IN THE SPOOKLIGHT: BLOOD FROM THE MUMMY’S TOMB (1971)

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One of the better parts of the awful reboot THE MUMMY (2017) starring Tom Cruise was that it featured a female mummy, but it wasn’t the first film to do this.

Hammer Films did it and did it better back in 1971 with BLOOD FROM THE MUMMY’S TOMB, a film based on the novel The Jewel of the Seven Stars by Bram Stoker.

BLOOD FROM THE MUMMY’S TOMB is completely unlike the Hammer Mummy movies which came before it, and for that matter from the Universal Mummy movies as well. Gone is the lumbering monster wrapped in bandages.  In its place is a  beautiful woman whose otherworldly powers are just as deadly.

BLOOD FROM THE MUMMY’S TOMB is the story of a young woman named Margaret Fuchs (Valerie Leon), the daughter of famed archeologist Professor Julian Fuchs (Andrew Keir).  Margaret is troubled by nightmares in which she catches glimpses of an expedition led by her father which discovered a female mummy, Queen Tera, which strangely had not suffered any decomposition.  Even stranger, Queen Tera is a dead ringer for Margaret.  What’s a girl to do?

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Queen Tera (Valerie Leon), looking pretty good for a centuries old mummy.

Why, investigate, of course!  Which is exactly what Margaret does, with the help of her boyfriend Tod Browning (Mark Edwards).  No, not the guy who directed Bela Lugosi in DRACULA (1931), but obviously the use of the name here is a nod to the famous director, and it makes sense here, since Browning directed DRACULA, which was based on Bram Stoker’s famous novel, and of course this Mummy movie was based on Stoker’s less famous novel.

What Margaret and Tod find out is that Queen Tera is very much alive and intent on walking the earth again, but to do that, she must kill, kill, kill, which she does by using Margaret.

While I wouldn’t place BLOOD FROM THE MUMMY’S TOMB up there with Hammer’s best shockers, it does belong in the better-than-average category.  My favorite part is that it is so different.

Director Seth Holt— who would die from a heart attack before the film was released— uses a slow almost artistic style to tell this story.  The effect is quite mesmerizing.  While you won’t be jolted out of your seat from in-your-face scares, you will be captivated by a haunting tale that subtly gets under your skin.

The music score here by Tristram Cary is also quite effective, as it lends a sense of eeriness to the proceedings.

The screenplay by Christopher Wicking is a good one.  It tells an interesting story and creates some intriguing characters.  The plot also builds to a bloody climax in which survivors are hard to come by.

Valerie Leon is okay as Margaret Fuchs/Queen Tera.  It’s kind of a one note performance, as she doesn’t exhibit a lot of range.  I enjoyed Mark Edwards much better as her boyfriend Tod Browning.  I thought he came off like a real person, and he seemed quite natural inside this supernatural environment.

I’m a big fan of Andrew Keir, and he’s very good here as Professor Julian Fuchs, in a role that was originally intended for Peter Cushing, but Cushing had to drop out to care for his ailing wife.  My favorite Andrew Keir role in a Hammer Film is his performance as Father Sandor in DRACULA-PRINCE OF DARKNESS (1966).  His role here as Professor Fuchs isn’t as significant, but Keir’s presence adds dignity and respectability to the story.

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Andrew Keir as Professor Julian Fuchs, trying to put an end to Queen Tera, the Mummy.

Also memorable is James Villiers as the mysterious Corbeck, a member of the Fuchs expedition which discovered the tomb of Queen Tera, who later contacts Margaret and Tod and has his own ideas as to what needs to be done regarding the mummy.

If there’s one thing I don’t like about BLOOD FROM THE MUMMY’S TOMB it’s that it lacks energy.  At first, its slow-paced eerie style works, but the film never builds on this, never becomes more suspenseful.  It does have a violent conclusion, but it’s not as powerful as you would expect.  And that’s why for me it’s not up there with Hammer’s best. It’s an atmospheric thriller and generally satisfying, but there’s just something rather passive about the whole thing.

Stoker’s novel The Jewel of the Seven Stars would be filmed again in 1980 under the title of THE AWAKENING starring Charlton Heston with similar if not lesser results.

So, really, female mummies haven’t fared all that well in the movies.  In fact, you could make the argument, that this above average thriller BLOOD FROM THE MUMMY’S TOMB is the best of the lot.

Either way, if you’re looking for a change of pace and want to watch a Mummy movie not about a slow-moving monster in bandages, one that features a female mummy in a story that is far better than the one told in the 2017 MUMMY, give BLOOD FROM THE MUMMY’S TOMB a try.

Its subtle style might be just the thing for a starry September evening.

—END—

 

 

 

 

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IT (2017) – Creepy Tale Showcases Young Talent

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IT (2017), the latest film adaptation of a Stephen King novel, does what King stories do best: it creates believable characters, puts them in harm’s way, and then makes you squirm as they fight for their lives.

IT takes place in the late 1980s in the town of Derry, Maine.  A young boy named Georgie (Jackson Robert Scott) is outside playing in the rain when he encounters what appears to be a clown in the sewer.  The clown, Pennywise (Bill Skarsgard) speaks to him, and since Georgie is only a child, he doesn’t find it overly strange that there’s a clown talking to him from a sewer, which is too bad, because Pennywise attacks and kills the young child.

The story jumps ahead one year, to 1989, and follows Georgie’s older brother Bill (Jaeden Lieberher) and his group of “loser” friends as they deal with bullies and parents who are either useless or harmful. It is not a good town in which to be a kid.

There’s Eddie (Jack Dylan Grazer), a young hypochondriac who can’t stop talking about germs and illnesses, Richie (Finn Wolfhard), who can’t stop talking, period, Stanley (Wyatt Oleff), Mike (Chosen Jacobs), and the new kid in the neighborhood, overweight Ben (Jeremy Ray Taylor).

And then there’s Beverly (Sophia Lillis), the one girl in the group, who they all secretly have a crush on.

All of these kids are severely bullied.  The main bully in town is Henry (Nicholas Hamilton) and he and his friends pretty much terrorize Bill and his friends on a regular basis.

The adults in their lives aren’t any better.  The worst is Beverly’s father, who sexually abuses her.

It’s these constant threats which draw these kids together.  Bill is obsessed with finding out what happened to his younger brother, and as he and his friends investigate, they learn that the town of Derry has a history of people disappearing, especially children. Soon afterwards, they start having strange visions and dreams of the evil clown Pennywise, and they realize that the threat in their town, the thing that is preying on children, is in fact Pennywise.  And since the adults in town are useless, they decide that it is up to them to seek out and destroy this evil.

