Spechtreum IV

~ IV ~

By Draconis Blackthorne

The Addams Family

Uncle Fester has been lost for years. The Addams brood has held yearly senaces on the anniversary of his disappearance, in the hopes of divulging his whereabouts. Amidst Lurch's dramatic strains upon the family's organ, Grandmama calls forth the spirit of Fester to commune. With the dramatic knocking, Thing races to the fromt door through the halls of the gloriously gloomy manse, to reveal a drenched Fester, "Come back from the dead".

A warm welcome regails him. but with him, an unexpected caller, a "Dr. Pinderschlaus".

From here on, a malicious plan unfolds to take over the manse, which has been attempted again, & again, & again.

The actors are perfectly cast, thus necromancing the delightful Addams tale once again to entertain us.

Yet for most of us, the Addams Family Legacy becomes much more than mere stories. Over & over again, I see "The Addams Mentality" as remarkably reflective of the Satanic viewpoint.

For instance, the joyful glee in which the Addams deal with the herd; naturally "dark" in thought, attracted to that which is arcane & occult. Obviously, the aesthetics are indicative of what many of us are comfortable with.

Even Karla LaVey mentioned on the "Speak of the Devil" segment, how the LaVey family was very much like the characterizations portrayed in Addams lore. I concur. My own Noctuary Chambre is filled with the Satanic Aesthetic - skulls, trapezoidal angles, My preference for exotic pets, dim lighting, various diabolical knick-knacks, & even My attraction to women who carry the "Vampyric" type. All this, or course, with the additional artifacts of Pentagrams, gargoyle paraphernalia, obscure books, music, & movies. Mostly Satanic, &/or "Gothic" in content or appearance. Unto My style of dress, which happens to be mostly black, with some jewelry displaying various skulls, snakes, bats, dragons, spiders, & wolves. It is a natural gravitation. I just see something I like, & I include it in My diabolically Draconian collection. Even the pen with which I Am writing this review / essay is cast in the images of twisting serpents!

And so Our lairs come to resemble a scene out of the Addams Family, or Dracula, or sometimes even Beetlejuice - or, these portrayals come to resemble our Lairs. Could it be that Charles Addams expressed his own Jungian "Shadowside" proclivities? Indeed, he has stated that the characters are products of a degree of exaggeration based upon his own family's traits. Although societal "norms" may have stifled full expression. Personally, I hold the belief that being a Satanist is genetic.

The Addams Family tales are frought with decorous imagination & artistic expression.

I say, aesthetically speaking, let all Hell break loose! Repress not what is natural, in Our own lairs & total environments, yet employ wisdom & appropriation, so as to survive, indulge, & excel.

Addams Family Values
Yet again, emerges some rotten scoundrel to attempt to disrupt the Addams household, & to trick them out of their fortune. Will they ever learn?

This time, a buxom blonde bombshell appears, to gain Fester's amorous attention, & thereby manipulate her way to the family jewels. But this erzatz Addams is a black widow in disguise. She employs wile & guile to get her bratty way, yet is thwarted by the Addams mentality at every turn. Sometimes, it seems the Addams Family is under the sovereignity of some Dark Force. Hmmmm, could it be - SATAN?!
Yes, seemingly effortlessly, The Addams Brood, gleefully morbid as they are, always come out on top.
In both movies, the romantic scenes between Gomez & Morticia always makes Me cast a loving & appreciative glance at My beloved.
The musical scores are always evocative & beautifully inspirational.
The Addams Family & Addams Family Values definitely receives the Draconian Seal of Approval.
Table of Contents

