The Seventies were packed to the brim with animal attack movies. Name your critter. Snakes, bears, earthworms; all creatures, great and small, had their own chance at cinematic revenge against the human race for mucking up the environment. Film lovers had a tendency to root for the animals, which was justified. We were destroying the planet with Aqua Net fumes and pollution. We were killing ourselves, never mind the woodland creatures around us. Hell, the Cuyahoga River caught fire and the response from those responsible was a resounding, “Well, that’s weird.” The eco-horror genre was always meant to hammer out a warning about the dangers of botching the biosphere. However, using just one kind of animal wasn’t hitting a wide enough audience. If you lived in a high-rise, then you weren’t going to be too worried about chemically imbalanced grizzly bears mauling you on the eightieth floor on your way home after work. Continue Reading
Shock Waves (1977)
[85 minutes. PG. Director: Ken Wiederhorn]
(It’s 40 years old, but I’ll give a SPOILER WARNING anyway)
There are literal and figurative streams of consciousness at work in Shock Waves, Ken Wiederhorn’s most well-remembered film.
It’s not a great film – at least not as great as my childhood mind remembers – but makeup designer Alan Ormsby’s suggestion on the Blu-ray commentary track, that the film is possessed of a “dreamlike quality” is not inaccurate. And that’s arguably where it acquires its power.
It’s a film that takes place primarily on water, with the midsection set in an abandoned hotel on a desert island.
There are scenes where characters paddle toward escape – through narrow, knotted thickets; through shallow ocean waters on the way out to sea – and don’t say much. They don’t need to, really – they know their situation is inexplicable and absurd, so what’s the sense in fevered rationalizations? By the end, the lone survivor of the ordeal, Rose (Brooke Adams) has been rendered catatonic by what she’s seen, reduced to writing gibberish in a journal. Continue Reading
In the glamour of watching a Steven Spielberg film, it is easy to understand how caught up we can get in the chaotic wonder of blinking strobes and superb John Williams magnum opus score. But, while we found ourselves in that childlike stupor, did we see what was really going on? The visuals dazzled us, no doubt there, but was the subversive message really received? Did we hear? Did we jump? Did we cower? Since watching, have we kept a precarious eye on the nights sky, glaring into the dark depths of the cosmos and wondering who or what is out there? And not only who or what, but what capabilities do they have? What technology or power can they subvert us with? Mind control? Abduction? Electromagnetism? Black outs? Radiation burns? Sickness? Madness? All these are terrifying symptoms, no? If you’ve paid attention you’ll find the terrifying powers listed here are all in that Spielberg film we’ve loved and adored since 1977. And this is why I think Close Encounters of the Third Kind is the most terrifying surreptitious movie ever made. While we were dazzled and awed, strange elongated aliens were abducting children in a blaze of orange fog. While we giggled and cooed over the keyboard synthesizers and light show, a husband and father of three aggressively and tragically lost his mind, eventually being taken away by these so-called visitors. If we can sit back down and watch this movie again, carefully, point for point…well, I’m sure you’ll agree: Close Encounters of the Third Kind IS a cosmic horror movie. Why? Well, this goes back to that ole Lovecraftian fear, not really knowing “what’s out there” or “where they come from,” and having zero control over “what they do.”
Since its release in the 1977, Close Encounters of the Third Kind has grossed over $337 million worldwide. Ray Bradbury declared it the greatest science fiction film ever made. The film was nominated for several Oscars; having only taken home one in cinematography. Had Star Wars not released the same year, I’m certain Close Encounters would have won all the eggs. No surprise there, if you’ve seen the movie the you know there is no denying the films powerful dream-like quality . There’s nothing uber complicated with the plot or story structure. Its actually rather cut and dry, in which some may say is a tad slow for our rapid fire attention spans. I too recall watching this when I was a kid on VHS and thinking it had its fair share of boring scenes; however, as an adult now, I think the movie has a fantastic pace in which every moment is important in some way. I think a part of why we never watched Close Encounters of the Third Kind thinking how horrifying the movie really was is because of the simplicity of the story, we glaze over and…again, coo over the musical numbers and flashy bulbs. Look at the film, watch the movie, even those on screen, especially at the end, the characters are all moon pied, as if surrendered to some kind of trace or hypnosis. AGAIN…isn’t that in itself a terrifying factor?
