The Space Vampires by Colin Wilson

 

(pb; 1976)

From the back cover

“When Captain Carlsen entered the vast derelict spaceship, he was stunned by its awesome splendor—and shaken by the discovery of its immobilized humanoid passengers.

“Later, after three of those strange aliens had been transported to Earth, his foreboding was more than justified. The creatures were energy vampires whose seductive embraces were fatal, whose lust for vitality was boundless. As they took over the willing bodies of their victims and sexual murders spread terror throughout the land, Carlsen worked toward their destruction—even though he was erotically drawn to the most beautiful vampire of all!”

 

Review

Space is an excellent science fiction/horror novel that deftly balances the older style of classic science fiction novels of the 1950s (with its emphasis on focused and intense scientific explanations, sometimes delivered by talkative aliens), earthier pulpy thrills (R-rated sex, terror, heroes and antagonists who aren’t binary good-or-bad), and classic horror/vampiric tropes and framing. It’s a streamlined, burn-through, real-world believable and sometimes cliffhanger-ish read, one of my favorite books that I’ve read this year. Worth owning, this.

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The resulting R rated film, titled Lifeforce, was released stateside on June 21, 1985. Tobe Hooper directed it, from a screenplay by Dan O’Bannon and Don Jakoby.

Vic Valentine, Private Eye: 14 Vignettes by Will Viharo

(pb; 2019: story anthology--tenth book in the Vic Valentine series)

From the back cover

“Lounge lizard. International man of misery. Space cadet. Dog walker. Lover. Loner. Fighter. Fool. Vic Valentine has been all of these things and more, and less─much less. These fourteen torrid tales of forbidden love, shameless lust, surrealistic horror, existential mystery, pointless mayhem, and just plain stupidity spanning Vic’s pathetic life collectively illuminate the darkest corners of the human condition, without revealing a single goddamn truth, other than we’re all lonely globs of ephemeral flesh wandering aimlessly around a big ball of shit hanging by a thread in a vast, apathetic world.

“Welcome to the hypnotic, erotic, neurotic world of Vic Valentine, Private Eye.”

Overall review

14 Vignettes is a great addendum collection of Vic Valentine works, filling in timeline gaps relating to the P.I.-turned-dog walker’s life. As is often the case with Vic, his neurotic and sexual worldview revolves around multimedia interests (especially music and movies), women, tiki bars and frelled-up, over-the-top situations. This unique, entertaining and pulpy string of stories is not a book for the prudish or the politically correct, but it should not be, because otherwise it would not be the fun, worthwhile read it is. It put me in the mindset of Peter O’Donnell’s Modesty Blaise anthology, Pieces of Modesty, the way it filled in certain gaps in her storyline. Both are worthwhile purchases.

Review, story by story

“Feet First”: Vic engages the services of a prostitute. Set during the Love Stories Are Too Violent for Me era, this story has meaningful and clever banter. I love the finish, which has wild, fresh ending like the best stories do.

“Vein Attempt”: In Seattle,Vic tries to seduce a sexy phlebotomist (Brigitte), who is a dead ringer for a French porn actress Fans of director-writer Jean Rollin may especially like this one.

“By Any Other Name”: Sex-, jazz- and CBGB-suffused microtale. This prequel to the first Vic Valentine novel  is chatty and entertaining, and ably sets up Love Stories Are Too Violent for Me.

“Doc and Me”: Vic’s final conversation with his longtime friend-landlord-bartender─they talk about The Texas Chain Saw Massacre (1974), as well as the virtues and vices of its 2003 remake (and most remakes, in general). They also converse about the therapeutic value of breasts, friendship and the beautiful diversity of the East Bay, California─especially Oakland. Warm homage to the above subjects, this, one of my favorite entries in this collection.

“Pawn of the Dead”: Vic reminisces about his brother (Johnny), who died at a young age, with whom Vic shared common passions: punk/CBGB, Dawn of the Dead (1978) and other late Seventies influences.

