Starring: Kare Hedebrant, Lina Leandersson, Per Ragnar, Ika Nord, & Peter Carlberg
Written By: John Ajvide Lindqvist
Directed By: Tomas Alfredson
Synopsis: When Oskar (Kåre Hedebrant), a sensitive, bullied 12-year-old boy living with his mother in suburban Sweden, meets his new neighbor, the mysterious and moody Eli (Lina Leandersson), they strike up a friendship. Initially reserved with each other, Oskar and Eli slowly form a close bond, but it soon becomes apparent that she is no ordinary young girl. Eventually, Eli shares her dark, macabre secret with Oskar, revealing her connection to a string of bloody local murders.
I first saw Let The Right One In a little over a year ago. I had heard about it of course, the film received TONS of critical and audience acclaim from its festival runs and initial opening. It was kind of hard to not hear about this new vampire romance film that was (and in my opinion still is) generating quite a following. Unfortunately for the timing of this film’s release, another vampire romance story had been making waves with a much, much wider audience. Yes, I am referring to Twilight (2008). However, we are not here to discuss sparkling vampires. Continue Reading
For the past nine months, my weekends have had the added benefit of screening a new Universal Monster movie on Saturday or sometimes Sunday nights, from Frankenstein to The Wolf Man and all the lesser known sequels and House specials. The majority of which I had not previously seen. They were new and largely unknown to me. And of those unknowns, yes a few were just god-awful, but for the most part, the majority were intriguing, a few breathtakingly mesmerizing, and fewer still, though odd and unusual, they held a certain charm about them. When watching movies with 86 years of separation between then and now, you’re bound to find conflicts with storytelling and filmmaking that go against how you understand them. Things were done differently then. People held different beliefs and ideology than today. Different cultures and even customs. Some of those things are pleasant reminders of a simpler time, the way dialogue was crafted with care and chivalry, poetic in its own right. And there were also aspects that were uncomfortable to watch, such as sexism and discrimination towards women and those of African or even Asian descent. Remembering the historical context of the films can help relieve some of the conflicts we feel with those nostalgic glitches.
When Dracula released in February of 1931, the world was in a state of flux. The economic depression (known as The Great Depression) was setting root in not just America, but all over the world. In Germany, the first pangs of the rise of Nazism was felt. Though defeated by a majority win, in just two years time the elected German president, Hindenburg, will elect Adolf Hitler as chancellor . Eugenics was a pop science in which the sterilization of unfit parents and the “euthanasia” of “the defective” and “useless eaters” is making the rounds, not just in Nazi Germany, but also on the shores of the United States. In 1935, the Nuremberg Laws are passed (the first major steps in annihilation and extermination of European Jewry, ie, The Final Solution). In 1936, the Spanish Civil War begins. In 1937, the Rape of Nanjing, which is basically the systematic rape, torture, and murder of more than 300,000 Chinese civilians by Japanese soldiers as they invade China. 1939, Germany invades Poland, and by December 7th, 1941, the Day that will Live in Infamy, the once “civilized” world is thrown back into global conflict. These were uncertain times, to say the least. And we have to keep in mind that this was the backdrop during the production of the majority of the Universal Monster movies. Intentional or not, history shapes and continues to do so.
Every decade, every generation has had a take on the original Universal monsters. Thru the 1950s, into the 60s, 70s, 1980s, 90s, 2000s, and even today, those pillar stories are still being told. And that is a part of what we’ll discuss here today. Those movies we call remakes, the hits of those and the blunders, as well as what waits in store for those of, let’s say, my daughter’s generation. What will the monsters look like tomorrow? This is roughly about 60 years of film history, so we will not tackle each and every monster movie, but rather a survey of each decade. Savvy? Let us begin.
