The Perfect Murder: Dial “M” for Murder (1954)

Do you really believe in the perfect murder? Mmm, yes, absolutely.

So after years of his absence from my Horrorfest countdowns, I have finally included Alfred Hitchcock in not one, not two, but three posts.

Alfred Hitchcock is my favorite director. He was influential in creating new ways of filming psychological thrillers, he is often credited for creating the true horror genre/slasher film with Psycho (1960), and was just a pure cinematic genius. He is just amazing.

Dial “M” For Murder is one of his highly known films (although not as known as Vertigo or Psycho). It has been referenced or parodied in countless films and TV shows. In the ’90s they even remade the film under the title A Perfect Murder. It starred Michael Douglas, Gwyneth Paltrow, and Viggo Mortenson; but it wasn’t nearly as good.

This film also started Hitchcock’s filming relationship with Grace Kelly. This film was crucial in her career as it made her stand out not only to Alfred Hitchcock but other directors as well, a huge step to becoming a permanent leading lady. After this film she starred in Hitchcock’s Rear Window and To Catch a Thief. Hitchcock was impressed with her ideas and thoughts on the script in how a woman would act (especially regarding clothing), that after this film he allowed her to make all her own wardrobe decisions. She, like Audrey Hepburn,  quickly became known for her style and class. But that wasn’t the only thing that Hitchcock found attractive, he really liked her and fell for her; but she wouldn’t give him the time of day, (romantically that is). (For more information on Hitchcock and his leading ladies, I strongly suggest the book Spellbound by Beauty by Donald Spoto. It’s an amazing read!) And sadly she had to retire from acting at an early age as she married the Prince of Monaco. However short a career, it was an amazing one.

This film also reunited Hitchcock and Robert Cummings, who had starred in an earlier film, Saboteur (1942).  In this film Cummings plays an important role, but a smaller one than his earlier collaboration.

This film is also the only Hitchcock film to ever be shot in 3-D. In the 1950s, 3-D was super popular, so popular that some people came up with the idea of Smell-O-Vision to beat it (I’m serious!). Hitchcock didn’t want to shoot in 3-D, but until the late 1960s, studios had a lot more pull and Warner Bros. wanted it. Hitchcock obliged, although it did cause a few issues for him as he had to rework his known style to incorporate what 3-D was able to accomplish at the time.

So the film is based on the play of the same name Frederick Knott, and he also helped write the screenplay. It is set in England and as  you can guess from the poster, the phone plays a huge role in this film as well. That really seems to be a theme this month. I swear that wasn’t planned.

Oops!

Well here we go!

So before I start the film, let me give you the background on the characters. Now as you watch the film things are revealed to you, but it’s easier for me to give them at the start.

So we have a couple, Tony Wendice (Ray Milland) and his wife Margot (Grace Kelly). Tony was a huge tennis star and met Margot when he was competing. She comes from a very wealthy family. The two were married and Margot convinced him to give up competing as she didn’t like him being away. He complied and now sells sports equipment. However, as he no longer is the dashing tennis star, she lost interest in him and had an affair with Mark Halliday (Robert Cummings) an American Crime writer.

As the film starts out we have Margot and Mark in a very cozy embrace.

“Margot Mary Wendice: Let me get you another drink. Mark, before Tony comes I ought to explain something.

Mark Halliday: Yes, I’ve been waiting for that.

Margot Mary Wendice: I haven’t told him anything about us.”

Margot tells Mark that she burned all his letters, except one. That one was stolen by a blackmailer who demanded payment, but he never picked up the money or returned the letter. She is worried that her husband will find out.

Mark has a completely different reaction to the news.

He wants them to tell Tony all about the affair so that Margot can get a divorce and the two can marry. Margot doesn’t want to as “she feels bad” about hurting “Tony’s feelings”.

Now I’m no expert, but if the person doesn’t want to break up the relationship, it seems to me that they want, to quote an old cliché, “have their cake and eat it too.” I think Margot likes the respectability of her marriage and doesn’t want the divorce scandel, but at the same time is heavily intrigued by Mark. And who can blame her? Robert Cummings is a looker.

Photo from Saboteur

That night Tony is introduced to Mark, him being Margot’s “friend”. The two discuss Mark’s profession.

Tony Wendice: How do you go about writing a detective story?

Mark Halliday: Well, you forget detection and concentrate on crime. Crime’s the thing. And then you imagine you’re going to steal something or murder somebody.

Tony Wendice: Oh, is that how you do it? It’s interesting.

Mark Halliday: Yes, I usually put myself in the criminal’s shoes and then I keep asking myself, uh, what do I do next?

