
Happy Halloween, everyone! (And not to be overly pleased with myself, but my last blog post was only a week ago. Holla!)
Every year I glut myself on scary movies: two years ago, it was all ’70s psychological psych-outs (DePalma, The Omen, The Exorcist) , then it was ’80s slashers and dream-stalkers (Mike Myers, Nightmare on Elm Street), and this year, sort of by accident, I’ve found myself watching gimmicky camp and comedy—Rocky Horror, Shaun of the Dead, and a marathon of Vincent Price vehicles, including Masque of the Red Death (mostly meh, though it does star onetime McCartney honey Jane Asher); House of Wax (which I’m actually watching right at this moment); and The Tingler, which is PHENOMENAL, in an evil bug puppet sort of way.
Tingler shown actual size.
I watch horror movies the way other people watch rom coms—to me they’re like meatloaf and mashed potatoes, an oversized sweater and thick socks. I didn’t always love horror movies; Thriller scared the holy hell out of me at a very young age, and it wasn’t until I was in my late teens that I even thought to consider “watching scary movies” and “fun!” weren’t mutually exclusive concepts. But they ARE fun, and very comforting in their formulaic way: you know who’s going to die (anyone obnoxious and peripheral is toast); you know who’s going to live (plucky young ladies are golden); and you know, right around the hour and a half mark, shit’s gonna get real, people who’re gonna die, die, and people who’re gonna live, survive. And along the way, especially in older horror movies, there are all kinds of funky/charming/bloody awesome practical special effects, none more spectacular than the infamous Omen plate glass decapitation.
I’m not sure what my cinematic bloodlust says about me as a person, if anything. But I do know that it’s a rare and lovely thing when a scary movie legitimately scares me, and the 2010 Actually Freaked Me Out A Little Award goes to The Changeling, starring George C. Scott as a grieving composer with one pissed off poltergeist for a roommate. A primo example of accomplishing more with less, it’s a modern (well, c. 1980) haunted house movie with a fantastic first hour—as the plot becomes more complicated and less subtle, it loses a little something, but it’s still very well done and creepy as all get out. The season’s nearly behind us (or will be, in about four hours EST), but it’s always a good time for meatloaf, mashed potatoes, restless spirits and severed heads.
I’d like to think that, had I been working in an ad firm in 1960s Manhattan, Peggy and I would have been tight. Or I would have *been* Peggy. Though I don’t think I could have ever pulled off that hat.
All vacations must end. I SUPPOSE.
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