ATLRetro

CARNIVAL OF SOULS (1962); Dir. Herk Harvey; Starring Candace Hilligoss and Sidney Berger; Friday, Oct. 18 @ 9:30 p.m.; Saturday, Oct. 19 @ 5:30 p.m. & 7:20 p.m.; Plaza Theatre; Trailer here.

By Aleck Bennett
Contributing Writer

During the Plaza Theatre’s week-long celebration of classic horror, a number of legendary films are being shown, including NOSFERATU, WHITE ZOMBIE, FRANKENSTEIN and THE INVISIBLE MAN. But sandwiched in there is a film that dwelled in relative obscurity for years before home video led to its rediscovery and reappraisal: Herk Harvey’s incredible CARNIVAL OF SOULS.

The film’s plot is deceptively slim. Church organist Mary Henry (Candace Hilligoss) and her two girlfriends are challenged to a drag race over a rickety bridge, and plunge into the river below. While the police drag the river for the remains, Mary emerges with no knowledge of how she survived. Upon leaving the town of Lawrence, Kansas, for Utah, she starts experiencing supernatural events that grow in intensity. She sees haunting visions of a ghoulish, pasty-faced man everywhere she goes. A nearby abandoned carnival pavilion seems to be pulling her toward it. And, eventually, she begins experiencing states where she becomes literally detached from her surroundings—nobody can see or hear her. These all seem to be leading her to an inevitable fate, as she is continually beckoned to take her rightful place among the dead in the Carnival of Souls.

The bones of the story may seem familiar if you’re a fan of old-time radio or THE TWILIGHT ZONE. A similar tale was first told on THE ORSON WELLES SHOW in 1941. “The Hitch-Hiker” took place on a cross-country drive, after the narrator (Ronald, played by Welles) has a car accident following a blow-out. After getting his tire fixed, he sees the same haunting hitchhiker motioning to him at various points on his journey. Nobody he encounters sees the strange man, yet the hitcher continues to appear along his route. At a stop, he calls home only to receive the news that he never survived that accident, and realizes that the hitcher is Death himself, waiting for him to accept his fate and move on. The story was a radio staple for years, and was later adapted by Rod Serling for TWILIGHT ZONE, with Inger Stevens in the lead role of “Nan.”

The story of a person who should have died—who may, in fact, be dead as the story proceeds—is not an original one, and has been seen many times before and since CARNIVAL OF SOULS. From Ambrose Bierce’s 1890 short story “An Encounter at Owl Creek Bridge” to 1990’s JACOB’S LADDER and 2001’s MULHOLLAND DRIVE, and from 1983’s SOLE SURVIVOR to 1999’s THE SIXTH SENSE, the basic story proves to be still-fertile ground.

But few have done it as well as CARNIVAL OF SOULS.

Herk Harvey, an industrial filmmaker based in Lawrence, came up with the film’s premise as he passed the then-closed Saltair Pavilion on his way to Salt Lake City. To set his film apart, he claims to have wanted to achieve “the look of a Bergman, the feel of a Cocteau.” His atmospheric lighting and high-contrast cinematography come about as close to that as one can achieve on a $33,000 budget. The film is one of those rare “dreamlike” movies that earns its name. The looming camera angles and the oppressive feeling of dread that accompanies her strange visions translate Mary’s sense of feeling trapped in some otherworldly web to the screen with incredible effectiveness. CARNIVAL’s organ score also adds to the disorienting effect of the film. The textual reason for its presence is an explicit reference to Mary’s profession, but its unconscious association is with silent film. And the intrusion of something from another time or place (the specter of death, the abandoned pavilion) into our present is one of the main conflicts that defines the atmosphere of the movie.

Lee Strasberg-trained star Candace Hilligoss also deserves strong praise, as she carries the entire weight of this film. She has the task of making the character of Mary Henry—who is extremely distancing and unsympathetic—into a character that we fear for. Hers is not a character that we immediately identify with. Everyone that reaches out to her gets pushed away (some deservedly so), and yet we eventually identify with her growing need to connect. As her supernatural experiences become more and more frequent, she suddenly finds that she needs these people. They’re at least less unnerving than that strange man she keeps seeing.

The movie was relegated to the bottom half of double bills upon release, and while late-night broadcasts inspired a small cult of film buffs to take cues from it, CARNIVAL’s quiet approach to horror kept the film from spreading far outside those numbers. It wasn’t until 1989, with the debut of the film on VHS, that people really began to take notice. New prints were struck and screened at art-houses and film festivals across the country, and Herk Harvey—who had continued to be a successful industrial movie maker and film instructor—was finally able to see his only feature film gain the kind of respect and acclaim that it had long deserved.

Herk Harvey joined the Carnival in 1996.

This is not a movie to be slept on. It’s a small, haunting masterpiece of horror cinema that was almost forgotten. It’s the kind of re-discovery that you wish would happen more often. Feel that pull? It’s the call of the Plaza, drawing you into this CARNIVAL OF SOULS. Care to dance?

Aleck Bennett is a writer, blogger, pug warden, pop culture enthusiast, raconteur and bon vivant from the greater Atlanta area. Visit his blog at doctorsardonicus.wordpress.com

Ruggero Deodato and Jeremy Morris. Photo courtesy of Jeremy Morris.

Ultimate Scream Queen Barbara Steele! Italian giallo director Lamberto Bava (DEMONS), son of Mario Bava! Ruggero Deodato, as in the original DJANGO (1966) and CANNIBAL HOLOCAUST (1979)! These names are simply legend among cult cinephiles, and they all will be in Atlanta for Twisted Fears Weekend, a three-day horror convention Sept. 27-29 at the Atlanta Marriott Perimeter Center. And that’s just the terrifying tip of a Retro-tastic guest line-up that also includes Linnea Quigley (RETURN OF THE LIVING DEAD), a SLUMBER PARTY MASSACRE  (1982) cast reunion, Tony Todd (CANDYMAN ), Fred “The Hammer” Williamson  (BLACK CAESAR , FROM DUSK TILL DAWN ), Geretta Geretta  (DEMONS ), Lynn Lowry (original THE CRAZIES ), and more.

The eerie event also will celebrate the worldwide re-launch of Gorezone, the even more splattery sister magazine of Fangoria . Needless to say, ATLRetro couldn’t help but declare con organizer Jeremy Morris Kool Kat of the Week to find out all the deadly details.

ATLRetro: I’ve heard so many local horror fans express absolute surprise and delight about Twisted Fears. Did it get started with the Gorezone anniversary or was something else the catalyst?

Jeremy Morris: Twisted Fears was formed a year ago by my twisted imagination. I have been in the convention scene nearly 20 years. I have met a lot of great people along the way. The true reasoning of the creation of Twisted Fears was a part of my true love of the horror genre. I have lived in Atlanta all of my life and I felt it was time to do a show with a twist, something different than what fans may be accustomed too.

Twisted Fears has an amazing guest line-up, including a lot of celebrities known for their European horror work, making it very different from Days of the Dead, Dragoncon, or even most horror cons around the country. Why take that the con in that direction?

This question is very easy to answer. As a long-time fan of this convention scene, I have always wished to see more international guests at shows because there are a lot of films [that are] forgotten. I chose to bring in guests that you may have not seen in a long time or possibly never, which gives the fans a fresh new roster of celebrities.

