Moby Dick Goes Dragon

Herman Melville’s seminal American novel, Moby Dick, has always been a giant monster tale, particularly as depicted in what remains the best film version, the 1956 John Huston one starring Gregory Peck as the obsessed Captain Ahab. If you can’t quite grasp the connection between the Great White Whale and Godzilla just consider this:

[Moby Dick] is a period film, which follows the fortunes of a man so disillusioned with his life that he gets a job on a ship in order to fulfil an almost mystical attraction to the sea, only to discover that the ship’s captain is a man who has been crippled by a legendary giant monster and is determined that he and his crew will scour the world to find and destroy it. There are strange prophecies of doom, moments of weird supernatural insight, a strange alien character who comes to accept his own fate and that of the crew and thus miraculously creates a means for the main character to escape the general doom….

Other fantastical elements abound. It is as though the ship is being drawn into a different world as its dark destiny closes in around it. After a lengthy search, following the giant monster’s trail of death and destruction, the obsessed captain and his crew find themselves the target of the monster’s wrath. In a violent climax the monster destroys their boats and, by swimming around and around the main ship, creates a huge vortex that sucks it under the waves. Only the narrator escapes to tell the tale. (Daikaiju! Unnatural History)

Remember the obsessed Major Yuki in Godzilla vs SpaceGodzilla [aka Gojira tai Supesu Gojira] (Japan-1994;  dir. Kensho Yamashita)? Remember how often Godzilla sinks naval vessels that come after him with malicious intent? There may be no city-trashing in Moby Dick, but there’s definitely a daikaiju ambiance. Moreover, you might recall that the name “Gojira” (Godzilla’s real Japanese moniker) is a combination of the Japanese words for “ape” and “whale”! In one scene of Huston’s Moby Dick, a crusty old seafarer comments: “If God wanted to be a fish, he’d be a whale, believe me, he’d be a whale!”

So how big a stretch is it to transfer Moby Dick to a fantasy setting and depict the Great White Whale as the Great White Dragon?

That is exactly what’s afoot with a new film starring Danny Glover as Captain Ahab — Dragon Fire (US-2010; dir. Ryan Little).

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I have no idea where this film has been hiding, though the fact that it’s relatively low-budget, especially for a contemporary fantasy film, might have something to do with its relative obscurity. Word is the budget is about US$5 million — which wouldn’t pay for the sailors’ rags in your standard Hollywood blockbuster.

One thing that will certainly remain from the book, as it appears to be the new version’s key focus, is Ahab’s iconic — and ultimately destructive — obsession to hunt and destroy the beast. But the connections go further. Gil Aglaure, Executive Producer, commented on the film’s relationship to the Melville’s novel:

And we actually use their [the characters’] names exactly the same and there are lines that are directly extracted from the book. It’s Moby Dick with way more excitement, way more action.

What the SFX will be like is, at this point, an unknown factor — though from a recent news clip (see below), the dragon is being played by a rubbery puppet. I wouldn’t go judging its effectiveness in context from the raw news footage. I’m sure they’ll be tarting him up in post-production, no doubt enhancing the puppetry with CGI. Here he is waiting for his cue call:

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Most people are wont to remember Glover, who’s been out of the scene for a while, for his part in the Lethal Weapon franchise. For me, it’s his role in my favourite Predator film, Predator 2, that defines him. Yes, I know it’s not a critical favourite, but for me it works nearly as well as Arnie’s originating epic and is more intriguing. So in this new indy Moby Dick Glover gets to go from fighting interstellar “dragons” to hunting a draconic incarnation of the Great White Whale. Sounds fair. He can give the sort of eccentric intensity to a “hero” role that is more than suitable for Ahab.

The film is set for release later this year.

