My introduction to Hong Kong cinema came in the form of a crash course between the years of 1991 and 1993, when I began to discover and voraciously devour a seemingly endless parade of mind-blowing films made in the past decade. Finding the movies was hard. Finding information on them was even harder, but there was an explosion in the popularity of these films among cult film fans in the United States around that time, so though it took some leg work, we soon found that we were not alone. Together, then, we stumbled through the dark, trading tapes, raiding Chinese grocery stores that stocked videos, writing reviews for one another, publishing fanzines, and doing our best to spread, pre-internet style, every scrap of information we were able to dig up on these amazing movies. In the course of two weeks (maybe less), I think a few friends and I huddled around my massive 10-inch screen TV and watched A Better Tomorrow, The Killer, Swordsman, Zu, Once Upon a Time in China, and A Chinese Ghost Story. We sat there another week and just drooled. Though I love each of those movies, there was something about the elegance, beauty, and melancholy of A Chinese Ghost Story that made it stick out as my favorite of the time. Decades later, it’s still one of my absolute favorite movies.
Old Hong Kong movies use the presence of a Taoist priest as a license to print crazy, despite the real world practice of Taoism’s emphasis on quiet contemplation and equilibrium with nature. As these filmmakers would have it, that age old philosophical tradition is all about people shooting cartoon lightning bolts out of their hands, repelling one another with weapon strength, supersonic laughter and, of course, watermelon monsters. In short, exactly the type of religion that might get me to turn my back on my secular ways once and for all.
Researching the history of Japanese yokai in cinema is a difficult task. At least, it’s a difficult task if, like me, you don’t read Japanese and are kind of lazy. Almost all of the English language writing about movies involving these bizarre and multitudinous creatures from Japanese folklore focuses on the three loosely related yokai movies released by Daei in the late 1960s — Spook Warfare, 100 Ghosts, and Along with Ghosts — or on Takashi Miike’s more recent take on those old movies, Great Yokai War. A few people will talk about the history of yokai in popular Japanese culture and the role Shigeru Mizuki and his manga series, GeGeGe no Kitaro, played in turning this bizarre assembly of ghosts, demons, monsters, and goblins into pop culture icons. But beyond that, the field of cinematic yokai studies is largely empty even though, as Ghost Stories of Wanderer at Honjo illustrates, someone was out there making yokai movies even before Mizuki published his comic book.
In 1948, French artist Jean Dubuffet coined the term art brut, a phrase which became “outsider art” in 1972 when critic Roger Cardinal imported it into the English language. It referred to works of art created outside the boundaries of general culture. Specifically, it was art created by someone like an inmate in an insane asylum. Over time, the term was applied to a broader audience, but the key element remains that the art is a reflection of a mental state beyond that of even the average crazy guy. This is not the same as an established art movement that is consciously seeking to do something “outside the mainstream.” An artist can’t rationally decide to make art brut. As Dubuffet himself describes it, art brut can’t be created by anyone who functions as part of regular society, even regular art society, and so this form of fierce and feverish creativity remains the sole purview of madmen and terrifying backwoods hillbillies who make sculpture out of cat skins, metal drums, and human skulls.
Tsui Hark’s one modest ambition in life was to forever change the way movies were made in Hong Kong. Just that. A small order, right? The amazing thing is that he managed to pull it off. His work in the early 1980s served as one of the foundations of what would become known as the Hong Kong New Wave — that heady period of filmmaking from the 1980s through to the middle of the 1990s when new filmmakers and new styles of filmmaking were running rampant and turning Hong Kong into the most interesting movie making mecca in the world. It’s no accident that Hark found himself in the middle of this cinematic upheaval, just as it’s no accident that what happened in Hong Kong then so closely mirrored what had happened with American filmmaking in the 1970s. The old guard was puttering along, making movies that were out of touch with what young filmgoers wanted. The hungry new generation was waiting to bust out from under the thumb of their mentors and flood the market with bold new approaches and ideas. And finally it got to the point that the next generation could not be contained. They took control, and nothing was the same again.
Oh Death Spa, what have you done? All those years I spent bad-mouthing slasher films from the 1980s, then you go and immediately make yourself one of my all-time favorite horror films by being one of the most cracked, absurd examples of horror film making one is likely to stumble across. It’s probably because you actually have less to do with the American slasher films that permeated the horror scene during that prolific decade and instead can count yourself the peer of batshit insane Italian horror films from the same decade. You are less Jason Vorhees and Friday the 13th and more Lamberto Bava and Demons. I loved you when in the first five minutes you gave me Ken Foree in micro-shorts, full frontal nudity, and attempted murder by steam room. But then you just kept piling absurdity on top of insanity, so that by the time we got to the frozen flying eel, I was willing to pledge my very soul to you.
With it being October and all, I was in the mood for a decent horror video game that fulfills my basic requirements for a game — that it be old enough so everyone else has lost interest in it, thus driving the price down to an affordable ten bucks or so. Of the many recommendations I got, I decided to go with F.E.A.R.: First Encounter Assault Recon, because I thought the blend of supernatural horror with a SWAT type first person shooter would be interesting. Plus, I’d been told the game was genuinely scary in many places. Seemed like the perfect late-night indulgence. And for portions of the game, it was. It’s a fast paced shooter that does indeed boast some incredibly effective spooky material. But it’s also too repetitive, and the horror often gets forgotten in favor of room after room of shooting it out with basically identical opponents gussied up in the same sort of assault team gear your own character is wearing.