Addams Family Reunion
Tim Curry, Daryl Hannah, Alice Ghostly, Ed Begley, Jr.
The fourth and most current Addams Family production {taking Halloween with The Addams Family into consideration} based on this prototypal Satanic Family unit, was sadly dissappointing in several respects, despite the viable plot, of which so much more could have been done. Probably the weakest point of the film was the casting, which will be addressed later on in the review.
PLOT
The Addams Family receive an invitation to join other members of The Addams Clan for a reunion, thus the title, only a misprint serves an invite to the wrong persons - a single mis-spelling of "Adams" instead of "Addams". So Gomez decides to take the family thereunto, in the hopes of finding a cure for Grandma and Grandpa Addams, who have suffered an unfortunate bout of irritating normality-disease; so off they go to meet a gaggle of sun-worshipping foos whose common and programmed lifestyle inevitably clashes with the charming Addams personalities.
At the "reunion", The Addamses predictably demonstrate their superior traits, talents, breeding, and skills in an attempt to socialize with the pretentious and bereft lot, from bowling to tennis to ping-pong to darts, excelling in all, thus frustrating the plebians at every turn, ehile confusing their myopic little minds along the way with that precious uncommon psychology which is both relative and always Satanic. One particular member of the herd, "Phillip Adams" {Ed Begley, Jr.} becomes so incensed, that he actually challenges Gomez to a duel at one point, which unbeknownst to him, just so happens to be one of Gomez's forte's; so of course Phillip loses, which drives him into a veritable madness, and he thus eventually realizes his place.
The passionately spicey and romantic dynamic typical of Gomez and Morticia is considerably minimized in this presentation, as is Gomez's French fetish and subsequent plethora of adoring kisses, is not addressed and completely excised here, which was yet another disappointment, despite the highly-spirited dance scene. However, I did enjoy the fact that Gomez simultaneously dances with his bride while also being involved in a fencing bout with an opponent. He seems the perfect Devil as a Gentleman.
During their absence from The Addams Manse, Grandmama {Alice Ghostly} graciously remains behind and meets with two rotten normals who, along with the rest of their ilk, seek to scavenge from the will of their wealthy Grandfather, and through an address confusion as well, deem to withstand the Addams Lair, much to the amusement of Grandmama, Cousin Itt, and the resident alligator. Another character which makes for a worthy addition to the Addams Tribe, is Walter Adams {Ray Walston - whom you may recognize from "My Favorite Martian"} who, while sporting an unexpected Mohawk, berates the parasitic cluster with some well-deserved indignation, which makes for quite an entertaining segment, who then proceeds to escort the true Addamses back to The House.
CAST
Tim Curry as Gomez: Curry does manage to make the Gomez character work quite well, and may serve as a worthy replacement for Raul Julia, although the British accent was a bit daunting, for Gomez is after all, a Spaniard. A good choice, considering Curry has marvelously played very animated villainous characters. Although I also happen to hold the opinion that John Astin could still portray the Addams Partriarch with fluorish.
Daryl Hannah as Morticia: A really terrible casting placement. Hannah seems unable to express the subtly morose Morticia Addams personality instead demonstrating a representation virtually devoid of personality at all, with hr attempted deliveries just falling flat. She really just looks like a blonde in a black wig; and a blue-eyed Morticia just does not work at all. A Morticia with Scandinavian features becomes distracting,; and besides, in a somewhat more minor though noticable point, she shows TOO MUCH FOREHEAD. She ultimately comes off as wearing a Halloween costume, instead of portraying the regally stoic Matriarch of the gloriously gloomy Addams Legacy.
Patrick Thomas as Fester: Not a worthy Fester at all in my opinion. He seems here to be rather puny in stature, displays little to nothing of his pyrotechnic skills. or fascination with Midieval torture devices, and with the exception of being electrocuted in an electric chair, there is minimal display of his sado-masochistic proclivities; and his voice as well is just not quite high and shrieky enough. Festers thusfar have been much more robust and "big-boned" with more of a 9 o' clock frame, whereas here, he seems more of a 6 - 7 o' clock physique.
Carel Struycken as Lurch: Very well cast, though just a bit on the scrawny side; traditionally, Lurch has a solid 12 o' clock frame, a-la Frankenstein. Plus. I do not think for a second Lurch would sun-bathe, although his noble deed of rescuing that ungrateful and processed silicone creature was more in his character being a kind-hearted servant, even if he did develop an infatuation with it.
Alice Ghostly as Grandmama: In a Bewitched / Addams Family crossover, I was delighted to see Alice Ghostly {whom you may remember as the bumbling "Aunt Esmerelda" to Samantha Stevens}; she here portrays Grandmama Addams quite well in My estimation, as yet another Witch. Well enjoyed in both roles.
Nicole Fugere as Wednesday Addams: Pretty well cast with the correct attitude, although her clothing seemed a bit too "costume"-like. Of note, Ms. Fugere also played Wednesday in the short-lived re-adaptation of the television series "The New Addams Family". Her lines could have been better written, and lacked imagination, which is a waste of her obvious talent.
Jerry Messing as Pugsley: Again, pretty well cast and in this case, more likened the original portrayal from The New Yorker comic strip as the generously portly depiction of Pugsley.
Cousin Itt {Phil Fondacaro}: A very minor role with only a couple of appearances, though it would be quite difficult to cast this character negatively.
Thing {Christopher Hart}: Poor dear Thing valiantly withstood the effects of the lightmare, and had to quite literally "cool off" in a bucket of ice! And I know how that is. Like Cousin Itt, he has a very minor role, and is only seen on a couple of occasions.
Grandpa & Grandma Addams: In the general vain of Marilyn Munster, these two suffer from the temporarily delibatating disease of normalcy, and begin transforming the inspiring Addams Household into a disgustingly bright anti-environment. Of note: John Astin made appearances in The New Addams Family as Grandpa Addams, playing the role with a splendidly infernal vitality.
I also enjoyed that marvelous mailbox, a beautiful design; and Am always amused by the reaction of the mailmen. Overall, Addams Family Reunion gives the impression of being sort of a "Halloween After-School Special" which has its moments, but unfortunately does not live up to its full potential.
Rating: 3/5.
Essay: The Addams Family & The Munsters: A Satanic Observation

The Nightmare Before Christmas
Into the wonderfully enchanted world of Halloweentown, set on the edge of reality, where your nightmares and dreams live in joyful celebration of the dark and morbid, but in a perpetually playful rapport. Twwo holidays collide by the curiosity of Jack Skellington, The Pumpkin King, who grows weary of the redundancy of his role, although he always manages to invent something scarier each Halloween than the previous year's. Amidst a fanfare of admirers singing the wonderfully evocative and enchanting "This Is Halloween". He arises to take his seat as the fearful Lord of Samhain unto a cavalcade of vampires, werewolves, witches, zombies skeletons, swamp creatures, devils, ghosts, and miscellanious beings, who all herald him as their leader. His depression leads him to explore the unknown in an enchanted forest, where he discovers trees which are essentially doors into the differing holidays' worlds he finds Christmas Town, and remains fascinated by all the shiny baubles and quaint customs until he finally sees the shadow of Santa "Claws", which intrigues him even more. He tells the residents of his adventures, describing SC as a huge being with "bulging sacks and big great arms" who "sets to slay with his reindeer on", and introduces the novel idea of celebrating Christmas in Halloweentown, at which the residents are enthusiastic, but keeping to their natures, transform it into a nightmare of sorts, replicating the traditions with Halloween prankery.
Jack sets out to BECOME Santa Claws for a year, delivering the nefarious gifts to unsuspecting commoners, who receive quite a fright when their presents begin chasing them and eating up their homes. Just splendid. Finally, the military becomes alerted, and he is shot out of the sky, landing in a graveyard, where he focuses himself and becomes determined to "set things right". Underlying all of this, there is a romantic element between Jack and Sally, a pretty zombie-like character, reminiscent of a sexy bride of Frankentein-type without the electric-shock hair, who aids Jack throughout the whole tale. In one poignant moment, as she ponders the wonder of the xmas tree, it erupts into flames, which serves as an omen fortelling of impending doom; she tries to warn Jack against venturing forth as St. Nick, but his determination grabbed the best of him.
Santa is kidnapped by "Lock, Shock, & Barrel", the three trick or treating underlings of "Mr. Oogie Boogie", and in one instance, actually accidentally bunny-nap the Easter Bunny! Eventually, Jack confronts Oogie Boogie in his lambent Lair which appears to be a Hellish Casino, until distracted by the curvy leg of Sally. Santa is scheduled to be chopped up into so much xmas mulch, until rescued by the heroic efforts of Jack. Finally, Santa is released, and Christmas is saved thanks to The Pumpkin King.
The musick in this production is scored by Danny Elfman, Satanic Composer Extraordinnare, is most excellent, incorperating many of the characters from Halloween legend, most wonderfully achieved. The puppetry is remarkable, and lends an evocation towards older productions from the 40's through to the 60's in which one might expect Bing Crosby to be crooning; this certainly is a welcomed utilization of a past orthodoxy. Most highly recommended for Infernal Progeny - quite an alternative to the charming, yet redundant productions usually available in the Yuletide season.
Moral of the story? Do not attempt to be something you are not.

