The Last Few Movies I Saw: Episode Two – yeah, I did it again.

Sometimes this is just easier and more fun than writing long reviews.

What follows are some of the last several films I have watched. Perhaps, just to show that I do take in a fairly wide range of cinema. Perhaps something more sinister. Perhaps you’ll never know and me and your cat are in cahoots. They are listed in ascending order of what I thought of them. Kindly interact with this post if you feel I have misordered the movies.

Oh No:

“Why are a lot of my movies showing up on this list of disasters?”

This was actually a fairly good bunch of movies so luckily the “bad” will be short. Knowing (2009) is so almost bad it might as well count as bad. It stars the infamous Nicolas Cage (Adaptation, Con Air) and was directed by Alex Proyas (The Crow, I Robot, but I’d say it’s Dark City that keeps him on the radar). The world might be ending and somebody knew all the key dates for major world disasters and recorded them years ago. Knowing has a lot of interesting ideas floating around in it but somehow it can never feel like something more than an improved Left Behind or a not as good Signs (sorry, spoilers, if you’re picking up the clues). It’s mostly almost bad, but more bad than good yet still sort of interesting. Ah, just watch it and you tell me. I don’t think it deserved to be as critically panned as it was. It’s probably on par with most crappy thrillers that get decent reviews.

Meh and/or Misguided:

“Dear Lord, make some better Christian movies.”

So I was a little disappointed with Androcles and the Lion (1952). Perhaps it was partially because I did not realize it was going to be a comedy. Maybe I didn’t think anybody besides Mel Brooks would stage a comedy in a coliseum. Unlike Brooks, however, the comedy is very sweet and there really isn’t any edge. I’m a fan of Alan Young (Mr. Ed, The Time Machine, and the voice of Scrooge McDuck) and he’s okay here. Victor Mature (The Robe, Samson and Delilah) I’ve never been wild about. I think it’s his face. Jean Simmons (Spartacus) is pretty and Elsa Lancaster (The Bride of Frankenstein, Murder By Death) is a hammy annoying wife lady. Robert Newton (Oliver Twist, Around the World in 80 Days) plays the most interesting character…and he’s still fairly simple. Finally Maurice Evans (Planet of the Apes) is Caesar. Decent cast, no? That’s not the problem. This sword and sandal show plays like a bad Sunday school lesson. It has a very juvenile tone. I’d say maybe it’s just a kid’s movie, but then there’d still be really boring parts the kids would want to fast-forward through (the Mature-Simmons romance for one). Ultimately more cheesy than purposely funny and the tacked on spirituality schtick just does not fly or seem believable. In fact, it feels a little insulting. The lion costume at the end is pretty jarringly awful too.

“Any of you clowns seen ‘Dumbland? It’s friggin’ hilarious'”

I am a fan of David Lynch (Elephant Man, Mulholland Drive, Inland Empire) but this one I’ve never fully gotten along with. I re-watched Dune (1984) because I remembered not liking it as a kid, but a friend kept insisting I needed to see it again. I can honestly say I respect it more as an adult, and I really admire Lynch’s guts in making a totally anti-Star Wars sci-fi flick when people were only craving more Star Wars, but I still don’t think it works. This translation of the dense Frank Herbert novel is emotionless, bizarre, murky, and downright incomprehensible. It’s got some great visuals and some killer guitar riffs (particularly when they ride the sandworms into battle. That’s cool), and the cast of Lynch regulars is there, but nothing clicks with the story and the voiceover internal monologues feel really inappropriate. Kyle MacLachlan (Blue Velvet), Virginia Madsen (Sideways), Brad Dourif (Wise Blood), Sean Young (Blade Runner), José Ferrer (A Midsummer Night’s Sex Comedy), Linda Hunt (Silverado), Max von Sydow (Minority Report), Jack Nance (Eraserhead), Everett McGill (Twin Peaks), Patrick Stewart (Star Trek: TNG), Sting and others are all there, but more just blank faces in wild costumes than characters (except for Dourif who’s always on his own wavelength). Dune is an epic that sports incredible production design and dark tone, but Lynch is better when he’s more focused and intimate I think. Originally Alejandro Jodorowsky (El Topo, The Holy Mountain) was supposed to direct this behemoth with Pink Floyd and Salvador Dalí aiding in the production. What a gloriously surreal trainwreck that would have been! Maybe worse than Lynch’s take, but I’d want to see it.

