by Ryan Lewellen
The Archivist
Welcome to the Archive. Following the infamous “Format Wars” (R.I.P. VHS), a multitude of films found themselves in danger of being forgotten forever due to their admittedly niche appeal. Thankfully, Warner Bros. established the Archive Collection, a Disc On Demand & Streaming service devoted to some of the more idiosyncratic pieces of cinema ever made. Being big fans of the label, we here at Cinapse thought it prudent to establish a column devoted to these unusual gems. Thus “The Archivist” was born — a biweekly look at some of the best, boldest and most batshit motion pictures the Shield has to offer. Some of these will be recent additions to the collection, while others will be titles that have been available for awhile. With over 1,500 pictures procurable on Warner Archive (and more being added every month), there’s no possible way we’ll get to all of them. But trust me when we say we’re sure going to try.
MWAHAHAHAHA! It’s almost Halloween, Archivateers, and we’re down to our second-to-last October installment! This week, we’re pitting two famous productions houses of classic horror against each other in one freaky double feature. I am excited to tell you The Warner Archives is home to gimmick-master, William Castle’s first foray into interactive exhibition. The label also delivers an impressive collection of Hammer Studio’s sexy suspense thrillers, and this week’s films’ slow-burning mind games play beautifully together.
In 1958, William Castle, who was already a successful director, began producing his own films, and when it came time to distribute Macabre, he concocted an hilariously creepy idea. With the purchase of admission, each audience member was given a $1,000 certificate of life insurance against death by fright! The goofball producer/director even appeared in person at several theaters, either with medical personnel, or emerging from a coffin to introduce his movie. These inventive efforts proved more than worthwhile, as the film grossed over five million dollars against an estimated budget around ninety thousand, though production cost reports are conflicting.
The film itself, though cheap, poorly written, and mostly poorly acted, is somehow a compelling watch, regardless. We are thrown into a conflict between a disgraced small town physician/lothario and several locals. After making a number of enemies by simultaneously sleeping around and losing beloved patients, the doctor comes home one evening to find his daughter has been kidnapped — buried alive on the night of his sister-in-law’s funeral. Who can he trust when the whole town, including the sheriff, has turned against him? The soap opera premise is far more complex and whacky than what I have summated here, but I don’t want you to know too much going in, because adding this to your October viewing schedule is highly recommended. Castle’a later films are sort of gentle and playful, but Macabre ruthlessly earns its title. You might have to laugh or roll your eyes at a few moments of poor filmmaking, but the eerie film revels in some delightfully dark and disturbing places.
Across the pond, over a decade later, Hammer had already cemented its own brand of horror, and Alan Gibson’s film Crescendo is true to that form. It follows a graduate student (Stefani Powers — The Girl From U.N.C.L.E.) who travels to France to research the late composer, Henry Ryman. At his former home, she falls victim to the manipulation and seduction of his widow (the subtle and restrained Margaretta Scott), and his crippled son (James Olson — Commando). Olson’s character is haunted by dreams of a homicidal doppelganger, who might be more than just a subconscious creation.
The movie mostly works, as it creates a fascinating mystery and tension surrounding the creepy mother/son relationship, but there is also a completely unconvincing romance between Powers and Olson. Powers’ character is lovely and charming and intriguing, but Olson, though fairly handsome, is awfully creepy. She falls for him anyway, and things get complicated and ultra-weird when the maid gets a little jealous of their flirtations. Overall, it’s a cool little film, and if you’re looking for atmosphere over blood, this sordid tale would certainly hit the spot.
