Criterion Sunday 437: Vampyr – Der Traum des Allan Gray (Vampyr, 1932)

I can imagine this film at the time seeming quite quaint and old-fashioned. It very much still feels like a silent film: most of the exposition is done via text-heavy images of book pages like a silent film’s intertitles and there’s very little in the way of spoken dialogue. It also, even for the period, feels rather slow with a minimum of plot drama; much of the film revolves around the atmospherics that Dreyer and his production designer and cinematographer are able to evoke. It is the very cinematic expression of the uncanny/unheimlich, as many of the images are filmed with a heavy grain, almost washed out and shot through veils, like the title character’s dream (which is after all the subtitle of the full German original title). It’s a morbid, imagistic and fantastic dream or nightmare, a reverie of the waking dead, and vampirism just seems like part of the heavy folk stylistics being conjured here, only added to by the heavy somnabulistic movements of the amateur aristocratic socialite (Nicolas de Gunzberg, credited as Julian West) in the lead role. Certainly the vampirism doesn’t seem to connote the blood-sucking of capitalists as it can in more modern interpretations, but instead evokes the sense of an ancient rural curse and restless vengeful spirits. It’s all very mysterious and beautiful, whatever inspires the horror, and while it doesn’t conjure the same kind of frightfulness as modern works, it has its own sense of the uncanny.


FILM REVIEW: Criterion Collection
Director Carl Theodor Dreyer; Writers Christen Jul and Dreyer (based on the collection of short stories In a Glass Darkly by Sheridan Le Fanu); Cinematographer Rudolph Maté; Starring Nicolas de Gunzberg [as “Julian West”], Maurice Schutz, Sybille Schmitz, Rena Mandel; Length 73 minutes.

Seen at the Filmhouse, Edinburgh, Sunday 29 June 2003 and at the BFI Southbank, London, Monday 19 March 2012 (and most recently on Blu-ray at home, Wellington, Sunday 13 June 2021).

Criterion Sunday 367: Grip of the Strangler (aka The Haunted Strangler, 1958)

This late-50s monster movie starts out pretty straight, as a Victorian-set police thriller (it appears the original British title was Grip of the Strangler, but it’s more famous under the American title). James Rankin, a private investigator played by Boris Karloff (the casting of whom already tips you off as to the future direction the film might take), looks into the case of the ‘Haymarket Strangler’ 20 years earlier, whom he believes to have been wrongly executed. It’s all fairly clunky in the way it’s put together, as Rankin quickly figures out the whereabouts of the missing murder weapon that’s the key to the case, but you realise when he finds it that this screenwriterly haste is because this is where the film properly starts. Once that happens, there’s plenty of fun in Karloff’s gurning performance, even if it all feels fairly unadventurous. Still, it’s silly fun.


FILM REVIEW: Criterion Collection
Director Robert Day; Writers John Croydon [as “John C. Cooper”] and Jan Read (based on Read’s story “Stranglehold”); Cinematographer Lionel Banes; Starring Boris Karloff, Jean Kent, Elizabeth Allan; Length 79 minutes.

Seen in hotel room (DVD), Auckland, Wednesday 28 October 2020.

Wuthering Heights (2011)

A number of recent British heritage productions have attempted in their various ways to try to break away from some of the clichés of the genre, most notably the recent Lady Macbeth (2016). A lot of this has been in terms of casting (and certainly there’s a certain element of colour-blindness here), but the director also pushes the visual expectations of the genre with this adaptation of a well-loved and well-known novel.


Andrea Arnold certainly has an assured visual style. This film is shot in an Academy ratio (watch out that your TV doesn’t try to stretch it into widescreen) and frequently shoots through cracks and veils to further reduce the image size. When the camera does go outside there are some frankly beautiful shots, and some pretty taut editing too. It’s just that the script doesn’t always match this visual sense. There’s a lot of play with class and (newly for this adaptation) race, but most of it is enunciated at a formal level rather than in the dialogue, though that’s probably right for the period. There’s also an over-reliance on handheld camera; in many ways this feels like a period film for those who don’t tend to like them. Still, whatever else I might say, I do like it. The style is strong enough — and the performances too — to carry it.