Margot Mary Wendice: Do you really believe in the perfect murder?

Mark Halliday: Mmm, yes, absolutely. On paper, that is. And I think I could, uh, plan one better than most people; but I doubt if I could carry it out.

Tony Wendice: Oh? Why not?

Mark Halliday: Well, because in stories things usually turn out the way the author wants them to; and in real life they don’t… always.

Tony Wendice: Hmm.

Mark Halliday: No, I’m afraid my murders would be something like my bridge: I’d make some stupid mistake and never realize it until I found everybody was looking at me.”

Tony invites Mark to join him for a tennis party, and Mark agrees. Its all men, so Margot will be staying home. After a bit more pleasantries Margot and Mark leave to go out “as friends” to a theatre show that Tony didn’t want to see, while Tony stays home to “work” on some stuff.

After they leave, he calls up an old friend. Swann (going by the name Captain Lesgate) from his old Cambridge days. He brings him there under false pretenses of wanting to purchase a vehicle from him. He then tells Swann that he wants him to murder his wife.

“Tony Wendice: One thousand pounds in cash.

C.A. Swann: For a murder?

Tony Wendice: For a few minutes work, that’s all it is. And no risk, I guarantee.”

Tony then goes on to tell Swann a story.

Tony only married Margot for her money, and it really injures his pride to see her cheating on him and tossing him over like an old shoe. He followed her one day and discovered the affair.

He wanted to kill Mark.

He then moved to the idea of murdering his wife. But things changed…

“Tony Wendice: It’s funny to think that just a year ago, I sat in that Knightsbridge Pub actually planning to murder her. And I might have done it, if I hadn’t seen something that changed my mind.

C.A. Swann: Well? What did you see?

Tony Wendice: I saw you.”

Back in the day, Swann was always getting into trouble for all kinds of stuff, and it struck Tony that he could commit the perfect murder. He then began extensive planning. He has been collecting £1000 over the year, under the guise of racetrack betting, etc.; compiling the money for such a purpose.

He even went to great lengths to get one of the letters from Mark and pretended to blackmail her. With Mark back in town he has set up the whole scenario on how to murder her even planning to use Mark as an alibi, as being the husband he will be the first suspect. All he needs is someone to do it for him. He has a lot of information on Swann’s background (as he has been tracking him) and uses it to blackmail him into completing his murderous plot. And he has to do it tomorrow.

He reveals his perfect plan.

“Tony Wendice: At exactly three minutes to eleven, you’ll enter the house through the street door. You’ll find the key to this door under the stair carpet here.

C.A. Swann: The fifth step?

Tony Wendice: That’s the one. Go straight to the window, and hide behind the curtains. At exactly eleven o’clock, I shall go to the telephone in the hotel to call my boss. I shall dial the wrong number. This number. That’s all I shall do.”

His wife will answer the phone, and then Swann can strangle her and leave through the french windows.

Swann agrees to the plot as he feels he has no other choice in the matter. Tony is estatic as everything seems to be going along perfectly.

But then things start falling apart. Margot doesn’t want to stay home. She is thinking of going out to dinner and seeing a movie. Mark thinks it’s a great idea but Tony convinces her to stay home.

“Margot Mary Wendice: Don’t make me stay home. You know how I hate doing nothing.

Tony Wendice: Doing nothing? Why there are hundreds of things you can do. Have you written to Peggy, thanking her for the weekend? And what about those clippings? It’s an ideal opportunity.

Margot Mary Wendice: Well I like that. You two go gallivanting while I stay home and do those boring clippings.”

Before Tony leaves, he stills Margot’s key from her bag and puts it in the marked hiding place. Keeping his key in his pocket, he and Mark leave for the party.

Back at the home, Margot has been working hard on her scrapbooking. She eventually goes to bed, putting everything away…at least almost everything. She actually forgets the scissors and leaves them by the phone.

That night everything starts being put into motion. Swann enters the place the same way that Tony planned it out. He leaves the key under the stair and hides behind the curtains waiting for the phone.

However, back at the party, things aren’t quite going as planned.

Stupid, stupid

Tony’s watch stops and he has to ask for the time, finding out that it is actually past 11:00.

He hurries to the pay phone and makes the call, hoping that everything else goes accordingly. Margot gets up to answer the phone. As she is talking, Swann reaches out to strangle her.

But instead of overpowering her like he’s supposed to, Margot ends up getting him. As the two are struggling, she reaches for something…anything to stop him. She ends up grabbing the scissors and stabbing him with them, completely killing him.

Margot is a mess and is freakin’ out. I can’t blame her, someone is trying to murder you and you kill them.

Tony tells her to touch nothing and wait for him. He’s on his way over.