Frankenweenie
{XIX A.S. Directed by Tim Burton. Writers: Tim Burton, Leonard Ripps. Starring Shelley Duvall, Daniel Stern, Barret Oliver, Joseph Maher, Roz Braverman, Paul Bartel. Genre: Sci-Fi Comedy}
Set in contemporary suburbia, young Victor Frankenstein happily plays with his aptly named bull terrier "Sparky", when the tragic happens... the spunky pooch is hit and killed by a car. Crushed, Victor struggles to acclimate to life without him, when he receives the bright Promethian idea to re-animate Sparky after watching the science teacher demonstrate electrical muscle spasms with an "ex-frog".
He rushes home to bring his beloved canine partner back to life. Under the suspicious gaze of a neighbor, he gathers the necessary equipment from the garage, and sneaks out to the pet cemetery to disinterr the pup, anxiously awaiting the next storm to arrive, which is fortunately within a couple night's time.
Predictably, after studying through several books on the subject, he actually manages to revivify Sparky, who now resembles a patchwork puppy, bolts, scars, and all. Joyful to be reunited with each other, all seems well until Sparky decides to run amok through the neighborhood, although most of the panic is due to the hysterical nature of a neighbor lady and a whining little girl.
When his parents realize that Sparky is actually alive again, they accept his return from the grave, welcoming him back to the family. Eventually, in a classic Hammer scene relative to the tale, the dog retreats to a windmill followed by Victor and the Frankensteins, where it is set ablaze by the frightened mob. Sparky 'justifies' himself by saving the boy, but is consumed in the inferno. Realizing that he saved the boy, everyone now seeks to resurrect Sparky again, via the combined electricity from all their automobiles with battery cables. And thus, little Victor is again reunited with his beloved friend, with a possible 'bride' to boot.
Frankenweenie is a delightful little tale about a boy and his dog which would be appreciated by Infernal Progeny and Tim Burton fantoms alike, with that pleasantly oddball twist on a classic.

5/5
* Finally decided to review this charming presentation. This film, along with Vincent, is provided as a bonus feature on the Special Edition Nightmare Before Xmas DVD.

VINCENT
{XVII A.S. Written & Directed by Tim Burton. Narrated by Vincent Price. Genre: Dark Poetic, Animation}
Vincent Malloy just wants to be like Vincent Price*, who is superb as the narrator, adding a truly hauntingly evocative touch. He imagines various scenarios and characters, and what he would like to do to certain people...
He is a polite boy with vast creative capabilities, whose talents should be channeled into productive practices like writing, painting, drawing, sculpting, and perhaps... film making? It seems Tim Burton was merely exercising his own shadow side by observing his mirror image as a child.
Very reminiscent of Edgar Allan Poe in story-telling style, and Edward Gorey in illustration, Vincent looks like Edward Scissorhands as a child, whose vivid imagination takes him to the darkest dimensions of his mind, where he dwells in the shadows, preferring the company of spiders and bats to that of his sister and cats {although I would have preferred cats as well}, which concerns his mother, who admonishes him to go outside and play.
Additionally, there are actually several subtle cinematic predecessors in the visuals which prognosticate what was to come, such as an early variation of Jack Skellington, a sand worm, and the appearance of a zombie-like dog which would later re-appear as "Frankenweenie".
Eventually, his own imaginings overwhelm him, but it is only temporary. Another darkly charming tale of a somewhat strange character which proves to be an exploration into the viewer's own perceptions.

5/5.

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* Mr. Price once stated that he considered narrating this piece was true immortality; better than receiving a star on the Walk of Fame.
This film, along with Vincent, is provided as a bonus feature on the Special Edition Nightmare Before Xmas DVD.

Corpse Bride
{XXXIX A.S. Directed by Tim Burton. Soundtrack by Danny Elfman. Screenplay by John August, Caroline Thompson, Pamela Pettler. Voices includeChristopher Lee, Johnny Depp, Tracey Ullman, Helena Bonham Carter, Joanna 'Ab Fab' Lumley, and Danny 'Red Wolf' Elfman}
From the creator of The Nightmare Before Christmas, the marianettes return to grace the stage and enchant the mind in this veritable aesthetic sequel to the Halloweentown masterpiece.
Set in repressive Victorian England, Victor Van Dort {who seems like a grown-up Vincent}, is a groom-to-be who stumbles out upon the grave of the morbidly lovely Emily, a dead bride who whole-heartedly accepts his vows while practicing in the woods. At the insistence of their families, he was betrothed to "Victoria" {read Ed Wood's 'Victor/Victoria'}, yet their oppressive natures sets him to seek solace in the nearby wilderness where he rehearses for the ceremony.
By the by, he feels himself growing fond of this corpse bride who takes him down to meet the denizens of her world, where he becomes acquainted with all sorts of interesting characters therein, consisting of a collection of free-spirited rogues, including a dancing skeleton named "Mr. Bonejangles" {Elfman; an obvious take on Sammy Davis Jr. complete with an eyeball which moves independently from one socket to another}, Paul the head waiter {a literal head with a French accent who goes about on spindles protruding from the neck}, a worm-like maggot with the certain features and personality modeled after Peter Lorre, a rather cute black widow spider, and a dog named Scraps who could very well be the skeleton of Zero.
Barkis Bittem is a black widower and a generally right rotten bastard who acquires his wealth on the deaths of previous wives, including Emily. With the mystical help of Elder Gutknecht, Victor, Emily along with her dead friends, walk the earth with the living to gather in a church for their marriage, despite the protests of Pastor Galswels {Lee}, where Barkis makes an appearance, who meets a proper demise. A surprising turn of events ensues with a beautifully bittersweet ending.
The worlds of the erstwhile dead and the living are juxtaposed between the colorful underworld, and the dismal mortal world above, where 'the dead' seem liberated from perfidious constraints. The visuals are superb in that splendidly gothic ambiance with a glorious soundtrack to match. No CGI, just the wonderful implementation of this past orthodoxy, preserving this magnificent theatrical art.
Corpse Bride is yet another marvel to be added to one's collection of cinematic treasures.

