Va-Va-Villainess: Katharine Hepburn

Published May 2, 2020 by biggayhorrorfan

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Coming on like a perfect precursor to the diva heavy Gothic horrors of the ‘60s and ‘70s (including Whatever Happened to Baby Jane? and many others), 1959’s Suddenly Last Summer gave the divine Katherine Hepburn a chance to bring a wickedly flawed character to the screen in the form of the matriarchal, incredibly wealthy Violet Venable.

As Venable uses all of her considerable influence to insure the lobotomization of her niece Catherine Holly, played with busty emotion by Elizabeth Taylor, Hepburn does add sympathetic touches to her portrayal (as any fine craftswoman would). Still, she doesn’t shy away from the uncontrollably evil nature of her character, ultimately creating a detailed look at a society matron compelled to carry out one of celluloid history’s more heinous acts. 1959. Katharine HEPBURN during the filming of "Suddenly Last Summer."

Based on Tennessee Williams’ grotesque one act play, Hepburn’s own androgyny adds to the overriding gay mystique this piece offers up, as well. The screenplay here was not only adapted by queer literary icon Gore Vidal, but co-star Montgomery Clift, a performer whose sexual attraction to men has been well documented in various books on film history, gives it an inclusive vibe, as well.

Nicely, horror lovers on all sides of the spectrum can appreciate the visual background for the first meeting of the characters played by Clift and Hepburn. As Venable lays out her plans while walking through the mondo crazed garden of her estate, viewers can almost feel its macabre presence, entering them into a world akin to the twisted creations of Clive Barker and HR Giger.

LGBTQIA fans, though, will be glad that characters like Sebastian Venable, the unseen homosexual son of Venable who controls the plot from beyond his grave, are becoming rarer and rarer. A twisted individual who used both Hepburn’s grand dame and Taylor’s innocent minx, his is an example of the other at it’s most perverse, another artifact of how our community was considered to be akin to chosen sickness and disease for decades. Katherine Suddenly

Hepburn, meanwhile, embraced the eccentricity of roles like Eleanor of Aquitaine (The Lion in Winter) and Countess Aurelia (The Madwoman of Chaillot) in the coming decades, but never again reached the divine fervor of her exquisite, unapproachable work here.

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Suddenly poster

Music to Make Horror Movies By: Mary Lou Lord

Published April 26, 2020 by biggayhorrorfan

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In the name of diversity, it is always nice to find musical efforts with genre themes that aren’t overwhelmed by heavy metal antics or thoroughly seared by moody gothic rhythms.

Indeed, Mary Lou Lord, one of alt-pop’s brightest lights, released an amazing 1996 Kill Rock Stars EP called Martian Saints!

Besides the obvious themes of science fiction and emerald streaked creatures from beyond, Lord embraces the concepts of Halloween and the devil while also exploring the tyranny against witchcraft here. Her bright cover of Elliot Smith’s I Figured You Out is also a highpoint, signifying the emotional horrors that one must endure, as well. Thus, the work as a whole is a sonic delight from start to finish and well worth checking out.

Indeed, all of Lord’s output, highlighted by her frequent collaborations with Bevis Frond’s Nick Saloman, should be a part of every smart music lover’s vocabulary.

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www.maryloulord.net/

https://www.facebook.com/maryloulordmusic/

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Horror Mash-Up: Mae Clarke and Lon Chaney, Jr.

Published April 25, 2020 by biggayhorrorfan

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Screen legend Robert Mitchum tussled with such bad asses as Lee Marvin, George Kennedy, Jean Simmons and Jane Russell onscreen throughout his career as Hollywood’s smoothest tough guy. In 1955’s melodramatic medical drama Not As A Stranger this maverick met his match, though, while appearing opposite two of Universal Horror’s shining lights.

Here the incomparable Lon Chaney Jr., who appeared most famously as the original Wolf Man, dominates his tiny bit of screen time opposite Mitchum’s emotionally remote medical student Lucas March. As March’s alcoholic father, Chaney brings his own experience with that insidious disease to the fore, creating a truly sorrowful, emotionally impactful presence. Of course, those who have appreciated Chaney’s latter-day work in such projects as Spider Baby know what an amazing dramatic performer that he was.

