#A page of madness

[goryhorroor]

in the silent era of horror, the word "horror" began to be used as a generic signation, and more often instead used was the words "weird" and "mythical and mysterious." this is a time when adaptions were so rapidly made like frankenstein and edgar allan poe's works dominated this era. horror as a genre wasn't specifically "created" or the word wasn't used until dracula in the 1930s.

[zegalba]

Teinosuke Kinugasa: A Page of Madness (1926)

[marypickfords]

A Page of Madness (Teinosuke Kinugasa, 1926)

[haveyouseenthismovie-poll]

[cinemaobscura]

A Page of Madness | 狂った一頁 (1926) dir. Kinugasa Teinosuke

[wetgeliscasualinterval]

“A Page of Madness” (1926) dir. Teinosuke Kinugasa

[nitrateglow]

Spooky Season 2024: 23-31

House (dir. Nobuhiko Obayashi, 1977)

A teenage girl nicknamed Gorgeous and her friends travel to her aged aunt's house for the summer, not realizing the aunt is a people-devouring ghost and her house is one giant supernatural booby trap.

House reeks of the '70s with its psychedelic visuals and rock soundtrack, and yet it never feels "dated" to me. Okay, maybe I'm not the best person to judge that considering I binge nickelodeon-era one-reelers for fun, but House is so bizarre and uniquely its own weird thing that it transcends its original disco-era milieu. Beyond the goofball humor and erratic editing, House is concerned with the usual in gothic stories, mainly how past traumas linger on into the present (in this case, the aunt's grief over a fiance who went missing during WWII, and Gorgeous longing for her deceased mother).

Invasion of the Body Snatchers (dir. Don Siegel, 1956)

A small California town is overtaken by an alien species who replicate and replace the humans living there. Transformations result in soulless beings devoid of all emotion.

The original 1956 version of Invasion of the Body Snatchers is often boiled down to being a Red Scare allegory. Both of the times I've seen it, I feel it is so much richer than that. You could read it any number of ways and I think that openness to interpretation is what has made the story so ripe for retelling over the years.

While slightly overshadowed by the 1978 version these days, the 1956 adaptation remains a damn great horror movie in its own right. I usually don't care for the alien invasion movies of this period, but this one is genuinely chilling with a minimum of tension-spoiling cheese (not that I'm against cheese). The camera angles become more tilted as the situation grows more dangerous and the perspective more warped. The filmmaking hits harder because the earlier scenes are filmed in a blander, more straightforward way too. Good stuff.

The Sitter (dir. Fred Walton, 1977)

This creepy little short film take on the babysitter urban legend was later expanded into the feature When a Stranger Calls by its director Fred Walton. Aside from the opening 20 minutes, I find When a Stranger Calls a dull trek and so I tend to just revisit this tight little short film instead. However, it does lack Carol Kane... maybe I should just rewatch the opening of When a Stranger Calls every year?

Regardless, this is still an effective movie and worth seeing. You can find it free on YouTube.

Dracula (dir. Tod Browning, 1931)

Count Dracula-- a suave, mysterious nobleman who happens to be a bloodsucking member of the undead-- moves to modern England to snack on the populace.

Dracula is not my favorite of the Universal horror classics. Part of me sympathizes with its critics, who find the narrative clunky once it leaves Transylvania. I'm also not fond of Helen Chandler's rather vapid Mina-- not just because the book's Mina is a fabulous heroine and deserves better, but because the character herself seems little more than a breathing prop. Being slowly turned into a soulless, bloodsucking monster should be horrifying, but neither Chandler's performance nor the film hammers home that urgency.

Still, there is much to admire about Dracula. Its primitive qualities enhance the horror, particularly the lack of soundtrack and the sense of stillness in much of the blocking, Dwight Frye being a little freak extraordinaire, and Lugosi's performance. He truly appears uncanny, his deliberate speaking and gestures adding to the sense that Dracula exists outside of the present, that he should have been in the grave long ago. Few films capture that classic gothic atmosphere so well, the decay, the tattered decadence.

Wait Until Dark (dir. Terence Young, 1967)

When a shipment of heroin hidden in a doll is inadvertently brought into her possession, a recently blinded housewife named Susy Hendrix engages in battle of wits with a trio of dangerous criminals out to get the drugs back. Complications include: Susy not knowing where the doll is, the criminals turning on one another, and Susy having to work out her own psychological vulnerabilities. The conflict escalates to violence, especially when it becomes clear the criminal ringleader Harry Roat is willing to torture Susy just for his own entertainment.

I think anyone who follows this blog knows what I think of this film-- I adore it beyond all reason. I have written a lot about it (if you're interested, I recorded an entire commentary track for it two years ago), so I'm not going to repeat too much. It's a great one-location thriller with engaging characters, a slow-burn sinister tone, dark humor, and one of the best final confrontations between a hero and villain in movie history. It feels like a movie specifically designed to appeal to me. Come to experience Audrey Hepburn being badass, stay for evil beatnik Alan Arkin racking up a body count.

