LORD FORGIVE US

December 9, 1879:

Met with Blake this evening for the first time. He stood in the shadows to prevent me from getting a clear look at his face. What a vile disease this is. He is a rich man with a cursed condition, but this does not prevent him from trying to better his situation and that of his comrades at the colony.

December 11, 1879:

Blake's proposition is simple: He wants to move off Tanzier Island and re-locate the entire colony just north of here. He has purchased a clipper ship called the Elizabeth Dane with part of his fortune and asks only for permission to settle here.

I must balance my feelings of mercy and compassion for this poor man, with my revulsion at the thought of a leper colony only a mile distant.

April 20, 1880:

The six of us met tonight. From midnight until one o'clock, we planned the death of Blake and his comrades. I tell myself that Blake's gold will allow the church to be built, and our small settlement to become a township, but it does not soothe the horror that I feel being an accomplice to murder.

April 21, 1880:

The deed is done. Blake followed our false fire on shore and the ship broke apart on the rocks off Spivey Point. We were aided by an unearthly fog that rolled in, as if Heaven sent, although God had no part in our actions tonight. Blake's gold will be recovered tomorrow, but may the Lord forgive us for what we've done.

SOMEONE'S WATCHING ME! (1978)

Someone’s Watching Me! is a very different kind of Carpenter film — one that lands squarely in thriller territory; it features absolutely no blood and just a handful of non-squeamish violent scenes. When Halloween was released, film critic Roger Ebert gave it a very favorable review, comparing it to Psycho, so it’s appropriate that Someone’s Watching Me! slyly plays around with Hitchcock conventions by fashioning a sort of reverse-Rear Window: instead of a home-bound city dweller using a pair of binoculars to spy on his neighbors in the apartment building across the courtyard and discovering one of them might be a murderer, Lauren Hutton’s Leigh is a home-bound city dweller being spied on by someone living in the high-rise building across the street — someone who watches her with a high-powered telescope, and who begins stalking her by leaving gifts, making threatening phone calls, and entering her apartment — all in an effort to drive her crazy before trying to kill her and staging her suicide.

Much of Someone’s Watching Me! is a one-woman show, with Hutton (who is still acting today, and seen as recently as Amy Schumer’s I Feel Pretty) spending most of her screen time alone in her apartment having conversations with herself as she deals with the increasingly strange attention from her anonymous neighbor. For the most part, Hutton shoulders this burden well, although some of the dialogue Carpenter wrote for her, when heard with modern ears, can sometimes be corny, or the least bit…off color. (There’s a joke in there somewhere about her being raped by midgets and it makes me wince every time I hear it.)

Frequent Carpenter collaborator and one-time wife, Adrienne Barbeau, is also along for the ride, playing the spunky sidekick who helps move the plot along into more dangerous territory. Notably, Carpenter writes her character, Sophie, as a lesbian; refreshingly, this never enters into the plot, and never becomes notable beyond the one-time mention, which helps to make things feel just a bit more realistic. Sure, one could argue it doesn't serve a purpose as far as the plot goes, but it's the smaller details that don't necessarily contribute anything substantial that help to ground small-scale and intimate stories like this. We should also note that this creative choice was made long before the push for all-inclusive atmospheres in films and television featuring females and members of the LBGTQ community. 

Someone’s Watching Me! starts off somewhat slow; Carpenter takes his time introducing Leigh, allowing her affability and subtle painful emotional history to earn the audience’s sympathies — this so Carpenter can methodically turn on the creep and raise the stakes a little at a time. He wrings genuine suspense during several key moments, one of which takes place in a desolate parking garage. Though Leigh falters a handful of times, coming close to emotionally surrendering to her tormentor, she refuses to be run out of her new home. Someone’s Watching Me! isn’t a slasher flick, but Hutton is definitely a final girl, and she’s one of the strongest the genre has ever seen (and she’s got the ultimate bad-ass line, which ends the film).

Though this was still very early on in Carpenter’s career, and he was working with a cast and crew outside of his usual repertoire (no Carpenter score for this one, and no D.P. Dean Cundey), Someone’s Watching Me! still manages to feel like a Carpenter film, especially when it comes to the camerawork. Also, look for an appearance from Len Lesser, Seinfeld’s Uncle Leo himself (“Hello!”) as one of the film’s handful of suspects.

JOHN CARPENTER'S OTHER HALLOWEEN

The Ghost Maker: A Halloween Tale

By John Carpenter

I live my days in silence, behind the barred in windows of this asylum, in a cell of shadows. Until this moment I have spoken to no living person of the events of that Halloween night five years ago - because I could neither ask for nor expect belief.

