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Horror in Black and White: ‘The Cat and the Canary’ (1927)

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Welcome back to another entry in “Horror in Black and White,” a weekly series celebrating the monochromatic horror that shaped the genre and still gives us chills to this day. Up this week: The Cat and the Canary (1927), our first featured silent film!

Directed by Paul Leni, based on the play by John Willard, The Cat and the Canary helped establish one of the earliest tropes in the genre as its main players gather at the home of their deceased relative to hear the reading of his will twenty years after his passing.

The opening sequence is absolutely gorgeous as a gloved hand wipes away cobwebs and dust to reveal the film’s title before the opening titles explain that the deceased, Cyrus West, spent the latter part of his life like a bird in a cage surrounded by hungry cats.

Leni’s film, which is actually more sepia-toned than black and white, uses all of the tricks in the expressionist handbook as the film gets underway superimposing images over one another to create a creeping feeling of dread in the viewer.

That dread is intensified as West’s former maid, who seems to have lived in her former employer’s house for two decades on her own after the man’s passing wanders the halls, waiting for his lawyer and family to arrive.

They do, in turn, and each seems more menacing than the last save for the comically clumsy Paul Jones (Creighton Hale) and the beautiful and innocent Annabelle West (Laura La Plante).

Annabelle (Laura La Plante) and Paul (Creighton Hale) seem to be the only nice people in the family in The Cat and the Canary

Annabelle, of course, is named the estate’s sole beneficiary, but there are requirements, not the least of which is remaining in the house and submitting to an exam by a physician to determine if she is sane.

Before long, a murder has been committed, priceless jewels have been stolen and everyone is a suspect!

Walking the tightrope of dark comedy and horror, Leni and his cast each give memorable performances as their archetypal characters.

As previously mentioned, La Plante is rather radiant as Annabelle, though she, as was and is so often the case, is given little to do other than react to the horrors going on around her, and Hale is hilarious and charming as Paul.

Meanwhile, Martha Mattox and Tully Marshall almost seem in competition for the creepiest people in the house as the maid, Mammy Pleasant, and West’s lawyer, Crosby.

Gertrude Astor, the first woman to sign a contract with Universal Studios, is glamour personified with her perfect curls and makeup as cousin Cecily opposite Flora Finch’s frumpy and matronly, though admittedly high-strung, Aunt Susan.

Just what is going on in The Cat and the Canary?

What’s so amazing about The Cat and the Canary, however, is just how influential it has been on the genre. Certainly James Whale (Frankenstein) and Tod Browning (Dracula) were inspired by the film’s imagery, but they were hardly the last.

In fact, one could almost argue that its DNA can be found in almost every film about haunted houses and treacherous family that followed including The Old Dark House and not-so-surprisingly, Scooby-Doo.

Don’t let the fact that the film is silent deter you either. The version currently available for streaming has a pitch perfect score and William Anthony’s titles do an excellent job of filling in the few points the actors are unable to convey.

When it opened in September of 1927, The Cat and the Canary was declared a box office success and lauded by critics.

In fact, the film, and the play upon which it is based, was so well-loved that it was adapted five more times in the decades that followed including the 1939 version, which brought the text’s comedy to foreground, starring Bob Hope.

The Cat and the Canary is available for rent on Amazon and FlixFling starting at $2.99, and it’s perfect for a cold winter evening with the lights down low.

Check out the a clip from the film below and for more Horror in Black and White, check out last week’s entry with The Bad Seed!

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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Strange Darling Kyle Gallner

‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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