Speaking of The Wicker Man

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The TheoFantastique website is older than my blog and, I suspect, has more followers.  I was immediately struck when I first found it in my early days of blogging.  Seeing that the fantastic—genres that include sci-fi, horror, and some adventure material—often comments on and often uses religion as its milieu, the site features many posts about topics I find compelling.  Over the years I’ve had the opportunity to get to know John Morehead, the creator and builder of the site and he has kindly agreed to interview me about each of my books that deal with these topics.  The links to those interviews (which can all be found on YouTube) are on the “Social Media & Interviews” page of this blog.  Just yesterday John recorded and posted an interview on The Wicker Man.

There is a small community of us that explore these connections between religion and pop culture.  My interests, as careful readers will know, is really with monsters but I’m still learning how to write about such things and, more importantly, to do so with limited resources.  That often means analyzing films because they are accessible whereas research trips to libraries and locations that monsters dwell isn’t really conducive to a 9-2-5 job with no sabbaticals or even summer or holiday breaks (capitalism is relentless).  I can take in a movie or two over a weekend without leaving home and I can use my writing time to explore them.  Thus Holy Horror, Nightmares with the Bible, and The Wicker Man were born.  And interviews about them can all be found on TheoFantastique as well.  There’s also much, much more there.

By the way, John is also quite a capable author and editor.  He’s got wonderful books to his credit as well.  Some of them appear on this website and the others I haven’t got around to reading yet.  (My “to read” list is about as long as the Burj Khalifa is high.)  I often think that being a full-time reader should be a job.  It is, I guess, if your own books sell well enough.  Otherwise you need to work around the long days at the office to make ends meet.  But I digress.  In this era of information via recorded media, online interviews are key to getting word out about your book.  Coincidentally, quite unexpectedly a single hardback copy of The Wicker Man arrived just yesterday as well.  That always helps when it comes to bookends.  But it may help to watch the interview before just diving in.

Striving for

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Get Out! was Allison Williams’ first feature film starring role.  Playing the unsuspected villain, she was incredibly believable.  Then I saw M3GAN where her role was again not exactly that of protagonist.  Curious, I decided to watch The Perfection, the horror film between the two in which she also stars.  As always, she starts out looking innocent enough, but this film has so many twists that you might be left feeling a bit dizzy when it’s over.  Williams plays Charlotte, a gifted cellist at the prestigious Bachoff Academy.  Forced to leave by her mother’s stroke, Charlotte became a full-time caregiver, leaving her promising career behind.  She’s superseded by Lizzie, whom she meets in Shanghai as the two are judging a scholarship contest for a new Bachoff student competition.  Lizzie and Charlotte hit it off and travel across China together.  Lizzie, however, falls ill and has to have her hand amputated.

A flashback reveals Charlotte tricked Lizzie into that situation so that the Bachoff star cellist would no longer be useful to the academy.  Another flashback shows why: Anton Bachoff has devised a horrid punishment for making mistakes while playing.  While this is disturbing enough, it takes place in “the chapel”—a room designed with perfect acoustics—and is done to please “God.”  This set-up has been operating for years and Charlotte was rescuing Lizzie from it, albeit in a rather extreme way.  The two cellists team up to bring Anton down.  There are quite a few holes in the plot and rape revenge films are one of the kinds I tend to avoid.  Still, the integration of religion with the horror is intriguing here.  One of the opening establishing shots is a close-up of a crucifix.  Sacrifice is indeed a theme of the film.

Critical opinion was mixed, but mostly positive.  The plot twists get you thinking that Williams is again playing the unexpected villain, and in a way she is.  Still, the real villain is a man who manipulates religious rhetoric (God demands perfection) in order to supply him with access to talented young women.  When they achieve international stardom, they’re not inclined to join #MeToo and lose everything because Anton is not only wealthy, but highly respected in classical music circles.  This is an odd sort of horror thriller that works on some levels but that leaves you feeling violated on another.  It doesn’t play out the religion element in any detail, which would’ve been helpful.  At least it would to a certain kind of viewer, who’s trying to figure out how this all fits together.

