The Black Stone

“They say foul things of Old Times still lurk in dark forgotten
corners of the world. And Gates still gape to loose, on certain
nights, shapes pent in Hell.”

This is my favorite Robert E. Howard story, and in my opinion his best  Lovecraftian one, so I was delighted when I heard that Dark Adventure Radio Theatre was doing an adaptation of it. Although a downloadable version was available earlier, the CD with props finally arrived just before the holiday weekend.

Black Stone props

In The Black Stone, an unnamed first-person narrator, acquainted with von Junzt’s occult book, Unaussprechlichen Kulten*, as well as the mad poet Justin Geoffrey’s “People of the Monolith,” takes his vacation in the location where the Monolith, or Black Stone, stands; this is in the mountains of rural Hungary, on an open meadow plateau above a tiny village with the intriguing name of Stregoicavar: the Witch Village. The age of this mysterious stone object is disputed; some claim a fabulous antiquity and puzzle over the strange markings upon in.

At Stregoicavar, the protagonist not only examines the Black Stone for himself, but learns something about its true age, the barbaric rites performed there on Midsummer nights long ago, and the reason why Justin Geoffrey went mad after his visit here — more than he really wanted to know.

The HPL Historical Society takes this tale and builds upon it, adding the usual spirited period dialog to enliven the audio drama and bestowing upon the nameless hero not just a name, but a character which DART fans are already familiar with: Charlie Tower.

Charlie TowerThis is not, however, the millionaire playboy adventurer we know from The Whisperer in  Darkness, Brotherhood of the Beast, and Dagon: War of the Worlds. He’s a younger man, freshly scarred and disenchanted by the earthly horrors of the first World War.

In the summer of 1919, young Charlie (played by Sean Branney) is hanging around Europe after the war in pursuit of various decadent pleasures. We find him in Berlin in a nightclub named Himmel und Hölle –Heaven & Hell — sipping champagne and chatting with an underaged Marlene Dietrich, when he hears a poet read Geoffrey’s “People of the Monolith.”

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Dead Tongues

A short student film, presented to the Lovecraft Film Festival in 2016 and made available through the Film Fest on DVD. I finally bought a copy from them when I was at the NecronomiCon this summer. The DVD cover says that it’s “inspired by an H. P. Lovecraft story,” but the link is tenuous one.

Tony's video diary

“I haven’t slept in about four days now, translating shit, words I’ve never even heard of before. I had to board up the windows to help me concentrate. Every time I close my eyes, all I see is a hieroglyph… This is important.”

We hear this speech over quick cuts of a young man recording his video diary, the same young man pouring gasoline on himself and flicking a cigarette lighter, and a young woman in black attending his funeral.

When she goes to his apartment with armloads of cardboard boxes some time after the funeral, we get their story in flashback.

A month earlier, Stacey (Phoebe Fox) was excited when her boyfriend Tony Jermyn (Robert Justin Dresner) returned from a grad-student archeological trip to Peru, but Tony was even more excited about the discovery of wall carvings in a cave that looked like much smaller versions of the Nasca Lines. He wanted to do some independent research on them with an eye toward career establishing publication before sharing his findings with the (unnamed) university . “I’m going to be in National Geographic!”

Tony was extremely eager to get started right away, oblivious to all of Stacey’s Welcome Home overtures and forgetting this was their anniversary. Realizing that she wasn’t as important to him as his work, Stacey told him she was leaving; Tony was already so focused on his computer that he didn’t even realize she was breaking up with him.

Stacey exited in tears, leaving the flowers and Happy Anniversary card she bought for him on the living-room coffee table.

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HP Lovecraft Film Festival, Best of 2020

After a long delay, I have finally obtained the BluRay for the best short horror films from around the world shown at the 2020 HP Lovecraft Film Festival (a streaming festival that year).

It’s an interesting batch, with only one film loosely based on a Lovecraft story, and a couple of others that might be called allusions to the works of HPL.