  • Source: SlashFilm via Kaiju Search-Robot Avery
Posted in Fantasy, Film, Giant Monsters, Independent film, News | Tagged , , | 2 Comments

And You Thought Ruggero Deodato’s Stuff Was Nasty…

Once upon a time there was a little-known (because constantly banned and driven into exile) Italian exploitation filmmaker who made worse films than Ruggero Deodato could hope to imagine, even during a refried-grease-and-spicy-chicken-induced nightmare. Compared to the work of obscure mega-gore maestro Antonello Giallo, Deodata’s Cannibal Holocaust looks like an episode of I Love Lucy.

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The story goes that Giallo’s Pleasures of the Damned (which featured zombies and eye-gouging and buckets of blood) and 1980’s follow-up cannibal flick, Isle of the Damned, were banned, the director brought up on 17 charges of indecency by the Italian government (for Pleasures) and in regards to Isle persecuted by the Argentinean government, who issued a warrant for his arrest under suspicion of abuse of the native peoples. All copies of the films were summarily burned and the ashes have long been thought buried under tonnes of manure guarded by mutated scorpions. But thanks to Dire Wit Films, pristine copies have been reconstructed from the remains and the controversial classics released to DVD. Only twenty or so staff members were mutilated in bringing these movies to light.

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Synopsis:

When a group of Satan worshiping bikers seek out a book holding the secrets of eternal life, they accidentally resurrect an ancient evil in the woods that manifests itself in the zombified forms of cult members who killed themselves in the same woods some 200 years before. Private investigator Jack Steele, while on a mission to help rescue Evelyn Crane’s brother Tommy from the hands of the bikers, gets entangled in the situation, and may be the only one who can lay the curse to rest for good.

I’m not going to embed the trailer here because it’s too outrageous, too bloody and too grotesquely funny. But if you feel that you’ve had enough of life, you can watch it on YouTube.

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Synopsis:

In Antonello Giallo’s follow up to the notorious Pleasures of the Damned, private investigator Jack Steele is hired by a mysterious treasure hunter to help find the lost treasure of Marco Polo. Along for the trip is Jack’s adopted son, Billy. Their search brings them to an island off the coast of Argentina… and into the clutches of a primitive cannibal tribe, the Yamma Yamma. Alexis Kinkaid, a mysterious recluse who has made his home on the island amongst the cannibals, may hold the key to unlocking the island’s secret… if they don’t end up in the belly of a savage first!

Trailer: WARNING! This trailer contains gruesomeness and scenes of Italianate horror that aren’t suitable for anyone at all. Watch it at your own risk.

The Truth:

The truth is, of course, that these films are faux ’80s exploitation films in the Italian “cannibal” sub-genre, taking its gory excesses and idiosyncratic aesthetic qualities to extremes for their comic value and as a homage to the horror of the period. Pleasures of the Damned was directed by Mark Leake and Isle by Mark Colegrove for Dire Wit Films, with much of their surrounding promotional material concerned with creating a fictional background. Have a wander through the website to get a full grasp on what’s happening.

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Meanwhile Colegrove has told Undead Backbrain that Dire Wit is currently involved in the production of another homage exploitation film, this one directed by Kelly Fitzgerald, who was Assistant Director on Isle of the Damned. This time we’re at the Mutant Monster end of the subgenre. Colegrove is executive producing this one, and it is written by Mark Leake, who also wrote the previous two films.

“The film is only maybe 1/3 of the way done shooting”, Colegrove commented. “We’re probably pushing the release back to 2011.”

The production may be only a little way through, but there is a trailer — so you can get a feel for what you’re in for.

Trailer:

Mutantis is a homage to our local Baltimore hero, Don Dohler…” Colegrove added, “and yes, that is the Mutantis [insert your own term for the male member so that the Backbrain doesn’t get flooded with unwanted spam] making a cameo at the end of the trailer.  For more of a look at the full creature, there’s a comedy bit we produced for a local concert venue promoting a Judas Priest/Heaven and Hell concert… Mutantis plays a pretty important part in it.”