Creepy AI Doll

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We’ve all seen the killing doll horror movie before, of course.  Who hasn’t?  What makes M3GAN different is the whole artificial intelligence angle.  Okay, so you understand it’s about a killing doll, but unlike Chucky or Annabelle, M3GAN has a titanium frame and a super-advanced, wifi-connected brain.  Like generative AI, she’s able to learn on her own and even able to use her own reasoning to get around her basic programming.  Now, you’re likely smarter than me and I didn’t catch what the critics call the “campiness” to the film.  Yes, there are places that made me snicker a little, but although the killing doll premise made the results somewhat predictable, I watched it seriously.  Some websites list it as horror comedy, while others prefer sci-fi thriller.  Nevertheless, it isn’t really that funny.  And there’s a cautionary element to it.

Funki, a Seattle-based toy company, is always trying to stay ahead of the competition.  Animatronic toys are the rage, and Gemma (brilliant choice to have a female mad scientist here) is a visionary programmer.  She wasn’t expecting, however, to become her niece’s guardian after Gemma’s sister was killed in an accident.  The M3GAN prototype was already underway, but Gemma kicks it into high gear to help make up for her own lack of parenting skills.  M3GAN becomes her niece’s companion—soulmate, even—and since the two are bonded with biometrics, her protector.  Bullies, lend me your ear; you don’t want to mess with a girl who has an android as a bestie.  And nosey neighbors, fix that hole in your fence.  Or at least curb your dog.

Instead of I, Robot this is more like You, Robot.  There is a wisdom to the othering that goes on here because none of us know in what kind of reasoning generative IA might engage.  In real life computers have been discovered communicating with one another in a language that their programmers couldn’t read.  We’re all biological, however, and thinking, as we know it, involves many biological factors.  Logic is part of it, but it’s not the whole story.  So techies who idolize Spock and his lack of emotion feel that they can emulate thinking by making it a set of algorithms.  My algorithms lead me to watch horror films out of a combination of curiosity and a need for therapy.  Where does a computer go for therapy?  The internet?  Well, you might find some good advice there, but don’t be surprised if it comes at you with a paper-cutter sword in the end.  You’ve been warned.

Devil Talk

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Around here, an after-school Satanic Temple club, prompted by an after-school evangelical club, led to a lawsuit where our tax dollars are being wasted.  Many local people wondered what was going on and I knew I had a book on my shelf that would help to answer that but I had to find the time to read it.  Joseph P. Laycock has been writing fascinating books for a few years now.  I picked up his Speak of the Devil: How the Satanic Temple Is Changing the Way We Talk about Religion just after it was published, but it always takes some time for me to get to books that I know I’ll have to spend time with.  I was right about spending time—there’s a lot packed in here that requires some thought.  I was vaguely aware of what the Satanic Temple is but had difficulty distinguishing it from the Church of Satan.  (I have a book on the latter, but it’s quite big and I haven’t found the time for it yet either.)  Laycock spells it out clearly.

The book begins by discussing how the Satanic Temple entered public consciousness in 2013.  Yes, it’s only been about a decade.  If you think it’s more than that, you may be confusing it with Anton LaVey’s Church of Satan.  They are different organizations.  One thing they have in common is that neither promotes belief in a literal Satan.  Both also rely on shock tactics to get their point across.  The Satanic Temple is a socially conscious organization that reacts to provocations of conservative Christian groups to try to establish their brand of Christianity as the officially sanctioned state religion.  And the evangelical groups have been making in-roads for years.  Playing the innocence card, “We’re just mainstream America saying what everyone’s thinking,” they put religious monuments in public spaces, start public meetings with Christian prayers, and receive state funding for their programs.  Often unchallenged.

Laycock’s not discussing evangelicals, but rather how the Satanic Temple arose in response to efforts to establish one form of Christianity as state sponsored.  There’s a ton of information in this book.  Among the many takeaways for me was the discussion of how good and evil are determined.  This is obviously directly relevant when Satan is involved, especially since the Devil is a post-biblical development.  The Satanic Temple, which doesn’t teach that there’s a literal Devil, attempts to counter the standard narrative by doing good deeds in the name of humanism.  You might be able to guess the conservative Christian response to that.  If you can’t, this book will help to spell it out for you.

Pagan Fear

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We still fear pagans.  Religion and horror are often tied up together, but when it comes to monsters we trust Catholics and fear pagans.  Of course, when Startefacts recommended The Ritual it was in the context of five pagan horror movies you should see.  I’d seen three of the others, so The Ritual seemed the next logical step.  Four friends are hiking through Sweden to honor the wishes of a fifth friend killed during a robbery.  When one of the them injures his knee, they decide to take a shortcut through the forest where a combination of the Blair Witch Project and Midsommar and Antlers takes place.  After finding a freshly gutted elk in a tree, they take shelter in an abandoned cabin surrounded by runic signs on the trees.  Soon they’re being hunted by a huge creature they can’t see clearly.

