Brave New World, Tentative Version, Part 8: "Monsters on the Marquee: Hollywood's Golden Age of Horror"

Intrigued by how AI can impact my writing, I'm presenting side-by-side comparisons of past articles and their revisions made with Google's Gemini Artificial Intelligence. Brace yourselves!

AI Version of an article that appeared here

"Monsters on the Marquee: Hollywood's Golden Age of Horror" 

The 1930s were a dark time for America. The Great Depression gripped the nation, leaving millions jobless and homeless. People sought escape from their harsh realities in the flickering lights of movie theaters. Hollywood studios obliged, churning out films that offered thrills and chills in place of daily struggles.

For a mere dime, audiences could lose themselves in a world of fantastical creatures and the brave heroes who battled them. This era, spearheaded by Universal Studios,  birthed the classic movie monsters that continue to haunt our collective nightmares – even nine decades later.

The Classic Movie Monsters of Universal Pictures

Dracula (1931): The Birth of a Legend

In 1931, Tod Browning brought Bram Stoker's iconic 1897 novel Dracula to life on the big screen. This wasn't just any adaptation; it set the template for countless vampire movies to come. Bela Lugosi's portrayal of the count was a revelation: suave, seductive, and utterly terrifying. We learned of the vampire's aversion to religious symbols and sunlight, and the chilling method of dispatching them – a stake through the heart. The film became a box office smash, reviving the struggling Universal Studios and catapulting Lugosi to superstardom.

Frankenstein (1931): Reanimating a Classic

Fueled by the success of Dracula, Universal Studios head Carl Laemmle Jr. searched for more chills to deliver to horror-hungry audiences. Their next target: Mary Shelley's 1818 novel, Frankenstein; or, The Modern Prometheus. Director James Whale, with the help of makeup maestro Jack Pierce and special effects whiz Kenneth Strickfaden, brought Shelley's vision to life. Colin Clive donned the iconic lab coat as the obsessed scientist, while Boris Karloff as his monstrous creation, stitched together from body parts, became an instant horror icon. Just like Dracula, Frankenstein became a critical and commercial darling, thanks in part to Karloff's surprisingly sympathetic portrayal of the misunderstood creature.

The Mummy (1932): Unveiling a New Terror

Universal kept their golden ghouls, Bela Lugosi and Boris Karloff, busy after their 1931 breakout roles. While Lugosi starred in Murders in the Rue Morgue (1932), Karloff pulled double duty in The Mummy (1932), directed by Karl Freund. Freund, a pioneer of the "unchained" camera, allowed the audience to virtually explore the ancient Egyptian tombs and temples, immersing them in a tale of love and immortality that transcended centuries.

Beyond Monsters: Exploring Societal Fears

Beyond the chills of the supernatural, Universal tapped into the growing anxieties of the time. People were wary of science's potential to unleash unforeseen horrors. Was science playing God? What divine retribution awaited such hubris? These questions simmered beneath the surface, and characters like Dr. Frankenstein, Dr. Jekyll, and Dr. Moreau became chilling embodiments of those fears on the silver screen.

The Invisible Man (1933): Terror Unseen

James Whale returned to the director's chair for this adaptation of H.G. Wells' novel. Claude Rains takes on the role of Jack Griffin, a scientist whose quest for invisibility takes a horrifying turn, driving him to madness. Griffin's unseen presence becomes a chilling embodiment of the growing societal distrust of science. The film was lauded for its groundbreaking special effects, particularly the scene where Griffin removes his bandages, revealing his invisibility in a way that sent shivers down audiences' spines.

Werewolf of London (1935): The Howl Begins

Director Stuart Walker unleashed the first mainstream Hollywood werewolf movie with Werewolf of London (1935). The story follows dueling scientists locked in a race to find a cure for lycanthropy, the ability to transform into a wolf or a wolf-human hybrid. This early take on the werewolf myth treated it as a communicable disease, a stark contrast to the supernatural origins explored in later films.