There was nothing about the old VHS box for Shaolin Invincibles that made us think we were renting anything other than a standard “kungfu orphans get revenge on villains who murdered their parents” story. We plucked it from the shelves because, well, why not? We were up for renting anything that wasn’t Unique Lama. By the time Ocean Shores video splashed that bright red “The End” graphic onto the television screen, we’d seen tongue-waggling ghosts, bug-eyed zombies, and that most treasured of kungfu film appearances — the kungfu gorilla. I won’t say that the impact of Shaolin Invincibles on our mental faculties was as pronounced as it was after watching Young Taoism Fighter for the first time, but that’s a pretty high bar to set.
At the time, though my friends and I were voracious consumers of any and every kungfu movie on which we could get our hands, we were also operating more or less in a vacuum. Pre-internet days, you know. So while I wanted to know more about the movies I was watching, there simply didn’t exist the resources that would help me complete the task. I learned to recognize various stars and directors, I didn’t have much historical context beyond that I could paste together based solely on movies I’d seen. There was no way for me to tell a Hong Kong film from a Taiwanese film, and no way for me to understand that I should know the difference — I didn’t suspect that the most bizarre kungfu films we were renting were the product of a Taiwanese film industry that seemed to think acid-fueled fever dreams were the best source material for kungfu movie scripts.
We live in a more enlightened time now, and thanks to the tireless efforts of of sites like Die Danger Die Die Kill!, I have a clearer picture of the Taiwanese kungfu film market. With the ability to put everything into context, I’m no longer surprised that director Hau Chang cranked out a movie as bizarre as Shaolin Invincibles. It was really just standard operating procedure for a man who gave us films like Ape Girl and the truly inspired martial arts fantasy Legend of Mother Goddess. In fact, Shaolin Invincibles is one of his more normal films.
Things start out familiar enough. A murderous Ch’ing ruler (Chen Hung-lieh, Temple of the Red Lotus and Come Drink with Me) has a family murdered, but the little daughters are spirited away by a convenient group of Shaolin monks. Years later, the girls ave grown into Lu Szu Liang (Chia Ling, The Legend of Mother Goddess) and Lu Yu Liang (Doris Lung Chun-Erh, Master of the Flying Guillotine and Young Hero of Shaolin), masters of several secret Shaolin techniques. Now that they’re grown, the abbot allows them to leave the temple to seek revenge on the men who slaughtered their family. Along the way, they’ll be helped by Kan Feng Chih (Carter Wong, 18 Bronzemen and Big Trouble in Little China).
Captain of the guard Lei (Yee Yuen), who happens to own the most splendid robe in all of China (and dolls himself up with matching cosmetics), soon figures out that the guys dropping by the dozens are being offed by the Lu sisters, and even though he’s never seen them, somehow he’s able to mobilize every thug in the province to try and take them out. This results, as you can imagine, in a lot of dead thugs. Also, one of the women disguises herself as a man for no reason other than there was a law in Taiwan that every kungfu movie had to feature a woman who is obviously a woman but passes for a man simply because she dons traditional men’s attire. Afraid that the king will find out that he lied about slaughtering the whole Lu clan, Lei then turns to the sorriest bunch of elite killers I’ve ever seen. It’s your usual assortment — monk with bushy eyebrows, fey dude with fan, dirty old beggar — but this lot seems especially easy to dispatch, even without Carter Wong dropping by at random times to lend a fist.
Lei probably could have spent a little more time shopping around for exotic hired killers, as the king seems preoccupied with the latest additions to his court: a couple of capering gorillas that are, as was usually the case, played by a couple stuntmen in ratty costume store gorilla outfits, complete with loosely flapping pant legs and occasionally crooked masks. As if it that wasn’t enough, the gorillas’ wranglers are a couple of ghosts. I’m not entirely as up on my Chinese folklore as I should be, but I think these guys are supposed to either be Diao Si Gui — the spirit of someone who has died by hanging (thus the long, engorged tongue) — or Hei Bai Wu Chang — the black and white guardians of hell, recognizable for their tall hats, black and white robes, and the accouterments they usually carry (you can see Billy Chong beat a couple up in Kungfu from Beyond the Grave).
I think these dudes are a couple of Diao Si Gui who were spookin’ around one day and found a box of hell guard hats and robes and were like, “We can get free food if we wear these around town!” Otherwise, they’re a desultory couple of hell guards who obviously lucked into the job, and so incompetent were they that the king of hell made up the most ridiculous job he could and convinced them that it was super-important that they take these, uhh… I’m gonna say gorillas, and deliver ‘em to this guy in the fancy robe. Yeah, that should keep ‘em out of my hair for a couple weeks. Sort of like how Lucky the Leprechaun is such a shitty leprechaun that while all the other leprechauns get to guard pots of gold, he has to guard a bowl of cereal. Anyway, the gorillas are almost completely invulnerable except for the top of the head. If you such much as slightly brush against the top of their heads, it sends them into howling fits of agony and, if sustained, they will become totally loyal to you for some reason. I guess this sounded like a decent enough weakness, at least until they ended up in a movie where the heroes’ signature move is to leap up into the air and jam a sword into the top of your head.
While the king is farting around with the gorillas, the Lu sisters get jobs as maids so that they can infiltrate the palace and get their final revenge. Even though Lei was able to describe the women to every two-bit killer in the kingdom, and even though he and his men drew up a whole bunch of wanted posters with really detailed sketches of the sisters, no one — including Lei — seems to recognize them when they start skulking around the palace. Killing Lei and the king proves a tricky task, however, as the palace is kitted out with the usual assortment of secret passages, traps, and for some reason, a dude who has been in prison so long that he has turned into a monster. Luckily for Carter Wong and the girls, famed leg fighter Dorian Tan Tao-Liang will pop up out of nowhere, announce “It’s me, that one guy who you’ve all been waiting for even though I haven’t been in the movie until now,” and then he’ll kick a lot of people in the name of helping the Lu’s.