“Snuffy? Like Snuffleupagus?”

Spike Lee is a talented guy. Malcolm X and Do the Right Thing are masterpieces. I wanted to like Crooklyn (1994) more. It has a lot going for it. The story of a spunky young black girl growing up 1970s New York City directed by Spike Lee should be great. It’s colorful and actually has a gentler charm and sweetness than he’s ever used before and Alfre Woodard (Star Trek: First Contact, The Piano Lesson) gives a wonderful performance as the struggling mother of five rowdy kids and wife to a deadbeat musician (Delroy Lindo, Get Shorty), but it’s also episodic, melodramatic, and contrived at times. It’s a movie I enjoyed in segments, but the whole eluded me. I still have no idea why all the footage when Troy goes down south to live with her awful aunt is squished (because the atmosphere is stifling? We get it, but it looks terrible). Not bad, just so-so and I would be lying if I didn’t acknowledge that despite some contrivances it does seem to have a heart. I’m just sad because it could have been a lot better.

Guilty Pleasures:

“It’s a comedy!” —“No! This is serious!”

I kinda like the old hokey Flash Gordon serials with Buster Crabbe. They’re silly and dated and very cheesy, but there’s a vintage charm and weird energy about them. The film adaptation directed by Mike Hodges (Get Carter) is a weird mixture that is so uneven and odd that I kinda like it. Flash Gordon (1980) is a mess from start to finish. Some of the cast and crew seemed to think it was a comedy, others a very serious drama, and still others just found great camp in it. The production, sets, and costumes (like Dune) are a lot of fun and very in step with the original series, but with a much bigger budget. I was excited when I found out Queen did the theme songs, but it sounds like they were just phoning it in. The acting goes from bad to silly to campy to deadly serious. The tone is all over the map, but that’s the main reason I liked it. Sometimes things not working really makes it work. The cast includes folks like Max von Sydow (The Virgin Spring), Topol (Fiddler on the Roof), Timothy Dalton (The Rocketeer), Ornella Muti (Oscar), and the king of jovial hamminess, Brian Blessed (Hamlet)—here Blessed is a boisterous winged man whose garments seem to consist primarily of strategically placed belts. Still not as good as Barbarella or Starcrash but it’s that type of movie.

“You’re happy. I hate that.” *throws folder at temp*

Today George Huang’s Swimming With Sharks (1994) would be quickly forgotten, but as an early nineties low-key indie type movie it mostly works. Kevin Spacey (American BeautySe7en) plays Meryl Streep’s character from The Devil Wears Prada. He is Buddy Ackerman, a manipulative, megalomaniacal, malevolent dingbat who happens to be an important Hollywood producer. He psychologically and emotionally bullies and abuses his naive bumpkin assistant (Frank Whaley, The Doors and Buddy Faro, remember that show? The one with Dennis Farina?) so much that eventually something must be done. The assistant fights back. Told in flashbacks Swimming With Sharks is half dark comedy and half revenge thriller and it half works as both. I liked it somehow despite it’s cliches…maybe they weren’t as cliche then. It reminded me a little of Suicide Kings with Christopher Walken. It’s a bleak and cynical view of the Hollywood system, but perhaps not entirely inaccurate. Watch it for Spacey’s delightfully wicked performance.

“I know. I know. We’ve all done better.”