But today, my doctor has given me paper and a pen, as he hopes I shall be compelled to write out my tale of horror and madness - once and for all expelling the demons that hold me in their catatonic embrace. I know this horror shall never leave me.

So my purpose, Dear Reader, is to finally put before the world the events of Oct. 31, five years past, as I experienced them, that no man may follow me to this hideous darkness in which I dwell, awaiting the only mercy I shall ever know - my release - the moment of death.

It was a bitterly cold night and I welcomed the warmth of the hearth in Howard Necron's study that All Hallow's Eve five years ago. I settled myself comfortably into an armchair by the crackling fireplace and waited as Necron poured two large snifters of brandy. He then turned to me with the oddest smile...

"I suppose, William, that you wonder why I have asked you here this evening," Necron said as he poured the amber liquid.

I admitted that I had been somewhat curious, as for the last 15 years we had been bitter professional rivals. We had once been partners in science and the closest of friends as well, but a dark schism had developed over our opposing research ethics. Necron had always wanted to prove that which should have, to my mind at least, remained in the ephemeral world of mathematics and theory. Disagreement had turned to debate, which in turn had become cold enmity.

"What would you say, William, if I told you that using universally accepted scientific principles, I could create a ghost?"

"I would say, Necron, that you were as mad as a March hare." My smile of derision must have been obvious, for he turned quickly away, pausing for a moment with his back to me before he slowly crossed the study to hand me the brandy snifter.

"To science, eh, William?" As he raised his glass to mine, his gaze seemed to burn into me, as if a shrewd smokey secret passed behind his eyes. I nodded and took a sip of the brandy. It had a sharp undertaste, and as I started to mention something about it, Necron settled himself closer to me on the ottoman at my feet.

"What is Schrodinger's cat?" he asked in a whisper.

"There's no need for this. We both know what it is." I suddenly felt unfocused. Drowsy. Probably the heat from the fire, making me sleepy. "It is a... a... thought experiment used to demonstrate the paradox of observer-created reality," I answered.

Necron seemed unbearably close to me now, his face but inches from my own.

"Yes," he said, "Nothing is real until you observe it."

Necron now stood, staring down at me with triumph and ice, the fire flickering on his face, shadows squirming like mad, devouring insects. A wave of dizziness washed through me.

Necron continued: "Imagine a box. The size of a coffin. Inside it is a radioactive particle with a 50-50 chance of decaying in, say, one minute. Also in the box is a glass bottle containing cyanide gas, and a Geiger counter. And, finally, into the box, is placed - an unconscious man."

"A cat, wasn't it?" I broke in. I was having a difficult time maintaining any line of reasoning, but there was a chill to his words.

His eyes began to drift strangely above me, as I sipped once again from my drink. That metallic undertaste assaulted me again. What had he put in my brandy? Could Necron be that insane? I tried to focus on his face. His features seemed to melt in the heat of the fire.

"If the radioactive particle decays, the Geiger counter so records it, trips a hammer, smashes the glass bottle, thus allowing the cyanide gas to escape and kill the man."

Necron's words were running all together.

"You mean... the cat," I mumbled weakly.

"Or," he said, "if the particle does not decay, the Geiger counter is silent, the hammer not tripped, the man allowed to live."

The room was spinning like a child's music box. The heat from the fireplace... Necron looming above me... My eyes bobbed open, closed. "What did you put... in my drink?"

But Necron ignored my slurred question.

"Don't you see, William? I could be either a murderer or a savior, because until human eyes see inside the box, the man inside is both dead and alive at the same time - a complex, linear combination of the two. The man in the box is a ghost of all possibilities of dead and alive, condemned to live in a limbo until the box is opened and he is observed by human eyes." His voice had dropped to a sibilant rasp, eyes glowing with a fury.

The snifter of brandy suddenly fell from my fingers. As I lost consciousness Necron's face was the last thing I saw.

"I am the ghost maker," he said, grinning. Then there was nothing. Blackness. Silence.

I awoke. I was lying down. Enclosed. Trapped. I couldn't move. Listening. Trying to breath. Then suddenly I threw up my arms. Touched a solid surface above me, no more than a foot away from my face. A lid. I was buried. In a coffin. A box.

I pushed up the lid a fraction of an inch.

A sliver of morning sunlight appeared as the lid opened, illuminating the inside of the box.

