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Horror Education of the Week: ‘North by Northwest’

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That’s funny, that plane’s dustin’ crops where there ain’t no crops.

Alfred Hitchcock’s North By Northwest tells the tale of Roger Thornhill, a successful advertising executive in Manhattan. Thornhill, a man grounded in his life and ways, becomes the vulnerable, isolated victim as he is abducted, framed for murder, and continuously pursued without prevail in a conspiracy all result of mistaken identity.

It is easy to say that Hitchcock’s 1959 film can be considered horror.

Roger Thornhill is thrown from his cozy life into that of George Kaplan. Immediately, he is isolated from the world he knows and cannot escape the world in which he is now confined. Seeking help from anyone who will believe him, Thornhill finds that everyone is either in on the conspiracy or passes it off as a drunken fantasy.

– The screenplay was written by Ernest Lehman, who wanted to write “the Hitchcock picture to end all Hitchcock pictures”.

– For the central idea, Hitchcock remembered something an American journalist had told him about spies creating a fake agent as a decoy. For the finale, Hitchcock had always wanted to do a chase across Mount Rushmore.

– Suspense, being a key aspect to the horror genre, is emphasized in North by Northwest.

– The main suspense scene in North By Northwest is Thornhill’s wait at a bus stop for the infamous Kaplan. Thornhill is unaware that an attempt on his life has been arranged.

– He stands, a man in a suit, dislocated from the city in the vast countryside, as multiple cars and buses pass with no sign of Kaplan. It is when a man comments on a crop dusting plane yards away and then boards a bus, that Thornhill is attacked by that very plane, pelted with machine-gun fire.

– Hitchcock further pushes suspense with his use of irony. The audience always knows something that the character does not.

North By Northwest relies on this irony. Thornhill is pushed through the strange world of being a fugitive, victim and ultimately a criminal.

– Though the audience is aware that Thornhill is not the murderer of Lester Townsend, a United Nations diplomat, a photograph is snapped and the world is on the hunt for Thornhill who is reportedly using the alias ‘George Kaplan’.

– The pattern of ironic situations – from being forced to drink so that a fatal car crash can be staged – which ultimately leads to Thornhill being arrested for drunk driving and no one believing his story – to being photographed holding a murder weapon he innocently has pulled from the back of a murdered man – is what keeps Roger Thornhill in constant isolation from the world he once knew.

– This overwhelming sense of isolated terror is exactly what pushes North By Northwest from being a simple suspense film to being considered horror.

Editorials

Finding Faith and Violence in ‘The Book of Eli’ 14 Years Later

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Having grown up in a religious family, Christian movie night was something that happened a lot more often than I care to admit. However, back when I was a teenager, my parents showed up one night with an unusually cool-looking DVD of a movie that had been recommended to them by a church leader. Curious to see what new kind of evangelical propaganda my parents had rented this time, I proceeded to watch the film with them expecting a heavy-handed snoozefest.

To my surprise, I was a few minutes in when Denzel Washington proceeded to dismember a band of cannibal raiders when I realized that this was in fact a real movie. My mom was horrified by the flick’s extreme violence and dark subject matter, but I instantly became a fan of the Hughes Brothers’ faith-based 2010 thriller, The Book of Eli. And with the film’s atomic apocalypse having apparently taken place in 2024, I think this is the perfect time to dive into why this grim parable might also be entertaining for horror fans.

Originally penned by gaming journalist and The Walking Dead: The Game co-writer Gary Whitta, the spec script for The Book of Eli was already making waves back in 2007 when it appeared on the coveted Blacklist. It wasn’t long before Columbia and Warner Bros. snatched up the rights to the project, hiring From Hell directors Albert and Allen Hughes while also garnering attention from industry heavyweights like Denzel Washington and Gary Oldman.

After a series of revisions by Anthony Peckham meant to make the story more consumer-friendly, the picture was finally released in January of 2010, with the finished film following Denzel as a mysterious wanderer making his way across a post-apocalyptic America while protecting a sacred book. Along the way, he encounters a run-down settlement controlled by Bill Carnegie (Gary Oldman), a man desperate to get his hands on Eli’s book so he can motivate his underlings to expand his empire. Unwilling to let this power fall into the wrong hands, Eli embarks on a dangerous journey that will test the limits of his faith.


SO WHY IS IT WORTH WATCHING?

Judging by the film’s box-office success, mainstream audiences appear to have enjoyed the Hughes’ bleak vision of a future where everything went wrong, but critics were left divided by the flick’s trope-heavy narrative and unapologetic religious elements. And while I’ll be the first to admit that The Book of Eli isn’t particularly subtle or original, I appreciate the film’s earnest execution of familiar ideas.

For starters, I’d like to address the religious elephant in the room, as I understand the hesitation that some folks (myself included) might have about watching something that sounds like Christian propaganda. Faith does indeed play a huge part in the narrative here, but I’d argue that the film is more about the power of stories than a specific religion. The entire point of Oldman’s character is that he needs a unifying narrative that he can take advantage of in order to manipulate others, while Eli ultimately chooses to deliver his gift to a community of scholars. In fact, the movie even makes a point of placing the Bible in between equally culturally important books like the Torah and Quran, which I think is pretty poignant for a flick inspired by exploitation cinema.

Sure, the film has its fair share of logical inconsistencies (ranging from the extent of Eli’s Daredevil superpowers to his impossibly small Braille Bible), but I think the film more than makes up for these nitpicks with a genuine passion for classic post-apocalyptic cinema. Several critics accused the film of being a knockoff of superior productions, but I’d argue that both Whitta and the Hughes knowingly crafted a loving pastiche of genre influences like Mad Max and A Boy and His Dog.

Lastly, it’s no surprise that the cast here absolutely kicks ass. Denzel plays the title role of a stoic badass perfectly (going so far as to train with Bruce Lee’s protégée in order to perform his own stunts) while Oldman effortlessly assumes a surprisingly subdued yet incredibly intimidating persona. Even Mila Kunis is remarkably charming here, though I wish the script had taken the time to develop these secondary characters a little further. And hey, did I mention that Tom Waits is in this?


AND WHAT MAKES IT HORROR ADJACENT?

Denzel’s very first interaction with another human being in this movie results in a gory fight scene culminating in a face-off against a masked brute wielding a chainsaw (which he presumably uses to butcher travelers before eating them), so I think it’s safe to say that this dog-eat-dog vision of America will likely appeal to horror fans.

From diseased cannibals to hyper-violent motorcycle gangs roaming the wasteland, there’s plenty of disturbing R-rated material here – which is even more impressive when you remember that this story revolves around the bible. And while there are a few too many references to sexual assault for my taste, even if it does make sense in-universe, the flick does a great job of immersing you in this post-nuclear nightmare.

The excessively depressing color palette and obvious green screen effects may take some viewers out of the experience, but the beat-up and lived-in sets and costume design do their best to bring this dead world to life – which might just be the scariest part of the experience.

Ultimately, I believe your enjoyment of The Book of Eli will largely depend on how willing you are to overlook some ham-fisted biblical references in order to enjoy some brutal post-apocalyptic shenanigans. And while I can’t really blame folks who’d rather not deal with that, I think it would be a shame to miss out on a genuinely engaging thrill-ride because of one minor detail.

With that in mind, I’m incredibly curious to see what Whitta and the Hughes Brothers have planned for the upcoming prequel series starring John Boyega


There’s no understating the importance of a balanced media diet, and since bloody and disgusting entertainment isn’t exclusive to the horror genre, we’ve come up with Horror Adjacent – a recurring column where we recommend non-horror movies that horror fans might enjoy.

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