Check them out here:

Stay tuned for updates!

  • Source: Mark Colgrove via Avery
Posted in Exploitation films, Film, Fraudulent information, Horror, Humour, Independent film, Preview, Teaser, Zombies | Tagged , , , , | 2 Comments

Review: In The Winter Dark

in-winter-dark-DVDcover001In the Winter Dark (Aust-1998; dir. James Bogle)

A number of significant Australian films that may be classified as “horror” play more like dramas with a subjective undercurrent of otherworldly influence than full-on supernatural thrillers, perhaps reflecting the ambivalent attitude felt by many Australians of European descent to a land that remains persistently alien. Picnic at Hanging Rock (Aust-1975; dir. Peter Weir) is a good example; another is The Well (Aust-1997; dir. Samantha Lang). In the Winter Dark also leaves the viewer with a distinct feeling that its supernatural suggestiveness may very well originate in the mind of the main character, even if there is evidence of its objective reality as well.

Based on the novel by Tim Winton, In the Winter Dark places four people in an isolated country setting — so often a key theme of Australian films. Maurice Stubbs (Ray Barrett) and his wife Ida (Brenda Blethyn) are an aging couple who have never come to terms with the death of their second child and whose relationship has settled into an emotional separation that mirrors their physical detachment from other people. Murray Jacob (Richard Roxburgh) lives across the valley in a house once owned by an old cat woman, nursing his own unspoken sadnesses. In a neighbouring house, Ronnie (Miranda Otto), a young, and pregnant, city woman, struggles with a life spiraling into chaos. They are forced together by an unseen creature lurking in the surrounding bush, emerging at night to attack and bloodily slaughter farm animals. In trying to deal with it, they find that the creature — possibly a vastly oversized feral cat (or even what is known in cryptozoological circles as an “ABC” or Alien Big Cat)  — becomes an ambiguously supernatural presence, drawing out the emotions that dwell within each of them and that cannot, in the end, be contained.

Stated baldly, this narrative description could fit any number of standard horror films, yet it is not standard horror tropes that drive In the Winter Dark. They are present by suggestion, but never clearly there. Instead In the Winter Dark remains a subjective experience, dependent on superb performances from the actors (especially Ray Barrett’s as the focus of the growing sense that what has been so long unspoken is now rising to the surface), on the mood created, on hints and suggestive statements, and on carefully placed flashbacks.

Though the supernatural element is never presented objectively and we never see the creature, it is nevertheless the key element both narratively and within the film’s emotional framework. Director Bogle, whose previous work includes the supernatural thriller Kadaicha (1988), gives the unseen creature a palpable sense of emergent presence, with foreboding voice-overs from Stubbs, suggestive shadows in the dark and ominous movements in the windblown bush, the reactions of the characters to something we can’t see, the discovery of bloodily slaughtered animals, and strange coincidences in evidence for the thing’s nature (as when Ida discovers that her own fist fits perfectly into a cast made from its paw-print). Toward the climax, isolated images and memories come together and it is this synchronicity, finally, that both evokes a sense of the supernatural and creates the film’s metaphorical ambiance. For example, we learn that the cot-death of the Stubbs’ baby was blamed on their elder daughter’s cat and that Stubbs assuaged his sorrow by killing it, even though he wasn’t sure the cat was really to blame. Is the apparent alienation of their daughter a consequence of this? Is Stubbs right when he claims the creature that is stalking them now is an overgrown feral cat? And if so, is it some sort of manifestation of his guilt? And what of reports that local witches are sacrificing cats? How does that fit in? We are never given answers, but the questions create their own sense of import.

In the opening narration, Stubbs says: “I started to have these dreams. Not mine. Other people’s. Dead people, broken people…” The dreams (manifest as flashbacks) represent an enforced breakdown of isolation that comes only after tragedy renders it unattainable. The final image of Stubbs, alone on his front porch, awaiting either redemption or punishment, is a profoundly moving one — a metaphor of the hell he has created for himself.