Shaolin Invincibles isn’t as crazy as I remembered, but it’s still a lot of fun. There’s a ton of action, pretty good fights, and there’s the gorillas and the ghost and the zombie guy just for the hell of it. A little, something for everybody, really. The best part has to be when the Lu’s are sneaking through the woods and spy the two gorillas from a distance. The gorillas are doing that usual capering and hopping about that bad actors do when they are trying to play gorillas, even though I don’t think a real gorilla has ever moved like that. Upon seeing the two galoots lumbering awkward down a hill, Lu Yu Liang instantly surmises “those beasts seem to know kungfu.” This is pretty sloppily made, and I could have used more Dorian Tan Tao-Liang, but as was often the case with Taiwanese martial art cinema from the 70s, the energy, frequent action, and flat out strangeness is more than enough to result in a fun film.
Release Year: 1977 | Country: Taiwan | Starring: Carter Wong, Chia Ling, Doris Lung Chun-Erh, Dorian Tan Tao-Liang, Chen Hung-Lieh, Yee Yuen, Jack Lung Sai-Ga, Blacky Ko Sau-Leung, Lee Keung, Lam Chung | Screenplay: Yeung Gat-Aau | Director: Hau Chang | Music: Eddie H. Wang Chi-Ren | Producer: Geung Chung-Ping | Original Title: Yong zheng ming zhang Shao Lin men
It’s not that Event Horizon isn’t the kind of movie I would write about. Haunted spaceships and Sam Neill ripping out his own eyeballs is right up my alley. No, the reason isn’t the content, but rather, that fact that this is one of those movies that already has a lot of words spent on it from a variety of sources both in the mainstream and in the realm of cult film fandom. Under such circumstances, it’s hard to imagine what i might have to add that is new. In some cases, I can come up with something — some tiny, meaningless tidbit that is a throwaway line in a movie that then allows me to write endlessly on some idiotic and obscure point. But upon watching Event Horizon, I was left with a distinct lack of ideas when it came to thinking about how I might approach writing about this film with some degree of originality. And now that I’ve finished the first paragraph, I still have no idea, so with any luck, something will pop up as I stumble along.
I didn’t see Event Horizon when it was released. I’m not sure why. I mean, it’s a gory film about a spooky spaceship. I think, however, in 1997, I saw maybe three film the entire year, and that was when I went out on dates with a lovely Southern belle. Somehow we ended up at a screening of Mortal Kombat II: Annihilation. So shamed was I that I just packed up and left North Carolina for New York, hoping to lose myself in the throng and hide my shameful secret. But Teleport City has, in a way, become a curious place for dragging my own horrible secrets into the light for all to see, and on the scale of shameful secrets, “took a date to see Mortal Kombat II: Annihilation” is much worse than “burning passion for Catalina Larranaga” or even “took a date to see Wicked City.” It’s probably not worse than, “invited a girl over, cooked her a crappy dinner, then made her watch Black Devil Doll from Hell,” but it’s pretty close.
I was also pretty much broke in 1997. Hell, I was pretty much broke in 2007, but I’d learned to stretch a dollar in those ten years. Whatever the reason, I didn’t see many movies that year, and Event Horizon was among the ones I didn’t see. Heck, I don’t think I knew a thing about it back then, because I didn’t even have a TV at the time where I could see important commercials informing of the virtues of films like Event Horizon, B*A*P*S, Kull the Conqueror, or any of the other fine films released that year. In the many years that followed, Event Horizon was off my radar and forgotten about, even though from time to time someone would tell me I should see it. That almost always encourages me not to see a film, as very few people seem to understand the complexities of my taste, and so they assume that I will want to be watching Troma films or other intentionally and ironically crappy movies. People just can’t grasp my earnestness. But lately, I’ve been going back and catching up on a lot of the science fiction I missed in the past ten years or so, and after Screamers, Event Horizon was the next film on the list — though calling it science fiction is sort of like calling Halloween a “coming of age drama.”
Despite the starships, hibernation chambers, spacesuits, and other superficial trappings of science fiction, Event Horizon is most definitely a horror film through and through, hewing closely to the classic set-up of a group of people in an isolated location, being preyed upon by a mysterious and murderous force. It just so happens that outer space is a slightly more isolated location than usual. In this regard, Event Horizon draws upon a history of science fiction horror that includes films like Alien and Mario Bava’s Planet of the Vampires and can be traced back even further to the era of pulp fiction and writers like H.P. Lovecraft. In fact, it’s Lovecraft’s name that is most often invoked when people attempt to describe this film, even though at no point does Sam Neill yell “Yog Sothoth!” Unfortunately for a lot of people, Lovecraft and horror films were not invoked by the advertising for the film when it was released, which marketed it for the most part as a space adventure with some minor overtones of spookiness. People who went in expecting sci-fi space adventure found themselves confronted by hallucinatory images of demon rape, maggots, people being flayed alive, other people vomiting up their own innards or possibly someone else’s arm — at times, the atrocity exhibition is hard to decipher, but the fact remains that it was not what the average sci-fi fan was expecting. I’ve never quite understood this type of bait and switch marketing, as it only makes people mad. But I suspect that it has less to do with some sinister attempt to trick sci-fi fans into seeing a horror film and more to do with an ad agency that never bothered to watch the movie they were marketing and just assumed that, since it featured a spaceship, it was a science fiction film.