I watched this next one because I like Jack Lemmon (The Apartment, The Out of Towners) and I like Walter Matthau (Bad News Bears, Hopscotch). The Front Page (1974) is a double remake (but the first screen version that kept all the swearing) directed by Billy Wilder (Sunset Boulevard, Some Like It Hot) and if it looks and feels like a stage play…it’s because it was (although far better a transition than Rhinoceros). Lemmon is a retiring reporter about to be married to Susan Sarandon (Rocky Horror Picture Show), but his irascible chief editor (Matthau) doesn’t want to lose him. The trouble kicks in when, on his way out, he gets caught up in the story of his career and can’t let his buddy reporters get the scoop so he bounces back and forth between leaving for his woman and staying for his story. After a bumpy first act I must admit the movie picked up after about the halfway point and got more interesting. It’s a lesser Wilder picture and it does feel pretty stagey, but it has a few decent moments that make it worth it. Charles Durning (O Brother Where Art Thou?), Austin Pendleton (My Cousin Vinny), Harold Gould (The Sting), and Carol Burnett (Annie) co-star. Not great, but you could do worse.

“Good-bye, Jeeves. I die. I’ll see you at the finale.”

My last guilty pleasure was The Ghoul(1933). It’s one of those movies that’s hard for me not to like. Boris Karloff (Frankenstein, How the Grinch Stole Christmas) is a dying archaeologist (or something) who has ensured his immortality using ancient Egyptian magic, so long as his faithful butler (Ernst Thesiger, The Bride of Frankenstein) can do what he is told immediately after his death. It’s your typical shadow enshrouded haunted house movie and it moves a little slow, but it’s got fun atmosphere and pretty solid finale. Sir Cedric Hardwicke (The Hunchback of Notre Dame) and Kathleen Harrison (Scrooge) co-star. My only real beef is that Karloff is barely in it.

Officially Good: 

“Paris blows.”

I need to watch more African movies. I say that every time I watch one. America has pretty easy access to European and Asian cinema, but Africa’s a different story. I’ve only seen a few films by celebrated Senegalese director Ousmane Sembène (Xala, Moolaadè) and Black Girl (1966) was his first feature. It’s rough around the edges, but it’s a solid movie. A young Senegalese girl named Diouana is hired by a white French family to be a nanny, but when they relocate back to France everything changes. Diouana was looking forward to seeing Europe, but she is relegated to the house and must be a common servant. Her pride and misfortune make her increasingly despondent and her deteriorating attitude sets her at odds with her employer. Black Girl has some delicate nuances to it that make it more interesting than it might have been. The last act is what got me the most, but I couldn’t ruin it for you.

“Silence. The ‘Munsters’ is coming on.”

Is E. Elias Merhige’s Shadow of the Vampire(2000) a good movie? Some might debate the point, but I sure liked it. It starts with a simple premise: what if German director F. W. Murnau had made a Faustian deal with the devil to make the world’s greatest horror movie and Max Schreck really was a vampire? The reason why this works is because it is treated with a twisted sense of humor in addition to the spookiness. It’s a weird, claustrophobic, and eerily intimate movie and if you know your movie history it’s pretty funny and entertaining. Willem Dafoe (Boondock Saints, Clear and Present Danger) gives a mesmerizing performance as Max Schreck the insatiable vampire and John Malkovich (Being John Malkovich) Malkoviches away as an amoral, crazed Murnau. Udo Kier (Manderlay), Cary Elwes (The Princess Bride), and Eddie Izzard (The Cat’s Meow) co-star. In many ways Shadow of the Vampire is way more interesting than remaking Nosferatu. Besides, Werner Herzog already did a pretty great remake in 1979. This is an enticing alternate history of the making of the definitive vampire movie, Nosferatu. Creaky, spellbinding film even if it does make Murnau out to be a snuff film director. Ironic Murnau made a version of Faust in 1926?

“I agree. Madeline Kahn needs to be celebrated more today. She was a talented and underrated comedienne.”

