Editorials
“The Twilight Zone: Rod Serling’s Lost Classics” Attempted to Revive the Series for the 1990s [TV Terrors]
Horror and science fiction have always been a part of the television canvas, and constant attempts have been made over the years to produce classic entertainment. Some have fallen by the wayside, while others became mainstream phenomena. With “TV Terrors,” we take a look back at the many genre efforts from the 80’s, 90’s, and 00’s, exploring some shows that became cult classics, and others that sank in to obscurity.
In this installment we remember “The Twilight Zone: Rod Serling’s Lost Classics.”
- Aired in 1994
- Aired on CBS
Ever since the original series ended in 1964, Hollywood has always been looking for ways to revive “The Twilight Zone.” While it’s mainly for the built in audience, it’s also because Rod Serling and Richard Matheson wrote some of the most timeless, enduring, and brilliant narratives of all time. They wove horror, fantasy and social commentary all in one and there’s never been a time where Hollywood didn’t seek to re-imagine the IP for a new generation.
“Twilight Zone” was even being developed into a new feature film by Leonardo DiCaprio at one time, and there was also more recently the polarizing (now cancelled) Jordan Peele iteration. I’d bet big money that won’t be the last we’ll see of the fifth dimension anytime soon.
Back in 1994 we were granted a look at a new “Twilight Zone” property entitled “Rod Serling’s Lost Classics.” Although Serling was sadly long gone by that time, CBS took it upon themselves to take the pair of apparently “lost” Serling tales and package them as an anthology TV movie with Richard Matheson writing. Perhaps it would have led to a new take on the series? Who knows? The legend goes that Carol Serling, the widow of the late TV writer, discovered the pair of stories told here after Serling’s death in 1975.
The title of the production, in and of itself, is a bit of a misnomer as while Serling is credited, both stories were written by Richard Matheson (who was still alive during this period) and include much of his influence. “The Theatre” primarily was (according to the article “Richard Matheson—Storyteller: The Twilight Years, Part II“) based around an alleged broader outline more than a short story by Serling; apparently Matheson then took it from there.
With James Earl Jones taking the role as the film’s narrator (after the injection of the original series’ black and white opening credits), we’re given two fairly lackluster short films. That pains me to say, and maybe you could make the argument that perhaps you have to lower your expectations going in. But even with Richard Matheson on board, “Lost Classics” doesn’t really dig up a gem that is bound to knock you on your butt with a shocking twist like, say, “Time Enough At Last” or “To Serve Man.”
The first tale is “The Theater,” starring Amy Irving and Gary Cole. Irving plays Melissa, a woman who is hesitant to commit to her boyfriend, as played by Cole. While out one night to see her favorite movie “His Girl Friday,” she sees herself projected on screen. As she keeps returning to the theater, she realizes her future (and possible fate) is being projected on to her, and she has to figure out how to beat it.
There are so many unanswered questions left by this segment once it’s over (what is the significance of the clowns?), and the overall theme feels fairly clunky. The whole idea about beating fate and our struggles with the concept of free will has been done to death in just about every anthology ever made. Despite the strong turns by Irving and Cole, the themes along with the weak plot twist land with a thud and make this one feel like a third tier episode of the eighties iteration.
The second tale, “Where the Dead Are,” has a much more profound theme, even if it’s talky and glacially paced. Set in the late 1800s, we follow a brilliant doctor (Patrick Bergin) who is desperate to beat death. When he discovers an old man (Jack Palance) with the means to bring the dead back to life, he travels to a distant island to learn his secrets and gets so much more than he bargained for. Written by Matheson, “Where the Dead Are” has a satisfying Edgar Allan Poe atmosphere, with some strong turns by the cast.
There’s also the ultimate question: if you could accomplish immortality, would you? Would you even if it meant leading a monotonous, routine existence? While the overall message is much more interesting, “Where the Dead Are” just isn’t worth the journey, and drones on and on until finally getting to the point. I guess you could admire what the producers were initially aiming for with “Lost Classics” (James Earl Jones is very good as the narrator, no surprise there), but in the end it’s very much a TV movie that doesn’t work to Matheson’s innate strengths. The narratives feel strained to build momentum and atmosphere, and the overall movie lacks the palpable menace and camp of the 1983 feature film.
“The Twilight Zone: Rod Serling’s Lost Classics” came and went without much fanfare in 1994 and is mainly known by the fan base as one of the many efforts to breathe new life into the property. All things said, even if you’ve never seen this before, I’d recommend it mainly for those who consider themselves part of the hardcore fan base; you’re just much better off with the original series, or even the 1985 reboot.
Is It On DVD/Blu-ray/Streaming? “The Twilight Zone: Rod Serling’s Lost Classics” is sadly only available for purchase on Region 2 PAL DVD, but it is readily available for streaming on Amazon Prime Video, in its uncut form.
Editorials
‘Immaculate’ – A Companion Watch Guide to the Religious Horror Movie and Its Cinematic Influences
The religious horror movie Immaculate, starring Sydney Sweeney and directed by Michael Mohan, wears its horror influences on its sleeves. NEON’s new horror movie is now available on Digital and PVOD, making it easier to catch up with the buzzy title. If you’ve already seen Immaculate, this companion watch guide highlights horror movies to pair with it.
Sweeney stars in Immaculate as Cecilia, a woman of devout faith who is offered a fulfilling new role at an illustrious Italian convent. Cecilia’s warm welcome to the picture-perfect Italian countryside gets derailed soon enough when she discovers she’s become pregnant and realizes the convent harbors disturbing secrets.
From Will Bates’ gothic score to the filming locations and even shot compositions, Immaculate owes a lot to its cinematic influences. Mohan pulls from more than just religious horror, though. While Immaculate pays tribute to the classics, the horror movie surprises for the way it leans so heavily into Italian horror and New French Extremity. Let’s dig into many of the film’s most prominent horror influences with a companion watch guide.
