{"id":9757,"date":"2011-03-04T09:51:09","date_gmt":"2011-03-03T22:51:09","guid":{"rendered":"http:\/\/roberthood.net\/blog\/?p=9757"},"modified":"2011-03-22T09:22:04","modified_gmt":"2011-03-21T22:22:04","slug":"tentacles-ancient-whispers-and-monstrous-gods","status":"publish","type":"post","link":"https:\/\/roberthood.net\/blog\/index.php\/2011\/03\/04\/tentacles-ancient-whispers-and-monstrous-gods\/","title":{"rendered":"Tentacles, Ancient Whispers and Monstrous Gods"},"content":{"rendered":"

An Overview of H.P. Lovecraft\u2019s Cthulhu Mythos on Film<\/h3>\n

Few filmmakers have been successful in translating New England horror writer H.P. Lovecraft\u2019s dense, adjective-driven tales of Elder Gods, Great Old Ones and the Horrors That Lurk Just the Other Side of Reality into effective cinema. Or so they say. For those poor souls who are unfamiliar with Lovecraft and his arcane writings, there is plenty of information on the web. Start with the Wikipedia entries for H.P. Lovecraft, Cthulhu Mythos and Great Old One and followed the links you\u2019ll find on those pages. Even better, many of HPL\u2019s stories are available for free download through Project Gutenberg. Collected Stories<\/em><\/a> is a good place to start.<\/p>\n

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In brief, Lovecraft\u2019s highly influential stories, taken together, posit a vast cosmic race of monstrous beings that once ruled the Earth but were driven off during the dark times of pre-history. Unfortunately, however, they\u2019re still hanging around, lurking in hidden dimensions, waiting for foolish or ambitious humans to summon them back into the world. Most of our information on the Great Old Ones comes from a book called the Necronomicon<\/em>, a sort of hideous grimoire written by the Mad Arab, Abdul Alhazred. Those who spend too much study time with the Necronomicon<\/em> end up in lunatic asylums or worse, finding themselves face-to-face with some huge ancient monster intent on re-opening a gateway back into the world. These \u201cdark gods\u201d take multitudinous forms, but in the popular imagination tentacles play a large part in their physiology. Descriptions within Lovecraft\u2019s stories tend to be vague and portentous. His deific monsters live in the darkness and when they make their appearance tend to drive the observer out of his\/her mind.<\/p>\n

The evocative but indirect power of Lovecraft\u2019s writing offers considerable challenge to those working in an essentially visual medium such as the cinema. As a result filmmakers are often accused of violating HPL\u2019s work and failing to capture its spirit. I\u2019m not convinced. Changes are necessitated by cinema\u2019s demands, and often require plot threads to be added to stories that are characteristically static and internalised. Many of the Lovecraft-inspired films work well, even if their effect is different from that of the original stories.<\/p>\n

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Dean Stockwell engrossed in the Necronomicon in “The Dunwich Horror”<\/span><\/h6>\n

Despite interesting earlier forays such as The Dunwich Horror<\/em> (US-1970; dir. Daniel Haller),\u00a0Boris Karloff\u2019s Die, Monster, Die!<\/em> (US-1965; dir. Daniel Haller \u2014 a version of \u201cThe Color Out of Space\u201d), Roger Corman\u2019s Poe-styled translation of \u201cThe Case of Charles Dexter Ward\u201d, The Haunted Palace<\/em> (US-1963; dir. Roger Corman), The Shuttered Room<\/em> (UK-1967; dir. David Greene) and The Curse of the Crimson Altar<\/em> (UK-1968; dir. Vernon Sewell), which was supposedly based on \u201cThe Dreams in the Witch House\u201d though it bore little resemblance, it wasn\u2019t until Stuart Gordon came on the scene that the movies began to feel even slightly Lovecraftian in their styling. His films, such as Re-Animator<\/em> (1985, based on \u201cHerbert West, Re-Animator\u201d), From Beyond<\/em> (1986), Castle Freak<\/em> (1995, based on \u201cThe Outsider\u201d), Dagon<\/em> (2001) and most recently H.P. Lovecraft\u2019s Dreams in the Witch-House<\/em> (2005) from the Masters of Horror TV series, are somewhat more visceral and bloody than Lovecraft\u2019s stories, at least on a surface level, but at their best they create an effective atmosphere of cosmic dread. The underrated Dagon<\/em> in particular \u2013 despite cosmetic changes made to the setting and its conflation of several Lovecraft tales into a more dynamic plotline \u2013 reeks of Lovecraftian horror. The fact that a very in-your-face CGI Dagon appears at the end is fine with me.<\/p>\n

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An unfortunate discovery regarding parentage from Gordon’s “Dagon”<\/span><\/h6>\n

Other post-1985 Lovecraft-based films include The Unnamable<\/em> (US-1988; dir. Jean-Paul Ouellette), The Resurrected<\/em> (US-1992; dir. Dan O\u2019Bannon, based on \u201cThe Case of Charles Dexter Ward\u201d), the anthology picture Necronomicon<\/em> (France\/US; 1993; dir. Christophe Gans, Shusuke Kaneko and Brian Yuzna, with three stories based on \u201cThe Rats in the Walls\u201d, \u201cCool Air\u201d and \u201cThe Whisperer in Darkness\u201d), The Lurking Fear<\/em> (US-1994; dir. C. Courtney Joyner) and many, many short films.<\/p>\n

