There is a moment in Danish filmmaker Carl Theodor Dreyer’s Vampyr, a relatively unimportant throw-away couple of seconds, where the nominal hero of the story catches sight of a couple of shadows — shadows with no physical source to cast them — creeping across a field. Either because of the particularly old source material or the specific intention of the director, the film is grainy, hazy, gauzy.


Mad Science and Martian Maidens

Russian author Aleksey Nikolayevich Tolstoy wrote the stories that served as the source material for two of the Soviet Union’s best-known science fiction adventures: the futurist fantasy Aelita, Queen of Mars and the Fantomas-inspired pulp thriller The Hyperboloid of Engineer Garin. Aleksey Nikolayevich Tolstoy was Russia’s less internationally known Tolstoy. While the one was writing…


Hebrew Horrors

I’m back on Cultural Gutter writing about the rarity of Jewish horror films. Hebrew Horrors looks at two horror films that are set within the realm of Jewish folklore: 1920’s well-regarded and somewhat controversial Der Golem, and the little-known Yiddish-language horror film The Dybbuk.


Godless Girl

Though our modern eyes might see The Godless Girl as containing, at best, the makings of a solid “B” type feature, DeMille clearly saw himself as making an epic.


White Hell of Piz Palu

But then, Fanck goes and does something like the shot of Johannes outside, smoking a cigarette while sitting on an old wooden fence with the whole of the Alps spreading out behind him, and it pulls you right back in. Silent films trade in images, by necessity, and Fanck manages on many occasions to capture scenes of iconic beauty.