The Haunting

Directed by: Jan de Bont

Written by: David Self (screenplay); Shirley Jackson (novel)










Going back down memory lane in my attempt to bring myself back to writing about film regularly, I found The Haunting available for streaming and realized that this would be a great place to continue.

The Haunting stands as one of the first "scary" movies I saw in the theater. Before watching it again, though, I was struggling to remember what exactly the movie was about. I vaguely remembered something about a scientist and a massive house, but nothing stood out about what exactly was at the core of the story. I also recalled the movie not being terribly scary. Still, it was a milestone movie in my personal history.

Watching it again, it was obvious to me why I didn't think it was very scary; it wasn't. But what I missed in my youthful hope for jump-moments and scares was how incredibly creepy the movie feels. The house is physically imposing and menacing. The layout of the rooms is confusing and maze-like, mildly echoing the Overlook hotel of The Shining in this way. The ornate carvings and statues are disquieting, at least in part because some of them don't seem to belong together. In one room there are barbed spikes decorating a bed's headboard and spiderweb-like glass windows,  but also cherubic children's faces around the fireplace. (Also, did the expressions of the children's faces change between shots? Early on, it's hard to tell, which adds to the sense dis-ease.)

Aside from Lili Taylor, most of the acting is screen chewing. (Or, maybe that's just the way Owen Wilson really is?) Liam Neeson is especially guilty of this in this movie, never feeling like he's doing anything beyond reading lines in a corny horror movie. At no point does the audience have any reason to accept him as a scientist of any kind, much less the kind that could pull off setting up an experiment of the type we're supposed to accept as the opening premise. (This accusation may be more indicative of the flaws in the script rather than his acting.)

The story itself works just fine, but drags itself down with a few too many unnecessary twists and turns. Some of these twists work within the confines of the story, but others are awkwardly forced and contrived, merely serving as pretext to the next twist. Although Lili Taylor's character adds to the story significantly (she's the crux of one of the major turns in the story), the other characters fall back into filler material with little or no distinguishing personality. For long stretches of the movie, Catherine Zeta-Jones seems merely there to give Lili Taylor someone to have dialogue with about the creepy house. Usually having too many characters becomes a flaw in a movie like this, as most of them never develop beyond a vague outline of a human being, but in this film a few more distinct personalities could have helped.

What this movie lacks in script and acting and gore (at least, for a horror movie), it makes up for in the outstanding eerie ambiance. The dark beauty of the house gives chills and discomfort. Other haunted house movies should take note of how well this film reaches the goal of making the house feel haunted just by its mere existence.

Man in the Sand

Directed by: Kim Hopkins

Woody Gurthrie died long before any artist with an instrument could become a recording artist in their own living room.  As a result, many of his songs went unrecorded; the only record, a few lyrics scribbled or typed on random paper.  Billy Bragg and the band Wilco were granted access to these previously unpublished and unrecorded songs.

"Man in the Sand" documents the development and recording of the "Mermaid Avenue"album, including following Billy Bragg as he traces the footsteps of the different phases of Guthrie's life.  It also shows the different priorities of the artists, and the tensions that arose between them as the album moved toward its final form.

It's a neat little film, but not worth watching if you haven't heard the album.

Harry Potter and the Prisoner of Azkaban

Written by: J. K. Rowling












The third book in the Harry Potter series was a bit of a fizzle.  It just didn't do much for me.

Essentially, it picks up exactly where the last book left off.  Harry and his friends become caught up in a mystery which threatens to kill Harry.  You see, it turns out that one of the conspirators in the death of Harry's parents has escaped from the wizard prison of Azkaban, and all evidence points to this man - Sirius Black - coming to Hogwarts to kill Harry.  Of course, nothing is quite as it seems, and Harry and his pals find out that Sirius is actually innocent and wants to help protect Harry.  Unfortunately, in the end, no one (except Dumbledore) believes Harry, and so Black goes into hiding where he can keep an eye on things.

This book felt very, very formulaic for the first several chapters.  It starts in nearly the exact same way as the previous two novels, with only minor variation.  This was painful, and I grew frustrated waiting to get to the meat of this book.

And even when the plot did begin to develop, I never really felt any dramatic tension.  Although the character of Sirius Black is mysterious, I never got the sense of menace that I think I was meant to feel. Rather, I knew it was only a matter of time before the truth was revealed about his motivations.  (I didn't quite see the whole "I was innocent" twist, but I knew that he probably wasn't the heartless beast he was made out to be.)  Overall, there just wasn't any sense of danger, and I never believed that Harry and his friends were in any life-threatening scenarios.

Aside from some random introductions - Black, Hogsmeade - this book felt mainly like a bridge between what had already been established and something bigger to come in the later books.