As he heads over Tony freaks out. His plans have failed. But then something comes to him. A new plan, a way to fix things.

He decides to make it look like Swann was blackmailing Margot and that she murdered him rather than self-defense. He calls the police and sends Margot to bed. He then plants Mark’s letter in Swann’s coat, takes the key and puts it back in Margot’s handbag, and burns the scarf that Swann was going to use, replacing it with Margot’s stocking. He then tells Margot to make sure she doesn’t tell the police that he told her not to call the police. He’s worried how it might make her look. However, Tony is plotting very well, and the police begin to strongly suspect her.

Hmm…

The police figure out that Swann did not come through the French Windows. He must have come through the hall, as it rained the night before. If he had come through the garden there would be muddy footprints. Inspector Hubbard (John Williams) strongly suspects Margot and believes her to be the killer. We cut to a scene showing Margot on trial amd sentenced to be hanged.

Except thing are not quite perfect.  There are quite a few things Tony didn’t plan. One of which was getting rid of the money. As Tony mentioned, he’s been drawing a lot of money out of his bank every week, pretending to spend it on racehorses. He had planned to give it to Swann, but now is at a loss. He can’t put it back in the bank as there would be too many questions. He can’t keep it, if the police find it, it’s all over for him.

So he tries to spend it all. Unbeknowest to him, the police are watching him very carefully. And they notice this.

Months later, on the night before Margot’s execution,  Mark comes to speak to Tony. He tells him that instead of letting Margot die, he should say that he tried to murder her. That he hired Swann. This will give him some jail time but save Margot’s life. Tony does not want to do that.

Inspector Hubbard comes back to the flat to question Tony some more about the money he’s been spending. Mark hears this and starts searching, finding the briefcase full of money.

Tony thinks of a lie quickly and says that this was the money Margot had to give to Swann, but then changed her mind and killed him. The Inspector listens and takes his comment as fact…or does he?

Hmm…

Now, if Tony was really smart he would have made up a different lie. I would have said that I realized there was nothing between me and Margot and was planning on leaving her. However, I knew that I wouldn’t get much money in the divorce (he signed a prenup), so I’ve been taking some money out, bit by bit. When the murder happened, I knew it would come to light and was afraid that it might put me in a bad light or under suspicion. I mean its not the perfect excuse, but at least it shows he wasn’t going to kill her as why remove money when he was planning on getting it all. But he doesn’t think that way.

This makes the inspector highly suspicious of Tony and he steals the key from Margot’s purse, intent on sneaking in and investigating.

Hold on, that is illegal. He doesn’t have a search warrant or permission to be searching the house. Anything he finds will be immaterial and thrown out of court. I looked it up and  this is what it said:

By the laws of England, every invasion of private property, be it ever so minute, is a trespass.No man can set his foot upon my ground without my license, but he is liable to an action, though the damage be nothing; which is proved by every declaration in trespass, where the defendant is called upon to answer for bruising the grass and even treading upon the soil. If he admits the fact, he is bound to show by way of justification, that some positive law has empowered or excused him. The justification is submitted to the judges, who are to look into the books; and if such a justification can be maintained by the text of the statute law, or by the principles of common law. If no excuse can be found or produced, the silence of the books is an authority against the defendant, and the plaintiff must have judgment.

So technically, anything he finds can not be used in a court of law. That’s it, Tony is allowed to go free.

But of course this is a movie, and things go differently. Inspector Hubble discovers that the key in the purse does not work on the front door. He instead finds it under the stair carpet. This gives him the great idea of creating a little trick to discover if Tony is the true killer.

The Inspector visits Tony and steals his raincoat, leaving his own, therefore taking Tony’s key. He calls the station and asks them to release Margot. She immediately returns home, but finds out that her key won’t work. Hubbard watches her and discovers that she does not know the key is under the stairs. The Inspector let’s her in and gets a policeman to take the bag back to the station. They then begin to wait for Tony.

Tony comes home from his errands and finds that he can’t get inside. His coat belongs to Inspector Hubble and he has the wrong key. When Tony discovers his key doesn’t fit, he goes down to the station to get Margot’s bag. When that key doesn’t fit, he looks under under the stairs and finds the key, giving himself away.

Tony enters and figures out they caught him. Being the gentleman he is, he doesn’t fight them. He knows when he has been defeated.

Tony Wendice: [pouring a drink] As you said Mark, it might work out on paper, but congratulations, Inspector. Oh, by the way… How about you, Margot?

Margot Mary Wendice: Yes, I could do with something.

Tony Wendice: Mark?

Mark Halliday: So could I.

Tony Wendice: I suppose you’re still on duty, Inspector.

