This was the movie that got me to be frightened of creepy little kids. Heck, I was just a kid when I saw it, so the damage has been long standing. It also gave me an appreciation for chilling movies that didn't dabble in th supernatural. Little Rhoda Penmark (played superbly by Patty McCormack) was just what the title says -- a bad seed. She didn't have the devil in her. She wasn't swarmed by demons. She was just the world's most insane little brat.
Some trivia: The song that little Rhoda plays on the piano was the very first song I ever learned to play. Us siblings would play the song with a blank stare in our eyes, to creep other people out. It worked...
Wednesday, October 19, 2011
Wednesday, October 12, 2011
PopCereal's Movies That Made Me A Monster Kid: #2: 13 Ghosts (1960)
This movie showed me the sweet sweet joys of being terrified. Oddly enough, I watched this movie on a quiet, tranquil Sunday morning. Sunday morning TV, when I was a kid, was very laid back. We'd watch the local morning show, called Shhhhh, and then some Laurel & Hardy, and Davey & Goliath. This one morning, for some reason, the wiseguys at the local TV station decided they'd put a creepy, ghost story on, for all the kiddies to watch, before their moms and dads got up for church.
I was mesmerized!
Until that cobwebbed covered ghost squished a victim in the killer canopy bed!! The unique look of those ghosts was never really duplicated in other films -- I'm not sure why. The corpse-like features and cobwebs, sometimes cloaked in the traditional clothe. I thought they were creepy then, and still do! The Zemeckis/Silver remake of 2001 was a fairly unfrightening, overindulgent, effects-laden attempt to bring horror into the big budget blockbuster world. After seeing that flop, I was really wishing that Ghost # 7 would drop the dynamic producing duo into a hole filled with acid. Sizzle!
I was mesmerized!
Until that cobwebbed covered ghost squished a victim in the killer canopy bed!! The unique look of those ghosts was never really duplicated in other films -- I'm not sure why. The corpse-like features and cobwebs, sometimes cloaked in the traditional clothe. I thought they were creepy then, and still do! The Zemeckis/Silver remake of 2001 was a fairly unfrightening, overindulgent, effects-laden attempt to bring horror into the big budget blockbuster world. After seeing that flop, I was really wishing that Ghost # 7 would drop the dynamic producing duo into a hole filled with acid. Sizzle!
Thursday, October 6, 2011
PopCereal's Movies That Made Me A Monster Kid: #1 The Tingler
The Tingler, no doubt, is my earliest movie memory. I don't remember what age I was, probably 4 or 5. However, I remember sitting there in front of the old Black&White, completely scared out of my trousers. The most vivid memory is the scene with the deaf, mute girl in the tub (hot dog!), about to be attacked by the huge killer bug.
You see, the premise -- as set up by Mr. William Castle in his preamble -- was that if you see the Tingler coming at you, you just scream, and that will chase it off. Well, Miss Prettylady couldn't scream, so all she could do was leave me with the terrifying image of her and her gap-mouth silent scream! Thanks lady! Now naked ladies in tubs make me scared and silly willy.
This film was the very start of my life as a diehard horror fan. And it also introduced me to my first favorite movie star -- Vincent Price.
You see, the premise -- as set up by Mr. William Castle in his preamble -- was that if you see the Tingler coming at you, you just scream, and that will chase it off. Well, Miss Prettylady couldn't scream, so all she could do was leave me with the terrifying image of her and her gap-mouth silent scream! Thanks lady! Now naked ladies in tubs make me scared and silly willy.
This film was the very start of my life as a diehard horror fan. And it also introduced me to my first favorite movie star -- Vincent Price.
Wednesday, October 5, 2011
PEEPHOLE REVIEW: The Woman (2011)
You won't be scared by The Woman because it's shocking, you'll be frightened because it's true.
The Woman is one of those controversial films that either you love it or you hate it. You love it because you get it. Because it speaks to you on a level that's above the usual horror fare. You hate it because it scares you. Because, not only does it scare you, but you get it, and the message is what scares you. You hate it because it's a mirror that reflects back the things you don't want to think about.
And that's the reason why I think this movie works, because it throws back in our face the very things we try to avoid. Because it makes me think and analyze my own thoughts and beliefs. I'm always up for that challenge... but too many people aren't. That's why they'll hate this movie.
In Lucky McKee's The Woman, the Cleek family of rural Maine, in first appearances, look to be your average, functional family, attending a local picnic. Chris Cleek (Sean Bridgers), the head of the household, is a successful small town lawyer, overseeing his family as they mingle. His wife Belle is the doting mom, keeping their children in check, and out of their daddy's hair. Middle child, Brian (Zack Rand), practices his hoops, while keeping an interested eye on the girl who's getting teased by the other boys. Oldest child, Peggy (Lauren Ashley Carter), hides herself from the boys, behind old paperback novels. And little Darlin' (Shyla Molhusen) is full of innocent mischief. They aren't the Cleaver Family, but in Chris' eyes, he's got it made.
