At the end of Part 1 of The Masks of Nyarlathotep, Victoria Woodhull stayed behind in New York to take care of some unfinished business in the city and to keep a promise she made. Her companions Hazel Claflin, Zeke Ford, and Cecil Watson went on ahead to England to continue their investigation.
When the trio arrives, they make themselves at home in Victoria’s spacious London flat under the care of her loyal Indian manservant, Gupta.
Hazel’s been reading a book about occult sects in Africa during her ocean voyage. She’s learned a thing or two about Nyarlathotep since her encounter with the Cult of the Bloody Tongue:
“That name’s Egyptian, but the god itself is older than the Egyptians. It has countless forms and manifestations for worshipers throughout the world, organized into different cults.”
Which gives our heroes some idea of what they’re up against.
The next installment of my review of the sadly short-lived 1991 Dark Shadows revival series. The story line is still following the general plot of the film House of Dark Shadows, but that’s not going to last much longer.
Episode 5: Dr. Hoffman’s Disastrous Jealousy
Barnabas’s courtship of Victoria Winters continues. Similar to the character in the film–as opposed to in the original series–this Barnabas Collins demonstrates that he’s aware that the best way to win the affection of the young lady he believes to be the reincarnation of his lost love isn’t to kidnap her and lock her up in the basement until she believes she’s Josette. Dinner dates will get him much farther.
Giving Vicky Josette’s music box as a gift after one such dinner does a lot too. Even better: asking her to dance the minuet to the music-box tune. It’s a lovely, romantic moment. Barnabas mightn’t have done badly to propose right then, but instead he prefers to wait to pop the question until he’s completed his treatment and is fully human again.
Unfortunately for him, Vicky plays the music box in her room the next morning as she wistfully looks back on their evening. Dr. Hoffman, who’s still living at Collinwood, hears the music and learns where Vicky got it from. After a conversation a couple of episodes ago, Julia had mistakenly imagined that Barnabas would give this significant present to her himself.
So you think I got an evil mind?
Well, I’ll tell you, honey–
I don’t know why.
And I don’t know why…
Most Americans are probably more familiar with Quiet Riot’s cover of “Cum On Feel The Noize” in the 1980s, but it was originally a big hit in the UK for a band called Slade in the early ’70s. You’ll hear a lot of that song in The Quiet Ones, a Hammer revival film set in 1974; it’s just the kind of music you want to use to keep a suicidally depressed girl with a poltergeist from getting any sleep.
Now, why would anybody want to do that?
It’s a psychological experiment. Oxford professor Joseph Coupland (Jared Harris, the luckless Lane Pryce on Mad Men) explains it during a lecture just before he hires a cameraman to document his work.
“What if you could prove that the supernatural was merely a manifestation of what already exists in the mind, the subconscious?” The professor doesn’t believe in ghosts or demons, but that the negative energy of a disturbed mind can create the type of physical phenomena that looks like a haunting or possession. He thinks that he’s near to finding a cure for it; if he can externalize the phenomena, it can be removed like a tumor. “We cure one patient, we cure all mankind.”
The patient he has in mind is a young woman named Jane Harper (Olivia Cooke). Orphaned at an early age, with no memory of her past, Jane has grown up in a series of foster homes but she’s never stayed anywhere for very long. Sooner or later, “things started to happen”–poltergeist activity that made it impossible for her foster family to keep her. After she was hospitalized for a suicide attempt, Jane came voluntarily into Coupland’s care. He’s currently keeping her in a house in town, under the observation of three student assistants. No, make that two assistants. One quits, angry and appalled at what he calls Coupland’s “unethical” practices before he storms off.
I remember seeing commercials when this movie came out in 1980. The featured image was of an empty wheelchair chasing someone down through a house, which my friends and I thought very funny and not at all scary.
This is a pity, since The Changeling is for the most part an effective, classic ghost story with a touch of post-Watergate conspiracy thrown in.