It;s a great movie, despite the small legality issue, but otherwise an amazing film. I definitely recommend it.

To start Horrorfest III from the beginning, go to Even a Man Pure of Heart

For the previous post, go to What Have We Done to Each Other?

For more on Dial “M” for Murder, go to Part X: The Movie List That Would Not Die

For more on Alfred Hitchcock, go to The Past of a Man

For more on blackmail, go to Secrets are Great, Unless You Get Caught

For more films based on a play, go to Murder is My Favorite Crime

All I Know About Trilogies is That in the Third One, All Bets are Off: Scream 3 (2000)

What do you know about trilogies? You mean like movie trilogies…Well, all I know about trilogies is that in the third one, all bets are off.

So welcome to another Scream-tastic Saturday! (For the previous Saturdays, go to Scream and Scream 2)

Yep the third installment in this now trilogy, Scream 3.

While this was a great horror parody, it wasn’t my favorite of the three. I thought it was okay, as it had Patrick Dempsey, but didn’t like how it was missing one of the best characters: Randy.

So this one is a complete throw out of left field, as it is the third film. This time we have the secret backstory that changes all that was ever given to us in the first two.

In fact Wes Craven actually filmed three different endings and didn’t tell the cast which one he was going to use. It was one big surprise.

Scream 3 takes place three years after Scream 2. If you recall from Scream 2, Cotton Weary is exonerated and Sidney agreed to do that interview with him. Well, that really helped as now Cotton hosts his own nationally syndicated talk show, called 100% Cotton.

That’s really the name they went with? I know its catchy, but it sounds more like an underwear commercial than a real show.

Anyways, back to the plot. He gets a phone call that starts out benign, but then quickly turns deadly.

Cotton Weary: Who’s this?

Female Caller: Who’s this?

Cotton Weary: Who are you calling?

Female Caller: Oh, you know what, I’ve got the wrong number.

Cotton Weary: That’s okay.

Female Caller: Wait, your voice. You sound a lot like that guy on TV, uh, Cotton Weary.

Cotton Weary: I do huh?

Female Caller: Yeah, I think he’s got a really sexy voice.

Cotton Weary: [laughs] Okay, well, thank you.

Female Caller: Wait a minute. You are Cotton, aren’t you? Oh my God, I am talking to Cotton Weary.

Cotton Weary: [laugh] You caught me. Listen can you hold on for a minute? I got someone on the other line.

Female Caller: Yeah…

Cotton Weary: Hold on.

Cotton Weary: [switches to car phone] Andrea, I got someone on the other line. I’ll have to call you back [switches back to cell phone] So… you a 100% Cotton fan?

Female Caller: Yeah, 110%.

Cotton Weary: [chuckle] That’s very good. So, uh… Why don’t you tell me your name?

Female Caller: Ooh, you’re a naughty boy, Cotton. Now, what would your girlfriend think?

Cotton Weary: What makes you think I have a girlfriend?

Phone Voice: [click] I know you do. I’m right outside her bathroom door. She’s in the shower. She’s got a nice little… voice. Let’s go in for a closer look. Ooh, she’s very, very pretty, Cotton. A step up from Maureen Prescott. Speaking of which, let’s play a game. Answer right, your girlfriend lives, answer wrong she dies. Where’s Maureen’s daughter, Sidney?

Cotton Weary: Who the f*** is this?

Phone Voice: Someone who would kill to know where Sidney Prescott is. You’ve got connections. One chance, Cotton. Where is she?

Cotton Weary: Listen to me, you son of a b****, if you touch Christine, I’ll f****** kill you.

Phone Voice: Wrong answer! [click; dead line]

LOL Cotton and Cotton 100% Cotton

Cotton rushes home to try and reach his girlfriend.

Now Christine the girlfriend is pretty stupid. She doesn’t lock her bathroom when she takes a shower? Who does that? Everyone does!

Ren Stevens: What? Honey, you’re chased by six mutants, and you just decided to take a shower?

Pretty much she gets killed, Psycho-style.

Making her

Victim #1

Ghostface attacks!

Cotton is soon to follow.

Victim #2

Now that begs the question, where is Sidney? What happened to her?

So Sidney had a major breakdown and faced a lot of changes since the last film. Let’s review. She had a killer target her again. She thought it might be her boyfriend. She watched her best friend die. She watched her boyfriend die. Someone who she thought was her friend, turned out to be a “sleeper agent” and tried to murder her. She almost died.

Yeah…that’s a lot to deal with a lot.

In fact, so much to deal with that Sidney has moved very, very far away to a secluded spot and only a handful have an idea of where she is. What she does for a living is work with a suicide prevention hotline. She gets one call a day. Today’s call isn’t the usual…its THE caller.

