Monday, October 31, 2011

The Final Ultimate Woman of Horror!

It's finally that time, film kids. It's Halloween! And to celebrate, here is the final Ultimate Woman of Horror!

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Along with her mother, Janet Leigh, Jamie Lee Curtis is horror genre royalty. With her legendary performance in Halloween (Carpenter, 1978), Curtis built her iconic status as the "scream queen." After the colossal success of Halloween, Curtis landed jobs in The Fog, Prom Night, and Terror Train. Laurie Strode is the ultimate final girl, in that she is one of the first young women to fight back against her slasher attacker.

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In her classic take on the slasher genre, Men, Women, and Chainsaws, film scholar Carol Clover coined the term "final girl" and uses Strode as the main example. Strode's turn in Halloween 2 (Rosenthal, 1980) is disappointed when paired with the original. Where once Laurie was resilient and stood up to killer Michael Myers, in the sequel she spends the entire narrative running from and never confronting her killer brother. The action is left up to Dr. Loomis (Donald Pleasance).

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It takes 20 years for Strode's character to get the renovation that she deserves in Halloween: H20 (Miner, 1998). H20 centers on the idea that Halloween 4, 5, and 6 never happened and that Myers has been lying dormant since his hospital attack on Laurie. Here we have a darker Laurie, one who has turned to alcohol led by constant paranoia that her killer brother will be back for her. Curtis' performance has never been stronger, and as she protects her son and his girlfriend from Michael's knife, she sheds the vulnerability from the second film to become Final Girl we all know and love.

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I won't spoil the ending of this film, but I will say that Halloween: Resurrection truly ruins everything that H20 worked for. H20 is a contender for best Halloween film, in my book. Now, all of you horror fans out there are probably outraged at this notion, but the level of kickass-ness that Jamie Lee Curtis encapsulates on screen here speaks for itself. There is nothing like Laurie leaving the confines of the secure school, ax in hand, to confront Michael one last time. This is the stuff that horror legends are made of, and Miner executes the material perfectly.

Jamie Lee Curtis is the undisputed Queen of Horror, and as long as horror films are being made, the chances of her losing that title are quite slim indeed.

Happy Halloween, everyone! I hope you enjoyed this month's countdown as much as I enjoyed making it!

Sunday, October 30, 2011

Janet Leigh- Psycho (1960)

There has always been a debate about whether it was Psycho (Hitchcock, 1960) or Peeping Tom (Powell, 1960) that gave birth to the slasher genre. For me, although I am a bit biased, Psycho has always been the stronger of the two. As the "penultimate" Ultimate Woman of Horror, Janet Leigh epitomizes the unlikely victim.

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Leigh's career prior to working with Hitchcock was primarily sweet-hearted innocent roles that helped build her good girl image that defined her as an actress. It is with this irony, that screenwriter Joseph Stefano and Hitchcock built the entire first act of Psycho on. The audience assumes that they will be following Leigh's Marion Crane through the entire narrative.

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As Marion goes from the somewhat innocent secretary to the woman on the run, the transition of her character is complemented by the change from her white undergarments to black.

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Leigh may be considered innocent prior to her theft of the large sum of money from her place of employment, but she is in fact in an adulterous relationship with Sam Loomis (John Gavin). This entire plot line is abandoned once she checks into the Bates Motel. Here, after having an oddly casual conversation and meal with Norman Bates (Anthony Perkins). The unexpected murder of a film's alleged star was something that had never been done before, and left an intense sense of uneasiness with the audience.

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Leigh is the mother of Jamie Lee Curtis, the legendary final girl from Halloween (Carpenter, 1978) and the two appeared together in The Fog (Carpenter, 1980) and Halloween: H20 (Miner, 1998). Leigh's legendary performance in Psycho is celluloid perfection and will live on in the film history books as one of the finest female characters in the horror genre.

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The whole month has led up to this: there is just one final Ultimate Woman of Horror left. The suspense is probably killing all of you, so check back tomorrow, for the final revelation. And, a Happy Early Halloween!

Saturday, October 29, 2011

Danielle Harris- The Halloween Franchise

Halloween Weekend has always involved a marathon of sorts of the original Halloween franchise, and where would that marathon be without the often-looked-down-upon Halloween 4: The Return of Michael Myers (Little, 1988) and Halloween 5: The Revenge of Michael Myers (Othenin-Girard, 1989)? These late sequels are generally hated by the public, but loved by a small group of hardcore Halloween enthusiasts. The main reason that these films succeed is the performances of Danielle Harris as Jamie Lloyd, alleged daughter of original Halloween survivor Laurie Strode, and the returning Donald Pleasance as the iconic Dr. Loomis. In honor of these fun films, the Ultimate Woman of Horror for the day is Danielle Harris.