The movie starts with a happy family. A husband and wife (George C. Scott and Jean Marsh, who once played that less-happy couple, Edward Fairfax Rochester and Bertha Mason) and their little girl are pushing a paneled station wagon up a snowy country road in upstate New York. In spite of the car’s breakdown in the middle of nowhere, everyone is laughing and joking.
When they reach a turn-off with one of those large wooden signs indicating the entrance to a State Park, the husband crosses the road to a phone booth on the other side to call for assistance. The wife and daughter engage in a playful snowball fight between the car and the sign.
Another car comes up the snow-covered road in one direction. A big truck appears in the other. The second car skids, and the truck swerves to avoid it–and crashes into the station wagon, propelling it into the sign.
The husband in the phone booth can only look on, horrified and helpless as the people most dear to him are killed.
Four months later, the man, whose name is John Russell, packs up everything in the apartment where he and his family used to live, and moves to Seattle. There, he tells his welcoming friends how long it took before he could believe that his wife and child were gone, and then he couldn’t stop saying “They’re gone” for several weeks more. It’s a heartbreaking but entirely convincing portrayal of overwhelming grief after a tragedy. The conversation also establishes that Russell is a well-known composer and an alumnus of the Seattle university where he’s accepted a position to teach advanced music theory.
His friends invite him to stay with them for as long as he likes, but Russell looks at their daughters, the elder of whom resembles his own recently deceased little girl, and gracefully declines. He says that he’d like to rent or buy a house for himself where he can work on his music. They suggest that he contact a friend of theirs at the local historical society.
Russell does so, and a woman from the historical society named Claire Norman (Trish van der Vere, who was married to Scott in real life) shows him a beautiful but neglected late-Victorian home called the Chessman House. No one has lived there in 12 years, but Claire thinks that it’s just the place for John Russell; there’s a music room with a piano.
As John removes the dust sheet over the piano to examine it, he asks, “What are the terms?”
The terms must’ve been be agreeable, since we cut from this question to a cleaning lady polishing the dining-room table, a handyman putting books on the study shelves, and John Russell playing his new piano.
Well, old piano. One of the keys sticks. But when he’s called away for a few minutes to deal with some business involving the house’s restoration to a habitable condition, the key depresses by itself, and an ominous, vibrating tone emanates from the piano.
Last week, I went shopping on Amazon to see how many other Dark Shadows audio dramas were available, following Return to Collinwood. Quite a lot of them, as it turns out. They come in two types: 1. Audio plays performed like old-fashioned radio programs with a cast of actors from the original show in their old roles or new ones; 2. Dramatic readings of Dark-Shadows-based stories done by one, maybe two, of the actors. I picked out one of each.
Curse of the Pharaoh is a dramatic reading, done by Nancy Barrett, who played Carolyn Stoddard, and Marie Wallace, who played Evil Eve and Mad Jenny.
Why this one? From the description on the back of the CD box:
“Finding Nefarin-Ka’s tomb was only the beginning… I made the most important discovery in archeological history.”
Dr. Gretchen Warwick, famed Egyptologist … comes to Collin- wood, searching for the answers to life in the hereafter. At first, Carolyn cannot comprehend why an expert in ancient, mystical lore would desire her help, but to her horror, discovers that she is indeed the key to a dark, dangerous world on the other side of death….
In my review of the final episodes of Dark Shadows, I mentioned a feature on the last DVD where one of the show’s writers foretold a future for Carolyn in occult research; I said I would love to watch a spin-off series based on that premise. Although this story doesn’t follow that idea exactly, it seemed to be along similar lines. Also, I’d just listened to the Dark Adventure Radio Theatre play Imprisoned with the Pharaohs to prepare for writing that review, and I thought I’d like to hear another story about an evil ancient Egyptian ruler with a cult that survives into modern times. As it turns out, the story does have its own Lovecraftian overtones.
It was amusing to me that this story begins with Carolyn looking over “strange, alien” hieroglyphics and declaring that “It makes no sense!” just as Nathaniel Ward did.
