Physical transformation is a staple in the horror. These movies ultimately teach us that as much as we might have body-image problems, things can ALWAYS be worse. Here are three of those instances.
THE INVISIBLE MAN
1933
Starring Claude Rains, Gloria Stuart, William Harrigan, Henry Travers, and Una O’Connor
Directed by James Whale
71 minutes
Dr. Jack Griffin (Rains) is a British scientist who, when we first meet him, has already made himself invisible. His heavy winter clothing masks his invisible body easily enough, but the gauze around his face and the sunglasses-at-night look spook the locals when the doctor seeks lodging at a quaint inn. Neither Griffin’s boss (Travers), nor his love interest (Stuart), nor his assistant (Harrigan) know his whereabouts, but that doesn’t last long.
As Griffin goes mad, the result of one of the chemicals used in the formula that turned him invisible, he begins a spree of violence that includes assaulting the inn’s proprietors, murdering a policeman, and taking his assistant a hostage. Despite a late flash of humanity, the madness consumes Griffin, and he reveals his plans to wreak worldwide havoc and sell his invisibility formula to the highest global bidder.
This film, based on the H.G. Wells’ novel, represents the first major onscreen role for Claude Rains … and he is remarkable. He is invisible throughout the entire film, save the last 10 seconds, thus using only his voice and body language to convincingly portray the psychologically deteriorating scientist. (This is refreshing to witness in today’s world of “celebrities” who clamor for as much face-time as possible, thus becoming overexposed before we’ve had a chance to remember their names.) Director James Whale is brilliant as well, mixing in deliciously dark humor at just the right moments. But the special effects, created decades before the birth of the computer, are what put this movie over the top; so much so, present-day 3D-obssessed Hollywood could learn a lesson in simplicity from this film.
THE FLY
1958
Starring Al Hedison, Patricia Owens, Vincent Price, and Herbert Marshall
Directed by Kurt Neumann
94 minutes
It’s a routinely peaceful night at the electronics plant, until the silence in the desolate warehouse is shattered by the sound of a hydraulic press crushing a man to death. Helene Delambre (Owens) is manning the machine’s controls, while her husband, Andre (Hedison), lies flattened and dead. The horrifyingly widowed Helene calls Francois Delambre (Price), Andre’s brother and business partner, for help. Inspector Charas (Marshall) investigates the death and suspects murder, but Francois, who secretly loves Helene, refuses to believe that she is responsible for Andre’s death, even going so far as to speculate that his brother took his own life. Unable to bear the burden of knowledge any further, Helene recounts her story to Francois and Charas.
Andre, a brilliant scientist, announces to his wife that he has invented a way to electronically transport solid matter from one room of his lab to another, using a “disintegrator-integrator.” After successful attempts disintegrating and integrating inanimate AND animate objects, Andre decides the time is right for a human subject. Like a true scientist, he elects himself to take the fateful journey. His first attempt is a success, but his second attempt, when a fly unknowingly lands in the disintegrator chamber with him, has horrible physical consequences upon integration.
Most teenage-monster/mad-doctor/creepy-insect/space-alien/scientific-mishap films from the ‘50s are nothing more than guilty pleasures (or the folly of a gang of Tweeters known as the #DriveInMob). The difference between the majority of the “so-bad-they’re-good” movies and The Fly can be summed up in one word: suspense. The pace of the story is highly effective; just when you think it’s safe to raid the fridge, something keeps you in your seat. This is enhanced by very convincing performances from all (except for Marshall, whose Charas is too polite a cop), and effects that are just good enough to keep your imagination stimulated. And even though we all know what’s going to happen at the end (and in case you don’t, I won’t spoil it), we’re still glued to the screen until we hear those immortal words, “Help me! Help me!”
THE EXORCIST
1973
Starring Ellen Burstyn, Max von Sydow, Lee J. Cobb, Jason Miller, and Linda Blair
Directed by William Friedkin
132 minutes
Chris MacNeil (Burstyn) is an actress and single mom, doing her best to provide for her daughter, Regan (Blair). Little does she know that her best is far from good enough, as Regan becomes possessed by the devil. After doctors and psychiatrists are unsuccessful, Chris is left with no choice but to turn to a neighborhood priest, Father Karras (Miller), who enlists the help of another priest with exorcism experience, Father Merrin (von Sydow), to exorcise the devil from Regan.
Oh, it sounds simple, but I must confess: for years I was reluctant to view this film at all. When I was a kid, the mere clips of The Exorcist that I saw, well, scared the pea soup out of me. Fast-forward to my teen years, when I found myself at a friend’s house. She was throwing a video party (where a bunch of teens hang out at a house and watch movies on rented VHS tapes; it was a very big ‘80s thing to do). My friend rented two movies that night: Fast Times at Ridgemont High and The Exorcist. The first choice? Awesome. But when it came time to kill the lights and start the frights, those clips came back to haunt me (yes, I punned there), so I planted myself in her kitchen and had a lovely conversation with her mother.
Next, I became an adult. Then I grew up.
I am happy to report that this film, while certainly scary, has an intensity – with its spinning head and demonic voice and such – that I was unable to handle at a younger age. But, all that intensity and pea soup aside, the overall message in the film is faith. (Don’t worry; it’s not too preachy.) Chris MacNeil has faith that doctors, and later priests, can cure her daughter. Father Merrin has faith that he can save Regan. Father Karras lacks faith in himself. Regan has faith, buried well beneath the devil, that someone can save her. And while the sight of young Regan as a possessed little girl is certainly unnerving (especially after she displays her creative uses for a Crucifix), you stick around because you not only want to see her caved, you want to see everyone’s faith affirmed. Blair is the obvious choice for the best performance in this film, but don’t overlook Miller as the troubled priest. He has a difficult time wrestling with his own soul, and only his final decision makes the ultimate difference.
My childhood fears have been put to rest.
