Presenting: Poverty Horrors...the blog!

As an offshoot to this blog, which focuses on our class activity in the silent cinema region, I'm starting up a "cousin" blog for those of you that want more monster education! You can find it here...I hope you'll follow, as I'll not only inform you about obscure monster-themed films of the old days, but I'll show you how to collect them on the cheap as well!

Conrad Veidt!

Here's something worth picking up for all you Conrad Veidt fans!

Here.

Over and out for awhile at least...

Well, the class finished out really well. I was very pleased with the essays and I learned so much from reading them. You may pick those, as well as your tests, upon my return to the dept. on the 4th. I'm going to keep this blog going, so even though class is no more, at least for now, you can return here to chat, check on updated monster gear that's out there and more.

Have a great break everyone! Thanks once again.

Ron

Finals Graded

I have finished grading all of the final tests. Those grades are recorded, and may picked-up at your convenience. I can tell that the majority of you have retained a lot of this material, and that makes me happy. I have not finished with the essay papers yet. That will be a few days still, but I will post on here when they are ready to pick up.

Great job...I've really enjoyed having you guys in that class...I think it went really well, and I hope you'll always love these films as much as I do!

MOVIE FINDS FOR FREE

Since several questions concerning free finds of some of the films we've watched in class has been queried:

At wikipedia, Cameron says he found links to download for free both "Haxen" and "Nosferatu". Note: download, not just watch!

Also check the links over to the right. I've posted several places that offer free public domain films for download.

Work hard on your papers and be ready for class and the test tomorrow!

CLASS SCHEDULE UPDATED

On the right of this page you will find the updated class schedule. I've had to move the final to week in advance because of conflicts with other finals given. We will cover "Dracula" before the holiday, then when we return our final section is on "Frankenstein". The final class you will turn in your paper and take the final exam.

That technically leaves another week, but we'll use that week instead for you to recover you paper and discuss anything we me outside of class that you so desire.

Silent Horror Club Hosts Study Session

This Wed., the 11th the Silent Horror Club will host a study session at 6:30 in our classroom, rm. #106, for the test this Friday. If you've missed a class or two, or your notes or lacking, you might consider attending this session.

Its a great way to see what notes others have taken to see if you've missed anything crucial.

TEST HAS BEEN MOVED

Hello gang: I've moved the 2nd test to the 13th (not this Friday, but the next). Cut you guys some slack. This will allow us to instead watch "The Old Dark House" and continue our discussion on the "dark house" genre. We will also have a review, so be prepared with questions to ask to better prepare you for the exam, which will most certainly be the next Friday!

Silent Horror Club Update

Tonight, "The Golem"....6:30 in the classroom! Enjoy!

Nobody...

Waaah. Wash out on "The Golem". Well, I'm sure everyone has a class that overlaps during that time. Oh well.

Don't forget: "The Man Who Laughs" tonight at 6:30!

Who's Cool Enough To Show Up?

Alright: Who is gonna show?? Let's just find out who the real horror movie nuts are out there. "Der Golem"...2:30 tomorrow. Don't show up if you are a light-weight in the monster department! Serious monster fanatics only! I'll be there, you lightweights, and I'm on the clock! Who else has got the guts? Come see German Expressionism at its finest! Points could be involved!

Then...6:30..are you cooler than even me??...I doubt it, but if you are prove it by showing up for "The Man Who Laughs" as our class Monster Club kicks off their grand opening event! How good is this movie? Several of you, who I have in mind, will never forget this film once you see it. Yea......it's that good! Show up, see it, and then argue with me....you won't!

Silent Horror Club Updates

The Silent Horror Club will hold its first official meeting at 6:30 Wed. night, October 7 in our classroom: Rm. #106. The movie screened will be the Conrad Veidt classic, "The Man Who Laughs".

I never got around to playing "Der Golem" today, and I apologize. It was really busy today. However, Wed. I will try again. That's two films back to back in one day! Can't beat it. Be sure and show up....show support. You aren't required to, of course, but these bonus films are a great way for you to add to your growing body of knowledge on the subject.

Test and Film Coming Up

Hello everyone...just a few quick updates. First off, I'm very happy to report that out of the papers I have graded so far, the exams are looking good! No single person has yet failed, and most grades are in the higher range. Good job, class! Very proud.

