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Tag Archive: The Birds


Last seen in the theater 62 years ago, author Daphne du Maurier’s novel My Cousin Rachel is returning to theaters next week in a new adaptation.  Although the title may sound like a somber, pastoral story you might see from the likes of Jane Austen, get ready for a psychological thriller that could only come from the pen of the author of Rebecca and The Birds.  Film adaptations of both of those films would become thriller classics for director Alfred Hitchcock, with Rebecca as the 1941 Best Picture Academy Award winner.  The original 1952 adaptation of My Cousin Rachel starred multiple Oscar winner Olivia de Havilland, who was nominated for a Golden Globe for her performance as Rachel, a beautiful Englishwoman believed to have murdered a man under her care.  de Havilland’s sister, Oscar winner Joan Fontaine, had been nominated for an Oscar for Rebecca.

This time around Roger Michell (Hyde Park on Hudson, Notting Hill) wrote a new adaptation of du Maurier’s novel and directs the film.  He cleverly cast an Oscar-winning Rachel for the role of Rachel–Rachel Weisz (The Constant Gardener, The Mummy)–whose performance looks quite convincing in the first trailer released for the film.  Sam Claflin (Pirates of the Caribbean: Stranger Tides, The Huntsman: Winter’s War) plays Rachel’s cousin, the role originally played by Richard Burton.

The overall look and feel from the film’s trailer is similar to other Gothic novels made into movies: dark, creepy, and mysterious, particularly in the romance between the two lead actors, like that found in Rebecca, Wuthering Heights, Jane Eyre, and more recently, Crimson Peak.  Check out this trailer for My Cousin Rachel:

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princess-bride

The National Film Registry has grown to include 700 films this year with the addition this week of 25 films.  In accordance with the National Film Preservation Act, a film is eligible to be preserved under the registry if it is at least a decade old and recognized in the National Film Preservation Board’s view as “culturally, historically, or aesthetically significant.”  The Librarian of Congress makes the final determination, considering public nominations in the analysis.

The new list includes Rob Reiner’s adaptation of William Goldman’s The Princess Bride, possibly the most beloved of all live-action fantasy films.  The Howard Hawks/Billy Wilder classic, Snow White-inspired comedy Ball of Fire, starring Barbara Stanwyck and Gary Cooper also made the cut.  Robert Zemeckis’s live action/animated caper Who Framed Roger Rabbit is on this list, along with the John Hughes coming of age film The Breakfast Club. 

the-birds

Alfred Hitchcock’s The Birds increases the famous director’s horror film count on the preservation list along with the likes of Rear Window, North by Northwest, Vertigo, and Psycho.  And Elia Kazan’s adaptation of John Steinbeck’s coming of age story East of Eden, starring James Dean, joins the list.  Now all three of the films Dean is known for are on the list, adding to prior registry films Rebel Without a Cause and Giant.

Below is the full list of films named to the registry for 2016:

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Bates Motel

That’s right, Halloween is almost here.  This year we’ve been able to obtain an interview with one of the best horror writers around.  Who will it be?  Check back here on Halloween for a special borg.com interview.

For many, this week means tracking down spooky shows on Netflix, cable, or in the theaters.  Back in 2011 the four borg.com writers posted each of their top favorite Halloween flicks.  Since 2011 new films that fit the genre continue to be made, like The Woman in Black reviewed here last year, but there was also a few to skip, like Johnny Depp in Dark Shadows and John Cusack in The RavenThis year we were impressed by the totally fun and totally watchable Abraham Lincoln, Vampire Hunter, and the over-the-top but fun Hansel & Gretel: Witch Hunters.  There are plenty of opportunities to get your fix of dark, spooky, creepy, or just plain scary movies.

ALVH-217 - Abraham Lincoln (Benjamin Walker) and his vampire-battling mentor Henry Sturgis (Dominic Cooper) plan their next move during a fateful battle with the undead.