The final two are captured by a pagan group that worships one of the Jötnar—the monster that’s been hunting them.  The final boy escapes by getting out of the forest, where the Jötunn can’t go.  The choice of a Germanic monster is a bit different, and the creature design is fascinating.  Jötnar apparently straddle the line between gods and monsters, being a kind of frost giant.  The pagan group sees it as a deity that keeps them safe in return for sacrifices.  Given the number of bodies in the trees, other hikers had decided the shortcut was worth taking in the past.  But still, the pagans are cast as the bad guys.  This is in spite of the fact that the friend whose death started the whole thing was killed in England.

The religious convictions of the English robbers aren’t made clear, but they were raised in a Christian context and are every bit as brutal as the pagans.  In fact, the pagans, although they sacrifice strangers, do try to talk kindly to them (at least if they have the mark of the Jötunn on them).  Not just the pagans are savages.  At least they have a moral reason for what they’re doing, in their own minds.  The criminals are in it only for themselves.  We still fear those of other religions, although they’ve come to their beliefs in a way similar to how we’ve come to ours.  Whether born into it or converted, believers generally come to their conclusions honestly.  In the world of the film, this Jötunn is real.  And, until the end, it protects those who worship it.  So yes, this is a pagan horror film, but it makes the viewer wonder whence the horror really comes.

Whither Wicker?

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The process of producing a book is a lengthy one.  Even as an author you’re not really ever quite sure when it’s out in the world.  My author copies of The Wicker Man have arrived.  The release date is set for August and the publication date is September 1.  Still, it’s out there somewhere in the world at the moment.  The release date of the book is generally the date that stock arrives in the warehouse.  The book is technically available on the release date, but the publication date isn’t until two-to-four weeks later.  The publication date is when a book is fully stocked at the warehouse and is available in all channels (Barnes and Noble, Amazon, Bookshop, and your independent local bookstore).  Chances are you won’t find this book, being a university press book, in your local, but it can be ordered now.  Even in July.

This is a short book, so I don’t want to write too much about the contents here—then you might have no reason to buy a copy!  In brief, though, I can say that it explores The Wicker Man through the lens of holiday horror.  Not a lot has been published on the sub-genre of holiday horror.  In general publishers tend to be reluctant about holiday books—the perception is that they sell only seasonally (if my buying patterns are taken into account, that’s clearly not true).  Movies, however, can be watched at any time.  The Wicker Man is about May Day but it was filmed largely in November and was released in the UK in December of 1973 (fifty years ago), and in the United States in August of 1974.  People see it when it’s offered.  (Of course, video releases have changed all that.)

The movie has grown in stature over the years.  It appears in many pop culture references and even those who aren’t fans of horror have often heard of it.  There’s been quite a bit of buzz about John Walsh’s book on the movie, to be released in October.  (Of course, it is distributed by Penguin Random House.  I’m learning about the importance of distribution the more I delve into the publishing realm.)  My book has a more modest release and a slightly smaller sticker price (unless you go for the hardcover, then I’m right up there with university press prices).  I thought readers might like to know it now exists.  This writer, in any case, is glad to hold a copy and see the fruits of a few years’ labor, whenever it might come.

Not Seeing

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There must be ways to learn about new movies on a regular basis, but now that streaming services also produce films you’ve really got your hands full.  I’ve always had trouble keeping up and one can only afford so many streaming platforms.  In any case, I finally turned my eyes toward Bird Box.  There’s got to be a name for the phenomenon where a movie conditions a certain response that lingers after it’s over.  Fear of the phone ringing, for example, after watching When a Stranger Calls, or of making any noise after watching A Quiet Place.  Ironically for a movie, it’s a fear of opening your eyes (while outside, in any case) for Bird Box.  In fact, I was reluctant to take the garbage out, although it needed to be done.

