Wednesday, November 18, 2015
There. I said it. I'm tired of them. The whole apocalyptic, walking dead, zombie plague thing? I'm done. Don't bother me. I'm sick of it.
I've seen some of "The Walking Dead" and found it a colossal bore. I've watched some modern zombie films (most recently "The Dead," a zombie film set in central Africa), and they just don't engage me at all.
I mean, what ARE they, anyway? Are they normal humans with a disease? Are they actually animated corpses? So many films show them as not bleeding, basically being dead, all that...but why do they never decompose? Why aren't they ridden with maggots? How do their muscles continue to work without any blood circulation to bring oxygen? Why do animals never attack them? Why do they never dehydrate or desiccate?
OK, sure, I'm told that in "The Walking Dead" they claim the zombies have a toxin in their bodies that destroys the decomp bacteria....but any toxin powerful enough to do that will destroy human cells and cause their bodies to fall apart. But otherwise, zombie movies and TV shows never really address all the scientific aspects of how a zombie apocalypse would fail quickly. As I've seen it said, if a real zombie apocalypse happened, we'd just have to hunker down for a few weeks and let nature take care of the zombies for us, and then just go out and rake up the remains.
But really, I'm tired of how bleak it all is. Horror films used to have a contract with the audience: we'll give you something terrifying, but at the end everything will just about be set back to rights. Zombie films? Fuck that....we'll give you something terrifying, and by the end everyone will be dead and humanity doomed. How delightful.
I'll make exceptions for things like, well, voodoo cults in Cornish tin mines, or Bela Lugosi in a castle in Haiti, or the like, but unless someone actually manages to do something very daring and different with the zombie genre, I'm done with it.
Monday, November 9, 2015
So I'm not much for the usual scenarios I do, but I want to share this delightful animated short I just discovered...
Hope everyone is having a good month so far!
Saturday, October 31, 2015
Wednesday, October 28, 2015
Alraune, by Hanns Heinz Ewers and published in 1911, is the tale of scientist Jakob ten Brinken and his friend Frank Braun, who are fascinated by heredity, and to see it in action, they set about experimenting with artificial insemination, impregnating a slatternly prostitute with the semen of a depraved murderer. A daughter is born, Alraune, a beautiful child who is taken in by an upper-middle-class family.
Alraune, however, lacks scruple. Beautiful and perfectly mannered, she brings destruction to everyone around her. Every chapter is an episode in which some foolish soul is drawn to her as a month unto a flame, and ends up self-destructing in one way or another. And it's not just men; women also fall head-over-heels for the cruel Alraune, and are destroyed by her.
Finally, close to the end, Alraune genuinely falls in love and has a romantic idyll with her one of her creators, Frank Braun. Alraune belatedly develops a guilty conscience, begins sleepwalking....and ultimately meets her end.
It's hard to approach this book objectively. A plot revolving around heredity and eugenics, from a Germany that was only a couple of decades from being taken over by the Nazi party, can make even the most hardened reader cringe. It's important to remember that this was a time when the topics of heredity and eugenics were big in the public consciousness even here in the U.S. and in other countries. In 1912, a year after this book was published in Germany, American psychologist Henry H. Goddard published his infamous study, The Kallikak Family, which made claims that "feeblemindedness", mental disabilities, and criminal tendencies were hereditary. Of course, even Goddard's contemporaries pointed out that he overlooked the role of malnutrition and vitamin deficiencies in the developments of the "feebleminded" Kallikaks. In our present days of being over-nourished, we forget that vitamin deficiencies were a real problem. Everyone consumes iodized salt these days, and we've forgotten that iodine deficiency doesn't just cause goiter, but can also lead to intellectual disabilities. The Kallikaks of Goddard's study were also a poor backwoods family; naturally issues such as isolation, inbreeding, and poverty should have been in play. Modern critics have also pointed out the possibility of widespread alcoholism in the family and chronic fetal alcohol syndrome from one generation to the next. Stephen Jay Gould, in his book The Mismeasure of Man, makes a case for Goddard's data being fudged and photos of the backwoods Kallikaks being doctored.