Today and Wed. I will be playing "Der Golem" for you viewing pleasure. I will start the films at 2:30 both days.

Friday be prepared for "Haxan: Witchcraft Through the Ages". It will be our next film.

Wed. 30th Film...CANCELLED

I'm afraid Wed. bonus film will not be possible. I have a dental emergency on that day to attend to (broke a tooth!).

See you in class Friday!

A Tip on the First Exam...

Just thought I'd mention, for those of you who are reading the blog: I'm not a stickler for dates of these films. While I consider that to be important information, and I would hope you would know that Edison's "Frankenstein" predates Fritz Lang's "Metropolis", I don't consider it to be important in terms of testing.

General knowledge of dates is fine, and on the exam you will not be required to specifically pinpoint an exact date. I'm letting all of you know because I don't want you to waste study time trying to learn exact dates of the films. I would, however, make sure I know the directors, stars and the individuals associated with each work....good chance that will pop up!

REMEMBER: This is an art course. Anything concerning art movements, particular artists we've talked about in class, and techniques and styles is more than just a little likely (hint..hint) to pop up on the test.

OCTOBER 2nd: FIRST TEST

Please review your study notes on the material we've covered up to now ("Frankenstein", "The Cabinet of Dr. Caligari", "Nosferatu" and "Metropolis"). Our first test is this Friday. Expect a good variety of fill-in-the-blank, multiple choice, possibly matching and an brief essay question of your choosing.

We will do some reviewing in class (I will answer questions you may have and we will discuss), and then we'll take the test.

I will also distribute topic choices for your term paper as well. We'll do this at the conclusion of the test.

Monday/Wed. Films

Monday: 2:30 Rm. 106-"Metropolis" (re-play)
Wednesday: 2:30 Rm. 106-"Nosferatu" (re-play)

New Weimar Cinema Book!

Jill Carrington has turned up quite an interesting book that fits in perfectly with what we've been discussing. She sent me this link to it. I'll see if I can secure a copy of it at our library. Can you identify the scene from the cover?

Silents On Dvd

Several sets worth picking up!

German Horror Classics (Nosferatu (1922) / The Cabinet of Dr. Caligari / Waxworks / The Golem) (1929)

American Silent Horror Collection (The Man Who Laughs/The Penalty/The Cat and the Canary/Dr. Jekyll & Mr. Hyde/Kingdom of Shadows)

German Expressionism Collection (The Hands of Orlac / The Cabinet of Dr. Caligari / Secrets of a Soul / Warning Shadows)

"Exils: de Hitler à Hollywood": Segment

Wait until you see this! Hang in there until around 2:40. That's where it gets pertinent to our class study. You don't have to watch the rest of it, but you should watch all that's posted here at least. Great footage of Weimar era Germany too!

Images From the Incredible "Caligari"

HEY KIDS!...Lon Chaney Paper Doll from "The Penalty" (1920)!

Make your very own Lon Chaney toy! Copy off the page, glue to cardstock, cut out and there you you go...Holy...er, "unholy" cow! How cool is THAT!? Look into this, you won't regret it....

CLICK RIGHT HERE!!

Get more info. here!

Lon Chaney: "The Unholy Three" (1925)

THE 497 MONSTER CLUB!

Chelsea and Augustina want to talk about forming the class movie club. You may wish to work on that here through "comments". I will monitor and assist if you have questions for me.

"The Haunted Screen: Expressionism in the German Cinema"

Click here to pick up an excellent book on the very topic we are studying right now...German Expressionism and the films of the Weimar Republic. I'm waiting for my copy to get here now. Looks like a great book!

Creeping Terrors!...Works of Art and the Notion of "The Nightmare"

Here's are works by Henry Fuseli, one by Edvard Munch and still another by Phillip Burne-Jones that echo that scene where the Monster, in the Edison version of "Frankenstein", peers through the curtains at the Doctor who has fainted dead away on the bed. All of these paintings mention vampires, nightmares and/or incubuses in their titles, and all were executed in the 1800s.