Unlike many of the films I’ve recently watched, Bird Box had a healthy budget.  Production values were high and the acting was great.  In case you’re even slower than me, the story runs like this: there is a creature that roams outside, hunting people.  When anyone sees it, they immediately die by suicide.  In some ways there’s a similarity to M. Night Shyamalan’s The Happening, but this is much more action oriented.  A group of survivors figure out that they have to remain inside with windows covered, but this presents problems when they run out of food.  Also, a new threat arises—when the criminally insane see the creature they survive and experience a kind of religious mania and they try to make others look.

After being immersed in this world for a couple of hours, you feel like staying inside with the shades drawn.  Of course, during the summer that’s a reality much of the time when things get too hot outside.  The monster and its origin are never really explained, but clearly the effect it has on people is a psychological one.  When you stop to think about it, monsters are all about psychology.  Our fears may not all be in our heads, but most of them clearly are.  Watching such movies can build resilience.  As Tom tells Malorie, “Surviving is not living. Life is more than just what is. It’s what could be. What you could make it.”  That’s a fairly common theme when everything goes haywire, as in a movie like this.  If we embrace monsters they become less scary, at least sometimes.  There’s almost a spirituality to it.  In any case, Bird Box keeps your attention throughout, but maybe don’t watch it before the day’s outdoor chores are done.

Animate Magnetism

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The Magnetic Monster is listed as sci-fi and horror on industry websites.  It falls into that period when horror had shifted to Hammer Studios in the UK and the US had entered that white-shirt, button-down period known as the fifties.  There were still monsters out there but they generally had to do with radiation.  In this case, it’s magnetism and its relationship to electricity.  The movie came out in 1953 and introduces what may have been the forerunner of the X-Files, namely the Office of Scientific Investigation, the OSI.  This team of A-men (yes, this was the fifties) study anomalies in order to keep America safe.  There were a total of three OSI films, of which this is the first.  The eponymous magnetic monster is alive only in a philosophical sense—it’s actually an irradiated element gone wild.

An unrestrained scientist had subjected a radioactive isotope to alpha particles for several days and this started a chain reaction.  He takes the substance onto a commercial airline—in his carry-on, no less (it was the fifties)—but the plane is diverted so the A-men can intercept it.  Every eleven hours this isotope divides and doubles, eating all the energy around itself to do so.  This creates an immense magnetic field.  So immense, in fact, that in a mere matter of days it will throw off the earth’s core and our planet will spin helplessly off into space!  Don’t panic, dear reader, the A-men are on the job.  They find a scientific means of overfeeding this monster and destroying it, which is why we’re all still here.

Interestingly, this is one of the more highly rated movies of the era, perhaps because of its scientific optimism.  Scientists can solve all our problems.  And yet you’ll find them without fail in church on Sunday morning.  The fifties were developing a kind of split personality for this country that was trying to hold two conflicting impulses together in an attempted fusion.  The problem is, overthinking either (or both) of them would demonstrate that they really have separate paths to take.  They may well be compatible, but in ways that relegating religion to Sunday morning simply doesn’t work.  Even today many scientists—generally not the outspoken kind—still hold religion and science in tension.  There is something to this impulse we call religion, but it always seems to have to wait while we use science to destroy the monsters we create ourselves. 

Earth Colors

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Bad movies can be therapeutic.  While trying to find hope it sometimes helps to see that others are even worse off.  This isn’t exactly Schadenfreude, but rather an awareness that your own efforts  at self-righting aren’t so bad.  Then there’s the hopeful monster theory, but that’s something different.  Already the title of Die, Monster, Die! warns the viewer that this won’t be Oscar-worthy material.  And despite his fame by 1965 Boris Karloff was still landing sub-par roles in such movies as this.  Both the directing and editing are noticeably lacking, evident even to an amateur.  A step backward may help; this movie is based one of my favorite H. P. Lovecraft stories, “The Colour out of Space.”  This is, to me, his most Poe-like tale and could well serve as the basis for a film.  Too much is changed here, however, to make it work.

Arkham is transplanted from its native New England to the old one.  The love theme manages to interrupt the mood of dread Lovecraft used in his story.  Nahum Witley’s use of the meteorite runs counter to the family’s reaction in the original.  The screenwriting doesn’t build much confidence either.  On the positive side, it feels like a fine little haunted house film from time to time, when the plodding plot doesn’t get in the way.  For a scientifically aware visitor, Stephen Reinhart has no concerns about lingering, unprotected, around a major source of radiation.  Although a few of the jump-startles work, the whole ends up feeling just a bit silly.  Of course, I was watching to escape, for a moment, what life throws at you.

