The Art of Death in Dead and Buried
What if someone’s arrogance took the act of dying to the extreme for artistic purposes? This is the cornerstone of Gary Sherman’s Dead and Buried, written by the team of Dan O’Bannon and Ronald Shusett (though apparently O’Bannon’s writing efforts had been edited out) based upon the Chelsea Quinn Yarbro novel.
The story takes place in mythical Potters Bluff, Rhode Island – one of those out-of-the-way seaside communities where everything appears to be quaint, but what happens at night or behind closed doors is a different kind “The Twilight Zone” story. Daniel Gillis (James Forentino) happens to be the local sheriff investigating bizarre murders that seemingly spring out of nowhere, and William G. Dobbs (Jack Albertson), the town’s old-time undertaker who can’t even speak until a Big Band tune ends, helps in providing clues left behind by the bodies of the recently departed. But Sheriff Gillis is having a hard time navigating the evidence that may prove the involvement of his neighbors as well as his wife, Janet (Melody Anderson). Continue Reading
According to the website, “Join Billy Crash and Jonny Numb as they discuss their take on horror films. Intelligent thoughts on the making of movies, dissemination of plot twists, and provoking debate on the good, the bad, and the truly horrific.” And according to listeners such as myself, few podcasts go in-depth as The Last Knock does while not descending into the drone of becoming tedious. And not only that, but the show runs just about every week, new episodes releasing typically during the weekend. They do themes and sometimes straight up movie reviews, from Silent Era flicks and German Expressionism to the latest, such as It Follows and Neon Demon. Basically, if you’re a fan of horror and horror movies, you need to check out The Last Knock.
One-half of The Last Knock:
William D. Prystuak, who is no stranger to Machine Mean. Will has reviewed for us Dracula’s Daughter (1936) during our Universal Monsters in Review series. Professor Prystuak is also an award-winning screenwriter, film producer, and teacher in higher education, as well as a published poet, and essayist. His crime thriller, BLOODLETTING, has been adapted from his script of the same name, and he is currently working on a horror series. William also co-hosts THE LAST KNOCK podcast as Billy Crash with his good buddy, Jonny Numb, and currently, has thousands of listeners in 120 countries. You can find more about horror and William on his Crash Palace Productions site. As an Assistant Professor of English at Kutztown University of Pennsylvania, William teaches business writing and public relations. You can find more about William at any of these fantastic sites: Amazon: http://amzn.to/1Fu9PHS Barnes and Noble: http://bit.ly/1GhclaJ Goodreads: https://www.goodreads.com/book/show/23365977-bloodletting BLOODLETTING Book Trailer One: https://www.youtube.com/watch?v=TVNji_G-tSI BLOODLETTING Book Trailer Two: https://www.youtube.com/watch?v=glK9DiVIHT8 IMDB: http://www.imdb.com/name/nm5464477/?ref_=fn_al_nm_1 Linked In: https://www.linkedin.com/pub/william-d-prystauk/10/9a1/a55 Horror Podcast: THE LAST KNOCK on iTunes Twitter: @crashpalace. You can read Professor Prystuak’s review of Drac’s Daughter here.
Second-half of The Last Knock:
Jon Weidler, who also is no stranger to Machine Mean. He has reviewed for us Abbott and Costello Meet The Mummy (1955) AND Clean, Shaven for our Fright Fest month back in October. Mr. Weidler works for the Commonwealth of Pennsylvania by day but is a podcast superhero by night. He co-hosts THE LAST KNOCK horror podcast under the moniker “Jonny Numb,” and is a regular contributor to the Crash Palace Productions and Loud Green Bird websites. His archived movie reviews can be found at numbviews.livejournal.com, and his social media handle is @JonnyNumb (Twitter & Letterboxd). You can read his review of A&C Meet Mummy here.