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As Myers' mask changed and began to look a bit ridiculous, as seen in this pic, the introduction of his niece as his prey provides a surprising amount of suspense as the young girl runs from him. Harris' acting is very impressive for such a young age, and her roles in these films have made her a convention favorite with the fans.

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Unfortunately, Harris was also involved in the repulsive Rob Zombie Halloween remakes. Thankfully, Harris' roles in the 4th and 5th Halloween films was strong and despite being such a young girl, Jamie proved to be a true adversary for Myers for two films. A favorite moment of mine is when Loomis willingly offers Jamie to Michael in an attempt to stop him.

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Celebrate Halloween Weekend the right way with a mini-marathon of these worthwhile Halloween sequels, featuring decent performances from Harris and Pleasance.

Check back tomorrow for another exciting addition to the Ultimate Women of Horror!

Friday, October 28, 2011

Lina Leandersson- Let The Right One In (2008)

With Let The Right One In (Alfredson, 2008) and its American remake Let Me In (Reeves, 2010), the vampiric horror film has made its way to the top of the horror genre again, showing that vampires can still be scary despite Stephanie Meyer's attempt to strip them of all power. In honor of the resurrection of the epic vampire horror film, the Ultimate Woman of Terror of the day is the young Lina Leandersson from Let The Right One In.

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Following in the steps of Kirsten Dunst from Interview With The Vampire (Jordan, 1994), Leandersson portrays a powerful vampire who still looks like a young child. Eli relies on her caretaker to supply her with blood from victims he kills, but ultimately takes the task into her own hands.

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Brought over from Sweden, this gritty horror film raises the bar for vampire horror, a genre that has been stale for over a decade. Leandersson's performance, along with her co-stae Kåre Hedebrant, is daring and very impressive for such young actors. She truly captures the role and makes it her own, adding a level of vulnerability and violent innocence that make Eli so effective.

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At first, I was worried about the American remake of this soon-to-be horror classic, but after viewing it, I was surprised to see that it almost lives up to the original. The cast may not be as good, but the story is just as effective. There was one scene that I was glad did not translate to the American screen, and if you've seen the Swedish film, you'll clearly know the one I'm talking about. Without giving anything away, the original would have been pitch perfect if one single shot would have been left out. But, regardless, Leandersson is a promising talent to be sure, and I greatly look forward to seeing where her advanced acting abilities take her.

Check back tomorrow for more Ultimate Women of Horror!

Thursday, October 27, 2011

Cathy Moriarty- Casper (1995)

Now, most of you film kids are probably scoffing at today's Ultimate Woman of Horror, saying that Casper (Siberling, 1995) isn't exactly a horror movie, and you might be right to some degree. However, as a child of the 90's, I will go to my grave defending this film with everything I have. I remember, as May of 1995 was rolling around. Coming off a solid kick of The Lion King in 1994, Casper would prove to be a film that I saw a total of five times in the theatre with various kids from the neighborhood. So, in honor of this childhood favorite of mine, I am adding Cathy Moriarty to the list of Ultimate Horror Women.

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Here is a woman known for her classic performances in films like Raging Bull (Scorsese, 1980), adding a bit of credibility and class to this family horror comedy. Moriarty's Carrigan Crittenden is a down right bitch. She is vilified to such an extent that she has no interest in the death of her father other than the contents of his will. Moriarty gloriously personifies camp in such a gleeful manner that watching her onscreen is the highlight of the film for me. For most, the relationship between Casper and Kat (Christina Ricci) would be the focal point of the film. For me, even as a child, the role of Carrigan and her abusive relationship towards Dibbs (Eric Idle) took all of my attention.

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True, this film is not the best made film of the 90's, but it is one of the classic staples of my childhood, and I am letting that emotional attachment earn Moriarty a place on this list. The presence of ghostly Carrigan is also incredibly entertaining. Casper is airing on pretty much every network at least once a week as Halloween is so close, so be sure to sit down with your Halloween candy and bask in all of its campy glory. Some of it is a bit sad, but what film from our childhoods doesn't at least one character dealing with the death of a family member. This, along with Hocus Pocus (Ortega, 1993) are always at the top of my list at the end of October.