I suddenly saw the thing above me. It was hovering, just a foot away. Its body prone, it was staring down at me. Fuzzy. Indistinct. Its arms reached for me and at the same time another pair of arms lay at its side.

It was a blurred composite. A living transition. A contradiction. All possibilities, dead and alive. It undulated. Gazing eyes. Dead eyes. Living eyes. Blue decaying flesh.

In the fraction of a second before it disappeared I saw the creature's shape crawling, diffracting - indefinite, exploding anew out of rippling flesh.

A leering death's head began to scream down at me, disintegrating, crumbling and decomposing, growing and rejuvenating, humanity degraded and corrupted, dead and alive, revealed in an instant.

And then it was over. The thing disappeared. Its features settled, collapsed into definition. I looked around - the glass bottle at my feet was unbroken, the cyanide gas contained. The Geiger counter at my side was silent.

My mind raced frantically. Dead plus alive. Alive minus dead. Dead plus the square root of minus alive.

And then, as I continued to push upward, the impact of Necron's experiment hit me. As my fingers lifted the underside of the lid, the thing made man stared back at me in horror, screaming a long, sustained shriek of utter annihilation. Touching the unfeeling surface of a mirror - I realized the hideous image had been a reflection.

It was I.

 









© 1988, John Carpenter and The New York Times

NADA

IN THE MOUTH OF MADNESS (2015)

It sounds depressing to say this, considering we have to go back over 25 years to 1995, but In the Mouth of Madness is, and probably will be, John Carpenter’s genuinely last great film as a director. Following that would come a string of underwhelming and critically derided titles like Village of the Damned, Escape from L.A., Vampires (underrated!), Ghosts of Mars, and then, after a seven-year break, The Ward. Unless you’re a devout Carpenterphile, it’s likely that more people know about the bad reputation of Escape from L.A. than who know that In the Mouth of Madness exists at all. 

And that’s a crime.

Unexpectedly written by Michael DeLuca, who is known more as a producer and New Line Cinema’s former President of Production than as a screenwriter, In the Mouth of Madness is a Lovecraftian love letter to the genre – one filtered through the use of a purposely Stephen King-ish horror writer, here called Sutter Cane (and played by Das Boot’s Jürgen Prochnow). It’s a Lovecraft monster movie, a mind-bending psychological thriller, a satire on the power of pop culture, but most interesting, it’s also a clever take on film noir. International treasure Sam Neill (the U.S. definitely has joint custody with New Zealand) is John Trent, a private investigator hired to find a missing author, who is forced to work alongside Linda Styles (Julie Carmen), your proto-femme fatale – someone who cannot be entirely trusted. Together they’re tasked with solving the mystery of Sutter Cane’s alleged disappearance, but more importantly, trying to navigate the highly distressing question: what is reality?

This combination of genres boosts In the Mouth of Madness and offers it a non-derivative identity, but the most gleeful aspect is Carpenter’s sheer desire to scare his audience. In spite of the few moments of purposeful comedy (Sam Neill lazily singing “America the Beautiful” and intermittently staring out the passenger-side window during the duo’s very long car ride to Hobb’s End absolutely kills me), you can sense the intent for terror in every frame. Prior to 1995, the last time Carpenter was this dedicated to scaring his audience was maybe 1987’s Prince of Darkness, but definitely 1982’s The Thing. Though the mid-90s and beyond is the era during which the director would begin to embrace graphic violence (Vampires is ridiculous, and his Masters of Horror entries are very icky), In the Mouth of Madness relies mostly on eerie and somewhat abstract images – the former courtesy of KNB FX’s Lovecraftian creations and Carpenter’s simplistic editing tricks, and the latter courtesy of the production’s various Toronto shooting locales, which appear so majestic yet isolated that they feel plucked from a dream. Something as simply rendered as a disembodied hand knocking on a window or touching someone’s shoulder from behind, only to immediately disappear, is almost embarrassingly rudimentary considering its effectiveness. That’s not to say there isn’t bloody mayhem — it wouldn’t be a Carpenter film without at least a bit of the red stuff — but it’s noticeably dialed down in favor of a different kind of horror experience.

In the Mouth of Madness is the most undervalued film of Carpenter’s career. Like many of his other titles, appreciation for the film has grown over the years, having a strong presence on video and benefiting from its association with the very genre-friendly studio of New Line Cinema.

THE ANNIHILATION OF CONSCIOUSNESS

ONE GOOD SCARE

Excellent stuff.