Given Lovecraft\u2019s prominence in the horror field, the difficulties inherent in translating his tales to the screen have meant that mainstream films based on his work have not been as common as one might have expected \u2014 and that one of the most successfully Lovecraftian films ever was not even based on his work: namely John Carpenter\u2019s vastly under-appreciated In the Mouth of Madness<\/em> (1994).<\/p>\n

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Horror novels prove deadly in “In the Mouth of Madness”<\/span><\/h6>\n

It\u2019s strange how some films seem doomed to be devalued right from the start. Third in what Carpenter refers to as his \u201cApocalypse Trilogy\u201d (the first two being The Thing<\/em> and Prince of Darkness<\/em>), In the Mouth of Madness<\/em> is an effective exploration of communal perception and its role in forming accepted reality \u2013 and remains for me one of Carpenter\u2019s most disconcerting films. It is also one of the best of the films based on or inspired by the Cthulhan imaginings of H.P. Lovecraft, with their vision of vast inhuman \u201cOld Ones\u201d intent on re-gaining command over the human world. Here, inter-dimensional conquest takes place via a phenomenally popular pulp horror novelist, whose works increasingly upset humanity\u2019s psychic (and physical) stability and offer up a fiction that is designed to consume reality itself. Sam Neill plays an insurance investigator who is rather smugly adept at defusing the attempts of fraudsters to impose their small, self-serving views of reality on insurers and other financiers. \u201cHe\u2019s an amateur,\u201d Neill\u2019s John Trent says of one such fraudster, and longs for the challenge of a true professional. In the end he gets his wish, but to an apocalyptic extent that totally overwhelms him \u2026 and, given the ending, us as well. If Carpenter\u2019s The Thing<\/em> was a study in claustrophobic paranoia, In the Mouth of Madness<\/em> is its agoraphobic twin.<\/p>\n

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In recent times, production of Lovecraft-based films has been ramping up. In 2005, the H.P. Lovecraft Historical Society made the well conceived and executed The Call of Cthulhu<\/em> (US-2005; dir. Andrew Leman), which adopts film techniques current at the time the story was written to create a strong sense of period (it\u2019s made in the manner of a silent-era film) and evoking an effective atmosphere of dread. It proved to be one of the most accurate renditions of the famous Lovecraft story ever. The H.P. Lovecraft Historical Society has also created a terrific radio-play version of \u201cAt the Mountains of Madness\u201d and have been working on a second feature film, based on \u201cThe Whisperer in Darkness\u201d. It\u2019s due for release this year. Below is the latest trailer:<\/p>\n

[youtube A_ee9K9hXtw]<\/p>\n

In 2007 Dan Gildark directed a modernised Lovecraft tale, Cthulhu<\/em>, based loosely on Lovecraft\u2019s \u201cThe Shadow Over Innsmouth\u201d. Since 2005, the Masters of Horror TV series has featured the afore-mentioned Stuart Gordon effort Dreams in the Witch-House<\/em>, as well as the pre-Lovecraftian Ambrose Bierce tale The Damned Thing<\/em> (US-2006; dir. Tobe Hooper), which has a very Lovecraftian sensibility.<\/p>\n

Other independent films, often shorts, crop up from time to time. Color From the Dark<\/em> (US-2008; dir. Ivan Zuccon) is an independent feature film based on \u201cThe Color Out of Space\u201d, which won best feature at 2009\u2019s H.P. Lovecraft Film Festival<\/a> \u2014 an annual festival that highlights hordes of shorts and independent features based on the Master\u2019s work. Winning films from each year have been released on DVD; of the ones I\u2019ve seen (which is in no way comprehensive), Zuccon\u2019s effort is worth a look for the Lovecraft aficionado, as is Bryan Moore\u2019s Cool Air<\/em> (1999).<\/p>\n

Meanwhile rumours of big budget Lovecraft tales have been around for some time, with features from the likes of Stuart Gordon (rumoured to be making \u201cThe Thing on the Doorstep\u201d) and Guillermo Del Toro (with his big-budget take on \u201cAt the Mountains of Madness\u201d) [but see Note<\/strong> below]\u2014 not to mention such Lovecraftesque monster films as Altitude<\/em> (US-2010; dir. Kaare Andrews). In this one, a group of young folk flying high in a small plane find themselves looking a very Cthulhan multi-tentacled creature that inhabits the clouds directly in the eye.<\/p>\n

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Saying “Hi!” to monsters in the sky in “Altitude”<\/span><\/h6>\n

To finish, I direct you to an unusual set of Lovecraftian films. A while back I put together a Call of Cthulhu<\/em> film festival that featured on Undead Backbrain<\/a>. Check it out. You might be surprised by what you see. Well, amused at least, I hope.<\/p>\n