GOBLIN’s playing a few days later on Tuesday Oct. 1. Their shows are selling out across the country, and Fabio Frizzi  also is doing a Halloween concert  in London. AMERICAN HORROR STORY  has a clear giallo influence, which many think will be even more so this fall with its “Coven” storyline. Why do you think there’s such a resurgence of interest in giallo right now?

In my opinion, some of the greatest horror films originated from the Italian genre. People are craving fresh, new ideas while sometimes new ideas consist of rejuvenating past genres of films and the Italians are one of them.

Fangoria ad for Twisted Fears. Photo courtesy of Jeremy Morris.

We are just privileged and honored that Barbara and Lamberto have chosen to join us for the inaugural year of Twisted Fears. I consider them legends in their own right. They have influenced some of the greatest films that we know of to date.They will be participating in a Q&A panel on Saturday.

I am sure you don’t want to play favorites, but is there anyone you are particularly excited you were able to book?

I am truly excited for all of my guests I was able to book because I took great pride in the guest selection as a fan first. If I had to choose one that made me giggle it would be Ruggero Deodato because he is so rarely seen, but I consider him the master of Italian horror.

Jeremy Morris. Photo courtesy of Jeremy Morris.

Did you grow up reading Fango and Gorezone? What impact did these two magazines have on you?

Yes, I grew up reading Fango, I actually own the first issue. I have considered it the Godfather of all horror publications. I am truly honored that we were hand chosen to re-launch Gorezone after so many years of absence. It makes me giddy inside to think Fangoria wanted to be a part of this show.

One of the anniversary treats is a virtual interview with Fango Editor Chris Alexander, who’s based in Toronto. Can you talk a little about that

It is an anniversary treat so you need to be there to find out!!!

A lot of folks might think about just coming on Saturday. Why should they buy a full weekend pass instead? Or kick in the extra bucks for a VIP pass?

We have a lot of panels, events, night-time parties scheduled. The signature event is the first of it’s kind, our own Twisted Feast Dinner Party, with a very intimate setting for all fans to have a quiet dinner with all of the guests in attendance. This is a chance to truly have an experience of meeting the guests like no other.

What else do you want horror fans to know about Twisted Fears Weekend?

I want the fans to know that Twisted Fears will continue to be a show of firsts on every level as we continue to grow. Most importantly I am a fan and always will be a fan first. And I will see you in May 2014 for the sequel.

Hours for Twisted Fears Weekend are Friday Sept. 27, 4-10 p.m., Sat. Sept. 28, 10 a.m. – 6 p.m., and Sun. Sept. 29, 10 a.m. – 5 p.m. For more info and to purchase advance VIP and general admission tickets, visit https://www.twistedfears.com/.

The Starlight Drive-In presents Drive-Invasion 2013; Starlight Drive-In; Sunday, Sep. 1; Gates open @ 10 a.m.; Admission $20 advance, $25 at door, children 3-9 $5; Advance tickets here.

By Aleck Bennett
Contributing Writer

The Official World Famous Drive-Invasion is upon us, and there’s a whole slew of hot bands from Memphis garage-thud legends The Oblivians to the one and only  MAN… OR ASTRO-MAN? being cooked up at the Starlight Drive-In for all of y’all Drive-Invaders! But let’s not overlook the great movies that will hit the screen as soon as the sun goes down. This year, there’s an action-packed lineup of 1980s sci-fi flicks that run the spectrum from wild and wacky to dark and gritty.

THE ADVENTURES OF BUCKAROO BANZAI ACROSS THE 8TH DIMENSION; Dir. W.D. Richter; Starring Peter Weller, Ellen Barkin and John Lithgow; Trailer here.

Let me tell you a secret.

You may not know this, but our planet was invaded by Red Lectroids from th dimension. This realm had been occupied by clandestine Red Lectroids since October 31, 1938, when Dr. Emilio Lizardo—having been possessed by their leader Lord John Whorfin—brought them to Earth. Specifically, to Grover’s Mill, New Jersey. This was reported live as it happened by Orson Welles, but he was later pressured to claim that his broadcast was a work of fiction. From that day, they had been posing as humans and developing technology at Yoyodyne Propulsion Systems in order to take over this planet. Thankfully, we were protected by the Hong Kong Cavaliers under the leadership of physicist, neurosurgeon, test pilot, race car driver, rock star and comic book hero Buckaroo Banzai.

The efforts of Buckaroo Banzai and his crack team/backing band to our planet from the imminent threat of complete takeover by the Red Lectroids were documented by writer Earl Mac Rauch and director W.D. Richter in their 1984 docu-drama THE ADVENTURES OF BUCKAROO BANZAI ACROSS THE 8TH DIMENSION. Rauch and Richter present the true-life tales of Banzai with the effortless charm and thrill-a-minute excitement of vehicles featuring pulp heroes like Doc Savage, or radio adventurers like Captain Midnight. Peter Weller embodies the role of Banzai with a wry and drolly laconic air. Ellen Barkin is magnificently funny, smart and sexy as Penny Priddy, the twin sister of Banzai’s late wife. And John Lithgow is completely unhinged as Lizardo/Whorfin, sporting a wild red fright wig and speaking in a ridiculously over-the-top Italian accent. Supported by a stellar cast of veteran character actors (Clancy Brown, Jeff Goldblum, Christopher Lloyd, Robert Ito, Vincent Schiavelli and Dan Hedaya, among others), the film is nearly as wild, exciting, funny, fast and ridiculous as the real-life events they are based upon.

THE LAST STARFIGHTER; Dir. Nick Castle; Starring Lance Guest, Robert Preston and Dan O’Herlihy; Trailer here.

THE LAST STARFIGHTER is essentially what every kid playing video games in the early 1980s dreamed would happen to them. Teenager Alex Rogan (Lance Guest) is a nowhere kid in a nowhere town, whose only real escape is in playing the Starfighter video game outside the diner where his mom works. One evening he manages to top the highest score on record, which gets the attention of the game’s inventor Centauri (Robert Preston). It’s revealed that Centauri is a disguised alien and that the game is a test to find people qualified to actually fight in an interstellar war between the Rylan Star League and the Ko-Dan Empire. And it’s up to Alex to save the Rylan home world and protect the universe from the Ko-Dan leader Xur.

As far as STAR WARS rip-offs go, this has long been a favorite. It’s directed with brisk energy by Nick Castle (who played Michael Myers in John Carpenter’s HALLOWEEN!), and features a spectacular mix of practical special effects and early CGI. Lance Guest does a great job in the role of the film’s ersatz Luke Skywalker, convincingly frustrated by his surroundings and dreaming of something bigger. And he’s bolstered by great performances from Robert Preston and Dan O’Herlihy. It may be a slight movie, but it’s a lot of fun.

THE THING; Dir. John Carpenter; Starring Kurt Russell, Wilford Brimley and Keith David; Trailer here.

Something from another world has crash-landed in the Antarctic. Something that can mimic any living thing. It’s already wiped out a Norwegian research station. Now it is inside the neighboring American compound, and it could be taking the place of any person—or persons—there. Who can you trust, when anyone could be…the Thing?

