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Dawn Keetley

Posted on June 11, 2015

Rewatch: Environment and Race in The Beast From 20,000 Fathoms

Dawn Keetley

As part of a series of posts on the relatively neglected horror films of the 1950s, I want to begin with The Beast from 20,000 Fathoms, directed by Eugène Lourié, and released in 1953 by Warner Brothers Studios. It was the first of the “monster” films that have come to define the decade—before Godzilla, before Creature from the Black Lagoon. The monster is a rhedosaurus, long buried in the ice north of the Arctic Circle and released during a routine test of an atomic bomb. It then tracks a path down to its former home, now New York City, and wreaks havoc on lower Manhattan before being taken down by a radioactive isotope shot into its neck in the midst of its rampage through Coney Island Amusement Park.

Horror films from the 1950s in general, and The Beast from 20,000 Fathoms in particular, are accruing an increasing importance in the current moment because they so directly address environmental crisis. The atomic explosion that opens Beast from 20,000 Fathoms causes sheets of ice to cascade into the ocean. The shots of catastrophic glacial melting reminded me of a documentary I just watched, Chasing Ice, released in 2012 and documenting the effects of climate change on the glaciers in Greenland, Iceland, and Alaska: like Beast, the centerpiece of Chasing Ice was glacial ice sliding into the ocean.

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Posted on June 9, 2015

Insidious 3 Film Review: The Demon Death Drive

Dawn Keetley

Insidious 3 is the directorial debut of the talented Leigh Whannell, the screenwriter for Saw (2004), Dead Silence (2007), Insidious (2011), and Insidious: Chapter 2 (2013). Demonstrable proof that Whannell can direct as well as write (and act), Insidious: Chapter 3 is quite different, and more disturbing, than the first two Insidious films. It’s telling that the tagline on the movie poster is “This is how you die,” because the film seems itself to be driving toward death, with little to lighten the mood. The mise-en-scène reflects the darkness of the film’s trajectory, exuding decay: while the first two films have a generally lighter, suburban mise-en-scène, the latest installment is set in an old, dark, urban apartment building, and centers on a family struggling both to make ends meet and to deal with the loss of a wife and mother. Read more

Posted on June 8, 2015

Hostel 2: Eli Roth’s Homage to Friday the 13th, Part 2

Dawn Keetley

Friday the 13th (Sean S. Cunningham, 1980) famously culminates with the Final Girl, Alice (Adrienne King), decapitating Pamela Vorhees (Betsy Palmer). Although she survives the first round of carnage at “Camp Blood,” Alice’s luck runs out as Friday the 13th, Part 2 (Steve Miner, 1981) begins. Still traumatized, she lives only long enough to see the worst of her nightmares realized: while making tea and feeding her cat, Alice is attacked and killed by Jason Vorhees, bent on avenging his mother.

Alice’s death is shocking for any viewer who may have expected (and hoped) she would reprise her role as plucky survivor: it approximates the devastating murder of Marion Crane (Janet Leigh) halfway through Psycho (Alfred Hitchcock, 1960). It’s also a narrative trick that Eli Roth adopts in Hostel: Part 2 (2007), offering more evidence of his allegiance to the slasher tradition.

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Posted on June 3, 2015

The Return of the Woolly Mammoth: Fortitude and The Thaw

Dawn Keetley

Horror has always been interwoven with science—ever since Professor Van Helsing in Dracula (Tod Browning, 1931) asserted (about vampirism) that the “superstition of yesterday can become the scientific reality of today.” So it’s no surprise that the recent spate of woolly mammoth carcasses, emerging from thawing permafrost mostly in Siberia, should coincide with the appearance of the woolly mammoth in horror film and TV—specifically (to date) The Thaw (Mark A. Lewis, 2009) and the TV series Fortitude (2015), produced by Sky Atlantic and broadcast in the US on Pivot January to April, 2015.

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Posted on May 27, 2015

Poltergeist (1982 and 2015): Guilt and the American Dream

Dawn Keetley

In anticipation of the remake of Poltergeist, directed by Gil Kenan, produced by Sam Raimi, and released on May 22, 2015, I re-watched the original Poltergeist from 1982, produced by Steven Spielberg and directed by Tobe Hooper. It’s not the best horror film ever made, by any means, but it has a certain compelling power—and I realized on re-watching it, that the film’s power comes in large part from the fundamental innocence of the Freeling family, who become the target of the dead’s fury. The Freelings are also guilty, though—and it is this paradoxical co-existence of innocence and guilt in this paradigmatic middle-class suburban family that drives the film.

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