Sweeney Todd
- The Demon Barber of Fleet Street -
{XLI A.S. Directed by Tim Burton. Starring Johnny Depp, Helena Bonham Carter, Alan Rickman, Timothy Spall, Sacha Baron Cohen, Jamie Campbell Bower. Music score by Stephen Sondheim. Genre: Horror Musical}
"There's a hole in the world like a great black pit, and it's filled with people who are filled with shit, and the vermin of the world inhabit it, but not for loooong!"
PLOT
A rotten judge desires barber Todd's wife, framing him on trumped up charges, and sends him to the criminal isle of Australia for exile. Making his way back to England, he swears revenge from being separated from his beloved and his daughter, Johanna. Once settled incognito for his deadly mission, he begins "polishing off" patrons with 'close shaves', as it were, while dumping the corpses down an ingeniously efficient "death chute".
His first kill actually occurs with a traveling charlatan by the name of Pirelli, who tries to blackmail Todd, and thus, with first blood, the bloodshed begins. The accompanying barker kid "Toby" becomes a veritable foster son.
He eventually meets a "Mrs. Nellie Lovett"*, a would-be lover who runs a meat pie shop - it is not long until they become partners in crime, when she suggests that instead of just disposing of the bodies in the furnace, to save the meat for her delicious cannibalistic confections, which becomes quite a sensation, providing them an pleasantly opulent lifestyle.
Todd does gain purifying revenge against the judge, but profoundly unforgivable secrets are also uncovered, a 'lie of omission' divulged, where Nellie is justifiably punished. Unfortunately, while Sweeney adores his rediscovered dispatched mad beloved {oh, the tragedy! By his own hand...!}, little Toby discovers a piece of finger in his repaste; thus mortified, catches Sweeney unaware. So in death, are finally in each other's arms again. Ending in classic operatic manner.
CONCLUSION
With shades of The Crow at times {injustices righted through vigilante vengeance}, and Edward Scissorhands, even Corpse Bride in others {many of the aesthetics}, Sweeney Todd is dark in all aspects, with Tim Burton's 'Gothic' sensibilities beautifully accentuating the tale, from the costumes to the environments, and even the signature makeup, where the characters essentially appear as "gothic dolls" . The music by Sondheim is splendidly exhillerating, although the vocals do sound like actors, instead of actual trained singers {which this reviewer would love to hear}, although Timothy Spall's voice holds a surprising depth.
Rating: 4/5.
History
The urban legend of Sweeney Todd can be traced back to "Martin Chuzzlewit" by Charles Dickens, and a subsequent tale named 'The String of Pearls' by George Dibden Pitt - the latter which was included in a penny dreadful distributed throughout Britain, and perhaps may have inspired one Jack The Ripper. It has also been claimed now and then that the character was based on an actual person. Several plays have since been performed throughout the years, with some variations in exploits and events by different authors

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* The character has been known by several names including Marjorie, Maggie, Sarah, Shirley, Wilhemia and Claudetta.

Dragonheart

"What bewitching creatures are these, which dwell beyond the glade?
'Cross ferns & groves, in cavernous lairs, hidden from the eyes of common men?
They who romp in fields of full bloom, under the enchanted eye of the full moon?
Whose breath of flame can scorch & maim, but also purify?
A creature of such awesome grace, from whence of shadow of God's Black Earth, of Heav'n or Hell have you come?
By what Sorcery have you come to be?
One thing is certain, of this Dark Angel sublime, it has a soul & a heart, & a passion for life
These are dragons...bourne from you & from I."
~ Draconis Blackthorne.

First of all, I will begin by saying that "Draco" is awesome. The computer graphics of the Infernal Machine truly breathes LIFE into this most magnificent dragon. However, animation of this style & callibre clashes with the personality ascribed to this character. There is an incongruency between the wonderous spectacle of the creature, & the rather goof ball & inappropriate sense of humor. Plus, the voice leaves much to be desired as well. It simply sounds too "human".

A better depiction could have created, had the dragon spoke telepathically, with an echoing voice, thus preserving the awe & the fearsomeness. The mismatched personality is the major factor that prevents this movie from becoming a classic. The director should have taken lessons from DRAGONSLAYER, & studying the marvelous dragon therein. Compared to THAT dragon, this one's demeanor is that of a puppy's. Now, if the two could be combined, then THERE you would have something TRULY remarkable!

Besides the disturbingly disillusioning character miss, which is comparatively akin to hearing a "meow" coming out from a pit bull, there's the coitus interruptus mentalis of many of the scenes. That is, some of the more impressive events & astonishing visuals are cut short, just as the heart begins to soar. One is left with mouth agape, as the next scene jumps in before its time. Quite frustrating.
The anti-hero is pathetic. Basically, a zit on two legs, who is not quite cruel enough, dynamic enough, creative enough, aesthetic enough. Although the all-white attire is appropriate, in this case.
One particularly annoying storyline in the movie, deals with Draco & the dragon hunter making a pact with each other, to make money. They scam villagers {which is fine by Me}, by faking his death, as the dragon hunter collects treasure & fame. One would naturally think, that if two foes came together, after one has killed off the others ENTIRE race, that the fury of revenge would predominate. But after a mere scuffle, in which the dragon hunter gets comically stuck in the dragon's mouth, they strike the ridiculous deal, & it's all "forgive & forget" after that. What infuriating nonsense! The battle should have been to the death!
Unfortunately, Dragonheart is disappointing. I sympathize with all you fantasy-adventure enthusiasts, for such Am I too. This movie is overrated. But if you wish to observe where new computer graphics technology is going, this, along with Jurassic Park, are the flicks to pick.
Also disappointing, I must say, is the lack of maidens. The one that is there, however, did not reveal any cleavage, so one's more epicurian interests were left unstimulated. For this could have made for a more interesting movie. It could have made up for the other deficiencies, instead of becoming a deficiency itself. Indeed, an "R" rating could have done wonders for this movie.

If you wish to see a truly GREAT dragon movie, rent DRAGONSLAYER. Here's a well-rounded movie with perfect persective, incredible special effects, bewitching panoramas, wonderful aesthetics, many pretty damsels, a fantastic dragon, an omnipotent Wizard, a likeable, though sometimes annoying apprentice, & a solid, highly Imaginative plot. DRAGONSLAYER fills the gaps that Dragonheart leaves open.

Perhaps a better dragon movie with a Draco-esque dragon will be made. If so, that would be truly special!

"Dragon, dragon, o` shiny scale
Dragon, dragon, 'neath the dale
Leathern wings, black as Night
Hades' flames, thine eyes shine bright
Sharp of tooth, long of claw
Thine beauty reigns above all law
Lovely is thine mystery
Dragon, I am part of thee!"

L E G E N D

"You're an animal!"
"We are all animals, My dear..."
- Conversation between Lily & Darkness

Into the world of myths & legends. Indeed, this movie incorperates a myriad of legends into the wonderfully imaginative plot - from devils & demons of xian lore, to unicorns, faeries, & elves. Here is the story of a forest boy turned warrior to retrieve the unicorn's horn, stolen by a goblin minion of "Darkness," the personafication of 'evil'. He resembles the classic demoniac Satan in all its bestial splendour. His aesthetics pleased Me so much, that one day, as I was passing by a costume shop, I saw a mask of it, & felt compelled to purchase it {a scan will follow}.