At home, for the rest of the family, Daddy's ideal version of life isn't so wonderful. Dad keeps Mom in check with the periodical backhand. Brian's obsession with the perfect streak of foul shots is practiced out of fear that he'll lose an ongoing playground challenge with a girl. And big sis Peggy's baggy clothes hide a secret from the outside world, but maybe not a secret in her own household. The worst of it comes when Dad brings home a feral woman (Pollyanna McIntosh) that he's found running half-naked through the woods, and cheerily announces that her domestication will be the next family project.The Woman is chained and locked in the hurricane cellar, where each and every Cleek is administered their duties to care and tame her.
The subject of "civilizing" a woman isn't exactly new, but then again Chris Cleek ain't no 'enry 'iggins, and the Woman is loads more unsophisticated than Eliza Doolittle. So, instead of linguistics and etiquette, Cleek utilizes more barbaric tools -- power hoses, shackles and chains, and rape. Welcome to the age of enlightened man. Not even the feral males of the Woman's former tribe (in the film's prequel Offspring) were this cruel... and they were barbarians.
The shocking part of this film is not the ultraviolent climax (which art house crowds will surely wince at it, while gore fans will howl with delight), but in the everyday violence that goes on "right next door." Chris Cleek is not the serial killer monster, who stalks the city. He's not the workmate that goes postal at the office. He's just your neighbor... who happens to do bad things to his own blood an' kin. These types, believe it or not, are far worse than the others, because their crimes are hidden, and go unpunished. And worse, the scars they leave, the sad lessons they teach, run deep, and get passed on like a bad family heirloom.
The script by terror legend Jack Ketchum, and co-written by the film's director Lucky McKee, juxtaposes nuanced character build up and bravado moments of violence. The characters aren't just loathsome, or simple victims, or mere enablers, they are -- as usual in Ketchum's works -- real people. They may be doing unusual things. But, then again, they are caught up in unusual circumstances. But, outside of the circumstances, the Cleek family is basically a real family. No, they may not be like you and me, but that's not to say they don't exist. We've all known people who spoke about women the way Chris Cleek physically handles them. We've all known teenage girls who've hold deep dark secrets, like Peggy hides. We've all either known, or known of, a family from out old hometown, who had some real weird shit going on behind closed doors. A question that arises from viewing The Woman is: what'd you do about it?
I've known kids, from my own youth, who acted out like Brian Cleek, an impressionable son who tries so hard to follow his father's lessons. Brian is certainly conflicted, but hell, it's his Dad! Conflicted or not, he's got trust in him. Then there are the hormones. Conflicting feelings once again, as Brian tries to be a "man" like his Daddy. He knows he shouldn't be in the storm cellar, alone with the Woman, so that's why he does it on the sly. And it doesn't matter that he doesn't have a clue about what to do with any woman, let alone a feral one. But that doesn't stop him from trying to be the "man." Tell me these issues aren't the least bit familiar. Daughter Peggy has the similar conflicts. Her chore is to hold up a sheet while her daddy hoses down the feral woman, to prevent the neighbors or passers by from seeing the twisted bathing scene. She breaks down, in tears, embarrassed and ashamed by her father's task of civilizing the Woman. But, saddened and frightened as she is, she stays, and keeps her mouth shut.
Mother Belle is probably the most upsetting of the characters. She sits (not stands) by as her husband fills her boy's head with the one sided view of the politics of the sexes, and subdues any ounce of self worth in her daughters. The lack of urgency that she has towards the well being of her own children is just as horrifying as the physical and mental violence of her husband. Imagine, a mother who sits and sobs, but never raises a hand as her child is being harmed. Well... you don't have to imagine it, just look in the papers.
This is what The Woman does best. On the surface, it's a terrific shock thriller, but underneath, it's an even greater dark satire. All the faults and foibles in each character are familiar to us. Chris Cleek's bloated sense of masculinity, and Brian's misconceptions of it. Belle's complacency with being the submissive wife, for the good of the family, and her daughter Peggy's struggle with it. Even Peggy's teacher, who fancies herself the heroine to her students, boldly, but misguidedly ventures to the Cleek ranch to take matters in to her own hands. To this seeming impropriety, Chis Cleek mimics what has become the credo of many parents around the USA -- "How dare you come into MY home and tell me how to run MY family."