When a Stranger Calls

She hears about what happened to Cotton and realizes, it’s happening again.

Currently in Hollywood they are creating another Stab film, Stab 3, based on the true events of Scream 2. Cotton was one of the producers, so the cops have been checking it out. One cop is Mark Kincaid, played by Patrick Dempsey. In fact just like Mark Wahlberg in The Lovely Bones, Dempsey was hired the night before and had to figure the character out without any real ideas of the script. Anyways, Kincaid has been using Gale Weathers for background info as they found a photo of Sidney’s mother Maureen at the crime scene. Gale journeys out to Hollywood and when she gets there she discovers Dewey is there. Yep, the two broke up as Dewey didn’t like how she treats people. He is working as a consultant for the film, and dating the actress playing Gale Weathers that looks just like her, Jennifer Jolie.

 Meanwhile on the set of Stab 3, one of the blond bimbos enters an office looking for someone and gets murdered.

Victim #3

Yep, this killer wastes very little time as later at Jennifer Jolie’s house her bodyguard gets a phone call and is murdered by ghostface.

Victim #4

The bodies are just dropping like flies. I wasn’t going to post this, but I feel like I can’t go any farther as this song is running through my brain nonstop.

To add to the intensity of this particular Ghostface is that he then blows up Jennifer Jolie’s house

The killer tries to attack Gale, but Dewey saves her by shooting at him.

Meanwhile, Sidney’s back. The attacks and calls encouraged her to come back and help find the killer. She and Mark clash at first a bit.

Sidney: What do you know about trilogies?

Mark: You mean like movie trilogies?

Sidney: You seem to like movies, Detective.

Mark: Call me “Mark”, will you? ‘Cause I’m gonna keep calling you Sidney.

Sidney: I’ll call you “Mark” when you catch the killer, Detective.

Mark: Well, all I know about trilogies is that in the third one, all bets are off.

Sidney: Did you request this case?

Mark: No. They tend to put me on the ones that deal with the business. I grew up here and I know my way around the studios.

Sidney: Must be exciting. Beautiful place, beautiful people.

Mark: To me, Hollywood is about death.

Sidney: Excuse me?

Mark: I’m a homicide cop. When you see what I see day in and day out, the violence that people do to each other, you get haunted. I think you know about that.

Sidney: What do you mean?

Mark: I know what it’s like to see ghosts that don’t go away, to be watching a scary movie in your head, whether you want to or not, watching it alone.

Sidney: Ghosts are tough. You can’t shoot ghosts.

Mark: Can’t arrest ghosts. But the trick to keep from getting haunted is to be with people. You’re here, you’re not in hiding. You’ve done the right thing… Miss Prescott. What did you know about your Mother?

Sidney: I always thought I had the perfect Mom, the perfect family until I found out I was wrong. She had a secret life and I tried to understand that. And… soon as I thought… then I had more secrets. I don’t know who my Mom was.

Mark: You knew who she was to you. Here’s the deal: I’m off to search the set. I think that what you saw is real. That’s the good news.

Sidney: How’s that good news?

Mark: Because it means that we are dealing with a flesh and blood killer, and I know how to handle guys like that.

Sidney: Oh, yeah. How?

Mark: Catch him or kill him.

Sidney: Hey, Detective? What’s your favorite scary movie?

Mark: My life.

Sidney: Mine, too.”

And that brings up a very interesting concept. What are the rules for a trilogy? How should we do this? Last time we had Randy to lead us, but now what are we going to do? Poor Randy! Best character ever! Oh, Randy! Randy nooooooooo!

Noooooooooo!!!!!!!

So what Craven decided to do is to bring Randy into the film via video recording.

That’s how you gonna do it? That’s it? That’s really it?

 

The original idea was to have Randy survive the stabbing in Scream 2, his family having rescued him secretly. This was ultimately deemed to be too far-fetched so Randy was resurrected via a post-mortem video appearance instead. They knew they had to bring him back as the fans loved him. In fact Wes Craven got a ton of hate mail for killing off Randy, and thought this would appease the fans. Yeah you dunderheads, you made a big mistake.

Well you know what would have been an even better idea? NOT KILLING HIM!!!!!!!!

So here we go. Rules for a trilogy.

So Gale is eager to do some investigative reporting and finds herself being followed by Jennifer Jolie. Jolie wants to really “get into” her role. Great for Jolie, bad for Gale.

Ugh

I’m sure she would rather be punched in the face by Sidney.

So they go down to the archives and we have the funniest scene in the whole film.

Sidney also gets attacked by the killer.

