Things that Appear

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As a movie, Apparition fails on many levels.  One way that it passes is being free on Amazon Prime, which is how I found it.  The trick with Prime, of course, is that really good movies tend to be available for a limited time, keeping you on the website.  Time is money, after all.  I was drawn into Apparition from the “based on real events” tagline, even though I should know better.  It was a hot, sleepy weekend afternoon, and I’m not a good napper.  I’m not going to worry too much about spoilers here, so if you’re into penance, you might want to wait until after you’ve seen it.  Set at the real life Preston School of Industry—a boy’s correctional institution in California—the boys are tortured and sometimes murdered by the warden and guards.  This is one of the few real-life parts: a housekeeper at the facility was murdered in an unsolved crime at the site.

Fast-forward two decades.  The former warden (the place has been closed), is hosting the lavish rehearsal dinner for his son’s wedding.  The son is unloved (his father is a sociopath, after all), and doesn’t treat his fiancée very well.  Meanwhile a younger son is a nerd who’s developed an app called Apparition.  Through some unexplained technological wizardry, it allows the user to connect to the dead.  Another couple, son and daughter of two of the former prison guards, decide to try it and discover that it works.  When the bride gives it a try it leads the five young people to the Preston School.  There various ghost-hunter startles are used as the ghosts of the murdered boys take their revenge on the offspring of the warden and guards.  The bride discovers her father was a “good cop” and that’s why she wasn’t killed.  The younger son is actually the son of the murdered housekeeper, another of his father’s dark secrets.  The parents come and get what’s due to them.

What makes this unremarkable film (and very little comment has been given on it) worth discussing here is that during the opening credits a Bible is shown open to Exodus.  The verse called out is 20.5: “Thou shalt not bow down thyself to them, nor serve them: for I the Lord thy God am a jealous God, visiting the iniquity of the fathers upon the children unto the third and fourth generation of them that hate me.”  This isn’t referenced per se in the film, but the warden does suggest the school is a righteous place.  That’s a fairly brief reward for watching, but I hate to waste even a lazy weekend afternoon when it’s too hot to work outdoors.

Some High School

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I have a soft spot for bad horror.  And Sleepy Hollow High isn’t exactly good horror.  It’s not horrible horror either.  It follows the story of five teenage delinquents at Sleepy Hollow High School.  Threatened with expulsion, their only choice is to do community service.  In this case that means picking up trash in the eerily secluded town park.  I won’t give away the one big spoiler, but it’s fair to say not is all that it seems.  It’s very low budget (paid for by credit cards and estimated to be $16,500) shows in several places, but it does keep you watching.  And wondering, to an extent.  It claims that the legend of Sleepy Hollow is true, but not exactly in the way you might think.  (Sorry for being cryptic—I don’t want to give too much away.)

One of the reasons I appreciate efforts like this is that I know what it’s like to be possessed by a story you want to tell but being unable to find a publisher—or in this case, a distributor/studio—who’s willing to take a chance on you.  The movie is largely the effort of Kevin Summerfield and Chris Arth.  They are listed as co-directors and co-producers, and each has credited roles beyond that.  Neither one is famous, and yet they made the film anyway.  It’s the same impetus behind self-publishing, I suspect.  The problem with the latter is that anyone can do it, and it often shows.  Most of us don’t have access to proper movie equipment, props, and actors willing to work for free.  Heck, I don’t even know most of my neighbors.

Movies like this stand a chance of becoming cult favorites.  I have no idea how that happens or who makes the call on it.  Low budget (often), cult films catch the imagination of a certain kind of fan and eventually generates some buzz of its own.  Wikipedia articles will appear about some of the people involved because those who watch grow curious.  Our highly developed publicity systems make decisions on who or what gets exposure.  That doesn’t mean the rest of us can’t get a small dose of attention now and again, but those who’ve made it have had some help.  Sleepy Hollow High was perhaps able to cash in a bit on the previous year’s Tim Burton effort, Sleepy Hollow.  But there are horror movies—and stories—out there that nobody knows about.  And which might, if discovered, have their fifteen minutes.

Terror Able

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Saturday afternoons were made for B movies. After a hectic week, nothing soothes like grainy picture quality and poor dialogue. This weekend offered a chance to view The Terror. This 1963 Roger Corman film won its bad marks the honest way – by earning them. Nevertheless with Jack Nicholson playing against Boris Karloff and a plot so convoluted that I had to draw a chart to figure out what I’d just watched, the movie lived up to its grade. Throw in Francis Ford Coppola as an associate producer and it’s party time. Corman’s legendary cheapness and fondness for disproportionate claims of scares that never materialize only add to the charm. After watching the opening sequence one gets the distinct impression that Franklin J. Schaffner had watched this film before setting up the climatic scene of Planet of the Apes.

In keeping with a recent trend on this blog, the plot involved a witch. An old woman from Poland resettles in France to avenge her murdered son. The crone casts a spell transforming a bird into a beautiful young woman. The first words of the spells sent me fumbling for the “rewind” button. “Tetragrammaton, tetragrammaton,” the old woman intones to begin her spell. In a movie fraught with dialogue problems, this might be considered simply a choice of foreign-sounding, mysterious syllables to be uttered for an audience not expected to know that tetragrammaton is the title of the sacred four-letter name of Yahweh. By this point the plot was so convoluted that making God the agent behind a pagan curse seemed almost natural.

The analog with the Bible soon became clear. The Bible holds its sway over many because of its often beautiful rhetoric. Sparing the time to study what the rhetoric might have meant in its original context is an exercise few believers can afford to undertake. Our world has become so full of things that taking time to explore the implications of one’s religion must compete with ever increasing Internet options, thousands of channels of television, and plain, old-fashioned figuring out how to get along. Religion is a luxury item and, as experience tells us, it is best not to look too closely at luxuries – their flaws too readily appear upon detailed inspection. Allowing religion its exotic sounding mumbo-jumbo preserves its mystery and power. And if a witch says a theologically freighted word we can just chalk it up to entertainment. We are too busy to examine what our religions really say. Roger Corman may have unintentionally discovered a real terror in a movie that will keep no one awake at night.