“Just Breathe”: Vic has a hallucinogenic slipstream of a case, involving a secretive woman (with whom he has a fling), a blood bank, and an ending that may be the beginning of something sweet or horrifying.

“Sick as a Dog”: Vic has an affair with a married woman (Katey), the owner of one of the dogs he walks. She is a woman with a secret, beyond her wielded butcher knives, pet-play and other sado/masochistic psychodramas.

“Blowing Smoke”: In high school, Vic hooks up with a classmate (Dolly), whose love of oral sex─giving and receiving─hides surprising truths she would rather not talk about. Great end-line to this one.

“Westwood Ho”: Los Angeles, late Eighties. Vic, hired to find a missing stripper (Roxi), accomplishes his mission. A brief, tender and honest friendship results. One of my favorite stories int 14 Vignettes.

“Googie Grindhouse”: Prior to the events of the “Westwood Ho,” “Feet First” and Love Stories, Vic and Valerie─later known as Rose─fly from New York to Los Angeles, where she, independent, sets the tone of their future encounters. Romantic, harsh and sometimes nightmarish work.

“Tiki Bar Bounce”: Vic gives a shout-out to his favorite, real-life tiki bars, many of them located in the East Bay-San Francisco, California region. Sexy women, mainly Monica, also get some printed love. There is also a real-life cocktail recipe! Fun, sometimes trip-out read, especially when Radon, a recurring Viharo character, appears.

“Pulp Beat”: Vic tells the story of how he became a private eye. It involves a naïve college student (Brenda), a spontaneous lie and a Berkeley-to-San Francisco BART ride. This tale takes place before Vic meets Doc and other characters, introduced in Love Stories. This is one of my favorite selections in this collection.

“Page Turner”: Vic dreams he is another man (Will Viharo), shark-fishing in Florida with actor Christian Slater. Fun meta-work.

“Illville”: A post-Vic Valentine: Space Cadet story, this. Vic details his slip-swirl days with recent movies by Jim Jarmusch and Quentin Tarantino, his wife (Val), ghosts (Doc), and life in general. This is a solid, post-“Mental Case Files”* wrap-up, and satisfying bookend to this fourteen-tale anthology.

(*The “Mental Case Files” are Viharo’s most recent Vic Valentine novels: Vic Valentine: International Man of Misery, Vic Valentine: Lounge Lizard for Hire and Vic Valentine: Space Cadet.)

The Texas Chain Saw Massacre: The Film That Rattled a Terrified Nation by Joseph Lanza

(hb; 2019: nonfiction/film)

From the inside flap

“When Tobe Hooper’s low-budget slasher film, TheTexas Chain Saw Massacre, opened in theaters in 1974, it was met in equal measure with disgust and reverence. The film─in which a group of teenagers meet a gruesome fate when they stumble upon a ramshackle farmhouse of psychotic killers─was banned in several countries and was pulled from many American theaters after complaints of its violence. Despite the mixed reception from critics, it was enormously profitable at the domestic box office and has since secured its place as one of the most influential horror movies ever made. In The Texas Chain Saw Massacre: The Film That Rattled a Terrified Nation, cultural critic Joseph Lanza turns his attentions to the productions, reception, social climate, and impact of this controversial movie that terrified an already-rattled America.

“Joseph Lanza transports the reader back to the tumultuous era of the early-1970s, defined by political upheaval, cultural disillusionment, and the perceived decay of the nuclear family, in the wake of Watergate, the onslaught of serial killers in the US, and mounting racial and sexual tensions. The Texas Chain Saw Massacre: The Film That Rattled a Terrified Nation sets the themes of the film against the backdrop of America’s political and social climate to understand why the brutal slasher flick connected with so many viewers.”

Review

Texas is one of my favorite 2019 reads. It immediately absorbed me into its time early-Seventies period, with its mix of cinematic influences, intentions and reactions, as well as the often-iconic events and cultural players who were part of them. These artists, politicians, criminals, religionists, and other citizens of the milieu─as shown in Lanza’s entertaining, waste-no-time and informative book─are given their proper due, while the author keeps the pace lively, clever and worthwhile. This is a rare read for me, one that I hope to revisit again. Or, to put it another way: it is worth owning, and re-reading, whether you are interested in the 1974 film, the Vietnam era, or the early 1970s in general.

