Whatever Happened to The Season of Horror?

This post is part of a new series I'm calling Stale Crumbs, a collection of posts I've written months or years ago that have never been published. Hopefully, they won't be as unpalatable as actual stale crumbs. Of course, it's entirely possible the Stale Crumbs series may end up going nowhere, that my posts on The Dunwich Horror, Psych-Out, and Mystery of the Wax Museum, among others, may continue to lurk in draft form. I always have the best intentions to get back into blogging and then something suddenly comes up. 

The following post was written back in January 2023.

My absence from blogging during this year's Season of Horror may have led my dwindling readership to ponder whether the Aging Broad may have made it to the final curtain. Good news, everyone! I'm still here. Despite not finding time to write, the Season of Horror came. Somehow or other, it came just the same. Here are a few highlights from this year's viewing:

I started off by diving into an exploration of the many movies based on the Mexican folktale of La Llorona. 

The Curse of La Llorona (2019)

I saw The Conjuring and this felt like more of the same with La Llorona as the featured malevolent spirit. It had some scary elements that ended up being less effective since I'd seen them before. Meh. 

 

The Legend of La Llorona (2022)

This movie didn't make much sense, was poorly written and, for the most part, terribly acted. I should have listened to other reviewers who said the same thing. There were a few parts that made me laugh, though that was not the intention, and my misplaced amusement did not make up for the WTF feeling I had through the rest of the film. 

"Vaya con dios, Maria."

 

La Llorona (2019)

This retelling does not adhere strictly to the traditional legend and focuses more on the Mal hombre who wronged La Llorona. Interesting and well done. Unsettling more than scary. It is the best of all versions I watched. 

La Llorona (1933)

This version seemed more of a mystery than horror. It covers two of the folklore origins which makes for a long digression, but also gives it a greater sense of authenticity. I enjoy it mostly for the period in which it was made, which makes it my favorite version of the tale thus far.

La Llorona (1960)

I enjoyed this retelling, though it was rather frustrating that La Llorona was reluctant to carry out her curse in the end. She may have had the best wail of all the Lloronas. "Ay! Mis hijooooooos!"

Next, I revisited some movies featured in the '80s Horror Collection on the Criterion Channel. 

Near Dark (1987) 

I've seen a lot of vampire movies. For the time, this was a novel take and is still enjoyable to watch. 

 

Christine (1983)

I have not seen this since the '80s. As with many movies based on King novels, the book is better. Quite a bit is lost in the screen adaptation. 

After that, I got sidetracked by Noirvember before returning to some classic horror. 

Godzilla: King of the Monsters (1956)

I watched this on Thanksgiving. It's a great movie that the whole family can enjoy, especially Raymond Burr fans. I do enjoy him, but the constant voiceover does detract. 

 

Gojira (1954)

Of course, I had to follow up with the original Godzilla, which is much more enjoyable without the incessant narration. It's interesting to revisit this well known movie monster from childhood and wonder how it became such a beloved monster. Son of Godzilla may have been a factor.

 

The Devil Bat (1940)

Now this was a real humdinger! Bela Lugosi engineers a giant bat that kills anyone wearing a special aftershave he formulated in order to exact revenge on his greedy employers who have enriched themselves from his work while he remains a poor mad scientist. This bat has a wail that could rival La Llorona. It's an absolutely ludicrous movie that entertains nonetheless. 

Somehow I missed out on my usual 70s horror fare this season. That will have to be remedied during the next Season of Horror. 

365 Days: #32 Le jour se lève (1939)

I am dedicating the month of February to French cinema, which gives me a good excuse to indulge myself in some favorite French movies I haven't seen in awhile, as well as watch all the new ones I've acquired because of Journeys Through French Cinema. This week, I am starting out with French movies that inspired adaptations in other countries.

#32  Le jour se lève

François has shot a man, and then refuses to open the door to the police, instead shooting at them through the door. They run away to seek reinforcements, allowing François time to reflect on the circumstances that led up to him becoming a murderer. We learn he is a working stiff with a sandblasting job that's damaging his health, who falls in love with a cute, young girl who's been taken in by charming creep, Valentin. When she doesn't put out after 3 weeks of dating, and sees Valentin on the sly, he decides to hook up with Valentin's former assistant, who's agreeable to a no strings relationship. François and Françoise finally decide they love each other enough to commit to one another, but Valentin isn't having it, and he confronts François in a way that isn't very smart. 

"Sure, I'm a killer, but killers are a dime a dozen. They're everywhere. Everyone kills! They just do it quietly so you don't see. It's like sand--it gets deep inside you. " 

I enjoyed revisiting this film and developed a greater appreciation for it on this viewing. I first saw this movie in 2010, after having seen Gabin in Port of Shadows and Arletty in Children of Paradise, which made me want to see more of their work. I love the brooding, doomed dirge that plays at the beginning of the film, which leaves no hope that the situation will end well. There are some nice shots to appreciate in this film, and if you enjoy film noir, you owe it to yourself to check this one out, as well as the American adaptation I will be watching tomorrow.

365 Days: #29 Broken Lullaby (1932)

I am watching a very different Lubitsch film today. There's nothing lighthearted or comedic about this tale of war.

#29 Broken Lullaby

French soldier, Paul Renard, is overcome with guilt after killing a young German soldier, Walter Holderlin, during the First World War. He travels to Germany to visit the man's family, but can't bring himself to confess to murdering their son, allowing them to welcome him into their arms as someone who knew their son, which brings them some measure of comfort. When Walter's fiancée discovers that Paul was responsible for Walter's murder, she insists that he make a sacrifice.

"Who sent that young man out to kill Germans? Huh? And who sent my boy, and your boy, and your boy, and your two boys? Who gave them bullets and gas and bayonets? We, the fathers, here and on the other side. We're too old to fight but we're not too old to hate. We're responsible! When thousands of other men's sons were killed we called it victory and celebrated with beer. And when thousands of our sons were killed they called it victory and celebrated with wine. Fathers drink to the death of sons!" 

War. What's it good for? Absolutely nothing. This is a tender movie with some beautiful, quiet shots that speak louder than words. 

"9 million people got slaughtered and they're already talking about another war. And the next time there'll be 90 million! And the world calls that sane. Well then, I want to be insane!"

"We must learn not to weep and love what we have left." 

365 Days: #14 Movie Crazy (1932)

 I am revisiting Harold Lloyd as he ventures into the acting business in today's picture.

#15 Movie Crazy 

Harold wants desperately to be an actor in the movies, and gets an invite to Hollywood after a mixup with his application photo, but his accident prone behavior causes mayhem the minute he steps onto his first set. He meets an actress who takes a liking to him, despite the trouble he causes, and a fight with her boyfriend that ends up on film leads to his first contract.

"Look, Trouble. Don't change. If you get to know 50 beautiful women, be this way, will you? You're something new under the sun. And don't you lose it."

This is a fun movie with Harold Lloyd's physical comedy punctuating every scene, and a meet-cute romance with a leading lady. His appealing good nature gets thrown aside when it comes time to defend himself, and there is a happy Hollywood ending. This is the first talkie I've seen him in, and he seems to have made the transition to sound films naturally. You can watch this movie on the Harold Lloyd YouTube Channel.