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Check back tomorrow for another exciting Ultimate Woman of Horror!

Wednesday, October 26, 2011

Natalie Portman- Black Swan (2010)

This gloriously shot, spectacularly acted, and wonderfully scored psycho-sexual thriller places Natalie Portman at the head of contemporary actors. With films like Hesher (Susser, 2010), V For Vendetta (McTeigue, 2006), and Garden State (Braff, 2004), Portman has developed her skills as an actress and her characterization of troubled ballerina Nina Sayers in Black Swan (Aronofsky, 2010) earns her the honor of Ultimate Woman of Horror.

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With the classic ballet Swan Lake at its core, Black Swan features Portman at her finest as the young ballerina given the role of the Swan Queen. As the pressure of the lead role begins to get to her, Nina slowly begins to question her sanity. With a rival dancer gunning for the position and a mother regulating her life, Nina has a lot to deal with. Portman's performance is a prime example of the vulnerable dancer, willing to do anything to succeed in her first lead role.

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The perfectly executed dancing sequences set the film apart from other pictures that live in the world of ballet. This on its own would provide the viewer with enough reason to watch the film. The eerie and ethereal nature of the plot push the film into even darker territory as Nina's internal struggle fills the screen and crawls under your skin. Portman clearly deserved the Academy Award given to her, and proved that the art of legendary performance is not dead.

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While not the traditional choice when debating the possibility of a scary movie night, Black Swan proves that horror can also double as Oscar-bait. Aronofsky's film, which I have no doubt will become a classic, raised the bar for cinema in 2010. Portman, along with the supporting roles of Vincent Cassel, Mila Kunis, Barbara Hershey, and Winona Ryder brings the characters the life in a way that is rarely experienced on screen. I would love to say that one of these supporting actors enhanced the film with their performances and gave Portman great material to bounce off of, but they all did. Every single minor role in this film was casted perfectly.

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The final execution of Swan Lake at the end of the film is truly one of the greatest moments in contemporary cinematic history. Every step was captured perfectly, and as the score swells dramatically, one cannot help to be attacked emotionally as Nina performs on screen. So, to add a bit of cinematic credibility to your horror film screenings, pop in Black Swan and marvel at Portman's spectacular performance.

Check back tomorrow for another exciting Ultimate Woman of Horror!

Tuesday, October 25, 2011

Samantha Eggar- The Brood (1979)

Horror and Cronenberg. The two were synonymous in the late 70's and 80's. With disturbing hits like The Fly (Cronenberg, 1986), Videodrome (1983), The Dead Zone (1983), and The Brood (1979), Cronenberg placed himself alongside the elite horror auteur directors. In The Brood, the primary villain is Nola Carveth, wife and mother and today's Ultimate Woman of Horror.

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Known for his visual style and unique gore effects, David Cronenberg is responsible for modernizing the horror genre with gritty films that challenged the a genre that was staying alive with mindless sequels. Paving the way for his later works, The Brood is an interesting take on the mother in the horror genre. In a paper I wrote as an undergrad, I defined the two forms of mothers in horror films as either the killer or the creator. It is how these two categories interestingly combine that makes the films so intriguing.

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Nola Carveth is the epitome of the terrifying horror mother, ranking up there with the likes of Mrs. White in Carrie (DePalma, 1976). With a "brood" of demonic offspring, Nola sets out to attack the members of her family. Eggar's performance is edgy and proves that she is an actress willing to take risks in her roles. This risks pay off here, and showcase a character that transforms physically and mentally. (No spoilers given here!)

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The Brood is at the top of the heap for gritty horror films of the 70's and Eggar is a prime example of a terrifying horror film mother. I'm sure the suspense is just killing you all, as the Ultimate Horror Women list is coming to a close. Who is going to be the #1 Woman of Horror? You'll just have to wait and find out! Be sure to check back tomorrow as the next woman is revealed!

Monday, October 24, 2011

Catherine O'Hara- The Nightmare Before Christmas (1993)

In the beginning of his career, Tim Burton wrote a book entitled The Nightmare Before Christmas based on sketches he had been working on since his time at Disney. These wonderfully gothic illustrations became the classic Halloween/Christmas film The Nightmare Before Christmas (Selick, 1993). Today, the Ultimate Woman of Horror is Catherine O'Hara, who voiced the character of Sally.