Like reading poorly written books, watching bad movies can teach you mistakes not to make.  Movies can be an education rather than simply entertainment.  Cinema is one of the great myth-making vehicles for modern culture and, unfortunately, big budgets are often (but not always) necessary to make them believable.  Here is the hidden element of optimism, perhaps.  H. P. Lovecraft stories can sell films.  They also attach those who may be excluded from studio A-lists because, let’s face it, Lovecraft appeals only to a specific demographic.  The title of this particular film buries the lede, however.  No Lovecraft keywords (Dagon, Dunwich, Arkham, Cthulhu, or any of a host of others) clue readers in to what they might expect.  Learning the film business from Roger Corman might’ve steered director Daniel Haller is this direction, I suppose.  Whether he intended to or not, he produced a therapeutic result.

Ghosts and Spines

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Guillermo del Toro’s early movies are thought-provoking and somewhat depressing.  The Devil’s Backbone, like Pan’s Labyrinth, puts children in the way of adult political unrest and war.  I suspect that sensitive people watching such movies can easily imagine that they could have been put in such circumstances, were things different.  Having said that, The Devil’s Backbone works as a sad, gothic horror movie.  Set during the Spanish Civil War, the film focuses on orphans not quite out of reach of the conflict.  There’s a ghost at the orphanage that, until near the end, we think that the bully among the kids had killed.  The point of view is that of Carlos, a new kid at the orphanage who encounters the ghost and eventually decides to find out what happened to him.  The movie’s nearly a quarter century old, but there will be spoilers below.  Maybe there have already been some—sorry!

As the children, war orphans, try to navigate how to become adults, they have limited male role models—the doctor, who is good, and the groundskeeper, who is not.  Jacinto, the groundskeeper, was raised in the orphanage and although he had a professional-level family, grew up alone and wanting better.  His response was to turn cruel.  We’re not given much of the doctor’s backstory, but due to his position at the orphanage, we have to assume there’s a sadness there as well.  A number of subplots are interlaced with this, one of which involves the title of the movie.  Originally set in Mexico rather than Spain, the Devil’s Backbone was named after a mountain range.  That has to be transferred to victims of spina bifida in the local village.  This medical name has to be explained to the audience and it adds to the gothic atmosphere.

This is an example of a bright, sunny location nevertheless being a fraught place.  The boys (there are no girls at the orphanage) make their own society—not quite on a Lord of the Flies level—because the adults are at their wits’ end due to the encroaching war.  In the end all the adults end up dead.  The future of the boys is uncertain, but they show themselves able to distinguish between good and evil.  Adults, meanwhile, perpetuate a war in which, in real life, half-a-million people were killed.  There’s a lesson here for those willing and able to learn it.  Horror often has a moral, and when the boys are carrying an old crucifix to the courtyard and one remarks that he’s “pretty heavy for a dead guy,” adults should be paying attention.

What You Can’t Show

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As I spend my life trying to figure out why I do what I do, I take book and movie recommendations.  I really should note who recommends what because it often drives me crazy trying to figure that out after the fact.  A friend recommended Censor, and since this friend told me where it was streaming for free I’m sure I got the right one.  Like several one-word title movies, there are several with the same sobriquet.  This was the 2021 movie and it’s a British horror film which raises the question of why we watch horror.  It does this through the eyes of the eponymous censor (Enid) who’s particularly tough on movies.  Set during the “video nasty” scare of eighties Britain, the question is whether such movies motivate real violence but with the twist that the censor is the one who turns violent.

Enid is haunted by her missing sister and she finds a video nasty star who looks like her sibling and becomes convinced that it’s her.  Enid gets to the set where her movie’s being shot (a remote cabin in the woods) and ends up killing the star and director (after accidentally killing the producer earlier, in self-defense).  She kidnaps her “sister,” and in her imagination—rainbows are everywhere—takes her home.  That’s where the real social commentary comes in because during this imaginary drive the radio announcer says these kinds of movies have stopped, and all crime and violence have ceased, and social harmony has returned to Britain.  This is revealed, of course, as a delusion.