This is the statement that rings out loud and clear. We've all heard it. We've probably spoken it a few times. But, do we ever really mean it? Or is it just a defense mechanism to get people to stop analyzing our own shortcomings? It sure is easier to turn the blame on outside influences, rather than to take a hard look at oneself. It's easier to say "Hey, I'm not getting involved -- it's their business, not mine," rather than stand up for what you know is right and good. And this is what baffled me about the, now infamous, Sundance angry man. He certainly appeared to be an open liberal minded person, defending the rights of women, and all. But, ironically, he was attacking the filmmakers as if they were the ones perpetrating the vile acts of misogyny and pain that ran up on the screen. He demanded the film be confiscated and never seen again, as if this film would somehow motivate males into becoming their own version of Chris or Brian Cleek. I'd love to pawn this off on simply mistaking the author for the character, but that's too easy. It goes deeper than that. What I believe happened was that this man was severely affected by the satire of this film -- that societal complacency propagates these beliefs, that the male is superior over woman, nature and family -- that he had to deny it, by simply believing that he, himself, would never do those vile acts, so "Hey, you can't blame ME!"
Yes, it's easier to sponge away the writing, than to act upon the words.
But, lest you think I justify my admiration for these kinds of films, that exploit the current fascination with sexual captivity and violence, because they serve up a dosage of nudity or sex, I have to tell you that you couldn't be more wrong. Hostel, the remake of I Spit on Your Grave, and Captivity, et al, all provide ample opportunity to gaze at their actresses. But, I wouldn't recommend any of those films, because to be honest, they lack the sincerity in their commentary of violence and women. The filmmakers may express their good intentions, and critics may pull subtext from the cesspool of gore, but really, they're just crying wolf. They didn't thin of anything but throwing some good ol' sex and blood up on the screen.
The Woman is surely a disturbing, and upsetting piece of film... but more importantly, it's honest and powerful. You won't be scared by The Woman because it's shocking, but you'll be frightened because it's true. It holds the mirror to the face of society, and dares it to take a good look at how we view women, masculinity, and our duty as a community. It's not for the weak-minded, because, frankly, that's who this film satirizes. The viewer should remember that this is only a film (only a film, only a film), and the reality of the play is really right next door.
The Woman is one of those controversial films that either you love it or you hate it. You love it because you get it. Because it speaks to you on a level that's above the usual horror fare. You hate it because it scares you. Because, not only does it scare you, but you get it, and the message is what scares you. You hate it because it's a mirror that reflects back the things you don't want to think about.
And that's the reason why I think this movie works, because it throws back in our face the very things we try to avoid. Because it makes me think and analyze my own thoughts and beliefs. I'm always up for that challenge... but too many people aren't. That's why they'll hate this movie.
In Lucky McKee's The Woman, the Cleek family of rural Maine, in first appearances, look to be your average, functional family, attending a local picnic. Chris Cleek (Sean Bridgers), the head of the household, is a successful small town lawyer, overseeing his family as they mingle. His wife Belle is the doting mom, keeping their children in check, and out of their daddy's hair. Middle child, Brian (Zack Rand), practices his hoops, while keeping an interested eye on the girl who's getting teased by the other boys. Oldest child, Peggy (Lauren Ashley Carter), hides herself from the boys, behind old paperback novels. And little Darlin' (Shyla Molhusen) is full of innocent mischief. They aren't the Cleaver Family, but in Chris' eyes, he's got it made.
At home, for the rest of the family, Daddy's ideal version of life isn't so wonderful. Dad keeps Mom in check with the periodical backhand. Brian's obsession with the perfect streak of foul shots is practiced out of fear that he'll lose an ongoing playground challenge with a girl. And big sis Peggy's baggy clothes hide a secret from the outside world, but maybe not a secret in her own household. The worst of it comes when Dad brings home a feral woman (Pollyanna McIntosh) that he's found running half-naked through the woods, and cheerily announces that her domestication will be the next family project.The Woman is chained and locked in the hurricane cellar, where each and every Cleek is administered their duties to care and tame her.
The subject of "civilizing" a woman isn't exactly new, but then again Chris Cleek ain't no 'enry 'iggins, and the Woman is loads more unsophisticated than Eliza Doolittle. So, instead of linguistics and etiquette, Cleek utilizes more barbaric tools -- power hoses, shackles and chains, and rape. Welcome to the age of enlightened man. Not even the feral males of the Woman's former tribe (in the film's prequel Offspring) were this cruel... and they were barbarians.