This was also not far from the 1927 Buck v. Bell decision in the U.S. Supreme Court, that ruled that state laws requiring compulsory sterilization of the "unfit" and intellectually disabled did not violate the Due Process clause of the 14th Amendment. Forced sterilization continued in the U.S. but declined after WWII; even so, some states still have eugenics-related compulsory sterilization laws on the books, but they are not enforces, and as late as 1981 forcible sterilizations occurred in Oregon.
Even some of Edgar Rice Burroughs' works seemed to endorse eugenics; his posthumously-published novella "Pirate Blood" has a modern descendant of Jean Laffite suddenly drawn into piracy because of heredity.
So you can see that it wasn't unique to Germany. Still, it's disquieting today to read. Even now we're struggling with the idea that maybe some things ARE hereditary, such as a tendency to alcoholism, while at the same time decrying any sort of forced eugenics as immoral.
There's also the woman-as-destroyer trope. Again, this was nothing new, in Germany or anywhere else. German dramatist Frank Wedekind gave us the play "Earth Spirit" in 1894, and its sequel "Pandora's Box" in 1904, that tracked the trail of destruction left by Lulu, a seductress who loves and ruins everyone she meets until meeting her destruction. These were adapted as the 1929 silent film Pandora's Box, starring Louise Brooks, and Alban Berg's 1935 opera Lulu.
Of course, we see this in American media; just look at the 1933 film Baby Face, in which Barbara Stanwyck fucks her way to the top and wreaks havoc on the way. And reading this, I was also reminded of the notorious 1969 trash novel Naked Came the Stranger, in which a woman retaliates against a cheating husband by catting around with every man in her neighborhood, and leaving wrecked relationships, ruined marriages, and even a corpse or two in her wake. (Yes, I read it a few years ago, mainly for a laugh.)
The question of misogyny raises its head when these works are discussed, and I'd say that depending on where you're coming from, Alraune and Lulu and other works can be seen as misogynist. Women are destructive, they bring ruin to all around them. Conversely, some have claimed works like these (especially Lulu) to be proto-feminist, in showing a woman with agency who owns her own sexuality and doesn't need to subsume herself to a man in order to make her way in the world...and I would say that these views are also legitimate.
It can be hard to say what is really misogynistic or feminist sometimes. You may know of (or remember) the series of trash films about a lady Nazi named Ilsa, flicks like Ilsa, She-Wolf of the SS, and Ilsa, Harem Keeper of the Oil Sheikhs. They were made to be exploitation, and for years they were, but then they were embraced by a younger generation of women who saw them as empowering. Star Dyanne Thorne has expressed her amazement at the women who would come to her at conventions to praise those films. I personally have seen similar at burlesque shows; once "girlie shows" were for drooling old men who wanted to ogle scantily clad women, but now I've found that burlesque is empowering for women who see it as a way of owning their sexuality and declaring the beauty of their bodies just as they are. As I've said before, we shouldn't be too quick to judge; the exploitation of one generation can be the empowerment of the next.
So...back to Alraune....
Some have also voiced revulsion at how Ewers became involved in the Nazi party (most notably Jess Nevins) but it's worth pointing out that Ewers got involved mostly because of his own nationalism and Neitzschean philosophies. Ewers doesn't seem to have been an anti-Semite (his books feature positive Jewish characters who are patriotic Germans) and he was, to use a modern term, "heteroflexible" which eventually put him at odds with the Nazis. In 1934, most of his works were banned by the Third Reich and his assets seized; he died of TB that year.
Is Alraune a Nazi work? Not really, I'd say. The use of eugenics as a story element can be uncomfortable and problematic to modern readers, but it's no worse than other works of the period. It was a time when even the "good guys" of the world took eugenics seriously. There was still a lot we didn't understand. It's also got a lot of decadence and depravity simmering under the surface, the sort of thing the Nazis would have disapproved of.
It is a misogynist work? That can be up to interpretation. It can be a male fevered fantasy of destructive female sexuality....or can be an exploration of how a woman can own her sexuality and defy the repressive and hypocritical society around her. And as destructive as she is to men, ultimately men are powerless against her, and it takes another woman's actions to bring about her end.
Interestingly, Alraune is the second book in a trilogy about Frank Braun; I think the first is now available in a new translation, and the third may be in the works. Alraune is available in a new translation as an e-book; the introductory essay by the translator is most entertaining.
