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Jeffrey Combs in Stuart Gordon's Re-Animator (1985). |
Critics At Large
is pleased to present CRITIC’S CRYPT
, a new column in which our writers compare, contrast, and explore two horror films that are linked by a common element. For our first installment, Justin Cummings tackles two Lovecraftian horror adaptations by director Stuart Gordon.
I mourn daily the gross appropriation of the works of Howard Philip Lovecraft in popular culture. I blame those (like the bacon-loving patrons of theCHIVE and its ilk) who
attach empty-headed significance to the icon of Cthulhu the same way Bill Watterson’s Calvin is grotesquely bandied about by idiots everywhere on pickup
truck window decals. Cthulhu is inescapable in today’s culture, filling store shelves with squid-faced plush dolls and bumper stickers, bought by consumers who couldn’t name you a single Lovecraft story, let alone have ever taken the time to read one. Lovecraft himself was a weirdo and a racist: a brilliant
asshole through and through. His writing is the product of a deeply troubled mind, which grasped at the greater truth he desperately hoped was hiding
behind the drudgery of daily life – an artist with great talent plagued by financial trouble and an inescapable sense of despair. He was what you might
charitably call the “sadder but wiser” sort of guy, whose stories were almost always linked by a general fascination about “that which man was never meant
to know.” It’s horror, to be sure, but intellectual horror; stories inspired by and largely about ideas that are too frightening for the human mind to
comprehend. These tales were never typified by gore, sexual content, or general gross excess, although you could be forgiven for thinking so based on
adaptations like
Re-Animator (1985) and
From Beyond (1986). It’s these kind of representations of his work which, I think, have led to an
inaccurate perception of what the tales of Lovecraft are really about, and of why his work remains so influential long after his death (at least to those who
read it).
On their own terms,
Re-Animator and
From Beyond are terrifically fun splatter pictures. They’re among the premier examples of genre
convergence in horror cinema, combining science fiction, comedy, and body horror in ways that still feel fresh and charged with energy. In fact, they share
more than just genre: they both star Jeffrey Combs and Barbara Crampton, and are both directed and co-written by Stuart Gordon. Viewed as a double bill (an
experience I can enthusiastically recommend), they feel like sister pictures – two different expressions of the same creative spark.
Re-Animator is
an adaptation of Lovecraft’s short story “Herbert West, Re-Animator,” which is both longer and far less entertaining than Gordon’s version, and
From Beyond is a greatly expanded version of the original 7-page story of the same name. They were produced and released back-to-back in a storm of
cheap shoots, fake blood, intense performances, and some genuinely excellent filmmaking craft, all inspired by Gordon’s experience in the world of theatre
and his interest in the blood, the shock, and the passion of the Grand Guignol tradition.