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Whenever one thinks of this film that breathed fresh life into the stop-motion technique, one assumes that Tim Burton directed it, but it was in fact directed by Henry Selick, who later went on to direct James and the Giant Peach (1996) and Coraline (2009), both revolutionary in their own right. In this dark fable, Jack Skellington is aided by the strong-willed rag doll, Sally. O'Hara's soft vocals give an instant vulnerability that makes her the most relatable character in the film. While Jack is out to take over Christmas, Sally is at his side, loyal and determined to protect him. She even puts herself in the hands of Oogie Boogie to save Jack and Santa Claus.

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Sally was created by Dr. Finklestein, a clear nod to the classic Frankenstein story, and as Burton's take on the "monster," she rebels against her creator to try to gain her own independence. She tires of being his servant and wishes nothing more than to be with Jack. Sally is a lovely character, and O'Hara's rendition of "Sally's Song" is heartbreaking and beautifully poetic.

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Nothing says fall quite like a screening of The Nightmare Before Christmas. I was lucky enough to see this film on the big screen when it was re-released in 3D about 5 years ago. The 3D was nothing spectacular, but seeing the characters that I had grown up loving on the screen, larger than life, was a spectacle in itself. As Halloween is a week away, dust off your copy of this classic and relive the magic that is The Nightmare Before Christmas.

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Check back tomorrow for more glorious Ultimate Women of Horror!

Sunday, October 23, 2011

Gloria Holden- Dracula's Daughter (1936)

The Universal Monster films rank at the absolute top of the horror genre for me. There is nothing quite like sitting down with one of these classics and being transported to the early days of the film industry when horror was still heavily influenced by German Expressionism, and not ruled by the values of trashy films like Hostel (Roth, 2005). Today, the Ultimate Woman of Horror is Gloria Holden from the classic sequel Dracula's Daughter (Hillyer, 1936).

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With its subtle use of shadow, score, and suggestion, Dracula's Daughter tells the tale of Countess Marya Zaleska, a young Hungarian woman who steals the corpse of Dracula and cremates it. Afterwards, bodies turn up in London, and suspicion finally turns to Marya. The Countess is not, in fact, Dracula's daughter, but she is a vampire and goes on a bit of a rampage herself. Holden's performance is able to save a film that otherwise would be mediocre.

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In a time when monsters were always men, Dracula's Daughter breaks the mold and paves the way for films such as Cat People (Tourneur, 1942) where the narrative revolves around the female protagonist. Up to this point, women in Universal Monster films were reduced to the victim in the boudoir while Dracula or Frankenstein slowly approach. This particular film even goes so far as to push the envelope in regards to sexual representation, as the Countess is a sexually expressive woman.

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While Dracula's Daughter may not be the best film of the Universal canon, it still is incredibly entertaining and provides and interesting look at the woman of the early horror film industry.

Check back tomorrow for more exciting Women of Horror!

Saturday, October 22, 2011

Aaliyah- Queen of the Damned (2002)

August 25th of this year marked the 10 year anniversary of the tragic death of 22-year-old R&B singer and actress, Aaliyah. The talented young woman was most known for her music career, but she was also in a few feature films, as well. So, today, she is given the honor of Ultimate Woman of Horror for her role as Queen Akasha in Queen of the Damned (Rymer, 2002).

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Anne Rice's Vampire Chronicles reinvigorated the literary horror genre, and created a new vampire to frighten and entertain readers. With Interview With The Vampire (Jordan, 1994), viewers were able to relate to the likable and distraught self-hating vampire Louis, the character responsible for figures like Angel from Buffy the Vampire Slayer and Angel.

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While Queen of the Damned is a flawed film in many regards, it is a film full of sexual tension and quality vampirism. This is how vampires should be shown. We all know that Stephanie Meyer set vampires (not to mention women) back several decades with her creation of the Twilight saga. It is with strong female vampires like Akasha and Claudia (Kirsten Dunst) in Interview and vampire hunters like Buffy and Faith that viewers and readers need to turn when faced with weak female protagonists such as Bella Swan.

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As she is only in the last third of the film, Aaliyah was faced with quite a difficult task, to change our loyalties from Lestat to her. This is easily done as Stuart Townsend's performance is mediocre at best, but with her commanding performance, Aaliyah makes the audience forget all about the awkward gothic music scene that fills the first portion of the film and makes you believe that she has in fact been there all along. This film may not be the most critically acclaimed of vampire films, but it is gothic eye candy at its finest. Townsend and Aaliyah have an intense sexual chemistry that would make Edward Cullen blush and helps prove that vampires can be sexy without giving in to male dominance. Akasha runs the show here, and there is no question about that.