Surprisingly, this character actually speaks rather philosophically Satanic at times, considering the above introductory quote.
The surroundings are quote stunning, truly reminiscent of a dreamworld, or, should I say, this world at its finest. No cut & dried patches of nature & sparse trees, but repleat with the over-abundance of wilderness, which is, as earth-children ourselves, is inherently Magical.
We are met with extremely likeable characters at every turn, & exciting adventures spawned from storybook fane. I believe Joseph Campbell, Mytho-Anthropologist extraordinare, would appreciate this movie for its weavings of pagan fare.

The musical score is quite entertaining & moving, particularly the piece, "Darkness", which sounds like the manifestation of Satan Himself.
As always, there's the naive maiden who gets in over her pretty little head, stupidly not adhering to the unwritten "laws" of the forest, which casts all of nature in upheaval, & it is up to her suitor to set things straight. However, Darkness desires her, & cunningly manipulates her to come to him through the use of charm & glamour, appealing to her greedy fancies, & with the wise advice of "Father". Before she realizes it, she is transformed into his counterpart, dancing in effervescent abandon in her newfound form, whirling about in a beautiful black dress. But sadly, she is an ingrate.

Towards the end, the predictable D.P. occurs, ending in the classic binary style of conclusion. As a whole, however, this movie is very entertaining, pleasing to the senses, & brilliantly arranged. Recommended. Discriminate with care.

The Black Cat
1934 c.e. Starring Bela Lugosi, Boris Karloff, David Manners, Julie Bishop; Directed by Edgar G. Ulmer.
A newly-wed couple are on their way to a honeymoon when they meet a mysterious man on a train {Lugosi portrays "Vitus Werdegast"} who regails them with local tales of intrigue and superstition, weaving them in his spell all the while - who, unbeknownst to the honeymooners, is himself on his way to confront his arch-nemesis, whom once upon a time betrayed him, thus resulting in his unjust imprisonment. Eventually, they find themselves accompanying him to a mansion in the Austrian hillsides where they meet with the elegant, though 'strange' "Hjalmar Poelzig" {Karloff} who turns out to be the High Priest of a Satanic group, who were just awaiting a suitable 'sacrifice' for the night's rites - and they find her in the betrothed writer's wife.
The mansion itself is situated above a military fortress, and the Ritual Chamber is designed to gothic-modernist standards with sharp angles and shard-like projections which makes for quite an impressive spectacle. Nefarious situations begin manifesting when Lugosi is horrified by a sleek black cat who slinks into the room, at which he tosses a knife {the cat may have been a demon in feline form}. Ironically, Lugosi plays a rather "VanHelsing"-like character who must battle the sinister minister Poelzig {said to have been partly modeled after Aleister Crowley, and that of German Schauerfilm architect Hans Poelzig} for the life of the girl; Now, the Lugosi character would have probably included these two as part of his revenge, considering they were basically pauns in the overall scheme, though as demonstrated, he caresses her hair as she slept in rememberance of his deceased wife, which is why he rescinded. Eventually, his own dark side is displayed when he initiates a sadistic plan to skin his opponent while tied, crucifix-style. He finally decides to end the entire decades-long battle by exploding the entire house with dynamite which had been previously arranged about the grounds. The helpless honeymooners eventually escape and embark upon a train to get as far away from there as possible, with the ending scene of the writer and his little wife observing a review of one of his stories based upon the experience, to which it is claimed that it is far too fictional...
The Black Cat featured the first-ever production in which horror giants Bela Lugosi and Boris Karloff act together, and their rapport is quite engaging - the stage presence is tangible even through the screen. It was filmed in one of Frank Lloyd Wright's houses, which according to director Edgar G. Ulmer, contained an asylum's embience. This film is more psychological in nature, with an elegant deportment which is most befitting;
According to Dr. LaVey:
"The Black Cat and The Seventh Victim are certainly two pre-Church of Satan movies I would consider worthwhile examples of the way true Satanists behave.�
- The Secret Life of A Satanist; Barton.
I fully concur - for they are indeed exemplary in etiquette and aesthetics.
Rating: 5/5.
{Credits: Special thanks to Magister Rose and Reverend Svengali for their contributions to this review].
Sources:
* Early Deviltry
* Church of Satan Video List
* Also mentioned in the "Satanic Cinema" chapter in Magistra Barton's book: "The Church of Satan".

Roger Corman Presents
H e l l f i r e A.K.A., Bloodsong, Haunted Symphony; Starring Ben Cross, Jennifer Burns, Beverly Garland, Doug Wert; Directed by David Tausik
A delightful film about a composer who becomes possessed by the spirit of another composer named Octave Barron, who was writing a symphony dedicated to Satan until his untimely death. And so the empath, Marius Carnot {Ben Cross, who also played the charming continental Vampiric gentleman Barnabas Collins in the Year XXV A.S adaptation of Dark Shadows} experiences morbid visions of torture, hellfire, and sacrifice as he begins the Devil's work, also receiving a superb invigoration and touch of "insanity" which portends genius.
There was a humorous scene in which, after saving Gabriella who is actually the niece of the deceased composer, from being raped, is challenged to a duel scheduled for the next morning. At first, he seems a cowering weakling, being virtually herded along through the grounds and the mansion at sword-point until he finally hears the strains of the nefarious composition echoing through his mind, and proceeds to take the upper hand, finally driving the sword through the heart of his opponent. And to top off the victory, he shoves an apple in his gaping mouth while laughing ecstatically, relishing his conquorance.
From here on out, he assumes a rather Dr. Jekyll & Mr. Hyde demeanor and carouses with whores and drink, until he dissappointingly stops in mid-act, and asks them to sing. At this point, he is fully possessed by Octave Barron, who had a penchant for murder as motivation, and dispatches them in various bloody methods. But it is not until one of the whores falls out a tavern window that he becomes the suspect of the local constable who thereby sets out to prosecute him in any manner possible.
Marius is accompanied by a witch-hag named Carlotta who acts as his maid and aids him in several instances in order to keep him alive and free to compose The Devil's symphony. Gabriella has a dream in which she follows the maid to her witchly activities which included the sacrifice of a rooster, all awash in a combination of black and red lightning, which always adds that certain eerie and mystical embience conducive of Sorcery, as it resembles a ghostly Inferno. Earlier in the evening, while again beginning the composition, he stated he necessitated "inspiration" in order to finish, so a maiden was called for who, while singing the stanza, is killed as a sacrifice to bring the spirit of Barron unto manifestation. So during the particularly passionate working, is transported into the center of a masquerade ball in which Octave Barron, the veritable incarnation of Satan, presides to hear his symphony being played for all of his demonic admirers.
Most of the film's dynamic deals with possession, as even Gabriella was possessed of the spirit of Carlotta for the promise of immortality, but is instead relegated to the fires of The Abyss, thus liberating Gabriella who does love Carnot with all of her heart, despite the abuse Barron in his guise, inflicts upon her in his own states of possession. And so the Magistrate comes looking for the missing girl last seen at his residence, but Carnot will not be taken alive, bids farewell to the lovely Gabriella, and dives headlong into the fireplace. In a surprising twist, the corpse of Barron rises from the crypt and returns to the house but is finally destroyed by the immolation of the manuscript itself.
The chapter in Mga. Barton's book "The Church of Satan" which included descriptions of the true natures of many of the Classical composers of the day as being in league with Lucifer came to mind, which increased the appreciation of the movie's plot manifold, placing certain aspects into perspective.
The aesthetics of the film are quite appealing; I especially enjoyed the lighting, which reminds Me of My own Noctuary Chamber.
Rating: 3/5.