Peter Bogdanovich made some good movies back in the day. The Last Picture Show, Paper Moon, and such are pretty great. What’s Up, Doc? (1972) is a charming throwback to the screwball romantic comedies of 1930s. Barbra Streisand (Hello, Dolly!) aggressively (yet playfully) tries to get the attentions Ryan O’Neal (Barry Lyndon) who is engaged to Madeline Kahn (Blazing Saddles) while several identical suitcases keep switching hands. Hijinks and hilarity ensue. Plenty of good one-liners, funny characters, slapstick gags, cartoon violence, and a fantastic car chase at the end make this worth a look. Kenneth Mars (Young Frankenstein), Michael Murphy (Manhattan), John Hillerman (Magnum P. I.), Randy Quaid (Christmas Vacation), and Austin Pendleton (Finding Nemo) all make memorable appearances. If you like Doris Day/Rock Hudson comic romances and zany thirties mayhem and chic seventies style then check this one out.

Greatness Beckons: 

“I say, Billy Bob Thornton and John Heder? Well that jolly well doesn’t sound like a good time at all.”

The original School for Scoundrels (1960) is a lot of fun. I mainly watched it for the cast which included the inimitable Terry-Thomas (It’s a Mad Mad Mad Mad World, Those Daring Young Men and Their Jaunty Jalopies), the illustrious Alistair Sim (Scrooge, The Ruling Class), and Ian Carmichael (I’m Alright Jack). Henry (Carmichael) is a lowly, innocent peon who wants to be a “one-upman” and get a degree from Mr. S. Potter’s (Sim) school of “Lifemanship.” With this degree he will never be behind and always get the girl and the last word and no one will take advantage of him because he is too busy taking advantage of everyone else. If Henry is Donald Duck then Raymond Delauney (Thomas) is Gladstone Gander in this movie. Delauney is a huge tool and master at one-upmanship and when the two of them are after the same girl (Janette Scott, The Day of the Triffids) it will take all of Potter’s tricks to help Henry be the victor, but Henry still has a stronger moral compass. A funny battle to get the girl full of wicked head games.

“Nyet. It doesn’t look like Johnny Weismuller is down there. It’s safe to drink from this stream.”

Sergei Parajanov (The Color of Pomegranates) is a singularly unique voice in Soviet cinema. Shadows of Forgotten Ancestors (1965) was his first big foray into film as a place to truly experiment with what the camera could do. It is an energetically photographed tale of a Carpathian villager who falls in love and is plagued by tragedy and, eventually, sorcery. It is a strange movie, but hypnotic and captivating. We are transported into an almost mythical landscape that begs us to live in the shoes of one lowly man for a spell. Those who see Shadows of Forgotten Ancestors will not soon forget its imagery or its musical rhythms. Watch this before Pomegranates; it’s a much needed stepping stone before entry into the near unclassifiable.

“‘Jurassic Park’ was the ultimate feminist movie.”

I’m a sucker for adventure and despite a slow middle act, the immediately hooking intro and exciting climax make She(1935) a worthy contender in the genre. Produced by Merian C. Cooper (King Kong), She was adapted from H. Rider Haggard’s novel and features some wonderful escapism. When Leo Vincey (nonstop cowboy, Randolph Scott) is given a deliciously enthralling mission from his dying uncle he goes off to search for the lost fountain of youth that his ancestor allegedly discovered 500 years ago. Avalanches and cannibals lead them to a subterranean tribe of people who worship their never-aging female master (“She who must be obeyed”). She believes Leo to be her lover (Leo’s ancestor) from 500 years ago and refuses to let him leave. A fun production with nice sets and fun action. Co-stars Nigel Bruce (Rebecca and frequent Dr. Watson).

“Yeah. I still got it.”