IT is a very good movie that actually works better as a drama about a group of friends dealing with the threats in their lives than as a straight horror movie because it’s not really that scary.

Directed by Andy Muschietti, who also directed MAMA (2013), a horror movie from a few years back that I liked a lot, IT does have a decent number of horror scenes which work well, but its scariest scene might be its first scene, where young Georgie first encounters Pennywise in the sewer.  This is a frightening sequence, a great way to start the film, and while Pennywise does have some decent moments later, none are quite as potent as this first one.

Chase Palmer, Cary Fukunaga, and Gary Dauberman wrote the screenplay, based on the novel by Stephen King.  Of the three, Dauberman has the most extensive credits.  He wrote ANNABELLE (2014) and ANNABELLE: CREATION (2017), the second film being much better than the first.

The dialogue here in IT is excellent, as are the characters.

This is the second time IT has been filmed. It was a four-hour mini-series in 1990 starring Richard Thomas, John Ritter, Harry Anderson, and Annette O’Toole. It was well received at the time, but it is somewhat dated today.  It’s most memorable for Tim Curry’s performance as Pennywise.

Bill Skarsgard’s performance as Pennywise here in the 2017 version was good enough to make me forget about Tim Curry while I watched this movie.  Taken as a whole, I thought this new version was better than the 1990 TV rendition.

The driving force behind this 2017 movie is Bill and his friends, both the way they are written and the way they are acted.

The child actors are all excellent, and they’re in the part of the story that for me, works best in this film adaptation of IT.  These kids are bullied and abused, and what happens to them in their everyday lives is every bit as disturbing as what happens to them when they encounter Pennywise.  As a creature that preys on children, Pennywise is symbolic of the everyday evils these kids face in the real world.

When these kids bond and their friendships grow stronger, that’s the part of the film that works best, the relationships between this group of kids.  And these child actors are more than up to the task of making it all work, and work well.

Jaeden Lieberher is excellent as Bill.  A few years back, Lieberher stood out in ST. VINCENT, a comedy with Bill Murray that I liked a lot.  Lieberher is just as good here. He plays Bill as a sensitive boy who in the quest to learn what happened to his little brother becomes resilient and strong-willed, the perfect leader of this group.

Sophia Lillis is also excellent as Beverly. Like Lieberher, she makes her character sensitive yet strong.  These kids have been beaten back in life at a young age by those around them, and yet they somehow find the strength through each other to seek out and take on the evil Pennywise.  Like the rest of the young actors in this one, Lillis is also incredibly believable in this role.

I also enjoyed Jeremy Ray Taylor as the newest kid in town, Ben Hanscom.  Finn Wolfhard makes a funny wisecracking Richie Tozier, even if he did look like he just rode his bike off the set of STRANGER THINGS.  I also really liked Jack Dylan Grazer as the young hypochondriac who can’t stop talking about germs and illnesses.  And I thought Nicholas Hamilton made Henry Bowers a very disturbing psychotic bully.

I absolutely loved Bill Skarsgard’s performance as Pennywise, but his best scene is his first one.  Don’t get me wrong.  It’s not as if Pennywise disappears from the movie, because he’s in a decent number of scenes, but he doesn’t do enough in these scenes to give them the full impact they should have had.

Another thing I didn’t really like about this movie is I thought that it trivialized some of the awful things happening to the kids, especially the storyline with Beverly and her father. He’s obviously abusing her, and their scenes together are creepy, but this is serious stuff, and it deserves more serious treatment than a couple of quick scenes in a horror movie.

Likewise, bullying is a serious matter, and while the bullying scenes in IT are certainly brutal and effective in that they show how cruel and sadistic these older boys were towards Bill and his buddies, there was just something lacking in these scenes, something less authentic.  Part of the problem is they were similar to a whole host of other bully scenes in other movies.  The scenes with Bill and his friends are crisp, refreshing, and real.  The bully scenes are not.

IT is a creepy drama about a group of kids who are terrorized by the adults in their lives, by their peers, and by a menacing supernatural entity known as Pennywise. It’s sure to satisfy both Stephen Kings fans and horror fans alike.

About the only people who should stay clear of this one are those of you who live in mortal fear of clowns.  Yup, that wouldn’t be a good combination.

—END—

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.neconebooks.com.  Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

Ebook version:  $4.99.  Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

 

 

 

 

 

IN THE SHADOWS: EDWARD VAN SLOAN

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Edward Van Sloan as Professor Van Helsing in DRACULA’S DAUGHTER (1936).

 

Welcome back to IN THE SHADOWS, the column where we look at character actors in the movies, especially horror movies.

Character actors add so much to the movies they’re in, it’s hard to imagine these movies without them. Never receiving the praise heaped upon the major actors and stars of the genre, these folks nonetheless are often every bit as effective as the big name leads.

Up today, an actor known to horror fans for three key roles in three classic horror movies, and that actor is Edward Van Sloan.

Edward Van Sloan played three similar roles in three of Universal’s best horror movies from the 1930s.  He played Professor Van Helsing in DRACULA (1931), Dr. Waldman in FRANKENSTEIN (1931), and Dr. Muller in THE MUMMY (1932).

As Dr. Van Helsing, a role he had played earlier on stage opposite Bela Lugosi’s Dracula, he’s one of the best.  While Peter Cushing is my all time favorite movie Van Helsing, Edward Van Sloan came closer to the Stoker interpretation than Cushing did, but even he deviated from the way Stoker wrote the character.  Probably the closest I’ve seen an actor capture the literary Van Helsing on-screen would be Frank Finlay’s performance as the vampire hunter/professor in the BBC production COUNT DRACULA (1977), starring Louis Jordan as the Count.

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Van Sloan and Lugosi square off in DRACULA (1931)

But for Edward Van Sloan, it’s all about presence and authority, something he definitely wields in DRACULA.  Bela Lugosi is absolutely mesmerizing as Dracula, and his performance dominates the movie.  Yet Van Sloan is up to the task of matching wits with Lugosi, and his Van Helsing is a worthy opponent for the vampire king.  The scene where Dracula tries to use hypnosis to overpower Van Helsing is one of the strongest scenes in the film, acted so expertly by Van Sloan, as you can see it in his eyes as he’s resisting Dracula’s powers, and for a split-second, Van Sloan’s eyes go blank, and at this instant the audience shudders, begging that he doesn’t succumb to Dracula’s powers, and when he rallies and resists Dracula, it’s a great moment in the movie.