This symbolistic notion of "the nightmare" and it's invasion of the bed-chamber is found in a lot of classic works of art of this period. A study of these would make interesting fodder for a paper, since this notion of "creeping terror" pops-up in "Nosferatu" and "Calagari" as well (and probably others that I haven't thought of off the top of my head, laying here at 5 am, unable to sleep....wait a minute...what was that!? Arrrgh!!....Heh. heh. heh.).

Tip of the hat to Dr. Robinson who mentioned this great scene while in discussion over the film!

First Class Session: September 4, 2009

Well, hope all of you enjoyed the first class lecture and screening of "Frankenstein", the 1910 version. In case you missed class, you can get the notes on the lecture from a classmate and you can watch the film from here on the blog.

Things to give some thought on this one and perhaps good fodder for a research paper: Why does the film seem to exude a message of morality? What is the historical significance of the "morality play" format, ie. how does it fit into the ideas of a turn-of-the-century changing America? What fears were present that caused this?

From a content perspective: In the film the Monster finally gives in to the fact that he cannot replace the love of Frankenstein's life. With arms outstretched in dramatic posturing, the poor Monster vanishes from our reality and only his reflection is left in the mirror. The Doctor comes in, sees the Monster in the mirror and then the image suddenly changes to the Doctor himself. Give some thought to what this sequence means, and what is it's message do you think?

What did each of you think about the sequence that depicted the creation of the Monster in Frankenstein's lab? How about the Monster in general? Pretty strange looking Frankenstein Monster, eh? This scene along with the mirror sequence is an example of playing tricks with the camera: Something early film-makers really enjoyed using on an audience. These sorts of things were the "special effects" of their day.

Excellent Essay on Edison's "Frankenstein" (1910)

Click here to gain further insight into the lecture on "morality plays", Edison and the censors. A nicely done article on the subject.

Lon Chaney Sr.: "The Man Behind A Thousand Faces"

"The Golem" (1921)

To see this film in it's entirety, go to the link at the right for "The Silent Movie Multiplex".

"Haxan: Witchcraft Through The Ages" (1922): Excerpt

Directed & written by Benjamin Christensen, this Swedish/Danish silent film is a strangely poetic work of art. It is beautifully shot, and is less of a horror film than a history lesson. Still, it's over-the-top subject matter for the time, certainly qualifies it as a "horror" film, particularly in light of certain scenes which are quite terrifying and nightmarish. The resemblance of many scenes to Francisco Goya's supernaturally charged "Black Paintings" and witchcraft-themed etchings is quite striking.

"White Zombie" (1932)

While not a silent film, it is of interest to us because stylistically it is still rooted in the silent film format. The film, starring Bela Lugosi, is an early talkie with minimal dialogue. Many of Lugosi's actions in this film reflect his work in "Dracula".

This is the full-length film.

"M" (Eine Stadt sucht einen Moerder) (1931)

This is the full-length film.

"Dr. Jekyll & Mr. Hyde" (1920)

This is the full-length film.

"The Hunchback of Notre Dame" (1923)

This is the full-length film.

"The Phantom of the Opera" (1925)

This is the full-length film.

"Frankenstein" (1910)

This is the full-length film.

"The Cabinet of Dr. Caligari" (1920)

This is the full-length film.

"Nosferatu" (1922)

This is the full-length film.

Montage of Conrad Veidt

A nice montage of clips from the films of actor Conrad Veidt. This dramatic stage actor starred in many "horror" and creepy-themed films of the era.

"The Cat and the Canary" (1927)

"Dark House" films were a popular genre of films unto themselves. Two of the best in the genre are "The Cat and the Canary" (1927) and "The Old Dark House" (1932), which was directed by James Whale. American audiences in particular enjoyed these mystery-thrillers, which usually involved events that seemed supernatural in occurrence, later revealed by the house-detective as being easily explained criminal mischief. These types of movies, in which dozens were made, would lead to the notion of the full-fledged supernatural "monster", which was not so easily dismissed by the cast of characters or the audience itself.

"Svengali" (1931): John Barrymore - Clip

Note: Though an early "talkie", the film bears distinctive silent-film characteristics, including a distinctive "tip of the hat" to the German Expressionistic "The Cabinet of Dr. Caligari" (1920), in the form of dramatic lighting, sweeping camera work and obtuse set-designs, creating a fun-house like effect. Filmed the same year as James Whales' "Frankenstein", "Svengali" (along with "The Old Dark House" and "Dracula") bear the stamp of the earlier silent-film era.