Another first for me. Fresh from a late night screening of Dracula’s Daughter, expecting perhaps something humdrum or worse, mediocre. However, the most sublime thing happened. Dracula’s Daughter turned out to be an actually wonderfully fantastic film. With beautiful cinematography and superb acting, its a wonder why folks don’t talk about this film more. It is astounding how the general consensus on movie review sites, such as Rotten Tomato, is nothing more than a snore, between critic and everyday reviewers alike. I suppose walking the line between boring and atmospheric is a very narrow path. Personally, I felt Dracula’s Daughter was very atmospheric and I can see now where more recent vampire adaptations picked certain images. When I first glimpsed Countess Marya Zaleska (played by the enchanting Gloria Holden), with her face hidden behind a black hijab, she reminded me of A Girl Walks Home Alone at Night. Of course, one the significant differences the between two, Countess Marya Zaleska seems to prefer to prey on women than men, which also gives us some rather homoerotic vibes, especially concerning a certain scene between the Countess and a woman her man servant Sandor brings in off the street under the guise of needing model for a painting. Thankfully, we’ve got a special guest with us today to help us sort through this film. Teacher, screen writer, film maker, author, podcaster, and all around great guy, William D. Prystauk has graciously agreed to take on this Universal classic. Lets see what he has to say!
Dracula’s Daughter (Universal, 1936)
by William D. Prystauk
This is the official sequel to 1931’s iconic Dracula, this tale takes place a few months after the count’s death at the hands of Dr. Van Helsing (Edward Van Sloan). Dracula’s Daughter, Countess Marya Zaleska (Gloria Holden), with the help of her right-hand man, Sandor (Irving Pichel) steals the body of her “dead” father, and burns Dracula to a crisp in order to rid herself of the desire to consume blood that possesses her – except it doesn’t work. As Van Helsing remains in court defending himself against murder charges because he rid the world of a vampire, the countess takes victims by mesmerizing them with a jeweled ring. Even so, she meets up with psychiatrist Dr. Garth (Otto Kruger), and undergoes therapy while trying to use sheer force of will to keep her bloodthirsty cravings at bay. Seeking a distraction, Sandor brings the countess model Lili (Nan Grey) to paint. In the beginning, Zaleska resists her urge to attack Lili, but ultimately fails. Though Lili survives the assault, she soon dies when Dr. Garth tries to hypnotize her. Realizing a cure is impossible at the same time Dr. Garth realizes she’s a true blue vampire, Zaleska kidnaps the doctor’s lover, Janet (Marguerite Churchill), and whisks her off to solemn Transylvania. In order to save Janet, Dr. Garth must allow himself to be bitten by Zaleska so he can become her partner – forever. However, the countess had promised Sandor eternal life. And before her fangs can penetrate her soon to be enslaved beau, Sandor, pent on revenge for the snub, destroys her with an arrow.
The only one to reprise his role from the first film is Van Sloan. Hell, the studio didn’t try to get Tod Browning to direct again, and James Whale took a walk – and they didn’t even show Bela Lugosi in a coffin (even though he came cheap as stars go), but used a wax bust of him instead. Simply put, Universal wanted to cash in on the Dracula name one more time.
Dracula’s Daughter, although far from a perfect film, certainly has its moments. First, it distanced itself from the original movie to the point where the film can stand on its own because an entirely different mythos has been created. Where Lugosi’s count wanted control and power, Zaleska is a reluctant bloodsucker. She wants nothing more than to be a normal woman and experience the sun on her face. Thinking and talking about a world she cannot engage with her senses, she seeks out any means to make it happen. She burns her father’s body to dust as if she’s honoring some archaic folk remedy, and when that fails, she turns to modern science because it’s clear Zaleska thinks the problem’s in her head, thanks to psychiatrist Garth who thinks he can cure any “disease of the mind”. If she can find a way of quenching that thirst without unleashing her fangs, she can recapture her humanity. But don’t let this fool you because Zaleska keeps Lurch-like Sandor around. He’s a cold Vulcan wannabe who drops shade upon her fantasies to comedic splendor. Sandor sees death in her eyes, and when she imagines birds and dogs, he sees bats and wolves. Therefore, every smile she conjures he turns into a frown. In this case, he’s not just her servant, but her reality check. In addition, if Zaleska finds a cure for her curse, Sandor will never become the immortal badass he wishes to become. If the countess had chosen Sandor as her companion, there’s no doubt that once he became the immortal dead he’d either stake Zaleska or leave her behind. Beyond those two options, Sandor would have followed in Dracula’s bloody footsteps. However, I always wondered if Universal had made a third installment with the Return of Sandor and Irving Pichel reprising his role. This would have kept the franchise rolling, and could have altered Pichel’s career, which ultimately became waylaid by the truly horrific House Un-American Activities Committee who had him blacklisted as an actor and a director.