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It is with a heavy heart that we remember Aaliyah ten years after the tragic accident that resulted in her death. We will never know how far her career would have gone, but we do know that in the short life she led, she made a huge impact on the music and film industries.

R.I.P. Aaliyah (1979-2001)

Check back tomorrow for more awesome women of horror.

Friday, October 21, 2011

Miranda Richardson- Sleepy Hollow (1999)

Now some of you are probably thinking that this choice may be a bit hypocritical, seeing as I placed a good bit of doubt in the Burton adaptation of Dark Shadows yesterday. And there may be a bit of truth in that, but regardless, today the Ultimate Woman of Horror is Miranda Richardson from Sleepy Hollow (Burton, 1999).

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Sleepy Hollow may not be the best horror film of all time, but it is one that contains a decent enough plot, likable characters, interesting villains, and cinematography that is to die for. The visuals alone are worth the respect of the viewer. In fact, an entire chapter of my undergrad Intro. to Film course text book analyzed this film. Richardson's Lady Van Tassel steals the show here, and even outdoes the horseman himself. That is a true feat, seeing as the horseman is played by the excellent Christopher Walken.

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Here is a woman so villainous, that her calling of the horseman endangers, and ultimately kills, the majority of the Sleepy Hollow townspeople. It's always fun when the most glamourous women on screen turn out to be the villain. With her intricate and ornate costumes, Richardson outshines Christina Ricci and adds a level of class to the film. Richardson is one of my favorite actresses, and truly shines in every performance she is given. Even in her few minutes on screen in Paris je t'aime (2006), Richardson is able to embody such intense emotion that it is heartbreaking to watch. It is wonderful to see her in such a fun role as Lady Van Tassel, where she gets to prove that she can be as campy and glorious as we expected.

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With the exception of Sweeney Todd: The Demon Barber of Fleet Street (2007), Sleepy Hollow marks the peak of Tim Burton's creative legacy. That's not to say that I didn't enjoy Charlie and the Chocolate Factory (2005), but with the release of Planet of the Apes (2001), Burton as we know it started to slowly wane as the creative genius we had come to know and love leading to the travesty that was Alice in Wonderland (2010). Hopefully with Dark Shadows, Burton will be able to reinvigorate his career. If Sweeney Todd is any proof, there is still hope and a great deal of it. So, Tim Burton, here's to you. Over the past 20 years, you have given us one incredible filmography, filled with honorable heroines played by wonderful actresses. Winona Ryder, Christina Ricci, Helena Bonham Carter, Michelle Pfeiffer, and Jessica Lange all delivered exceptional performances and truly enhanced your films to their potential. With Big Fish (2003), Edward Scissorhands (1990), and Batman (1989) in mind, let's hope that Burton will be able to return to his roots and give us the Dark Shadows film that we have been waiting for.

And just for the heck of it, here's another wonderful picture of Miranda Richardson in all of her glory as Lady Van Tassel.

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Check back tomorrow for another exciting addition to the Ultimate Women of Horror!

Thursday, October 20, 2011

The Women of Dark Shadows (1966-1971)

Hey there, film kids! Today, we're taking a step back from the film industry and taking a look at horror television, again. We're taking a trip back to 1966, when the first gothic soap opera began gracing the TV screen, and beaming some of the most memorable characters into American households. The honor of Ultimate Horror Woman is given to all of the women of Dark Shadows.

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Prior to the creation of Barnabas Collins, legendarily played by Jonathan Frid, Dark Shadows featured plots that dealt with mysteries instead of the supernatural, where the later episodes thrived. In the beginning, there was just Victoria Winters, the lovely Alexandra Moltke, trying to uncover the mystery surrounding her birth parents while tutoring young David Collins. Moltke, even after the introduction of vampire Barnabas, was the star of the show. To be honest, unlike most of the show's fans, I prefer the episodes that focused solely on Vicky. Winters was an independent and strong woman who is capable of investigating any mysterious situation that comes up while staying at Collinwood, the Collins' palatial estate.

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Adding a touch of Hollywood glamour to the show, Joan Bennett portrays the head of the Collins family, Elizabeth Collins-Stoddard. The mystery surround Liz's husbands disappearance is one that is the subject of many an episode.

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It is a well-known fact that many of the actors involved with the show portrayed multiple characters over the five year run. Grayson Hall is a great example of this. Hall's Dr. Julia Hoffman is friend and confidante to Barnabas and is determined to develop a cure for his vampirism. A personal favorite of Hall's roles is gypsy Magda.

