that power… And yet, nature clearly didn’t intend for us to have those powers, what would happen if we did? It all feeds into this rich novel, coming out of a fevered competition between Shelley, her poet husband, Doctor Polidori and Lord Byron as they sat bored in their villa during the “year without a summer”, trying to entertain one another.

Something opened in Mary’s mind that evening, those experiments, her reading of Milton, her own awful losses, all being fed into this story, a story that has lasted two full centuries, and which new readers are still discovering for the first time, and which has inspired countless other science fiction and horror writers across the centuries and continues to do so (what are modern fictional fears of AI outstripping its human creators, if not a modern Frankenstein tale?). If you’ve never actually read it, only watched the films or the comics, I’d urge you to go back and read it, it’s a different experience, taking in the novel; you think you know the story, but really, you only know it if you read the original, even the best film or play versions are interpretations and adaptations.

(painting of Mary Shelley by Richard Rothwell, from the National Portrait Gallery)

As with other cornerstone works of the fantastic with which Frankenstein is often grouped, Stoker’s Dracula, Stevenson’s magnificently psychological Strange Case of Doctor Jekyll and Mr Hyde, you have to go back to the actual books to truly know these stories, their nuances, their layers, their themes that haunt us still and likely always will. Mary’s Frankenstein will, most likely, remain one of those select novels which will be read for as long as people pick up books. In a way she has created her own being through her words, drawn down the vital spark of creation, and its lumbering shadow still stalks our dreams and nightmares in the twenty first century, and will continue forever…

This was originally penned for the Forbidden Planet Blog