Back Sunday (1960) A Movie A Day Journal Entry

Black Sunday (1960) – A Movie A Day 2021 #44

Italian poster for Black Sunday (aka The Mask of The Demon/Satan)

Around this time last year I started reading and collecting The Dark Side magazine, a publication from the United Kingdom that seems to focus largely on older horror movies, though it does do reviews on more modern films as well. In the latest issue I purchased, there is an advertisement for a book published by The Dark Side that chronicles Italian horror cinema. As a huge fan of Italian horror and exploitation movies in general, it was a quick and easy purchase to make. Some of my favorite horror movies are from Italy, and I’m always eager to learn more about what I have and haven’t seen yet. The book, titled Italian Horrors: Cannibals, Zombies, Strange Vices and Guilty Pleasures, arrived just the other day, and it’s already inspired me to dive head-first into a bunch of Italian horror movies. So for today’s movie, I picked an Italian classic that I’m almost embarrassed to say I hadn’t seen before. Today I watched Mario Bava’s Black Sunday.

I’ve seen a handful of Bava’s later horror movies, but Black Sunday is the earliest of his films I’ve watched so far. According to IMDB it’s also the first non-documentary movie where he was actually given a directing credit, although Italian Horrors mentions that he helped finish other directors’ work prior to Black Sunday. Bava’s direction is confident and evocative. Bava gives Black Sunday a classically gothic feel while incorporating many beautifully gruesome images that would tend to become associated with Italian horror in the following decades. 

Black Sunday stars Barbara Steele in a dual role as an evil witch, Asa, and the witch’s beautiful descendant, Katia. Two centuries ago, Asa was captured by villagers and sentenced to death for practicing witchcraft. The first step in the witch-killing process is to hammer a mask of Satan (a bronze mask filled with spikes) onto her face, but before that happens, Asa curses the man in charge of her demise. That man is Asa’s own brother, and the curse she places on him will be passed along to his descendants. The mask is then applied with a gush of blood. An attempt to burn Asa at the stake is then made, but it is thwarted by a sudden downpour. Regardless, Asa’s body is placed in a tomb with the mask of Satan to keep her powers in check and a cross placed on her stone coffin as added insurance.

Two hundred years later, a professor, Dr. Kruvajan, and his assistant, Dr. Gorobec, stumble upon Asa’s tomb. Their curiosity gets the better of them, and, one giant bat attack later, Asa’s stone coffin is busted and all of the safeguards keeping her dead are removed. A few drops of the professor’s blood after the bat attack begins the process of revival for Asa, and the bulk of the movie follows Asa’s attempts at regaining her full strength with the help of her undead lover Javutich. Asa feels a connection to Katia, and her ultimate goal is to drain Katia of her life force. What ensues is gothic horror complete with a creepy castle, mysterious deaths, and torch-bearing villagers. 

I’m glad I finally watched Black Sunday, because it’s great. I love the mood, and Barbara Steele is magnetic in both of her roles. The story itself is good but maybe not too far away from a lot of other gothic horror movies, but the way its presented makes it memorable. There are many images that are now going to be vivid parts of my memory. One of the more iconic images is Asa’s hole-covered face after the mask of spikes is removed, but there are a good amount of creepy moments just as memorable. From Asa’s desiccated head with bugs crawling out of her eye sockets, to the spurt of blood when a not-so-dead dead guy is stabbed in the eye, to the flame-licked face of Asa as she stares through the fire meant to kill her, Black Sunday is a beautiful movie. 

Italian Horrors (the book I keep referencing)

If you’re a fan of gothic horror, Black Sunday is a must-watch. I should have seen it years ago, but hey, at least I’ve seen it now. If nothing else, for historic purposes Black Sunday should be seen by pretty much any fan of horror. For one thing, Mario Bava had a tremendous influence not just on Italian horror, but on horror movies around the world. Also, in reading Italian HorrorBlack Sunday was one of the early horror movies in Italy after the genre had been forbidden when Mussolini took power in the 1920s. There were horror movies in the very early 1920s, but it took until 1956’s I Vampiri for the genre to start its comeback in Italy. The Italians certainly made up for lost time by producing some of the most gruesome and transgressive horror films ever made, but even if you’re not into that, Black Sunday feels like it made up for lost time in a different way. It feels more akin to one of the Universal monster movies from the ’30s and ’40s, which, by the way, were regaining attention thanks to the Hammer horror movies being produced in Great Britain beginning in the mid-1950s. It was such an interesting time period for European horror. 