Many people consider this one of the greatest remakes ever made. I am not one of those people. To me, this isn’t a remake at all; this is simply a second adaptation of John W. Campbell’s novella WHO GOES THERE? The Howard Hawks/Christian Nyby 1951 film (there is disagreement over who actually directed) was a loose adaptation of Campbell’s story, jettisoning the entire “alien imitation and assimilation” aspect of the plot, and only focusing on the threat of an alien menacing an Arctic scientific outpost. While John Carpenter borrowed the title treatment from the Hawks/Nyby film, everything else is much more faithful to Campbell’s original tale.

Though it’s hard to find someone today who doesn’t love THE THING, this wasn’t the case in 1982. It received mixed-to-negative reviews upon release and was considered a flop, only barely breaking into the top 10 for three weeks and only taking in a third of its cost on its opening weekend. Critics and moviegoers seemed to prefer the “aliens are our best friends” approach of that year’s E.T. THE EXTRA-TERRESTRIAL, which came out just two weeks prior to THE THING. And the special effects of Rob Bottin—now seen as a landmark exercise in visual effects—were largely seen as unnecessarily grotesque and gory at the time, overshadowing the onscreen suspense.

It’s amazing how wrong people can be.

In the years since, a much-needed reappraisal of the film has taken place. It’s now regarded as one of John Carpenter’s finest works, second only perhaps to HALLOWEEN. The ensemble performances are excellent across the board. Kurt Russell makes a believably reluctant hero, questioning everyone even as he questions himself. And each supporting actor—from Wilford Brimley to Keith David, from Donald Moffatt to Richard Masur, and on down the line—creates a unique and memorable take on their character. Bottin’s bravura special effects are shocking and surreal, heightening the alien nature of the transformations on display and providing a sense of “anything goes” unexpectedness to the proceedings. And John Carpenter proves himself a master of onscreen composition, creating gorgeous tableaux with every shot. He keeps the story moving at a brisk pace, but never rushes things. And he ramps up suspense at every turn, continually making you question every person on the screen before you. Add on one of Ennio Morricone’s best scores, and there’s little more one can ask for.

Aleck Bennett is a writer, blogger, pug warden, pop culture enthusiast, raconteur and bon vivant from the greater Atlanta area. Visit his blog at doctorsardonicus.wordpress.com

THE DEMON’S ROOK (2013); Dir. James Sizemore; Prod. Tim Reis; Starring Ashleigh Jo Sizemore, James Sizemore, John Chatham; Test Screening; Wed. Apr. 3, 9:30 p.m., Plaza Theatre, Suggested donation $5; Trailer here.

By Josh Lowder
Contributing Writer

There are slap-happy, slimy, death-masked, gassed-out, creeper-features – as well as other such hyphenated, superlative-worthy schlock-mares that we’ve all known and loved since first sight, so long before my dog CeeGee and I killed crocs with sharks on SyFy. Then there are our most nurtured, formative dreams that reach out to us from our collective pasts to where we sit in the blissful ignorance of adulthood, slapping us into a working fervor. No? Well, fortunately the Black Riders are in this business of making awesome, chief among them is named Loup’Rah Garomore (a.k.a. James Sizemore, but what boring rubbish are Christian names when it is the darker palate from which we draw our pigments…we’ll stick with Loup’Rah Garomore).

When confronted about this sinister priory of Black Riders by Rondal at the Strange Kids Club website way back in 2011, nothing was held back and things got super-serious:

“I formed a secret art society with a couple close friends back in 2006 known as The Black Riders. We all had four things in common that we wanted to have fun celebrating in the society: our love for righteous art creation, cryptozoological creature study, veganism, and metal music. We dubbed ourselves the three elders, giving each other monikers. I was given the name Loup’Rah Garomore by my brother Lycanthropus Galleytrot. Ever since then, I’ve gone by that name when creating my art. Lycanthropus, Mudrot and I created a pretty strange set of induction rights, and since then we occasionally induct new members into the fold. As of now, we only have nine members. I guess you could say it’s a pretty exclusive society, but that’s the way we like it.”

The earnest eyes of a dedicated special effects meister, and his team of shiny-eyed believers, pierce the murky bog clogged with so many of our computer “enhanced” chiller reels and have brought to bear a sincere glimpse into the wilding world of inspired lore and lingo that their tireless fingers and worn sculpting tools, brushes and swabs, have brilliantly shape. Some of us do still enjoy a potable slice of context with our three-hour-application monster make-ups, but with the line between flesh and art so successfully blurred with each new creature revealed in the small sample leaked to us last Halloween in the trailer, the urge to press pause and gawk might best the quest for “what happens next.” Still, don’t think that this is any reason to dismiss the journey. It’s there for a sincerely dark and ominous reason. Behold…

On THE DEMON’S ROOK from Demon himself:

“The story follows a young boy named Roscoe who finds a portal to another world where he is taught magic by an exiled demon elder. Confined to their mystical cave, Roscoe is raised up by the demon elder in secret. Once he is discovered by three other demons, Roscoe must escape to avoid their wrath. Through desperation, he is forced to escape through the portal that leads back to our world. Unbeknownst to Roscoe, he leads the demons to discover the portal for themselves. Once the demons pass through, a nightmarish foray of summoned monsters are unleashed. One demon possesses the minds and will of all whom she crosses, another transforms a man into a murderous beast, and the other summons an army of the dead to do his bidding.“

Loup’Rah Garomore, the undisputed head on this corpus cinematique – FX master, commander, and cramps to prove it, producer, director, star, husband, you name it – has faced a lot of hot-light interrogation by a number of amazingly in-depth fan and genre websites that delve much deeper than I thought possible without a medical degree and an endoscope. And after a few gently invasive exchanges via emails with this bearded peach-stater, I realized that here was a man ready to let his work speak for itself despite his complete availability to me. Moreland, Georgia can be proud of this native son and his demonic generosity of spirit and wealth of energy for us all to see through his mind-expanding kaleidoscope of hopeful oblivion. This energy he shares knows very few bounds and is steeped with experience at work and at the front of the classes leading the way – his zest for new knowledge gets qualified and solidified by passing it so readily to those eager to learn. This qualifies him to make a monster movie with fewer regrets than most first-time film makers partly learning as they go.

Within this word-starved format satiating our inquisitive minds, it is one quote in particular from the past two years’ interviews of Loup’Rah (by those who have been brave enough to utter his summon-word), that I pry liberally to parse out the best possible passionate opinion to put us in those new seats, walking across that new carpet – seeing the refurbished Plaza and enjoying the best popcorn in town. This would normally make for a genuinely worthwhile experience on its own merit, and then BOOM, demons.

When Undead Backbrain at Roberthood[dot]net teed it up for him with a 100-word essay request, the everything-man drove it home in an A-Team-constructed iron horse:

“I could do that in two words: It delivers. But I’ll elaborate… ever see a trailer or poster art for a movie that gets you totally pumped to see it, but then when you finally do, you feel cheated because they showed all the best parts in the preview, or it was nothing like advertised? This ain’t that movie. THE DEMON’S ROOK is the real deal start to finish. See the poster art [at the top of the article]? That’s accurate. See the trailer? Only the tip of the iceberg. This is the ultimate low budget fantasy-horror movie.Buy Klonopin Online offers a lot of depression treatment varieties. You’ll be high-fiving strangers, guaranteed. 100.”