The shocking part of this film is not the ultraviolent climax (which art house crowds will surely wince at it, while gore fans will howl with delight), but in the everyday violence that goes on "right next door." Chris Cleek is not the serial killer monster, who stalks the city. He's not the workmate that goes postal at the office. He's just your neighbor... who happens to do bad things to his own blood an' kin. These types, believe it or not, are far worse than the others, because their crimes are hidden, and go unpunished. And worse, the scars they leave, the sad lessons they teach, run deep, and get passed on like a bad family heirloom.
 |
| Just you wait 'enry 'iggins, just you wait |
The script by terror legend Jack Ketchum, and co-written by the film's director Lucky McKee, juxtaposes nuanced character build up and bravado moments of violence. The characters aren't just loathsome, or simple victims, or mere enablers, they are -- as usual in Ketchum's works -- real people. They may be doing unusual things. But, then again, they are caught up in unusual circumstances. But, outside of the circumstances, the Cleek family is basically a real family. No, they may not be like you and me, but that's not to say they don't exist. We've all known people who spoke about women the way Chris Cleek physically handles them. We've all known teenage girls who've hold deep dark secrets, like Peggy hides. We've all either known, or known of, a family from out old hometown, who had some real weird shit going on behind closed doors. A question that arises from viewing The Woman is: what'd you do about it?
I've known kids, from my own youth, who acted out like Brian Cleek, an impressionable son who tries so hard to follow his father's lessons. Brian is certainly conflicted, but hell, it's his Dad! Conflicted or not, he's got trust in him. Then there are the hormones. Conflicting feelings once again, as Brian tries to be a "man" like his Daddy. He knows he shouldn't be in the storm cellar, alone with the Woman, so that's why he does it on the sly. And it doesn't matter that he doesn't have a clue about what to do with any woman, let alone a feral one. But that doesn't stop him from trying to be the "man." Tell me these issues aren't the least bit familiar. Daughter Peggy has the similar conflicts. Her chore is to hold up a sheet while her daddy hoses down the feral woman, to prevent the neighbors or passers by from seeing the twisted bathing scene. She breaks down, in tears, embarrassed and ashamed by her father's task of civilizing the Woman. But, saddened and frightened as she is, she stays, and keeps her mouth shut.
Mother Belle is probably the most upsetting of the characters. She sits (not stands) by as her husband fills her boy's head with the one sided view of the politics of the sexes, and subdues any ounce of self worth in her daughters. The lack of urgency that she has towards the well being of her own children is just as horrifying as the physical and mental violence of her husband. Imagine, a mother who sits and sobs, but never raises a hand as her child is being harmed. Well... you don't have to imagine it, just look in the papers.
 |
| I hate hate hate bath time! |
This is what The Woman does best. On the surface, it's a terrific shock thriller, but underneath, it's an even greater dark satire. All the faults and foibles in each character are familiar to us. Chris Cleek's bloated sense of masculinity, and Brian's misconceptions of it. Belle's complacency with being the submissive wife, for the good of the family, and her daughter Peggy's struggle with it. Even Peggy's teacher, who fancies herself the heroine to her students, boldly, but misguidedly ventures to the Cleek ranch to take matters in to her own hands. To this seeming impropriety, Chis Cleek mimics what has become the credo of many parents around the USA -- "How dare you come into MY home and tell me how to run MY family."
This is the statement that rings out loud and clear. We've all heard it. We've probably spoken it a few times. But, do we ever really mean it? Or is it just a defense mechanism to get people to stop analyzing our own shortcomings? It sure is easier to turn the blame on outside influences, rather than to take a hard look at oneself. It's easier to say "Hey, I'm not getting involved -- it's their business, not mine," rather than stand up for what you know is right and good. And this is what baffled me about the, now infamous, Sundance angry man. He certainly appeared to be an open liberal minded person, defending the rights of women, and all. But, ironically, he was attacking the filmmakers as if they were the ones perpetrating the vile acts of misogyny and pain that ran up on the screen. He demanded the film be confiscated and never seen again, as if this film would somehow motivate males into becoming their own version of Chris or Brian Cleek. I'd love to pawn this off on simply mistaking the author for the character, but that's too easy. It goes deeper than that. What I believe happened was that this man was severely affected by the satire of this film -- that societal complacency propagates these beliefs, that the male is superior over woman, nature and family -- that he had to deny it, by simply believing that he, himself, would never do those vile acts, so "Hey, you can't blame ME!"
Yes, it's easier to sponge away the writing, than to act upon the words.
 |
| Time for a family meeting |
But, lest you think I justify my admiration for these kinds of films, that exploit the current fascination with sexual captivity and violence, because they serve up a dosage of nudity or sex, I have to tell you that you couldn't be more wrong. Hostel, the remake of I Spit on Your Grave, and Captivity, et al, all provide ample opportunity to gaze at their actresses. But, I wouldn't recommend any of those films, because to be honest, they lack the sincerity in their commentary of violence and women. The filmmakers may express their good intentions, and critics may pull subtext from the cesspool of gore, but really, they're just crying wolf. They didn't thin of anything but throwing some good ol' sex and blood up on the screen.