When the last of the Universal monsters, The Creature Walks Among Us (1956), aired, a new generation of monsters was born. The 1950s was a strange era, filled with mutated creatures and aliens from other worlds. Big hits during this decade included Invasion of the Body Snatchers, The Thing from Another World, Godzilla, Forbidden Planet, and Them! (just to name a few). The classic Universal monsters faded into obscurity in America, becoming cult-B movies for those brave enough to venture into the movie theaters with duel Herman Cohen produced flicks, I Was a Teenage Werewolf and I Was a Teenage Frankenstein and the return of Boris Karloff in Frankenstein 1970, a mashup of classic Universal and atomic age science. While the monsters went B in America, they seem to thrive across the pond in the UK as major productions. Universal monsters were reborn in Hammer Production films and a great majority of these are still some of the best monster movies on the market, even by today’s standards. Movies, such as The Curse of Frankenstein, Horror of Dracula, and The Mummy captivated a new generation of monster lovers. The Mummy (1959) starring both Christopher Lee and Peter Cushing, I found was especially good and horrific compared to the original Universal films which were not beloved by many.
Trends from the 1950s continue on into the 1960s. The majority of monsters are the creations of mad science or invaders from other worlds. Godzilla and Mothra being some of the most popular monsters during this era, and other very unique monster created by a couple of rogue filmmakers in Pittsburg, Night of the Living Dead (1968). But that doesn’t mean the classics Universal monsters had died away, there some… Hammer Productions continued with The Evil of Frankenstein, Frankenstein Created Woman, Frankenstein Must Be Destroyed, The Brides of Dracula, Dracula: Prince of Darkness, Dracula Has Risen from the Grave, The Curse of the Mummy’s Tomb, and The Mummy’s Shroud, and NOT FORGETTING the best of the best, The Curse of the Werewolf (1961). In the United States, two classic Universal monsters were melded with the new age craze with the release of Atomic Age Vampire (1960) and Frankenstein Meets the Space Monster (1965) and super low-budget flick Frankenstein Conquers the World (1965). Leaving only one major production, a made for children stop-motion animated musical comedy titled Mad Monster Party? (1967) starring Boris Karloff in his last appearance in any of the classic Universal Monster movies as the voice of Victor Frankenstein.
Hammer Productions continued to flourish with classic monster films such as The Horror of Frankenstein, Frankenstein, and the Monster from Hell, Taste the Blood of Dracula, Scars of Dracula, Dracula A.D. 1972, The Satanic Rites of Dracula, The Legend of the 7 Golden Vampires, and Blood from the Mummy’s Tomb. During this decade we’re introduced to a few well known B-Italian (and German and French included) classic monster movies with Dracula Vs. Frankenstein (starring Lon Chaney in his last reprisal in a “Universal” monster film), The Werewolf Versus The Vampire Women, Frankenstein’s Castle of Freaks, and the very strange Flesh for Frankenstein (aka Andy Warhol’s Frankenstein). Now, for classic Universal monsters in the United States, the 1970s gave birth to a very interesting phase called Blaxploitation. In 1972, on the eve of Blaxploitation, we’re blessed with the likes of Blacula, the tale of an African prince (William Marshall) is turned into a vampire by Count Dracula (Charles McCauley). Sealed in a coffin for several lifetimes, “Blacula” reawakens in 1970’s Los Angeles. Leaving a trail of bloodless victims in his wake. And Blacula returns in 1973 with Scream Blacula Scream. Some other noteworthy Blaxploitation-classic-Universal-monster films include 1974’s Blackenstein and Ganja & Hess.
BUT THAT’S NOT ALL!!!
In 1974, Mel Brooks produced and directed one of the greats spoofs set within the classic Universal monsters lexicon…Young Frankenstein, starring the late great Gene Wilder, Peter Boyle, Teri Gar, and Marty Feldman (to name a few). Though I am a rabid fan of both Hammer and Blaxploitation films, my love for this era falls directly on Young Frankenstein. The film was absolutely respectful of the roots of Frankenstein and even used what remained of the original set. Not to mention was wonderfully written, directed, and acted. Less not forgetting a few other honorable mentions, Werewolves on Wheels, The Boy who Cried Werewolf, Werewolf Woman, and Legend of the Werewolf are all wonderfully gritty and fun to watch.