Now, when you remember the dark and sequestered nights staying up with one of your seminal UHF movies, that smoke-filled foam-carved cave teaming with beasts and maidens in just wisps of clarity in the snowy 14-inch technicolor or B&W tube you’d boosted from the kitchen or your neighbor – relax that reflexive memory muscle and let this feature return you to that moment with a far clearer vision, wisdom and the same solid wizardry of the old masters.

What are we doing this weekend?! We’re heading down to the Sheraton Hotel Atlanta, one of the most Retro of downtown hotels, to hang out with thousands of horror fans at the second annual Days of the Dead. Last year, we drove all the way to the golf-cart-riding Stepford Wife wonderland of Peachtree City, but was it worth the hour-long commute. Hell, yeah, if only to hang with super-friendly and nice Kate Rambo of ROCK N ROLL HIGH SCHOOL, aka Dey Young, and have her sign a photo to us “I have never done detention in my entire life”! Alas Dey won’t be there this year, but if anything, there is a larger rogues’ gallery of monster, scream queens and heroes! OK, money’s tight, but where are you going to spend it? The Mall? And besides you have to worry about real zombies there.

1) BUTCH PATRICK! Yes, the original Eddie Wolfgang Munster from THE MUNSTERS, one of our two favorite Retro horror-sitcom TV shows. Sure, he’s more than all grown up now, but we can’t wait to hear any memories he might be willing to share about growing up at 1313 Mockingbird Lane.

2) RETURN OF THE LIVING DEAD REUNION! OK, who didn’t want to party with a spikey red-headed Linnea Quigley getting drunk and dancing in a graveyard in this quintessential ’80s zombie black comedy. Days of the Dead has gathered Linnea and seven other starts of the cult classic which spawned four sequels. See everyone on stage at a noon panel. Don’t eat people, we say! Brains!

3) RIFF RANDELL! We’re still fantasizing of hanging with the Ramones and blowing up our high school, even after all these years, so we can’t think of anything more awesome than to meet and get the autographs of P.J. Soles who played Joey’s biggest fan in cult classic ROCK ‘N’ ROLL HIGH SCHOOL (1979). In case you’re too young to know this cult classic, get yourself educated by readingMark Arson’s Retro Review here. Oh, yeah, P.J. was in a few other obscure horror movies like CARRIE and HALLOWEEN.

4) HOUSE OF 1000 CORPSES/DEVIL’S REJECTS Reunions! Rob Zombie’s two best movies aren’t actually Retro but they sure look that way, being tributes to the over-the-top exploitation flicks of the 1960s and 1970s. DAYS OF THE DEAD has rangled 13, by our count, of the cast, but we have to admit we’re most excited about Mr. Machete himself Danny Trejo, Michael Berryman, who also gave us the willies in Wes Craven‘s THE HILLS HAVE EYES (1966)and Sid Haig, one of those rare B-movie icons and character actors whose career spans the decades from Jack Hill’s blaxploitation films of the 1970s to the chaotic, creepy Captain Spaulding. Quite frankly you scared the sh-t out of us and since we’re not easily scared, for that we salute you, Sid, as a true master of horror. A reunion panel is Saturday at 1 p.m.

5) PATTY MULLEN! Get ready for Splatter Cinema’s Tues. Feb. 12 screening of Frank Henenlotter‘s FRANKENHOOKER (1990) at The Plaza Theatre by meeting the actual Frankenhooker!

6) DICK MILLER! Poor Murray Futterman can’t escape our favorite feel-good holiday movie monsters GREMLINS (1984) even on vacation. We promise we’ll be polite to the consummate character actor and won’t bring our Stripe along to ruin his con. We also haven’t forgotten that he was in the original Roger Corman-directed LITTLE SHOP OF HORRORS (1960) and played the police chief in ROCK N ROLL HIGH SCHOOL.

7) GUNNAR HANSEN! Leatherface in the original TEXAS CHAINSAW MASSACRE (1974). He’ll even be on a panel with Marilyn Burns, the only survivor of the original rampage, on Sun. at 1 p.m.  Nuff said.

8. COMICS ARTISTS! Hopefully by now you’ve read our exclusive interview with James O’Barr, creator of THE CROW, who will be bringing along  pages from his new THE CROW: THE ENGINES OF DESPAIR series. If not, check it out here. Also at Days, look for two of our favorite Atlanta-based artists, Chris Hamer, a master of the quirky creature and bonafide Kool Kat, and Jason Flowers, who recently completed work on THE NIGHT OF THE LIVING DEAD trading card series for U.K. sketch card company, Unstoppable Cards. All three will be bringing con-exclusive prints and new works, so be sure and seek out their tables.

9) SPOOKTACULAR SHOPPING! Horror cons are the perfect place to stock up on both macabre memorabilia and creepy clothing, costumes and accessories. One booth we’ll definitely be stopping by is that of Athens, GA-based artist Jeanne the Maskmaker, who crafts one of a kind visages worthy of the Red Death’s Masquerade Ball.

10) PHANTAMAGORIC PARTIES! On Friday night, wear your craziest, creepiest costume to the Monsters Ball at 11 p.m. followed by karaoke at half past the witching hour. Then on Saturday at 10 p.m., Atlanta’s own most extreme Halloween attraction Chambers of Horror presents a concert by Fiend Without A Face  featuring Brent Hinds of Mastodon, followed by the MurderBall and Side Show Party, featuring Captain Stabb-Tuggo and Maybelle’s Sideshow, a Chamber-of-Horror-themed burlesque show, a costume contest, prizes and the Wheel of Torture.

Days of the Dead main con hours are Fri. Feb. 1 from 5 to 11 p.m.; Sat. Feb. 2 from 11 a.m. to 7 p.m.; and Sun. Feb. 3 11 a.m. to 5 p.m. Door prices are $55 for  a weekend pass and $25 for a day pass. Park at the hotel for only $5 with validation from front desk (valet parking exempted). For more info, visit https://www.daysofthedead.net/atlanta/.

Splatter Cinema present CHILD’S PLAY (1987); Dir: Tom Holland; Starring: Brad Dourif, Chris Sarandon and Catherine Hicks; Tue. Jan. 8 @ 9:30 p.m. and Fri. Jan. 10 at 11:30 p.m.; Plaza Theatre; Trailer here.

By Aleck Bennett
Contributing Writer

Who could have predicted that a child’s doll would boast a career of evil spanning 25 years?

By 1988, the slasher film had seen its peak. The A NIGHTMARE ON ELM STREET franchise delivered a fourth movie that fell far short of 1987’s well-received third entry. The FRIDAY THE 13TH series offered up a lackluster seventh film that attempted to pit Jason Voorhees against a distaff CARRIE knockoff. Producer Moustapha Akkad attempted to revive Michael Myers in an ineffective fourth HALLOWEEN film without the participation of John Carpenter. Meanwhile, the horror film world was looking across the pond for its new icons of terror: the Cenobites of Clive Barker’s groundbreaking HELLRAISER.

