Body Snatches

I had first heard of Goke, Body Snatcher from Hell at Halloween a few years ago: Turner Classic Movies was showing it as part of their horror film marathon, and something about that title just sang to me. Because, let's face it, that's an amazing title. I had had it saved on DVR, but something went wrong, and by the time I finally sat down to watch it, it was no where to be found. Since then, I've checked Netflix fairly regularly to try to see if it had been released, with no luck. I despaired ever even getting the chance to see it.

Then the other day, my roommate and I were fiddling around on Hulu Plus -- he has suddenly decided that he wants to start watching movies on his motion picture bucket list, and a good proportion of those movies are available through the Criterion Collection. So we were just going through the movies, putting all the ones he wanted to see in the queue, as well as a couple for me. Suddenly, what comes up but Goke! "What sort of witchery is this?" quoth I, staring in wonder at what I saw on the TV. Could it be true? Could it have been released by Criterion?

Short answer: yes, but not on DVD or Blue-Ray. It appears to be something that is solely on the Hulu Plus channel, which is a nice bit of added value for those who subscribe. Personally, I think that it probably will be released as a physical product eventually, especially after the success Criterion has had with House. In this blog post, it's mentioned that it had been posted on Hulu the same week that Godzilla and Quadrophenia had been posted: the former is set to be released on disc in January, and I expect that the latter won't follow too far behind. It's an interesting marketing maneuver, especially for films like this which may not have an existing audience yet.

So I watched it. And it was good. The movie I see it compared to the most is Mario Bava's Planet of the Vampires, which I can totally see, both plot-wise, as well is the director's clear indebtedness to Bava's over saturated style. But the horror in this movie is significantly more effective than in the earlier movie. Maybe it's the fact that I didn't watch this movie on the office computer over the course of my lunch hours over a couple days -- such was my online video experience before we hooked a Roku box to the TV -- but this one just worked much better for me.

**HERE THERE BE SPOILERS**

A summary, since it isn't a particularly well-known movie: an Air Japan flight is on it's way from Tokyo to Osaka, when there are some ominous events that begin taking place. The skies are orange and full of lights, and pigeons keep smashing into the windows of the aircraft. As this is going on, we are introduced to the crew and passengers, including one particularly nefarious passenger who then proceeds to hijack the plane, as nefarious passengers are wont to do. The plane is re-routed, but then a UFO flies by, and suddenly nothing works. The plane goes down on what seems to be an uncharted desert island.

On that island, it takes all of 23 seconds for the entire group (with the exception of the hero and heroine) to go full on "Lord of the Flies" mode: seriously, the introduction of the titular monster only hastens a process that by that point is well under way. And the eponymous horror is introduced in an effectively memorable way: the nefarious passenger takes the heroine hostage to try to get away from the rest of the survivors, only to encounter the UFO. The heroine passes out, and nefarious passenger enters the UFO, only to have what can only be described as a vaginal slit open up in his forehead. (Seriously, I'm admittedly not an expert, but take a look at that picture up top and let me know if I'm wrong here.) Then the alien, essentially a metallic-looking slime thing, oozes into the wound and takes over his body. Which, seriously, ew.

Well, for reasons that remain unexplained, it turns out that once the body is snatched, it hungers for human blood, and the Snatched Body Formerly Known As Nefarious Passenger is no exception. He goes around chomping on fellow passengers whenever they haven't been dispatched by one of the other, seemingly non-nefarious survivors. There's a lot of pessimistic metaphors to be found about government corruption and corporations being in bed with politicians, and even some Vietnam War stuff from the sole American on board, a young war widow who constantly talks like she's gasping for air, and never understands Japanese until the other passengers start talking about killing her. Although, in her defense, if you could only understand Japanese in one specific situation, that would really be the situation to go with. One passenger is possessed by the alien and used to explain its goals to the survivors -- namely, to kill all humans and to take over the earth, simple enough -- before she jumps off the cliff and becomes a thoroughly unconvincing dummy in midair. Looks like somebody threw a Raggedy Annie off the cliff and filmed it.

So blah blah blah, everyone's dead except for the body snatcher and the hero and heroine, and the couple finally manage to escape him and stagger back to civilization, where they discover that *GASP* EVERYONE ON EARTH IS ALREADY DEAD. There is some stock footage to suggest that it was a nuclear war that done the deed, although I remain somewhat dubious that nuclear war wouldn't have also killed all the passengers on the plane. But while I'm puzzling this out, there's a shot of the earth from space, showing a huge number of UFOs descending upon it, ready to make it their new home. And the ghost of Rod Serling quietly nods in approval.