As Dr. Waldman in FRANKENSTEIN, Van Sloan plays Henry Frankenstein’s former professor, who for most of the movie, acts as the voice of reason.  He tries throughout to talk sense to Henry Frankenstein and is constantly urging caution.  As Dr. Waldman, he gets one of the best lines in the movie, when he warns young Henry.  “Your success has intoxicated you!  Wake up!  And look facts in the face!—  You have created a monster, and it will destroy you!”

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Edward Van Sloan as Dr. Waldman in FRANKENSTEIN (1931).

Prophetic words.  Actually, they were more on the money regarding Waldman’s fate, because later in the movie, the Monster (Boris Karloff) kills the professor.  In fact, Professor Waldman’s death is one of the more shocking moments in FRANKENSTEIN, a film which contains more than a few of them, and it’s a testament to Edward Van Sloan’s screen presence.  Van Sloan was so effective as Professor Van Helsing in DRACULA, so convincing when he destroys Dracula, it strikes audiences as an absolute shock when he doesn’t do the same in FRANKENSTEIN, when in fact it’s the Monster who kills Professor Waldman, and not the other way around.

And Edward Van Sloan is one of only two actors— the other being Dwight Frye who played Renfield in DRACULA and Fritz in FRANKENSTEIN— to star in both DRACULA and FRANKENSTEIN.

In THE MUMMY (1932), Van Sloan plays Dr. Muller, a variation of his Van Helsing/Waldman characters.  This time, he’s an expert on Egyptology, and he matches wits with Boris Karloff’s Mummy, Imhotep.  THE MUMMY is an excellent horror movie, as good if not better than DRACULA and FRANKENSTEIN.  Once again, Van Sloan nails the role of the heroic professor and is completely believable as the knowledgable scholar who takes on the supernatural Imhotep.

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Edward Van Sloan takes on Boris Karloff’s Imhotep in THE MUMMY (1932).

As for the rest of  Edward Van Sloan’s career, here’s a partial look at his 88 screen credits, focusing mostly on his horror film roles:

SLANDER (1916) – Joseph Tremaine – Edward Van Sloan’s first film credit is in this silent movie from 1916, the only silent film Van Sloan made.

DRACULA (1931) – Professor Van Helsing – probably Van Sloan’s most famous role, and the role he is most remembered for.  Van Sloan’s work as Van Helsing in this movie is as memorable as Lugosi’s Dracula and Dwight Frye’s Renfield.

FRANKENSTEIN (1931) – Dr. Waldman – Another famous role for Van Sloan, this time playing Henry Frankenstein’s former professor and the man who tries to convince Frankenstein to destroy his creation.  We all know how that turned out.

BEHIND THE MASK (1932) – Dr. August Steiner/Dr. Alec Munsell/Mr. X – a crime drama marketed as a horror movie due to the presence of Boris Karloff in a small role.  Van Sloan plays the villain here, in a role that Karloff probably would have played had this movie been made a few years later.

THE DEATH KISS (1932) – Tom Avery – a comedy/mystery notable for reuniting three cast members from DRACULA:  Bela Lugosi, David Manners, and Edward Van Sloan.

THE MUMMY (1932) – Doctor Muller – takes on Boris Karloff’s evil Imhotep in this horror classic.

DELUGE (1933)- Professor Carlysle – early “disaster” film as New York City is threatened by an earthquake and tidal wave.

AIR HAWKS (1935) – Professor Schulter – weird hybrid of drama and science fiction. Ralph Bellamy plays the owner of an airline company who hires a mad scientist— played by Edward Van Sloan— to build a death ray to force down his competitors’ planes.

THE LAST DAYS OF POMPEII (1935) – Calvus – Historical adventure set in the doomed Roman city, directed by KING KONG directors Ernest B. Schoedsack and Merian C. Cooper. With Basil Rathbone as Pontius Pilate.  A box office flop.

DRACULA’S DAUGHTER (1936) – Professor Van Helsing – reprises his Van Helsing role in this well-made sequel to DRACULA.  The movie starts right where DRACULA left off, and Van Helsing finds himself arrested for the murders of Dracula and Renfield.  Before he can be officially charged, however, the bodies disappear, whisked away by Countess Zaleska (Gloria Holden) who happens to be Dracula’s daughter, and who’s now in London with an agenda of her own. Smart horror film, well-written, acted, and directed.

THE PHANTOM CREEPS (1939) – Jarvis – Science fiction serial from Universal reunites Van Sloan with Bela Lugosi, as Lugosi plays a scientist hell-bent on taking over the world.

BEFORE I HANG (1940) – Dr. Ralph Howard – This time Van Sloan is reunited with Boris Karloff, as Karloff plays a doctor on death row for mercy killings, who injects himself with a serum that turns him into a Hyde-like villain.

THE MASK OF DIIJON (1946) – Sheffield – Erich von Stroheim plays a magician who uses his hypnotic powers to seek vengeance.

SEALED VERDICT (1948) – Priest – Edward Van Sloan’s final screen credit in a World War II war drama starring Ray Milland.

THE UNDERWORLD STORY (1950) – Minister at Funeral – Edward Van Sloan’s final film appearance, an uncredited bit as a minister at a funeral in this film noir crime drama.

There you have it, an abbreviated look at the film career of Edward Van Sloan.

Edward Van Sloan died on March 6, 1964 at the age of 81 in San Francisco, California.

While he enjoyed a long and successful career as a character actor in the movies, for horror fans, he will always be remembered for his roles in three of Universal’s best horror movies from the 1930s:  DRACULA, FRANKENSTEIN, and THE MUMMY.  Van Sloan made for a fine hero in all three of these films.

Edward Van Sloan -November 1, 1882 – March 6, 1964.

I hope you enjoyed this IN THE SHADOWS column.  Join me again next time when we look at the career of another notable character actor.

Thanks for reading!

—Michael

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.neconebooks.com.  Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

Ebook version:  $4.99.  Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

 

 

 

 

 

THE DARK TOWER (2017) – An Inconsequential Blip on the Dark Tower Universe

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I’m guessing there are going to be a whole lot of disappointed Dark Tower fans after they watch THE DARK TOWER (2017), the new fantasy thriller based on the epic novels by Stephen King.

There are eight novels in the series, and while I haven’t read any of them, the idea that this very short movie— it clocks in at a meager 95 minutes— could do an eight book series justice is difficult to fathom. It’s just too quick and inconsequential.