Bleak and emotionally powerful, In the Winter Dark offers horror of the soul rather than the more visceral horror of serial killers and monsters. As such its effect lingers long after those other, more physical horrors have faded from memory.

Posted in Film, Horror, Review | Leave a comment

Aussiecon 4 and Shaun Tan

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This typically whimsical sketch by great Australian artist and illustrator Shaun Tan adorns the cover of Aussiecon 4 Progress Report #2, celebrating the fact that Shaun is one of three Guests of Honour at this year’s 68th World Science Fiction Convention, which is being held in Melbourne on the 2nd to the 6th of September. The other Guests of Honour are American SF writer Kim Stanley Robinson (known for such books as Red Mars, Green Mars and The Wild Shore) and Robin Johnson, who has been a major figure in Australian fandom for nearly four decades.

Having the Worldcon in Australia is always a major boost to local writers and speculative fiction enthusiasts generally, and has in the past heralded an upsurge in the genres. With so many Australian authors already riding a wave of popularity, prospects for the future really do look good.

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Meanwhile Shaun Tan has just added to his already staggering list of honours by winning the children’s category Festival Award for Literature in Adelaide on Sunday, as well the Premier’s Award. If you’ve seen his books — such as The Rabbits, The Red Tree, The Lost Thing, The Arrival and Tales from Outer Suburbia — then his presence at Aussiecon should be incentive enough to get you signing up. If you haven’t, then do yourself a favour and check them out at once — then sign up for Aussiecon 4.

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Back before he was famous, Shaun illustrated the first story I sold to the Australian SF magazine Aurealis (in 1991) — “Groundswell” — and subsequently several others, and every one of those illustrations was informed, thoughtful and beautifully rendered. His work since then has been literally breathtaking.

  • To learn more about Shaun, got to his excellent website here.
  • You can get information on joining Aussiecon here.
Posted in Fantasy, News, Pictorial art, Science Fiction | Tagged , , | 1 Comment

Fin Fang Foom To Cameo in Iron Man 2

According to ScreenRant, Marvel’s most aristocratic giant monster, the Great Dragon Fin Fang Foom, will be making an appearance in Iron Man 2 (US-2010; dir. Jon Favreau).

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Don’t get too excited though, as he will only be there as an “Easter Egg”, hidden in the background of one scene — a sort of tribute to the fans. Iron Man 2’s lead conceptual artist, Adi Granov, is reported as saying:

This was my design for Fin Fang Foom for the Iron Man Viva Las Vegas book I was doing with Jon Favreau. But this image in particular was done for the IM movie and used as a billboard in one of the scenes where Iron Man flies past it. It’s very quick, but Jon wanted to have a kind of a cool easter egg in there. (SuperRobotMayhem)

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Though he began life in a solo story in Strange Tales, Foom also appeared in the Iron Man, Thor and Fantastic Four storylines. As all these are currently existing or in-development film franchises, perhaps the Great Dragon will pop-up on-screen as a character yet, especially as Marvel is reportedly leading up to a mammoth mash-up project featuring the Avengers.

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Fin Fang Foom featured in a two-part Undead Backbrain special in April 2008 (“He Whose Limbs Shatter Mountains”) and in fact the Backbrain managed to interview him in a now-demolished restaurant in Sydney’s Chinatown. You should check it out, if you haven’t come across it before.

Anyway, curious about this recent news, I tried getting hold of Foom using an archaic landline number his agent sent me after the interview appeared back in 2008, and to my surprise  I got through. Below is a transcript of our conversation.

Undead Backbrain: Is that you, your Royal Foomness?

Foom: Who else would it be, you pathetic creature? Eragon?

Backbrain: You know Eragon?

Foom: I ate Eragon over a year ago. All those artificial ingredients gave me indigestion for a week. What d’you want, fool? You disturbed my perfectly enjoyable re-enactment of the destruction of New York…. in New York.