It’s really hard to hate the 1980s, especially regarding the volumes of horror movies produced during this VHS era. So many monster films and the birth of a new sub-genre, The Slasher, and the reclassification of Universal tropes, whereas the Gillman from the Creature from the Black Lagoon, became Swamp Thing and Toxic Avenger. One of the more obvious “Universal” carry-overs would be Jerry Warren’s Frankenstein Island, starring John Carradine, one of the last surviving members from the original Universal Monster films. But what made this era really great were three films that took the concepts developed by the traditional Universal tropes and created something new from the old.The Howling, An American Werewolf in London and Silver Bullet took what The Wolf Man did in 1941 and set it in a more reality-toned story if you can believe that. The rules of werewolfism became more complex and reminded audiences how fun these kinds of movies can be if done properly. Now…I’d be a horrible film historian/fan if I failed to mention the one single most recognizable “Universal” heavy monster movie from the 1980s. That’s right folks, I’m talking The Monster Squad (1987). This movie took every 80s cliche and every classic Universal Monster cliche, boiled it in a stew and served it with nard pudding. You either love it or you hate, and if you hate you’re probably too terrified to say so, considering how many damn people love this movie!
Looking back on the 90s is like looking through a kaleidoscope. There were so much realism and so much snark the 90s is often really hard to separate diamonds from the squares regarding monster flicks. The 90s gave us more creature features, not necessarily mutated or atomic…just…creatures. And as far as the use of classic “Universal” monster tropes, we have two different extremes. On one end, we get Frankenhooker (1990), a raunchy B-movie where a New Jersey mad doctor (James Lorinz) rebuilds his girlfriend (Patty Mullen) with body parts from exploded hookers. And not forgetting (though I wish I could) Mel Brooks directed Dracula: Dead and Loving It. But on the other extreme, we get these melodrama films such as Mary Shelley’s Frankenstein and Bram Stoker’s Dracula (1992), both of which did their best to follow the source material that inspired the original Universal Monsters. In the middle of all this dueling complexity, we have at least one movie that keeps to both melodramatic and B-ish action, one of my person favorites from this decade, NO, not Monster Mash, I’m talking 1998’s comic to film flick, Blade starring Wesley Snipes, Kris Kristoffer, and Stephen Dorff.
And I guess I’d be amiss if I did not mention one of the first more modern remakes directly linked to the Universal Monster classics. In 1999, The Mummy released starring (then loved now somewhat shunned) Brendan Fraser, Rachel Weisz, John Hannah, Arnold Vosloo, Oded Fehr, and America’s favorite weirdo Kevin J. O’Connor. The remake followed most of the basic tenets of the original Mummy while kicking up the action. I remember actually being really impressed with the film and truth be told…I had seen this one before screening the original. Unfortunately, it suffers from what most 1990s movies suffer from, the crappy use of CGI. But overall, The Mummy is still a fun romp on a late night.
(Shhhh…if we’re quiet and don’t make any sudden movements, no one will mention 1997’s An American Werewolf in Paris…)
The 2000s were not entirely unkind to Universal Monster tropes. Strange…but not unkind. Universal Studios themselves had put out a what should have been a return or at least a nod to the classic hey-day with Van Helsing (2004)…and while they did capture the feeling of watching a Universal Monster flick, the story itself and odd choices with effects and the horribly outdated CGI dropped the bottom out on this movie. It’s amazing how much of a turd Van Helsing is, and it could have been so much more, a virtual House of Dracula, giving audiences werewolves and vampires and hunchbacks and even Frankenstein’s creature but instead filmmakers ignored the lore and added strange new rules that didn’t make sense, making a complete mess of a movie.
The decade was not without some gems. I thought Dog Soldiers (2002) was both brilliant and horrifying. There was also Ginger Snaps (2000) and Ginger Snaps II which were both smart. And, though not a lot of folks liked this one, I thought it was fun and an awesome throwback to the classic vibe of Universal Monsters, 2004’s Wes Craven directed Cursed starring Christina Ricci, Jesse Eisenberg, and Joshua Jackson. Another fan favorite during this decade was action-thriller Underworld (2003), starring the very leather-clad Kate Beckinsale and the always magnetic Bill Nighy. Underworld has developed into a series franchise, putting audiences into a world of vampires versus werewolves. The sequel Underworld: Rise of the Lycans released back in 2009. All of which all fun and entertaining, though very obviously films in a post-Matrix world with all that leather and gun-play. Another vampire hit, for me at least, was 30 Days of Night (2007) which shed the “it’s fun to be a vampire” motif and actually allowed them to be monsters. And while sequels are not always a favorite subject matter, we cannot discount Blade II (2002), this round being directed by then up and coming monster director Guillermo del Toro… And be honest here, who doesn’t love a movie with Ron Pearlman in it? But let’s stop there. No need mentioning Blade: Trinity…ugh!