Warning: Immaculate spoilers ahead.
Rosemary’s Baby
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The mother of all pregnancy horror movies introduces Rosemary Woodhouse (Mia Farrow), an eager-to-please housewife who’s supportive of her husband, Guy, and thrilled he landed them a spot in the coveted Bramford apartment building. Guy proposes a romantic evening, which gives way to a hallucinogenic nightmare scenario that leaves Rosemary confused and pregnant. Rosemary’s suspicions and paranoia mount as she’s gaslit by everyone around her, all attempting to distract her from her deeply abnormal pregnancy. While Cecilia follows a similar emotional journey to Rosemary, from the confusion over her baby’s conception to being gaslit by those who claim to have her best interests in mind, Immaculate inverts the iconic final frame of Rosemary’s Baby to great effect.
The Exorcist
William Friedkin’s horror classic shook audiences to their core upon release in the ’70s, largely for its shocking imagery. A grim battle over faith is waged between demon Pazuzu and priests Damien Karras (Jason Miller) and Lankester Merrin (Max von Sydow). The battleground happens to be a 12-year-old, Regan MacNeil (Linda Blair), whose possessed form commits blasphemy often, including violently masturbating with a crucifix. Yet Friedkin captures the horrifying events with stunning cinematography; the emotional complexity and shot composition lend elegance to a film that counterbalances the horror. That balance between transgressive imagery and artful form permeates Immaculate as well.
Suspiria
Jessica Harper stars as Suzy Bannion, an American newcomer at a prestigious dance academy in Germany who uncovers a supernatural conspiracy amid a series of grisly murders. It’s a dance academy so disciplined in its art form that its students and faculty live their full time, spending nearly every waking hour there, including built-in meals and scheduled bedtimes. Like Suzy Bannion, Cecilia is a novitiate committed to learning her chosen trade, so much so that she travels to a foreign country to continue her training. Also, like Suzy, Cecilia quickly realizes the pristine façade of her new setting belies sinister secrets that mean her harm.
What Have You Done to Solange?
This 1972 Italian horror film follows a college professor who gets embroiled in a bizarre series of murders when his mistress, a student, witnesses one taking place. The professor starts his own investigation to discover what happened to the young woman, Solange. Sex, murder, and religion course through this Giallo’s veins, which features I Spit on Your Grave’s Camille Keaton as Solange. Immaculate director Michael Mohan revealed to The Wrap that he emulated director Massimo Dallamano’s techniques, particularly in a key scene that sees Cecilia alone in a crowded room of male superiors, all interrogating her on her immaculate status.
The Red Queen Kills Seven Times
In this Giallo, two sisters inherit their family’s castle that’s also cursed. When a dark-haired, red-robed woman begins killing people around them, the sisters begin to wonder if the castle’s mysterious curse has resurfaced. Director Emilio Miraglia infuses his Giallo with vibrant style, with the titular Red Queen instantly eye-catching in design. While the killer’s design and use of red no doubt played an influential role in some of Immaculate’s nightmare imagery, its biggest inspiration in Mohan’s film is its score. Immaculate pays tribute to The Red Queen Kills Seven Times through specific music cues.
The Vanishing
Rex’s life is irrevocably changed when the love of his life is abducted from a rest stop. Three years later, he begins receiving letters from his girlfriend’s abductor. Director George Sluizer infuses his simple premise with bone-chilling dread and psychological terror as the kidnapper toys with Red. It builds to a harrowing finale you won’t forget; and neither did Mohan, who cited The Vanishing as an influence on Immaculate. Likely for its surprise closing moments, but mostly for the way Sluizer filmed from inside a coffin.
The Other Hell
This nunsploitation film begins where Immaculate ends: in the catacombs of a convent that leads to an underground laboratory. The Other Hell sees a priest investigating the seemingly paranormal activity surrounding the convent as possessed nuns get violent toward others. But is this a case of the Devil or simply nuns run amok? Immaculate opts to ground its horrors in reality, where The Other Hell leans into the supernatural, but the surprise lab setting beneath the holy grounds evokes the same sense of blasphemous shock.
Inside
During Immaculate‘s freakout climax, Cecilia sets the underground lab on fire with Father Sal Tedeschi (Álvaro Morte) locked inside. He manages to escape, though badly burned, and chases Cecilia through the catacombs. When Father Tedeschi catches Cecilia, he attempts to cut her baby out of her womb, and the stark imagery instantly calls Alexandre Bustillo and Julien Maury’s seminal French horror movie to mind. Like Tedeschi, Inside’s La Femme (Béatrice Dalle) will stop at nothing to get the baby, badly burned and all.
Burial Ground
At first glance, this Italian zombie movie bears little resemblance to Immaculate. The plot sees an eclectic group forced to band together against a wave of undead, offering no shortage of zombie gore and wild character quirks. What connects them is the setting; both employed the Villa Parisi as a filming location. The Villa Parisi happens to be a prominent filming spot for Italian horror; also pair the new horror movie with Mario Bava’s A Bay of Blood or Blood for Dracula for additional boundary-pushing horror titles shot at the Villa Parisi.
The Devils
The Devils was always intended to be incendiary. Horror, at its most depraved and sadistic, tends to make casual viewers uncomfortable. Ken Russell’s 1971 epic takes it to a whole new squeamish level with its nightmarish visuals steeped in some historical accuracy. There are the horror classics, like The Exorcist, and there are definitive transgressive horror cult classics. The Devils falls squarely in the latter, and Russell’s fearlessness in exploring taboos and wielding unholy imagery inspired Mohan’s approach to the escalating horror in Immaculate.
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