Strangely, this movie version of THE DARK TOWER is supposedly a sequel of sorts to the series, as the events in the film take place after the book series ends, and I also hear there’s a possible TV series in the works. Now, a television series makes sense to me. That’s exactly the kind of canvas needed to do a book series proper justice.  The movie THE DARK TOWER as it stands would barely do a short story justice.

In a nutshell— and that’s what this movie felt like, really— THE DARK TOWER is about a boy named Jake Chambers (Tom Taylor) who’s struggling to cope with life after the death of his father.  He’s haunted by recurring bad dreams in which he sees a Gunslinger (Idris Elba) battling a Man in Black (Matthew McConaughey), and it seems this Man in Black is trying to destroy a black tower, and the Gunslinger is trying to prevent this.

Jake’s mom Laurie (Katheryn Winnick) arranges for Jake to spend a weekend at an institution so he can receive help, since he’s getting into fights at school and generally having a difficult time with life, but Jake runs away and finds a portal which leads him into the world of the Gunslinger and the Man in Black.  There, he befriends the Gunslinger and helps him in his fight to stop the Man in Black from destroying the world, which will happen once the dark tower is destroyed.

Yawn.

The plot for THE DARK TOWER isn’t going to win any awards for the most compelling screenplay ever written.  The story is simple and isn’t fleshed out in the least.  And four writers worked on this thing:  Akiva Goldsman, Jeff Pinkner, Anders Thomas Jensen, and director Nikolaj Arcel.  Not that it mattered.

The story as told in this movie left me with so many unanswered questions.  Who is the Man in Black?  Why is he hell-bent on destroying Earth?  Who is the Gunslinger?  Why is he the man in charge of killing the Man in Black?  The movie provides no back stories on these characters.  I also wanted to know more about young Jake.

Things happen too quickly and too easily.  Jake finds his way into the Gunslinger’s world with about as much effort as entering a neighbor’s front door.

Again, for a movie based on an eight book series by Stephen King, the story it tells is about as skeletal as you can get.

Nor is THE DARK TOWER all that visually impressive. Director Nikolaj Arcel’s vision of the Dark Tower and its surrounding world is meh. Not much too look at, and not much going on. The scenes which take place in New York City work better, and the whole film plays better when the characters interact in modern-day surroundings.  Every time they enter the world of the Dark Tower the film slows to a crawl.

I’m a big Idris Elba fan, but he continues to land film roles in which he just isn’t allowed to do much.  He’s terrific in the lead role on the TV series LUTHER (2010-2018) but he’s yet to land a movie role in which he’s allowed to show off his talents.  Still, I enjoyed him here as the Gunslinger.

Likewise, I enjoyed Matthew McConaughey as the Man in Black as well.  He was sufficiently cold and nasty, a decent villain.  Although his power to make people do whatever he says has been done a lot lately, especially on TV,  from the villain Kilgrave (David Tennant) in the Netflix Marvel series JESSICA JONES (2015), to Jesse Custer (Dominic Cooper) in the AMC series PREACHER (2016-).

In fact, my favorite part of THE DARK TOWER was watching Idris Elba and Matthew McConaughey. They’re the best part of the movie, although neither one made me really like this movie all that much. But when they’re on-screen, and they’re actually engaging in dialogue rather than running around in bland action scenes, the film is much better. Unfortunately, they don’t get to do this all that much.

Tom Taylor is decent as Jake Chambers.  Seen better, seen worse.  The rest of the cast is okay but hardly memorable.  Speaking of the TV show PREACHER, Jackie Earle Haley who was so memorable in Season 1 of that show, barely causes a stir here in a thankless role as one of the Man in Black’s minions, Sayre.

I was fairly entertained by THE DARK TOWER, but for an adventure fantasy thriller based on an eight book series by Stephen King, it’s pretty sparse.  Sadly, it’s yet another example of an inferior adaptation of a Stephen King work.

But it’s not awful.  It’s just not that good.

At the end of the day, it’s just an inconsequential blip on the Dark Tower universe.

—-END—

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.neconebooks.com.  Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

Ebook version:  $4.99.  Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

 

 

 

 

IN THE SPOOKLIGHT: SALEM’S LOT (1979)

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I read Salem’s Lot by Stephen King shortly after it was first published when I was in the 6th grade, and it was the first novel that ever truly scared me.  More importantly, as someone who spent his childhood watching Hammer Films and the Universal monster movies, it was the first book that ever truly entertained me.  It was that book that got me hooked on reading.

As such, my expectations were high when four years later the film version of SALEM’S LOT (1979) arrived as a TV movie directed by Tobe Hooper and starring David Soul and James Mason.  And while it was well-received by critics and fans alike, I was somewhat disappointed by it.  I just couldn’t shake my feelings for the novel, which I felt was vastly superior.

The biggest disappointment for me at the time was the film’s interpretation of the story’s vampire, Mr. Barlow.  Barlow was creepy and terrifying in the novel, with lots of dialogue to back up his evil presence.  In the film, he was changed to a mute Nosferatu clone, and while he did indeed look frightening, the fact that the make-up resembled the classic 1922 Nosferatu make-up on Max Schreck was a let-down.

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Reggie Nalder as the vampire Barlow in SALEM’S LOT (1979).

Anyway, it had been years since I had seen the film version of SALEM’S LOT, and so I thought it was time to watch it again and place it IN THE SPOOKLIGHT.

In SALEM’S LOT, writer Ben Mears (David Soul) returns to his childhood home of Salem’s Lot (Jerusalem’s Lot in the novel), drawn there by the Marsten House, a house that watches over the town like a demonic gargoyle.  In short, it’s the town’s haunted house. Ben has been obsessed with this house his entire life, an obsession that began when he ventured into the house as a boy on a dare and saw the hanging body of a man there, a man who while hanging opened his eyes and looked at him.

This moment is a perfect example of the difference between the movie and the book.  In the book, this scene, this image, although not even a major part of the plot, was one of its most frightening.  Indeed, for me, of all the scenes and images from the novel, this is the one that scared me the most back in 1975 and stayed with me the longest, the hanging man who opened his eyes.  In the movie, it’s mentioned briefly by Ben Mears in a conversation, and it’s nothing more than an afterthought. There you go.

So Ben returns home to write about the Marsten House and seek out old acquaintances, like Susan Norton (Bonnie Bedelia), who he starts to date. He’s writing about the Marsten House because he believes the house itself is evil, and as such it attracts evil.