And as for the best of the 2000s decade, my hat goes off to Let the Right One In (2008), a Swedish “romantic” horror film directed by Tomas Alfredson, based on the 2004 novel of the same title by John Ajvide Lindqvist about a bullied 12-year-old boy named “Oskar (Kåre Hedebrant) living with his mother in suburban Sweden, meets his new neighbor, the mysterious and moody Eli (Lina Leandersson), they strike up a friendship. Initially reserved they slowly form a close bond, but it soon becomes apparent that she is no ordinary young girl. Eventually, Eli shares her dark, macabre secret with Oskar, revealing her connection to a string of bloody local murders.” Let the Right One In was one of those “unknowns,” coming right out of left field. It was a slow burn, but so atmospheric and moody and dark…it gives me the chills just thinking about the movie.
Here we are…roughly 70 years of film history. And with just six (nearly 7) years into the new decade, it seems as if those classic Universal monster tropes are making an epic comeback. Or at least, that’s the vibe I’m getting. Let’s start things off here with my favorite, the 2010 direct remake of the original 1941 The Wolf Man, with a star-studded cast including Benicio del Toro, Sir Anthony Hopkins, Hugo Weaving, and David Schofield to name a few. Now, I’m not saying the movie didn’t have some flaws. The fight scene between Hopkins and Toro is…well…a little odd, but for the majority of the film, the effects and even added CGI wasn’t too shabby. Considering the original is my preferred archetype regarding werewolf stories, I pretty much fell head over heels for this one. And wait, there’s more! Not only did we get a directly linked werewolf movie, but it looks as if the indie film community was filling in where Hollywood failed to capitalize. Consider this fan-favourite and truly underrated horror flick, Late Phases (2014), about a secluded retirement community plagued by mysterious and deadly attacks until a grizzled blind war veteran moves in, rallies the residents, and discovers a beast is behind the killings. Another unrated flick and extremely well done, Stake Land (2010) gives the classic vampire trope a plague-like treatment.
2013’s Wer was another surprise, giving lycanism a hereditary twist and 2012’s Werewolf: The Beast Among Us wasn’t too shabby for a largely unknown action thriller. And 2013’s Frankenstein’s Army was just bizarre enough to be entertaining. A Girl Walks Home Alone at Night (2014) was a smart and surprise hit among monster fans, where residents of a worn-down Iranian city encounter a skateboarding vampire (Sheila Vand) who preys on men who disrespect women. And I thought Abraham Lincoln: Vampire Hunter (2012) was good for a late night screening.
Now…because I’m a dad (totally using this as an excuse), I have to mention one of my top favorites thus far for this decade before moving on to anything else. Hotel Transylvania (2012) was absolutely brilliant. Fun. Funny. And full of classic monster tropes. The story goes, “When monsters want to get away from it all, they go to Count Dracula’s (Adam Sandler) Hotel Transylvania, a lavish resort where they can be themselves without humans around to bother them. On one special weekend, Dracula invites creatures like the Invisible Man, the Mummy, and others to celebrate the 118th birthday of his daughter, Mavis (Selena Gomez). However, an unforeseen complication unfolds when an ordinary human unwittingly crashes the party and falls in love with Mavis.” Say what you will, but I love this movie!