U14

A pretty good US-made film in an atypical setting. What starts out as the usual, boring night at work for a country and western DJ/radio talk show host named Rooster turns into a bewildering experience in recursive horror when several of his call-ins request that he play an oldie they call “U14”.

Rooster has no clue what U14 is, if it’s a song title or a juke box number, but since so many people are asking for it, he has a look in the store room. After digging through stacks of old 45s, he finds a box containing a set of cassette tapes labeled U1, U2, and so on. One is labeled U14, so he takes it back up to the control room along with some antique equipment that will let him broadcast tapes.

U14

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The Blood Spattered Bride

The Blood Spattered Bride

This was an extra feature on the Daughters of Darkness BluRay. I’ve been meaning to review it for years. I was under the impression that it was an English-dubbed French film, but now that I watch it again, I see that I was wrong; it’s Spanish.

The plots of the two films are similar–a newly married couple is beset by an ancient but chic lesbian vampire–but the former is based on the legendary Erzsebet Bathory and her atrocities, and the latter is one of many adaptations of Sheridan LeFanu’s Carmilla

We meet the newlywed couple in this film speeding along in a convertible. They are so newly married that the bride Susan (Maribel Martín) is still in her wedding gown with a full length veil. Her husband (Simón Andreu), who doesn’t seem to have a name, stops at a hotel so they can change. Susan doesn’t want to; she’d rather drive on “at 90 miles an hour”, she laughingly responds. But stop they do. Hubby leaves her on the front steps of the hotel with their luggage while he parks the car. No valet service here.

As she enters the hotel alone, Susan notices a woman seated inside a parked car, watching her.

A bellman shows her up to her room. As she starts to remove her veil and dress, a man with a stocking over his face emerges from the closet and attacks her. She lies in a faint while he tears open the front of her dress to rape her.

But when her husband comes upstairs a moment later, Susan is sitting alone on the bed. Her dress isn’t torn. The rape was some kind of terrible hallucination.

Susan tells her husband that she doesn’t want to stay in the hotel. “I don’t like it here.” And who can blame her, after that?

Bride

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From Beyond the Grave

Amicus Studios was generally considered second-best in British horror after Hammer, but this anthology film is just the sort of thing they did so well during the 1960s and ’70s and are best remembered for: The House That Dripped Blood, Dr. Terror’s House of Horrors, and Asylum.

From Beyond the Grave is Amicus’s final horror anthology. It showcases four  tales written by R. Chetwynd-Hayes–who is not an author I’m familiar with, so I can’t say how these segments compare to his original short stories.

The framing story features a dusty little antique shop named “Temptations, Ltd.” in an obscure back street in London, run by a mild mannered, equally dusty  proprietor (Peter Cushing, playing it in a very understated manner). The premise connecting each story is that the type of customer you are determines your ultimate fate.

Mirror Man

The Gatecrasher

Our first visitor to the antique shop is Edward Charlton (David Warner), dressed in the mod style of the late ’60s. He is immediately attracted to an old gilt-framed mirror. The elderly proprietor  wants £200 for it as a genuine antique, but Edward questions its authenticity and says he’ll give 25 quid for it. The proprietor accepts this offer without bargaining.

A little later, at a party in his flat, Edward boasts to his friends about how he cheated the old man by making him believe that the mirror was a reproduction. Edward estimates that it’s really about 400 years old.

One of his friends observes that “It looks like it belongs in a medium’s  parlor– so let’s have a séance!”

In spite of some qualms by Edward’s girlfriend Pamela,  they do. The rest of the party is keen and Edward claims certain mediumistic gifts.

His séance produces interesting results. Blasts of blue flame shoot up from the single candle on the table, and Edward rather incautiously invites whatever spirit he’s contacted to “come in.”

Neither he nor his friends notice that the mirror seems to be fogging over, as if the reflected room on the other side of the glass is filling up with mist.

A man’s face appears.