By the time I saw this movie, of course, the cat was out of the bag, so I knew exactly what I was getting into. Even if I hadn’t, it would not have mattered much, since I can roll with horror just as easily as I can science fiction. So that’s not what bugs me about this movie. What bugs me is that Event Horizon is this close to being a great movie, and that it comes so close but ultimately fails is, fair or not, much worse than if it had just been a crummy movie from beginning to end. At least then, I could have abandoned any care and gone along with things. That’s what gets me through The Chronicles of Riddick, Aeon Flux, and the many other two-star science fiction films for which I seem to have an incredible weakness. But Event Horizon was almost so much more, and while I ultimately like the movie quite a lot, I do so well aware of the bitter taste left by great ideas left poorly explored and a resolution that sees the movie collapse in on itself — which I guess is fitting in a way for a movie that features the a black hole propulsion system.
The set-up is not unlike that of a couple other “investigating the mysterious ship” movies. I’m thinking specifically of The Black Hole and 2010. In the year 2047, a group of search and rescue astronauts lead by Lawrence Fishburne when he was allowed to show emotion instead of being an emotionless monotonal Matrix guy, are en route to a secret location known only to aerospace scientist Sam Neill. It is soon revealed that they are on their way to rendezvous with the space ship Event Horizon, an experimental craft with the ability to use a black hole generator to warp space and travel massive distances in the blink of an eye. But the ship went missing seven years ago, and there’s been no successful contact with the crew since it suddenly re-appeared near the planet Neptune. Captain Miller (Fishburne), Dr. Weir (Neill), and the crew of the rescue ship Lewis and Clark are to make contact with the crew of the Event Horizon and see what the heck is going on. A rough approach through the stormy space surrounding Neptune results in damage to the Lewis and Clark, meaning that whatever happens on board the Event Horizon, they’re going to have to stick around a spell to fix their own ship.
Things are hardly soothing on the nerves once the team boards the massive experimental space ship. The crew is gone, and the only trace of them is a garbled transmission full of screaming — though eventually Miller and company also discover some hideously mutilated remains splayed across the walls. Although the ship’s black hole drive is presumably shut down, it still finds time to activate itself and suck a member of Miller’s crew into its vortex, returning him in a coma that is only broken long enough for him to babble hysterically about “the darkness inside him” and the nightmarish things he saw on the other side. On top of that, the rest of Miller’s crew starts seeing things — specifically, hallucinations of their dead loved ones. And because horror on top of horror isn’t enough, scans of the Event Horizon begin returning reports of widespread bio signals, inferring that something else is on the ship with them. When one of Miller’s officers decodes the Event Horizon log, they are met with perverse images of the crew being ripped apart, raped by hideous beasts (or possibly by other members of the crew), and suffering untold and unspeakable horrors. Miller decides that the ship can go to hell, and they’re leaving it behind. But Weir seems to feel that the ship has already been to hell, and that somewhere along it’s universe-warping journey, the Event Horizon passed into another dimension, one of absolute chaos and evil, and in doing so became a sentient and highly malevolent living organism. The scans are picking up life forms; they’re picking up the ship itself, and the hallucinations and other problems are a result of the ship’s immune system defending itself from invading organisms.
Or the ship could just be a big ol’ hunk of Hell-infused evil. Whatever the case, Miller is as keen on leaving as Weir is on keeping everybody there.
As a concept, I think Event Horizon is tremendous. The idea of a ship’s experimental drive warping space tot he point where it rips the fabric of the universe and winds up in another dimension humans could best comprehend as Hell is wonderful, and that sort of “horror among the stars” is right out of the old pulp writings of H.P. Lovecraft, who often tinged his horror with elements of science fiction. The universe into which the Event Horizon passed is glimpsed, but only in tiny, tiny portions, and the film relies again on the old Lovecraft trope of a place so completely evil, so thoroughly perverse and malign, that to merely gaze upon it would drive a man insane. Further, the idea that the ship, once returning in some way or another from that universe, would have become a sentient creature as evil as the universe through which it passed is a concept rife with potential. It’s also a set of ideas so vast, so complex, that attempting to tackle them in two hours in a sci-fi horror film is almost certainly doomed to failure.
And that’s what happens to poor Event Horizon; it is filled with too many good ideas that are too complex, and there’s no hope of the film ever being able to satisfactorily unravel it’s science, meta-science, philosophy, and religion. In a way, this isn’t a bad thing. To present human characters with a situation far beyond their comprehension and thus leave many questions necessarily half-answered or completely unresolved is fine. There is a way to do that. I just don’t think Event Horizon hits the mark. It aims. It makes a valiant effort. But int he end, it just can’t get it’s head around its own central concepts, and the whole thing devolves into an ending that lets the film down.
But make no mistake about it — I like this movie. I like it a lot. I think the things it does right make it more than worth the time it takes to watch. My frustration stems purely from the fact that it was well within the grasp of this film to be even better, and it didn’t quite make it. It’s like one of those break-aways in basketball where one guy has the ball,sprints the length of the court alone, has everyone cheering and going nuts, but then when he goes up for the slam dunk, he somehow screws it up and misses. You know, if he’d just dribbled down and missed a jumper, no worries. But because there was tremendous emotion and pageantry around the idea of a breakaway and dunk, when the guy blows the dunk, it makes the missed basket way more painful — especially if it comes near the very end and costs them the game. Event Horizon spends most of its running time building up the freak-out and scares (sometimes with cheap jump scares, but usually through the use of genuine atmosphere), but as Roger Ebert said of the movie, “it’s all foreboding and never gets to the actual boding.”