As for the duds…though I still haven’t screened this one, I’ve heard that the steady-cam take on the Mummy monster trope The Pyramid (2014) was not very good. The concept sounded interesting…maybe I’ll give this one a go before passing final judgment. The same for Dracula: Untold (2014), I just haven’t gotten around to watching it, but I’ve heard that it was decently entertaining. And I still haven’t caught up with We Are The Night (2010) or Byzantium (2012), both of which follow a more feminine-centric story trope. One dud that I did actually watch was comic-book based I, Frankenstein (2014). “Two centuries after Dr. Frankenstein assembles and reanimates his creature, Adam (Aaron Eckhart) is still living. He becomes embroiled in a war between two immortal races: gargoyles, the traditional protectors of mankind, and evil demons. Since Adam is neither human nor demon, gargoyle Queen Leonore (Miranda Otto) and demon Prince Naberius (Bill Nighy) each want him for their own purposes. It is up to Adam to discover his inner humanity and the reason for his continued existence.” The movie could have been so much more but casting pretty-boy Eckhart as the monster…well…it seemed to reek of trying too much to be like Underworld to have any real chance of being its own movie. The concept was fun and the addition to the Frankenstein lore…so, at least it had that going for it.
Also on my to watch list: What We Do in the Shadows (2015), and Freaks of Nature (2015). It just seems, part of my problem is that there are so many classic films to choice from my tastes typically shy away back to the 1970s or 80s. That’s not to say the 2010s have nothing to offer, just look at the list above and you’ll find more than one blockbuster worthy of your time. And the year is not even over yet. A think, largely, everyone has their own tastes for horror, and this is especially true for those of the classic Universal Monster breed. My biggest disappointment is the lackluster treatment of my favorite Universal Monster, The Mummy. While the 1999 remake did a rather bang-up job, that’s been…what, 17 years now? I have to wonder what the aversion is. I’m assuming it’s because the Mummy is not a “fan favorite.” Vampires and werewolves sell movie tickets, is that it? You put a screenwriter who loves the trope, some solid practical effects, and a director who knows what they’re doing, and I guarantee you a great film will be made.
And now…a peek into the FUTURE….
As you’ve no doubt heard, Universal Studios will be reviving from their vaults, the return of the classic Universal Monsters in a new series that will eventually tie together all our beloved baddies. This news has been generating for about two years now and it looks as if they’re finally getting the ball rolling. The first monster up for theatric return will be The Mummy, with a June 2017 release date, and starring none other than Tom “Top Gun” Cruise. It feels fortuitous that my favorite Universal monster will be up first in this new rival. The Wolf Man is said to be next, with a 2018 release date and rumors of Dwayne “The Rock” Johnson taking on the lead role. Scarlett Johansson is rumored to be on Universal’s radar for the led in The Creature from the Black Lagoon. Angelina Jolie for Bride of Frankenstein. Johnny Depp for The Invisible Man. And supposedly, Dracula: Untold‘s end sequence opens the door for what all these remakes will be leading towards. At first, I had my reservations. Some of the descriptions for what the producers wanted sounded un-horror and un-betrothed to what the originals were. But it seems those rumors were just that, rumors. As more information has released, the more excited and cautiously optimistic I’ve become. If you’ve tuned into any of the reviews in this series, you’ve no doubt noted how much of a fan I am of the classic Universal Monster. And by-Geroge, I’m glad they’ve finally decided to bring them back to their full glory.
Thomas S. Flowers is the published author of several character driven stories of dark fiction. He resides in Houston, Texas, with his wife and daughter. He is published with The Sinister Horror Company’s horror anthology The Black Room Manuscripts. His debut novel,Reinheit, is published with Shadow Work Publishing, along with The Incredible Zilch Von Whitstein and Lanmò His new paranormal series, The Subdue Books, including both Dwelling and Emerging, are published with Limitless Publishing, LLC. In 2008, he was honorably discharged from the U.S. Army where he served for seven years, with three tours serving in Operation Iraqi Freedom. In 2014, Thomas graduated from University of Houston Clear Lake with a BA in History. He blogs here at machinemean[dot]org, where he does author interviews and reviews on a wide range of strange yet oddly related topics.