Carolyn, however, is not in a deep and long-forgotten tomb in Egypt, but in her own home at Collinwood. She is making subtle changes to the hieroglyphs as transcribed in the notes of some person as yet unnamed, and is terrified that that person will come in and discover her before she finishes.
I’m not done with Dark Shadows yet. An extra feature on one of the final DVDs for the television series, after the last episodes, was about an audio play written by Jamison Selby, David Selby’s son; it was performed by some of the show’s actors at fan conventions in the early 2000s, then they went into a studio and recorded it.
I checked for it on Amazon. Still available!
The story is on 2 discs. Some of the actors play their old, familiar characters again. Nancy Barrett is Carolyn Stoddard, now owner of Collinwood since her mother Elizabeth has passed on. David Selby is Quentin Collins, 140 years old, but he puts gray streaks in his hair to look like a well-preserved 50ish. Kathryn Leigh Scott is back as Maggie Evans. John Karlen is still Willie Loomis, living at the old Collins house.
I like that Jamison Selby has followed some of the projections for these characters provided by the show’s writer Sam Hall. Carolyn has been working for years as Head of Psychical Research at the University of Maine (sadly, not Miskatonic U). Maggie was married to Joe Haskell and has been widowed for about 1o years. Maggie now works at the nearby Windcliff sanitarium, where another old boyfriend, Sebastian Shaw (Christopher Pennock) is currently a catatonic patient. She and Quentin are an item again, and she meets him at the train station when he returns from a trip to Peru; he’s been traveling all around the world since 1970, and has most recently tried unsuccessfully to locate the long-missing David Collins. David Collins went away after a quarrel with his father Roger and hasn’t been heard from since.
Other actors from the show are present as new characters. Roger Davis, who played Peter Bradford/Jeff Clark, is Ned Stuart, Carolyn’s husband. They’ve been married about a year prior the events of the audio play. Donna Wandrey, who was Roxanne Drew, is the dour Collinwood housekeeper, Mrs. Franklin. Marie Wallace, who played Evil Eve and Mad Jenny, is the not-at-all evil and entirely sensible Jessica Loomis, Willie’s wife.
The Loomises are hoping to stay on at the old house now that Carolyn is in charge. Willie has been renovating the place, putting in electricity and plumbing, as well as a big-screen TV. He’s in the process of installing a hot tub when he discovers a mysterious package hidden within the wall–a package addressed to him.
The surviving Collins family has been summoned to Collinwood for the reading of Elizabeth Collins Stoddard’s will and to try contact her spirit at a specific date and time, since she expressed a desire to speak to them all one last time. The only actual Collinses to make it are Carolyn and Quentin. David wasn’t found. Roger predeceased his sister, and who knows where Barnabas is?
To contact Elizabeth, they’re going to hold a seance. You know that the Collinses love their seances even more than I do and will leap on any old excuse to have one.
I first saw this film in the early hours of a New Year’s day, when I was about 12. After spending the week after Christmas at my grandmother’s house, my family drove home on a snowy New Year’s Eve and got in in time to watch the usual Times Square midnight countdown on TV.
Mom and Dad went to bed right afterwards, but before my little sister and I could pack up the big Christmas box of Legos, the same TV station began to show a movie; its opening caught our attention.
We stayed up to watch the whole thing, and didn’t get much sleep afterwards.
The opening scene? A black and white shot of waves crashing on a ragged, rocky coastline, and Ray Milland’s voice saying:
“They call them the haunted shores, these stretches of Devonshire and Cornwall and Ireland which rear up against the westward ocean. Mists gather here, and sea fog, and eerie stories. That’s not because there are most ghosts here than in other places, mind you–it’s just that people who live here are strangely aware of them. You see, day and night, year in, year out, they listen to the pound and stir of the waves. There’s life and death in that restless sound, and eternity too. If you listen to it long enough, all your senses are sharpened. You come by strange instincts. You get to recognize the peculiar cold that’s the first warning, a cold which is no mere matter of degrees Fahrenheit, but a draining of warmth from the vital centers of the living.