Killer Klown From Outer Space
A film capitalizing on Coulrophobia, in which a troupe of interstellar clowns descend upon earth within a craft in the shape of a big-top tent, and proceed to encase the resident humans in a small township inside jacaranda cocoons, for future meals. Yes, these clowns are here to consume the vital fluids of earthlings, yet there is no presence of a "cook book" entitled "How To Serve Man", although this presentation may have been partly inspired by that Twilight Zone episode. The only ones privvy to their intentions are "Debbie and Mike", a couple who had witnissed their ghoulish propensities, and go forth to stop them at all costs, yet no-one believes their seemingly wild tale, especially the Police - yet eventually, a deputy joins them in their quest to vanquish the gluttonous bafoons who exhibit all of the characteristics of their trade to the extreme. By utilizing the sheeple's gullibility, they are entranced by their antics, including an impressive hand-shadow display, until captured and preserved, and they do not waste their food.
Particularly remarkable and amusing scenes include a small clown being harassed by a gang of bikers, who then proceed to enact some of his own justice by literally "knocking his block off"; the dispatching of the Police Chief by using the compassionate glamor of his jestery to catch him off guard; four clowns, after emerging from a small car, throwing acid pies at a security guard, reducing him into a globulous pile of ice cream - ulna & radius protruding from the gelatinous mess; a puppet show entertaining a teenager who ends up victim; a blonde attacked in the shower by baby snake-like clownheads, birthed into existence by popcorn seeds.
In the end, after gaining the cooperation of a couple of horny brothers who own an ice cream truck, Mike and the deputy engage in the final showdown within the bigtop craft, scurrying through the mazes within, rescuing Debbie who had been previously captured and contained within a balloon, until they face a clown monster. Suffice it to say, the film has an explosive and colorful finale.
I did like the appearence of the clowns themselves - with exaggerated features, demonic laughter, and pointed predatory teeth. These characters would make for acceptable Halloween Horror costumes.This is indeed a "cult classic", and purposeful B+ Movie fare in My estimation. No blood or gore, but more or less a comic book put to film. Regarding the soundtrack, see The Dickies video which is just about as good as the movie.

[MP3: Theme Song. Just a little choppy].
Rating: 4/5.

Garfield
{XXXIX A.S. Directed by Peter Hewitt. Starring Breckin Meyer, Jennifer Love Hewitt, Stephen Tobolowsky, Bill Murray.}
I have been a fan of Garfield ever since I followed the comics in the local newspaper, then the subsequent cartoon, which is excellent and timelessly amusing, so imagine My delight when I first heard there was to be a film based on this feline icon - this time, completely rendered in CGI. Curious, I decided to pick up a copy of the movie the other day, and was actually pleased at the way he was presented, although the other characters lacked the same substance they do in the said comic and cartoon.
First off, I noticed the house was not Jon's. Odie is depicted as a regular sort of dog, and no use of that slurping tongue which is his primary characteristic was used. In My opinion, he should have also been rendered in CGI animation to capture that full effect. Nermil is not the cute and cuddly kitten either - just an onlooker hanging out with the neighborhood cats. And even Jon himself was rather dissappointing - he seemed to lack the personality of the original, and really ends up being presented like a milksop, who actually has good fortune with a pretty young thing, instead of the steady stream of failed dates he usually experienced.
Here, Garfield is introduced to Odie when Jon adopts him in an effort to impress a female vet, but ends up establishing a genuine rapport for the dog, taking attention away from Garfield, who will have none of that. Odie eventually impresses a judging panel at a dog show {using moves Garfield taught him!}, and becomes coveted by a gameshow host, seeing him as a possible ticket to the big time. So, after Garfield uses his wiley ways to trick Odie out of the house, he runs away - Jon, distressed, places Lost signs about the neighborhood, which is brought to the gameshow host's attention, and basically ends up dognapping Odie after lying to an impressionable old lady who finds the pup on her porch. Feeling guilty, Garfield embarks upon a trek to the Big City to rescue Odie from the clutches of Mr. "Happy Chapman" who had actually affixed the pooch with an shock collar, but is himself imprisoned by Animal Control, but this is only a temporary setback. With the help of a street-talking rat, Garfield eventually employs the aid of some other animals to punish Chapman while implementing some poetic justice. And finally, Garfield learns the value of Odie's friendship, but still enjoys pushing him off the couch, instead of the kitchen table.
Bill Murray did do a good job with the voice {although I still would have liked to have heard Lorenzo Music instead}, and the Garfield kinematics were actually smooth and worked well to create the illusion of a living being. I believe the film would have been better produced using total CGI. The film does not match the cartoon strip or show, but is still an amusing movie for fans of this orange feline lasagnaphile.
Rating: 3/5.

The Amityville Horror
{XIV A.S. Directed by Stuart Rosenberg; Starring James Brolin, Margot Kidder, Rod Steiger}
There stands the house steeped in mystery and haunted urban legend. An unsuspecting couple move with their children into a glorious lakeside house with distinctive features, including two infamous attic widows resembling demonic eyes peering out into the night. Four dead due to madness, and some say, demonic possession...
George and Catherine Lutz slowly learn of the House's diabolic reputation through series of haunting experiences, including doors and windows opening by themselves, unidentifiable chronic sickness, missing objects, the sensation being watched by phantom eyes, ghostly breezes, a swaying chandlier, and a rocking chair which moves with no apparent occupant. A madness eventually overtakes George as his appearence becomes more dishevelled as the days go on, almost repeating the crimes committed by the former resident, until the source. or veritable 'heart' of the house is discovered with the help of a 'psychic' acquaintance, behind a brick wall in the basement, which serves as a portal to Hell.
The house could not be blessed by a priest, who flees in terror and suffers permanent affliction by these dark forces - they also frighten a nun out of the house as well. A crucifix is inverted upon the walls, which bleed a vicious black slime.
So the family eventually run for their lives, leaving the archetypal home and all of their belongings for that matter, hopefully, to someone who can really appreciate it!
Rating: 5/5.
Quite honestly, when I very first saw the inside of that attic, I imagined One's Altar positioned between the windows. Also, those enchanting eyes are not the only apparent appeal of the house - if you look around the windows, you will notice what appears to be a devilish shadow emerging from between them, with arms bending around the outer perimeter.