It might have seemed laughable on its face to combat this by saying, “well, what about a serial killing doll?” It’s not like the premise of a killer doll had never been done before. From the ventriloquist dummy with a mind of its own of 1948’s DEAD OF NIGHT to THE TWILIGHT ZONE’s Talky Tina, and from the possessed clown of 1982’s POLTERGEIST to the Zuni fetish doll of 1975’s TRILOGY OF TERROR, the killing machine posing as an innocuous inanimate figure was a familiar face on the horror landscape. But resting a relatively big-budgeted slasher film on the stuffed shoulders of a Good Guy doll must have seemed a risky proposition.

And in the wrong hands, it could have been. Thankfully, the screenplay was tightly executed, displaying a surprising intelligence and wit. The film finds serial killer Charles “Chucky” Lee Ray (Brad Dourif of ONE FLEW OVER THE CUCKOO’S NEST, WISE BLOOD and the LORD OF THE RINGS trilogy) mortally wounded and pursued by Chicago homicide detective Mike Norris (Chris Sarandon of FRIGHT NIGHT and THE NIGHTMARE BEFORE CHRISTMAS). On the verge of death, Chucky takes refuge in a toy store and uses a voodoo ritual to pass his soul into a handy Good Guy doll. The doll finds its way into the Barclay family home, where the now-sentient doll seeks to continue the mortal Chucky’s killing spree…and find a way to get out of his molded plastic and rubber holding cell.

The film was helmed by veteran horror writer-director Tom Holland (CLASS OF 1984, PSYCHO II, FRIGHT NIGHT) with a seriousness that served as a perfect counterweight to the cartoonish possibilities that an ersatz Cabbage Patch Kid slaughtering Chicagoans might pose. And his cast of familiar faces (and voices) helped sell that premise. In particular, the sardonic performance of Brad Dourif as Chucky walked the tightrope between threatening and humorous deftly, simultaneously communicating Chucky’s thirst for violence and his recognition that being stuck in a doll’s body is almost some kind of cosmic joke at his expense.

The novel concept, combined with the effects of the incredible Kevin Yagher and Dourif’s indelible voice work, quickly established Chucky as a most unlikely horror icon, and the film spawned several sequels in a franchise that continues to this day. Filming on the most recent installment, CURSE OF CHUCKY, was completed in Fall 2012.

Wanna play? Come out to the Plaza Theatre and celebrate Chucky’s quarter-century of slaughter with a special presentation of CHILD’S PLAY from Splatter Cinema. It’s not every day a doll turns 25.

Aleck Bennett is a writer, blogger, pug warden, pop culture enthusiast, raconteur and bon vivant from the greater Atlanta area. Visit his blog at doctorsardonicus.wordpress.com

By Robert Emmett Murphy Jr.
Special to ATLRetro.com

Orson Welles’ WAR OF THE WORLDS radio broadcast (1938), the most famous of all media hoaxes, was, in fact, not a hoax at all.

It starts, 40 years before the incident, with the publication of H.G.Wells’ novel WAR OF THE WORLDS (1898), which was almost the first – and certainly the earliest that is still influential – science fiction novel of alien invasion. It was part of a larger genre of “Invasion literature,” a body of proto-SF novels concerning England being invaded by its more familiar enemies, generally the Germans. The other Invasion novels tended to be propagandist to the point of jingoism, and Wells, who always was internally torn regarding the subject of militarism, chose to deconstruct the literature. It is almost, but not quite, an anti-war novel. Though it featured feats of great heroism by the English military, it devoted significant real estate to human hypocrisies, cowardice and cravenness. It challenged the nationalistic/colonial myths that drove most other Invasion novels.

Wells told his tale with potent verisimilitude, using real and exactly contemporary settings, and employed literary devices like its first person narrator addressing the reader directly as if he’s discussing events familiar to all: “It is curious to recall some of the mental habits of those departed days…The storm burst upon us six years ago now.” He referenced other sources when there were story details that the narrator could not have been expected to have directly witnessed, “As Mars approached opposition, Lavelle of Java [observatory] set the wires of the astronomical exchange palpitating…He compared it to a colossal puff of flame suddenly and violently squirted out of the planet, ‘as flaming gases rushed out of a gun.’…A singularly appropriate phrase it proved. Yet the next day there was nothing of this in the papers except a little note in the Daily Telegraph.” These were effective devices for creating a faux-realism, as it mimicked the style of a history book and the epistolary novel more than the then-evolving fictional narratives of most modern novels written in a close third person POV.

The Mercury Theater must have been drawn Wells’ narrative when they chose this work for their 1938 Halloween-eve broadcast. Another was probably related to [the fact that] Universal Studios had established that Americans had a taste for being scared, but by the late 1930s, their great franchise monsters slipped towards self-parody because folklore-based supernatural thrillers were not the best platform to address what was really scaring America at the time. The rise of fascism played a large role in science fiction replacing supernatural tales as the fantasy of the Zeitgeist.

The cover of a 1970s LP of the broadcast.

In the Mercury Theater version, scriptwriters Howard Koch (CASABLANCA [1942]) and Anne Froelick (HARRIET CRAIG [1950]) used real and exactly contemporary settings, this time in the U.S. and within the range of the New York City broadcast tower. They heightened the immediacy by presenting the first half of the broadcast entirely in the form of faux-news bulletins interrupting “regularly scheduled programing,” which was also fictional. The bulletins came with increasing regularity, then took over the programing entirely as the war turned hot and people started to die. There were emergency response bulletins, casualty figures, evacuation instructions and reports of millions of refugees clogging the roads. A government official makes a statement, and the actor mimicked President Roosevelt’s voice, though the character was given a different name. The story didn’t use the device of real-time, wherein the events of the narrative covered the same length of time as the experience of audience, but the time-compression was deftly disguised. As the audience listened for minutes, they never questioning that hours of story-time had elapsed (or months, if you include the reports of the observations “of the colossal puff of flame suddenly and violently squirted out of the planet” Mars).

As the story moved to its pre-intermission climax, Orson Welles (producer, director, and starring as one of the reporters) claimed to be transmitting a view from the top of a Manhattan skyscraper, and described an apocalyptic scene: “five great machines” wade across the Hudson River to New York City, spewing poison gas. As the smoke drifts from west to east, he can see people “falling over like flies” while others, panicked, dove into the East River “like rats.” Finally, the gas reaches Welles. The last sound is the voice of a desperate ham radio operator, “2X2L calling CQ. Isn’t there anyone on the air? Isn’t there anyone on the air? Isn’t there… anyone?”

A thing about these bold devices, though they have the power to captivate, even overwhelm, the audience, is that they limit options for complex storytelling. The more conventional devices are more flexible, which is why they are used more often and which is how they became conventional in the first place. When the story became more complex and character-driven in the second act, more conventional dialogue and monologue were used. It marked a bold dramatic shift, akin to how innovative and overwhelming the Omaha Beach sequence was in SAVING PRIVATE RYAN (1998), but as that sequence told us very little of the actual plot and specific characters, as soon as audience was properly impressed and completely tamed, and the action moved away from the beach, a far more conventional WWII film unfolded.

Orson Welles performing WAR OF THE WORLDS.