"Gertie the Dinosaur" (1914): WInsor McCay

"A Trip To The Moon" (1902): Georges Melies

"The Conjuror" (1899): Georges Melies

"Dream of a Rarebit Fiend" (1903): Edison

"The Ghost of Slumber Mountain" (1918): Willis O'Brien

"Der Golem" (1915): Attack Scene

"Dr. Jekyll & Mr. Hyde" (1920): John Barrymore Transformation Scene

Sinister Cinema: Silent Thrills Collection

You can do no better than the incredible "Sinister Cinema" for rare silent films. Many of these films (such as the King Baggot 1913 version of "Dr. Jekyll & Mr. Hyde") would be hard, if not impossible, to find elsewhere. Prices are always incredible as well. I highly recommend this company. They are professional and trustworthy.

SINISTER CINEMA "SILENT THRILLS" COLLECTION

German Expressionism in Cinema

It is important to understand the influence of German Expressionism as an art movement on cinema. The best examples of this is Murnau's "Nosferatu: A Symphony of Terror" and "The Cabinet of Dr. Caligari". Both films achieve monumental effects in the arena of Germanic Expression. Sweeping set designs that would give one vertigo, extreme lighting effects, emphasizing shadow and form and dramatic editing and pacing. "Metropolis", by Fritz Lang, is another fine example.

Perhaps one area, often overlooked, is in the arena of the movie posters themselves. Above are excellent examples that follow the Expressionist approach.

Here is an excellent link on German Expressionism and the film "Nosferatu".

"The Seashell and the Clergyman" (1927): Antonin Artuad, Part 2

"The Seashell and the Clergyman" (1927): Antonin Artuad, Part 1

Edison's "Frankenstein": 1910

Here is a very unusual DVD release.  Ever since I was a young kid in the 1970's I would read over and over in my favorite monster books and magazines about the "first real monster movie made".  Thomas Edison's "Frankenstein".  The articles were always punctuated with an early photograph of the monster; twisted and grimacing and looking so disheveled and deranged that I just knew this had to be one amazing motion picture.  No matter how much I had hoped this early relic would pop-up on some television monster festival it never seemed to happen. 

     While cruising the "Creepy Classics" archives, to my amazement, there it was, available on DVD at last.  I couldn't believe it...I ordered up a copy immediately.  What I received was quite astonishing.  First off, typical for an early effort (1910), this "movie" is extremely short.  The entire print is around 16 minutes long and it is intact, to the best of my knowledge.  Believed to have suffered a similar fate to "London After Midnight", it was believed "long lost", but a print was finally discovered deteriorated but watchable, tinting and titles present.  In the 1970's, the George Eastman House prepared a 35mm preservation copy of the film. 

     As for the movie itself, it is quite an interesting document of the time.  Of course, it reads like a "moral play", where Dr. Frankenstein must suffer the tortures of the blasphemy he has created...pretty typical.  What's mind-blowing is the transformation sequence.  While only a few minutes of the film are devoted to this, it's quite chilling.  Using reverse camera work, we see the steaming flesh of the monster form from the chemical ether; adhering itself to the skeleton which resembles an awkward puppet.  While somewhat amusing, the effect is also a bit nightmarish and disturbing, much like the scene in Murnau's "Nosferatu" where Orlock is loading the coffins on the stagecoach in a sped-up effected manner.  

     The monster is portrayed by the actor Charles Stanton Ogle; a famous silent-movie star of the era.  Ogle had previously tackled roles such as "The Ten Commandments", and would later work on "A Christmas Carol".  His portrayl of the monster is an dramatic one; with his twisted expressions and apparent physical challenges.  The monster is much closer to the original vision presented by Mary Shelly's novel.  Monstrously gigantic, wrapped in dirty bandages with a shocking, filthy pile of hair, ridiculously long bony fingers like talons, and feet that look like gauze-wrapped clown shoes, this is the most bizarre version of the monster ever committed to film.  The monster is so far removed from what most of us have "hard-wired" in our minds as "Frankenstein", that it comes across as other-worldly and surreal, which is a very good thing in my opinion.  