One film available on Netflix we haven’t reviewed yet here at borg.com is 2009’s Orphan, which should appeal to fans of The Others and Skeleton KeyOrphan stars Bates Motel’s Vera Farmiga and Skeleton Key’s Peter Sarsgaard as a couple adopting a third child into their family, played by the brilliant young actress Isabelle Furhman.  It also features Warehouse 13’s CCH Pounder and Genelle Williams–both as nuns.  Orphan is excellently creepy and an all-around good thriller worth checking out.  And speaking of Vera Farmiga, if you haven’t been watching Bates Motel, you should.  It’s a great creepy spin-off of Hitchcock’s Psycho, and Season 1 is available now on DVD and Blu-ray from Amazon.com.

Orphan movie - creepy little girl

Here is the link to our Halloween movie series from 2011 where you can view all of our recommendations.  Some of the staples of Halloween horror did not make our lists, like Friday the 13th, Halloween, Saw, Scream, The Omen, Rosemary’s Baby, Poltergeist, Nightmare on Elm Street, or Amityville Horror.   Jaws got our joint highest ranking, making three of our lists, and The Shining, The Exorcist, The Exorcist 3, Watcher in the Woods, The Ring, and Paranormal Activity seem to rise above the rest, showing up on two lists.  Seaside locales were the favorite location for scares, with Jaws, Rebecca, The Birds, The Ring, The Fog (both the original and remake) all taking place there, and creepy little girls are the favorite subject of–count ‘em–NINE of our haunts (The Ring, The Exorcist, Let Me In, Paranormal Activity 3, Watcher in the Woods, The Sixth Sense, The Shining, Turn of the Screw, and The Others). And we can now add Orphan and The Woman in Black to that creepy assembly.  (We Are What We Are was due out this year–another creepy little girl story, but it’s only been released in the UK so far).  For us the supernatural won out over monsters, saws and axes.  Four movies were by John Carpenter, three by Alfred Hitchcock.  The oldest movie was Rebecca from 1940, the newest came out in 2011, Paranormal Activity 3And look, we’ve got another one of those available now, too.

Happy Halloween watching, and don’t forget to come back to see what we have in store Thursday!

C.J. Bunce
Editor
borg.com

By C.J. Bunce

(Insert a spoiler alert here as a courtesy to anyone who really thinks a 50 year old film needs one!)

Sometimes you are at the right place at the right time.  Having recently heard about the new Fathom Events series, where the satellite-video entertainment company transmits a one-night only event around to movie theaters across the country, I keep going back to the Fathom website to see what is next.  And I marked my calendar when a Hitchcock film made the list.  Last week we let borg.com readers know about this past Wednesday’s screening of Alfred Hitchcock’s The Birds, a Turner Classic Movies presentation to celebrate the 100th year of Universal Pictures, on the cusp of the 50th year since The Birds first premiered.

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A missed opportunity across the country is the failure to establish a regular, ongoing market for old movies being shown on modern theater screens.  Only recently (OK, the late 1990s so not that recently) mass audiences were able to go back and see the original Star Wars trilogy in the theater and in the past year we were able to see more recent, but still years old, films in the theater well after their initial release, including The Lord of the Rings trilogy, The Avengers films, and the Batman franchise.  But for decades now “art house” theaters from time to time get old releases and screen these old films for a few weeks at a time.  Usually the quality is poor, yet it gives new audiences as well as the older crowd that saw the films in their initial release an opportunity to discover or enjoy the films again.

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Review by C.J. Bunce

If you ever had an inkling to go to film school, if you are going to film school or if you teach film courses, Richard Rickitt’s Special Effects: The History and Technique should be required reading.  Not only is it a comprehensive work about the history and craft of special effects, it is a detailed account of the history and progress of film, and could serve as a college textbook to a master class in film technique.  And it is also a history of science and technology in its own right.

Rickitt’s Special Effects is a well-reviewed work, which is why it was purchased for me as a gift.  It is used as a college text in film schools and for good reason.  It has seen several printings since its first printing in Great Britain in 2006, including a reprint as recently as 2011, and it is as current as a nearly 400-page volume can be, including new effects technologies employed as recently as the Lord of the Rings films and X-Men 3.

