La Maison des 1000 morts

I already had a user comment for "House of a 1.000 Corpses" submitted here on this site, dated over a year ago and…um…not very praising. In fact, my first viewing of this film was so disappointing that I excessively discouraged other people here to see it. Rather than to simply ignore the old comment and pretend I never bashed it, I wish to write a new – more positive – review, if it were only to convince other people (who also disliked at first) to give it a second change. Several factors (like the praising reviews on "The Devil's Rejects"-sequel and conversations with fellow horror fans) nearly forced me to re-watch "House of a 1.000 Corpses" and I'm glad I did. This truly is a film that requires multiple viewing before one can properly judge it. Rob Zombie's style is often innovating and so overwhelming that it might look overly hectic at first but, in reality, his dedication towards obscurity and his knowledge on classic cinema is one of the best things that could ever happen to the horror genre. And that is something you (or at least I) have to discover with repeated viewings…

The power of this film lies in the fact that the screenplay covers all kind of successful horror premises. Serial killers, mad doctors, a family of crazies, deranged clowns, devil-worshipers….you name the type of terror and "House of a 1.000 Corpses" features it! This movie is a small revival of the entire horror genre all by itself. No extended and boring intros or pointless red herrings in this film, "House…" is straightforward and surefooted sickness from start to finish and you're given almost no time to breathe. Some of the sequences in this film are so damn close to brilliant that I can't possibly figure out why I didn't love them right away!! The execution-scene guided by the moody "I Remember You"-song, for example, is amazingly atmospheric and quite unsettling. Although Rob Zombie's directing skills are still open for improvement (the abrupt climax, overly rough editing), his debut is a staggering gorefest that every horror fan has to experience…repeatedly! Bring on the sequel…I'm ready now!!

Now, let's not get carried away here: is this the best horror flick ever? Not that I've seen. Does it sometimes trip over the fine line between scares and laughs? Sure. Will it remind people of certain other movies? Probably. But bottom line, is this movie a blast? Absolutely.

Writer/director Rob Zombie's music has always had a kind of comic book/horror movie sensibility which he translates into his screen project, a tribute to the pioneering take-no-prisoners classics of the 1970's like "The Hills Have Eyes" and "Texas Chainsaw Massacre," in fact a prominent role is played by Bill Moseley of "TCM II." We're informed at the outset that it's Halloween Eve 1977 in some one-horse town in an unspecified region of the country (which of course allows each actor to use any accent he or she likes, even within the same household). The chief attraction of this town seems to be a "horror museum" run by a Captain Spaulding (who bears no resemblance to Groucho Marx) played by veteran B-movie stalwart Sid Haig, whom I recall from way the hell back in "Busting" as the big menacing bald guy. He's still big and bald but not so much menacing as jovially deranged with undercurrents of menace (and lots of make-up). After a delightfully overwritten robbery sequence involving a couple of local yokels, four fresh-faced young people with one foot in the grave show up at the museum, setting in motion a series of unpleasant events.

No particular reason to dwell on the plot, especially if you've seen "Texas Chainsaw Massacre" and/or it's sequels. It's the tried-and-true damsels (and their boyfriends) in distress. (We even get a pack of cheerleaders thrown in as a bonus. Apparently people have been going missing in this town but back in the Seventies the term "serial killer" was waiting to be invented, so no squads of Feds and profilers have arrived.) For movies like this to work, the actors have to be on the same page in tone; aside from Haig and Moseley I barely knew anyone except Walt Goggins from TV's "The Shield" and of course Karen Black, whose performance is the only one that doesn't quite click. It's like she's playing a whack job where the others are just being whack jobs. (But if they ever wanted to remake "Whatever Happened to Baby Jane," there's your girl!) In terms of direction, Zombie takes a kind of kitchen-sink approach; some of it reminded me of Oliver Stone's "Natural Born Killers" and others of that ilk, with the eye-blink jumping to and from videotape, color variations, flashback and/or fantasy, etc. Some of the editing's a little too jumbled in the modern trend of trying to obscure what's happening, although not to the "Darkness Falls" degree of complete chaos. (I'm old-fashioned, I still think the best way to scare you with something in a movie is just train the camera on it so you can see it coming at you with no way to escape.) But Mr. Zombie has a nice feel for where to put the camera and how to move a scene along. Some of his sequences have a kind of sinister poetry to them, like when the two deputies go checking out the homestead from hell, the kind of setup we've seen in how many shlock items (I just saw one in a recent victim of the Mystery Science Theater 3000 crew) but in this case Zombie replaces all sound with a Slim Whitman tune (we recall how Whitman's voice was enough to slay big-brained Martians a while back) and holds the final crane shot an audaciously long time. Then once the coffin gets lowered into the water towards the end, "House" kicks into overdrive and from then on if there's nothing in the movie that spooks you, then maybe you're unspookable. I know a lot of that imagery will be lingering with me for a while, such as Fish Boy.....