But let’s detach ourselves from disappointment and spend some time talking about what this movie does right. First and foremost is the atmosphere. Although the science fiction setting misled a lot of viewers, it works wonderfully for this type of film. It’s basically a slightly more fantastic version of the “old dark house,” the remote cabin, or any of the many other locations horror films use to isolate their cast from the outside world — only more so. Millions of miles from home, on a tiny man-made island, surrounded by an environment that will kill you almost instantly if you set foot outside. That’s even more claustrophobic and nerve-wracking than being at some rich weirdo’s country manor. And Event Horizon never lets you forget how vulnerable these people are. Their air is running out. One guy ends up outside the ship without a spacesuit. You never lose sight of how fragile humans are in this setting — something I think could only be replicated by setting your movie in the middle of the ocean. Much of Event Horizon has to do with the concept of tampering in domains man was not meant to see, but while the specific domain may be the Hell Universe, in general it’s obvious that even save travel through space in incredibly dangerous, and a tiny mistake or bit of damage can have colossally negative repercussions.
Adding to the ominous air is the Event Horizon itself, which was apparently designed by someone who thought H.R. Giger’s stuff was just too cuddly. I’m not sure how practical it is to have a spaceship with such features as a rotating tunnel of spikes and a room full of crawlspaces that are accessed through thorn-covered black panels, but I suspect that few aerospace engineers, even in Russia, are looking to design anything quite this terrifying. Remember when the interiors of spaceships were all white and well-lit? I wonder when the point will come that we decide to move away from that color scheme, and away from various pads and cushions covering stuff, and finally embrace the style that calls for dim, flickering lighting, exposed ductwork and wires, and lots and lots of razor blades and thorns. Practicality issues aside, though, and taken purely as art design, the Event Horizon is magnificent. Production designer Joseph Bennett and visual effects supervisor Richard Yuricich bring an immense amount of experience to the game. Yurichich cut his teeth on films like 2001: A Space Odyssey before moving on to supervise visual effects for Star Trek: The Motion Picture, Blade Runner, and of course, Ghost Dad. Bennett did design for the cyberpunk cult hit Hardware, and one can see the evidence of all their past work (as well as the ever-present influence of old German expressionism and Giger’s work on Alien) in the design of Event Horizon. This isn’t a terribly big-budget film, but they do a lot with what they have, giving the entire movie the feel of some twisted, horrific opera.
Another feather in the cap of this film is the cast. None of them inhabit especially well-developed characters. They operate on the level of recognizable stock — Fishburne is the tough but fair captain; Neill is the scientist consumed by his obsessions; Richard Jones is the wise-cracking black guy. But even when the characters are thin, the performers still give it their all. You feel like they believe what’s happening around them, and while they sometimes make dumb decisions, they rarely make decisions that aren’t understandable given the circumstances. The exception, perhaps, would be that after Miller spends a long time explaining that the ship will pick you brain and create hallucinations of suffering loved ones, and after everyone in the crew understands this is what the ship is doing, Kathleen Quinlan’s Peters still falls for the trick. I’ve mentioned it in other reviews, but it always annoys me enough that I feel like mentioning it again anytime it happens (and it happens a lot). The hoary old “evil entity transforms into a loved one” shtick grates on my nerves. I mean, you’re in outer space, for crying out loud. Obviously, when you’ve been told that the evil spaceship ghoul thing will make you see visions of your loved ones and use them to lure you to your doom, and then all of a sudden your son appears out of nowhere in a location he absolutely could not be in, well why the hell would you fall for that? Why would your son be running around on a haunted space ship that just returned from Dante’s Inferno? I guess you could dismiss it as some sort of hypnotic effect, or the result of mental breakdown making a character unable to reason, but mostly it just always strikes me as lazy writing.
Still, no one turns in a bad performance, even though they’re sometimes given very little to do. The bulk of the good stuff goes to Sam Neill, since he gets to play the characters who goes completely bonkers. If anyone had seen Neill in In the Mouth of Madness, they wouldn’t have followed him into space, because they would know that spooky H.P. Lovecraft entities tend to follow him around and drive people mad. If Event Horizon succeeds with any one character, it’s Neill’s Dr. Weir, who starts off sympathetic enough before he is consumed by the horrible mysteries contained within the walls of the Event Horizon. However, one gets the feeling that his character never becomes omniscient, never actually knows what these mysteries are despite his enthusiasm about them. No matter the speeches he may give about boundless evil, other dimensions, and forbidden knowledge, his Faust of a doctor is ultimately as clueless about what’s going on and what’s going to happen as everyone else’s. Although this is likely the product of the screenwriter not knowing himself exactly what was going to happen, the end result is effective. Neill becomes the acolyte of an unseen “holy man,” one who speaks only in riddles and fools his followers into thinking they possess some profound understanding or insight when, in fact, they have been fed nothing but meaningless phrases and garbled imagery. There’s a tragedy surrounding Dr. Weir, who far from becoming one with the ship and grasping the universe from which it has returned, instead becomes nothing more than a pitiable dupe.
Whether or not screenwriter Phil Eisner meant that to be the case, he should take it. Because the rest of his script is where the concept of Event Horizon starts to unravel. Poking fun at the science is ultimately meaningless — this is hardly the sort of film you go to for hard facts, and such an exercise would be as futile as poking holes in the space science of Star Wars. Still, it’s kind of fun, so why not, provided we remember that stressing fiction over science never kills a movie for me. Heck, one of my favorite science fiction films is Adieu, Galaxy Express 999, and that’s about a steam locomotive traveling through the galaxy while a little kid hangs his head out the window. The science of Event Horizon plays out as if it was conceived by someone who was told about Stephen Hawking’s A Brief History of Time by someone else who hadn’t actually read the book, but had been around other people discussing it. A Brief History of Time was, of course, one of those great books that everyone bought and no one read, putting it in the rarefied air occupied by other such books: that gigantic Bill Clinton memoir, the 9/11 Commission Report, Ulysses by James Joyce, and The Bible.