Left to my own devices, I probably wouldn’t have watched this movie.  I don’t like blood and gore—I’m more looking for gothic themes like haunted houses—but it turns out that this is a smart film.  That’s probably why it was recommended to me.  Intelligent but also with tongue in cheek at times.  Still, it’s a movie about reconciling with childhood trauma, which is something that speaks to me personally.  That’s a wound I don’t always like to have poked.  It’s one of those movies on which I’d like to see more analysis, maybe talk to Prano Bailey-Bond, the writer and director.  Horror with female directors is often thoughtful, and movies are really meant to be discussed (just like books are).  The question remains—why do we watch disturbing movies?  I know I’m not the only one who does.  And in this case I remember who recommended it, so perhaps I’ll be able to get some closure.

Small Hops

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It was about the cutest thing I’d seen in a month of Saturdays—a baby rabbit.  It was no bigger than my fist and it was looking lost on the sidewalk.  The front “lawn” of the next neighbor’s house is paved and there’s only a wide street in the opposite direction.  Our front lawn has a retaining wall well about the jumping height of the little guy.  I didn’t want it dashing into the street, so I circled around from that direction, but the poor thing couldn’t get high enough to reach our lawn.  It was young enough not to be certain something at least twenty-five times its size meant it harm.  It allowed me to get close enough to scoop it up and put it on our lawn.  It immediately leapt away and sheltered under a bush, before eventually disappearing down a hole that I hoped might be its home.

Besides being a hope-filled chance encounter with the wonder of nature, the incident also caused me to ponder what that leporine brain made of this learning experience.  For human brains, any sufficiently large animal is a monster, and anything even larger is a god.  While there are some bad folks out there, people don’t seem evil to me.  And although we’re certainly not gods, I wonder what that little rabbit thought.  What I was attempting was an act of kindness.  I’m sure it scared the timid tyke—I can imagine being lifted by an enormous creature that I can’t understand and it is a most frightening prospect.  But what if that monster were to set me down just where I needed to be?  Might not my assumptions about it change?

We don’t know what other animals think, yet it’s clear that they do.  Our yard has a fence and we have no dogs, so rabbits tend to like it here.  I often mutter softly and try to avoid direct eye contact and sometimes they let me get fairly close.  I like to think some of the larger ones recognize me, and maybe can tell that a vegan has nothing but their goodwill in mind.  We like to think this about God.  Larger, easily able to harm us, but that somehow being divine also conveys good will.  The bunny incident cast a pleasant glow over the rest of an otherwise anxious day.  It had calmed me and conveyed a sense of appreciation for just how helpful the world of nature can be.  I hope for some tiny rabbits in your life too.

Bad Movie Therapy

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I haven’t see Troll, but it doesn’t matter.  Troll 2 has nothing to do with it.  As a frequent contender for worst movie of all time, Troll 2 is an anti-vegetarian screed and campy horror film that’s impossible to take seriously.  It’s part of my bad movie therapy.  And it’s also an example of religion and horror.  But first, let’s set the scene.  The Waits family (Michael and Diana, and their kids Holly and Joshua) is doing a house exchange for a vacation.  Before they leave, however, Joshua’s dead grandfather appears to him to warn him about the goblins.  The goblins, who are vegetarians, make people eat/drink a special substance that turns them into plants so that they can eat them.  (Yes, it’s that bad.)  Ignoring Joshua’s concerns, the Waitses head for Nilbog (goblin backwards) and go ahead with the house exchange.

The locals (there are only 26 of them) can make themselves appear human and they try in vain to get the visitors to eat.  Joshua prevents his family from eating the plant food by peeing on it.  They go to bed hungry as the queen of the goblins plans her next move to get them floradated.  About midway through the film, we’re shown a church scene in which the minister preaches of the evil of the flesh.  Ironically, this is not far off from the teaching of some Christian denominations.   He tells the trolls what they already know—they have to get the visitors to eat so that they can eat them.  If nothing else, it will make you forget your troubles for ninety minutes, unless your trouble is that you’re being turned into a plant.

Any number of reasons have been offered for why the film is so bad.  While filmed in Utah, the crew was Italian, and most of them spoke no English.  The movie was low budget.  The acting is just plain bad.  All together, however, these features work symbiotically to grow a wonderfully therapeutic end result.  Some of the crew claimed that it was the intention all along to make this a funny film.  Comedy horror or horror comedy is a recognized genre, after all.  The only problem I have now, however, is where to go from here.  So how does the Waits family escape their peril?  I’ll need to offer a bit of a spoiler here.  The goblins are frightened away long enough by a double-decker bologna sandwich that the family can touch the magic stone and destroy the conspiracy.  What are you still doing here? Why aren’t you watching this already?