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Once March graduates, he wanders into the orbit of Mae Clarke’s steely Odell, a nurse who questions his knowledge and authority. A far cry from Frankenstein’s victimized Elizabeth, Clarke resonates with a determined attitude and a sense of unique force. Nicely, her final moments opposite Mitchum do give her a chance to show a tart sympathy, allowing her to create a rounded portrait within the few quick scenes that she is given to perform in.

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Masters of their craft. Chaney and Clarke deserve recognition for all their celluloid contributions. A quick online search of their credits should lead you into many fascinating cinematic journeys.

Happy hunting and…

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Music to Make Horror Movies By: Shilpa Ray

Published April 19, 2020 by biggayhorrorfan

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What a pleasant surprise to discover that maverick multi-hyphenate Larry Fessenden did a nature gone amuck teen film called Beneath in 2013. I guess that is one reason – maybe?!? – to be grateful for Amazon Prime.

A nihilist look at class warfare featuring a cool creature design from Fessenden (that alternates between being tautly realistic and hysterically fake…sometimes within the same sequence), this feature also contains a majestic closing credit song from the amazingly named Shilpa Ray and Her Happy Hookers.

A striking live performer, whose pedigree floats in close proximity to acclaimed Screaming Females’ front woman Marissa Paternoster, Ray’s latest solo release Door Girl has been given much rightful acclaim, as well.

https://www.shilparay.net/

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Beneath

Hopelessly Devoted to: Linda Watkins

Published April 18, 2020 by biggayhorrorfan

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A ‘30s movie cutie, Linda Watkins may be best known to ‘70s television fans for playing Susan Saint James’ sweetly inscrutable mother on the first season of McMillan and Wife. Whether offering up a badly cooked brunch or joining James’ Sally McMillan in an undercover adventure or two, her presence was always enjoyably light.

A series of appearances on the cult ‘60s anthology Thriller, described by Stephen King as the best horror series ever put on TV, found her exploring saltier territory, though. There, with throaty persistence, she played cheating wives and aggressive tabloid reporters, career women and opportunists who left no stone unturned on the paths to getting what they wanted.

Her episodes proved to be some of the most interesting of the series, as well. Eyeglasses that caused the wearer to murder (The Cheaters), a pair of disembodied hands that terrorized and created beauty often in the same scene (The Terror in Teakwood) and a hairpiece that imbued its owner with a ravenously destructive beauty (A Wig for Miss Devore) all figured into the shows that she appeared on.

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Nicely working a similar theme, she played strong willed, defiant journalists in the latter shows, giving off a hard boiled feministic edge. The hats she wears as the brilliantly named Arabella Foote in Wig also provide her with some scene stealing capabilities, as well.

Watkins who went on to appear on episodes of such cult shows as The Munsters and The Girl from U.N.C.L.E. also provided support as part of the cast of Bad Ronald, a psycho in the wall thriller that has gained a healthy following since its first airing in 1974, as well.

Interestingly, while she cataloged over 70 celluloid credits by the time of her death at the age of 68 in 1976, Watkins actually spent the majority of her career on the stage after being disappointed by the quality of her earliest roles in film. Thus, this makes her a maverick ripe for rediscovery. A nice portion of her work available online and on physical media.

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Linda Watkins

Dagger Cast: Limerence

Published April 17, 2020 by biggayhorrorfan

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The latest Dagger Cast is up ‘n streaming! Lindsey and I catch up a bit, reviewing the world of horror a mere week before the stay at home orders went into effect.

We also have a sweet conversation with talented actress-writer Angela Riccetti. Angela is the lead of Limerence, a fantastical lesbian romance with some Twin Peaks style elements. This episode, which will hopefully go down in our history as the only show where my weak bladder makes an appearance (..pee break, anyone?!?!..), is available for listening at:

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Music to Make Horror Movies By: The Del Rubio Triplets

Published April 12, 2020 by biggayhorrorfan

Del Rubio Triplets

Of all the female powered groups that ruled the ‘80s, The Del Rubio Triplets had to be the most unique. Originally performing with bandleader Xavier Cugat in the ‘40s, they achieved cult status in the neon decade via their appearances on Pee Wee’s Playhouse and other television shows like Night Court, Married with Children and Sliders.

While best known for their enthusiastic covers of songs by Devo, Pointer Sisters and The Bangles, they also brought out all the best Halloween razzmatazz for their version of The Wizard of Oz’s Ding Dong, the Witch is Dead.

With their uniquely bright personalities shining like a supernatural spotlight, Milly (1921-2011), Elena (1921–2001) and Eadie (1921-1996), will unsurprisingly live forever in our hearts.