Part of what Hawking’s book dealt with in its attempt to bring high physics down to a populist level was the topic of black holes. Now I actually read the book, because I’m a nerd like that, and because I had to as part of one of the classes I was taking. It was one of those science classes set up specifically for people who aren’t very good with equations, which meant it was mostly full of journalism students and members of the University of Florida football team who would groan anytime the professor tried to relate a fundamental understanding of physics to the act of making a solid pass. Yeah, sure, physics is involved, but it was highly suspect to suggest that Danny Wuerffel spent his time in the huddle scrawling geometry and physics equations into the dirt to figure out how best to get the ball into the hands of wide receiver Reidel Anthony.
Anyway, I think that class gave me about as sound an understanding as would be needed to be the guy that Eisner’s friend talked to about black holes. Meaning that I could remember that Hawking made allusions to Dante’s Inferno when speaking of the event horizon of a black hole — that gravitational point of no return from which light itself cannot escape. “Abandon all hope, ye who enter here,” Hawking said, paraphrasing Dante and the sign that hung outside the gates of Hell. He meant, of course, that the pull of a black hole is so great, that if you cross the event horizon, you’re not coming back, so you best make peace with the fact that you’re dead meat. Now pass that sentiment through me passing it on to someone else, who then tells Phil Eisner that he was drunk at a party the other night, talking about some deep shit like black holes. All of a sudden, that simple quote applied to explain how hopeless it is to escape the pull of a black hole is twisted to mean that a black hole actually could be the gateway to Hell. And poof! Event Horizon‘s concept is born. It’s really not a bad concept, regardless of how misconstrued it may be. Black holes are weird, after all, and the idea that they lead somewhere other than to a horrible death in which you are crushed down to microscopic size by the unbelievable gravitational pressure is hardly new to Event Horizon. And even the best minds are still feeble when up against cosmic phenomena of this scale. So why not? And anyway, the use of the term “event horizon” works in a couple different ways, and it refers as much to a black hole as it does to the Event Horizon itself, which proves to be a flashpoint which, once entered, will not allow the humans to escape.
What’s more important to the quality of the screenplay is what Eisner does with the concept, and while he starts off strong, he seems to get lost, allowing the movie at times to devolve into a blood and guts horror film (not bad) and a pastiche of other other movies (slightly less forgivable). I’ve already mentioned some of the films from which Event Horizon draws, but there are plenty of others. In fact, it lifts wholesale the scene of a river of blood gushing forth from an elevator from The Shining. In fact, you could really view this movie as little more than The Shining meets The Black Hole. Sam Neill’s character bears a close resemblance to Jack Nicholson’s character from The Shining, and the concept of a haunted house (or spaceship) that causes hallucinations and may itself be alive is an idea shared by both films. Many other elements are lifted from the Russian sci-fi film Solaris, yet another “man battles hallucinations” sci-fi tale.
One could also invoke the specter of the old Roger Corman Poe films, especially The Fall of the House of Usher, as it too is about a house infused with evil to the point of becoming a malignant being itself, ending in a fiery collapse much the same as we see at the end of Event Horizon. And the idea of the black hole as a portal to Hell was explored — with equal awkwardness — by The Black Hole, a film which sends one of its robotic villains through a black hole and lands him standing on a pillar surrounded by a lake of fire and the souls of the damned. n fact, Event Horizon reflects The Black Hole in many ways — an exploratory crew finds a long lost ship; that ship’ screw has vanished or mostly vanished; things are spooky; and then it all falls apart at the end when the movies both realize that they have ten minutes to explain things that the top scientific minds of the word have been grappling with for decades.
In the case of Event Horizon, all the talk of physics versus metaphysics, of a ship powered by pure evil, of a rip in the fabric of space that leads to a Hellraiser universe, lead to an anti-climatic and predictable fist fight between Miller and Weir. Though it is similar to The Fall of the House of Usher, and though it’s a suitably horrific and downbeat ending for the decent guy Miller, it seems ultimately to be a resolution that fails the film’s attempts at something more complex. I don’t need the questions to be answered. In fact, I prefer that they try and fail, discovering that comprehension of what awaits them is simply beyond the boundaries of the human brain. But a fist fight and an explosion seemed somehow to be less than what should have been delivered. It may not be entirely Eisner’s fault, though. Apparently some forty minutes was cut from the movie in order to achieve a manageable running time (1997 was a few years too early for genre films to run three hours or more and still get a wide release) and an R-rating (the 90s represented MPAA judges in a reactionary phase as an answer to the gore and nudity soaked anarchy of the 70s and 80s). Fans hoped that the footage would be restored at some point, and that such restoration would smooth out many of the wrinkles that prevent Event Horizon from achieving its ambitions, but so far such wishes have gone unsatisfied. Even when released to DVD, the film was still the theatrical cut. Whether or not it will ever be fully restored is up in the air, but given that we live in an era when almost everything, no matter how obscure or trashy, is getting lovingly reconstructed by some madman, there’s still the possibility that a more complete version will emerge and we can re-assess the film based on that.
Until then, though, we have to work with what we get to watch, and as presented, Event Horizon is an almost great movie that loses its way and relies on too many scenes from other movies and too many cheap jolts. I do wish horror films would retire that bit where someone is scared, and then someone comes up behind them and grabs them on the shoulder, refusing to speak until the other person and the audience have gotten a cheap scare. Really — have you ever approached a person in complete silence, from behind, and grabbed them by the shoulder? Yes, you have, but that’s because you were intentionally trying to scare that person. In all other instances, no one does this, and yet horror films feature it like every other scene. What makes it frustrating here is that Event Horizon doesn’t need to rely on these weak scares. It has plenty of legitimate scares and an over-arching feeling of doom and eeriness. Falling back on juvenile tactics like the shoulder grab is just gratuitous and sloppy. At least they didn’t have a scene where a cat jumped out of a box or something.