Because of its price, Special Effects may not be for the casual movie enthusiast–but only because of price–as it can cost $40 for older editions and up to $230 for the most current edition.  Yet if you are really interested in behind-the-scenes cinema, it is probably worth saving for, and if you’re a college student, just slip it into your current semester’s $800 book purchase (at least that’s what I spent on each of my last few semesters for books and I can’t imagine prices have dropped–plus this book is actually a fun read you’ll hold on to).  It’s breadth is enormous, with both general and detailed coverage of landmark people and technologies from George Melies to Willis O’Brien and Ray Harryhausen to Industrial Light & Magic to Pixar and Weta.  Although it purports to cover merely Special Effects, in truth it covers the beginning of film and every technology that was created since, building upon each discovery and new invention to bring us to the complex CGI technologies of today.

This is far from a quick read, and will likely serve as a reference work or one you pull off the shelf from time to time when you need something exciting to read of the non-fiction variety.  I mentioned college text–Rickitt is a good teacher, clearly explaining in terms anyone can understand not just the “what” but the “why” and “how” of benchmarks in film with visuals and diagrams, including explanations of the role and use of technologies like the zoetrope, the parts and functions of the modern movie camera, the history and types of film recording materials, matte film, blue-screens, film printing, optical and digital compositing, the A to Z of film projection, post-production techniques like image interpolation, the use of mirrors, forced perspective and miniaturization, pyrotechnics, cloud tanks, models, motion-control photography, digital and procedural modelling, texture mapping, special effects animation, rotoscoping, 3D technologies, motion blur, digital skin, performance capture, particle systems, high dynamic range images, match moving, rendering, the A to Z of matte painting, props, make-up, prosthetics, animatronics, sculpting, inner mechanisms, performance systems, digital make-up, atmospheric effects, breakaway effects, sound recording, sound effects mixing, foleying, dialogue replacement, and the future of film technologies.

A diagram from Rickitt’s Special Effects: The History and Technique

The author uses hundreds of photographs and provides real-use examples from movies to explain techniques.  Detailed analysis is used for movie benchmarks Rickitt has identified, including The Abyss (1989), The Birds (1963), Aliens (1986), An American Werewolf in London (1981), Blade Runner (1982), Citizen Kane (1941), Close Encounters of the Third Kind (1977), Darby O’Gill and the Little People (1959), Destination Moon (1950), Earthquake (1974), The Exorcist (1973), Fantastic Voyage (1966), Forbidden Planet (1956), Forrest Gump (1994), Jason and the Argonauts (1963), Jurassic Park (1993), King Kong (1933), King Kong (2005), The Last Starfighter (1984), The Lord of the Rings trilogy (2001-2003), The Lost World (1925), The Matrix trilogy (1999-2003), Metropolis (1926), Mighty Joe Young (1949), 1941 (1979), Raiders of the Lost Ark (1981), all six Star Wars films (1977-2005), Terminator 2: Judgment Day (1991), The Thief of Baghdad (1940), Things to Come (1936), Titanic (1997), Toy Story (1995), Tron (1982), 20,000 Leagues Under the Sea (1954), 2001: A Space Odyssey (1968), The War of the Worlds (1953), Who Framed Roger Rabbit (1988), Willow (1988), and Young Sherlock Holmes (1985).

You’ll learn about ambient occlusion, beam splitters, cannon cars, color separation, depth of field, diffuse reflection, dissolves, dubbing, edge detection, emulsion, extrusion, fluid dynamics, go-motion, introvision, the Lydecker technique, morphing, NURBs, plates, ray tracing, squibs, time-lapse and time slice photography, wipes, zooms and zoptics.

An early edition of Rickitt’s book–note that earlier versions will not have the most up-to-date coverage of current technologies. The version shown at the top of this review is the most recent edition.

And along with the “what”  and “why” Rickitt profiles a “who’s who” of landmark film creators, including Georges Melies, Mack Sennett, D.W. Griffith, James Whale, Alfred Hitchcock, George Pal, Roger Corman, Irwin Allen, George Lucas, Steven Spielberg, James Cameron, Robert Zemeckis, Peter Jackson, Dennis Muren, John P. Fulton, Linwood Dunn, Richard Edlund, Dennis and Robert Skotak, Arnold Gillespie, Theodore and Howard Lydecker, Gordon Jennings, John Dykstra, Steve Gawley, Lorne Peterson, Willis O’Brien, Ray Harryhausen, Phil Tippett, John Lasseter, Norman O. Dawn, Albert Whitlock, Peter Ellenshaw, Lon Chaney, Jack Pierce, Stan Winston, Rick Baker, Ken Ralston, Cliff Richardson, Michael Lantieri, Jack Foley, Ben Burtt, Gary Rydstrom, and the Carboulds.

