It's Hammer Time!!

HAMMER HORROR MONTH!

In celebration of Halloween, I am going to focus on the films of the famous Hammer Studios, a British film studio that revived the classic movie monsters to great success in the 1950s.

This is going to be fun for me because I've only seen a few of these films all the way through. I caught them in snippets and I certainly know them by their reputation (both good and bad). But I have always wanted to see them, and thanks to TCM, I will finally be able to! Throughout October, they will be playing several of them on Friday nights.

So what's the big deal about Hammer Films? In the 1950s, while Hollywood was busy attacking audiences with aliens, UFOs, and giant ants, the famous monsters of lore had been reduced to a joke. Frankenstein, Dracula, the Wolf Man only appeared in films if they were parodies. Their effectiveness had been played out, or so the conventional wisdom said. Of course, Hollywood was wrong (big surprise).

Starting with the Curse of Frankenstein, Hammer revived the fortunes of these old school baddies and created an incredibly successful series of films for the next two decades. One of the innovations was a no-brainer. Color! Hammer was known for their vivid color palattes - particularly the color red. Blood flows freely in these flicks - to actually see blood on the lips of a vampire after feeding was a HUGE shock in 1958. The Hammer Films also added an element of sexuality to horror - granted, beautiful women have been plagued by monsters since silent films. But to have these women be so overtly va-va-voomy was a Hammer innovation. The sex and the gore are very tame compared to today, even laughably tame, but for the 1950s it was quite risque and contributed to the huge business at the box office.

The other thing Hammer Films gave us were two new horror icons - enter Christopher Lee and Peter Cushing. We all know Christopher Lee as the evil wizard Saruman in Lord of the Rings, but he was a huge horror star in the 1950s and 60s, playing druids, warlocks, mummies, Frankenstein's monster and most famously, Count Dracula, a role he played 12 times! We all know Peter Cushing as Grand Moff Tarkin, the old commander of the Death Star and the only guy in Star Wars who can boss Darth Vader around. These two appeared in countless Hammer movies and are true icons of the genre.

On the negative side, these movies were pretty cheaply made and you can usually tell. The pacing can be slow and lots of the acting outside of Cushing and Lee can be...well, let's say there are times when they should have focused less on the va va voom and more on the talent. But I have a feeling these problems probably affected the latter flicks more than the earlier ones. I guess we'll find out!!

So this is month is going to be a fun one. I may sneak in a review of something else, particularly if it is a new movie (I am probably going to see The Social Network and will want to review that). But the theme of the month is Hammer. It's Hammer Time!!!!

The 4th Best Holiday Movie Ever: The Nightmare Before Christmas (1993)

The Nightmare Before Christmas (2-Disc Collector's Edition + Digital Copy)

After the sugary sweetness of Emmet Otter, I think it is appropriate to go for something a bit more sour, and a bit more sinister - the visually inventive, stylishly produced, and devilishly clever Nightmare Before Christmas. Produced by Tim Burton, directed by Henry Selick, and featuring music and songs by Danny Elfman, The Nightmare Before Christmas was a modest hit when it was first released, but has since become regarded as a bonafide holiday classic.

Jack the Pumpkin King is tired of presiding over Halloween. Every year, it's the same old thing - goblins and skeletons and corpses. It gets sooooo old. In short, Jack has lost his faith. After wondering through the woods one night, he comes across Christmastown, and lo and behold, he sees a new way of doing things - there's snow, there's smiles, there are heads still attached to their bodies! Enamored by Christmas, Jack decides to make it his own, kidnapping Santa Claus and ordering his army of witches and ghouls to make toys for children around the Earth. Naturally, he learns the error of his ways. But along the way, we are treated to all sorts of material that is genuinely disturbing - little demon children plotting the best way to kill Santa Claus, skeleton reindeer (of course, the lead reindeer has a shiny red nose), and a horrific sleigh ride on Christmas night. Yet despite how subversive the film is, I am impressed at how the spirit of Christmas still comes through loud and clear, with all its purity intact. It's a delicate balance, but Burton and Co. pull it off.

Everybody brought their 'A' Game to the film, particularly the voice cast and Danny Elfman. He not only wrote a powerful score and several memorable and amusing songs ("Kidnap the Sandy Claws" and "Poor Jack" being highlights), but he also provided the singing voice for Jack.

The film also has one of the best entrances I have ever seen in either a horror or holiday movie. SPOILER: During the opening song, "This is Halloween," the townsfolk of Halloween-town celebrate while a scarecrow lights himself on fire and dives into the town fountain. And in a closeup, we see for the first time, Jack the Pumpkin King, rising from the fountain, enveloped in steam, his shiny skull gleaming in the moonlight, his skeletal face smug in evil triumph. It was an awe-inspiring moment for me, and one heckuva entrance. SPOILER ENDS.

I would not recommend the film for young children. It is perhaps a bit too dark for them. But don't wait too long. As unlikely as it may seem, Jack the Pumpkin King is rapidly becoming a season staple and his adventure should be seen by everyone.

BEST LINE: I don't want to ruin the context of the line, but when Jack howls to the moon, "I AM the Pumpkin King!!!!!" it is impossible not to feel the weight of his faith reborn. Great line, and great line delivery.

MVP: This is a tough call. Should I give it Burton? This was his vision, after all. Or to Selick, who directed that vision? Or Elfman, who so ably provided a dark and comical musical landscape for the vision to inhabit? No. None of them. I have to give the MVP to the team of stop motion animators. Because they actually brought the vision to life. Over three years of painstaking and downright painful work, the stop motion animators made all the characters live and breath, literally millimeter by millimeter. The result is impressive and this hardworking army of workers deserves to be recognized!

OSCAR NOMINATIONS: Best Visual Effects (it lost to Jurassic Park)

TRIVIA: Nightmare Before Christmas is not the first appearance of Jack. He can actually be seen clearly on top of one of Beetlejuice's hats in Beetlejuice (1988) and even showed up in one of Burton's earliest projects, Vincent (1982).