Am I sorry I read it? No, not at all. And while I'm not its biggest fan, at the same time there was something about it that I found compelling, even if it was just as a window into another time and another mindset that may not be as far away from ours as we think. And I'd say there's a strong possibility I'll look into any other works that are currently available. Yes, there were times I squirmed mentally, but life is shallow if we never take a good hard look at the things that disquiet us.
Alraune has been filmed several times, including a famous 1928 version with Brigitte Helm of Metropolis, and Paul Wegener, director of The Golem. The latest was in 1952, with Hildegarde Knef and Erich von Stroheim. Its influence can be seen in other works....Species, anyone?
Maybe not required reading, but good if you want to confront some uncomfortable questions.
Monday, October 19, 2015
Dinner at least relaxes us, and when we make our way up the street to the cinema, we're in a happy mood.
Tonight's movie is the 1934 chiller The Ghost Walks!
Nothing like an old-dark-house thriller, eh? So appropriate for the season...
We amble down the street afterward, ready for a drink or two, and planning things to do for the spooky season....
Monday, October 12, 2015
McDowell's been out of print for a while but is slowly being rediscovered and re-evaluated. His horrors could be schlocky but there was also a wry humor behind them. He was also a screenwriter, having wrote BEETLEJUICE and worked on THE NIGHTMARE BEFORE CHRISTMAS, and taught screenwriting. He was praised by Stephen King and other notables.
The Amulet is his first published book. The first few chapters are an overview of its setting, the impoverished town of Pine Cone, AL. We're also introduced early on to Dean Howell, a character who certainly doesn't DO much, but so much of the novel revolves around him. It's 1965, and he's been drafted to serve in Vietnam, and is undergoing basic training at a nearby military base when the gun he's training with explodes in his face and maims him horribly.
He's brought home to his wife, Sarah, and his mother, Jo. Sarah is a much put-upon woman; although she never says so herself, it's more than obvious that her marriage was a mistake. Dean was obviously not mature enough to be a good husband, and was very likely to be physically abusive. His mother is bitter and hateful, and also lazy and arrogant. Sarah herself has a job on the line at the biggest employer in town, a munitions plant....the same plant that made the gun that exploded in Dean's hands.
Dean is brought home, a bandaged, vegetative mess; they have no idea if he'll ever be functional again. Jo is of course obsessive about him, insisting that he communicates with her. Sarah isn't so sure, and her dissatisfaction with her lot becomes more and more evident with each passing page.
A junior executive from the plant, who knew Dean long ago, comes to pay a visit, and as he leaves, Jo presses a strange necklace on him "as a present for the wife." He takes it home and gives it to his wife....whose behavior changes. She serves the family a poisoned dinner, then sets the house on fire and sits calmly in her bedroom as it burns down around her.
And that's just the start.
The amulet manages to go from person to person in the town, seemingly turning up of its own will, and every person who wears it becomes possessed by a violent, homicidal rage at the people who annoy them in small ways. And really, it's a violent, bloody dissection of relations between the sexes, the classes, and the races in small-town Alabama. Nobody is spared.
Sarah suspects something is up, based on Jo's behavior, even resorting to a ouija board with her neighbor. And it all comes to a head when the amulet finally makes it to the munitions plant...
It's good gory fun, to be sure, although I was annoyed by one thing: we never learn where the amulet came from or how Jo got it or was spared its curse. There's hints that Jo was responsible for at least one murder in the past, but that's all it was. I know, it's minor, but I wanted more background.
Still, the sociological undercurrents make this worth reading, and it is very entertainingly written. McDowell's tone when describing the town walks a delicate line between being nostalgic on one side and mocking and contemptuous on the other. That's quite an achievement.
You may be lucky to happen upon an old copy somewhere, but if not, it's available as an ebook from Valancourt, with a new forward by Poppy Z. Brite.
Tuesday, October 6, 2015
Tonight, it's a recital of piano and violin, and ends with this delightful piece, William Bolcom's "Graceful Ghost Rag."
This is an old favorite of mine, one of the composer's three "Ghost Rags," jazzy pieces that originated in his studio (which overlooked a cemetery) and came soon after his father's death (or so I hear). I've always loved how it's light and lilting and yet there's something just slightly otherworldly about it. It's normally a solo piano piece; this violin-and-piano rendition is unusual and a nice variation. It's hard to not imagine a dancing ghost when listening to this....