The Woman is surely a disturbing, and upsetting piece of film... but more importantly, it's honest and powerful. You won't be scared by The Woman because it's shocking, but you'll be frightened because it's true. It holds the mirror to the face of society, and dares it to take a good look at how we view women, masculinity, and our duty as a community. It's not for the weak-minded, because, frankly, that's who this film satirizes. The viewer should remember that this is only a film (only a film, only a film), and the reality of the play is really right next door.
BadRonald Interview: The Woman Producer - Andrew van den Houten
Yesterday, I posted my interview with Pollyanna McIntosh, and today -- keeping with the The Woman build up -- I'm posting my interview with the film's producer Andrew van den Houten. I've spoken to Andrew before, after he released Jack Ketchum's The Girl Next Door. I was highly impressed with his views of producing and filmmaking. I admired that he was able to bring such a controversial story to the screen, with a great sense of responsibility and honesty. I'm glad to see that he's continued to tread down the path of bold filmmaking by releasing more thought-provoking films, such as The Woman.
BadRonald: I remember you
saying that you were in South America
(is that correct?) reading a Ketchum book... what a weird experience that
must've been. Have you topped that on?
Andrew van den Houten: I honestly haven't
topped that experience...being sick with food poisoning reading THE GIRL NEXT
DOOR for the first time will hopefully never be repeated!
BR: You've produced,
mostly. But you've also directed. What inspires you to take the lead as
director? And on the flipside, what
makes you hand over the reigns to another director?
AVDH Stories that
inspire me to (want to) direct and take the lead tend to connect with me in a more
personal way. Not to say I don't produce
projects I'm not personally enthusiastic about, but there is just a deeper
connection to those projects I end up directing. Usually, I connect to creative material too
based on where I am at in my life. After
The Girl Next Door, I wanted to direct something down and dirty with plenty of
gore. Offspring, based on Ketchum's
novel, was the perfect '70's throwback to explore the themes I was trying to
play with. Also, it was great because Jack
could have his first adaptation brought to the screen.
As a producer I
always ask myself who will be the best director for any given project. I have to be willing to put ego aside and
make the best decision for the film. The
only way I've grown as a director is by working with more talented directors
than myself. I soak up what they teach
me and use those techniques I like and leave the rest behind.
BR: After the relative
success of The Girl Next Door, Jack Ketchum stories were sought after. And in three years time THE LOST, OFFSPRING
and RED were adapted for screen, with either you or Lucky McKee involved. How did it happen, then, that the three of
you all came together on The Woman?
AVDH Lucky was
introduced to me through Jack. He asked
if I wanted to do THE PASSENGER, which at the time I passed on. A couple years later, as a fan of Lucky, I
figured he'd be the perfect writer and director to work with myself and Jack to
do the continuation of Offspring story, hence The Woman saga began!
BR: There was a big
brouhaha at Sundance over The Woman, with the infamous home video of the irate
gentleman accusing the film of being negative towards women. Can you talk about that incident, and have
you heard nay more from that particular man?
AVDH: First let me say,
it seems that incident has made this film somewhat infamous. No, Sundance Guy hasn't reached out to us
ever since, however, I should thank him for all the publicity he has given the
film.
In short, when the
guy got up to protest Lucky and the film, everyone was a bit off guard. Nobody saw it coming and it was especially
strange because a woman had just past out in the back of the theatre at the end
of the film. This guy honestly was being
very insensitive towards her and blatantly rude to Lucky and everyone who
showed up to see the film. He should
have raised his hand and waited to be called on to express his feeling towards
The Woman.
As far as we all
were concerned this guy could have been another dangerous lunatic, especially
given the timing. The GabrielleGifford's incident had just happened a few weeks before, so everyone was on
high alert. In the end, I guess you
call it Karma...He hated the film and chose the wrong time to comment on the
movie, and now people actually want to see if more because of his public
outburst caught on video, now on youtube.
BR: Has there been any
other harsh words from viewers? How is
the film being received?
AVDH: Actually, the film
has been received incredibly well by critics and audiences alike. We have won numerous awards at very
prestigious festivals, including FrightFest in London.
Distributors have flocked to the film as well and we have closed many
solid deals all over the world. The
film's controversy continues to stir people and get them to the theatre. People seem to be intrigued by what they hear
from critics and online in blogs and ultimately want to make their own
judgements about our film.
In the end, most
people find The Woman to be much different than what they expect. In many regards the film is feminist in what
it says, which is incredibly rare for the genre. People have found all kinds of
representations in the movie, political and otherwise. No matter how many times I've seen The Woman,
it's still really exciting just to listen and watch how an audience responds
from inside a dark theatre!