**HERE END THE SPOILERS**

So was this movie worth the wait? ABSOLUTELY. It is an incredibly vivid, profoundly pessimistic film that, in a lot of ways, is as relevant as ever. Sure, a lot of it looks kind of crude, but it's effective in a way that a more sophisticated film might not be able to be. I do plan on seeing it again, and might even buy it on disc, if and when Criterion chooses to release it. Do I think this will receive the same amount of attention as House? Not really: House is just completely batshit, and a lot of the word of mouth had to do with people just not believing that a movie like that existed at all. That movie is almost relentlessly singular. Goke , for all of its weirdness, is still a fairly standard horror movie, albeit an entertaining and depressing one.

Skins

So last week I went to see Pedro Almodovar's The Skin I live In. I'm a fan of his work, and have seen most of his theatrical movies, although, for some reason, and in spit of having a copy of it, I have not seen his last film, Broken Embraces. I think that, after the muted reaction it got from critics at film festivals, I kind of put off seeing it indefinitely. Add to that the fact that the only place that was showing it in Richmond was an art theater I had never been to, and the fact that I always prefer to see foreign films for the first time on the big screen -- otherwise I tend to concentrate so much on reading the subtitles that I quit paying attention to what's going on onscreen -- and it means that I've been lax in my duties as an Almodovar fan.

This film has actually garnered comparatively lukewarm reviews, as well. At the same time, even from a broad plot outline, I was seeing elements from Vertigo and Eyes Without A Face in there, which appealed to me a great deal, so I have been checking with relative frequency to see if it was playing in the area ever since it was released in the U.S. Plus, an old Antonio Banderas is STILL Antonio Banderas, and I have had a thing ever since seeing Law of Desire. So last week, on my lunch break, I checked online, and suddenly it was playing. I've had bad experiences putting off seeing movies, only to find they're gone by the weekend, so I knew I wanted to see it that night. A quick text message to a friend and suddenly I had my plans for the evening!

The movie itself? Very entertaining, but strange. I can see why critics have complained about its coldness: there is an almost clinical detachment from the proceedings that I suppose would be a bit off-putting, if thematically appropriate. It certainly does not have the warmth that you find in, say, Volver or All About My Mother, my two favorite of his movies. And I will say that, in general, I prefer Almodovar's "women's pictures" to his movies that prominently feature men. Talk To Her, for instance, was a great critical success, but it honestly left me completely cold. It's entirely possible this has more to do with my preferring female protagonists in general, but I also think that there's a demonstrable difference in the way he approaches male and female actors.

But the talk I was hearing about this being Almodovar's horror movie? Completely overblown. It uses some horror movie tropes, certainly, and it definitely does rely a lot on suspense. But it's no more horrific than Volver or Bad Education. The characters' actions may be horrific, but not because they're inhuman monsters, but rather because they're all too human.

Twin Peaks

So I've been continuing to watch Twin Peaks, which I mentioned earlier. I've seen it (or most of it) before, having watched it when it was originally on, as well as having re-watched it on DVD a couple years ago. I've just moved beyond the murder of Laura Palmer, to the stretch of the show where things become weird, and not just in a Lynchian way. This is the part of the series where I traditionally begin to lose interest, where the series no longer seems as precariously balanced between soap opera melodramatics and the genuinely uncanny. Instead it seems to think it's enough to rely almost exclusively on melodrama, with a light peppering of Native American lore and extraterrestrial insinuations, just to remind viewers that the show could be legitimately frightening. SPOILER ALERT -- I have some thoughts:

