Genre Perspectives: The Sandpiper

Published March 1, 2025 by biggayhorrorfan

Its no surprise that acclaimed horror directors like John Landis have contributed enthusiast commentaries to profiles on such visually stunning old school creators like sparkling dance king Busby Berkeley. Horror films are often defined by their morbid style and atmospheric palette, and it is no wonder that its prime practitioners recognize the impressive work of those who came before them.

Director Vincent Minnelli is another of those lush golden greats that contemporary maestros often rhapsodize about. His pictures always radiate with deep color and intense style. There is also probably nothing more spookily evocative than the Halloween scene in his classic Meet Me In Saint Louis. There, he carefully conjured up dread and youthful excitement all at once. In fact, the cheering mob like quality of that sequence almost dominates & supersedes the frenzied crowd work supplied by David Gordon Green in some of his recent seasonal epics.

Nicely, Minnelli’s vivid hues and auteur style elegance are still present in his latter, less critically recognized works. Even in The Sandpiper, a chest heaving soap opera from 1965 featuring Elizabeth Taylor and Richard Burton, his visual flair dominates the proceedings. Taylor, whom he had worked with twice before in the original Father of the Bride comedies, is also crowned with the loving, saturated camera work that he provided such luminaries as Judy Garland, Katherine Hepburn and Lucille Bremer in their heyday.

Interestingly, Taylor’s against the grain artist character also finds parallels with many of the imperfectly singular horror heroines we have seen of late. As Laura Reynolds, a freewheeling bohemian who refuses to bow down to traditional expectations, Taylor seemingly finds all the strands of her own singular power and displays them, passionately, onscreen. Thus, astute viewers can find echoes of everyone from XXX‘s Maxine to Heart Eyes‘ Ally McCabe in Reynolds’ fiery resistance to conformity.

Now, one can only hope that younger (and even older, blindsided) horror fans will eventually discover all the wonderful genre coincidences that lurk within popular cinema from decades ago.

Until the next time, SWEET love and pink GRUE, Big Gay Horror Fan!

http://www.facebook.com/biggayhorrorfan

Queer Horror: The Slumber Party Massacre (1982)

Published October 5, 2024 by biggayhorrorfan

After a 9-year publishing odyssey, Queer Horror: A Film Guide is finally a reality. For a variety of reasons, not all of my pieces made the final cut. I will share some of those unpublished essays here, from time to time. A link to purchase the book is featured, below, as well.

The Slumber Party Massacre (1982)

Writer: Rita Mae Browne, Amy Holden Jones (uncredited)

Director: Amy Holden Jones

Cast: Michelle Michaels, Robin Stille, Michael Villella, Debra De Liso, Andre Honore, Joseph Alan Johnson, Pamela Roylance, Brinke Stevens, Pamela Canzano

Beginning life as a script entitled Don’t Open the Door, director Jones heavily reconfigured writer Browne’s original work while still retaining that legendary lesbian author’s humorous, feministic intent here.

The plot, unsurprisingly, is typical ‘80s slasher fare. A notorious killer (Villella) escapes from the psycho ward, descending upon a group of momentarily parentless teens who are imbibing beer and pot while indulging in sexual antics. Yielding his drill like a phallus, the killer makes his way through the hard-partying population until the final act when the very pretty, very unpopular girl next door (Stille) puts a decisive end to his days of murderous marauding.

Low budget even by typical grindhouse standards, this film ingratiates itself by smartly emphasizing the real-life fear of losing one’s virginity with almost every death sequence and by broadening the perspectives of its feminine protagonists. Led by the subtly assured De Liso as Kim, the female teens here are more knowledgeable about sports stats than their male counterparts and gender stereotypes are subverted with all of the film’s maintenance support staff being played, nonchalantly, by women, as well.

Despite Browne’s involvement, the Sapphic action is ultimately understated here. Reversing expectations once again, the girls’ kindly coach (Roylance) is decidedly soft spoken. Only Canzano in her short scene as a carpenter gives off a decidedly gay vibe with her fun, efficient characterization.

Queer Horror

My Sweet Psycho: B & B’s Luna

Published September 14, 2024 by biggayhorrorfan

In the last month or so, the crazily unstoppable Connie (Julie Dove) has murdered Everett/Bobby (Blake Berris) and kidnapped Melinda (Tina Huang) on Days of our Lives. Her reign of terror in Salem, the show’s homebase, has now stretched across the many weeks of summer – and with Rafe (Galen Gering), one of her first victims since returning to the canvas, still recovering from the effects of a coma, it looks like she may be sticking around for a while longer.

In a surprise move, The Bold and the Beautiful entered into the psycho femme sweepstakes at the cliffhanger-end of their Friday, August 23rd episode, as well. Then, the impossibly sweet Luna (Lisa Yamada) was not only revealed to be a twisted schemer, but a murderous one, as well. Upon discovering Luna kissing Bill (Don Diamont), a man who was assumed to be the young woman’s father for months, the show’s popular anti-heroine Steffy (Jaqueline MacInnes Woods) confronted her — and found herself drugged and locked in a cage. Many viewers, understandably, assumed that they were going to be treated to months of Luna furtively keeping Steffy hostage.

Surprisingly, the Bold scribes worked quickly here. Almost immediately, during her macabre conversations with the desperate Steffy, Luna revealed that she had murdered two men – crimes that she had pinned on her wayward mother Poppy (Romy Park). She was now planning to let Steffy die in the condemned building that she had trapped her in & then eventually convince the macho Bill to marry her.

Steffy’s devoted husband Finn (Tanner Novlan) proved to have some previously undiscovered Columbo in his blood, though. Almost instantaneously, he figured out what was up and had rescued his bone dry, mighty bedraggled wife within days. After a facedown with her angry Aunt Li (Naomi Matsuda), Luna was arrested and confessed all to her very teary, totally shocked mother.

Of course, Bold has made a practice of stretching out the storylines of the equally psychotic Sheila over the years. But sadly, weekly previews seem to indicate that Luna may be off the canvas for a while now. Still, the fun of watching Yamada, Matsuda and Park go for broke will linger in fans’ minds for many years to come. The powers-that-be should also be sent notes of appreciation for focusing, so dramatically, on their Asian cast members. It is still a very white, homogenized world on the soap opera format, and it was nice to see a little much needed diversity at play during this very fun, juicily gothic romp.

Let’s hope that there are more such stories on the horizon…and soon!

Until the next time, SWEET love and pink GRUE, Big Gay Horror Fan!

http://www.facebook.com/biggayhorrorfan