I’ve seen a number of Lovecraft-based movies over the years–a few pretty good, others passable, and some dreadful–and this is the most faithful adaptation of one of his stories I’ve seen yet.
The story follows the novella of the same name with only minor changes. The main protagonist reads the notes, newspaper articles, and other information gathered by his late granduncle about certain gruesome cults around the world that worship idols of a crouching figure, with “cuttlefish head, dragon body, scaly wings”. Strange events that culminate in March of 1925 suggest that the creature represented, called “Cthulhu” by its cultists, isn’t mythic but lies dreaming in a sunken city in the Pacific.
These events are shown in flashback scenes as the protagonist reads about them: his uncle’s conversation with a young local artist who had fantastic dreams of the sunken city and sculpted his own bas relief of Cthulhu; a police raid on a cult in Louisiana swamps; an attack by another cult group in the Arctic on an explorer; and finally the account of the lone survivor of a Norwegian boat lost in the South Pacific about the island risen from the sea that he and his crewmates discovered… and what they accidentally awakened there.
After years of modernized Lovecraft, sexed-up Lovecraft, and Lovecraft dressed up to look like Poe, this is a welcome relief, and a delight to watch.
The film is obviously a labor of love by its makers. I especially liked the care taken with the look of the film:
- The fonts on the title cards and even the copyright warnings.
- The scratches and other artifacts on the film to make it look like a long-lost movie from the 1920s.
- The twisted Cabinet-of-Dr.-Caligari-esque sets for the dream sequences and the city of R’yleh.
- The shadowed eye make-up on the actors.
- The stop-motion model of the dread Cthulhu, which reminds me of the work of Willis O’Brien.
For the most part, it looks like the 1920s. Some of the actors don’t look quite “period,” however, which makes me ponder exactly what it is that makes some people appear too modern and out-of-place in period pieces. Is it their hair? Their expressions? It’s not always an obvious quality.
But Matt Foyer, who plays the central protagonist, definitively has a face for silent pictures.
I’ve been taking an interest in this type of film, where the filmmakers–usually a small and independent production–use the techniques, sets, and acting styles of an earlier time. Larry Blamire’s spoof and loving recreation of the Old Dark House movies of the 1930s is another example I’ve recently become enamored with.
A friend has suggested that I get some actors to perform a scene from one of my novels and film it for YouTube; my publisher and I have discussed it and decided it’s far beyond our abilities to put together the sets, costumes, and other aspects of production necessary even to film a short fantasy scene competently. I’m therefore all the more impressed when I consider the amount of work and dedication that must go into making an entire independent film.