But you don’t need to look at Special Effects: The History and Technique as a dense book of facts.  Pick it up now and then and enjoy reading the book in 4-5 page stints and you’ll become an expert in film in no time, or just be amazed at how the magic of film works.

Special Effects: The History and Technique has a forward by Ray Harryhausen and an appendix, including a glossary of film terms and awards.

By C.J. Bunce

The focus of my creepy movie list is mood and surprises and re-watchability, as the setting and ambiance is what calls to me when it’s time to pull out some movies every October when each day gets darker and the wind starts kicking up the leaves.  I don’t like slasher flicks, and over-the-top shock horror isn’t my thing.  Movies like Hellraiser II and Phantasm may be flat-out scary, but they don’t give you much else entertaining.  I like the “modern classics,” the original Friday the 13th and Halloween, but ultimately they didn’t make my list because I don’t re-watch them as much as other movies.  I really liked The Ring and Donnie Darko, but ultimately they didn’t make it to the Top 10 for me, only because I haven’t had time to watch them over and over as much as most of those that made the cut.  On another day the ceiling hopping raptors in Jurassic Park, non-fantasy horrors of Coma and The China Syndrome, the creepy terror in Whatever Happened to Baby Jane?, the stylish suspense in Hitchcock’s Rear Window or Otto Preminger’s Laura, the sheer panic in Steven Spielberg’s Duel, the nervous tension in Blair Witch, as well as the “Zuni fetish doll” segment of Trilogy of Terror and one of my favorites–the “oil spill attacking kids at a lake” segment of Creepshow 2–could have made this list for me.  Every one of the shows above will make you jump when you least expect it.

So here’s where I did end up:

10.  Young Frankenstein (1974).  I figured any list I’d create for creepy/suspense/Halloween watching would have to reflect the classic Universal monster movies in some way.  My favorite is the parody of all of them, made by the master of parody, Mel Brooks.  Brooks held the classic horror films with such reverence that he re-created the original design for the Frankenstein laboratory for Young Frankenstein.  Yes, I know it’s not scary.  But as dark, gothic ambience is concerned, I know of no other film that did it so well, and in black and white this movie could have been made 40 years earlier–it feels like a 1930s film.  It’s also a movie all ages will enjoy–kids won’t understand the innuendo in most of the comedy, but the physical humor will have them laughing out loud.  I’ve watched this one so many times I have it practically committed to memory.  One of the best ensemble casts I can think of performed in this one.  Look for Gene Hackman in a great cameo, too.  Like a funhouse, there are startling jumps here, but they are all cloaked in humor.  Pull out the humor and you have a ghoulish Frankenstein story where off-camera you know the monster, with an inside joke-like smirk to the audience, is going to launch that little girl into the well after the last flower petal is gone.  Not a scary film, but Transylvania never looked creepier.

9.  28 Days Later (2003).  In a tie as the most recent film on my list, this is a rare occurrence where zombie-like people are actually interesting, creepy, and scary.  A few weeks after an outbreak engulfs Great Britain, a handful of characters try to find sanctuary away from the sub-humans that have resulted from the disturbing virus.  It doesn’t get much creepier than the plague in the single drop of water falling into Brendan Gleeson’s eye in 28 Days Later.  The movie is full of characters who look like they really are feeling the panic you would feel when there is no hope left and it’s left to every man for himself.  An opening scene with Cillian Murphy playing a patient who finally awakens to find an empty London was instantly a classic piece of cinema, reminiscent of the Australian film The Quiet Earth or The Day the Earth Stood Still.  With the feel of Invasion of the Body Snatchers, the creepy UK film Lifeforce, and a little An American Werewolf in London, the filters and UK setting for the American viewer adds to the strangeness of this movie’s vibe.