Interestingly, lycanthropy isn't just for cryptids (animals that cryptozoologists believe may exist somewhere in the wild, but whose present existence is disputed or unsubstantiated). It's also a recognized psychiatric syndrome where patients suffer from the delusion of turning into a wolf.

Pushing the Boundaries: Horror Before the Hays Code

The early 1930s were a wild west for horror films. While graphic violence wasn't yet on the table, studios reveled in exploring dark themes that could still shock audiences today.

Dr. Jekyll and Mr. Hyde (1931):

 Paramount Pictures' take on Robert Louis Stevenson's classic earned Fredric March an Academy Award for his chilling portrayal of both Jekyll and Hyde. Director Rouben Mamoulian delves into Jekyll's tragic attempt to purge his dark desires, only to unleash a monstrous alter ego, Mr. Hyde. Even today, the scenes of Hyde's cruelty towards Ivy (Miriam Hopkins) are disturbing to watch.

The Island of Lost Souls (1932) 

This Paramount Pictures adaptation of H. G. Wells' novel caused an uproar. Charles Laughton's portrayal of the mad scientist Dr. Moreau cranks the "mad scientist" trope to eleven, culminating in a shocking and blasphemous finale. The film reimagines the fall of man, with Dr. Moreau creating monstrous beings and facing a horrifying fate at their hands.  Several states banned the film for its religious references, and the depiction of cruelty led to a 20-year ban in England (it was finally released with an X rating in 1958). Bela Lugosi is unrecognizable under heavy makeup as one of Dr. Moreau's beast-men creations, the Sayer of the Law. (Fun fact: The Sayer of the Law's question, "Are we not men?" was the inspiration for the title of Devo's debut album,  "Q: Are We Not Men?")

Freaks (1932)

This twisted tale of revenge by director Tod Browning was deemed too shocking for audiences and banned in England for decades. When a beautiful trapeze artist Cleopatra (Olga Baclanova) discovers a  little person named Hans (Harry Earles) is wealthy, she plots with a strongman to kill him and steal his money. However, the other sideshow performers, many played by real-life performers with disabilities, discover the plan and enact a horrifying revenge on the "normal" couple. The image of the performers crawling through mud towards their trapped prey is unforgettable. Cleopatra meets a fittingly gruesome end, becoming one of the very "freaks" she despised. (The Ramones even borrowed the chant "We accept you, one of us" from Hans and Cleopatra's wedding for their song "Pinhead" Gabba Gabba Hey!")

The Black Cat (1934): A Forbidden Brew

The legend of Bela Lugosi and Boris Karloff sharing the screen begins with The Black Cat (1934). This Edgar Ulmer-directed thriller is a dark brew of revenge, laced with disturbing elements of Satanism, wartime atrocities, and hints of taboo desires. Set in a post-WWI Hungary still reeling from the horrors of war, the film pushes the boundaries of what was acceptable before the Hays Code enforcement began in earnest the following year.  This sole pre-Hayes collaboration between the horror icons Lugosi and Karloff remains a fascinating, albeit shocking, exploration of the dark side of human nature.

1935 and Beyond: Horror Evolves Under the Hays Code

In 1934, Hollywood adopted the Hays Code, a set of guidelines influenced by the Catholic Church. Designed to safeguard audiences from the corrupting influence of on-screen immorality, the code imposed strict limitations. Nudity, sex, drug use, and religious mockery were all forbidden. All criminal acts had to be punished. Many felt the code stifled creativity and watered down the impact of horror films.

However, the code also ushered in a new era of horror. Studios turned to sequels, remakes, and parodies to keep audiences thrilled within the confines of the regulations. This period saw the return of classic monsters like Frankenstein's monster and Dracula, creating new mayhem or encountering comedic foils.

The Legacy of the Monsters: Sequels, Remakes, and Laughter

With their classic monsters firmly established, Universal Studios looked to expand their chilling universe.