And he’s right, because currently living in the house are two men, Mr. Straker (James Mason) and Mr. Barlow (Reggie Nalder).  Barlow is a vampire, and Straker is the man empowered with protecting him.  Together, they prey upon the townsfolk of Salem’s Lot, gradually changing nearly everyone in town into a vampire.  Unless that is, Ben Mears can stop them.

It’s a great story, but it plays better in the novel than in the movie, which is hindered by dated dialogue by screenwriter Paul Monash.

I was a huge fan of the TV show STARSKY AND HUTCH (1975-79) back in the day, and so at the time when I first saw SALEM’S LOT I gave David Soul who starred in the show a free pass. Watching it today was a different story.  Soul’s interpretation of Ben Mears has its problems, mostly because at times Soul seems to be sleepwalking through the role.  He also doesn’t do fear well.  When Ben Mears is supposed to be terrified, he comes off as more dazed than anything else.

By far, the best performance in the movie belongs to James Mason as Mr. Straker.  Of course, this comes as no surprise as Mason was a phenomenal actor who was no stranger to villainous roles.  His dark interpretation of Dr. Polidori in FRANKENSTEIN: THE TRUE STORY (1973) was one of the most memorable parts of that horror movie, and his villainous turn as attorney Ed Concannon in THE VERDICT (1982) was every bit as effective as Paul Newman’s lead performance as Frank Galvin.  Both men won Oscars for their performances that year, Newman for Best Actor, and Mason for Best Supporting Actor.  These roles are from the tail end of Mason’s career, which began in the 1930s and spanned five decades.

As Straker, Mason is frightening.  The scene where he taunts a priest is one of the best in the film.

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David Soul and James Mason in SALEM’S LOT (1979).

The rest of the cast, which is chock-full of character actors, is so-so.  In the key role of young Mark Petrie, the boy who loves monsters and monster movies, and the character who I obviously identified with when I first read the novel in 1975, Lance Kerwin is just okay.  Like David Soul, his interpretation of fear comes off more like a “deer in the headlights” daze.

Likewise, Bonnie Bedelia is okay as Susan Norton, but Lew Ayres is effective as school teacher Jason Burke, and unlike Soul and Kerwin, Ayres does do fear well.  Ed Flanders is solid as Dr. Bill Norton, and Geoffrey Lewis enjoys some fine moments as Mike Ryerson, especially once Mike becomes a vampire.  Veteran actors Elisha Cook Jr. and Fred Willard are also in the cast.

And while Reggie Nalder does look horrifying as Barlow in his Nosferatu-style make-up, ultimately he doesn’t make much of an impact in the movie because his scenes are few and far between.  Even though I prefer the Barlow character from the novel to the one here in the movie, I still would have liked to have seen the vampire more in the film.

The story, which flows naturally in the novel, with its expansive cast of characters, doesn’t flow as well in the movie, as the townsfolk and their personal issues play like characters in a soap opera.

Director Tobe Hooper, fresh off his success with THE TEXAS CHAINSAW MASSACRE (1974), definitely puts his personal stamp on the movie and creates some scary scenes. Chief amongst them is the creepy and very memorable scene- it might be the most memorable of the entire movie— of young vampire Danny Glick floating outside Mark Petrie’s window, beckoning to be let inside.  It’s certainly one of my favorite parts of the movie.

Another frightening image features Geoffrey Lewis’ Mike Ryerson as a vampire, sitting in a rocking chair.

But the biggest parts of the story strangely fall flat.  The end, for instance, when Mark and Susan enter the Marston house in search of Barlow, lacks the necessary suspense.  In the book, these scenes were terrifying.  In the movie, not so much.

The pacing is a little off as well.  The film runs for 184 minutes and originally aired on television in two 2 hour segments.  The bulk of the first half is spent introducing all the characters, while Barlow doesn’t really show up until the second part, and then things move very quickly, often too quickly.

The film did very well and earned high ratings, and for a while there was talk of turning it into a television series, but the idea never materialized.

I like the film version of SALEM’S LOT, and even though it hasn’t aged all that well, and is a bit dated— in contrast, the classic TV vampire movie THE NIGHT STALKER (1972) still holds up remarkably well today— it’s still a fun movie to watch, with some genuine creepy scenes, especially for a TV movie, and we certainly have Tobe Hooper to thank for that.  While the vampire is OK, and the leads meh, you do have James Mason chewing up the scenery as the diabolically evil Mr. Straker.

The biggest drawback is that the source material, the novel by Stephen King, is so darned good, it makes this above average thriller seem much more ordinary than it really is.

SALEM’S LOT is kinda like its vampire, Mr. Barlow.  Scary, but nowhere near as powerful as depicted in the novel by Stephen King.

—END—

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.neconebooks.com.  Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

Ebook version:  $4.99.  Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

 

LEADING LADIES: Linda Hamilton

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linda hamilton the terminator

Linda Hamilton in probably her most famous role, as Sarah Connor in THE TERMINATOR (1984).

Welcome back to LEADING LADIES, the column where we look at leading ladies in the movies, especially horror movies.

Today on LEADING LADIES we look at the career of Linda Hamilton, who helped define 1980s cinema with her signature performance as Sarah Connor in THE TERMINATOR (1984).

In addition to her iconic portrayal of Sarah Connor in the TERMINATOR movies, Hamilton is also known for her role as Catherine Chandler on the TV series BEAUTY AND THE BEAST (1987-89).  Linda Hamilton has always been a favorite of mine, in spite of appearing in one of the worst monster movies ever made, KING KONG LIVES (1986)— by far the worst King Kong movie ever made.

Hamilton has 75 screen credits to date, and she’s still actively making movies today. Here’s a partial look at her career so far:

NIGHT-FLOWERS (1979) – Wafer – Hamilton’s film debut in a movie about rape and murder at the hands of two disturbed Vietnam vets.

RAPE AND MARRIAGE:  THE RIDEOUT CASE (1980) – Greta Rideout – Hamilton has the lead role in this TV movie based on the true story of Greta Rideout (Hamilton), an abused wife who was constantly raped by her husband John (Mickey Rourke).  The movie tells the story of how she fought back and charged him with rape, even though they were married.  Written by Hesper Anderson, who would go on to earn an Oscar nomination for her co-written screenplay for CHILDREN OF A LESSER GOD (1986) .

TAG:  THE ASSASSINATION GAME (1982) – Susan Swayze –  once again playing the lead, this time co-starring with Robert Carradine in a tale about a college assassination game turning deadly as it becomes the real thing.  Written and directed by Nick Castle, most famous for playing Michael Myers in the original HALLOWEEN (1978).