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With February being Women in Horror Month, I thought I’d do my part in honoring the many women who’ve made the genre I love so bloody fantastic. Women who have broken boundaries and defied not only gender clichés, but also social and cultural as well. Now, in all honesty, horror is not with its own stereotypical tropes, but in fairness, horror has also done more to mangle down those grey stone walls of truism. Slasher movies for one have a nasty habit of typecasting women into weak character roles. Yet, looking at it from another angle, you might notice that as said slasher movie victim is running around bumping into dead things and screaming at the top of her lungs, she survives while typically every single if not 99% of the male character population parishes in some grotesque way. At the very least, perhaps even slasher movies are saying that when the shit hits the fan, women are survivors. 2013’s home invasion horror movie You’re Next may or maybe count as a slasher flick (we’re going to roll with it), but in the film while there are a few damsels in distress, Erin Hanson (played by the beautiful Sharni Vinson) utterly dominates the movie, chewing bubble gum and kicking ass, taking no prisoners. To say the only contribution women have made for horror is to play its victim is a gross generalization. In movies where women are intended to be the victim, they survive. And then there’s the other side of the road. The villains. The most creepiest characters and monsters of horror, in my humble opinion, have been women. Consider Kathy Bates in Misery and you tell me if her portrayal as Annie Wilkes didn’t creep you the F out! Lets all be honest here, lets put aside our egocentric macho bullshit and come clean. Lets admit it, women have done more for horror than men. So, without further ado, here are a few of my favorite horrible women!
Lina Leandersson as Eli in Let the Right One In (2008):
Let the Right One In released in our most desperate hour, during a very strange and scary time for vampire tropes. I hate to mention here on my blog, but it needs to be said, in 2008, vampire lore had been polluted with Twilight-esk glowworm sparkle making me want to scream for trying to ruin a classic horror monsters! Yuck! And thank Zeus those days are over. Let the Right One In was an welcomed breath of fresh air, an absolute amazing horror flick. And Lina Leandersson playing the century’s old vampire Eli was magnificent. She was so innocent until she wasn’t. The best scene has to be at the pool when Oskar is confronted with some rather violent bullies. You do not see her inflict the carnage, but when Oskar comes out of the pool and you see all the gore surrounding this small adolescent girl, it is a utter chilling moment in horror history. Her portrayal as his protector was totally believable. The American remake was decent, but for this list I have to go with the original Swedish version. It was by far the superior.
Gillian Anderson as Special Agent Dana Scully in The X-Files (1993-2003, 2008, 2016):
What can really be said about our favorite doubting Special Agent? The X-Files had a huge impact in my life growing up. And the show is still good. Better than most of what passes as TV nowadays, not to sound like some bitter old man. Gillian Anderson’s portrayal as Dana Scully is interesting. She’s the yin to Fox Mulder’s yang (not to sound dirty). She was the rational part of the relationship, Mulder was the wide eye dreamer who jumped at any and all shadow that spelled conspiracy or extraterrestrial or both. She was a skeptic, sure, but she had to be to level out Mulder’s eccentricism. She was also the scientist, the doctor, the brains of the operation. Her portrayal is interesting because its a role typically played by men. Are men not the more rational? DON’T ANSWER THAT! (cough-cough, wink-wink).
Sigourney Weaver as Ellen Ripley in Aliens (1986):
Though the first time Miss Weaver portrayed Ellen Ripley was in Alien (1979), she did not feel to me as strong of a character as she was in its sequel, Aliens. She was a survivor, for sure in Alien, but in Aliens she kicked some major xenomorph ass! In James Cameron’s epic sci-fi horror, Ripley was easily the strongest character not only because of what she did, but the fact that she did it while struggling with PTSD, struggling with the memories of the traumatic events from the first film. She was a protector when at times you felt she was the one needing protection. Hell, she came out on top while every single one, save Hicks, of the supposedly badass Colonial Marines gets bush whacked! She even goes toe to toe with the “get away from her you bitch” queen bee! Aliens is an excellent movie for many reasons, but the best is watching Ripley transform from traumatized survivor to tuff-as-nails She-Ra!
Jane Levy as Mia in The Evil Dead (2013):
I have no idea what some nerds have against this movie. It is absolutely fantastic. It wasn’t a reboot, it wasn’t a remake, it wasn’t a continuation; 2013’s The Evil Dead was simply another cabin-in-the-woods movie cast in an Evil Dead universe. The mood from the very beginning is grainy and dark, given the subject matter of Mia’s rehabilitation with drug addiction. And it just gets darker. And her struggles felt real. And when the table turns and her inner-demon, as they say, comes out…her creep factor goes sky high! It was fun watching Mia start off playing the victim of the demon that had taken hold of her, and then in actuality becoming the monster (and scary one at that!). And it was satisfying seeing her, by the end, transform into a person willing to literally and metaphorically come out swinging. Mia was not some Ash trope, she was her own character, and a strong and realistic one at that.