And we have to ask, what exactly do these aliens really want? If they’ve been abducting people for generations, what do they want with the one man crazy enough to have made it to Devils Tower? If they’ve been taking people all willy-nilly since before WWII, or even longer, well…it goes to say they probably already have a clear understanding of human anatomy. And if they can insert images and thoughts into our minds, well… this begs the question, how much more of us do they really need to know? To me, it all seems like a subjective test. A greater intelligence than our own giving humanity the equivalent of an SAT exam. Consider this bit from an article published by Keith Phipps:
When Roy Neary (Richard Dreyfuss), a humble lineman for an Indiana electric company, investigates a power outage, he witnesses an unidentified flying object, a run-in that leaves him with what appears to be a severe sunburn. Nearby, 3-year-old Barry Guiler (Cary Guffey), follows some lights outside as his mother Jillian (Melinda Dillon) chases after him. Both Roy and Jillian, who soon meet, are fascinated by their experiences, but this feeling soon takes a turn. Having strayed from his duties as a result of his sighting, Roy first loses his job then seems to lose his mind as he becomes fixated on alien encounters while his family looks on in horror. Jillian’s life turns even more dramatic than Roy’s when the UFOs return and draw Barry to them as Jillian fights their efforts to avail, in a scene Spielberg stages like an otherworldly home invasion, with Barry’s unwitting delight only amplifying the horror. Something from beyond Earth has arrived, but its intentions remain vague, as does its respect for human life.
And at the end, we get the impression of open communication with the whole sign-language gag. But I wonder…how open that communication really is. Neary was still taken. He was obviously still insane, giving no thought or hesitation of leaving behind his wife, two sons, and daughter. My impression is that these intelligent aliens are still rather indifferent about humanity. And indifference can be dangerous. I question the “friendliness” of the final encounter, the film to me reeks of its post-Watergate-pessimistic era of misguided trust. Sure, they are taking Neary to some place that might be benevolent and beautiful, but how do we know and we’re never guaranteed his return. Will they bring him back as they did the countless others? (Did you see the billboard with all those names and pictures of people they believe had been abducted? Freaking insane number, right?) The final act is the answer to the entire mundane meets the spectacular and secretive undertone of the movie, we don’t know, we don’t know if Neary will return, we don’t know what they’ll do with him, and we have absolutely no power to stop them from taking him. And we have to ask ourselves, would we take a ride with these cosmic visitors?
Would we even have a choice if they came for us?
Update: According to several sources, including Blumhouse News, “in honor of the 40th anniversary of Steven Spielberg’s classic feature CLOSE ENCOUNTERS OF THE THIRD KIND, Sony Pictures has recently done a 4K restoration and is planning on re-releasing the film in theaters on September 1st.”
Thomas S. Flowers writes character-driven stories of dark fiction ranging from Shakespearean gore feasts to paranormal thrillers. Residing in the swamps of Houston, Texas, with his wife and daughter, his debut novel, Reinheit, was published with Shadow Work Publishing, along with The Incredible Zilch Von Whitstein, Apocalypse Meow, Lanmò, The Hobbsburg Horror, and FEAST. His veteran focused paranormal thriller series, The Subdue Series, including Dwelling, Emerging, Conceiving, and Converging, are published with Limitless Publishing, LLC. In 2008, he was honorably discharged from the U.S. Army where he served three tours in Operation Iraqi Freedom. In 2014, Thomas graduated from University of Houston-Clear Lake with a Bachelors in History. He blogs at machinemean[dot]org, where he reviews horror and sci fi movies and books and hosts a gambit of guest contributors who discuss a wide range of strange yet oddly related topics. You can follow Thomas at a safe distance by joining his author newsletter at http://goo.gl/2CozdE.