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The Horror in the Museum

Horror in the MuseumThe Horror in the Museum was a story  that H.P. Lovecraft either co-wrote with Hazel Heald, or ghost-wrote based on an idea of hers (her version of events versus his). It appeared in Weird Tales coincidentally around the same time as the 1933 film Mystery of the Wax Museum came out; the two have similar settings, although the “Horror” is a bit more horrible.

Like The Curse of Yig, this is one of those Lovecraft stories I know that I’ve read, but can’t say I’m extremely familiar with. In some ways, that gives it an advantage over stories like Rats in the Walls or Haunter of the Dark that I practically know by heart; I first listened to this Dark Adventure Radio Theatre audio adaptation without expectations or close comparisons to the original text, although I did  give the text a quick refresher read online after listening to it a couple of times.

This adaptation does stay fairly close to the original story, with the addition of one new prominent character and a bit of a twist at the end–neither of which is unusual for Dark Adventure. It also has one or two interesting things to say about achieving immortality through works of art. Not a unique sentiment, but in this particular case…

The audio drama begins with two Americans from Chicago visiting Madame Tussaud’s famous Wax Museum in London. Madame Tussaud’s is not the Museum of the title, where the Horror occurs, but it does introduce our two protagonists to it.

Steven Jones is an entrepreneur looking for a terrific new show to bring to the States. He isn’t very  impressed with the historical waxworks he sees, but his publisher friend and potential business financier, Eleanor Patterson*, notices that the queue for the Chambers of Horrors is very long.

Then they see one wax figure that does intrigue: Dr. Dee, advisor to Queen Elizabeth I, astrologer, occultist, and reputed magician. In Lovecrafty circles, Dee is best known for his Latin translation of the Necronomicon. There’s something in the lifelike look and craftsmanship of this particular figure that leads Steven and Eleanor to inquire about the artist. They are given directions to the more obscure waxwork show of one George Rodgers.

Wax Museum souvenirs

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The Curse of Yig

Yig ledger art

The Curse of Yig was a collaborative effort of H.P. Lovecraft and Zealia Bishop.  Bishop provided the idea of a pioneer in the Oklahoma Territory who was terrified of snakes. Lovecraft recrafted this basic concept, making it a psychological horror made manifest–and incidentally adding a new god to his pantheon: Yig, “an odd, half-anthropomorphic devil of highly arbitrary and capricious nature… not wholly evil, and was usually quite well-disposed toward those who gave proper respect to him and his children.”

But those foolish enough to harm the children of Yig (that is, snakes) could expect to feel the wrath of his terrible curse.

The text is online at https://www.hplovecraft.com/writings/texts/fiction/cy.aspx

The story is one that I’d read some years ago, but not one of the Lovecraft stories that I could say I was extremely familiar with. I mean, I knew who Yig was when I first saw that Dark Adventure Radio Theatre was planning to do an adaptation of The Curse of Yig for their next audio drama, but could remember very little about who had been cursed, or why.

Listening to this new DART adventure before re-reading the text, I’m struck by how closely this adaptation has stuck to the structure of the original story, and I make note of the changes the DART guys have made to allow for the very different sensibilities of people nearly a century later.

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Dr. Who: The Stones of Blood, Part 3

Vivian zaps with her wandAt the end of Part 2, Romana was zapped by Vivian Fay and beamed out into some other as-yet unspecified place.

Sadly, this story, which has started out so well, begins to go downhill from here. While there are still some good scenes in the next two story parts, there’s a distinct shift from the trappings of folk horror to some rather silly science fiction.

It’s Doctor Who, so you have to expect all things that might be otherwise taken for supernatural events to have a scientific explanation, even a wonky sci-fi one. But did it have to be so- 

Well, we’ll get to that when we come to it.

Over in the secret cellar at the Hall, formerly the home of Mr. DeVries before the stone-monsters got him, the Doctor and Professor Rumford are examining those paintings that were removed from the wall upstairs. All three ladies who used to own this house and the meadow where the stone circle sits look just like Vivian Fay.

Professor Rumford is surprised that Vivian never mentioned that she belonged to the Montcalm family.