And really, perhaps I am being like this movie: searching for something that isn’t attained, being more serious than I should. Taken as nothing more than a horror film with sci-fi dressing, I really think Event Horizon is a success. It definitely has the feel of an old pulp — right down to losing track of itself over the course of its running time. Director Paul W.S. Anderson is no stranger to fans of pulpy movies, having directed Mortal Kombat before this (but not Mortal Kombat II), and Resident Evil after, among other things. I have a curious love-hate relationship with Anderson’s films in that I love some, hate others, but rarely find myself somewhere in between. Flaws aside, I love Event Horizon. And even more flaws aside, I love the Resident Evil movies, and Mortal Kombat, even (though not Mortal Kombat II). I guess I’m lukewarm on Soldier, so there’s one middle ground movie.
But I hate with a passion the Alien vs. Predator films, even more than I hate Mortal Kombat II. Still that’s a lot of hits any only one real miss for me (granted, I’m not a discriminating viewer), so I guess I like Anderson as a director, and I think Event Horizon is probably the best film he’s made and will likely make. At its worst, it is grade-A horror hokum, full of mumbo jumbo and ideas that don’t really pan out. And I can deal with that just fine. Heck, like I said, I probably would have preferred if the film was that way from beginning to end instead of flirting with brilliance in spots, only to fold at the last second. But regardless, this is good, gruesome pulp fiction, full of the creeping unknown and vague talk about dimensions of madness and torture that only Cthulhu, Pinhead, and the makers of the Ilsa films can imagine. Anderson’s direction is sure-handed, and he and cinematographer Adrian Biddle make wonderful use of the warped madhouse the production team has created for them.
So, huh. I guess I did have a lot to say about Event Horizon. Funny the things you learn about yourself when faced with writing about a movie where Sam Neill digs out his own eyeballs. I was pleasantly surprised by it. I didn’t expect it to be as good as it was, and even though it’s a shame it wasn’t as good as it could have been, at the end of the day, I’m happy enough. I’m also happy I didn’t see it in 1997, because even though I would have liked it then, perhaps even more than I do now, the fact of the matter is that Southern belle was actually willing to still enter into a relationship with me even after I made her see things like Mortal Kombat II: Annihilation, City of Darkness, and Alien 4. I don’t know if that tenuous, early romance could have survived Event Horizon as well, especially considering the fact that she never made me go see Titanic, like every other girlfriend did in 1997. I guess I could have sold Event Horizon with no more or less deception than the original marketing team if I positioned it as “kind of like Titanic, in that it is about people on a doomed ship.”
Release Year: 1997 | Country: United States | Starring: Laurence Fishburne, Sam Neill, Kathleen Quinlan, Joely Richardson, Richard T. Jones, Jack Noseworthy, Jason Isaacs, Sean Pertwee | Writer: Phil Eisner | Director: Paul W.S. Anderson | Cinematographer: Adrian Biddle | Music: Michael Kamen | Producer: Jeremy Bolt, Lawrence Gordon, Lloyd Levin
I once read a review on some site that contained the statement “Slaughtered Vomit Dolls is not for everyone”, which is my favorite line ever from an online review of a cult movie. Not only is it admirable for being refreshingly direct, but also for how it so clearly provides the guidance that we depend on from such reviews. It makes you truly grateful that the internet exists, especially if you’re one of those people who might otherwise have considered purchasing Slaughtered Vomit Dolls as a Mothers Day gift.
In the spirit of those words, then, I would like to begin this review by stating that Hausu, the 1977 debut feature from Japanese director Nobuhiko Obayashi, is not for everyone. However, if you are one of those people whom Hausu is for (or for whom Hausu is?), I think that you will find it not only fascinating, but addictive. I myself have seen it five times now, and it’s a testament to its uniqueness that each time I watch it I find myself surprised anew at just how strange it is. It’s as if it contains too much that’s beyond the normal frame of reference for the brain to adequately retain it all. In fact, I’m going to go out on a limb and say that it is one of the most unique horror films that I have ever seen.
Obayashi came to Hausu from a background in television advertising, and, in making it, he not only employs all of the tricks of that trade, but also turns many of them on their head. This is a film in which no fraction of any one frame escapes being stylized to within an inch of its life. In addition to working with a woozy pallet of saturated and uniformly unnatural colors (not to mention a chaotic sound design), Obayashi uses every special effect technique available at the time, in concert with a large repertoire of “naive” optical effects not typically seen since the early talkies, to create layers of visual and aural signals that constantly bombard the viewer at every level. While this can at times come off like a first-time director simply showing off, the film is far from an empty exercise in style. Hausu is simply energized by too much passion (and perhaps rage) for there not to be a vision–and heart–behind its madness.
Obayashi, at least in his early directing years, seemed to be drawn to fantastic stories that centered on school-aged protagonists, especially those that played on themes of teenage angst (his other films include Exchange Students, The Little Girl Who Conquered Time and the manga adaptation Drifting Classroom), and Hausu is no exception, following the fate of a close knit group of seven teenaged schoolgirls. Of these seven, only the ethereally beautiful Oshare (Kimiko Ikegami) is provided with any kind of back-story–or character, for that matter. The remaining six are simply an assortment of types, each paired down to a descriptive nickname and one corresponding signature behavior: Mack (for “stomach”) overeats; Fanta (Kumiko Ohba) is prone to romantic daydreams; Melody (Eriko Tanaka) plays piano; Kung Fu (Miki Jinbo) practices Kung Fu and has her own action theme music, etc.
