From time to time I’ll find an artifact from the old days of broadcast television on Youtube, and I’ll share it in a Throwback Thursday blog post — people really seem to enjoy the clips. (And the credit for that belongs to the Youtube users who originally uploaded them, not me.) One of this blog’s readers asked me about the intro for WOR-TV’s (Channel 9) “Fright Night” movie series.
Here it is below, courtesy of FrightNight7387 on Youtube. (Unless I’m mistaken, this would have been seen only by viewers in the New York metropolitan area between 1973 and 1987.)
I’m … actually not sure I remember this program. The music feels more familiar than the (pretty neat) visuals, and I think I’d recall a montage like that. I’m running it here for those who do remember “Fright Night” and might enjoy the clip.
Anyway, if you want to know more about Channel 9’s show, Jim Arena developed a terrific rundown on it over at DVD Drive-In.
It should not be confused with that other “Fright Night” of 80’s lore, the 1985 film starring Jonathan Stark, Chris Sarandon and Roddy McDowell. That movie also depicted an in-universe movie series named “Fright Night,” which … apparently bears no relationship to the very real eponymous series that ran in New York. (Kinda weird.) The 1985 movie was a lot of fun back in the day, though if it feels mostly forgotten today — even after it spawned a a damned cool 2011 remake.
Does anyone else remember “The Odd Couple” (1970-1974) growing up? I was too young to remember its original run, but it played endlessly in reruns in the early 1980’s. For a lot of us, it was a show our parents watched. It was based on an eponymous 1965 Neil Simon play, and Tony Randall was absolutely a household name.
Hearing that theme song — and seeing those priceless shots of early-70’s New York in its opener — absolutely takes me back to my gradeschool years. I can practically smell dinner cooking in the kitchen.
Turns out it didn’t have a lot of cultural staying power — with my generation, at least. When was the last time you heard someone make a pop-culture reference to “The Odd Couple?” Yet people still fondly remember things like “The Partridge Family” (1970-1974), “The Six Million Dollar Man” (1973-1978) and “Voltron” (1983-1985).
Today’s Throwback Thursday is something that I don’t actually remember — the trailer for 1973’s “Westworld” was a bit before my time. But this was too good not to share. (I’ve been on a weird “Westworld” kick lately — probably because I recently happened across this quite promising trailer for the brilliant HBO remake’s third season.)
It’s funny seeing the same plot setup and motifs for the campy-looking original film (which was, surprisingly, written and directed by Michael Crichton). I must say that Yul Brynner looks like he made a pretty decent bad guy, though.
“Hereditary” (2018) is a difficult movie to review. It’s an exceptionally well made horror film, enough for me to rate it at least a 9 out of 10. But its content is so disturbing that I’m not sure that I can actually recommend it to others.
From a technical standpoint, the movie is almost perfect. It’s an astonishingly good first feature film for writer-director Ari Aster, it’s gorgeously shot in the hills and deserts of Utah, and it’s masterfully directed. The performances are uniformly perfect. If I were to name each actor who hands in a fantastic performance, I’d simply be reading its cast list. I can’t remember the last time I watched a feature film in which every single major performance was exemplary. And “Hereditary” gets damned scary in its third act. (Seriously, give it time.)
The only flaws that I can think of are extremely minor. The pacing isn’t perfect. (The story occasionally seems to slow when events should be accelerating.) I had problems with the way that one key character was portrayed, and there was one plot point that gave me trouble. (I can’t say more for fear of spoilers.) But these things are so forgivable that they hardly merit a mention here. You simply can’t argue that this movie was expertly assembled.
Yet I didn’t always enjoy “Hereditary.” I’d be lying by omission if I didn’t state that. I shut it off more than once, and then came back to it when I felt more able to stomach the brutal events it depicted.