Quentin Tarantino (Pulp Fiction, Kill Bill, Inglourious Basterds) likes being cool and putting cool people in cool movies doing cool things and although Jackie Brown(1997) might strike one as oddly restrained for a Tarantino flick, it’s actually one of his very best. Sexy blaxploitation star Pam Grier (Coffy, Foxy Brown) is Jackie Brown, a poor stewardess who runs illegal money over the border for cocky arms dealer Ordell (Samuel L. Jackson, Sphere, The Caveman’s Valentine, Die Hard 3). When she gets busted by the fuzz she realizes she has been living in an all too precarious situation and hatches a plan to two-time the cops and Ordell and run away with a bunch of money. It’s a fantastically good crime caper movie that also features a touching love story between Jackie and a sympathetic bail bondsman played by Robert Forster (The Black Hole). Jackie Brown also showcases Michael Keaton (Beetlejuice), Bridget Fonda (The Road to Wellville), and a decidedly odd turn for Robert De Niro (Heat, Raging Bull). And the music chosen for this movie is great!

“Do you forgive me for ‘Pinocchio?'”

As long as we’re talking crime, how about Jim Jarmusch’s (Stranger Than Paradise, Dead Man) movie about three men on the lam in Down By Law (1986). Shot in gritty black and white and giving us a really textured look at New Orleans, Down By Law is the story of three dudes who wind up reluctantly teaming up for  a jailbreak. Cool dudes, Jack and Zack, are played by musicians John Lurie (frequent Jarmusch collaborator) and Tom Waits (Imaginarium of Doctor Parnassus) and manic Italian immigrant, Roberto, is Roberto Benigni (Life is Beautiful). It’s gritty, funny, and full of lingering shots that force you to look at them. No fast cuts here. Unyieldingly low-key and pleasantly quiet, this is not a movie for everyone. Lurie, Waits, and Benigni are a lot of fun together. “I scream. You scream. We all scream for ice-cream.”

Another Invigorating Apex:

“Don’t do drugs and stay away from The Blue Angel.”

Sam Wood (A Night at the Opera, The Pride of the Yankees) directed what might just be the best teacher movie ever with Goodbye, Mr. Chips (1939). Robert Donat (The 39 Steps) is the eponymous Mr. Chips, an aging British school teacher who is being honored for his long years of service. This somewhat sappy movie is told in flashback and hopefully  will make you think differently about all the teachers you had growing up. We see his highs and lows and we come to see Mr. Chips as a complicated person with loves, hopes, dreams, and cares as human as those of his many students. He is a tie to another time. Perhaps it has been my own brief and unexpected experiences as a teacher, but I know you fall in love with schools and kids and you always wonder if you made any difference to them. Goodbye, Mr. Chips feels like a cross between Mr. Holland’s Opus and Kurosawa’s Madadayo, but superior to both of them. It’s sweet and touching and Robert Donat’s performance makes it great. An interesting double-feature with The Blue Angel.

“I hope you like low angles.”

Michael Caine (Sleuth, The Dark Knight) is cool and Britain in the sixties was super-cool. America had westerns, China had kung-fu, and England had spy movies. The Ipcress File (1965) is a deliciously stylish sixties British spy flick with all the right moves from start to finish. It’s not as bleak and hard-nosed as The Spy Who Came in from the Cold but it’s bolder and more believable than most of the James Bond movies. Cold war secrets and double-cross make it a classic tale of espionage, but it’s sumptuous style and kooky artistic angles make it a legend.

“Ah…we had a good run.”

Italian filmmaker Bernardo Bertoclucci (1900, Last Tango in Paris) had the rare opportunity to film an anti-communist movie inside of China in The Last Emperor (1987). John Lone (Rush Hour 2) is Pu-Yi, the last emperor of China. His lifetime saw many great and terrible changes. Crowned when he was three years old he is not allowed to leave the Forbidden City—he also is shocked to learn years later that his rule only extends as far as the city’s walls and that the charade continues chiefly for the servants. It’s a fine historical piece that shows the shifting of allegiances, the desperation for significance, and wild journey through many conflicting forms of government. A grand epic production with lots to look at and Peter O’Toole (Becket) and Joan Chen (Twin Peaks) co-star. Interesting double-feature with Scorsese’s Kundun.

“Not even Bruce Campbell could defeat us.”