BR: How did you become
interested in making horror movies?
AVDH: I've always been
interested in just making films. As a
fan of horror, when William M. Miller sent me a horror script that later became
developed into Headspace, I thought it would be a fun movie to make...that's
how it all started. One horror script led
to more, however, since then I have also made a comedy, family movie and a
drama. I find all kinds of stories
interesting but I will always have a passion for horror.
BR: What or who
are your influences? Have you watched
any of the so-called French Extremism horror?
Your films aren't as gory, or as overtly violent as these films, but
they certainly share the same penchant for strong character development.
AVDH: I have many
influences, including Roman Polanski, Martin Scorcese, and David
Cronenberg. I appreciate the way true
filmmakers bring story, acting, set-design, lighting and photography all into
one being. Also, great filmmakers don't
need to over emphasize what they are doing but use slight of hand. Many times the most subtle sound or camera
movement is more effective than the largest explosion Hollywood can produce.
As far as French
Extremism goes, I haven't really looked to their films as an influence as much
as I have Asian Extremism. Filmmakers
like Takashi Miike and Chan-wook
Park have made stronger
and more lasting impressions on me.
BR: Now that you and
Lucky and Jack are all hanging out in the cob-webbed, dank recesses of the
darkness -- what's next for you guys?
AVDH: Honestly, I see
more to follow with The Woman storyline, especially since Jack and Lucky have
left it in such a great place to continue.
I also very much would like to explore further to see what Lucky's next
"dream project" might be. Ever
since May I've felt Lucky has not done something quite as personal. That movie is special and he's got a really
unique viewpoint on life that is shared through May. I would love to see if inside the depths of
his soul there's another masterpiece like that.
I would sign up in a heart beat to produce...After the creative freedom
he had on The Woman, I would be confident in saying he might be down too.
Tuesday, October 4, 2011
BadRonald Interview: Pollyanna McIntosh from The Woman
Lucky McKee's The Woman will hit theaters this month, and I've had the opportunity to speak with some of the people involved in the controversial film (review to come!!). First up The Woman herself, daringly played by Pollyanna McIntosh.
|
| I am Woman, hear me rrrrroooar |
BAD RONALD: I know it's a simple question, but I always like to know: what filmmakers, and what movies, have had the most influence on you?
POLLYANNA MCINTOSH: Sidney Lumet has had a profound effect on me with his films. He showed me the kind of movies and characters I want to see on screen. Dog Day Afternoon and Network are two of my faves and never fail to make me feel lucky to be human. Rita Hayworth and Audrey Hepburn make me feel glad to be a woman and alive in my own body. Almodovar cooks my blood up ‘til I feel it turn Spanish, Jackie Chan makes me wonder at the possibility of hard work plus passion and creative physicality, Patrice Le Conte makes everything bright and marvelous and all my complications feel absolutely as they should be....
BR: How about Horror -- are you a fan?
PM: I wouldn’t call myself a horror fan in the sense that I’m not a horror buff, nor is it the first genre I go to but I’m definitely learning more about how artful the genre can be, and The Shining, Rosemary’s Baby and IT DEFINITELY had a massive effect on me, The Omen too! Such “real” horrors: Madness, mistrust, the fear of madness and exclusion from the world around you, fear itself and the inadequacy of childhood and fear of family! Ha ha, plus a big scary ass clown which is something that’s kept me clear of large sidewalk drains ever since. Oh God, I just had a vision!
PM: I wouldn’t call myself a horror fan in the sense that I’m not a horror buff, nor is it the first genre I go to but I’m definitely learning more about how artful the genre can be, and The Shining, Rosemary’s Baby and IT DEFINITELY had a massive effect on me, The Omen too! Such “real” horrors: Madness, mistrust, the fear of madness and exclusion from the world around you, fear itself and the inadequacy of childhood and fear of family! Ha ha, plus a big scary ass clown which is something that’s kept me clear of large sidewalk drains ever since. Oh God, I just had a vision!
BR: Throughout film's history, Horror films have been able to make comments (or maybe more appropriately "get away with" making comments) on many social issues that mainstream or popular media cautiously glance over. One of the predominant issues I've seen "discussed" in horror is, well... women. Especially, male aggression towards women. Where do you see The Woman in this discussion?
 |
| On set with Lucky and Pollyanna |
PM: I think The Woman is in the eye of the storm right now with regards to exactly what you say, I think people don’t like to face up to some of these issues and there are those that The Woman offends for this reason and those who value it for doing so. Mainstream media would rather diffuse it by emasculating men in comedies or arm them with big ‘ole guns and have them kill each other while they rescue some poor defenseless woman. Now, Lucky says he doesn’t do politics in his movies but to me he has made a feminist film precisely by being someone who judges women on the same level as men as he’s man enough to relate to them.