Bride of Frankenstein (1935)

Considered a landmark in horror sequels (some say even better than the original!), Bride reunited director James Whale with Boris Karloff's monster and Colin Clive's Dr. Frankenstein. This time, the mad scientist attempts to create a mate for his creation, with the help of Elsa Lanchester in a dual role as Mary Shelley and the imposing Bride.  Lanchester's chilling performance marked the last time Karloff donned the monster's cumbersome makeup, paving the way for Bela Lugosi and Lon Chaney Jr. to take on the role in later films. (Fun fact: Elsa Lanchester started her career in a most unusual way - as a professional "other woman" hired to grounds for divorcing couples!)

The Wolfman (1941) 

Universal brought the werewolf back to the big screen with a vengeance. This time, Jack Pierce's rejected werewolf makeup from Werewolf of London found its perfect home on Lon Chaney Jr.'s face.  Curt Siodmak's script delved deeper into the lore of lycanthropy, creating a more nuanced and frightening werewolf than audiences had seen before.

Abbot and Costello Meet Frankenstein (1948) 

Recognizing the comedic potential of their monster mash, Universal initiated a hilarious partnership with comedy duo Bud Abbott and Lou Costello.  This first installment pitted the bumbling comedians against Bela Lugosi's Dracula and Lon Chaney Jr.'s Frankenstein's monster - the last time Lugosi would portray the iconic vampire. The success spawned a series of films featuring the comedy duo encountering other classic Universal monsters, including the Invisible Man, Dr. Jekyll and Mr. Hyde, and the Mummy.

Last Word

So there you have it! A glimpse into the chilling world of Universal Studios' classic monsters. These creatures of the night continue to terrify and enthrall audiences even today, a testament to the enduring power of these films.

As for the experiment?  Using AI like Gemini to revisit these classics proved to be a fascinating exercise. It helped refine the  presentation, unearth interesting trivia, and ensure the content remains engaging for modern readers.  Whether you're a longtime monster fan or just discovering these films for the first time, I hope this AI-assisted exploration has sparked your interest in venturing into the dark world of Universal's horror icons.

Brave New World, Tentative Version, Part 7: Los Luchadores y Las Luchadoras – Everything Goes in The World of Luchador Films!

 Intrigued by how AI can impact my writing, I'm presenting side-by-side comparisons of past articles and their revisions made with Google's Gemini AI. Brace yourselves!

AI Version of an article that appeared here 

Los Luchadores y Las Luchadoras: A World of Masked Heroes and Monstrous Mayhem

Dive into the thrilling world of Luchador films! This genre, inspired by Mexico's vibrant professional wrestling scene, boasts masked heroes, fearsome villains, and plenty of action-packed thrills.

From the Golden Age to Modern Discoveries:

Flourishing in the late 1950s to 1970s, these films weren't exactly horror, but they delivered action aplenty.

El Santo, the most famous luchador (wrestler), battled iconic monsters like Dracula and mummies alongside his masked companions.

The prolific El Santo, whose real name was Rodolfo Guzmán Huerta, starred in over 50 films between 1958 and 1982, always maintaining his mysterious persona by never appearing publicly unmasked.

A fun entry point is "Santo en el tesoro de Drácula" (1969), where Santo and his team use a time machine to find Dracula's hidden treasure. Interestingly, an adult version also existed, rediscovered after 40 years and released as "El Vampiro y El Sexo" (2011) against the wishes of Santo's family.

Beyond the Male Heroes:

René Cardona, a prolific director, not only directed many of Santo's films but also created the Las Luchadoras (Wrestling Women) sub-genre, featuring female wrestlers as the protagonists.

In "Las luchadoras contra el médico asesino" (1964), Gloria Venus and Golden Rubi fight to thwart a mad scientist's plan to create a mate for his human-ape hybrid. These empowered women don't wait to be rescued; they take matters into their own hands, showcasing their strength and fighting spirit.

While Cardona revisited the theme of female wrestlers battling mad scientists and monstrous creatures in "La Horripilante bestia humana" (1969), the focus shifted to a more horror-oriented story, with the female wrestlers playing a smaller role.