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Unsung Heroines of Horror: Pamela Searle

Published April 11, 2020 by biggayhorrorfan

Pamela Searle

A beauty queen, most notable for her placement as the third runner up in the 1959 Miss Universe contest, the beguiling Pamela Searle made a dozen film and television appearances throughout her short lived career.

Her movie credits, which included Bells Are Ringing (with Judy Holiday and Dean Martin) and If A Man Answers (with Sandra Dee and Bobby Darin), often capitalized on her looks and gave her little to do besides provide an attractive background ascetic.

TV was a bit kinder, giving her characters with names like Roxy Dozy to play on shows like Route 66 and Bachelor Father. Her most significant part for lovers of spook, though, is definitely that of Meg Payton on the A Wig for Miss Devore episode of Thriller. As an enchantress being hung for her crimes against humanity in the story’s enjoyable opening sequence, Searle beguiles with both touching modesty and a wickedly sharp edge. As Meg flatters her executioners with precision, Searle brings out of all the nuances of the role, proving that as a performer she is truly an unsung (anti) heroine of horror.

In fact, one definitely feels shades of Barbara Steele’s Princess Asa Vadja from Black Sunday and Sarah Jessica Parker’s Sarah Sanderson from Hocus Pocus in Searle’s inflections, two very distinctive personalities that give credence to the excellence of this underappreciated actress’s work.

Pamela Searle Model

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A Wig for Miss Devore

Published April 10, 2020 by biggayhorrorfan

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Coming off like Sunset Boulevard sewn into a glittering blonde tapestry with Mario Bava’s Black Sunday, A Wig for Miss Devore is definitely one of the gayest hours of horror ever.

The queer fan’s gateway into this second season episode of the classic Boris Karloff hosted Thriller is most definitely John Fiedler’s meek yet fervently devoted Herbert Bleake. Passionately protective of the faded diva that is Miss Devore, he is very similar to those of us who defend our own muted celebrity icons to the death. Of course, to the relief of terror lovers everywhere, death does rear its head here. A Wig Gay

Long forgotten by the studio that she helped put on the map, Patricia Barry’s saccharine voiced Sheila Devore sweetly believes that she will be welcomed back by them with open arms. After spending years away while recuperating from a nervous breakdown, her pet project is a script based on the execution of a centuries old witch. Interestingly, one of her primary requests is to use the wig that this true life enchantress wore as an accessory in the film. After Bleake blackmails the studio head, the faded Devore gets all her wishes. Unsurprisingly, once she puts the wig on her head, she becomes the picture of seductive youth and all her former naysayers fall at her feet, proposing marriage and setting her up as the studio’s queen. This fountain of fantasy has a price, though, and soon the innocent starlet is swept into vindictive rages that culminate in a series of murders to retain her vitality and ever ascending position in this imaginary filmdom’s ranks.

A Wig Hug Much like Boulevard, this story details the price that women pay for growing older in Hollywood. Separating itself a bit from that project, as opposed to a mysteriously regal beauty like Gloria Swanson’s Norma Desmond, Devore is illustrated as the ‘40s version of a Jayne Mansfield type, a silly blonde who did inconsequential yet truly successful projects. Nicely, Barry skillfully takes this central temptress from innocent denial to furious retribution. She perfectly echoes the ache of despair that often characterizes the accesses of show business and its even more rampant denials, giving this project its special heart and a place of importance in the history of anthology horror…and an even more significant place in the memories of all the wounded outsiders who instinctively see themselves in her plight.

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Music to Make Horror Movies By: Sam Harris

Published April 5, 2020 by biggayhorrorfan

It wasn’t just rockers like Alice Cooper and Pat Benatar who embraced the asylum esthetic with their recordings. ‘80s pop sensation Sam Harris utilized the strait jacket as a colorful fashion accessory on the back portrait of his debut album, as well.
Such a bad boy move might seem the antithesis of Harris’ colorful reality star beginnings.

But Harris’ biggest hit Sugar Don’t Bite definitely wasn’t playing around. In fact, this track makes being a “bleeder” sound like a sexual position well worth trying out on some hot Saturday night.

Of course, Harris, an openly gay man whose career has encompassed everything from turns on Broadway to penning a memoir called Ham: Slices of a Life, is always serving up the sweet stuff at http://www.samharris.com/.

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