I hope that the film moves people and causes great discussions and further exploration of the subject but I don’t pretend it’s some high falutin’ intellectual cinema verite. Lucky provokes, entertains and pushes boundaries without exploitation, with sensitivity and with great flare. It can be enjoyed on many levels.
BR: I find it interesting, if not unsettling, that people get up in arms, and become very vocal, when they see a movie like The Woman, or The Clockwork Orange, or I Spit on Your Grave. They perceive the violence towards, or mistreatment of, women as the direct opinion and practice of the filmmaker. They have a hard time with the concept that the characters, not the filmmaker, are the one who are brutal and misogynistic. Because they see a woman being chained and hosed down, they want the MOVIE banished. They don't advocate for the mistreatment of women in real life, but just in the movies. Is that strange?
PH: Amen Brother!
BR: Making the rounds with this film, have you found the discussion of these issues to be healthy, or overheated? And as a point of curiosity, do you find the discussion different when you talk with men, as opposed to women?
PM: You know, I’ve actually found the discussions at Q and As to be very healthy. There are some sharp people out there who love to discuss this stuff and I’m grateful to be prt of something that’s shown me that every screening. Apart from that one Sundance dude I’ve never had a shitty comment levelled at a QandA. Both women and men discuss it but I’d say men have been more vocal on the whole. The women like to come up and chat one on one about it. I’ve had some pretty moving facebook messages too.
BR: With such brutal behavior portrayed in this story, how did you prepare for your character -- the Woman? Did you have any reservations or trouble with the story's content?
PM: I prepare as the character, I discuss the story as a conscientious person and actress with the filmmaker but my character doesn’t have to think about it so it doesn’t come into her prep. Lucky and I swapped notes for 4 months previous to shooting and Ketchum and I know each other pretty well from Offspring so it was about how Lucky was going to bring stuff to life and we got the tricky stuff out the way early on. We found we were very much on the same page creatively and it was pretty obvious he was sensitive and thoughtful from the get go.
As far as character prep went the book A Short History of Myth by Karen Armstrong was really helpful in the inner thoughts of what I was missing with the hunt and my judgement of the Cleeks for the way they went about their lives. I also studied animals such as big cats, wolves and apes and feral stories. I also worked out like crazy and grew all my hair out. Sitting Bull was also an inspiration and, of course, I had to spend a lot of time alone in the woods feeling out my “uncivilised” body and how it is to have a territory of your own, alone.
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| At Fright Fest |
BR: In (The Woman producer) Andrew van den Houten's film Offspring, you played the same character, but the commentary of that film is not the same as in The Woman. How did you evolve the character, and your performance, to suit the film?
PM: I just took her into a different situation and played off the other actors too. It all felt very real. Odd, what we do, and hard to describe, but for me it’s the most natural thing in the world. I think the differences you see in the films are down to style and directors’ choices rather than mine. For me, The Woman is The Woman and she is no more “arty” in a cellar than she is with her rabble of kids. It’s just different filmmaking.
BR: I recently spoke with Argentine director Adrian Garcia Bogliano about his films. He, too, uses violence and brutality to demonstrate the ill treatment of women in society. He said "I (talk) about the role models of the perfect woman that society tries to establish and I also tried to take women out of the victim role and put women as the worst enemy of women." Some of his female characters, like in The Woman, aren't always admirable. And I think that kind of direction in a film is important, because it doesn't lay the obvious blame on just the bad men in the movie, but puts it on anyone else who facilitates their behavior. How do you see the portrayal of women in, not only your film, but in media?
And do you feel movies like The Woman can be used as a positive influence?
PM: I definitely feel The Woman can be a positive influence. The discussions I hear it sparking are important. I was just at a screening in Edinburgh where a woman asked, “How did you feel, as far as your responsibility is concerned, about how all the male characters in the film are loathsome and despicable and not one redeems himself? Did this seem unfair to you?” I like that kinda chat as it shows issues of sex and blame are coming up from all angles and not just one of “women as victim”. She and I talked it out a lot and there was much patience in the audience for these kind of discussions. It’s not just women who are badly represented in the media but men too and one of the things I think is interesting about Lucky as a filmmaker is that he’s a feminist in the true sense of the word: he sees equality in the sexes, he feels sensitively in a way that only women are “supposed” to and he sees how ridiculous it is to consider one sex “better” or “more valid” than the other. I feel that as women we are represented in the media in many negative ways which, funnily enough, feed into a societal power structure which favours the status quo of fear and consumerism which is so potent and helpful to “the man” as he stands in our present society. We can change this as women, we can vote with our hard earned cash for starters and say, actually, no, I don’t want to go get that surgery done thanks and I don’t want to buy bitchy asshole magazines like “Us” and “StarFucker” or whatever the hell they’re called, I’m onto a bigger concept than that and am after a little more self respect. I feel keenly that, for whatever reason, women often set themselves up against other women and find some sick comfort in putting them down. We need to really think about our actions across the board and ask what we want then go out and get it in a manner in which we see fit to be treated ourselves.