A Legacy of Entertainment:

Luchador films offer a unique blend of action, fantasy, and cultural exploration. They celebrate the virtues of heroism, morality, and fighting for what's right, all wrapped in an entertaining and often campy package.

Availability:

Many of these movies are currently available for streaming on platforms like Amazon and Tubi. So, if you're looking for something different and exciting, consider diving into the world of Luchador films!

Brave New World, Tentative Version, Part 6: Ti West's X (2023)

Intrigued by how AI can impact my writing, I'm presenting side-by-side comparisons of past articles and their revisions made with Google's Gemini AI. Brace yourselves!

 AI Version of an article that appeared here. 

A Nostalgic Nightmare: X (2022) Review

In 1979, a group of aspiring filmmakers embark on a dream project: producing an adult film in rural Texas. But their idyllic vision quickly turns into a fight for survival when their reclusive, elderly hosts discover their secret operation. Through this unsettling premise, writer and director Ti West delivers a thrilling combination of nostalgia and horror in X (2022).

West masterfully establishes the film's setting and themes in the opening shot. The camera slowly pans from a dark barn towards a distant farmhouse, captured in the classic 4:3 aspect ratio. This evokes the era of the film while simultaneously hinting at the wider perspective to come. As the scene progresses, the frame expands to a modern wide-screen format, mirroring the characters' transition from innocent filmmakers to vulnerable prey.

The film boasts a talented cast, including Mia Goth, Jenna Ortega, and Scott Mescudi. Goth shines particularly bright in her dual roles as the ambitious Maxine and the embittered Pearl, a character representing the potential tragic outcome of Maxine's youthful aspirations.

West channels the spirit of exploitation films through his unique blend of visual flair and storytelling. While the premise promises titillation and terror in equal measure, it manages to deliver both without being merely exploitative. One ingenious technique involves mirroring the shifting aspect ratio during a pivotal scene: as a sex scene unfolds, the frame expands simultaneously with Pearl stalking an unsuspecting Maxine in the woods. This creates a potent blend of voyeuristic excitement and chilling suspense.

West succeeds in crafting well-rounded characters, with performances ranging from solid to exceptional. The film explores the anxieties surrounding aging, particularly relevant to millennial audiences. Many millennials perceive their future as a "steep decline" towards isolation and cognitive decline. Howard and Pearl, the elderly couple, serve as a physical manifestation of these anxieties, their desperation for youth driving them to horrific acts.

X is more than just a slasher film. Director Ti West crafts a terrifying experience with a talented cast, genuine love for the filmmaking process, and plenty of scares. While set in 1979, the film subtly explores themes relevant to modern audiences, like the anxieties surrounding aging. The performances are excellent, the nudity is tastefully done, and the kills are both gruesome and thrilling.

Gemini may display inaccurate info, including about people, so double-check its responses. Your privacy & Gemini AppsOpens in a new window

 

Brave New World, Tentative Version, Part 5: The Devil's Rejects (2005)

Intrigued by how AI can impact my writing, I'm presenting side-by-side comparisons of past articles and their revisions made with Google's Gemini AI. Brace yourselves!

AI Version of an article that appeared here

Thursday Morning and the Devil's Rejects: A Rewritten Review

It's a crisp Thursday morning in Oxford, November 4th, 2010. The sun casts a warm glow on the fall foliage, birds chirp outside, and a train whistle echoes in the distance. I savor the last sip of coffee, watching squirrels and birds flit through the trees. But last night, a different kind of thrill played out on my screen: Rob Zombie's 2005 film, The Devil's Rejects.

Our orange tabby, Thor, nicknamed "The Fat Bastard," bounces across the living room, his belly swaying comically. Eloise, our ever-alert canine, stiffens, ears perked like radio antennas, scanning for threats. Soon, she claims Thor's abandoned spot on the couch, occasionally twitching her ears at passing cars.