SECRETS OF A MOTHER AND DAUGHTER (1983) – Susan Decker – TV movie drama about a mother and daughter involved with the same man.  Katharine Ross plays the mother, Linda Hamilton the daughter, and Michael Nouri the man.

HILL STREET BLUES (1984) – Sandy Valpariso – recurring guest spot role on four episodes of Season 4 of the critically acclaimed TV show HILL STREET BLUES.

CHILDREN OF THE CORN (1984) – Vicky – big screen adaptation of the Stephen King short story was the first time I saw Linda Hamilton in a movie, and all I can say is I’m glad she made THE TERMINATOR that same year, because I did not like CHILDREN OF THE CORN at all and would have quickly forgotten Hamilton if not for her performance in THE TERMINATOR.  In spite of the source material, CHILDREN OF THE CORN is a pretty awful horror movie.

THE TERMINATOR (1984) – Sarah Connor – the movie that put Linda Hamilton on the map, as well as Arnold Schwarzenegger and James Cameron.  Iconic movie, one of the most memorable from the 1980s, so much so that in terms of movies, it arguably defines the decade.  The movie that propelled Arnold Schwarzenegger to superstardom, and gave him his signature line, “I’ll be back.”  Also director James Cameron’s first hit, coming before ALIENS (1986) and long before TITANIC (1997).

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A girl and her dog.  Linda Hamilton and a canine friend in THE TERMINATOR.

Hamilton plays Sarah Connor, the target of Schwarzenegger’s Terminator, who’d been sent back in time to kill her, since she gives birth to the man responsible for leading the resistance against the machines in the future, and so the machines decide that if they kill his mother, he’ll never exist.  Of course, you’d think it would just be easier to kill him. Pure fluff, but masterfully done, and Hamilton is excellent as the unlikely heroine, a young woman who sees herself as a failure, then victim, and ultimately rises up as the savior of the human race.  By far, my favorite Linda Hamilton performance.

SECRET WEAPONS (1985) – Elena Koslov/Joanna – TV movie where Hamilton plays a Russian spy.  Directed by Don Taylor, who during his long prolific career directed several notable genre films in the 1970s, including ESCAPE FROM THE PLANET OF THE APES (1971), THE ISLAND OF DR. MOREAU (1977), and DAMIEN:  OMEN II (1978).

BLACK MOON RISING (1986) – Nina – Hamilton plays a car thief in this tale of thieves, FBI agents, and a super car, the “Black Moon.”  Co-starring Tommy Lee Jones and Robert Vaughn.  Story by John Carpenter, who also co-wrote the screenplay.

KING KONG LIVES (1986) – Amy Franklin –  If there’s one movie that Linda Hamilton should not have made, it’s probably this one.  Why in the world would director John Guillermin, whose career was nearly destroyed by his first Kong venture KING KONG (1976) ever agree to make a sequel ten years later?  Bad move, John!  This horrible sequel has gone down in film history as the worst Kong movie ever. And whereas the 1976 KING KONG has aged well and has gained more respect over the decades, the same can’t be said for this awful sequel.  It’s still as bad as it ever was.

GO TOWARD THE LIGHT (1988) – Claire Madison – TV movie about a young couple caring for their child who has been diagnosed with AIDS.  Co-starring Richard Thomas.

BEAUTY AND THE BEAST (1987-89) – Assistant District Attorney Catherine Chandler- Hamilton’s second most famous role, after Sarah Connor in THE TERMINATOR, this modern-day update of the Beauty and the Beast tale featured Ron Perlman as the beast and Hamilton as the beauty, an assistant district attorney in New York City.

linda hamilton-beauty-and-the-beast

Linda Hamilton and Ron Perlman in the TV show BEAUTY AND THE BEAST.

MR. DESTINY (1990) -Ellen Burrows – Comedy fantasy starring James Belushi and Michael Caine.

TERMINATOR 2:  JUDGMENT DAY (1991) – Sarah Connor- Hamilton reprises her role as Sarah Connor in this big budget sequel to THE TERMINATOR which featured some of the most cutting edge special effects of its day.  This time around Hamilton’s Sarah Connor is a lean mean fighting machine, while Arnold Schwarzenegger’s Terminator is warm and fuzzy.  Yup, in this sequel, Arnold plays a  “good” Terminator, helping the humans fight off an even more advanced and dangerous Terminator from the future.  Once again written and directed by James Cameron.

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A leaner, meaner Linda Hamilton in TERMINATOR 2:  JUDGMENT DAY (1991)

SILENT FALL (1994) – Karen Rainer – co-stars with Richard Dreyfuss and John Lithgow in this thriller about an Autistic boy who witnesses his parents’ double murder.

A MOTHER’S PRAYER (1995) – Rosemary Holmstrom – TV movie about a woman (Linda Hamilton) diagnosed with AIDS trying to raise her son as a single mother with the knowledge that she won’t be around for long.  Also starring Bruce Dern and Kate Nelligan.

DANTE’S PEAK (1997) – Rachel Wando – disaster movie about an erupting volcano.  With Pierce Brosnan.

RESCUERS:  STORIES OF COURAGE:  TWO COUPLES (1998) – Marie Taquet- TV movie about citizens rescuing Holocaust victims.

THE COLOR OF COURAGE (1998) – Anna Sipes – based on a true story, the movie chronicles the relationship between a white woman and a black woman.

BATMAN BEYOND:  THE MOVIE (1999) – Dr. Stephanie Lake – lends her voice to this animated Batman film.

SILENT NIGHT (2002) – Elisabeth Vincken- TV movie about a German mother (Hamilton) and her son on Christmas Eve in 1944 who find themselves bringing German and American soldiers together for one night.  Based on a true story.

MISSING IN AMERICA (2005) – Kate – Drama about a Vietnam veteran (Danny Glover) suddenly having to raise Vietnamese girl.

CHUCK (2010-2012) – Mary Bartowski – appeared in 12 episodes of the TV series CHUCK.

A SUNDAY HORSE (2016) – Margret Walden – Hamilton’s most recent screen credit, a drama about a horse and its young female rider.

Starting from about the early 2000s, the lead roles became fewer for Linda Hamilton, and she appeared more often in supporting roles. And the lead roles she did take were often in films that didn’t have the same resonance as the movies from her earlier days.

But she’s still busily acting, and so there are still more Linda Hamilton movies to come. And I for one am happy about that.

I hope you enjoyed this look at the career of Linda Hamilton, the subject of today’s LEADING LADIES column.

Thanks for reading!