Hoppy Fourth

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Today is the one of the relatively rare summer holidays.  Modern industrialized nations tend to take a more relaxed view toward summers without having to give out too many prescribed company holidays.  This seems to follow on from school schedules because the kids are out in summer and adults need some flexibility when work demands collide with family needs.  The internet has made work-life balance a little tricker to achieve since work is always just a click away.  Some more generous employers gave yesterday as part of an extended four-day weekend, which is rejuvenating in a way that’s easily forgotten until you start to feel it.  The sense of obligation takes a couple of days to wind down, and then on Monday you realize “I’ve still got another day off!”  It’s a sublime feeling.  Why not watch holiday horror on it?

The Wicker Man is a holiday horror movie.  One of my arguments in the book is that holiday horror has to derive its energy from the holiday, and not just be set on it.  For example, I Know What You Did Last Summer and Return of the Living Dead are both set on or near Independence Day but the movies don’t really draw their horror from the holiday itself.  It falls into the same category.  Frogs?  Well, maybe.  Perhaps holiday horror, it’s definitely in bad movie territory.  A rich southern family is dominated by a Trump-like grandfather who controls the money and measures everyone by loyalty to him personally.  On his birthday, the fourth of July, nature revolts and his adult children and grandchildren (apart from one granddaughter), are killed by animals in this eco-revenge groaner.  But is it holiday horror?

One scene may suggest that perhaps it fits the category, but the real significance of that day is that grandpa won’t let it be celebrated any way other than by his prescribed plan.  Even as the estate is overrun by frogs (mostly), snakes, lizards, alligators,  tarantulas, and even some birds (thank you, Mr. Hitchcock), he insists that everyone do what they always do on the fourth of July/his birthday.  The only scene that suggests holiday horror is where the eponymous frogs hop onto a cake decorated like an American flag.  I normally like nature-revenge films, and this one starts out well but quickly goes downhill.  The environmental message is there, but underplayed.  There are some firecrackers and a number of dead rich folks, but otherwise the film seems to have no message at all.  It’s a bad movie.  Holiday horror?  Not really.  Something to watch for a day off work?  Definitely.

Private Therapy

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A friend recently introduced me to the YouTube channel, Cinema Therapy.  While I had some vague notions already that cinema therapy was “a thing,” I had never looked into it.  This was so, even while consciously knowing that I use movies that way.  Most of what I’ve seen on the YouTube channel has been about Disney/Pixar movies, especially those that tug at emotions.  These have never been my favorite movies since I have unresolved issues from childhood.  Still I learn a lot from watching their analyses.  It can still be difficult to watch these films, though.  As a family we recently rewatched Finding Nemo.  It struck me pretty hard how growing up without a father figure left me the anxious, quivering mess that I often am.  I prefer movies where I can find a father, no matter how odd the choices may be.

Photo by Denise Jans on Unsplash

In fact, in my own form of cinema therapy, I use horror films.  (Even the YouTube channel parses M. Night Shyamalan.)  Part of this is clearly because such movies take me back to my childhood.  I’m not sure why I found monsters so comforting, but I did.  We had no father and I latched onto the strong men—particularly if they didn’t smoke or drink—that dominated movies  (it was the sixties, after all).  Somehow I felt that this made the world seem alright.  Or a little less scary.   I didn’t understand the biology of parenthood, I just knew that I needed a man in the family.  One who would protect me and show me how to be a man.  Well, that never really happened.  My step-father was verbally abusive and I seemed to be his special target.  I watched horror and listened to Alice Cooper.

Sublimation, in psychology, is where you put difficult feelings aside, acting as if everything’s normal.  I did that for many, many years.  College, seminary, doctoral program, full-time professorate.  Then it all broke down.  After the tragedy at Nashotah House, I found myself watching horror movies again.  It took about a decade of doing that to realize that I could write books about the connection between religion and horror.  With three published (the third about to be, actually), I have a fourth nearly finished.  The writing is therapeutic as well.  I have to wonder, however, if these Pixar movies that are so painful for me to watch are really helping me.  I don’t always feel refreshed afterwards, as I do when I see a good horror movie.  (Bad films are their own kind of therapy.)  I’m an amateur psychologist (no license), with a most intractable client (myself).  My way of dealing with him is to watch horror and call it therapy.