Having been unimpressed by House of 1000 Corpses, I wasn't eager for its sequel. However, the earwormy "Free Bird" playing in the final gunfight piqued my curiosity. Unfortunately, the only available copy was German-dubbed with out-of-sync subtitles. Thankfully, the straightforward plot about murderous fugitives was easy to follow.

The soundtrack, featuring classic rock, was a highlight. The final sequence, with "Free Bird" playing over wide-open Texas landscapes, was visually stunning. However, the film's problems were glaring.

The characters, particularly the Firefly family, lacked depth. Aside from Captain Spaulding, played with gusto by Sid Haig, they were barely human, their psychotic rage their only interaction with outsiders. The constant violence and sadism became quickly numbing.

The film's overt misogyny was deeply disturbing. Why did every member of the Firefly clan, including the women, target females? Was it simply for their appearance? The repeated sight of blood-splattered breasts left me feeling desensitized and uncomfortable.

I cannot recommend this film. The relentless violence becomes tedious and the misogyny leaves a bad taste. It was two hours of my life I won't get back.

The physical therapy waiting room is tiny, and with more than a few people, I feel like I'm in the way. Today, four others shared the space. A large man in new sneakers read Time magazine, while another, in work clothes, animatedly talked on his cell phone, his body moving in a rhythmic dance.

It's easy to distinguish patients from those picking them up. Patients wear workout clothes, while others wait patiently. The woman in red sweats was clearly there for therapy, while the other woman had the air of a mother waiting for her child.

The morning's sunshine has given way to gray skies and rain. And once again, my furry companions have taken up strategic sleeping positions around me.

Brave New World, Tentative Version, Part 4: Cherry Falls (2000)

Intrigued by how AI can impact my writing, I'm presenting side-by-side comparisons of past articles and their revisions made with Google's Gemini AI. Brace yourselves!

 AI Version of an article that appeared here 

Scream (1996) was a game-changer for the slasher genre. It broke convention by directly referencing familiar tropes and playfully critiquing them, engaging viewers in a self-aware dialogue about the genre itself. This innovative approach resonated with audiences and critics alike, sparking a wave of similar "neo-slasher" films.

Recognizing this newfound opportunity, filmmakers rushed to capitalize on Scream's success. Writer Ken Selden and director Geoffrey Wright envisioned Cherry Falls as a unique entry, aiming to push boundaries by blending gruesome murders with teen-sex comedy - essentially combining Porky's with Friday the 13th. Their hope was that a large-scale orgy scene would be the winning ingredient.

However, the societal tide shifted dramatically, forcing drastic changes on the completed film. In 1999, a series of violent crimes linked to the original Scream and the Columbine tragedy sparked public outcry for stricter movie ratings to limit teens' access to violent content. This outcry, coupled with Senate investigations and the MPAA's refusal of an R-rating, forced USA Films, Cherry Falls' distributor, to heavily cut the sex, violence, and gore, leaving it a pale shadow of its original vision.

In the town of Cherry Falls, a killer targets virgins, sending shockwaves through the high school. Brittany Murphy shines as Jody Marken, the sheriff's daughter, who defies the killer and societal pressures. Unlike typical final girls, Jody maintains her agency, refusing to cave to demands about her sexuality.

Cherry Falls deviates from classic slasher tropes. Jody's transformation doesn't involve a symbolic weapon; she relies on her wit and training. This subverts the "male viewer fantasy" of the final girl as a weaponized extension. Additionally, the film critiques the hypocrisy of adults, particularly Principal Sisler, who prioritize societal norms over student safety.

Unfortunately, the MPAA's refusal to grant an R-rating led to significant cuts, removing gore and nudity. This compromised the film's intended impact, leaving viewers wanting more. Ironically, this forced conformity contrasts with Jody's own defiance.

While not a game-changer, Cherry Falls reflects the evolution of the slasher genre. Its exploration of sexuality and subversion of final girl tropes are noteworthy. However, its controversial editing history serves as a cautionary tale about the impact of societal pressures on artistic expression.