As I sit here writing this, I want to dig back into Italian Horrors. The first main chapter covers some of the writers of the yellow-covered crime paperback books that inspired one of my favorite sub-genres, the giallo. So don’t be surprised if you see a deluge of black-gloved killers in some of my upcoming movies of the day. Oh yeah, and if you want to check out the book I’ve been referencing this whole time, you can order it here: https://thedarksidemagazine.com/product/italian-horrors-cannibals-zombies-strange-vices-and-guilty-pleasures/

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The Reckoning (2020) A Movie A Day Journal Entry

The Reckoning (2020) – A Movie A Day 2021 #39

The Reckoning poster

Today’s movie was initially chosen while looking for a newer horror movie in an attempt at doing better at keeping up with recently released films. I only watched a few newer movies in January, so I want to make a stronger effort to keep up. As I was looking around at what’s come out lately, I discovered that writer/director Neil Marshall’s latest, The Reckoning, released on video on demand just a few days ago. My decision was instantly made.

I became a fan of Neil Marshall when I saw Dog Soldiers back around 2002, and I became a huge fan of his after The Descent in 2005. The Descent is still my favorite of his followed closely by Dog Soldiers and Doomsday (I haven’t seen Centurion), but I haven’t been able to add to my Neil-Marshall-movie-rankings list for a very long time. Sure, he directed Hellboy in 2019 (which I enjoyed), but as far as the movies he’s written and directed, he hasn’t put one out since 2010. That is, until The Reckoning debuted last year amid the theater-less world of the pandemic. I’m sad I didn’t get to see Marshall’s latest on the big screen, but I’m overjoyed that I just finished watching it at home! Where does it fall on my list? It doesn’t topple my top two, but given time I think it could fight for the third spot. 

The Reckoning is set in England in 1665 during the England witch trials while the bubonic plague was wreaking havoc across the land. The film follows a woman named Grace whose husband contracts the plague and kills himself to prevent the inevitability that he will pass it along to his wife and baby girl. Grace is then accused of being a witch by the lecherous and conniving squire who owns the land Grace and her family live on, and the rest of the film follows Grace is she is tortured in an attempt to get her confess to entering into a pact with the Devil. Grace’s will is strong, but the mental and physical strains she endures push her will to the breaking point. 

One thing I really enjoy about Neil Marshall is the tone of his movies. He approaches them seriously, but his directness can sometimes be blunt to the point of campiness. I think that’s most apparent in the utter ridiculousness of Doomsday, but I can see bits of it in The Reckoning as well. There’s a scene where the squire that accuses Grace voices his concerns to a bunch of people in a pub, and the whole scene is almost comical in how things quickly escalate. The squire tosses out the bait, end everyone almost immediately chimes in with some variation of “now that you mention it, I saw her once and then a bad thing happened one day so she must be a witch.” Subtlety is thrown out the door, and the idea of mob mentality, something you can build a whole movie around, is summarized in about a minute and a half. It’s great in its own way, and I enjoy it. 

Marshall is also unsubtle with his flair for blood and violence. The Reckoning is a violent movie and there are a few graphicly bloody shots scattered throughout, but I appreciate that it’s not all focused on the torture of Grace. Most of Grace’s torture happens off screen (at least, the physical acts of torture), and we often just see the bloody aftermath. The best/worst of the blood and gore is reserved for the people who really deserve it. Decapitations, crushed heads, multiple stabbings, and more happen on-screen in a way that makes you want to cheer rather than squirm. Mostly. 

I enjoyed the cast as well. Charlotte Kirk plays Grace, and she pulls off a great combination of vulnerability and strength. Steven Waddington is sufficiently scummy as the squire, but the better bad guy in the movie is Sean Pertwee as John Moorcroft, a witch hunter. Pertwee is maybe best known as Alfred in the Gotham TV series, but he’s worked with Neil Marshall before in Dog Soldiers. He also played Smith in one of my favorite outer-space horror movies, Event Horizon. Pertwee has a feeling of proper menace throughout the movie, and I wanted to see Grace get revenge on him more than anyone else. 

The final act of the movie turns into a bit of an action/revenge film, and that’s pretty much what I was hoping for. Again, Neil Marshall is not subtle. The Reckoning is not an A24 arthouse movie about witches, it’s a sometimes campy, often violent genre film about sweet, sweet revenge. Is is historically accurate? Probably not. Did I enjoy it? Absolutely. Hopefully Neil Marshall won’t take another ten years to write and direct another movie. 

