DVD REVIEW: SILENT NIGHT, BLOODY NIGHT

Before Michael Myers ran rampant on Halloween night, and before Billy began picking off sorority sisters one Christmas weekend, there was another slasher film unleashed upon the world in which a mysterious killer wreaked havoc one dark Christmas Eve. Though Silent Night, Deadly Night gets all the (undue) love, it was the similarly titled Silent Night, Bloody Night (aka the oddly spelled Deathouse) that beat all these folks to the punch. It's a title that for one reason or another has eluded me for all the years of my horror-lovin' life. In my youth, the obscurity of the actors involved likely turned me off, and as I approached my "adult" years, bad word of mouth/reputation likely continued my disinterest. 

So when I received this screener of Film Chest's upcoming restored edition of the film, I thought, "Yes, damn it - we're finally going to do this."

The film opens with a somewhat docudrama approach, complete with voice-over filling in the audience on the history of the Butler home. One Christmas Eve, an accidental (?) fire claims the life of Wilford Butler and the house is left silent and empty. Years later, the house is inherited by Wilford's grandson, Jeffrey, who is only interested in selling it. The townspeople aren't too keen with that, as they just know there's something not right about the old place, and they'd rather people just stay away. Jeffrey's lawyer takes up temporary residence in the house with his wife while he awaits the decision of the townspeople whether they want to outright buy the house to keep it unoccupied. And don't you know it? The house isn't as empty as everyone thought. And that's when the bodies start to drop.

Look out!

Though Silent Night, Bloody Night is, if we're being honest, rather poorly made from a technical standpoint, it does get points for endeavoring to create a creepy tone established on mood, the harsh wintry conditions, and a disturbing mythology. It's worth watching for that reason alone. And it's interesting to see infamous horror tropes show up in cinema history far earlier than expected. Halloween gets a lot of credit for showing the killer's point of view, though that was previously explored in Black Christmas...which created a lot of tension by utilizing mysterious made by a whispering caller...which earlier appeared in this, Silent Night, Blood Night.

But sadly the film falls victim to so many other low budget film-making pitfalls. This is the kind of film where the musical score cuts-out the same time that the scene ends; where the audio track doesn't always match the action on-screen; where the direction relies almost exclusively on point-and-shoot techniques; and whose own rickety and inconsistently colored picture suggests that this was a film that wasn't really worth treasuring.

Which is kind of a shame, because Silent Night, Deadly Night had potential. It satisfied my own personal requirements for a quality horror film: an isolated location, a moody atmosphere, an intriguing mythology, and a cast of (gasp) adults! There is a chilly Hammer-esque approach using darkness and shadow, and at times an unnerving feeling...there's just not enough of it.

As the ad above boasts, this version released by Film Chest was harvested from an original 35mm negative. I don't know the history of the different releases this film has seen, but being that I believe it's in the public domain, there have been dozens. This particular version, impressive picture or not (and it's merely okay), might be the first time ever the film is appearing in widescreen on a home video format. That, alone, should warrant a purchase from fans of the film. 

This Film Chest restored edition of Silent Night, Bloody Night streets December 10. Give it a whirl and see if I'm wrong.

DVD REVIEW: ROGER CORMAN'S HORROR CLASSICS VOL. 1

 

It's easy to sift through the producing career of Roger Corman and wonder why anyone gives a hootenanny about the man who brought us some of the most ridiculously titled, conceptualized, and realized films of all time. But dig a little deeper. Start doing some clicking. Start realizing he was the one to give some of Hollywood's biggest names their first break. You want actors? Try Jack Nicholson or Sylvester Stallone. Directors? Perhaps you've heard of Martin Scorsese, Ron Howard, Jonathan Demme, or Joe Dante. And believe me, this list keeps going. A man known for releasing decades upon decades of schlock has proven himself to be an invaluable asset for struggling filmmakers - a conduit between the oblivion of the obscure and the world of the mainstream. 