“Hereditary” is more than a “dark” movie; it’s gut wrenching. Even if you have read its reviews and you’ve seen the movie’s marketing, then you still aren’t anticipating what will transpire on screen. (I’d even go so far as to say that the film’s marketing was misleading, but I can’t specify why here.) Yes, there’s a obvious “Rosemary’s Baby” (1968) vibe, and it’s sometimes reminiscent of “The Exorcist” (1973), but the movie pushes well past the boundaries of those films, and it does so fairly early on. If I, a lifelong horror fan, was turned off by this, then I’m willing to bet that it would also be too much for a lot of casual film goers. (And indeed, while critics loved this film, audiences last year generally hated it.)
I’m closing with a little bit of trivia. Toni Collette gives a tour-de-force performance here as the troubled mother. If she looks familiar to you, that might be because she’s also the mom in another well known supernatural horror film — M. Night Shyamalan’s “The Sixth Sense” (1999).
Ghosts seldom scare me, because I’m never 100 percent clear on what sort of threat they present to the protagonists of a horror film or TV show. They’re not like zombies, vampires, werewolves or serial killers, all of which will do predictably horrible things to their victims.
Can ghosts … kill you? Injure you? That usually doesn’t make sense, given their non-corporeal nature. Can they … scare you to death? How would that work? Would they cause a heart attack? Or drive you mad? That’s fine, I suppose, but here they’ve taken a back seat to the demons of horror films since 1973’s “The Exorcist” spawned a sub-genre with far more frightening supernatural baddies. Are ghosts supposed to inspire existential dread, by reminding the viewers of their own mortality? For me, that backfires — their existence would strongly suggest the existence of an afterlife, which would be paradoxically reassuring.
It’s therefore a testament to the quality of Netflix’ “The Haunting of Hill House” (2018) that it’s frequently so scary, even to me. We find out in the first episode that its ghosts indeed do more than frighten the story’s protagonists, but it’s the show’s writing, directing and acting that make it so memorable. It’s an a superb viewing experience, and I’d rate it a 10 out of 10.
The cast roundly shines — but especially Carla Gugino and Timothy Hutton (even if his performance was a little understated). Catherine Parker is deliciously evil in a supporting role as the house’s most outwardly vicious spirit. The best performance, for me, however, was the young Victoria Pedretti as the traumatized Nell — she was goddam amazing, and deserves an Emmy nomination.
Mike Flanagan’s directing was perfect — his use of long angles and colors to make lavish interiors disorienting reminded me of Stanley Kubrick’s similar sensory trickery in “The Shining” (1980). Michael Fimognari’s cinematography was beautiful. Even the makeup effects were damned good. (Nothing beats Greg Nicotero’s work in “The Walking Dead” universe, but the work here is sometimes horrifying.)
I’m not the only one who loved this show either. It is broadly praised in online horror fan circles (though I’d recommend avoiding most of those for spoilers). I haven’t read Shirley Jackson’s 1959 novel that is its source material, but a bibliophile who I trust assured me that the show is even better.
Sure, there were some things that didn’t work for me. “The Haunting of Hill House” actually does take a while to get where it’s going; it favors in-depth, flashback-heavy character development over advancing its plot, in much the same manner as “Lost” (2004 – 2010) once did. And some viewers might feel the same frustration here as they would for that show.
Its story and supernatural adversaries are also distinctly Gothic. (Your mileage may vary as to what’s a comfortably familiar trope and what’s an archaic cliche. I myself was more interested the more modern and three-dimensional interpretation of ghost characters seen in 1999’s “The Sixth Sense.”) I’d even go so far as the say that the first ghost that we see in any detail is actually disappointing — the otherworldly figure connected with the bowler hat felt too cartoonish for me, like something we’d see on Walt Disney World’s “The Haunted Mansion” ride. (Trust me, they get more intimidating after that.)
Give this show a chance — and stay with it if you think it’s too slow, or if you find its characters a little unlikable at first. You’ll be glad you did.
Weird world: if the diffident, sometimes off-putting character of Steven looks familiar to you, it might be because that’s none other than Michiel Huisman, who plays the charismatic Daario on “Game of Thrones.”