Night Shift by Stephen King

(hb; 1976, 1977, 1978: horror story anthology.  Introduction by John D. MacDonald)


Overall review:

Excellent anthology, all of the stories - many of them admirably varied in their sense of horrors - have something to recommend them.  This is one of my all-time favorite story anthologies.


Standout stories:

1.)   "Jerusalem's Lot":  An evil, haunted town repeatedly draws members of a cursed family into its Lovecraftian clutches over centuries.  This is a loosely linked prequel to a later story in this anthology ("One for the Road") and the novel 'Salem's Lot.


2.)   "Graveyard Shift": A Fourth of July cleaning shift at a mill goes horrifically wrong when the workers discover secret passages beneath its sub-basement.

The resulting film was released stateside on October 26, 1990.  David Andrews played John Hall.  Kelly Wolf played Jane Wisconsky.  Stephen Macht played Warwick.  Andrew Divoff played Danson.  Brad Dourif played Tucker Cleveland (aka "The Exterminator").  Victor Polizos played Brogan.  Robert Alan Beuth played Ippleston. 

Ralph S. Singleton directed the film, from a screenplay by John Esposito.


3.)   "I Am the Doorway":  An astronaut's return to Earth is troubled by forces and visions alien to his nature - elements and visions which may change those around him, as well.


4.)   "The Mangler":  A demon-possessed industrial laundry machine - a speed ironer - turns murderous.

With a  lesser writer, this would be a dumb story.  With King, who ties it into timeless penned notions, it is a fun, spooky, perhaps even milestone update of an old idea.  This is one of the best stories in this collection.

The resulting film was released stateside on March 3, 1995.  Robert Englund played William 'Bill' Gartley.  Ted Levine played Officer John Hunton.  Daniel Matmor played Mark Jackson.  Vera Blacker played Mrs. Adelle Frawley.  Danny Keogh played Herb Diment.  Ted Le Plat played Doctor Ramos.  Todd Jensen played Roger Martin. 

Tobe Hooper directed the film, from Stephen David Brooks (billed as Stephen Brooks) and Harry Alan Towers's (billed as Peter Welbeck) screenplay.

Two loosely linked - if linked at all - film sequels followed: The Mangler 2 (starring Lance Henriksen, a direct-to-video flick, released on February 26, 2002) and The Mangler Reborn (another direct-to-video flick, released on November 29, 2005).


5.)  "The Boogeyman":  A man, whose family has been slaughtered, visits a psychiatrist.  Effective twist to this one.

This story has been, or is scheduled to be, filmed as a short several times.


6.)  "Battleground":  A hitman fights for his life against a bizarre array of enemies.  Excellent, worthy of a Twilight Zone episode.

This story became the basis for the debut episode of a television series, Nightmares & Dreamscapes: From the Stories of Stephen King.  It aired stateside on June 12, 2006 on the TNT network.  Brian Henson directed the episode, from a teleplay by Richard Christian Matheson.

William Hurt played Jason Renshaw.  Bruce Spence played Hans Morris.  Mia Sara played "Beautiful Passenger". 


7.)   "Trucks":  Another 'murderous machine'-themed tale, this time set as a pluralistic affair, with automobiles and other electronics involved.  Fun, B-movie-esque work.

The resulting film, titled Maximum Overdrive and directed by Stephen King, was released stateside on July 25, 1986.  Emilio Estevez played Bill Robinson.  Laura Harrington played Brett.  Pat Hingle played Bubba Hendershot.  Yeardley Smith played Connie.  John Short played Curtis.  Frankie Faison played Handy.  Christopher Murney played Camp Loman.


8.)   "Sometimes They Come Back":  A high school teacher confronts the strangely youthful bullies who murdered his brother years before.  Unsettling, effective story.