—Michael

 

 

 

 

 

 

 

 

 

 

 

 

 

NECON 36 – The Most Electrifying NECON Yet!

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Necon 36 photo by Tony Tremblay

Panel audience at NECON 36.  Photo by Tony Tremblay.

NECON 36- July 21-24, 2016

Every summer, a group of writers and readers descend upon Roger Williams Convention Center in Bristol, Rhode Island for a writer’s convention unlike any other, NECON.

What makes NECON so special is that in addition to the first-rate writers’ panels, there is also ample time for socializing, meaning that you’ll have access to authors that you just don’t get anywhere else.  It’s the most laid back and casual con going.

I’ve been going to NECON since 2001.  This year’s NECON 36, was the most electrifying yet— literally!

THURSDAY July 21, 2016

Registration opened at 2:00 at the Roger Williams Convention Center on Thursday, July 21, 2016.  Authors Dan Foley and Jason and Jil Salzarulo hosted the first event, the Necon Primer for Newbies, an informal information session on what Necon is all about, for those first-timers, and this year there were quite a few folks attending Necon for the first time.  That’s a big reason why this year’s Necon was sold out, as attendance reached the capped number of 200 Necon Campers.  I did not attend this event, since I’m not a newbie, but I heard it was very successful.

At 10:00 the famous Saugie roast was held, where the campers partake in that famous grilled hot dog found only in Rhode Island.  For me, this first night is always special, as I get to see familar faces I haven’t seen since last year.  In this case it was extra fun hanging out with both L.L. Soares and Pete Dudar, as they both missed last year’s Necon.  I also got to see old friends Paul McNally, Morven Westfield, and Daniel and Trista Robichaud, who I hadn’t seen in about seven years!

FRIDAY July 22, 2016

With fellow Cinema Knife Fighters L.L. Soares, Nick Cato, Paul McMahon, Pete Dudar, and newcomer Catherine Scully, I took part in the 10:00 Kaffeeklatsch:  The World Died Streaming:  The Year in Film in Theaters and Online.  This was our annual movie panel, which is always well attended, where we discuss the movies we’ve seen this past year.  There were tons of recommendations, but the hot topic this year wasn’t a movie but a TV show, as everyone was talking about the new Netflix TV show, STRANGER THINGS.  And it wasn’t just on our movie panel.  I think I heard STRANGER THINGS mentioned on nearly every panel I attended this year!  It definitely was the highest recommended show of the weekend.

Necon 36 MichaelArrudaandLLSoares photo by Nick Cato

Yours truly and L.L. Soares at NECON 36.  Photo by Nick Cato.

As usual, we also received plenty of recommendations from Craig Shaw Gardner and Barbara Gardner.

After lunch, I attended the 1:00 panel The World Died Screaming:  Apocalyptic SF, Horror, and Fantasy, moderated by Douglas Wynne, and featuring Joe Hill, James Moore, Craig DiLouie, Lynne Hansen, and Mark Morris.  This panel focused on writing about the end of the world, especially in terms of the zombie apocalypse.  The point was made that these types of stories are popular because they resonate with people’s own fear of dying.

I next attended the 2:00 panel Not Dead Yet:  The State of Publishing Today, moderated by Matt Schwartz, and featuring Gina Wachtel, John Douglas, Sandra Kasturi, Ginjer Buchanan, and Jaime Levine.  The talk here centered on the Ebook trend which, rather than obliterating the traditional book publishing industry as some had predicted, has settled in nicely as a balanced alternative.  Ebooks and traditional print books seem to be coexisting together agreeably.  One area of growth in recent years that was not predicted was the growth of the audio book, which continues to grow as a market.

There was also discussion on the use of social media by authors to promote themselves and how today’s authors are extremely media savvy.

The 4:00 panel, The Scream of a Distant Sun:  Mixing SF and Horror, moderated by Brett Savory, and featuring Don D’Ammassa, Patrick Freivald, Erin Underwood, Linda Addison, and Gordon Linzner was a fascinating and highly entertaining and informative look at the way horror and science fiction go hand in hand, or not.  There was a lot of talk on getting the science right in a science fiction story, as getting the science wrong is a major turn off, so the advice to writers was do your homework.

There was talk about how movies like ALIEN (1979) while considered both horror and science fiction, are mostly horror, since its story about a monster can take place anywhere, not just in space. In pure science fiction, you can’t take the science out of the story.

There was also discussion on Mary Shelley’s novel Frankenstein, originally considered a horror novel but in ensuing years it has been also classified as science fiction.

Don D’Ammassa, who with his vast personal library is one of the most well read people on the planet, is always a joy to listen to.  As usual, his comments were on the money and pointedly informative.  I could listen to him all day.

After dinner, it was time for the Official Necon Toast by Toastmasters Sandra Kasturi and Brett Savory.  Tradition dictates that this toast pokes fun at the Guests of Honor, and Kasturi and Savory did not disappoint in this regard.  My favorite line came from Kasturi, who when speaking of Joe Hill, remarked that “it would have been nice had your dad showed up- Benny Hill.”  Of course, Joe’s real-life famous dad goes by a different last name, King.  Yep.  That King.

This was followed by Necon Update with Mike Myers (no, not that Mike Myers!) at 7:30, and Myers was funny as always.

After the Update, it was time for the NECON HALL OF FAME INDUCTION CEREMONY.  The recipients this year were authors Stephen Bissette and Linda Addison.

At 8:00 it was time for the Meet the Authors Party, that special time at the con when you can buy books from your favorite authors and have them signed up close and personal.  No surprise, the biggest line this year was for Joe Hill.

I set up shop next to fellow authors and friends Nick Cato, L.L. Soares, Peter Dudar, Dan Keohane, and William Carl.  Always fun to sell and sign a book or two.

After the party it was time to socialize, and I was fortunate enough to sit down and have a long chat  with author Morven Westfield who I hadn’t seen in a few years.  It was great to catch up.  Morven started coming to Necon right around the same time I did, back in 2001.

Remember I called this the most electrifying Necon ever?  I wasn’t just talking about the electricity generated by the authors.  I’m also referring to the wild thunderstorm which descended upon us around 10:00 pm and blew wind-swept rains and insane lightning at us for quite some time.  Perfectly atmospheric!

During this time, I caught up with author Sheri Sebastion-Gabriel, among others.  It was also time for the “Rick Hautala Cigar Tribute” in which a bunch of authors gather around to smoke cigars in honor of Rick, who sadly passed away in 2013.  Rick, a best-selling author, was a Necon fixture.  I always enjoyed talking to Rick and listening to him speak on the panels. Every time I heard him speak I learned something new.  Speaking at the informal but emotional tribute were Rick’s wife Holly Newstein, and Christopher Golden.