8.  Prince of Darkness (1987).  My addiction to the TV series Simon and Simon and series star Jameson Parker is what caused me to rent this one back in the late 1980s.  It is John Carpenter’s approach that makes this one plain scary.  It is almost a scientific view of what university types would do if they were encountering an invader entering our world.  This time the invader is the devil, and the gateway is via a “hellmouth” of sorts made of gelatinous green goo.  Forget about any prior appearance you’ve seen of Alice Cooper.  He’s the coolest right here as one of the zombies creeping about to usher in the evil and trapping the researchers in their building with some very bad happenings.  The classic Carpenter crew is here, too, with Donald Pleasance as the priest, Peter Jason as the doctor, and Victor Wong as the professor.  The ultimate form that the “prince of darkness” takes at the end of the film is the big shocker.  And, yes, there’s some gore, but ultimately this film tries to be a lot better film than straight horror, and like all Carpenter flicks, manages to succeed.

7.  Final Destination 2 (2003).  Although this film certainly brings in the latex blood and gore by the boatload, this movie takes the concept of “death stalking those who cheated it” further than the original film and is actually a lot more fun.  It’s the first Final Destination mixed with some more carefully concocted Rube Goldberg-inspired chain reactions.  Ali Larter, co-star of the first film, gets a bigger role here, trying to help the cast of “lucky” survivors.  Suspense is amped up in this film, and non-stop angst, as you wonder just who and how the next guy is going to get eliminated by the seemingly random events.  Lots of red herrings, but all are fun, with plenty of opportunity for you to jump out of your seat.

6.  They Live (1988).  I saw the premiere of this film in 1988 and the name Roddy Piper went by in the credits.  I never made the connection the star was THE Rowdy Roddy Piper of WWF fame til years later.  The guy could act an dhe is very cool as this character.  They Live has a number of cool elements for a genre film:  an outsider-type fringe hero, a sci-fi twist, surprises around every corner, a feeling of paranoia seeps in, a big revelation that makes you question what is going on around you as you walk from the theater, and cool gimmicks–contact lenses and sunglasses that let you see the truth, including some creept subliminal messages.  My bias toward John Carpenter is evident on this list, but his movies are so dissimilar I just can’t help it.  Oppressive government, unfair economic advantages, sell-outs–this movie is much more than another horror flick–it’s part horror, part sci-fi, part political thriller, part action flick.

5.  The Birds (1963).  Like John Carpenter’s The Fog and Spielberg’s Jaws, this movie takes place on the seacoast, one of my favorite locations for an eerie thriller.  Alfred Hitchcock’s direction in this movie makes you feel claustrophobic, like you’re almost choking on the birds that inexplicably attack this little seaside village.  In the end it all comes down to being trapped again, this time in a house.  As a kid this one caused its share of jumps out of bed in the middle of the night.  It must be scary if it causes nightmares, right?  Some of the imagery will stick with you forever.  And check out the sultry and creepy character played by a young Suzanne Pleshette.  Compare The Birds and Jaws and you can see common themes and approaches the best masters of suspense use.  As Tom Petty says, “the waiting” is the hardest part, and sometimes you don’t really want to see what’s coming next.

4.  Silver Bullet (1985).  A series of deaths in Tarker’s Mill promps a town to band together to flush out the killer.  A fog shrouded forest, men splitting up, and one by one the men don’t make it out of the woods.  The town becomes paranoid of the night, canceling Independence Day festivities.  Enter cool uncle Gary Busey, who gets his wheelchair bound nephew Marty, played by a young Corey Haim (Lost Boys), a rocket and surreptiously fire it off despite all the adult fear.  An old covered bridge, a sheriff played by Terry O’Quinn (John Locke in Lost), a preacher played by Everett McGill (Twin Peaks), and a lot of creepiness.  The killer isn’t human.  Hey, sheriff, don’t go snooping around in there.  And a bat named Peacemaker.  Probably the quietest creepy thriller in the Stephen King adaptation arsenal, that quiet makes the gotchas all the better.   A perfect autumn night movie, not too much gore or irrelevant gross-outs, but the surprises are guaranteed to make you jump.  Megan Follows (Anne of Green Gables) plays Marty’s older sister, who sells a good portion of the fear through her powerful expressions.