Everyone has their favorite Corman flick. If I had to pick mine, it would be a toss-up between the original versions of Death Race 2000 and Piranha. There is an undeniable power to these and many of his other films. As Wes Craven once said, some filmmakers have the power to scare you, but there are some other filmmakers that feel "dangerous" to audiences, and who can't be entirely trusted to stop at that line between acceptable cinematic horror and beyond it. Roger Corman has the power to infuse his own directorial body of work with that feeling of danger, as well as finding other filmmakers to find that same line and obliterate it. 

Three films comprise Roger Corman's Horror Classics: Vol 1: A Bucket of Blood and The Terror, directed by Corman, and Dementia 13, directed by a young Frances Ford Coppola. Yes, of The Godfather trilogy, Apocalypse Now, and The Conversation. For the first time ever on home video, each film has been digitally remastered. Who'd've thought such films made on the cheap could look so fantastic?

Or at least varying degrees of fantastic. Given their age and original budgets, only so much could have been done. A Bucket of Blood might look the best, due in part to its original black and white format. Except for a few artifacts and mild blemishes, it looks pretty good. And watching Dick Miller in a rare leading role about a coffee shop busboy slowly losing his mind as he desires to become a heralded artistic genius is always a fun time.

Dementia 13 might be the selling point of this set, if only because of the man behind the camera: Frances Ford Coppola. One of his earliest efforts is about a woman who covers up the death of her husband by getting rid of his body, only to find herself forced to mingle with members of his family in an effort to keep up the illusion that he's just fine. (For the inheritance, you see.) One of these family members turns out to be fairly crazy, and they have an ax to prove it. Dementia 13 looks a little muddy at spots, but then quickly alternates to looking pretty smooth. Overall it looks great; a victim of multiple public domain video releases by distributors looking for a quick buck on a recognizable title, it might be at its best looking here.

The Terror, never a favorite Corman flick of mine, probably yields the least impressive results. Quite possibly another public domain titles for many years, it's one that's never appeared anywhere with a laudable transfer. I'd wager that while this is probably the best it's ever looked, it's not going to knock your socks off, either.

If you're one of the lucky few who's just had a spiritual awakening and realized the horror genre is your thing, and if you've heard the name of Roger Corman and want to start there, this recently released collection by Film Chest is your perfect prerequisite. A collection that shows off the traits for which Corman would become famous - gothic horror and morbid humor - awaits you with Roger Corman's Horror Classics: Vol 1.

Buy.

REVIEW: THE RED HOUSE

"Every living person has their own Ox Head Woods.”

The Red House is about cancerous guilt. While it presumes to be about a mysterious abandoned house and of the potential evil that resides within, what The Red House is really about is guilt—unburied, unforgotten, and insurmountable.

Meg (the adorable Allene Roberts) lives on an isolated farm with the Morgans, Pete (Edward G. Robinson) and his sister, Ellen (Judith Anderson). The Morgans long ago adopted Meg after her parents had decided to pack up and move north. The circumstances as to why Meg never accompanied her parents, or how the Morgans came to adopt her, is never made clear, but Meg seems legitimately happy, so beyond her recognition of the adoption having taken place, she doesn’t feel the need to ask any questions. It is what it is.

*

One day a boy from her school named Nath (Lonnie McAllister) approaches her about possibly getting a job on the Morgan farm. Meg introduces him to Pete, who lost the use of one leg after taking a nasty fall in Ox Head Woods, and the agreement is forged: Nath is to come every day after school, do whatever needs to be done in the fields, and then walk the hour back home. One night, after it’s gotten a bit late, Nath off-handedly mentions that he’ll cut through Ox Head Woods to save time on his way home. Pete immediately begins to warn the boy of the woods, and of its reputation, and of the screams reputedly heard coming from what’s known as the red house. Nath waves off these claims and takes the short cut anyway…and hears the screams for himself. Terrified, he rushes back to the Morgan farm and tells them what he has heard.