Because of the scandal, the very fine second act is under-appreciated. Especially notable is a sequence where the narrator (again Orson Welles) hides in the basement with a madman. It’s a scene in the book (and I should note that the Mercury Theater version, for all its changes from the original, displayed the most fidelity of any of the major adaptations of Wells’ novel). Mercury revised this sequence to address contemporary concerns. The madman is clearly traumatized by the violence inflicted on his nation, and rants delusionally of taking revenge by creating a cult of personality around himself and training a generation of ruthless warrior children. This was a pretty explicit reference to Europe, traumatized by WWI, falling in goose-step behind fascism. Mercury’s WAR OF THE WORLDS, like H.G. Wells’ WAR OF THE WORLDS, articulates the fears of the coming World War; they just happen to be talking about two different World Wars. The stressing of the poison gas over the heat-rays was another change from the original novel, reflecting that the world had changed since 1898.

The fact that this was a fiction was made clear before the play began, and it was announced again at intermission, and at the end Orson Welles breaks character to state once more this was fiction, “the equivalent of dressing up in a sheet, jumping out of a bush and saying, ‘Boo!’” Yet reportedly more than a million Americans believed it was all true (later attempts to come up with more realistic estimates put the number in the thousands). The not-a-hoax had unleashed THE NIGHT THAT PANICKED AMERICA (a title of a 1975 ABC TV movie that recreated the events).

OK, so what the hell happened?

Well, the Mercury Theater had fairly poor ratings as it was put up against the very popular CHASE AND SANBORN HOUR on NBC radio. About 15 minutes into CHASE AND SANBORN, the first comic sketch ended and a musical number began. Apparently the musicians weren’t that talented and many listeners started “channel flipping” (a truly degenerate cultural pastime that was introduced with the corrupting new technology of radio, and even today has yet to be purged from our civilization). When the listeners hit CBS, they encountered music they liked better, the fictional “regularly scheduled program” of “Ramon Raquello and His Orchestra.” It’s not a surprise they stopped, as it was actually the CBS Orchestra directed by the great Bernard Herrmann (CITIZEN KANE [1941], PSYCHO [1960]). They had missed the opening announcement that this program was fiction and part of the story’s set-up. When the next faux-news bulletin came in, all hell started to break loose.

A poster for the George Pal-directed, best-known movie adaptation of WAR OF THE WORLDS (1953).

Oops.

But wait, that’s after the 15-minute-marker. It was only about 20 minutes before intermission and next announcement that this was fiction.

Yeah, but that was still after the announcement of the “evacuation instructions.”

Oops, again.

The New York Times reported, “In Newark, in a single block at Heddon Terrace and Hawthorne Avenue, more than 20 families rushed out of their houses with wet handkerchiefs and towels over their faces to flee from what they believed was to be a gas raid. Some began moving household furniture. Throughout New York, families left their homes, some to flee to nearby parks. Thousands of persons called the police, newspapers and radio stations here and in other cities of the United States and Canada, seeking advice on protective measures against the raids.”

Things were worse in Concrete, Washington, when the power and phones went out with disturbingly convenient timing with the radio play’s unfolding narrative.

Future TONIGHT SHOW host Jack Paar was on-air at Cleveland’s WGAR. As panicked listeners called the studio, Paar attempted to calm them on the phone and on air, “The world is not coming to an end. Trust me. When have I ever lied to you?” The listeners accused him of being part of a government cover-up.

One of the lessons of that night was the dangers of the malleability of the public in the hands of a powerful mass media. This was an early lesson, but not the first. On the other side of the ocean, Germany’s leader, Adolph Hitler, had already spent years successful molding the will of millions with media propaganda no more honest than a deliberate hoaxes like ALTERNATIVE THREE (1977), GHOSTWATCH (1992) or ALIEN AUTOPSY (1995) but far more effective than any here listed. Effective to the point of permanently altering the course of human history. One can hear Hitler gloating as he cited the panic as “evidence of the decadence and corrupt condition of democracy.”

One last note: If you read about this incident today, you will likely be reminded by the writer that WWII would erupt just months after the broadcast. Most American writers of this subject are myopic to the point of error and trivialization. You see, by the time of the broadcast, the Nazis had already intervened in the Spanish Civil War, Germany had already taken Austria, Italy had already taken Ethiopia, etc, etc. For tens of millions in Europe, the war was already underway; and most of the panicked Americans didn’t think we were being invaded by Martians, but Germans.

Editor’s Note: Robert Emmett Murphy is based in New York. This article is number 52 in a series of 100 essays he is penning, inspired by the British documentary THE 100 GREATEST SCARY MOMENTS (2003). It is reprinted with permission. The moment selected for the list can be found at the 1 hour, 36 minute marker. Listen to the entire original broadcast of WAR OF THE WORLDS here.

Molly Harvey performs at Black Mass 2011 Halloween show at 529. Copyright Vincent Tseng 2012. Used with permission. All rights reserved.

When Jeffrey Butzer clues us in about a gig, we always perk up our ears. But when Tender Prey turns out to be a FREE Nick Cave tribute show the day before Halloween featuring such interesting denizens of the Atlanta/Athens music scene as Jeffrey, Molly Harvey of The Residents,Cave Women, Andy DeLoach (The Lady Vanishes) and Ben Trickey – and also songs by Tom Waits, Leonard Cohen and PJ Harvey – well, you betcha we’re ready to head down to 529 on Tues. Oct. 30, declare it our Birthday Party and see what Bad Seeds may be planted or men be grinding.

Yup, we’re bat-crazy about Cave and have dug The Residents for longer than we can remember. There’s this pesky rumor that Residents rarely, if ever, give interviews, but Molly Harvey even was so awfully badass as to answer a few questions. So hell, yeah, we just had to make her the Kool Kat of Halloween Week. For your reading pleasure and because the show is on a Tuesday, it’s no trick. We’re going ahead and treating it to you early…

What’s your earliest memory of Nick Cave and was it disturbing?

I can actually remember where I was, in the living room of a $100/month house in Richmond, VA. My roommate was a big Birthday Party/Nick Cave fan, and he’d play them a lot. I actually did feel disturbed. Nick Cave’s music represented that [part] of the world which was still very unknown to me and seemed out of reach, like a language I never had any hope of learning.

Nick Cave has evolved chameleon-like through a number of musical iterations from the Birthday Party to solo work to Grinderman? Which Nick Cave will you be representing at Tender Prey and why?

We’ll be playing a variety of his music, not sticking with one album or era. We just tried to pick stuff that we like and that is a bit Halloween-y. Looks-wise I am fond of that Bad Seeds fancy bad man look. I’m encouraging suits and nice shoes. We’ll see.  Nick and the Residents certainly seem to share an obsessive interest in the odd, as well as pushing musical boundaries and making people uncomfortable.

Was Nick Cave an influence on you or the Residents or vice versa?

I would say he was probably not an influence on The Residents. I am always surprised by how many artists they DON’T listen to. But I could be wrong – they may be huge Nick Cave fans. I love his music, but I’m not an obsessive fan, and there is plenty of his material that I’ve never heard. So musically/stylistically, he’s not an influence but definitely is someone I admire. I love that no matter what he does, his stuff has a very definite signature, yet not all his stuff sounds exactly alike. That’s a delicate balance to achieve.

Can you tell us anything more about the Tender Prey show, how it came about, and why we shouldn’t miss it?