Dracula: Dead and Loving It
{XXX A.S. Directed by Mel Brooks. Starring Leslie Nielsen, Peter MacNicol, Steven Weber, Mel Brooks}
The Plot follows the ubiquitous Bram Stoker version, with the story and character herein primarily containing elements of the Bela Lugosi and the Gary Oldman depictions of Dracula, although it parodies pretty much the entire evolution of the romantic stereotype of the Vampire, to lesser degrees.
Renfield visits The Count, who sports that twin hennen-like hairdo, which turns out to be a "hair-hat", and is attired in the classic cape and tux. Unfortunately, Renfield proves to be too bumbling and imbecilic to make for a worthy minion, in My opinion, though played hilariously by Peter MacNicol, with the insect-eating propensities, slavish masochism, and hyena-like laugh.
Van Helsing is portrayed by the brilliant Mel Brooks, who comes off more like a Jewish Rabbi than a professor of forensics and obscure diseases, among his other distinguished titles, including gynecology.
Dr. Seward seems to have an enema fetish, prescribing the procedure as a veritable cure-all for mental illness, and Quincy P. Morris is entirely absent from the film.
Mina is here depicted as a redhead, while Lucy is a brunette! Usually, it is the other way around, although the actresses are exquisite, as are the voluptuous brides, who can share My canope bed any time!
Jonathan Harker is accurately depicted as a nausiatingly perfidious popinjay, whose naivete' and ingratitude can be frustrating to watch.
Constant hilarity, clever comical inclusions, and beautifully elegant sets typify 'Dracula: Dead and Loving It'. Murphy's Law seems rampant, though Dracula ultimately gets the last word.
Rating: 4/5.

White Zombie
{1932 c.e. Directed by Victor Halperin. Written by Garnett Weston. Starring Bela Lugosi, Madge Bellamy, Joseph Cawthorn, Robert Frazer, John Harron, Brandon Hurst, George Burr Macannan, Frederick Peters, Annette Stone, John Printz, Dan Crimmins, Claude Morgan, John Fergusson, Velma Gresham. Genre: Horror.}

Gaze into the eyes of The Warlock...
Beautiful Madeleine Short and her fiance' Neil Parker travel the twisting roads of Haiti to acquaintance Charles Beaumont's plantation in a cortege' to be wed, when they briefly meet one Mr. Legendre {Lugosi} along the way, who absconds with her scarf, a remnant of her person, and the horror begins. The carriage driver regails them with the local legends of zombies, and when a group of these living dead amble about Legendre down from the black hills, they are struck with an uneasy terror and speedily make their way to Beaumont's plantation, where they are met by a pipe-smoking Dr. Bruner.
However, seems the cleverly traitorous Beaumont essentially made a deal with The Devil by employing the necromantic services of Legendre, to possess Madeleine for his very own zombie love slave. But in order to achieve this end, she must 'die' first, or enter into a narcoleptic coma with her mind in a spell.
Beaumont gets to see the secret caverns where Legendre keeps his native slaving zombies at the creeking mill reminiscent of the proles from Metropolis, and is also introduced to Legendre's various primary zombies: There's Chauvin the executioner {who almost executed Legendre}, a large monster of a man with a piercing glare; Ledot, Legendre's former instructor still in ceremonial attire; Von Gelder, the former tyrannical dictator of the isle; and Silver the zombie butler.
Quite remarkably, Legendre works his dark art by fashioning a waxen fetish figure carved right from a candle, wrapped in her scarf, and improvisationally burns it in a lantern's flame. Here is where Lugosi gestures that infamous hand gesticulation to gain control of her consciousness.
Meanwhile, Parker plunges into despair and becomes enebriated at a local bar, eventually stumbling over to her grave while she is being extracted by Legendre and his zombies. Upon discovering her body missing, he screams in anguish. Now seeking the aid of Dr. Bruner {who really should invest in a lighter}, a sort of Van-Helsing type, he becomes elucidated about the zombie tales, and prepares to visit Legendre at his magnificent cliff-side castle.
When Beaumont is taken aback by Madeleine's condition, recognizing no personality behind her blank stare, he regrets his decision and begs Legendre to reverse her somnambulism, to his lethal misfortune. Now it is he who ingests the zombie powder, while Legendre ghoulishly savors each moment of his degeneration, even fashioning the effigy right in front of him - the only one among all the zombies who actually realizes what is happening to him.
For a brief moment, Madeleine seemingly recognizes Beaumont through the haze, but Legendre regains control. Unfortunately, while she walks outside, Beaumont summons one last vestige of effort and takes Legendre with him over the cliff's edge, followed by his other zombies [1]. The spell is broken, and the fiance's are reunited. Lesson: always leave someone in charge of whomever is in the next room!
Subsequent to Dracula, Lugosi played a remarkable role with this remarkable character, which also remains an inspirational model of deportment and determination. A veritable 'devil as a gentleman'.
White Zombie is replete with splendid camera angles {inclusive of mesmerizing close-ups}, lambent and contrasting lighting techniques, morbid, shadowy sets, striking vistas, eerie orchestration [2], and memorable scenes sure to secure a treasured spot in one's collection, as well as in one's mind.
5/5.

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[1] Here one will recognize a scene from Speak of The Devil during 'Battle Hymn of The Apocalypse' wherein during the enunciation of "...let the zombies grope for light...", the bodies plunge over the edge.
[2] It should also be noted that at times, silence itself is ingeniously utilized to intensify the forboding atmosphere this film manages to create.