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The Blair Witch Project A Movie A Day Journal Entry

The Blair Witch Project (1999) – A Movie A Day 2021 #37

The Blair Witch Project poster

It was kind of a rough day, so I decided to pick a movie to watch that I knew I’d love. Something of a comfort movie. I have a lot of standbys that I go to depending on my mood, but I decided to pick an older favorite I hadn’t seen in a long time but had randomly been on my mind recently. Today’s movie of the day is The Blair Witch Project, a movie that I consider to be one of the best of its breed. 

Most of you reading this probably already know what The Blair Witch Project is about, but I’ll go ahead and recap it just in case. The movie is framed as actual film and video footage found deep in the woods near Burkittsville, Maryland. The footage was supposedly shot by three film students, Heather, Josh, and Mike, as they were gathering footage for a documentary about a local legend, the Blair Witch. The trio went missing during their trip into the woods and were never found, and the footage we see in the movie is supposed to show us their final days before becoming a part of the legend they were there to investigate.

One of the reasons The Blair Witch gives me such good feelings undoubtedly has to with with the fact that I experienced the amazing marketing buildup to the movie as it was happening. I discovered the existence of the movie not by seeing a traditional movie poster, but by coming across a “missing” flyer hanging up at a small independent theater. I was intrigued. There was also a web site created for the movie (which is still online!) that has images from the movie plus tons of “evidence” and extra videos portrayed as real-life interviews and news footage about the missing students. Even though I knew it was just a movie, the length the filmmakers went to allow viewers to suspend their disbelief is admirable. So before I even saw the movie, I was already invested in the characters and the story in a big way.

The other big reason The Blair Witch Project gives me such good feelings is because I remember what it felt like seeing it in a theater for the first time. It was such a unique experience in a lot of ways. For one thing, it had to be the first time I’d seen a movie in the 4:3 aspect ratio in a theater, and that helped add to the realness of the experience. Also, the quality of the footage was all over the place which, again, adds to the realness and the uniqueness of the theatrical experience. Shots were out of focus and fuzzy, big moments often happened off screen, and the ever-present “shaky cam” that I know so many people dislike all worked wonders on me. I was enthralled from beginning to end. I was so excited after leaving the theater because it was such a new and fun experience. 

I know a lot of people look down on found footage for various reasons, and I get it (mostly), but when its done right, it can be fantastic. For my tastes, The Blair Witch Project is done right, and that starts with how it was made. Now, I’m not trying to write an essay on The Blair Witch Project or found footage movies in general, but here’s a brief explanation of why the movie works so well for me. As I understand it, all of the footage was shot by the three main actors as they spent a few days and nights effectively isolated in the woods. They were given drop boxes with clues on where to go next and secret guidelines for how their characters should react in certain situations, but otherwise they were left on their own to shoot footage and improvise the scenes. Crew members were kept hidden from the actors during the day, and the crew would increasingly harass the actors at night as the Blair Witch got closer and closer. It sounds like an excruciating ordeal, but it made for a movie that feels more realistic than most other found footage films. 

One of my biggest pet peeves about found footage is when the action is too perfect on screen. Like when the camera pans over at just the right moment to perfectly frame some big action or line of dialogue. Or when it seems clear that scenes were done repeatedly because of cuts between shots that are supposed to be in the same moment, yet the footage feels disconnected within the space of where the characters are. I get why most movies do that, filmmakers want important moments to feel important, but it makes it feel less real to me. Important moments are missed all the time in real life, and people panicking are going to miss more than they see. Stuff is missed all the time in The Blair Witch Project, and not seeing what’s in the woods yet hearing the panic in the voices of the actors as they flail around with their cameras is far scarier in my opinion. That said, if you get motion sickness from shaky cam, maybe skip this movie. 

I could go on about why I love The Blair Witch Project so much, but in the end it really all comes down to the fact that I think it’s a well-made movie that does exactly what it sets out to do. It feels real for the most part, and I love the gradual buildup to the final few scenes. I’ve seen a bunch of found footage movies over the years, many I enjoyed and many not so much, but The Blair Witch Project will always be in the upper echelon of the format. 