She gets away and goes down to police headquarters to make a statement. At this point in time Sidney discovers that Mark Kincaid has a lot of newspaper clips and info on her. It creeps her out and makes her wonder whether or not he is the killer.

But it turns out her story and survival had intrigued him and he fell for her. Just like Det. Lt. Mark McPherson in Laura (1944). Which causes this earlier statement to make a lot more sense.

“Mark: I’m gonna talk to the studio guys about those photos.

Detective Wallace: Yeah right, I know where you’re going.

Mark: Yeah keep an eye on Sidney.

Detective Wallace: I know where you’re going, you’re gonna get her some flowers and candy, right? Huh?

Mark: Gimme a break!”

The main producer of the film, John Milton, invites everyone over for a cast party at his house. Unfortunately, they have been dragged to that house for one reason alone, the killer is going to kill them all!

Time to prepare yourself.

Sidney in the parlor with a candlestick

Now this is where the bodies really start hitting the floor.

Dewey and Gale discover the film’s director, Roman, stuffed in a chest.

Victim #5

Angeline, an actress, runs off and is murdered.

Victim #6

Then Tyson (another actor)

Victim #7

And Jennifer

Victim #8

The killer then attacks Gale and Dewey, knocking them out and tying them up. In a surprising twist, Ghostface doesn’t murder them but uses them to bait Sidney to the house.

Sidney shoots him, but he ends up escaping. Kincaid comes in to save the day, but gets knocked out by the killer. The killer then chases Sidney and reveals himself to be Roman.

Yep he had faked his own death. Now you may be wondering why would a famous film director want to murder Sidney Prescott? Well it turns out that he is Maureen’s illegitimate son.

This is actually radically different than any of the other Scream films. All the others have two killers; Scream-Billy & Stu, Scream 2-Mrs. Loomis & Mickey, Scream 4 had two but I won’t reveal until next week. Now the reason that this film had only one was that it was supposed to be the last film. That is until Wes got greedy and made the atrocity Scream 4 which I will review next week.

So know not only do we have the villain monologue, but the big reveal.

Phone Voice: You’re not going anywhere Sidney. It’s time you came to terms with me, and with mother. Maybe you never knew her at all Sidney… maybe you just can’t get past the surface of things.

Sidney: Who the hell are you?

Phone Voice: The other half of you. I searched for a mother too, an actress named “Reena Reynolds” tried to find her my whole LIFE, and four years ago I actually tracked her down. Knocked at her door thinking she’d welcome me with open arms, but she had a new life and a new name, Maureen Prescott! You were the only child she claimed Sidney. She shut me out into the cold forever! Her own son [takes off mask to reveal he is Roman Bridger] Roman Bridger, director, and brother. She slammed the door in my face, Sid. She said I was “Reena’s” child and Reena was dead… and then it struck me. What a good idea, so I watched her. I made a little movie, a little family film. Seems Maureen…”Mom”… she really got around. I mean Cotton was one thing; everybody knew about that. But Billy’s father – that was the key. Your boyfriend didn’t like seeing his daddy in my film too much. He didn’t like it at all. And once I supplied the motivation… all the kid needed was a few pointers. Have a partner to sell out incase you got caught, find someone to frame, it was like he was making a movie.

Sidney: You… this is all because of you.

Roman: I’m a director Sid, I direct.

Sidney: Ah.

Roman: I had no idea, that they were gonna make a film of their own. I mean intoducing Sidney the victim, Sidney the survivor, SIDNEY THE STAR!

He also reveals that John the producer raped Maureen, and Roman was their child. He kills John for revenge, bringing the body count to

Victim #8

Sidney is just tired of this.

Tired of hearing another killer blaming the circumstances of their life on her. Sidney berates Roman who gets angered enough to attack her leading to a fight. Roman manages to gain the upper hand but a distraction by Kincaid allows Sidney to grab his knife. He takes Kincaid’s gun and shoots her.

Noooooooooo!!!!!!!

However, it turns out that she is wearing a bulletproof vest. She uses the knife and stabs him several times in the back and heart. Dewey takes his gun and shoots him several times, making sure he gets in a headshot.

The four-Gale, Dewey, Kincaid, and Sidney head out to her secluded mountain home. There Dewey proposes to Gale, by carving out her book and placing the ring inside. Now I know this is “romantic”, but to me it sounds horrible. You just destroyed a book!

Noooooooooo!!!!!!!

Sidney also starts a relationship with Kincaid, and it ends on a happy note. At last it is all over.

That is until this horrible thing comes up:

Well that was Scream 3. Tune in next week for the final chapter.

