I no longer make these posts in incredulity about how Strumpf acts, but in incredulity and outrage that 40% of the electorate could still vote for the misogynistic bullying pig. I feel confident in saying that, after his he is drummed off the public stage in a satisfying and I hope overwhelming defeat next Tuesday, any embarrassing individual foolish enough to admit that s/he was a Strumpf supporter will find it impossible to be treated with respect by any thinking person.
John Zacherle, one of the first of the late-night television horror-movie hosts, who played a crypt-dwelling undertaker with a booming graveyard laugh on stations in Philadelphia and New York in the late 1950s and early ’60s, died on Thursday at his home in Manhattan. He was 98. His death was announced by friends and a fan website.
Mr. Zacherle, billed as Zacherley in New York, was not the first horror host — that honor goes to Maila Nurmi, the Finnish-born actress who began camping it up as Vampira on KABC-TV in Los Angeles in 1954 — but he was the most famous, inspiring a host of imitators at local stations around the country.
‘Earlier this year, the horror movie genre was pronounced dead. None of the six horror films released before September managed to break $20 million on opening weekend at the box office, and none ended up earning over $32 million total domestically… It’s doubtful anyone truly believed the genre wouldn’t eventually bounce back, but peak scary movie season comes just once a year.
And then there was Annabelle, the spinoff from last year’s The Conjuring. Critics thought it might break 2014’s horror slump, but the film far exceeded those expectations: It earned $37 million on opening weekend, a higher draw than any horror movie in years, and one of the largest openings for a horror movie ever.Its financial success does not mean, however, that Annabelle is well-liked. The movie has a dismal three-percent critic rating on review aggregator Rotten Tomatoes. At Grantland, Wesley Morris wrote that Annabelle is emblematic of the genre’s recent tendency toward the “passive-aggressive and hilariously, lazily vague.” Audience reviews have been somewhat more generous (on Rotten Tomatoes, 45-percent of viewers said they liked it), but it seems unlikely the movie has a future as even a cult classic. I have a small group of trusty horror fans whom I can consult when I want to know if any of the genre’s new releases are worth a $20 trip to the theater, and the answer for Annabelle has been a resounding “Nah.”
So why did so many people pay to go see it? It had a strong social media presence, for one thing, and for another, people love a freaky doll. But there’s a deeper motive that likely propelled Annabelle beyond its merits: People who wanted to be terrified at some point this year just got tired of waiting. As movie analyst Phil Contrino told the Washington Post, “As a genre, it’s never completely dead, because people always want to be scared.”…’
A reprise of my traditional Hallowe’en post of past years:
It is that time of year again. What has become a time of disinhibited hijinx and mayhem, and a growing marketing bonanza for the kitsch-manufacturers and -importers, has primeval origins as the Celtic New Year’s Eve, Samhain (pronounced “sow-en”). The harvest is over, summer ends and winter begins, the Old God dies and returns to the Land of the Dead to await his rebirth at Yule, and the land is cast into darkness. The veil separating the worlds of the living and the dead becomes frayed and thin, and dispossessed dead mingle with the living, perhaps seeking a body to possess for the next year as their only chance to remain connected with the living, who hope to scare them away with ghoulish costumes and behavior, escape their menace by masquerading as one of them, or placate them with offerings of food, in hopes that they will go away before the new year comes. For those prepared, a journey to the other side could be made at this time.
With Christianity, perhaps because with calendar reform it was no longer the last day of the year, All Hallows’ Eve became decathected, a day for innocent masquerading and fun, taking its name Hallowe’en as a contraction and corruption of All Hallows’ Eve.
All Saints’ Day may have originated in its modern form with the 8th century Pope Gregory III. Hallowe’en customs reputedly came to the New World with the Irish immigrants of the 1840’s. The prominence of trick-or-treating has a slightly different origin, however.
The custom of trick-or-treating is thought to have originated not with the Irish Celts, but with a ninth-century European custom called souling. On November 2, All Souls Day, early Christians would walk from village to village begging for “soul cakes,” made out of square pieces of bread with currants. The more soul cakes the beggars would receive, the more prayers they would promise to say on behalf of the dead relatives of the donors. At the time, it was believed that the dead remained in limbo for a time after death, and that prayer, even by strangers, could expedite a soul’s passage to heaven.
Jack-o’-lanterns were reportedly originally turnips; the Irish began using pumpkins after they immigrated to North America, given how plentiful they were here. The Jack-o-lantern custom probably comes from Irish folklore. As the tale is told, a man named Jack, who was notorious as a drunkard and trickster, tricked Satan into climbing a tree. Jack then carved an image of a cross in the tree’s trunk, trapping the devil up the tree. Jack made a deal with the devil that, if he would never tempt him again, he would promise to let him down the tree.
According to the folk tale, after Jack died, he was denied entrance to Heaven because of his evil ways, but he was also denied access to Hell because he had tricked the devil. Instead, the devil gave him a single ember to light his way through the frigid darkness. The ember was placed inside a hollowed-out turnip to keep it glowing longer.
Nowadays, a reported 99% of cultivated pumpkin sales in the US go for jack-o-lanterns.