The resulting television film aired stateside on May 7, 1991.  Tim Matheson played Jim Norman.  Brooke Adams (who also co-starred in the King-based 1983 film The Dead Zone) played Sally Norman.  Robert Rusler played Richard Lawson.  Robert Hy Gorman played Scott Norman.  William Sanderson played "Carl Mueller (age 44)".  Nicholas Sadler played Vinnie Vincent.  T. Max Graham played Chief Pappas.

The telefilm was followed by two direct-to-video, loosely linked sequels: Sometimes They Come Back. . . Again (released September 3, 1996, starring Michael Gross, Alexis Arquette and Hilary Swank) and Sometimes They Come Back. . . for More (released on September 7, 1999, starring Clayton Rohner and Chase Masterson).


9.)   "Strawberry Spring":  A string of murders haunts a collegiate-later-family man.  Especially well-written.


10.)   "The Ledge": Twilight Zone-esque fusion of noir and natural horror.  Excellent.

This story was incorporated into the threefold-tale film Cat's Eye, which was released stateside on April 12, 1985.  Lewis Teague (who also helmed the King-based 1983 film Cujo) directed, from a screenplay from Stephen King.  Drew Barrymore (who co-starred in the King-based 1984 film Firestarter) played Amanda (a.k.a. "Our Girl"), one of the characters that links the stories.

Kenneth McMillan played Cressner.  Robert Hays played Johnny Norris. 


11.)   "Quitters, Inc.":  A man, trying to quit smoking, is compelled to do so in startling ways.  Distinctive, clever.

This story was also incorporated into the threefold-tale film Cat's Eye, which was released stateside on April 12, 1985.

James Woods played Dick Morrison.  Alan King played Dr. Vinny Donatti.


12.)   "Children of the Corn": Excellent, creepy tale about an argumentative husband and wife who, traveling through Nebraska, get trapped in a strangely empty town. 

A film short, Disciples of the Crow, was made in 1983.  It was based on this story.

The first resulting full-length film was released stateside on March 9, 1984.  Linda Hamilton played Vicky.  Peter Horton played Burt.  John Franklin played Isaac.  Courtney Gains played Malachai.  Julie Maddalena played Rachel.  Robby Kiger played Job.  Anne Marie McEvoy, billed as Annemarie McEvoy, played Sarah.

Fritz Kiersch directed the film, from a script by George Goldsmith.

Seven loosely linked sequels (many, if not all of them, direct-to-video works) and one remake followed. 

Sequels: Children of the Corn II: The Final Sacrifice (released stateside on January 29, 1993); Children of the Corn III: Urban Harvest (released stateside on September 12, 1995, featuring Johnny Legend as a "Derelict Man"); Children of the Corn: The Gathering (released stateside on October 8, 1996, co-starring Naomi Watts and Karen Black); Children of the Corn V: Fields of Terror (released stateside on June 21, 1998, co-starring Alexis Arquette - seen earlier in the King-based 1996 flick Sometimes They Come Back. . . Again - and Fred Williamson.  David Carradine and  Eva Mendes also co-starred, as well as Kane Hodder - who has played Jason in several of the Friday the 13th sequels. 

The fifth sequel, Children of the Corn 666: Isaac's Return, was released on October 19, 1999, co-starring Nancy Allen - who appeared in the King-based 1976 film Carrie - and  Stacy Keach.  John Franklin, who made his screen debut as Isaac in the original Children, played Isaac in - and co-scripted - this sequel as well.

Children of the Corn: Revelation, the sixth sequel, was released stateside on October 9, 2001.  It co-starred Claudette Mink, Michael Ironside and Kyle Cassie (who also made in an appearance in a television episode of Stephen King's Dead Zone).

A television remake of the original Children aired on stateside television on September 26, 2009.  It was directed and co-scripted by Donald P. Borchers; author Stephen King was his co-screenwriter.  David Anders played Burton Stanton.  Kandyse McClure played Vicky Stanton.  Daniel Newman played Malachai.  Preston Bailey played Isaac. 