Backbrain: There’s a rumour going around that you might be going to appear in a future Marvel Superhero movie — Iron Man 3 perhaps. Or the Thor movie? Is it true?

Foom: It might be. If I told you I’d have to come ’round and tear your guts out to feed to my starving minions.

Backbrain: The design work for your background cameo in Iron Man 2 has you looking very metallic. What’s the story there?

Foom: Background cameo? What are you talking about?

Backbrain: Apparently Iron Man does a fly-by of a billboard that has your likeness on it.

Foom: Rot and damnable libel. Who told you this?

Backbrain: It came from a guy named Adi Granov. He worked on the Iron Man 2 film.

Foom: Hmmm. If it’s true, it’s a copyright infringement. I have to go.

Backbrain: Go? But —

Foom: I intend to speak to my lawyer.

Backbrain: And then what?

Foom: I’m going to tread on the fool. Then I’m going to pay a visit to a certain conceptual artist. Purely a social call, I assure you.

Backbrain: Oh. Listen, don’t tell him you were speaking to me. Okay.

Foom: Where did you say you were ringing from? I’d like to chat with you face-to-face about your role in propagating this slander.

Backbrain: Um, a few kilometres south of the North Pole. Gotta go now.

Foom: [Indecipherable cursing]

I hope he doesn’t read this blog….

  • Source: via Avery. Really, Mr Foom, it’s Avery’s fault, not mine. I had nothing to do with it. I was an innocent victim.
Posted in Comics, Fraudulent information, Giant Monsters, Humour, Interviews, News, Where's the Film? | 1 Comment

Coming Eventually: Feeding Frenzy

Been wondering when someone would come up with a new “rubber puppet monster” horror-comedy franchise along the lines of those classics from the 1980s, Critters and Gremlins? Well, this might be it.

Feeding Frenzy (US-2010; dir. Mike Stoklasa)

What’s the monster in the box like? We don’t know, but the dry humour on display here bodes well for the film.

The director commented to the Backbrain: “It’s a feature length film. We have about 85% in the can and looking to finish the final scenes in March sometime.” So what’s it like? “Well, it’s more of a satirical comedy than a real creature kind of movie — a sort of homage to the rubber puppet monster films of the ’80s.”

Feeding Frenzy‘s tagline is “The shit just got real!” — which Avery has declared to be “the tagline of the year”. Maybe we’ll make a contest out of it. I’ll collect taglines during 2010 and readers of Undead Backbrain can vote in December….

Watch this space for more information (and images from the film) soon.

Addendum:

Mike Stoklasa’s previous films are The Recovered (2008; co-directed with Jay Bauman), in which an estranged daughter returns to her hometown for her mother’s funeral only to be haunted by strange visions and recovered memories of a forgotten childhood horror, thus putting her grip on reality and her own sanity under threat; and the irresistible, obviously very serious, puppet-driven epic Oranges: The Revenge of the Eggplant (2004):

Posted in Film, Horror, Humour, Independent film, Monsters in general, Trailers | 1 Comment

Review: The Land Has Eyes

the land has eyesThe Land Has Eyes [aka Pear ya ma’on maf] (Fiji/US- 2004; dir. Vilsoni Hereniko)

This Polynesian tribal drama boasts the distinction of being the first feature-length film made by Fijians, and is loosely based on the experiences of director Hereniko himself, who grew up on Rotuma but left to be educated in Fiji.

