Horror Costuming: The Bride of Frankenstein

by Cláudio Alves

As promised, the Horror Costuming series is back for a new spooky season, going further into the past than ever before. So much so that one delves into what now seems cliché, lest we forget that what is commonplace today was once new. There's no better example of this than the Universal Horror monsters of Hollywood's Golden Age, when studio head designer Vera West helped crystalize looks that would become classics. Think of Dracula's tuxedoed elegance with a red-lined opera cape, the Invisible Man's bandage and sunglasses combo, and, of course, the lumbering threat of Frankenstein's Monster.

Speaking of that 1931 James Whale-directed horror classic, today's topic of choice shall be its sequel. After the first movie's massive success, Universal begged the director for a follow-up, giving him unprecedented creative control. From there, we got the Genesis of the horror (tragi)comedy, a camp extravaganza like none other – 1935's The Bride of Frankenstein…

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A Haunting in October: "Kuroneko"

by Nick Taylor

Cats! We love ‘em. I know I do. Are we all cat people? No, but variety is the spice of life. Spirits of wronged women avenging their own deaths? Well loved across all kinds of cultural traditions and generic conventions. Putting cats and wronged women together, then, should be an instant recipe for success, yes? Especially if the title in question is as lauded as Kaneto Shindo’s 1968 film Kuroneko?

Set roughly one millenia before it was filmed, Kuroneko follows two women, mother Yone (Nobuko Otawa) and her daughter-in-law Shige (Kiwako Taichi), who live together in a bamboo cottage on the outskirts of a peasant village...

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"The Exorcist" Prologue: Buzzing Perfection

by Cláudio Alves

Between William Friedkin's death, a special spooky season re-release to celebrate its 50th anniversary, and a new sequel, The Exorcist feels like a hot topic. Then again, the 1973 movie is hard to shake off, even half a century after its original release. Indeed, one can count it among the most influential horrors in film history, a classic whose legacy lives on, scaring, maybe even scarring, generations long after it first shocked audiences. And yet, when discussing it, most people focus on the nightmare of a possessed child and her terrified mother, the doubt-ridden priest who regains his faith confronting evil beyond belief, or perhaps the freezing room where domesticity rots into hell on earth. 

For me, though, the best part of The Exorcist is its prologue, perhaps the picture's most divisive passage…

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That Iconic Green Suit from "The Birds"

by Cláudio Alves

After last year's paltry offerings, Horror Costuming is back in full force. Throughout October, the series will address the fantastic fashions of the undead and his bride, a monstrous metaphor born from Second-Wave Feminism, vampire chic, and more. Yet, before we get to the main courses, why not enjoy an aperitif? After all, though my writing can be protracted, even I would have trouble justifying the analysis of an entire movie's wardrobe when all that matters is one suit. I'm referring to Tippi Hedren's lovebird green dress and matching jacket from Hitchcock's The Birds, a striking look devised by the Master of Suspense's favorite designer – Edith Head…

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Review: "Ashkal" Keeps Its Cards Close to the Chest

by Cláudio Alves

Some viewers like their films tidily wrapped up, conclusions tied like neat bows. If there's mystery, it should come with a key to unlock it. Puzzles must be complete by the time credits roll. This is cinema as traditional storytelling, made easy to swallow whole. That kind of work can be made glorious by the right artist, but it would be erroneous to presume it the only valid form of film. Often, it's the rebellious piece that begets the biggest impact, forcing itself into the audience's imagination where it will percolate long after they've left the theater. This is cinema as haunt. This is Ashkal: The Tunisian Investigation, now in limited release…

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