The seventh sequel, Children of the Corn: Genesis, was released stateside on March 17, 2012.  It co-starred Billy Drago and Duane Whitaker.  As far as I know of, it isn't linked to the television remake that aired in 2009.


13.)  "One for the Road": On a winter stormy night, three men (Herb Tooklander, Booth and Gerard Lumley) head out to rescue the latter man's wife and daughter -  whom, unknown to Lumley, he left at the mercy of vampires.

Excellent, gripping expansion tale that builds on the history of "the 'Lot" (as seen in the earlier/first story, "Jerusalem's Lot") and, like that story, links to King's novel 'Salem's Lot.

The resulting 22-minute short film, released stateside on March 1, 2011, was directed and scripted by Paul Ward.

Reggie Bannister played Herb Tooklander.  Adam Robitel played Booth.  Danny O'Connor played Gerard Lumley.  Audrey Walters played Janey Lumley.  Sydney Ackman played Wendy.  Drew Walters played Francis Lumley.


14.)  "The Lawnmower Man":  Fun, gleefully bloody and bizarro tale about a unique yard service company.

The resulting short film was released stateside in 1987.  It was directed by James Gonis, from a script by Michael De Luca.

Andy Clark played Karras.  Helen Hanft played Mrs. Parkette.  E.D. Phillips played Howard Parkette.  Neil Schimmer played Castonmeyer.  Robert Tossberg played Bannerman.

A full-length film, linked to the story in name only, was released stateside on March 6, 1992.  (King sued to have his name removed from the film.)  Brett Leonard directed and co-scripted the film; his co-screenwriter was Gimel Everett.

Jeff Fahey - recently seen in the King-based television series Under the Dome - played Jobe Smith.  Pierce Brosnan, who later starred in the King-based television miniseries Bag of Bones, played Dr. Lawrence Angelo.  Jennie Wright played Marnie Burke. Geoffrey Lewis played Terry McKeen.  Dean Norris - who co-stars with Fahey in Under the Dome - played The Director.  Colleen Coffey played Caroline Angelo.

A loosely linked sequel to the film, Lawnmower Man 2: Beyond Cyberspace, was released stateside on January 12, 1996.  Like its source film, it bears no relation to the King story, aside from its title reference.

Patrick Bergin played Dr. Benjamin Trace.  Matt Frewer played Jobe Smith. Austin O'Brien played Peter Parkette.  Ely Pouget played Dr. Cori Platt.  Molly Shannon played a "Homeless Lady".

Farhad Mann directed the film, from a script by he co-authored with Michael Miner.

Shock Value, by Jason Zinoman

(hb; 2011: non-fiction)

From the inside flap:

"By the later 1960s, horror was stuck in the past, confined mostly to drive-in theaters and exploitation houses, and shunned by critics. Shock Value tells the unlikely story of how an ambitious art form emerged from a mix of commercial extincts and personal passion. Directors like Wes Craven, Roman Polanski, John Carpenter, and Brian DePalma revolutionized the genre in the 1970s, plumbing their deepest anxieties to explode taboos and bring a gritty realism, confrontational style, and political edge to horror. Zinoman recounts how these innovative directors produced such classics as Rosemary's Baby, Carrie, The Texas Chain Saw Massacre, and Halloween, creating a template for horror that has been relentlessly imitated but whose originality has rarely been matched.

"This new kind of film dispensed with the old vampires and werewolves and instead assaulted audiences with portraits of serial killer, the dark side of surburbia, and a brand of nihilistic violence that had never been seen before. Shock Value tells the improbable stories behind the making of these movies, which remain misunderstood even by some of their most die-hard fans. They were directed by strong-willed and often obsessive young men working largely outside of the confines of Hollywood and on shoestring budgets, and whose success depended as much on creative conflict as vision. But once The Exorcist became the highest-grossing film in America, Hollywood took notice, and horror would never be the same."

Review:

Entertaining and informative, this is an excellent, chock-full-of-interviews and occasionally psychological read for cinematic horror fans and those interested in cinematic style tale-telling.

Worth owning, this.