RED RIDING HOOD (2011)

The success of the Twilight film has been a bit of mixed blessing. It has seen a revival in teen horror but it has caused a spate of mashing horror films with teenage romance and coming of age plots. It is not necessarily a bad thing but when I want horror film I would far rather it concentrate on horrible things crawling in the corner of your mind rather than teens lustful gazing.

RED RIDING HOOD is a post Twilight take on Little Red Riding Hood. A medieval village of undetermined geography is terrorised by a werewolf.  A young girl in a red cloak falls in love with a woodsman and a religious zealot comes to town to save it from the wolf’s curse.

I cannot decide if I like this film or not (a perfect way to start a review). Every time I think about it there are bits I like and then I think about other parts of the film and weep for the time I will never get back.

The biggest problem with RED RIDING HOOD is it is bloody tedious. Lots of soft focus shots of teens biting their quivering lips at one another and a monster that does very little in the way of being monstrous. The teen romance is there in abundance. Hormones spilling out the frame and with lots of shots of lithe naked young men making the girls in the audience swoon. If your audience are passing out in a horror film because they are swooning rather than being overwhelmed by bottomless terror, you have failed. The film seems to go on and on never get anywhere which is amazing as it is just over 90 minutes long (The length that all horror films should be; what’s that? You think you have a great 2 hour horror film script? That’s wonderful but you’re wrong.)

The film is saved by a wonderfully eclectic cast with GaryOldman, Virginia Madsen and the only Canadian actor with an obviously Canadian accent himself, Michael Hogan.  Gary Oldman is especially good as a religious fanatic with a vendetta against werewolves and a giant metal elephant as part of his retinue.  It is the older cast members who save this film as the younger actors stink up the screen with soap-opera histrionics and a stark inability to convince.

"Heave Bosom, Heave"

However, despite these problems there was something rather nostalgic about this film. It was all shot on a studio village set and only left it to go onto another set which is very rare for modern films.  I liked this because it evoked Hammer Horror at its height like Plague of Zombies or The Reptile. A lone isolated village beset by a horror from within. It is a shame the werewolf is rubbish. A CGI spill over from a SyFy channel Friday night film it looks as threatening as a damp corgi. There are some nice variations on the werewolf mythology with it unable to pass onto hallowed ground but it is mostly a failure.  

The real monster is Gary Oldman’s fanatic. Oldman delivers a camp, grandiose performance which manages to both chew the scenery and be terrifying simultaneously.  Followed by an odd assembly of African soldiers he is brilliant flash of the different. The aforementioned metal elephant is a variation on the Brazen Bull torture device and I have no idea how it ended up in this film. It entrance is trumpeted but then it does not figure in the plot again. A Chekov’s Elephant Gun if you will (I Thank You).

The incongruity of Oldman and his background being better thought through than the rest of the plot makes me wonder if he was a holdover from an earlier, very different draft of the script. If it was originally written more as a straight out horror and the producers decided to make it appeal to the Twilight crowd? 

RED RIDING HOOD is an infuriating failure. You wonder if it could have been something better but commerce took it over. I do not think I can recommend this film but should a friend ever make you watch it I insist you cry “Why Grandma what rubbish taste in DVDs you have”

"What am I doing in this film?

THE CURSE OF THE WEREWOLF (1961)

"Lovely Poster"

Now dear reader, this was an interesting one. I had been looking forward to rewatching this film for a very long time. I had fond memories of staying up to watch it late at night on Channel 4 when I was a bedroom lurking youth.  Now as a bedroom lurking adult it seemed time to revisit a film which I enjoyed so much I remembered vividly. After watching Hammer’s only werewolf film I discovered something to my horror. Many people are disappointed when watching films through the spectrum of age as time and opinions change. I was not so much disappointed as surprised because this was not the film I remembered.  There was one scene which seemed familiar and the film’s Spanish setting rang bells but nothing else.  My normally infallible memory had failed me spectacularly. I was watching a rather tame film about a man struggling with the beast inside rather than the vivid horror film set in zoo I recalled so lucidly. All roads lead to Wikipedia and I discovered what the problem was. I was not misremembering this film. I was remembering an entirely different film with virtually the same plot, Tyburn Studio’s Legend of the Werewolf.

Once I had got over this confusing disappointment I could actually get back to the film.

One Christmas Day a child is born to a mute runaway. The child’s bastard origins on the Lord’s Day curse him to become a werewolf.  Taken in and raised by the kindly Don Alfredo when he grows up to be a man he leaves home to work in a winery. The temptations of lust overwhelm him and the wolf comes out one full moon.

A rather lacklustre entry into the Hammer canon which start somewhere interesting ends abruptly and goes nowhere in between. In that respect it is very like the A47 between Norwich and Thetford. There is a long winded opening scene of a beggar being locked away by a sadistic aristocrat which rather eludes me. It spends all its time building sympathy for the poor man only to have him commit a rather unpleasant rape at the first opportunity. The product of which is Leon, the boy destined to become a werewolf. I kept getting thrown by the choice of name. Leo as in Lion, for a man who turns into a wolf, which sent me into a right symbolic funk and then realised I was probably the only person in the world who had ever considered that so promptly told me to shut up.  “This is my pet pit bull Lion-O”, but I digress. The film plods along mostly and without much of anything happening. Some Spaniards get drunk and disaster occurs when Leon visits a brothel and the beast runs free. Then at the end the werewolf is shot. That is the film really. To put it briefly;   beggar, rape, baby, wine press  werewolf, dead werewolf. That actually makes it sound more interesting than it is. The best I can say for this film is it is brief.