To start Horrorfest III from the beginning, go to Even a Man Pure of Heart

To go to the previous post, go to Tuesday the 17th

For more on the Scream Franchise, check out It’s Happening Again, Isn’t It?

For more trilogies, go to Life Finds a Way

For more on serial killers, go to You Think You Know Something, Don’t You?

For more horror parodies, go to A Deliciously Creepy Tale

For more on slasher films, go to Hello? Is There a Killer in My Kitchen?

For more on Patrick Dempsey, go to I Don’t Dance or Sing, Except When I’m With You

For more on Wes Craven, go to What’s Your Favorite Scary Movie?

For more on Whitesnake, go to Here I Go Again

For more of my fav songs, go to Rock You Like a Hurricane 

Feast Your Eyes On My Accursed Ugliness: The Phantom of the Opera (1925)

Feast your eyes! Glut your soul on my accursed ugliness

I love this movie so much that words fail to express how I feel. This movie was the one that not only was my gateway into horror films, but also caused a life-long love affair with classic cinema.

It all started one day at the library. I was about six years old and complaining to my mother that I couldn’t find any books to read. Nothing just felt right. You know what I mean, when a book synopsis just connects to you, and you know you need to take it home to read?

So my mother eager to get home, pulls a book off the shelf and suggests that I read it. Instead of paying attention to whatever novel she had in her hand, I saw the one behind it. It was The Phantom of the Opera; a slender, abriged, children’s version.

It became my new favorite book and I would check it out all the time, completely annoying my mother.

Later on I read the original, whole  version; which I also love. It is written so well, if you haven’t read it yet I highly recommend it.

I just connected with this poor man. He was bullied and betrayed because he was disfigured. No one paid attention to his genius in building and composing. He was living a life alone in isolation. I wanted to go underground with him.

I would have gone off with him and loved him unlike Christine Daaé, she’s a total jerk and loser.

Anyways, not long after I was flipping the channels and stopped on TCM. I love TCM (Turner Classic Movies) with a passion. I wish I could watch it 24/7 as they show the most amazing films ever.

Anyways, so that day they were doing a biography on Lon Chaney, and mentioned that he played the Phantom. I was now sucked in and had to watch. The film was the biopic Man of a Thousand Faces. Lon Chaney quickly became my favorite actor as I just fell in love with what a genius he was. He used to wait outside the movie studio, using his make-up to change his apperance to better fit roles. His most famous one being of course, the Phantom.

Afterwards, they held a marathon of his films, but I stopped watching as they didn’t show the one I wanted to see. I now had to watch the 1925 film! I did more research and found out that it is one of the first films to use color, only being able to for the Masque of Red Death scene. It was supposesed to be one of the most dramatic scenes in the film.

I now absolutely HAD to see that film. I went and rented it, hoping that it would be as good as it sounded. It was better than that! The film was not only horrtastic, but simply, and honestly amazing! It also stayed very close to the book, making only a few changes, and doing a much better job than some other versions (the 1943 one, so bad 😦 ).

Now I know that silent film isn’t for everyone, but I suggest that you check it out.

So we start off the film with someone lurking in the catacombs of the opera house. We don’t know who he is or what he is after. Then we switch to the opera house, and the creme de la creme of the elite milling about. Everyone is settling down as the show is about to start.

We see the ballerinas on stage dancing away.

Reminds me of Degas

Meanwhile in an office upstairs, the opera house is being turned over to new owners. Owners who know nothing of what lurks in the belly of the building.

For there lies the Phantom and a friend. A Persian man that had traveled with him since the Phantom has been abroad, but no one knows more than that.

So the new opera owners have gained a lot of problems with their purchase. Besides having to pay the phantom money, give him box 5, and a few other amenities; he is also demanding that they replace Carlotta with Christine, the girl he has been coaching. Needless to say, this is very upsetting for Carlotta.

I refuse to be treated in such a manner

In fact the Phantom has threatened Carlotta if she does not stay away. Carlotta is most unhappy; and leaves declaring she will not sing that night.

Instead Christine Daaé sings beautifully. She is also noticed by the stupid Vicomte de Chagny. I really dislike Raoul, Team Phantom all the way!

In the book Raoul struck me as a real annoying guy. Like one who is always trying to do different things; but only does them halfheartedly, always expecting someone to bail them out of a jam. Then again I could be biased.

Anyways Stupid Raoul notices Christine and tries to get with her. But she is not as receptive, in fact telling him kindly to get lost as she has her career to think about.

Stupid Raoul goes to leave, but actually, is secretly waiting outside her door to spy on her.