The idea behind ducking, dooking or bobbing for apples seems to have been that snatching a bite from the apple enables the person to grasp good fortune. Samhain is a time for getting rid of weakness, as pagans once slaughtered weak animals which were unlikely to survive the winter. A common ritual calls for writing down weaknesses on a piece of paper or parchment, and tossing it into the fire. There used to be a custom of placing a stone in the hot ashes of the bonfire. If in the morning a person found that the stone had been removed or had cracked, it was a sign of bad fortune. Nuts have been used for divination: whether they burned quietly or exploded indicated good or bad luck. Peeling an apple and throwing the peel over one’s shoulder was supposed to reveal the initial of one’s future spouse. One way of looking for omens of death was for peope to visit churchyards
Although probably not yet in a position to shape mainstream American Hallowe’en traditions, Mexican Dia de los Muertos observances have started to contribute some delightful and whimsical iconography to our encounter with the eerie and unearthly as well. As this article in The Smithsonian reviews, ‘In the United States, Halloween is mostly about candy, but elsewhere in the world celebrations honoring the departed have a spiritual meaning…’
Reportedly, more than 80% of American families decorate their homes, at least minimally, for Hallowe’en. What was the holiday like forty or fifty years ago in the U.S. when, bastardized as it has now become with respect to its pagan origins, it retained a much more traditional flair? Before the era of the pay-per-view ’spooky-world’ type haunted attractions and its Martha Stewart yuppification with, as this irreverent Salon article from several years ago [via walker] put it, monogrammed jack-o’-lanterns and the like? One issue may be that, as NPR observed,
‘“Adults have hijacked Halloween… Two in three adults feel Halloween is a holiday for them and not just kids,” Forbes opined in 2012, citing a public relations survey. True that when the holiday was imported from Celtic nations in the mid-19th century — along with a wave of immigrants fleeing Irelands potato famine — it was essentially a younger persons’ game. But a little research reveals that adults have long enjoyed Halloween — right alongside young spooks and spirits.’
Is that necessarily a bad thing? A 1984 essay by Richard Seltzer, frequently referenced in other sources, entitled “Why Bother to Save Hallowe’en?”, argues as I do that reverence for Hallowe’en is good for the soul, young or old.
“Maybe at one time Hallowe’en helped exorcise fears of death and ghosts and goblins by making fun of them. Maybe, too, in a time of rigidly prescribed social behavior, Hallowe’en was the occasion for socially condoned mischief — a time for misrule and letting loose. Although such elements still remain, the emphasis has shifted and the importance of the day and its rituals has actually grown.…(D)on’t just abandon a tradition that you yourself loved as a child, that your own children look forward to months in advance, and that helps preserve our sense of fellowship and community with our neighbors in the midst of all this madness.”
That would be anathema to certain segments of society, however. Hallowe’en certainly inspires a backlash by fundamentalists who consider it a blasphemous abomination. ‘Amateur scholar’ Isaac Bonewits details academically the Hallowe’en errors and lies he feels contribute to its being reviled. Some of the panic over Hallowe’en is akin to the hysteria, fortunately now debunked, over the supposed epidemic of ‘ritual Satanic abuse’ that swept the Western world in the ’90’s.
The horror film has become inextricably linked to Hallowe’en tradition, although the holiday itself did not figure in the movies until John Carpenter took the slasher genre singlehandedly by storm. Googling “scariest films”, you will, grimly, reap a mother lode of opinions about how to pierce the veil to journey to the netherworld and reconnect with that magical, eerie creepiness in the dark (if not the over-the-top blood and gore that has largely replaced the subtlety of earlier horror films).
The Carfax Abbey Horror Films and Movies Database includes best-ever-horror-films lists from Entertainment Weekly, Mr. Showbiz and Hollywood.com. I’ve seen most of these; some of their choices are not that scary, some are just plain silly, and they give extremely short shrift to my real favorites, the evocative classics of the ’30’s and ’40’s when most eeriness was allusive and not explicit. And here’s what claims to be a compilation of links to the darkest and most gruesome sites on the web. “Hours and hours of fun for morbidity lovers.”
Boing Boing does homage to a morbid masterpiece of wretched existential horror, two of the tensest, scariest hours of my life repeated every time I watch it:
‘…The Thing starts. It had been 9 years since The Exorcist scared the living shit out of audiences in New York and sent people fleeing into the street. Really … up the aisle and out the door at full gallop. You would think that people had calmed down a bit since then. No…’
Meanwhile, what could be creepier in the movies than the phenomenon of evil children? Gawker knows what shadows lurk in the hearts of the cinematic young:
‘In celebration of Halloween, we took a shallow dive into the horror subgenre of evil-child horror movies. Weird-kid cinema stretches back at least to 1956’s The Bad Seed, and has experienced a resurgence recently via movies like The Babadook, Goodnight Mommy, and Cooties. You could look at this trend as a natural extension of the focus on domesticity seen in horror via the wave of haunted-house movies that 2009’s Paranormal Activity helped usher in. Or maybe we’re just wizening up as a culture and realizing that children are evil and that film is a great way to warn people of this truth. Happy Halloween. Hope you don’t get killed by trick-or-treaters.’
In any case: trick or treat! …And may your Hallowe’en soothe your soul.