Viki is a young girl living in a poor village on the island of Rotuma, about 300 miles north of Fiji. Her father, considered a “pagan” by others, teaches her of the old pre-Christian ways and beliefs, specifically the legend of the Warrior Woman (Tafate’masian), who is said to have been abandoned on Rotuma by her seven brothers, after being raped by one of them. She survived against great adversity, gave birth to a girl-child and founded the island culture, vowing that future generations of Rotuman women will “carry her mana and spirit”. A strong-willed girl, Viki is inspired by this story and determined to earn a scholarship to travel to Fiji, where her studies will free the family from poverty. After her father is framed for coconut theft by the court interpreter, Poto, who deliberately mistranslates for the naïve English judge, her determination becomes even greater. But her father is ill and the odds seem unjustly stacked against her and the family, despite her father’s reassurance that “the land has eyes and teeth and knows the truth”. As a confrontation draws closer and tragedy strikes, Viki begins to channel the Warrior Woman of her tribal dreams.

The film is basically naturalistic in approach, though with an air of the supernatural, especially toward the climax. The film begins with Viki’s father telling her the story of the Warrior Woman — events dramatized for us as he narrates them — and occasionally refers back to the legend, verbally and visually, as Viki struggles to achieve her dreams. Initially, moments when Viki “sees” the Warrior Woman or experiences her influence can be understood as internalizations of the legend — though the supernatural becomes more overt during the climax, where a sudden storm and almost poltergeist-like violence brings about the downfall of the dishonest and conniving Poto. Here, where the land reveals through bared teeth the truth that its eyes have seen (as it were), the manifestation of the Warrior Woman and her spirit is experienced as strange phenomena by all present, especially the Judge, who confesses that he does not understand what happened. Yet the supernatural origin of events remains ambiguous due principally to the subjective style in which it is directed.

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The approach taken by The Land Has Eyes is a quiet, introspective one when compared to current Western film aesthetics. That is its strength, but is also likely to limit its appeal. Many will find its lack of large-scale action dull. Nevertheless it offers convincing insight into the tribal culture of Rotuma and effectively dramatizes its aspirations and beliefs.

Posted in Fantasy, Film, Review | 2 Comments

Banshee on the Loose: Damned by Dawn

damned-posterDamned By Dawn (Australia-2009; dir. Brett Anstey)

Banshees have been seriously underused in ghost cinema, the few that have appeared being only marginally related to the legend — or best forgotten. Banshees have an unique and evocative presence in folklore and myth, however, supernaturally mourning the passing of family members and heralding the coming of the Grim Reaper.  Sometimes they were considered more malicious than that, and inevitably the more pro-active side of their activities is most likely to be the one taken up by filmmakers. Yet, though the memorable coming of the wailing female spectre in Disney’s Darby O’Gill and the Little People (1959) heralds the approach of Death’s carriage and is hence more passively traditional, the scene remains the single most shiveringly remembered moment in that film and in the cinematic history of the banshee.

Still, I’ve always felt that Banshee lore could translate better to film — with its visual and auditory strengths — than has been managed so far.

In recent times there have been several independent films focusing on the banshee — Cry of the Banshee (US-2009; dir. Bennett Pellington) utilises Irish mythology, while  Banshee!!! (US-2008; dir. Colin Theys) and Banshee (US-2009; dir. Emil Novak and Mike Bohatch) deal with grotesque, inhuman creatures that kill using soundwaves, effectively turning the spectral Banshee into a straight-out monster. Others are in development. The new Australian film Damned by Dawn (Aust-2009; dir. Brett Anstey), however, is definitely ahead of the Banshee game, transferring the Irish mythology downunder (not inappropriately, given Australia’s history) and more-or-less intact, while flinging its characters into the sort of in-your-face supernatural confrontation that the title’s evocation of Sam Raimi’s Evil Dead 2: Dead by Dawn suggests (though I should add that while the film stylistically references Raimi’s iconic blood-and-guts fury, it nevertheless has a definite ghostly ambiance of its own). Here it is not so much that the banshee is a demonic figure as in other banshee films (despite becoming so thanks to circumstances), but rather that when its role in the passing of the dying is interrupted, the consequences are dire.