The Lighthouse (dir. Robert Eggers, 2019)

Two lighthouse keepers descend into madness when stranded on a remote New England island. Homoerotic tension, disintegration of identity, seagull's pooping in inconvenient places, mermaid sex fantasies, and lots of possible gaslighting ensue. And what of the mysterious light inside the lighthouse, an entity that seems to be almost supernatural in its pull?

I rewatched this with my youngest sister who usually doesn't like horror at all. We both had a really good time though! The film is undeniably creepy, but there's a lot of dark humor present too. It doesn't take the edge off the chilling scenes, but it does prevent the experience from getting too grim, I think. Of Eggers' current filmography, it's definitely the closest to being a comedy, if only because Robert Pattinson and Willem Dafoe have a sinister odd couple dynamic.

A Page of Madness (dir. Teinosuke Kinugasa, 1926)

When his wife is committed to an asylum, an old man takes a janitor job at the institution. The wife's mental condition strains his relationship with his daughter and future son-in-law, and then the janitor's own mind begins to lose track of the line between delusion and reality. Trippiness ensues.

I first saw this film on TCM in the middle of the night, which may be the ideal way to view this surrealistic silent classic. It was designed to be experimental compared to conventional Japanese movies of the time. There are no intertitles at all, so following the story can be confusing, even before the protagonist starts to lose control of his perceptions. However, it's like nothing else and worth seeing for those who want a movie that marries 1920s surrealism with expressionistic dread.

The Phantom of the Opera (dir. Rupert Julian, 1925)

A mysterious "Phantom" is haunting the Paris Opera, blackmailing, bribing, and even murdering to make sure Christine Daae, an aspiring singer and the object of his obsession, will be the ultimate prima donna.

The Lon Chaney POTO is a weirdly nostalgic watch. I was obsessed with it as a teenager and watched it often. I still adore it. Chaney's performance is nothing short of brilliant and the gothic sets remain spectacular. I love Chaney!Erik's lair and the sense of size it has.

SPOILERS FOR THE ENDING

I used to dislike the ending to this version, where Erik is unredeemed and there's a big chase through the Paris streets. While I would have preferred the ending as originally filmed, in which Erik releases Christine and dies of a broken heart, I admire the direction of that last chase and Erik's final, memorable gesture of contempt to the mob about to claim his life. It's perfection.

Castle of Otranto (dir. Jan Svankmajer, 1977)

Maybe counting this as "horror" is a stretch. It's an odd beat of a short regardless. It's framed as a mockumentary in which an academic argues that the events of the seminal gothic novel The Castle of Otranto really happened, but not in Italy (as in the original text), but in Czechoslavakia. This mockumentary is intercut with animated segments depicting key episodes from the novel, such as an oversized helmet falling from the sky to crush the villain's heir to death (yes, that actually happens) and all the quasi-incestuous drama between the characters.

Most reviewers come to this film because they're fans of the director Jan Svankmajer. They know nothing about The Castle of Otranto. I'm the opposite: I know nothing about Svankmajer, but I have read the gothic lunacy that is Otranto. I enjoyed seeing it adapted in some form and the metafictional elements of this short ape similar conventions throughout gothic literature in general, only in a very '70s way.

[contremineur]

from A page of madness (Teinosuke Kinugasa, 1926)

via here – thank you, marypickfords

[watchmorecinema]

History is filled with lost movies. A Page of Madness was lost for decades because of WWII, and a partial copy was found by pure luck. The original cut of Stalker was accidentally ruined during editing and Tarkovsky had to re-film the entire thing (and then did it a 3rd time because he didn't like the way it was shot the 2nd time. Absolute madman behavior). Some movies were destroyed by censors, destroyed because they were flops and the studios could reuse the film, or destroyed due to neglect.

Batgirl and Coyote vs. Acme are the first films I can think of that are lost because the CEO of the company didn't feel like releasing it. There's no way that taking the tax write off was a better move financially than just releasing the damn thing, especially with CvA apparently testing pretty well internally.

David Zaslav just hates art and artists.

[koshigurajumy]

狂った一頁［一部 / 染色版］ / A Page of Madness (a part), 1926 dir: 衣笠貞之助 / Teinosuke Kinugasa

[scholarofgloom]

[goryhorroor]

horror + countries firsts

[marypickfords]

A Page of Madness (Teinosuke Kinugasa, 1926)

[fourorfivemovements]

Films Watched in 2024: 91. 狂った一頁/A Page of Madness (1926) - Dir. Teinosuke Kinugasa

[hyacinth7clover]

posting here so i don’t forget to look at this more one day

[schlock-luster-video]

On May 14, 1973, A Page of Madness was screened at the Cannes Film Festival.