Collectively these girls inhabit a world straight out of a seventies Saturday morning cereal commercial, one in which people rise to greet the day with arms outstretched to the sun as cartoon rainbows play across the horizon to the strains of treacly soft rock. As Obayashi presents it, you wouldn’t be at all surprised if one of those freaky psychedelic football mascots from Syd and Marty Kroft’s PuffnStuff or Lidsville were to bound into frame at any moment. Oshare’s life outside of the group, however, is presented a little differently, though in no less cavity-promoting terms. Hers is a world of movie-fuelled romanticism with the kitsch level pushed to belligerent extremes (think Douglas Sirk on eleven): Beyond the balcony of her father’s high-rise flat, a permanent artificial sunset stretches across the sky like a glorious, lurid bruise, and, as we watch Oshare, all of the camera’s means of idealizing dewy young womanhood–gauzy soft focus, halo lighting, fan-blown hair captured in dreamy slow motion–are amped to the level of the grotesque. Taken together, the world that’s presented in the first section of Hausu is one in which a malignant, over-ripe greeting card sentimentality has poisoned the very atmosphere. And, given that, it should come as no surprise that rottenness lurks just around the corner–or, at least, just a short train ride away.
Things start to turn when Oshare, heartbroken over the prospect of her widowed father marrying a creepily serene younger woman named Ryoko (Haruko Wanibuchi), reaches out to her beloved dead mother’s sister, an aunt (Yoko Minamida) whom she hasn’t seen for many years. That aunt has remained in the family home, alone, honoring a decades old promise to wait for the man to whom she was engaged, even though, as we have seen, he was long ago killed in the war that took him away in the first place. (In keeping with the psychotically chipper tone of Hausu‘s first act, the flashback of the aunt’s tragic story is played out as a silent era film while, on the soundtrack, the girls coo inanely over how cute and quaint it all looks.) The aunt in return invites Oshare and her friends to come stay at the remote family house for the holiday.
Quickly after the group of girls arrives at the house it becomes apparent that, not just something, but everything isn’t right. The aunt, they eventually learn, has long ago died and become a ghost whose vengeful spirit has infected the very house itself. Furthermore, in order to maintain itself, the house must literally devour any virgin girl who steps within it. It is at this point that Hausu resoundingly turns against its first half, and the opening scenes’ creepy yet chaste fetishizing of the young girls gives way to an explosive sexuality so uncontainable that it literally permeates and animates the physical environment that they inhabit.
It is also at this point that Hausu takes on the structure of a conventional modern horror film, with the girls being picked off one by one by a variety of gory means. But the nature of those means, given that it’s the house itself that is implementing them–combined with the delirious, candy colored nightmare of their presentation–makes those sequences anything but conventional. The scene in which we watch Melody getting eaten, and then digested, by a grand piano is probably the most memorable, but there are a number of others that equal it in terms of their combined horror and absurdity. Obayashi here performs a neat (and, to my mind, never repeated) trick by drawing on the queasy, hallucinatory imagery of Italian horror directors like Argento, while replacing their languid, dreamy pacing with the sugar rush velocity of a particularly demented Saturday morning cartoon. The result is as intoxicating as it is overwhelming.
Hausu, perhaps surprisingly, dates very well. Despite its surface appearance, it manages to escape itself being 1970s kitsch by presciently recognizing that kitsch for what it was in its own time. From that vantage point, it can treat those treacly feel good excesses, not with nostalgic affection or condescending dismissal, but as a telling symptom of something malignant underneath. It may just be wishful thinking, but I like to believe that it’s no coincidence that Hausu came out in the year commonly associated with the birth of punk–that, though not apparent on the surface, hidden within it is a mischievous punk sensibility. After all, what better symbol of everything that punk rose up against than the smiley face? If Obayashi did not officially count himself among punk’s practitioners, he at least attacked that symbol and everything it stood for with a bile and passion equal to theirs.
Hausu also benefits greatly by comparison to contemporary Japanese horror movies, which typically suffer from their makers’ grim determination to make every moment pregnant with ominousness and foreboding–with the end result being films that are pretty much uniformly tedious and annoying. In contrast, Hausu, a film that is rich with humor and a subversive sense of play, not only delivers a number of effective scares, but also manages to be profoundly disturbing as a whole. At a time when it is becoming distressingly apparent that the Japanese have forgotten how to make horror movies that are actually scary, it might just be that their film industry could take a lesson from Hausu. Perhaps they could learn from it that their taking the horror genre too seriously could be the very thing that is leeching it of all of its horror, and that it’s time to bring a sense of fun and mischief back into the process. The American film industry, on the other hand, should continue in their benevolent ignorance of Hausu, because no one wants to see a remake of it starring cast members of Gossip Girl.
So, if you think that Hausu is for you, that’s the good news. The bad news is that, though long a soft and grainy staple of the grey market, Hausu is, as of this writing, only legitimately available as a German PAL region DVD without English subtitles. That shouldn’t be too much of a deterrent, however, because its simple story and emphasis on visuals make it a perfect example of the type of film that’s easy to enjoy without understanding the spoken language. Still, given the ready availability of so many old Japanese genre titles on the market, it’s somewhat astonishing that no one has seen fit to give a film as ripe for cult appreciation as Hausu a proper American release. Mind you, it’s no Slaughtered Vomit Dolls, but it still deserves to be seen.
Release Year: 1977 | Country: Japan | Starring: Kimiko Ikegami, Yoko Minamida, Kumiko Ohba, Saho Sasazawa, Haruko Wanibuchi, Eriko Tanaka, Miki Jinbo, Masayo Miyako, Mitsutoshi Ishigami | Director: Nobuhiko Obayashi | Writers: Chiho Katsura, Nobuhiko Obayashi | Cinematographer: Yoshitaka Sakamoto | Music: Asei Kobayashi, Micky Yoshino | Producer: Nobuhiko Obayashi