This was a good bunch of movies overall. Army of Shadows (1969) was a masterpiece that has eluded American audiences for decades. Directed by the great Jean-Pierre Melville (Le Samouraï, Le Cercle Rouge), this dense and methodically crafted political thriller ranks up alongside Costa-Gravas’ Z and Gillo Pontecorvo’s Battle of Algiers. During WWII the French Resistance is a shrewd and necessarily surreptitious beast, but when one of their chiefs (Lino Ventura) is betrayed it sets a whole new set of tactics into motion. We are forced to examine the harshness and mundanity of life under the big German microscope. By the end of the film you will have questioned everything. It’s beautifully shot but it’s not a glamorous film. It is a dangerous, cold, and clandestine world where you may have to kill your brother. It’s a real life 1984.

“‘Super Mario Bros.’ never happened.”

Finally—not that it is the best movie on this list, but it was my favorite—is Mona Lisa (1986) directed by Neil Jordan (The Company of Wolves, Interview with the Vampire) and starring a personal favorite of mine, Bob Hoskins (Brazil, Who Framed Roger Rabbit, Nixon). George (Hoskins) gets a job driving around a beautiful call girl named Simone (Cathy Tyson) and he gradually develops an affection for her and agrees to help her find a missing girl, not realizing entirely what Simone is all about and how dangerous this new job is. Michael Caine (Zulu, The Italian Job) plays a seedy crime boss and Robbie Coltrane (Goldeneye, Harry Potter) plays George’s artistically bent best friend. Mona Lisa is a great drama and character study and I really was rooting for Hoskins’ character (and he gives a fantastic performance—that was nominated for an Academy Award). Hoskins is always fun to watch but he is in superb form here. The film has a grimy, discomforting sexy vibe to it and it really gives the actors room to play. If I didn’t love it so much it wouldn’t be here.

Whew. I am a huge nerd.

What are the last things you saw? Anything good?

Previous list can be found HERE.

I’d Wear a Turtle-neck if I Were You.

*creeeeeaaaak*

*creeeeeaaaak*

In a previous article, I praised the awesome splendor that is Frankenstein and I mentioned how iconic Boris Karloff’s image as the infamous Monster had become. I also mentioned another, possibly even more iconic character: Dracula. Hungarian actor, Bela Lugosi, is practically synonymous with Bram Stoker’s legendary Count. Lugosi (White Zombie, The Black Cat, The Island of Lost Souls, Son of Frankenstein) made a career of playing evil and supernatural villains with an aristocratic air. He played twisted doctors, cursed men, and many other grotesques, but it is his role as the charismatic Count Dracula that keeps him alive in the public’s eye. Bela Lugosi gives a spooktacular performance making Tod Browning’s (Freaks, The Unholy Three) classic film Dracula (1931).

Edward van Sloan as Prof. Van Helsing raises a crucifix to a cringing Lugosi.

Edward van Sloan as Prof. Van Helsing raises a crucifix to a cringing Lugosi.

I love the original Dracula and Bela Lugosi is my favorite Dracula (second would be Christopher Lee), but I am saddened to see this version get crapped on so much. People say it is overrated, hammy, and a clunky transition out of the sound era. Well, it is technically all of these things, but it is so much fun. I admit my bias: I love Tod Browning. Frankenstein is the superior film in many ways simply because it has actual action and complicated character relationships, whereas Dracula is all mood and rich atmosphere with zero action. It’s about watching Lugosi gracefully interact with his unwitting victims and waiting for the moment to strike. The sets, costumes, and wonderful matte paintings are all exquisite as well. Even if you see it as being terribly dated, it is still a charming time capsule and swell pulp.

Matte paintings adorn the background as Renfield makes his way to Castle Dracula. He should have listened to those gypsies. Now it's too late.

Matte paintings adorn the background as Renfield makes his way to Castle Dracula. He should have listened to those gypsies. Now it’s too late.