Claire (Renee Willner) arrives home from the City — home being a rather gothic farmstead in the Australian countryside, atypically gloomy and fog-shrouded for an antipodean location, but convincingly atmospheric nevertheless. With her comes her boyfriend Paul (Danny Alder), who thus gets to meet the family: her father (Peter Stratford), sister Jen (Taryn Eva), and her aging grandmother Nana (Dawn Klingberg).  Unfortunately Nana is on her death-bed and she uses her last few breaths to warn Claire against interfering with the Banshee spirit that must inevitably come to fetch her soul, while giving her a mysterious vase and admonishing her to make sure it is kept far away from the house. Claire ignores her on both counts and as a result the Banshee’s cry raises the dead — who are not only numerous but also rather pissed off and bloodily grumpy. Gore and mayhem ensues.

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For a low-budget flick, Damned By Dawn (a title that’s a pun, if you consider that Nana’s name is actually Dawn) is a remarkably effective piece of visual spookery, both atmospheric and blood-splattered, with lots of fog, an evocative script, and ghostly FX that rely on make-up rather than CGI. What there is of the latter is fairly primitive, but director Anstey is careful to make sure that, generally speaking, what rapid movement and quick glimpses don’t hide, the fog and shadows will. I think you’d have to be a little over-determined to be nit-picky to get offended by the lack of a large-scale SFX budget here, given that Anstey and his crew do so well with low-budget techniques and CGI figures that look a little like skeletal puppets.  The film is beautifully filmed — clear and detailed, despite being set mainly at night — with good acting, strong cutting and narrative pace, plenty of chills and suspense, and sound FX that will drill the spookiness into the back of your skull. Bridget Neval as the Banshee gets my top vote for creating that rare beast, a new, strongly effective horror character.

With its Hammer Horror ambiance and Evil Dead appreciation of blood-and-guts hauntings, Dawned By Dawn deserves to be seen by a much wider audience than the brief screenings it’s had so far at the Australian Centre for the Moving Image and at Screamfest. The independent film is one of the best of its kind that I’ve seen for a while, with a hybrid old-fashioned/modern sensibility and the sort of well-paced narrative movement that too many Hollywood films forgo in order to numb the audience with rapid-cut hysteria. It should garner an enthusiastic cult audience without too much trouble.

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  • Official website
  • Read a brief overview of banshees in folklore and in cinema in the Undead Backbrain article here.
Posted in Ghosts, Independent film, Review | 1 Comment

Godzilla ’94: Meet His Nemesis

This pretty well speaks for itself.

Thanks, Todd.

Posted in Daikaiju, Giant Monsters, Godzilla, Teaser, Todd Tennant | Tagged , , , | Leave a comment

Exotic Gothic 3: Strange Visitations

Exotic Gothic 3Just in is the next beautiful hardcover volume in editor (and academic) Danel Olson’s Exotic Gothic series of anthologies: Exotic Gothic 3: Strange Visitations (Ash-Tree Press, 2009). The Exotic Gothic anthologies, which deliberately seek out new work that pushes the boundaries of the Gothic literary tradition — particularly geographical boundaries — collected writing from right around the world that set its ghostly storytelling in places and utilising mindsets that may be considered exotic in their gothicness. Exotic Gothic 2, which was deservedly nominated in the 2008 Shirley Jackson Award for Best Anthology, included my noirish, supernatural outback tale “Kulpunya”: murder, vengeful ghosts, a giant dingo monster and all.

This third volume includes what amounts to a zombie tale set in the future — but not zombies of the cannibal apocalypse ilk. This one is a pseudo-scientific, technologically-driven offshoot of Haitian-style reanimation of the dead (or at least the mythic aspects of it), called “Behind Dark Blue Eyes” (and yes, for anyone familiar with The Who’s opus, that is a reference to one of the band’s quieter, more poignant songs). The story takes place in the context of Australian national politics. Is that exotic enough?