Wuthering Heights film posterCREDITS
Director Andrea Arnold; Writers Arnold and Olivia Hetreed (based on the novel by Emily Brontë); Cinematographer Robbie Ryan; Starring Kaya Scodelario, James Howson, Shannon Beer, Solomon Glave; Length 129 minutes.
Seen at home (Netflix streaming), London, Wednesday 3 August 2016.

The Beguiled (2017)

Sofia Coppola’s career has taken in a lot of hothouse environments of young women, guiding and socialising with one other largely independent of men, from her debut feature The Virgin Suicides. Her 2017 feature, from a novel already adapted in 1971 by Don Siegel, received a lot of criticism at the time for its elision of Black people in its southern US Civil War-era story, and there may of course be merits to those criticisms but there are other films that deal with these events, and Sofia Coppola is probably not the best-placed director to do justice to such themes. Instead, it takes the setting as a backdrop for another of her stories about young women’s coming of age, in difficult circumstances.


Sure, there are plenty of valid criticisms you could make, but I like Sofia Coppola’s work and I like what she’s doing with this film. A group of women isolated from their country and society isn’t exactly new territory, and if it’s not quite the masterpiece that The Bling Ring (2013) and Marie Antoinette (2006) were, it’s still very assured. Beautiful cinematography turns on a tightly judged acting performance from each of the women (and Colin Farrell), in which allegiances and sympathies shift markedly with only very subtle changes in the relationships (until it becomes less subtle and then the film just ends, rather swiftly). I don’t know if it says anything really about the period of the Civil War-era America or the end of the antebellum South, but I would venture that it’s more about sex and desire in a cloistered environment.

The Beguiled film posterCREDITS
Director/Writer Sofia Coppola (based on the novel The Painted Devil by Thomas P. Cullinan); Cinematographer Philippe Le Sourd; Starring Nicole Kidman, Colin Farrell, Kirsten Dunst, Elle Fanning, Angourie Rice; Length 94 minutes.
Seen at Living Room Theaters, Portland OR, Friday 30 June 2017.

Crimson Peak (2015)

Having this year been watching almost solely the output of female directors, I’ve become used to seeing on screen a certain level of budget (something nearer to the $0 end of the spectrum, let’s be fair). And then you watch something like this, just a grand, gorgeous staging with the sets! and the costumes! and the art design so elaborate and intricate you worry it’s all going to get in the way of, oh, the acting, the characterisation, that kind of thing. (I gather some critics feel that it has.) Now, I don’t deny any of Guillermo del Toro’s talent; he’s clearly done a lot of legwork to get to the stage where he can make something like this, and I think his great films like Cronos and El laberinto del fauno have given him a peerless sense of what works filmically. Because that stuff comes effortlessly here, especially when he’s marshalling all the tropes of the horror genre — the depth of field in staging shots, the creepy sound design, flashes of spectral presences, and then the full-on gory costumework. Because yes, there’s a lot of gore here, whether explicit or suggested: much of the latter part of the film is set in a house whose walls and foundations seem to literally ooze blood. Within this, it seems like a canny choice to go for actors like Mia Wasikowska, Jessica Chastain and Tom Hiddleston, all of whom have previous in this kind of enterprise — portraying doomed lovers in a period setting — so all of them look quite at home in what is a Victorian-era gothic romance hat-tipping visually to Hammer horror as mcuh as to Italian giallo, not to mention a bit of Kubrick’s The Shining too. It does in the end all feel a bit oppressive, and it should of course, but it’s a bravura piece of filmmaking and it hits all the right notes, honouring its sources without condescending to them.


Crimson Peak film posterCREDITS
Director Guillermo del Toro; Writers del Toro and Matthew Robbins; Cinematographer Dan Laustsen; Starring Mia Wasikowska, Tom Hiddleston, Jessica Chastain; Length 119 minutes.
Seen at Cineworld Wood Green, London, Saturday 31 October 2015.