3.  The Fog (1980).  I was 10 years old when I saw this at the drive-in theater.  It was a double feature with Phantasm and my brother and sister smuggled me in.  I got no sleep that night.  At the time both movies were blurred together, and I don’t know which movies the nightmares came from.  Years later I realized Phantasm was just another cheesy slasher flick, but I have re-watched John Carpenter’s original The Fog too many times to count.  This is my favorite ghost story movie.  One hundred years ago, Antonio Bay’s founders weren’t quite as honorable as the townsfolk see them today at the town’s centennial celebration.  It’s setting makes this an old sea tale of sorts.  Sultry-voiced Adrienne Barbeau (yes, I like sultry brunettes in my scary flicks) plays Stevie Wayne, who works in the lighthouse as a radio jockey, also warning boats about this strange fog… inching closer to the bay.  Hal Holbrook is the preacher who is slowly losing it as he realizes the truth of the town’s past.  Jamie Lee Curtis is a drifter who stumbles into the wrong town on the wrong night.  And there are a lot of ghosts that, despite looking like giant ticked-off Jawas, deliver sufficient creepiness.  Check this out for some great atmosphere.

2.  Jaws (1975).  Thinking I would quickly fall asleep my folks took me to this one at the drive-in theater.  I did fall asleep, but not before the opening scene.  How many movies can claim all that Jaws has accomplished?  Where Alfred Hitchcock’s Psycho made everyone check behind the shower curtain, Jaws has kept people on the beach.  There are generations now who still feel a little nervousness whenever they put on fins and take that first step in.  The defining tuba theme alerting us to when the shark is really coming is forever apart of everyone’s musical vocabulary.  John Williams’s score is so brilliant because most of it is a light-tempo, summer frolicking medley, so when the clashing violin scare themes arrive the contrast makes the music its own character.   The fear is underscored by Robert Shaw’s ominous USS Indianapolis speech.  One of the best films of all time in any genre.

1.  Watcher in the Woods (1980).  When I was in junior high, as a treat to students, the school would play movies on Friday afternoons, each movie split over two Fridays.  I saw this movie on a full size screen in our huge auditorium, which roughly looked like the Ford Theater where Lincoln was shot.  My friend Jeff lived literally next door to the woods…you could see them out his window.  Jeff held his hands over his eyes for the first hour of the show and didn’t come back the next Friday for the rest.  Twenty-five years later my co-worker asked me for a recommendation because he was hosting a Halloween party for his kid’s group of 10 12-year-old boys.  I recommended Watcher in the Woods instantly.  The following Monday he thanked me and said the boys, and he, were glued to the entire movie.  Watcher was one of Disney’s first forays into something new.  It’s probably my favorite Disney movie.  Imagine you fall into a creek, what would be creepier than Bette Davis standing above you trying to push you down deeper with a stick?  Look for a lot of ambience and mood in this one, and a few things that go bump.  Bette Davis is scary here, even compared to her prior frightening performance in make-up in Whatever Happened to Baby Jane?   She was made for creepy roles.  And, hey, that strange little girl, Kyle Richards, has her own TV show now.  Note:  Stay away from the original director’s cut or expanded version as it was so bad it almost canned the film in pre-production.  Stick with the theatrical release.

And that’s it!

So where did the four of us end up? 

Jaws gets the highest ranking, making three of our lists, and The Shining, The Exorcist, The Exorcist 3, Watcher in the Woods, The Ring, and Paranormal Activity seem to rise above the rest, showing up on two lists.  Seaside locales are the favorite location for scares, with Jaws, Rebecca, The Birds, The Ring, The Fog (both the original and remake) all taking place there, and creepy little girls are the favorite subject of–count ’em NINE–of our haunts (The Ring, The Exorcist, Let Me In, Paranormal Activity 3, Watcher in the Woods, The Sixth Sense, The Shining, Turn of the Screw, and The Others).  And the supernatural wins out over monsters, saws and axes.  Four movies were by John Carpenter, three by Alfred Hitchcock.   The oldest movie was Rebecca from 1940, the newest came out this year, Paranormal Activity 3.

I hope you like our lists and they prompt you to check out something you haven’t seen before.  Look for other lists here in the future.

And let us know what is on your list!

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