Horror Actressing: Rosario Dawson in "Death Proof"

by Jason Adams

Every time I see Quentin Tarantino's bifurcated 2007 flick Death Proof I want to write about Death Proof, and every time I write about Death Proof I tell myself I'm going to write about something besides Rosario Dawson's performance in Death Proof... and every time I spectacularly fail at this mission. This "Great Moments in Horror Actressing" post you're now reading is further proof, dead proof, of just that. It's just there is that moment, that single moment seen above, where Tarantino's camera zooms in on Dawson's face as her worry melts into absolute exaltation, and it is by my humble estimate one of the greatest, most electric close-ups in cinematic history. Just that!

But we are, like so much of this movie, zooming right on ahead of ourselves. Just what is it about that moment that makes all the hairs on my arms stand on end?

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Horror Actressing: Glenda Farrell in "Mystery of the Wax Museum" (1933)

by Jason Adams

Once upon a time in a galaxy far far away we once went to The Movies. Otherwise known as The Picture Show, it turned out in 2020 there was indeed, as the prophet Peter Bogdanovich foretold, a Last one for us all. The subject of what was everyone's Last Big Picture before the COVID quarantine shut movie-going down has been a popular one -- personally I've kept that information close to the vest because mine (sigh) was the godawful horror twist on Fantasy Island, and let us never speak of that again. 

Let's instead focus on one of my best big-screen cinematic experiences of the so-far short-lived year in such things, which was MoMA's January screening of the drop-dead-stunning restoration of the Pre-Code two-color Technicolor fright-flick Mystery of the Wax Museum. Michael Curtiz's 1933 film, was lost for decades until a pair of prints miraculously appeared and got cobbled together beautifully. Mystery stars Fay Wray (just a few weeks before her romantic wrangle with that big monkey) playing the love-struck, shriek-prone Charlotte Duncan. But even better as far as I'm concerned there's Glenda Farrell, the subject of this here week's episode in our "Great Moments in Horror Actressing" series...

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Horror Actressing: Anjelica Huston in "The Witches"

by Jason Adams

What's your favorite flavor of witch? Do you prefer a goth punk madwoman like Fairuza Balk in The Craft? A sexy hyper-stylish artiste like Tilda Swinton in Suspiria? A cackling crone like Margaret Hamilton in The Wizard of Oz?

What if I told you you didn't have to pick just one? That there exists a witch out there already that snatches a dash of this, a dash of that, until her cauldron bubbles over with the cartoonish bombast of Cruella de Vil meets Helena Markos. I think you'd nod, say duh, throw your head back and holler, "Anjelica Huston as the magnificent Grand High Witch forever, darling-kk!!!"

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Horror Actressing: Rita Macedo in "The Curse of the Crying Woman" (1963)

by Jason Adams

Happy Cinco de Mayo, everyone! For this week's edition of our "Great Moments in Horror Actressing" series we're tackling the five-century-old Mexican folk-tale of "La Llorona" aka "The Weeping Woman," who's become perhaps the most iconic of all their legends and whose terrifying presence has graced the screen at least a dozen times, up to and including last year's middling Blumhouse production (part of their ever expanding and worsening Conjuring Universe) titled The Curse of la Llorona. 

We will not be talking that most recent version though, because despite perfectly acceptable screaming from a slumming Linda Cardellini (an actress I very much like)...

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Horror Actressing: Geena Davis in "The Fly"

by Jason Adams

I think it was Roger Ebert who once said about Geena Davis she seemed difficult to cast in the movies as a normal human being because she always looked more like a Valkyrie come down from Valhalla than she ever did a simple waitress. And, Roger Ebert thinking with his hormones aside, he wasn't entirely wrong. For every Thelma there was a pirate, an assassin, a gigantic vampire countess waiting in the wings. Even in a reality-based movie like The Accidental Tourist it was her proto Manic Pixie character that represented a break in the mundane -- Geena Davis sweeping in always feels like an occasion!

That's why I think some of her absolute best work came in films where the reality rose up to meet her on her larger-than-life level. Her six full feet of rosy-cheeked goddessness needed a heightened world to roam most comfortably within, something like the afterlife wackiness of Tim Burton's Beetlejuice, or as with today's subject, the deranged splatter romance of David Cronenberg's 1986 The Fly remake...

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