     Considering the DVD release:  a minor complaint is the gigantic logo in several corners of the screen the entire time the film is running.  I understand this sort of thing...copyright protection to stop boot-legging, but it could have been handled in a more subtle manner.  Aside from this, it's a fairly decent digital transfer given the age of the original print, and is most certainly treasured in my silent movie collection.  This particular disc (if you can still find it!) pairs a so-so copy of "Nosferatu" with it, though the Kino edition previously reviewed should be considered the only viable copy of this particular film.

(Very good news!:  As of this posting, the DVD is still available from "Creepy Classics" for 20.00 dollars!) 

"Horror in Silent Films" by Roy Kinnard

Roy Kinnard and McFarland Publishing bring us the "Horror in Silent Films" book.  At 20.00 dollars average price, this work is hard to beat.  Films of the genre are covered from the earliest efforts around 1896 to the end of the silent era in 1929.  Many obscure and hard to find films are given great attention (for instance, did you know there was a werewolf movie made in 1923?!).  

     Some people aren't fans of these chronology-list type books...I can never get enough of them, especially one that has as many rare photos and details as this one.  Many of the movies listed have very little plot synopsis information, but that's excusable considering the rarity of the works listed, and the fact that many of these movies are not available at this time.  

     This book would serve as a great checklist and research tool for the silent horror movie collector.  Perhaps the best feature is the fact that the book not only covers all of the big-league silent monster movies, but goes further by covering those really rare ones that most of us have little knowledge of (films like "The Sorrows of Satan" and "The Haunted Bedroom").  Since horror as a genre really didn't exist at the time, mysteries, dramas, comedies and even animated features are included.  Personally, I like this since I am interested in any film of this era related to the subject.  The research that went into this work is impressive.  Mr. Kinnard imbues the work with the sense of someone with a passion for these films; in other words, the book comes across as a "good read" and not just another "list" book.  I grabbed my copy at www.creepyclassics.com.  They can also fix you up on many of the films listed in the book.  

"Nosferatu: A Symphony of Horror" (Kino Edition)

We all know the story by now, but might as well go over it briefly here.  Sometime in 1921, Germany's "Prana Films" decided to have a go at a vampire movie.  Choosing Bram Stoker's "Dracula" for the basis, the basic plot was left intact, while characters and details were slightly altered to create what turned out to arguably be the greatest horror film ever committed to film.  Since the proper rights were never secured, copies of the film were ordered to be seized and destroyed.  Several prints survived, and for all the years thereafter, technically inferior and butchered copies, pieced together from various sources, became what fans would come to know as "Nosferatu".  

     In 2007 "Kino" brought us "The Ultimate Edition", and what a feast we are served.  A true "Symphony of Horror" now exists thanks to the extraordinary efforts of this incredible company.  

     Kino has restored, from the best available sources, the definitive version of the film.  All sequences are tinted in the original intended tones: beautiful golds, roses, violets and sea-greens awash the newly-cleaned print.  You get two discs with the set...One with the original German title cards, and the best English titles restored on disc two.  I'm normally not a fan of digital processing, but in the hands of the Kino crew the process is handled in a delicate and masterly manner.  The final digital restoration is simply astounding.   Inferior DVD and VHS copies of the film previously available contained an enormous amount of frame "jitter" and tracking issues.  This along with the proper running speed has been addressed in the Kino version.  

     The delicious icing on the wedding cake is the restoration of the original music for "Nosferatu", written by Hans Erdmann and arranged by Giuseppe Becce.  Painfully careful research was utilized to search out the original orchestral score, piecing it together from notes and other printed sources.  The original music brilliantly fits the film like a glove.  Together the entire package, along with a worthwhile documentary on the film provides silent horror buffs with an edition that is unlikely to be ever bested.  No longer do fans of this incredible motion picture have to sit through lousy, scratchy, un-tinted copies with missing footage and inferior (sometimes embarrassing) soundtracks.  If you own but a single silent horror masterpiece you can do no better than this edition of F.W. Murnau's "Nosferatu:  A Symphony of Horror" the Kino edition.