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An American Haunting A Movie A Day Journal Entry

An American Haunting (2005) – A Movie A Day 2021 #20

An American Haunting poster

As big of a fan of horror movies as I am, years of exposure to silver-screen scares seem to have desensitized me somewhat. Great horrors movies can still scare me in the moment, but few of those scares stick with me after the credits have rolled. Of all the genres and sub-genres of horror movies that exist, films about ghosts and hauntings can often be a big exception to my quickly-fading-fright rule. A well-made ghost movie will often stick with me, maybe for the night or maybe even for a few days or longer. Obviously not every movie about ghosts will have the same effect, and there are plenty of average and below average haunting movies out there, but every time I watch a ghost movie I get a little excited about the possibility of a truly creepy and effective story. So, knowing that An American Haunting is based on the supposedly true story of the Bell Witch haunting, I was cautiously looking forward to a few good scares when I picked it for my daily movie. I was cautious not only because of the potential for a nervous night’s sleep, but also because I’d known about it for a while and had sort of avoided it because I didn’t want it to be bad. Well, after seeing An American Haunting I slept just fine, but the movie was a bit better than I was expecting.

My expectations about the quality of the movie likely had a lot to do with the awful experience I had with a movie from 2013 titled The Bell Witch Haunting. I don’t like to bash movies, but that thing was awful. And yeah, I know the filmmakers behind An American Haunting have nothing to do with The Bell Witch Haunting, but the association in my brain was hard to shake. Plus, I’ve seen plenty of not-great haunted house movies, and the trailer for An American Haunting was giving me strong not-great vibes. An American Haunting certainly isn’t great, but it’s good for what it is. That’s hardly a resounding endorsement, so allow me to elaborate. 

An American Haunting tells the story of the Bells, a family living in Tennessee in the early 1800s. The family consists of father John Bell (Donald Sutherland), mother Lucy Bell (Sissy Spacek), and their children Betsy, John Jr., Richard, and Joel. After John gets on the wrong side of neighbor Kate Batts in a land deal gone bad, the Bell family begins to experience an increasingly violent haunting. The focus of the haunting is young Betsy Bell. Betsy is tormented night after night not just with sounds and moving objects, but she is eventually physically assaulted by the unseen force. Betsy is dragged across the floor, lifted into the air, and slapped repeatedly as the force steadily increases its tortures. The local preacher and the community school teacher join the Bell family to try to figure out how to stop the haunting, but things only get worse when John becomes a target of assault as well. 

Eventually certain things come to light and the reasons behind the haunting become more or less clear, but the resolution of the movie leaves a lot to be desired. The plot is largely based on the “true” accounts of the Bell Witch, but some very generous liberties are taken with the story, especially in the later stages. Creative license is great, but I didn’t really enjoy how things were wrapped up. It made sense from a high-level look at things, but when you really get into what happened throughout the movie, it doesn’t all come together super well. There is also an unnecessary framing device where the whole story about the Bell family is being read from a letter found in what I think is supposed to be the same house in the present day. So the main bulk of the movie is a flashback for some reason, and the final scene feels pointless. I can’t say what happens without spoiling the whole movie, but basically it’s a thing where you’re meant to feel something for a few characters that you know absolutely nothing about and haven’t even seen for about an hour and a half. I would have very much preferred if the story had only taken place in the past.

The stuff surrounding the Bell family is better than I was expecting though. I didn’t know Donald Sutherland and Sissy Spacek were in the movie until they both showed up on screen, so that was a very nice surprise. They added some much-needed weight to the scenes involving the Bells. 

As for the haunting itself, even though it was done pretty well, it’s approached in a way that I’m not always crazy about. I prefer quiet and creepy over loud and scary, and the haunting of Betsy Bell was often very, very loud. Screams, crying, slapping, and slamming were a constant accompaniment to the presence of the entity in the Bell house. To me, that’s not as unnerving as quiet moments where I wonder along with the characters, “did I really just see what I thought I saw?”

There is no ambiguity about what is happening when we see Betsy being suspended in mid-air and smacked around by invisible hands. Despite there clearly being something supernatural in the house, there is an agonizingly long sequence where the Bell family tries to convince the school teacher that his rational explanations aren’t sufficient. Thankfully he is eventually convinced that something supernatural is going on, and we then can finally move on with the story. That whole section of disbelief felt like it put the movie on pause though, because we (the audience and the characters) all knew what was happening except for this one guy who we apparently need on-board before we can move on. 

Other people may enjoy the loud and obvious approach to the scares though. They’re not my favorite thing, but they didn’t prevent me from enjoying the movie fine. Like I said, I didn’t care for the wrap-up, but up to that point I enjoyed seeing John, Lucy, and Betsy deal with their situation. I probably won’t ever watch An American Haunting again, but I’m glad I finally saw it. I’m still looking for a really great Bell Witch movie though. I know it can be done.

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