One thing that never escapes vampirism in all its forms is the homoerotic element: A villain with fanged teeth (phalluses) penetrating the flesh of men and women. Dracula may have wanted Mina Harker, but he takes her husband to be, Jonathan as a live-in slave, and who knows how he crawled into the mind of Renfield before going after Lucy Westenra. In Dracula’s Daughter, the much talked about scene between Zaleska and Lili makes one wonder if the countess craves the young woman out of hunger or something more. As the young woman stands half-naked before Zaleska, the countess hunger shines through, but one can argue either way if it’s bloodlust (looking at Lili as sustenance) or as a love interest. When Lili fades fast, Zaleska seems to revel in the fact that the woman is dying, because this demise is the countess’s dark creation thanks to her own fangs. This is where some of daddy Dracula’s darkness leaks through, and for a moment we wonder if Sandor wasn’t right all along about those bats, wolves, and notions of death. After all, he knows his mistress better than anyone else ever could.
Most important, unlike Dracula, we feel for Zaleska the monster. She’s in turmoil and seems serious-minded about becoming something better than her uncanny, human consuming self. This allows audiences to appreciate her struggle and have sympathy for the monster, the same as Lon Chaney Jr.’s wolfman, who had become a creature of the night against his will, and Boris Karloff’s poor monster thanks to Dr. Frankenstein. Granted, we don’t really know of Zaleska’s origin, but with her longing for sunlight, she most undoubtedly had been sired against her will.
Regardless, Gloria Holden was a reluctant actress. She did not care for horror and did not want to become typecast as she saw Lugosi becoming. This helped her in creating a “yearning for life” character, a reluctant vampire who had to feed like a human needed a bite out of a hamburger each day, and there was no non-blood alternative to sustain her. Holden maintained her stature and grace in the role, bringing an element of regality to the countess, which appeared as an older, domineering lesbian to some, or mommy dearest like mistress of the damned. One can see how she may have influenced the eyes of Lily Munster or Angelica Houston in the Addams’ Family films. We can only guess what the reaction would have been if scribe John L. Balderston’s original screenplay had been accepted by Universal, and the stifling censorship board (Production Code Administration) at the time. In Balderston’s version, Von Helsing would have returned to the castle to finish off the vampire brides, but we would have been introduced to a countess who enjoyed her role as queen destructive bee. Several scenes apparently implied that the countess had a desire for torturing men, which included paraphernalia equivalent to a 1930’s version of a dominatrix with whips and such. However, Zaleska did have a mental hold on Sandor, and she certainly tortured him with the dangling carrot of immortality.
Ultimately, in Dracula’s Daughter, the beast and her bodyguard butler only discovered death and destruction, while the arrogant cocksure psychiatrist and his love interest earned the chance to live another day. Yet oddly enough, with Garth’s education and prowess to hypnotize there is a subtle hint that he is the human equivalent of a vampire (sans Zaleska’s jeweled ring), though we never learn if he’ll use his mental skills to manipulate poor Janet. We only know that the vampire queen is dead and young women in London and in the valley of the castle’s shadow are safe for another day.
Rate: 3 stars out of 5
William D. Prystauk is an award-winning screenwriter, film producer, and teacher in higher education, as well as a published poet, and essayist. His crime thriller, BLOODLETTING, has been adapted from his script of the same name, and he is currently working on a horror series. William also co-hosts THE LAST KNOCK podcast as Billy Crash with his good buddy, Jonny Numb, and currently has thousands of listeners in 120 countries. You can find more about horror and William on his Crash Palace Productions site. As an Assistant Professor of English at Kutztown University of Pennsylvania, William teaches business writing, and public relations. You can find more about William at any of these fantastic sites: Amazon: http://amzn.to/1Fu9PHS Barnes and Noble: http://bit.ly/1GhclaJ Goodreads: https://www.goodreads.com/book/show/23365977-bloodletting BLOODLETTING Book Trailer One: https://www.youtube.com/watch?v=TVNji_G-tSI BLOODLETTING Book Trailer Two: https://www.youtube.com/watch?v=glK9DiVIHT8 IMDB: http://www.imdb.com/name/nm5464477/?ref_=fn_al_nm_1 Linked In: https://www.linkedin.com/pub/william-d-prystauk/10/9a1/a55 Horror Podcast: THE LAST KNOCK on iTunes Twitter: @crashpalace