And from there the mystery begins to grow. Just what is with the red house of Ox Head Woods? Why does Pete Morgan seem so terrified of it? And who is that man lurking in the woods with a rifle, trying to scare off anyone who gets too close to the red house? (Played by Rory Calhoun, who has the greatest hair I’ve ever seen.)

When most people hear the words “film noir,” they think of Sam Spade sitting behind a desk, or Orson Welles fleeing from his captors through city sewers. They think of directors like Fritz Lang or Howard Hawks. They think of fedoras and dark alleys and light filtering in through window blinds. And while I love classic noir, I love non-traditional noir even more—when it’s lifted and placed in a not-so-usual setting. And I love when the heart of  noir lies in darkness verging on horror.

*

The Red House was not a movie with which I was previously familiar, or even aware. But Edward G. Robinson remains one of the truly great character actors, most well known for his countless roles as crooked monsters during Warner Bros’ heyday of gangster pictures (perhaps the most famous being Little Caesar). Robinson’s depiction of any number of ruthless thugs gave birth to the classic “you dirty rat” line used in so many mafia parodies (even though he never once used that line). And sitting down to watch him portray not a gangster or thug, but a broken-down, paranoid, and terrified man, I have to say it was an interesting experience. It always is when the requisite tough guy gets to shed some tears and show off his broken side.

The “twist” ending, which is a term I lament using as it makes the resolution sound gimmicky and cornball, is pretty much perfect. It unmasks the villain, so to speak, and the mystery of the red house is finally unearthed. So, what on earth dwells within Ox Head Woods that scares Pete so much? Is it a wailing ghost? A mutated monster? Any one of those would have been disappointing to some degree, but for those who enjoy real, human drama, they will find the ending as satisfying as it is heartbreaking.

The Red House is a film that movie fans love to analyze, as they do with all noir, and some of the theories can get pretty...out there. (The Morgan brother and sister are having an incestuous affair! The red house represents the vagina!) Even Martin Scorsese has discussed the film in a past AFI program, but while I haven't seen this for myself, I can't imagine the "v" word ever comes into his assessment.

The direction by Delmer Daves, who is also responsible for the Humphrey Bogart-starring Dark Passage as well as the original 3:10 to Yuma (yes, the Bale/Crowe version was a remake), is quite beautiful. Despite being shot in black and white, he captures the beauty of the Morgan farm and the nearby town, full of swaying tree branches and lush foliage. Small-town, picturesque Americana is effortlessly captured, and if it were not for the dark secret metastasizing in the hearts of a few, it would seem like the ideal place to live. And alternately, Ox Head Woods is made to look ominous with only patches of darkness and the sounds of wind through those same lush trees...

*

The recent DVD/Blu-Ray combo release by Film Chest (who previously brought you ZAAT! for some reason) is the definitive version of the film to own. Plagued for years by second-rate releases by companies specializing in public domain titles, the picture has never looked better. The fuzz is gone and replaced with incredibly smooth images—at some points even a little too smooth, giving the younger members of the cast almost doll-like appearances. A restoration comparison can be found among the special features, which showcases just how much work was done on this minor classic.

A commentary track by film author William Hare endeavors to be interesting and passionate, but too often falls into the trap of merely repeating what’s occurring on screen…and I’m not sure if this was just a fault of my person screener copy, but at times there seemed to be anywhere between a 5-10 second delay when Mr. Hare’s comments didn’t exactly match up with the on-screen action. However, Mr. Hare specializes in film noir from Hollywood’s golden age, so the commentary track contains some interesting information, if you can deal with some occasional “now the character is walking through the woods”-type comments.

A trailer for the film caps off the features.

Fans of film noir and Edward G. Robinson would be adding a gem to their collection with this pretty stellar release. Forget all those previous cheap and colorized versions. Film Chest has the last word here.

Buy it here.

* Images courtesy of DVDBeaver.