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Horror in Black and White: The Old Dark House (1932)

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The year was 1932; the Hays Code and all its restrictions had not yet come to be, and James Whale, hot off his success with Frankenstein, gave us the gift of The Old Dark House.

This film was so many things!

For starters, Whale brought along his friend Boris Karloff to the production, making it the actor’s first credited starring role. His name was left off the publicity materials for Frankensein, and was only briefly mentioned in the end credits.

Karloff, again playing mute, is possibly more menacing that in the previous role giving a full-body performance that few could match.

Karloff wasn’t the only star-power in the film, however. Charles Laughton, Raymond Massey, Melvyn Douglas, Lilian Bond, Ernest Thesiger, and Gloria “I threw a big ass diamond into the ocean at the end of Titanic” Stuart round out this cast.

Now check out the film’s synopsis.

Seeking shelter from a pounding rainstorm in a remote region of Wales, several travelers are admitted to a gloomy, foreboding mansion belonging to the extremely strange Femm family. Trying to make the best of it, the guests must deal with their sepulchral host, Horace Femm and his obsessive, malevolent sister Rebecca. Things get worse as the brutish manservant Morgan gets drunk, runs amuck and releases the long pent-up brother Saul, a psychotic pyromaniac who gleefully tries to destroy the residence by setting it on fire.”

It doesn’t take a die hard horror fan to realize that the film laid the groundwork for a tried and true genre trope. Oh sure, the details get changed around but I bet you can name five films off the top of your head where motorists stranded in a rainstorm find themselves in a creepy old house full of even creepier residents.

Image result for The Old Dark House

There’s something suspicious going on in The Old Dark House.

What’s particularly interesting, however, is how progressive the film was, for its time.

Let me repeat that. The film was progressive for its time.

If you go in for a first time watch expecting what we’d call progressive today, you’re going to be upset.

What the film does is turn the rules of gender and sexuality on their head in ways that audiences of 1932 were not expecting.

In the Femm household, for example, it is Rebecca Femm (Eva Moore) and not her brother Horace (Thesiger) who runs the house, sets the rules for guests, etc. It might not seem like much, now, but that was really something to talk about then.

And then there’s Horace, himself. Fastidious, slightly effeminate, soft spoken Horace…

Whale, an out gay man, was clearly letting his own self shine through Horace, and the fact that he alone, of all the men in the household, shows no real interest in the ladies seems to support this. Add to that, Horace’s acidic wit, and I’m sure that more than a few queer audience members at the time cast knowing sidelong glances to their companions in the theater.

It’s sad that Horace was coded, but even in the pre-code film era, there were some things that you just could not say aloud on film in 1932.

And then there’s the surname of the family in question: Femm…that’s a whole different article to tackle, however.

The Old Dark House is entertaining on multiple levels with almost as many laughs as there are chills to be found in its 71 minute run time.

My favorite scene in the film happens when Rebecca takes Margaret Waverton (Stuart) upstairs to change out of her wet clothes.

Rather than leaving her to change in private, Rebecca insists upon staying in the room and goes on quite the melodramatic monologue about her sinful brothers and her even more sinful sister–who died previously–and the way they flaunted their lustful natures while she was forced, by their father, to remain in her room and pray.

During the entire speech, Whale intentionally distorts Rebecca’s image by filming her reflection in various almost funhouse style mirrors showing the ugliness of the woman’s jealousy over Margaret’s fine, satiny, sinfully sheer, clothing.

Perhaps that is why Rebecca cannot help but reach out to touch Rebecca’s smooth skin and then, before finally leaving the room takes a moment to check her own reflection, still slightly distorted, and smooth out her own hair before casting one glance back at the younger woman as she storms out of the door.

The Old Dark House is the perfect movie for a dark and stormy night on the couch, and it’s available to rent and/or purchase on several streaming apps including Amazon and Vudu for only $2.99!

For more Horror in Black and White coverage, check out last week’s entry on Val Lewton’s Cat People, and be sure to join us next week for another monochromatic horror gem.

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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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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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