PM: I just took her into a different situation and played off the other actors too. It all felt very real. Odd, what we do, and hard to describe, but for me it’s the most natural thing in the world. I think the differences you see in the films are down to style and directors’ choices rather than mine. For me, The Woman is The Woman and she is no more “arty” in a cellar than she is with her rabble of kids. It’s just different filmmaking.
BR: I recently spoke with Argentine director Adrian Garcia Bogliano about his films. He, too, uses violence and brutality to demonstrate the ill treatment of women in society. He said "I (talk) about the role models of the perfect woman that society tries to establish and I also tried to take women out of the victim role and put women as the worst enemy of women." Some of his female characters, like in The Woman, aren't always admirable. And I think that kind of direction in a film is important, because it doesn't lay the obvious blame on just the bad men in the movie, but puts it on anyone else who facilitates their behavior. How do you see the portrayal of women in, not only your film, but in media?
And do you feel movies like The Woman can be used as a positive influence?
PM: I definitely feel The Woman can be a positive influence. The discussions I hear it sparking are important. I was just at a screening in Edinburgh where a woman asked, “How did you feel, as far as your responsibility is concerned, about how all the male characters in the film are loathsome and despicable and not one redeems himself? Did this seem unfair to you?” I like that kinda chat as it shows issues of sex and blame are coming up from all angles and not just one of “women as victim”. She and I talked it out a lot and there was much patience in the audience for these kind of discussions. It’s not just women who are badly represented in the media but men too and one of the things I think is interesting about Lucky as a filmmaker is that he’s a feminist in the true sense of the word: he sees equality in the sexes, he feels sensitively in a way that only women are “supposed” to and he sees how ridiculous it is to consider one sex “better” or “more valid” than the other. I feel that as women we are represented in the media in many negative ways which, funnily enough, feed into a societal power structure which favours the status quo of fear and consumerism which is so potent and helpful to “the man” as he stands in our present society. We can change this as women, we can vote with our hard earned cash for starters and say, actually, no, I don’t want to go get that surgery done thanks and I don’t want to buy bitchy asshole magazines like “Us” and “StarFucker” or whatever the hell they’re called, I’m onto a bigger concept than that and am after a little more self respect. I feel keenly that, for whatever reason, women often set themselves up against other women and find some sick comfort in putting them down. We need to really think about our actions across the board and ask what we want then go out and get it in a manner in which we see fit to be treated ourselves.
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| Not the technique Rex Harrison would use |
PM: It was pretty visceral for me. I felt a lot upon reading the script and had long conversations with Lucky about his vision and mine and, brilliantly for me, it turned out we had very close ideas. It was important to me the rape scene particularly was not eroticised nor shot in a panicky, excitable way but more bare bones, cut the bullshit, what is rape about and how would this character handle it kind of way. Let’s not give all the power to the abuser and suggest that it’s a crime that’s one a person can’t recover from. The reason rape can destroy a person has a lot to do with our societal view that there is blame for the victim and that they are in some way “tainted” or “lesser” because they have been raped. Well, I saw this as an opportunity to say “fuck that” to that idea. I’m not changing the world but I do think it’s a fresher approach than most films take with this kind of scene and for Lucky, as me, it was very important that Cleek took on more shame from the situation than The Woman did.
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| McKee, Pollyanna, Andrew van den Houten |
PM: Ha ha, thanks! I studied animals a lot and had my character’s inner thoughts down so it came naturally. I like to tell people it’s a very constructive exercise to spend a bit of time finding your animal self. You can take on the world that way!
BR: I would imagine that producers and filmmakers would take note of your gutsy performance. Have you found that The Woman has notched up your career? (What's next for you?)
PM: Thanks. It has been helpful in getting my work out there to a wider audience including some filmmakers who have approached me. It’s a pleasure to have people giving me props for what I love to do but in truth it just challenges me to do better work. I’m working on a movie right now called Love Eternal by Brendan Muldowney. Very different kind of movie. A dark romance I like to say. It’s not definable in a genre really but I’m proud of what we’re doing and hope it comes across in the edit.
BR: I
thank you, Pollyanna!
Thanks mate, pleasure.
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