Here’s how it begins:

Like the rest of the press gallery I hadn’t been taking much notice of the Prime Minister’s address. It had been a long hot February sitting in Canberra, and we still hadn’t seen the introduction of the much-anticipated Corporate Representation Bill.

This was the bill, which, if passed through both Houses, would institutionalize big-business suffrage, finally giving corporations the right to purchase citizens’ votes put up for auction. That’s what we were there for, day after day. But in his usual manner, Titus Mulholland was keeping us waiting.

He’d always been a relentless speaker, equally at home with incisive political comment and prolix ranting. In either mode he was unstoppable, a demagogue who wouldn’t pause in the middle of a speech even if Parliament House were burning down. So when, right in the thick of some economic mudslinging, Mulholland shut up and looked blank, we all snapped to attention. ‘What’s the matter with the old bastard?’ Grace Everly from the Telegraph said to me. I shrugged. There was an odd expression on his face — not pre-occupation, not temporary unconsciousness, but sheer deadness. I’d have proclaimed him deceased there and then, except he hadn’t fallen over.

‘You think he’s had a stroke?’ I suggested.

‘Can strokes hit you like that?’ Grace said.

‘Like what?’

‘Like his puppetmaster got distracted and dropped the strings.’

After a moment or two, Mulholland snapped out of it and continued his speech to its end. No fuss, just a continuation. Within a few hours a press release from his Parliamentary Secretary appeared, denying the existence of any mental or physical problems. It stated that the PM had simply paused to consider important matters. Working an idea through, that’s all. I for one didn’t believe it. During his curious hiatus, Mulholland’s mind hadn’t been working through anything. It had been completely, and coldly, inoperative.

I was chuffed, I admit, when I heard from the editor that “Behind Dark Blue Eyes” was a favourite of both his and the publishers and would open the anthology. It’s these simple things that make writers happy.

While I haven’t read the rest of the book yet, it’s patently a great line-up, with (on my estimation) four or five top Australian writers included. Seeing Stephen Volk’s name there sent anticipatory chills up my spine, too. Volk is responsible for two of my all-time favourite TV shows: the one-off, pseudo-documentary Ghostwatch (1992) and the brilliant — and by far most dramatically convincing and horrific paranormal “medium” series ever — Afterlife (2005/6). He also wrote the screenplay of Gothic, Ken Russell’s bizarre take on the origins of Mary Shelley’s most famous tale.

Contents

Oceania and Australasia

  • ‘Behind Dark Blue Eyes’ by Robert Hood
  • ‘Sanguma’ by Lucy Taylor
  • ‘The Gaze Dogs of Nine Waterfall’ by Kaaron Warren

Asia

  • ‘Bruhita’ by Dean Francis Alfar
  • ‘Two Steps Along the Road’ by Terry Dowling
  • ‘The Suicide Wood’ by Steve Duffy
  • ‘Keramat’ by Tunku Halim
  • ‘Extended Family’ by Tina Rath
  • ‘From the Lips of Lazarus’ by Stephen Volk
  • ‘Mine’ by Simon Clark
  • ‘Mami Wata’ by Simon Kurt Unsworth

Europe

  • ‘The Stranger’ by Isobelle Carmody
  • ‘The Orange & Lemon Café’ by Dejana Dimitrijevic
  • ‘Profanities’ by Paul Finch
  • ‘To Forget and Be Forgotten’ by Adam L. G. Nevill
  • ‘Meeting with Mike’ by Reggie Oliver
  • From Paper Theater by Milorad Pavic
  • ‘Citizen Komarova Finds Love’ by Ekaterina Sedia
  • From Amarcord by Zoran Zivkovic

North America

  • From Freak House by James Cortese
  • ‘The Dismal Mirror’ by Brian Evenson
  • ‘The Haunted House in Etobicoke’ by Barbara Roden
  • From Deadfall Hotel by Steve Rasnic Tem

You can order the book direct from the publisher, or through booksellers.

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