Gaylen Ross as Francine in Dawn of the Dead (1978):
While I struggled between Gaylen as Francine in the original and Sara Polly as Ana in the 2004 remake, because I feel both characters and women were strong in each of their respective films, in the end I had to go with Gaylen Ross. Blame it on my favoritism to the original classic or on my love for Romero or whatever you want. Regardless, who can deny the magnetism in Ross’ portrayal as Francine? She was a lone woman surrounded by male machismo and was still able to keep her voice heard over all the grunts and farts. From the very get-go, when they land at the mall and she states “Stephen, I’m afraid. You’re hypnotized by this place. All of you! You don’t see that it’s not a sanctuary, it’s a prison! Let’s just take what we need and get out of here!” Yet, while being overruled by the male majority, she remains patient and lets it slide until her prophecy becomes reality. Of course, her best line is when the boys hatch a plan to secure the mall without consulting her and she confronts them with her own demands, telling Stephen mostly to never leave her without a gun again because (she states mockingly) “I just might know how to use it.” And what’s more interesting is that she is not only the lone woman in the group, but also pregnant. That in itself says something to the strength of her character to deal with these boys and keep her cool in the midst of a zombie apocalypse.
Linda Blair as Regan MacNeil in The Exorcist (1973):
As horror director and visionary Tom McLoughlin put it (and I’m paraphrasing here) Linda Blair as Regan was everything sugar and spice and everything nice, and she was set up so beautifully pared with her mother, but when she turned on us she became is absolute terror because while she is being victimized by the demon (or demons if you have read the book) she is also the monster, this evil thing that is in total control. Linda Blair did such a marvelous job with her role that The Exorcist is without argument the scariest movie ever made. But it was not just Blair and Regan that made the movie sensational, it was also Ellen Burstyn as Chris MacNeil, a strong independent single mother, balancing a profitable career and parenthood. Both actresses deserve mention as this list.
Ashley Laurence as Kirsty Cotton in Hellraiser (1987) & Hellbound: Hellraiser II (1988):
I wanted to give Ashley Laurence’s portrayal as Miss Cotton credit in both films because she was pretty much the same character types in both films, though you can imagine that in Hellbound she was struggling more with the hellish (no pun intended) events in the first movie. Miss Cotton was a believable loving daughter who did what she could to love her step-mother, but as they classic trope demands, her step-mother was quite wicked and unlovable. I love Cotton’s character. She’s not weak necessarily. She is a survivor. And she most certainly has her wits about her during times of tribulation. Consider the moment in Hellraiser when she first opens Lemarchand’s box (aka The Lament Configuration, aka The Puzzle Box). When the cenobites first appear, though terrified, for obvious reasons, she is still able to keep her cool and hatch a plan to trade her life for Frank’s. And at the end, when the cenobite attempt to alter the deal she sends each and everyone of them back to hell via solving the puzzle box. In Hellbound, though traumatized, she not only confronts the return of her wicked step-mother, Julia, but manages to humanize Pinhead (Doug Bradley) and the other cenobites, turning them back to their original self’s. Clare Higgins also deserves mention here. I was not impressed with her portrayal as Julia in the first Hellraiser, her character was too needing of Frank to stand on her own. But in Hellbound, the gloves came off!! She was a strong and dominate villain, blood thirsty and seductive, even without skin. Yet, despite strong acting from Higgins, I’m more favorable toward Laurence as Cotton. She was smart and foul mouthed, a perfect combination.
Well, there you have it folks! Just a few favorites from the numerous women who have not only embraced, but also defined horror. Who are some of your favorite women in horror?
Thomas S. Flowers creates 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 movies and books and hosts a gambit of guest writers who discuss a wide range of strange yet oddly related topics. You can follow Thomas by joining his author newsletter at http://goo.gl/2CozdE.
A tale of revenge and BBQ!!!