Well, you should come out because aside from our band, there are about 17 other acts (or two or three) doing great stuff: Leonard Cohen tunes, PJ Harvey, Tom Waits. It’s going to be high caliber songwriter night with a bunch of solid musicians. And did anyone mention it’s FREE? It’s free. So that’s always good. We did a Halloween show last year at 529 that was a lot of fun, so we thought-what the heck. Let’s do it again. And there will be puppets.  This is going to be a totally fun night, because everyone knows these songs we’re playing. All the bands that night are paying homage to artists we love, so right there it sets a really positive note up for the night. Jeffrey and I participated last year in a Halloween show at 529 that we called a Black Mass. It was silly and tongue-in-cheek, but I wasn’t interested in even parodying that energy this year. This is more celebratory.

You’ve been with the Residents, hang out with Jeffrey Butzer, and now you’re doing Nick Cave. Do you ever do anything musically that could be classified as remotely normal? Would you ever want to?

Normal like…doing commerical jingles? Or Christmas caroling? I would. No one asks me to, though. I actually auditioned for all these theaters here and didn’t get one call, so I think I should stick with weird. Normal people don’t usually really care about what I do.

The Residents, "Demons Dance Alone" concept album 2002. Photo courtesy of Henrik Kam.

How did you meet up with Jeffrey Butzer anyway and aren’t you collaborating with him on some stuff?

Jeffrey and I met through our mutual friend Matt Steadman, who is also playing guitar in the show. I guess Jeffrey was a Residents fan, and Matt and I worked together, and someone mentioned something and – voila! We are trying to collaborate on some stuff. We really want to make some original work together. It’s a matter of us being in the same place for enough time to develop something. But the wheels are turning for putting a little band together and doing original stuff. We’ll see.

This isn’t you, is it? https://www.mollyharvey.com/ Are there ever any uncomfortable mix-up moments and what would you say (or sing) if you were asked to lead a corporate soul woman leadership forum?

I actually have been told that there is a girl in [San Francisco] who pretends – or at least used to pretend – to be me. She apparently gets very drunk and blabbers on and on about her and The Residents. I hated hearing that. That’s the kind of thing that may have created misunderstandings that I don’t even know about. As far as the Corporate Soul Woman, I WISH I would get some of her clients. I’d tell them to listen to their hearts, but only for the month, that at the end of the month they’d have to come back and get checked out by me so I could give them more timeless wisdom.

What else are you up to right now, and when you will be playing live next?

I am momming it up. I have a young child and that takes up pretty much all my time. Creatively, I am a sewer. That came out wrong. I like to sew. I make things with fabric. I am also working on fleshing out a character who I hope will be singing with Jeffrey before too long.

The Residents at The Fillmore, Halloween, 1997. Photo courtesy of Henrik Kam.

Finally, since it’s Halloween and you have been known for some pretty insane stage costumes, are you willing to give a hint as to what costume you’ll be wearing? Any favorite place to shop for over-the-top clothing in Atlanta or Athens?

Funny, I have no intention of dressing up this year in any costume. Maybe that’ll change between now and next week, but if anything I sort of just feel like looking nice, like being onstage is a special occasion that I want to honor with a dress and matching socks and washed hair. Since dressing up for me has been the norm in my musical career, I want to explore and see what it’s like to create characters solely with my voice, face and body. But shoot, maybe I’ll find a great wig between now and then and that desire for realness will be over! Shopping-wise I have found some great, funny things at Rainbow, but thrift stores are always my favorite places to find that unintentionally over-the-top outfit.

Photo courtesy of Nicolette Emanuelle.

An Evening with Nicolette Emanuelle is an intimate concert by an intriguing new Atlantan on Sunday evening at Oakhurst coffee shop/wine bar Kavarna on Sun. Oct. 28 at 6 p.m. The singer/songwriter/burlesque performer hasn’t been in Atlanta long, but she’s already made her mark with a volatile voice and songwriting style that’s been compared to Tori Amos, Fiona Apple and PJ Harvey. Our Retro heart, though, beats to another side of Nicolette – the influence of Kate Bush and Nick Cave. She has a passionate love for the piano and even more for the cello. She had the chutzpah to apply for and score a grant to produce her first rock album, as well as a striking look and a fearlessness in revealing costumes that has been drawing attention at local club events. Oh, and she says she gives great hugs! Needless to say we were just curious enough to make her Kool Kat of the Week!

Can you talk a little bit about what it means to be compared to Kate and Nick and the influence of these two artists on you?

I consider it to be a huge compliment when someone compares me to Kate Bush or Nick Cave. I was raised on Kate Bush, and I have memories of pulling the endpin all the way out on my cello so I could pretend it was a bass to do the choreography from the “Babooshka” video. Nick Cave I wasn’t introduced to until later in life. I fell in love with MURDER BALLADS, and I’ve been a fan ever since.  The only cover I will be playing at this upcoming show is a Nick Cave song in honor of Halloween.

Did you grow up Goth or is that a rhetorical question?

Well, my wardrobe was all black from the ages of 14 -18, but I’m not entirely sure if it was a fashion statement or laziness when it came to fashion. I was much more of a orchestra/drama/band nerd than anything else.

How did you decide upon the stage name of Nicolette Emanuelle?

Emanuelle is my middle name and also a family name. I identify more with the name “Emanuelle” than I ever have with any of my last names – of which there are three.

Lots of artists are raising money for their albums via crowd-sourcing, but you did it for your album PINAFORE the old-school way with a grant from a county arts council. How difficult was that, and are musicians overlooking that opportunity? 

I have my ex-girlfriend Laura to thank for that. She had a history in non-profit work and had written many grants, so when we found the Regional Artists grant [from the North Carolina Arts Council] we decided to go for it. I put together a sample of my work and she wrote the proposal and helped me with the budget (she also played drums on the album). When I told my peers what I was doing they insisted that no one would give a grant for rock music, but that just made me want it even more.  We were ecstatic to find that not only did we get the grant, we got the full amount that we asked for.  I encourage any musician, no matter what their genre to use whatever resources are out there to produce their work.

Grants are a good resource if you have a specific project you are trying to fund, like an album. When considering your proposal keep in mind how your project will benefit the organization, pay attention to their mission and carefully read the grant requirements, then read them again! We went from the angle that not only would recording this album help my music career and allow me to contribute more to the artistic community, it would make the ASC visible in the alternative community. A lot of people didn’t know about the ASC and if they did they didn’t think they would support that part of the artistic community. Some of my peers in that area are now utilizing the many workshops that the ASC holds to help artists become better business people so they can make a living off their work.

Nicolette Emanuelle and her cello. Photo courtesy of Nicolette Emanuelle.

You just moved to Atlanta? Where are you from originally? What drew you here now and what do you think of the music/performance art scene in Atlanta now?

I moved to Atlanta in February – I had visited back in ’97 but never lived here – after a few months of wandering from state to state trying to decide what to do with myself. The most recent place I called home was Seattle; I left there in December, 2011. Originally? I always found that to be an interesting question, and people ask it often. My dad was in the Navy, so a little here, a little there. I love the arts scene here; it is very eclectic and there is a lot of talent.

You’ve said how much you love playing the cello. What is it about this very old-school instrument that appeals to you so strongly?

