Dracula

Tod Browning's Dracula (1931) is probably the most famous film adaptation of Bram Stoker's influential novel of the same name. It has affected our views on vampire mythology for a century and the film adaptation's power is still palpable. Even though it made a lot of silly vampire tropes into cliches, the film still manages to make the most out of them (such as the crucifix).

The storytelling moves the film forward at a calm but menacing pace - relying on the its atmosphere. Above all, Dracula is a visual feast. Mise-en-scene is simply stunning in this film. As a great example, I would like to mention Dracula's old castle that serves as the milieu for the beginning. Those glorious, beautiful shots of the wide open space in the filthy, rat-infested castle left me in awe (and made me very tense). The other locations and sets are marvellous as well and the costume design adds a nice, quirky touch to the film.

Bela Lugosi's performance dominates the film and he is able to carry the film's momentum graciously on his own. His intimidating yet intriguing body language and intricate line delivery make his performance truly masterful.

Dracula is a film that relies on a calm buildup and atmosphere instead of shocks. If I had a problem with the film, it would be with the occassionally weird editing, but luckily that wasn't too off-putting for me.

Score: 9 out of 10

The Shining

The Shining (1980) is Stanley Kubrick's legendary cinematic adaptation of Stephen King's horror classic. As a family takes care of an isolated hotel while it is closed in the winter, the father (Jack Nicholson as Jack Torrance) gradually becomes insane. As usual, Kubrick's adaptation is harsh and vastly different from the original novel, but in my opinion he only changed it for the better. The buildup is gracious and mind-boggling - and the climax perfectly explodes all the tension the film has gathered up to the point.

Kubrick's inventive camerawork is fascinating: the Steadicam shots build a powerful atmosphere for the film. The long takes and beautiful compositions are also up to Kubrick's high standards: the film is visually awe-inspiring.

Kubrick's The Shining is one of the landmarks of horror in cinema: it delivers on all fronts.

Score: 10 out of 10

Audition

On the 30th of July in 2009: I watched Takashi Miike's Audition (1999) for the first time. Even though I was somewhat aware of the film's reputation, it took me by surprise and made me flinch more than anything I had seen during the year. Initially it decreased my interest in Miike, but gradually I began to watch a few other films he had directed.

Today: I rewatched Audition - and this time I was ready for it.

Audition is the story of a widow who begins to search for a new, young wife by holding an audition. The one he falls in love with seems to be something completely different to what he initially expected. Even though Miike himself denies it, the film is focused on the social commentary. He attacks the values of modern Japanese men: the main character resorts to holding a fake audition in order to find a woman who matches his high (and exact) standards. Naturally, it is exaggerated, but it is a brilliant observation on what a lot of Japanese men have become.

The film's structure works like a proper horror film with a long build-up that explodes in a fantastic way. At the same time it manages to be satirical successfully: it's almost impossible to separate the suspense and the humor. The final third of the film is something one will not see coming even when you are aware of the film's reputation. It is such a provocative and brilliant way to explore the characters' psyches - and it manages to leave an unforgettable impression on the viewer. The only problem I have with the content is how it plays around with reality and illusion. Sometimes it works - and sometimes it does not. Although that made possible to create the film's best sequence - a dream-like (and even postmodern) exploration of the characters.

The film's form is fascinating as well. During the first half of the film, it manages to be distant while keeping the emotionally invested in the characters. The slight alienation is only for the better because in the final third, the form becomes so intimate and brutally honest that it has a huge effect on the viewer. The first half of the film is almost very foreboding when you look at the cinematography - especially the lighting.

In overall, Audition is a great film that could have become a masterpiece, but doesn't barely reach that status.

Score: 9 out of 10

Kwaidan

Masaki Kobayashi's Kwaidan (1964) - or Kaidan, as it is spelled in modern Japanese - is based on a famous anthology of ghost stories written by Lafcadio Hearn. The title itself translates as "ghost story" into English. The only thing these four stories have in common is that they deal with ghosts in some way and all of them are genuinely scary.

The first story, Black Hair, is a fairly simple: man leaves his wife so that he can get a better position in the community only to regret his decision later. However, things are not as he had hoped anymore. The message is straightforward yet poignant. The use of sound is extremely otherwordly and brilliant in this segment. Sound effects are often muted or delayed - and that's what makes the story truly menacing. The sound effect of wood being torn apart is used in the musical score in a creepy way.

The second story, Woman of the Snow, also focuses on love, but it takes a totally different approach to the subject. What really sets this story apart is its haunting and bittersweet atmosphere, it is not as directly scary or creepy as the other stories. The way snow is portrayed (even though it was shot on interior sets) is unforgettable. I would even dare to say that this is the most iconic depiction of snow and coldness.

The third story, Hoichi the Earless, is the longest and most intriguing portion of the film. Essentially it is about a blind monk who is cheated by the spirits of the dead. The story takes its precious time to build up tension until it explodes into all directions in the end - before all of it is brought together in the end in an awesome way. This story is something that will never leave your mind at peace.

The final story, In a Cup of Tea, is the most mysterious and surprising segment. I won't go into too much detail because it is something you need to see yourself. The ending is even more ambiguos than the rest of the film put together. It is something you will not see coming, but it is the only logical way to end a film like this. All I can say is that it includes a story about a bodyguard who is haunted by a ghost.

The film's form is consistently brilliant and varies a bit in each story. The use of sound and music is crucial in each one: while the first one is most notable and obvious achievement in sound, the entire film is controlled by sound. The film was completely shot on interior sets and you won't even realise that until you read about it somewhere. All of the sets were hand painted and some of them are really expressionistic and atmospheric. The cinematography is beautiful as well - there is never a moment when Kobayashi's flawless camerawork fails. For example, his use of Dutch angles is perfected here.

Masaki Kobayashi's Kwaidan is a stunning cinematic achievement. I can not recall a film that would have such a brilliant combination of creative sets, stunning cinematography and innovative use of sound. The stories might be a bit simple, but they hold great wisdom that should not be forgotten.

Score: 10 out of 10