Slimy Monsters

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Stuart Gordon apparently had in mind to do an H. P. Lovecraft cycle, as Roger Corman did with Poe.  I first saw Dagon—clearly his best—and some time later picked up Re-Animator.  From Beyond was his second Lovecraft movie and it doesn’t have the visual appeal of Dagon, but it is certainly a passable gross-out for those who enjoy slimy monsters.  Gordon was pretty obviously of greater libido than Lovecraft ever was.  From Beyond puts sex in the spotlight’s periphery without making it absolutely central to the story.  A Dr. Pretorius has built a “resonator” that allows him to see extra-dimensional beings.  It does this by stimulating the pineal gland.  His assistant Dr. Tillinghast, is present when a creature from, well, beyond, kills Pretorius by wrenching off his head.  Tillinghast is suspected in his murder but is being held in an asylum rather than a traditional jail.

Dr. McMichaels, the love interest in the film, believes that Tillinghast is sane and that he actually did witness these beings from beyond.  As a scientist, she wants to see if the resonator really works.  It does, but in addition to providing the ability to experience the other realm, it also boosts the sex drive of those under its influence.  She decides, against the warning of Dr. Tillinghast, to try the resonator once more, but this time the other-dimensional Pretorius has become strong enough to prevent her from shutting the machine down.  Tillinghast is transformed into a modified human with an extension from his forehead and as she tries to explain what she witnessed, McMichaels is classified as insane.  She and Tillinghast escape the asylum and McMichaels manages to blow up the machine, ultimately going insane for real.

Lovecraft strenuously avoided sex in his written work, limiting the number of women characters who appear.  I suspect he would not have been pleased with this treatment of his story.  Gordon went on to make one more Lovecraft movie beyond Dagon, a television movie of Dreams in the Witch House (which I haven’t seen).  Of the three theatrical releases, I find Dagon the most convincing since the mood is serious and it seems to capture much of the feel of Lovecraft’s “Shadow over Innsmouth,” one of his best stories.  Lovecraft himself apparently didn’t care that much for that particular tale.  And he was critical of the conversion of stories into movies.  It’s a good thing that one doesn’t have to see eye-to-eye with Lovecraft to appreciate his works.  And some of them transfer to film reasonably well.  Especially if you’re in the mood for slimy monsters.

Wrongful Resurrection

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Re-Animator

H. P. Lovecraft was a tortured man. An atheist, he saw the inevitable dilemma of human life. We want to live forever, but even the short time we have is full of suffering. Almost Buddhist in his sensibilities, Lovecraft also knew the hubris of trying to reach too far. I was reminded of that when I recently watched Stuart Gordon’s Re-Animator. Like most of Lovecraft’s stories, the translation to film is difficult. The angst and haunting lie far too deeply embedded in the original stories to show, even with the finest acting, with any degree of verisimilitude. And the tales have to be padded out to get to that magic 85-minute mark. Nevertheless, there is something of their master still in them.

Re-Animator is based on Lovecraft’s short story, “Herbert West—Reanimator.” West discovers the secret to bringing the dead back to life. In the movie version, the result is unremitting chaos. The dead are somewhat zombie-like until Dr. Carl Hill, very freshly dead, retains his consciousness and begins his insidious plan to create a cohort of more proper zombies to do his will. Like Gordon’s other interpretation of Lovecraft, the eerily moody Dagon, there is a little too much blood-lust for my liking, but a point is being made, so I watch on. The point is very much at the heart of Lovecraft’s personal dilemma. We want to live forever, despite the pain and disappointments of the life we know. Life is optimistically resilient that way.

Lovecraft died a painful, natural death at the age of 46. His writings never demanded much attention during his life—thus seems to be the fate of many of the truly original. In the 76 years since his death he’s gained an enviable following. He might almost be said to have achieved a kind of immortality. A safe immortality. As he knew in life, resurrection is a double-edged sword. We may be reluctant to give up the only life that we (most of us, anyway) have consciously known, but have we really considered the implications of going beyond the line that nature has drawn for every living thing ever animated? Our technology keeps us alive in bodies that only continue their inexorable march toward the grave.

Am I sounding a bit bleak? Blame it on the rain. Immortality, in any belief system, only comes at a great cost. H. P. Lovecraft knew that and took the risk in spite of it.