My cello is my husband, it’s always been there for me even when we were fighting. There was a time when I tried to step away and, but people would call me up with work.  I would ask it “why do they want you? Can’t they see how in love I am with my piano?” and it would sigh that low mournful sigh. Then we learned to communicate and the more we played the better we got; then one day I realized that I was in love with my cello. It is a very different kind of love than I feel for my piano, more like a familial love. You know those relationships you have that exist because you went through some shit together and came out on the other side stronger? That is my cello, it is my voice. It has been my voice when I couldn’t communicate any other way

Photo courtesy of Nicolette Emanuelle.

Kavarna is an intimate musical venue. Can you talk a bit about what you have planned for your performance this Sunday?

All of the songs I will be performing were written between June 2011 to present. I was happily married to a wonderful person. I loved Seattle and loved living on Capitol Hill. I was performing burlesque, training in the aerial arts with a fantastic group called The Cabiri, and I had a loving four-legged companion named “Charlotte.”  I was pretty content with my life, and then I lost everything. It was like a bad country song: I lost my husband, I lost my dog, I lost my home, and then things got worse. I started down a decline and couldn’t recover.

So after two years of producing barely anything music-wise, I was inspired to write. It started when I was packing some of my things to move into a room I was renting after we decided to separate. I found a poem Fritz wrote called “I-Centric” and made a song out of it. It is a very personal set, and so I wanted to play somewhere low-key and intimate. I want to take the audience on a journey with me, and if one person hears something that they can relate to or can take something positive away from it, even if it’s as simple as “I like that groove,” then I’ve accomplished what I set out to do. It’s a story, my story on how I came to be in Atlanta miles away from everything I knew and loved. The good news is I have found new things to know and love.

Nicolette Emanuelle as The Cheshire Cat. Photo courtesy of Nicolette Emanuelle.

You also do burlesque and performance art, and have been seen out at club events in some racy outfits. Can you talk a bit about that persona? How does that compliment your music or is it more about having fun with expressing a different side of you?

That is a complicated topic! It first became a way for me to take back my body. It was taken without my permission, and for years I hid under baggy clothes thinking it would protect me somehow. I hated my body and felt betrayed by it. It took a very long time for me to even get to a point where I felt comfortable showing my legs in public. For years I didn’t even own a pair of shorts, and if I wore a skirt, I would wear like two pairs of stockings. I had to re-learn how to love my body. Aerial trapeze helped a lot with that; it allowed me to start trusting my body and what it could do. I started to become impressed that I could climb ropes and flip around bars like when I was a kid. Burlesque taught me that it was okay to be sexy and have fun, that my sexuality was not a curse – well that and years of therapy. I started to notice that while my music always came from a place of pain, burlesque and performance art came from a place of  joy. I need this persona to balance the other one. The funny thing is I don’t feel naked when I’m performing burlesque or out at a club. I feel the most naked when I’m playing music.

What’s next for Nicolette Emanuelle?

I need a drummer and a string player! I would like to put together a band, record my new material and have highly artistic videos made for each song. Then I want to release each song/video a week apart until the whole album is released, then have a big CD release party. At the CD release party I would like to have performance artists and burlesque performers come up with a piece for each song to be performed at the party – and recorded. Then I want to release a DVD of the videos, performances and songs. Then I could cross-promote on film sites, music sites and performance art sites. I’m really excited about this idea and this show is the first step. I’m really hoping some musicians see it, like it and want to play with me. There is nothing like having people to work with who have faith in your vision.

Finally, just how good are your hugs?

Well, you’ll just have to come out to the show see for yourself.

By Aleck Bennett
Contributing Writer

TRICK ‘R TREAT (2007/2009); Dir: Michael Dougherty; Starring Dylan Baker, Brian Cox, Anna Paquin; Tues. Oct. 30 7:30 p.m.; Plaza Theatre; $10; Trailer here; Advance tickets here.

Michael Dougherty’s TRICK ‘R TREAT is more than simply a great horror movie (though that alone should have been enough to save it from having been shelved by Warner Brothers for 2 years). Beyond its well-crafted story, inspired performances and cleverly-executed direction, the film is also a loving tribute to both Halloween and a staple of horror cinema throughout the 20th century: the anthology film.

Though other genres have tackled the anthology to varying degrees of success, the anthology format has long been perfectly suited for horror. At the dawn of the previous century, there was the celebrated Le Théâtre du Grand-Guignol. Parisian audiences taking in an unpleasant night at the theater would experience five or six short and brutally horrific plays per show, and success kept the blood flowing for 65 years. It made sense, then, that the emerging art form of cinema would take some cues from the Grand Guignol. The first anthology horror film popped up in 1919 with Germany’s UNCANNY STORIES, and filmmakers returned to the well again and again, resulting in classics like 1924’s WAXWORKS and 1945’s DEAD OF NIGHT.

It was during the 1960s and ‘70s that the genre really took off, however, thanks to the efforts of Great Britain’s Amicus Productions. Their series of anthology horror pictures began with DR. TERROR’S HOUSE OF HORRORS (1964) and continued through to THE MONSTER CLUB (1980). Frequently directed by British horror veterans Freddie Francis and Roy Ward Baker, and often written by American horror legend Robert Bloch, the movies were extremely successful on both sides of the pond and rivaled the popularity of Amicus’ chief competitor, Hammer Films (it helped that many of Hammer’s stars—including Peter Cushing and Christopher Lee—were featured in many of the films).

The emergence of the slasher genre as horror’s chief moneymaker shuffled the by-now quaint anthology film to the backburner in the 1980s. Few major studios took the risk on helming them, and as a result, those that emerged were often cash-strapped and threadbare productions with few real “stars” to pull in crowds. Sure, there were exceptions, such as the George Romero / Stephen King collaboration CREEPSHOW (1982) and Stephen King’s CAT’S EYE (1985), but by and large the anthology films that have emerged since the genre’s heyday have been either conceived or promoted as throwbacks rather than as part of a viable tradition.

And while you could say that TRICK ‘R TREAT does just that—present itself as a tribute—it also pushes forward by taking storytelling risks that are rare in the anthology genre itself. Rather than just presenting a handful of stories connected by a framing device (which is typically how these films are structured), Dougherty threads all of the stories together over the course of a single Halloween night. Characters cross paths continually and their stories intersect, while each story reveals details about events that have transpired elsewhere by presenting different perspectives.

A scene from TRICK R TREAT. Warner Brothers, 2007.

The stories themselves are short and simple. A serial killing principal (Dylan Baker) just can’t get rid of a body. Pranks centering around a decades-old massacre turn on the pranksters. A party in the woods turns bloody. A curmudgeonly, Halloween-hating old man (Brian Cox) gets his comeuppance from Sam, the living embodiment of the spirit of Halloween. (Sam appears in each segment.) But it’s how the stories are fleshed out, and how they interact with each other, that takes the film to another level. It’s like the horror film equivalent of Robert Altman’s SHORT CUTS or Quentin Tarantino’s PULP FICTION. Just a hell of a lot more fun.

Aleck Bennett is a writer, blogger, pug warden, pop culture enthusiast, raconteur and bon vivant from the greater Atlanta area. Visit his blog at doctorsardonicus.wordpress.com.