Movies
Shadow
“Where Zampaglione’s rock star roots shine through is in Shadow‘s score… [and] like all good horror films, Shadow isn’t merely there for the gore. Zampaglione successfully underpins the events of the film with a topical twist offering the theory that reality can be sicker than nightmares.”
Rock star Zampaglione turns director with his latest effort, Shadow. The film centres on a young soldier, Davd (Muxworthy), who embarks on a mountain biking holiday to an ominous mountain range in Europe called The Shadow. After David rescues local girl Angelina (Testa) from a couple of backwoods hicks in a local bar, he teams up with her and the pair together explore the quiet tranquility of the Shadow.
But the peace and quiet doesn’t last long. Hicks being hicks, they object to David’s intervention in their “adventures” and a nightmarish chase ensues. But the hicks are not the only enemy lurking on The Shadow. Awakening to find himself captured and strapped to an operating table alongside his persuers, David must join forces with them to escape the clutches of the evil Mortis.
Shadow has been hailed as the return of italian horror and it’s easy to see why – the film clearly wears its influences on its sleeve. There are echoes of Argento, Bava and Deodato throughout the film, which actually bears more resemblance to the current crop of Hollywood ìtorture pornî flicks rather than the italian classics of yesteryear – although director Zampaglione does reel in the violence, opting to show the aftermath of events rather than pour on the gore. Character development is sorely lacking, but this looks like a conscious decision on a part of Zampaglione, for him it seems Shadow is all about the visuals and the pulse pounding atmosphere – shades of Argento’s work right there.
Zampaglione clearly has an eye for striking imagery, the helicopter shots of the woods early in the film look amazing and really capture the beauty and grandeur of the film’s setting. It’s obvious that he has a love and respect for the genre and it’s history and his use of light and Shadow throughout the second half of the film recall the classic horrors of the 20’s and 30’s – in fact, the introduction of Mortis looks like it was lifted straight out of the original Nosferatu.
Where Zampaglione’s rock star roots shine through is in Shadow‘s score. Teaming up with his brother Francesco, the soundtrack is a blazing rock score that recalls the ear-bending soundtracks of 70’s and 80’s italian cinema – think Suspiria and you’ll be somewhere close. Like all good horror films, Shadow isn’t merely there for the gore. Zampaglione successfully underpins the events of the film with a topical twist offering the theory that reality can be sicker than nightmares.
Check out Blogomatic3000.com and Screenjabber.com for full coverage of FrightFest 2009.
The trailer for Ti West’s upcoming adaptation of A Christmas Carol raised a lot of eyebrows when it dropped earlier this week. While plenty of folks initially dismissed Ebenezer as a derivative project meant to cash in on the recent wave of unnecessary prequels that expand the backstory of beloved characters (such as 2023’s Wonka), Charles Dickens’ original novel already made a point of exploring Ebenezer Scrooge’s origins in detail – meaning that this new film is likely just a particularly faithful adaptation of the source material under a different name.
Couple that with the fact that the movie is being helmed by a genuine horror auteur and I think it’s safe to say that the latest iteration of the first modern ghost story is in good hands.
That being said, one detail that immediately jumped out at me during the brief teaser (other than a blink-and-you’ll-miss-it nod to Johnny Depp’s iconic bedroom death scene from the original A Nightmare on Elm Street) is the fact that many of Ebenezer’s ghosts appear to have been directly lifted from the iconic John Leech illustrations that accompanied the first edition of Dickens’ novel.
Here are a couple of stills from the trailer compared to the original artwork:
The Ghost of Christmas Yet to Come in ‘Ebenezer’ and ‘A Christmas Carol’
The Phantoms in ‘A Christmas Carol’ and ‘Ebenezer’
Marley’s Ghost in ‘Ebenezer’ and ‘A Christmas Carol’
Mainly working with old-school wood and steel engravings that would later be transferred to print, Leech was instrumental in crafting the iconic look of history’s most influential phantoms – especially since Dickens is said to have been deeply involved with the creation of these so-called “comic illustrations.”
And since the novel is commonly said to have popularized spiritualism in Victorian England, much of the ghostly iconography that we still see in genre media to this very day (including some of Ti West’s previous films) can be traced back to the author’s partnership with Leech.
Ebenezer won’t be the first A Christmas Carol adaptation to borrow heavily from these designs, but I can appreciate how Ti West is incorporating an important part of horror history into his latest film.
Ebenezer will be available in theaters starting November 13.
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