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Maggie Evans, played by Kathryn Leigh Scott, is friend to Vicky, hostage of Barnabas, and girlfriend to Joe Haskell. Scott's Maggie is an honorable character that is first in line to give advice or support to Vicky as she struggles with life in Collinsport.

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Finally, there is Angelique, played to campy perfection by Lara Parker. Barnabas found his match/love interest in Parker's Angelique, the ultimate portrayal of a witch in pop culture history. Angelique was a fascinating character and proved that female villains can be the most interesting.

Dark Shadows has featured some of the most unique women in the horror genre to date. This show set the stage for later genre favorites like Buffy the Vampire Slayer, Charmed, and Angel. Without it, the horror genre would not be nearly as popular on television as it is today. This gothic soap opera produced more than 1,000 episodes, and the low-budget and fast-paced production give the show a charm that I have yet to experience in any other horror production.

Tim Burton's movie remake of this show is scheduled for a May 2012 release. While normally, I would say that Burton's gothic sensibilities are a perfect fit for the film, some early production photos featuring Johnny Depp as a translucently pale (as in a skin tone that would make Edward Cullen look tan) Barnabas, I am a bit skeptical and nervous that the film will achieve its full potential. That being said, I am incredibly excited to see Eva Green's portrayal of Angelique, Helena Bonham-Carter's Julia, and Michelle Pfeiffer's Elizabeth.

But, we will always have this classic show to turn to when we need that dose of campy gothic horror at its finest.

Be sure to check back tomorrow for another exciting addition to the Ultimate Women of Horror!

Wednesday, October 19, 2011

Rose McGowan- Planet Terror (2007)

Grindhouse (Rodriguez and Tarantino, 2007) is one of my favorite movie theatre experiences ever. Planet Terror (Rodriguez) is my favorite of the two portions, and this is mainly due to Rose McGowan's performance as Cherry Darling.

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It is this go-go dancer turned gun-legged warrior that is the driving force behind the film. While every minor role is performed incredibly well, McGowan's Cherry steals the show as she goes head-to-head with the zombie mutants that are devouring the town. Cherry may be a go-go dancer, but she is an incredibly strong woman, willing to put her life at risk to end the zombie apocalypse.

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McGowan, famous for her role in Scream (Craven, 1996) and Charmed has made a career out of roles within the genre. In Planet Terror, she pays tribute to the women of the infamous grindhouse films of the 70's. By combining the horror elements with the trashy female exploitation films, the film is able to provide an incredibly entertaining experience for the viewer.

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Not only is McGowan the star of the Planet Terror portion of Grindhouse, she also plays the first victim of Stuntman Mike in the Death Proof (Tarantino) portion. In both roles, McGowan gives it her all and proves that women in these films can be strong and not be controlled by the men in their lives.

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Keep checking back for more Ultimate Women of Horror!

Tuesday, October 18, 2011

Sigourney Weaver- Snow White: A Tale of Terror (1997)

When I started this project last year, I never thought of including fun performances in awful movies. So, appropriately, this year, I have included a few of my favorite actresses from horror films that provide more laughs than scares. Today is no different. Sigourney Weaver's portrayal of Lady Claudia Hoffman in Snow White: A Tale of Terror (Cohn, 1997) is very entertaining and gives a sense of horror royalty to the film.

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Released a few months before the critically panned Alien: Resurrection (Jeunet, 1997), another favorite of mine, Snow White created a world in which the evil queen was even more villainous and evil than we remember from the Walt Disney classic. Cohn's film may amount to little more than a late night fun viewing, but what more can you ask for? The scene in which Lady Hoffman sings in front of a large hall of guests, voice dubbed by some unknown operatic singer, is one of the highlights of this little gem of a film.

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Weaver has always been one of my favorite actors, and I am almost to the point where I can forgive her for being involved in Avatar (Cameron, 2009). As she is usually the heroine in her films, it is fun to see her as the vile step-mother here, make-up, fake teeth and all. I remember passing this one on the rack at Hollywood Video for years and always wanting to give it a go, and finally a few summers ago a group of friends and I did. And we were not disappointed.

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If you're looking for a fun horror film, cast aside the traditional choices of the field and give this one a try. It's truly strange, badly written, not scary in the least, but I wouldn't have it any other way!

Check back again tomorrow for another Ultimate Woman of Horror!