Now for anyone out there; if you tell a person you want a relationship to end and they don’t listen and spy on you, you need to call the police and get rid of them. I can’t believe him. Raoul just went from stupid to stalker. I mean who listens outside their ex’s door like that? Who does that?

So Carlotta decides to sing anyway, even though she has been warned that bad things will happen. The Phantom makes sure that she will never want to sing again.

“Erik: Behold! She is singing to bring down the chandelier!”

So Christine goes to her room and Raoul being the creep he is  follows her. Erik, the Phantom, calls to her and tells her to go through her mirror; which is really a trapdoor. The Phantom built the Opera House, so built himself a home underneath the Opera House along with tons of secret passage ways and hideouts.

The Phantom takes her to his subterranean home, across a hidden lake.

Christine is amazed and kind of freaked out being there with him. All she can focus on is the fact that he is wearing a mask. Erik starts telling Christine his life story, and the sadness it has brought him. She ends up fainting, and he carries her to his guest room; beautiful and full of things she will love. It has a whole wall of shoes!

The next day everyone is in an uproar as Christine is missing! She wakes up to hearing the organ being played by the Phantom. He has been working on an opera for a long time.

“Erik: Since I first saw your face, this music has been singing to me  of you and of –love triumphant!”

While he is romantically sharing his feelings, Christine is determined to rip off his mask.

Lon Chaney is truly amazing! I mean look at him! He is so awesome looking! So creepy! He is such a genius, devising his own make-up. The Phantom’s makeup was designed to resemble a skull. Lon Chaney attached a strip of fish skin (a thin, translucent material) to his nostrils with spirit gum, pulled it back until he got the tilt he wanted, then attached the other end of the fish skin under his bald cap. For some shots, a wire-and-rubber device was used, and it cut into Chaney’s nose and caused a good deal of bleeding. Cheeks were built up using a combination of cotton and collodion. Ears were glued back and the rest was greasepaint shaded in the proper areas of the face. The sight was said to have caused some patrons at the premiere to faint.

Christine is completely shocked at his apperance. Mary Philbin, the actress who played Christine, reaction to the unmasked Phantom was real – she had no idea what he would look like until that exact moment.

So the Phantom is upset, but Christine has to stay with him. He is not about to let her go. Now I know that is not appropriate behavior, but I feel so bad for him. She loved him until she saw his face, Now he has nobody. 😦

Then they have the most amazing scene ever! This was one of the first films to have color! They do this huge masquerade scene in color and he comes as the Red Death! It is too fantastic for words. I cannot describe it, you will have to watch it. His entrance, his outfit, etc.

Erik: Beneath your dancing feet are the tombs of tortured men! Thus does The Red Death rebuke your merriment!

Christine escapes from the Phantom and sneaks off with Raoul. They make plans to run away together, but little do they know that the Phantom has overheard everything.

Christine prepares to do her last performance, and as she is doing so, the Phantom comes and spirits her away. His only friend, a Persian courtier who has been with him through everything, goes to Raoul to lead him to Christine.

They go through the secret passage, but end up accidentally in the Phantom’s torture chamber.

The Phantom gives Christine two choices; she can choose to hit this ceramic scorpion,which means that she has chosen to marry the Phantom and be his forever, or the grasshopper which means death to Raoul and the opera house. The grasshopper if pressed will light a fuse of the gunpowder that is packed throughout the opera house and interconnected. Everything will blow! The scorpion is connected to a switch that will pump water into the bottom of the opera house and soak all the gunpowder and keep the opera house from blowing up.

She chooses the scorpion, but as the water starts to come up and drown Raoul. Christine asks the Phantom to save his life, that she will do anything for him if he does. He pulls Raoul out and then takes off with Christine, as the Parisians are hunting him down.

Grab your torches and sharpen your pitchforks!

The villagers follow in pursuit. As they are running, Christine throws herself out of the carriage. The Phantom goes to her, but the villagers are too close and he takes off. Raoul goes to Christine, and the Phantom is “killed” by the people.

I’ve never been a fan of that idea, you can’t kill the phantom, he’s unbeatable!

I love him! Is that sad and pathetic?

That’s the post for today. More to come! 4 days ’till Halloween!

Here’s poster I made for my cover page on facebook in honor or Halloween. Hope ya love it.

To start Horrorfest from the beginning, go to I Don’t Belong in the World

For the previous post, go to They’re Coming to Get You Barbara 

For more on The Phantom of the Opera, go to My Favorite Movie Lines

For more on classic horror films, go to I Want Friend Like Me

For more films based on books, go to Quite a Horror Story

For more films that spanned countless remakes, go to I Bid You Welcome

For more of my favorite quotes, go to I’m No Warrior, I’m an Assistant Pig-Keeper