The relentless thunderstorm with its brilliant lightning flashes went on into the night, as did the social gatherings, where friends chatted long past midnight—.

 

SATURDAY, July 23, 2016

After breakfast, I caught the 10:00 panel Panel by Panel:  The Peculiar Power of Horror Comics. moderated by Angi Shearstone, and featuring Jason Ciaramella, Rebekah Isaacs, Stephen Bissette, Joe Hill, and James Chambers.  The panel discussed the happy marriage between horror and comics. It also covered some history, explaining that the modern reign of superhero comics owes itself to the ridiculous reports decades ago that erroneously linked horror comics to emotional problems in children.  This led to the outright banning of horror comics in the 1950s.  Superheroes then stepped in to fill the void, and they’ve been going strong ever since.

For my money, the 11:00 panel, Broken on the Outside & In:  Experts Discuss Writing about Physical & Mental Trauma (and Their Effects) may have been the best panel of the weekend.  Moderated by K.H. Vaughn, it featured Karen Deal, Rena Mason, Ellen Williams, Marianne Halbert, and Mercedes Yardley in a fascinating discussion of both physical and mental trauma.  On the physical side, it covered how much punishment a character can really take and survive, and it also discussed when you can get away with exaggerating these things.  For example, in the Marvel superhero films, Tony Stark would be dead from brain injuries from all those impacts in his Iron Man suit, but audiences are perfectly comfortable to let this slide.  We suspend disbelief because this is a superhero story, and we don’t hold the lack of accuracy here against the storytelling.

On the mental side, the bulk of the discussion covered how to write characters with mental illnesses in a realistic way.  Do your homework and research both the illnesses and the treatments, which change from year to year, was the major advice.

There also was a wince-inducing frank discussion of autopsies and all that goes on in an autopsy room.

Great stuff!

After lunch it was time for the Guests of Honor Interview in which Toastmasters Sandra Kasturi and Brett Savory interviewed Guests of Honor Joe Hill, Mark Morris, and Laura Anne Gilman. These interviews are always informative and enlightening, and today’s was no exception.

I caught the 2:30 panel Edge of Your Seat:  Pacing and Plotting the Thriller, in which moderator Bracken MacLeod and panelists Megan Hart, Michael Koryta, Chris Irvin, Sephera Giron, and John McIlveen discussed, among other things, how to pace oneself while writing a novel, including the use of outlines.

I missed the next two panels as I got caught up in a discussion about movies with L.L. Soares and Nick Cato that covered a lot of ground, and a lot of time.

After dinner, it was time for the Artists Reception which featured fine art work by the various artists in attendance this year, and also plenty of goodies and coffee.  The art show had a new venue this year, and the set-up was perfect.  Very comfortable with easy viewing access to the paintings and prints.

At 8:00 it was time for the first ever Necon “Pub Quiz” Trivia game, which in reality was a variation of Necon’s infamous “Game Show.”  This time around, volunteers were assembled into teams.  I was on Rebekah Isaac’s team, and we led the competition throughout, due mostly to having the knowledgeable Darrell Schweitzer on our team.  Alas, we finished in second place as we were overtaken in the final round, done in by a bonus round on music.

This was followed by A Very Special Episode which is code for the Necon Roast.  This year’s victim- er, honoree, was author Rio Youers, and he was a really good sport about the whole thing.  Host Jeff Strand did an awesome job, and other speakers included Christopher Golden, James Moore, Joe Hill, Linda Addison, Richard Dansky, and Matt Bechtel, among others.  This year’s roast also featured a new “lightning round” in which 10 folks each delivered a 30 second bit, and I was fortunate enough to be among this new group of ten.

The roast is always a highlight of the weekend.

Afterwards followed late night parties in the quad which go on into the wee hours of the morning, where we gather for the last time as a social group until next year.  The other event tonight was April Hawks shaving her head for charity.

Speaking of charity, this weekend my roommate and New England Horror Writers leader Scott Goudsward had himself “yarn bombed” for charity, as Trisha Wooldridge stitched an insanely ludicrous covering over him over the course of the weekend.  The final product had Scott resembling a long lost crew member of the Beatles’ Yellow Submarine.

Necon 36 Cinema Knife Fight photo by Paul McNally

Cinema Knife Fighters Pete Dudar, Paul McMahon, Nick Cato, myself, L.L. Soares, and Bill Carl gather for a group photo by Paul McNally.  That’s NEHW head honcho Scott Goudsward lurking in the shadows in between Paul & Nick.

 

SUNDAY July 24, 2016

I attended the 10:00 panel Lessons Learned:  Moving from Tyro to Journeyman in which moderator P.D. Cacek and panelists Kristin Dearborn, Scott Goudsward, Dan Keohane, and Megan Arcuri-Moran discussed how they’ve moved on from being newbie writers and have gradually become established writers.  Their advice was on the money and invaluable.

At 11:00 it was the Necon Town Meeting in which awards were distributed to the winners  of this year’s Necon Olympic events, and the ensuing discussion involved all things Necon, thanking the volunteers, and looking ahead to next year by listening to suggestions and complaints.  Speaking of complaints, there weren’t any.  This is an awesome con any way you slice it.

As always, thanks go out to the Booth family who run Necon every year, especially to Sara, who’s done an awesome job leading the con, and also to Dan and Mary, and to Matt Bechtel.  And of course, we continue to remember Bob Booth, Sara and Dan’s dad, and Mary’s husband, “Papa Necon” himself, who passed away from lung cancer in 2013.  Bob and Mary founded Necon back in 1980, and his spirit continues to be felt at Necon.

Bob also founded Necon Ebooks, which published my first novel, first movie review collection, and first short story collection.

After lunch, it was time to say so long to everyone until next year, which is clearly my least favorite part of Necon.

I enjoyed a fun conversation with Carole Whitney, as she shared with me her love of Hammer Films and told me the story of how her love for horror began in 1958 when she saw HORROR OF DRACULA at the movies.  Great story!

And that’s what Necon is all about.  The people and their stories.

If you’re a writer and/or a reader, plan on one day making the pilgrimage to Necon, a one-of-a-kind con that is more than just a con; it’s family.  And it’s still going strong.

This year’s Necon was absolutely electrifying, and we had a thunderstorm to prove it.  Who knows what’s in store for next year?

Whatever it is, I’ll be there to find out.

Thanks for reading!

—Michael