The Bad Seed
{1956 c.e. Directed by Mervyn Leroy. Starring Nancy Kelly, Patty McCormack, Henry Jones, Eileen Heckart, Evelyn Varden, William Hopper. Genre: Drama, Horror, Thriller}
Little Rhoda Penmark will get what she wants at whatever cost, even if it means murder. And she has absolutely no qualms about it, either. All the while manipulating the various adolts around her, admiring her charming ways. A perfect little princess excelling in all she does, but when an unfortunate boy refuses to give her a medal she perceives as hers, he meets his fate beneath the waves at the pier, with strange crescent-shaped marks upon his hand and head.
While Colonel Penmark is away on military assignment, her mother as well as a simpleton janitor 'Leroy' are the first to see through her pleasant charade, suspecting her inclinations and true character. The boy's distraught and inebriated mother makes several disturbing appearances begging for any bit of personal information.
When writer Richard Bravo comes for a visit, he and Mr. Emory Wages have an intriguing discussion on criminology, yielding to an enlightening conversation with Mrs. Penmark about her familial origins, where secrets are revealed which places events into perspective. According to this definition, seems the 'bad seed' is a supremely selfish, disbalanced, sociopathic creature completely devoid of compassion or empathy whatsoever - a prototype of the criminal mind, and in this case, that of a little girl in pigtails, wherein the most disturbing element lies.
When her suspicions are confirmed by the immolation of Leroy along with some other clues, Mrs. Penmark decides to end it all in a truly disconsolate concluding scene.
The character of Rhoda Penmark* is considered so disturbing probably because her outward appearance seems the epitome of sweetness who even curtsies, with proper vocabulary and mannerisms, which betrays her true nature as a murderess.
* Related: The Case of Mary Bell. Real case file of a serial killer.

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* Who probably inspired the "Elmira" character from Animaniacs.

The Other
(VII A.S. Written by Tom Tyron. Directed by Robert Mulligan. Music by Jerry Goldsmith. Starring Uta Hagen, Diana Muldaur, Chris Udvarnoky, Martin Udvarnoky, Norma Connolly, Victor French, Loretta Leversee, Lou Frizzell, Portia Nelson, Jenny Sullivan, John Ritter. Genre: Horror}

That harmless-looking dear, may be the one to fear...
Set in rural, provencial New England in the early 20th century, The Other is one of those "evil child" films in which a veritable "evil twin" scenario unfolds when one of the two Perry brothers perishes at the bottom of a well. The very apparent subconscious ghost of 'Holland' takes root in Niles' schizophrenic mind, wherein he deals with his grief by externalizing his dead brother as a mischievous split personality influence, thus committing various gruesome murders. To Niles, his brother is very real in his subjective reality, with all the blame transferred onto him, the "other". A definite mental dissociation.
One by one, the country folk in this small township begin experiencing a series of mysterious deaths, with no one the wiser that it could possibly be this very clever innocent-looking child, and thus, the events continue to unfold.
Victims include his very own parents, an obnoxious whining playmate, a musical old lady, and perhaps most disturbingly, even a new-born baby: Dad "trips" and falls into the barn cellar; after discovering and confiscating a secret item, Mom tumbles down a flight of stairs but survives with paralysis; a tattle-telling boy is impaled on a conveniently-placed pitchfork while jumping into a hay bale playing "King of The Mountain", even though he was forbidden to romp therein; Mrs. Rowe is quite literally frightened to death {her phobia is exploited}; probably feeling all the attention he craved was being diverted, the new-born baby goes missing one stormy night only to meet a tragic fate, while shifting the blame onto a local farmhand. In each case, it became an exaggerated matter of revenge wherein his 'evil twin' felt justified to finalize.
Throughout the film, Niles is counselled by the wise and kind Ada about his special gifts, a gypsy-grandmother type who teaches him to practice mental projection via visualization, wherein he travels into the perspective of a raven, flying forth across the land wherein he actually prognosticates the demise of the pestiferous boy. Learning of his nefarious 'Holland' alter-ego, she tries to provide grounding through asserting his death by admonishing him to 'view' his brother at the grave in the coffin, but it proves too much for his mind's eye, and so she assents. She eventually learns the extent of his deeds, blames herself, and thereby takes it upon herself to rid the town of them both.
Besides the deaths, other notable scenes include a trip to the carnival, wherein he witnesses various 'freaks', and the shenanigans of an illusionist 'disappearing' for the crowd.
For a horror movie, the film uses atypical wholesome-like common-day settings as a stage, instead of standard nightmarish props, effects, characters, or environments, seemingly stating that the likelihood of such occurrences could unexpectedly happen any where at any time, even in the most day-lit or misperceived 'safe' circumstances. The Other also features a marvelous score by the extraordinary Jerry Goldsmith.

4/5.

The Manitou
{XII A.S. Directed by William Girdler. Written by Jon Cider, William Girdler. Starring Tony Curtis, Michael Ansara, Susan Strasberg, Burgess Meredith, Felix Silla. Genre: Horror}
"Manitou: a supernatural being that controls nature; a spirit, deity, or object that possesses supernatural power." - American Heritage Dictionary.
When a fetus grows on the back of his girlfriend's neck, it is up to Harry Erskine, a psychic scheisster, to find help for her. Seems he began to meddle in certain occult practices that he could not handle, and so his problems surmount, amusingly displayed when an elderly client is possessed and floats out the door and tumbles down the stairs. Despite all attempts to help her condition using "white man's medicine", he realizes he must consult alternative methods including a seance where an "evil spirit" manifests as a black head rising from the table.
While researching, he finds the name of professor Dr. Snow {Burgess Meredith} who recommends he fight fire with fire, leading him to a reservation where he meets reticent Medicine Man John Singing Rock, who takes on the challenge for a generous donation to the Native American education fund and some tobacco. When he discovers the fetus is the reincarnation of a legendary powerful shaman named Misquamacus {played by Felix "Cousin Itt" Silla and Joe Gieb}, his reticence grows but nonetheless decides to attempt a fight, despite a warning by Misquamacus to not help the palefaces. Every effort is met with defeat as Misquamacus summons everything from a lizard demon, the zombified body of a dead orderly, to the elements themselves, transforming the floor level into a veritable cave. Unfortunately, Misquamacus is deformed and diminuative due to profuse X-radiation while attempting to decipher the mysterious growth.
When John Singing Rock explains that all things have a manitou, even seemingly inanimate objects, and when all else fails, Harry conceives of an idea to use the manitous of all the hospital's computers, hoping to amass their combined energy to combat Misquamacus, who at that point has summoned forth "The Devourer", a supposed equivalent to The Devil, which leads to a surprisingly impressive phantasmagoric ending.
With subtle shades of Koyaanisqatsi, the plot seems to convey a message of the progression of technology at odds with the natural world, although in the end, a cooperative balance can be found.

"Mighty be the powers of the old medicine man Whispers of his rain dance flow across the desert sands Guardian of the elder spirit summoning the storm Awaiting his arrival, Manitou of flesh is born..."
~ 'Manitou' by Venom; At War With Satan.

Pana - Witchi - Salatu