3. Season of the Witch

George Romero's 1972 Season of the Witch (a.k.a. Hungry Wives or Jack's Wife), like his previous film Night of the Living Dead, isn't afraid to mix social questions with regular ol' horror. The film is really interested in the terror of the feminine mystique, the fear inherent in a feeling of being both trapped in the home, and vulnerable to outside sexual attack. I loved the story and found the general atmosphere and mise en scene fantastic; I would say the film's only weakness is Joan Mitchell, the star; her permanently pursed lips and weirdly empty gaze become quite annoying by the end of the film. But she is hotter than her daughter. And clearly a talented witch. I suppose enough boredom leads to the possibility of a huge release of "energy." 

2. The Descent

The Descent is a 2005 film from director Neil Marshall, a horror film in the tradition, though a few interesting changes. For example, the film stars six women; the group dynamic doesn't rely on gender roles, a semi-unique move, particularly in such an athletically demanding situation. And the six women appear to be in the their thirties, possibly even very early forties - though they are all wonderfully physically fit, sexy and "single," their age complicates these characteristics. Why are they all still alone? What's the deal, are they too hooked on the gym to make new friends, of any gender? Of course, the film features the token lesbian character, the first to be seriously wounded, and the sad blondie, the first to almost die. But the evil creatures in the caves are actually pretty cool; they're scientifically possible, if you think about. Primeval humanoids who have adapted to their underground habitat. Hey, there's even a "mother" creature! I jumped, I laughed, I loved it. A rare find among recent horror films. 

1. The Little Girl Who Lives Down the Lane

The 1973 film The Little Girl Who Lives Down the Lane, directed by Nicolas Gessner, stars a shockingly young Jodie Foster (released the same year as Taxi Driver). The film was categorized as "horror," though the dead bodies in the cellar don't quite add up to that conclusion. It's much more a thriller. Though I wasn't "scared" in the traditional sense, I was thoroughly frightened by Martin Sheen's character's threats to the "little girl," thirteen years old, with "such pretty hair." What a creep! This has meaning not only as the warning of the evil side of living alone as a child - that protecting yourself becomes a daily task, particularly when a pedophile lives nearby, whose mother "owns" the village. The further significance lies in the uncomfortable sexualization of such a young person; Jodie Foster just debuted as a fourteen-year-old prostitute that Robert DeNiro falls complicatedly in love with - is he a father figure, or a lover? Can he say for sure? Similarly this film frightens with the older man's perverse desire for Rynn, but glorifies the young, awkward sexuality Rynn shares with Mario. So it's okay, simply because the guy is only a couple years older? Like I said, uncomfortable. However, it's a sweet, strange film. I dig it. 

 

31 days of Halloween

Well, I suppose it's not an entirely "original" plan. But I've decided to set a little project for myself: seeing 31 horror films throughout the month of October - not necessarily one per day, as it's already too late to make that kind of commitment, and it would require acquiring a film everyday - not necessarily a viable option. So, I will begin recording today, though I will include films I saw on previous days. "Horror" encompasses anything intense and/or frightening (to help me reach the goal, of course). 

Perhaps I'm too lazy for this after all.

Lo Sceicco bianco, 1957

Federico Fellini