"You been at the sherry again?"

There are some good points to Curse of the Werewolf. Oliver Reed is wonderful in a relatively early role. He summons the animistic passion of Leon excellently and Clifford Evans is fantastic as Don Alfredo, his adopted father. Warren Mitchell makes an appearance playing a man of indeterminate Hispanic/Middle-eastern ethnicity as he so often did back then.

Terence Fisher’s direction is as ever excellent and the film is really lifted by a fantastic musical score. This is one of the least impressive of Hammer’s golden age of horror films. It is not exactly bad it just never really gets started. The one scene I could remember, of Leon as a child half turned into a werewolf pulling against the bars which imprison him is the scariest scene in the film and was probably why it stuck in my mind.  The rest of it has receded replaced by the seemingly far more interesting Legend of the Werewolf.  Now that is a film I am looking forward to seeing.

THE QUATERMASS XPERIMENT (1955)

As it is the 50th Anniversary of Doctor Who this year I have decided it was time to revisit his immediate fictional predecessor Bernard Quatermass. Invented by Nigel Kneale in the 1950s Quatermass was a British Rocket Scientist who took on unknown alien menaces threatening humanity (well the British Countryside). 

Originally a BBC series the Quatermass Experiment Hammer licenced it for the screen in 1955 and began its success sparked the Hammer Horror genre. I shall be watching the whole Quatermass series and so begin where it all started.

A mission to space, launched by Prof. Bernard Quatermass' British Rocket Group, goes ever wrong and crashes back to earth. Only one of the three astronauts has survived and he begins to change into something else, something inhuman. When he escapes from custody Quatermass realises that what the astronaut is turning into is a threat to all humanity.

This is a frustrating film. I enjoyed it but I do not think I can say it is actually a good film. The script compresses the orginal 6 part BBC drama in 90 minutes which gives it a great pace. However, there is something lacking in this film. Some things happen and then at the end they stop and I never quite care about the journey. The more I have thought about the more I have wondered if it is because it was essentially the first Hammer Horror. It lacks the  vividness and lurid incident of the later films and goes beyond taking itself seriously. Hammer Horrors were never tongue in-cheek, that was a dreadful post-ironic media imposition, but they knew what they were there for. To get the teenagers in on a Friday night on the promise of swooning maidens and horrid monsters. The Quatermass Xperiment comes across as too earnest and it seems like it wants to say something relevant about the space race when it does not actually have an opinion.

"Evening All"

This feeling is not helped by the casting of Brian Donleavy as Quatermass.I do not think I have ever seen such a spectacular bit of miscasting in any film. The character is written as  a questing enthusiastic scientist seeking to push the boundaries of science but Donleavy delivers it like some humourless drill sergeant less interested in the pursuit of knowledge than throwing his weight around. His performance is stiff and lifeless and every time he walks on screen the film sinks. What is even more frustrating is the supporting cast are uniformly excellent with Lionel Jeoffries appearing briefly and being more Quatermass than Quatermass himself. One piece of casting which I did not know about and was a pleasant uprise was Jack Warner was Police Inspector Lomax. Dixon of Dock Green himself plays Lomax with a gusto which draws you in. I see why he became Britain's favourite copper for all those years. He is set up as the counterpoint to Quatermass, the supposed rationalist and intellectual, as a salt-of-the-earth man who believes in the bible. He comes to accept what is happening because of the evidence presented even if he does not think man should be meddling. Clearly there was supposed to be more of an opposition on the character arcs between Lomax and Quatermass. Lomax accepts that the events are going wrong because of the evidence presented. Quatermass who was supposed to embrace the unknown, has his faith in science and progress put to the test by events going wrong, or more importantly, not as he predicted. This is there in the script but Donleavy's stilted baleful performance robs the film of any of it.

"I don't know what's stiffer. This man or your acting"

There are some lovely moments in the film. A wonderfully strange bit when the changing astronaut absorbs a cactus into his body for no discernible reason (well there is a bit of techno-babble why but it never really explains the scene). Later on there is a riff on the scene from Universal's Frankenstein when the Monster encounters the child playing. Unlike in that film there is no real denouement to the scene apart from perhaps indication of the last vestige of the astronaut's humanity when he leaves the child to play. 

But those two scenes alone do not a great film make. This film has more worth as a curiosity than an actual film on its own merits. If you are a fan of Hammer Horror it is interesting to see where it all began and to see the first hero of British TV on the big screen. The film was named the Quatermass Xperiment to cash in on the new X Certificate fad but it never quite lives up to its own publicity. It set the stage for what was come but never really comes to life itself. So an inauspicious start to watching the Quatermass series but hopefully it can only get better from here. I am disappointed nobody has done the Quatermass XXXperiment yet.