• Before starting to re-watch it, I had sort of come to believe that the acting was pretty dire, almost across the board, but I no longer think that this is true. A lot of what I had previously viewed as acting deficiencies now looks more a matter of the writing: the characters do not have realistic reactions to events, and the actors who seem to deal the best with this are also the most compelling of the series. This is true of Kyle MacLachlan, certainly, and it's true of Ray Wise and Grace Zabriskie, as well: the most wrenching moment of the pilot episode is hearing Zabriskie's mournful wail through the telephone. But it's also true for Dana Ashbrook and Mädchen Amick as Bobby and Shelly, who I had never given a whole lot of consideration to in previous viewings. Of the younger actors, they acquit themselves the best with the material. Sherilyn Fenn, while not always particularly convincing in her delivery, at least remains charismatic in her role.
• The same is not true for some of the other actors. I expel an audible sigh whenever there's a scene with both Lara Flynn Boyle and James Marshall in it. Good lord, those scenes are DULL. At least when Maddy was around, Sheryl Lee offered something else to watch than those two. And now we're getting into James's roadtrip to The Postman Always Rings Twice Land, which -- WE DON'T CARE. It was bad enough when the two of them were sleuthing around and driving agoraphobes to kill themselves -- once the murder was solved, there's no reason to care about them at all. And I sincerely, sincerely do not.
• Piper Laurie is the bomb. Seriously, she seems to have the time of her life as the traditional soap opera bitch, a really big fish in a small pond. And coupling her with the eternally squirrelly Jack Nance was kind of brilliant.
• The death of Maddy Ferguson is the most harrowing scene that I have ever seen on a network television show. When it was broadcast, it kind of scarred me, and it continues to exert incredible power over me, to the extent that I was actively dreading the episode that it came in. At the same time, it had such an effect on me because it was just really well done: the scene continues long after the point where any other show would cut. It's brutal and queasy, both in terms of the actions depicted, as well as in relation to the audience. It's just incredibly affecting.
• Considering how much iconic power the dream scenes have, and how associated with the series they are, they don't occur particularly frequently. The Man from Another Place only shows up a couple times in the first season and we haven't seen him since, except in flashbacks. Since the Red Room scenes are basically used as a shorthand for Twin Peaks itself, this is fairly surprising.
• Watching the investigation of the murder of Laura Palmer, I was struck that the first season of Veronica Mars is basically the same story told from the perspective of Donna. Not EXACTLY the same, but enough that it holds up under scrutiny. Teenage girl with a double life murdered by the adult man she was having an affair with? Best friend investigates her murder, and along the way falls in love with the murdered girl's boyfriend? There's a lot of differences, but you can almost imagine Rob Thomas taking note of the problems Twin Peaks encountered, and finding solutions for them. Not that Veronica Mars didn't encounter its own problems in its second season, but that just means in 2021, a visionary TV auteur will make one of the best TV shows around based on the investigation into a school bus crash.
• David Lynch and Mark Frost deserve our appreciation, simply for making the Log Lady a thing.
• During the original run, owing to the network shuffling things around, and the goddamned NFL preempting the show so often with games, I completely lost track of the second half of the second season. So there's a lot about the second season I don't remember, or have never actually seen. But, for some reason, I did see the final scene of the final episode, and that instills the same dread in me that the Maddy episode does. In fact, the last time I watched it, I never got to it, because I just sort of didn't want to get any closer to it. I know it's a stupid reaction, and I'm going to try to make it all the way to the end this time. But the dread is still there. That's the mark of good television.

Peak I Reach

Over the past couple days, spurred on by various factors, I have been re-watching Twin Peaks. I am only up to episode 7, but I always forget how much I enjoy it. I'll have more to say about it tomorrow, but, needless to say, the owls are not what they seem.

Horror-a-rama II: The Horrorier

Just two more films that I forced my roommate to endure last night.

House of the Devil: This is a film that I have had in my queue for a while now, but that I avoided actually watching because someone suggested that it got really gruesome in the last half hour. While it may not be immediately clear, I do not actually deal with either gore or suspense particularly well. I'm better than I used to be, but I still tend to get really keyed up by suspense, to the point where I will pause a movie and walk around a bit. I'm an anxious guy; don't judge. I have an even bigger problem with gore, any movie where the viscera can be described as "frequent and glistening" tends to turn me off. (This is why I tend to avoid zombie movies altogether.) My general rule of thumb is: nothing made in the past 20 years. Something about that temporal distance, or possibly the less complicated visual effects, renders it palatable to me. It's why most of the movies I've mentioned this Halloween are from the 1960s.

This movie, however: it LOOKS like it was made over 20 years ago. The style of the film, the technology they use, the hair, they all scream "early-1980s." And while I have not embraced 80s horror with quite the enthusiasm that I've embraced 70s horror, I enjoyed it a great deal. The performances were strong almost across the board, with Mary Woronov in particular giving a wonderfully creepy performance, given her limited time on screen -- seriously, what an amazing career that lady's had! I love her! As to the gruesomeness of the ending? I actually was a little disappointed that it wasn't even more insane than it was, but that disappointed is tempered a bit by the low-boil of suspense that the movie had us in through most of its running time. I went in with some reservations, but I actually really liked it a lot.

The Vampire Lovers: Well, that was certainly something! This is another Hammer Horror movie that weaseled its way into my queue thanks to Dr. K. I'm pretty sure that I would have gotten more out of this if I got anything out of women's breasts. Or women kissing each other. Or women in general. It was well made enough, and the acting was more consistent than Vampire Circus, but it was just a series of women in peril, usually with a breast or two hanging out. They never explain why this elaborate ruse was necessary just for Carmilla to feed, what the point of it was, nor do they bother to explain the waxy man in black, which I hold against the film. That said, it was entertaining enough, just not particularly scary.