Ordinarily I try to ignore a movie's external circumstances and go by what's on the screen in front of me but in this case it's pointless to pretend this movie has not been in limbo for three years due to it's supposedly violent content. I've read it had to be cut to make the R rating, although I really can't see how an NC-17 would've hurt it; people will go see it partly because it's by Rob Zombie and it's said to be gory and for those put off by such factors, an R rating won't make them less put off. "Hey, honey, it's an R now--forget the babysitter, let's bring the kids!" I've also read Zombie was satisfied with the released version. As released, there's really nothing there you haven't seen before in some form or other; some gore fans may even feel let down, but of course there's always the DVD. I think that had it been released as made three years ago without all the hype, with the chance to "sneak up on" us, it would've been even more effective. But maybe that's what the studio feared? Well, Mr. Movie Mogul, if you're going to commission the guy from White Zombie to do a horror flick, what exactly do you anticipate as a result? Please either defecate or get off the toilet....

Hard to nail down a favorite moment with this one, but it's hard to resist picking the youngsters getting abused in their bunny suits. It's visually striking, it's unusual, it's blackly funny and also somewhat unsettling the more you think about it. When we watch a horror flick, what exactly are we anticipating? Is the one-sided nature of the conflict (overwhelming villain, hapless or helpless victim) part of the appeal for us? Do we "identify with" the chaser or the chasee? Should we feel a little ashamed of ourselves afterwards? Or, as Captain Spaulding put it, are these just a bunch of jack-ass questions?

Great soundtrack, I may have to buy it....

This movie is The Texas Chainsaw Massacre. If you've seen that, you've seen this. I don't need to explain the plot; that's all you need to know. It's TTCM with bizarre attempts at stylization. The victims are characterless twats, except for Rainn Wilson, who plays a lovable nerd. Other than him, the real stars are the family and Sid Haig as Captain Spaulding, but the two psycho women are both horribly annoying. It does break away from the basic formula for the third act of the movie, but I can't say it was for the movies benefit.

The stylization is the worst part of it; randomly cutting to 16mm film clips, random colored lighting that change in between shots, and a bunch of flashing quick cuts. If your over the age of 16, and/or are a seasoned horror fan, this movie is much more likely to give you a headache rather than scare you.

Pros- Sid Haig, nostalgic premise, and some decent gore

Cons- awful attempts at stylization, annoying characters, a twist that makes the movie worse.

If you're gonna watch it; you're gonna watch it. But don't expect anything too much.

In my opinion, House of 1000 Corpses is a fan movie. Fans of both the horror genre and Rob Zombie are likely to love it. Though I do not count myself a fan of either, I do like both at times, and I am quite familiar with both. Those familiar with Rob Zombie are likely to be the only ones who completely 'get' this clever little film - appreciating its depraved sense of humor and nihilism. Zombie's themes are fairly consistent - evil (without the usual religious connotations and clichés), murder, sex, insanity, and stereotype "hillbillies". Zombie's world is not a place for people who are terribly concerned with reality, but, for Zombie himself, it seems to supply endless muse for a prolific and interesting commercial creativity.

Two couples traveling across country and working on a book on bizarre roadside attractions stumble across a filling station / theme park run by a vaguely evil clown with a bad attitude - Captain Spaulding. Spaulding teaches them of a few local legends, including a mad surgeon who worked in a local insane asylum and came to be known as Dr. Satan for the grotesque surgical procedures he applied to mental patients in secret. They pick up a pretty blonde hitch-hiker on their way to see the tree where Dr Satan was hung, and run into some car problems, so the hitch-hiker invites them to her family house. The family, apparently headed by the phenomenally weird Karen Black, makes The Addams family look like the Brady Bunch.

My narrative has described the first 20 minutes or so of the film, and at this point the film, much like RZ's songs, is so campy that it seems a straightforward horror comedy. However, once our protagonists are in "the house", the plot takes a decidedly more sinister spin, and never lets up from that point forward.

This film successfully and entertainingly portrays all of RZ's themes in about the same proportions as his music. Of them all, sex is the least explored, and I, for one, am thankful for that. The film also walks a delicate line between Hannibal Lector grotesque art realism and supernatural forces. For example, at one point, one of the bad guys turns on a cassette player with low batteries so that the voice recorded on it sounds extra-satanic.

If you have problems with blood and other bodily fluids, and utterly repulsive surgically induced variations on the human body, you might want to avoid this film. If you don't have any great objections to standard hardcore horror imagery, or if you like it, you might want to see this. It is masterfully visualized and does a much better job of making horror into art than the standard Hollywood horror fair. This is Rob Zombie's art, and he does it much better than most. This first major effort in film bodes well for his future use of the medium, and I will look forward to his next.

Captain Spaulding (Sid Haig) is a foul-mouthed clown owner of the "Museum of Monsters and Madmen" and "Fried Chicken and Gasoline". On October 30, 1977, Spaulding shoots a bunch of holdup guys. Jerry Goldsmith (Chris Hardwick), Bill Hudley (Rainn Wilson), Mary Knowles (Jennifer Jostyn), and Denise Willis (Erin Daniels) are traveling the country investigating weirdness. Spaulding shows the group his roadside show and tells them about Dr. Satan. They go in search of the hanging tree where they hanged Dr. Satan. They pick up hitchhiker Baby (Sheri Moon Zombie). Their tires get popped and they end up with Baby's family.

I like directer Rob Zombie's weird outsider style. It's over-stylized Grindhouse. I just think that writer Rob Zombie needs help pulling all the craziness together into a coherent compelling plot. He needs to figure out rooting interest, and how to create tension. This is a bit of a mess but it's a fascinating mess.