“Local people tell me they would’ve felt it, even outside that locked door. We didn’t. They can’t understand why we didn’t know what it meant when our dog wouldn’t go up those stairs. Animals see the blasted things, it appears.
“Well, my sister Pamela and I knew nothing about such matters. Not then, we didn’t…”
It takes stronger wills or much more sleepy heads than two little girls possessed that night to turn the TV off after such a tantalizing beginning.
I’m glad I had the chance to see it then; it’s not a movie that’s been widely shown. Before it came out on DVD a couple of years ago, I don’t think I’d seen it more than twice in the 40 years since that initial viewing. Unlike a lot of spooky movies I enjoyed in childhood, this one lives up to my first impression. It’s still a great ghost story with a ghost that still looks very good.
This 1957 film is loosely based on M.R. James’s 1911 short story, Casting the Runes–a story about a warlock who sics a demon on his enemies by secretly passing them a slip of paper with a runic curse on it. The only way his victims can escape a horrible fate is by giving the runes back to him without him knowing it, so that the curse rebounds back on the caster. Although the plot and characters are altered from those in James’s story, this version is generally considered one of the best films adapted from his work, and one of the best horror films of its era.
It’s a British film with a mostly British cast, but with an American star to draw a U.S. audience, which was a common practice at the time. It was released in the UK under the title Night of the Demon and in the US as Curse of the Demon.
The DVD has both versions of this film on it: the 95-minute original UK version and the US release, which is about 10 minutes shorter. The order of the scenes are slightly rearranged in the US version, and two full scenes plus some other little bits here and there are removed.
Both versions of the film begin with shots of Stonehenge back when it stood alone on Salisbury Plain and wasn’t surrounded by wire fences, visitor parking lots, and gift shops. A solemn narrator tells the viewer:
“It has been written since the beginning of time, even unto these ancient stones, that evil, supernatural creatures exist in a world of darkness. It is also said that Man, using the magic power of the ancient runic symbols, can call forth these powers of darkness–the demons of Hell.”
We’ve seen the last of Barnabas Collins, Julia Hoffman, and the Collins family of the 1960s/70s.
Back in 1840, Desmond Collins tears down the transdimensional stairway built by his cousin Quentin. He tells his fiancee Leticia Faye what Barnabas told him about the room in Collinwood’s east wing that intersects with an alternate reality, then they go upstairs to take a peek into the room.
Desmond and Leticia watch as the alt-Flora and alt-Julia discover the body of Lamar Trask on the carpet. The two alt-ladies have no idea who this person could be, but assume that he must have been stabbed by Flora’s mad husband, Justin; Justin is “the problem” alluded to earlier, the reason these Collinses lock their bedroom doors at night.
Flora and Julia quickly dispose of Lamar’s body by taking it out to the woods and burying it.
The focus now shifts to the alternate Collinses. We’ve seen the last of Desmond, Leticia, and the 1840s Collins family too. The final episodes of Dark Shadows play out in the other reality with a bunch of people we barely know.
This is one of my favorite movies, right up there with A Room With a View and Horror Express. Watching it for the first time led me to start hunting down movies from that genre, and eventually led to my watching and reviewing Dark Shadows.
This 2009 film was Larry Blamire’s last–and I really wish he’d do some more. As his previous works were loving parodies and recreations of the low-budget sci-fi movies of the 1950s and ’60s, A Dark and Stormy Night spoofs the Old Dark House movies that were popular from the 1920s through the ’40s. Not only is it in black and white, but the actors’ performances, the sets, the musical cues, and even the opening credits are very much in the style of that period.
The plot particularly follows that of one of the very first Old Dark House movies, the 1927 silent film The Cat and the Canary, which shows how little the template for this genre has diverged over 80 years.
A family and various other suspicious people assemble at a huge and spooky old house for the reading of a will during a stormy night. There are multiple murders, secret panels all over the place, and even a phantom arm coming through a bedroom wall to snatch at a hapless young woman in bed. Continue reading “DVD Review: A Dark and Stormy Night”