She isn’t, the Doctor makes it clear. “She is the Montcalm family,” as well as the two other families that have owned the Hall since the Dissolution. Not to mention being the Mother Superior of the convent that was there before the house. And she probably manages the company that now owns the property that the stone circle is on.

Rumford, who’s still adjusting to these new kinds of ideas, objects. There’s a span of over a 150 years between the three women in the paintings.

The Doctor replies, “What’s 150 years when you’ve been around for 4000?”

For Vivian is the Cailleach, the Celtic goddess whom the Druids have been worshipping. (But that’s not who she really is either.)

Prof. Rumford and the Doctor look at portraits

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The Devil Rides Out

Also known as The Devil’s Bride in the US, which is the title as it appears on the film in the version I have on BluRay.

The Devil Rides Out

This 1968 Hammer film, directed by Terence Fisher with screenplay by Richard Matheson, is adapted from a 1934 novel by Dennis Wheatley. Wheatley had researched into ancient religions, and had made the acquaintance of people like Aleister Crowley; much of what goes on in this story is grounded in the actual practices of black magic.

After the opening credits, which are full of occult symbols and demonic iconography, we meet our heroes, the elegant Duc de Richleau (Christopher Lee), and the square-jawed and solid Rex van Rys (played by one actor but voiced by another, which is probably why he always seems a little detached even when he’s in the middle of the action).

It’s April of 1929, and the Duc is worried about the son of an old war buddy, Simon Aron. Even though Simon is now of age, de Richleau had promised his  father that he’d look out for him, and the Duc intends to keep that promise no matter what. He tells Rex that he hasn’t seen Simon in three months.

Together, they pay a call on Simon at his new house and find that there’s a party going on. The drawing room is filled with an international group of well-dressed and sophisticated looking people with odd names like the Countess d’Urfe, Tanith Carlyle (Niké Arrighi), and Mr. Mocata (the suavely menacing Charles Grey, last seen here in The Legacy). There are 13 of them.

Satanists party

Simon tells his friends that these people are just a gathering of a little astronomical society he’s joined. Rex has no clue what’s going on, but the Duc knows very well and is appalled.

When the two are asked to leave before the meeting begins, the Duc asks to see the observatory at the top of the house. Simon takes them upstairs, but de Richleau seems more interested in the décor of the room than the telescopes–there’s a distinct astrological theme on the walls and the floor.

When he hears a noise coming from the closet, the Duc investigates and finds chickens in a basket. Not a catered dinner. Literally, two chickens in a large wicker basket.

After he sees the chickens, de Richleau grabs Simon by the lapels and tells him that he’d rather see him dead than dabbling in black magic.
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The Gorgon

Gorgon reflection

Overshadowing the village of Vandorf, stands the Castle Borski.

From the turn of the century, a monster from an ancient age of history came to live here. No living thing survived and the spectre of death hovered in waiting for her next victim.

The above, slightly incoherent, text introduces this beautifully atmospheric but not-quite coherent Hammer horror film about a creature from ancient Greek mythology who, for reasons of her own, has decided to menace early 20th-century Bavaria.

It’s in Vandorf that the story begins, in an artist’s studio with a bit of implied, bareback nudity from the artist’s model. There’s no reason to get attached to these two people, but what happens to them will start the chain of events that leads our main characters into the plot.

The model, Sascha, wants to get married. Bruno, the artist, promises that they will when he gets a bit of money to pay off his debts. But Sascha can’t wait that long; there’s a baby on the way.

This being 1910, Bruno perceives the urgency of the situation. He heads out immediately to speak to Sascha’s father, even though she’s afraid that Daddy will kill him instead of giving them his blessing to get hastily married.

Sascha runs after Bruno as soon as she’s got some clothes on and follows him through the woods during a moonlit night. Eerie music that sounds almost like a woman singing tells us that the pregnancy and Daddy s reaction to it are the least of their problems.

Artist and model Stone hand

Sure enough, Sascha sees something that makes her scream in terror and fall over.

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