Before Lugosi donned his famous cape, however, there was another great movie vampire. Haunting up the silent cinemas in 1922 was Max Schreck as Count Orlok in F. W. Murnau’s (Faust, Sunrise) Nosferatu. Orlok does not resemble your average vampire. Unlike Lugosi’s Dracula, which everyone copied from Christopher Lee to George Hamilton, Nosferatu looks bizarrely alien and unfamiliar and—as a result maybe—more unsettling. With his naked skull, pointed ears, high shoulders, tall stature, long spindly arms and fingers, gaunt features, demonic eye-brows, and jagged incisors, Max Schreck’s vampire is in a class all his own. When Werner Herzog (Fitzcarraldo, Grizzly Man) directed the remake of Nosferatu in 1979 they made up actor Klaus Kinski (Aquirre Wrath of God, For a Few Dollars More) to look exactly like the sinister bloodsucker from the original and it really worked. Both versions of Nosferatu are sure to delight with fright, but I strongly advocate seeing the 1922 version first. So iconic and genuinely chilling. The Nosferatus feel like you’re running in slow-motion in a spiraling uneasy nightmare.

My stars. Monsters are such interesting people.

My stars. Monsters are such interesting people.

Both Dracula (1931) and Nosferatu (1922) follow pretty much the same storyline.  A mysterious aristocrat (a.k.a. Vampire) is visited by a hapless solicitor. By the time the visitor learns the truth it is too late and the Count is soon on a voyage to more urban environs (Renfield is played by horror favorite Dwight Frye in Dracula). Once established in his new home the Count begins to feed. This is pretty much all you need to know for either film. Beyond this there are many differences. Dracula is more outgoing than Orlok for instance. While Dracula mingles with oblivious socialites, Orlok lurks in the shadows. Since Orlok looks more like a malnourished rodent than a human being it makes sense he wouldn’t be as charming and seductive as Dracula. Dracula has a strange sensuality about him that Orlock could never hope to pull off.

Lurk...lurk...

Lurk…lurk…

It has been said that the Spanish version of Dracula that was made using the same sets (they shot at night while the Americans filmed during the day) is a better film from a technical standpoint. I couldn’t disagree, but Carlos Villarías is no Bela Lugosi. I like both versions, but it’s all about the casting of the Count and Lugosi is it for me.

Ya caught me.

Ya caught me.

I hope in 50 years people will still picture these classic characters whenever they hear the word ‘vampire’ uttered around Halloween. What a travesty of tragic proportions if our children should imagine only Edward Cullen. The horror.

Apparently Dracula is Mormon.

Apparently Dracula is Mormon.

I am a big fan of both films. They have the old, spooky castles shrouded in spider webs and that aura of Old World mystery. They have immediately recognizable villains that we catch ourselves rooting for. Both films suck you into their own Gothic fantasy and don’t let go.  Dracula also features the fantastic horror treasure, Edward Van Sloan (Frankenstein, The Mummy) as Dr. Van Helsing, an added bonus to be sure. Where monsters like King Kong, the Hunchback of Notre Dame, the Phantom of the Opera, the Wolf Man, and Frankenstein’s Monster are all misunderstood outcasts who are never truly evil and may be presented more as victims, it is refreshing to see an unapologetically wicked character that has the world seemingly wrapped around his finger and delights in his sly mayhem. Unlike future vampire movies, which would try to portray vampires as tormented pariahs, Nosferatu and Dracula make no bones about their vampires’ evil nature (not including the Herzog remake). They relish the kill and this is what makes the Count so engaging and horrific. There is only one goal: suck blood. Simple? Yes, but it works.

Screw it.

Screw it.

Herzog’s Nosferatu is more of a tortured soul who sucks blood for survival and he might be falling in love with a human woman. It’s a slightly different approach, but he is in no way sissified. Kinski gives another spookily unhinged performance, but you can tell he’s channeling a lot of Max Schreck.

Come with me if you want to die.

Come with me if you want to die.

Nosferatu and Dracula are two masterful classics of the horror genre with fantastic atmosphere and enchanting performances. Need I bother telling you what a magnificent double-feature they would make? Celebrate Halloween this year with a few awesome Counts.

Originally published for “The Alternative Chronicle” Oct. 20, 2009