Friday, February 11, 2011

Ministry of Fear


Ministry of Fear, written by Seton I. Miller, based on the novel by Graham Greene, directed by Fritz Lang, starring Ray Milland, Marjorie Reynolds and Carl Esmond (1944): The film opens with Stephen Neale (Milland) being released from a mental asylum where he's been incarcerated for two years after being convicted of mercy-killing his terminally ill wife, though his wife actually dosed herself with the poison he'd purchased. Because this is a thriller, there's a Nazi spy ring at work in the carnival opposite the train station Neale goes to after being released. In a case of mistaken identity, he's given a cake intended for a spy within which is hidden what Hitchcock would call the McGuffin -- the thing everyone in the thriller is chasing. Hilarity ensues.

It really seems as if Paramount was trying to make Ray Milland into a poor man's Cary Grant at this time, possibly because of Milland's odd mid-Atlantic accent. Milland's tour-de-force performance as an alcoholic in Lost Weekend was still a couple of years away; here, he's a sort-of dashing Hitchcockian 'Wrong Man' trapped in a thriller plot somewhat resembling that of The 39 Steps.

The whole thing with the cake is handled with right amount of drollness, and there are some really lovely set pieces cooked up by director Fritz Lang, he of German film classics M and Metropolis and a number of classic films noir once he fled Nazi Germany in the mid-1930's.

This is indeed a 'dark film' in terms of photography, though incongruously light-hearted much of the time -- a comic-relief private detective is something of a botch. A gun fight in an English field being bombed by the Nazis looks terrific for something obviously done on a sound stage, and there are a number of other scenes in which the play of light and shadow creates an aura of menace the script can't quite maintain -- the narrative starts and stops a number of times, something quite odd for a film that's less than 90 minutes long. But Lang, strong on visuals, always seemed to be a bit weak on narrative momentum. Recommended.

Tuesday, February 8, 2011

Best New Horror 15 (2003)


The Mammoth Book of Best New Horror 15 (2003) edited by Stephen Jones: The Mammoth series of annual 'Best of' horror anthologies has been a godsend for over two decades now, and even more of a godsend ever since the DAW 'Best of Horror' annual series ended with the sad and early death of its long-time editor Karl Edward Wagner. That the Mammoth series has at least twice the page count of the Wagner series, along with lengthy Necrology and 'Year in Horror' sections, makes it even more essential, if that's possible.

Stephen Jones is a voluminous and gifted anthologist, and the yearly Best New Horror has become one of the things I look forward to each year, like the Super Bowl or Fox TV's annual purge of all its best shows.

This anthology of stories from 2003 is the usual solid job, with good stories by perennials that include Ramsey Campbell, Glen Hirshberg, Caitlin Kiernan and Neil Gaiman, along with offerings from lesser-known and new writers. The great Gene Wolfe does one of his reality-bending bits with "Hunter Lake"; Hirshberg offers a melancholy new take on the Golem and the Holocaust in "Dancing Men"; Campbell expertly mines childhood fears in "Fear the Dead"; Toronto's Gemma Files comes up with a really awful innovation in the realm of puppetry with "Kissing Carrion" (also set in T.O.); Simon Clark and Tim Lebbon work wonders with a story about the great fantasist Arthur Machen's WWI story-turned-urban-legend "The Archers of Mons"; Joyce Carol Oates comes up with an atypically typical (for her) bit of nu-Gothic in "The Haunting." There's even a story set on an island in Lake Erie ("Lucy, In Her Splendour" by Charles Coleman Finley) and a creepy, M.R. James by way of H.P. Lovecraft story by Mark Samuels, "The White Hands." One of the pleasures of the Mammoth series is catching up with old friends; another lies in discovering "new" writers whose names you'll have to look out for, such as Samuels.

All in all, this is another fine addition to the Best New Horror series, and a useful reference book for the year in question. Jones is extremely catholic in his horror selection, with stories running the gamut from gruesome but natural horror to mind-bending examinations of the supernatural Sublime. Long may he run. Highly recommended.