SCHEDULE N OV E M T U E S D AY 8
B E R / DY D D
TA C H W E D M AW RT H 8
D
ng Shadows e Pendulum e House of Lo Th m The Pit & th 6.00pm plus short fil e Panel Debat Censorship 8.30pm equence) ede 2 (Full S uman Centip H 10.30pm plus Q&A ited Tomie Unlim 12.30am
THURSD
MBER AY 10 N O V E
12.45pm 2.45pm 5.15pm 8.00pm 10.00pm 12.00am
S AT U R D
EDD
n
The Enemy
5.15pm 8.15pm 10.15pm 12.00am
E RC H E R 9 T
AC H W E D D
rer Urban Explo e ho Kills Peopl
Some Guy W Mirages
E UK PREMIER
dows Village of Sha
E UK PREMIER
Pub Quiz ters Grave Encoun
R / DY D D G 1 N OV E M B E
F R ID AY 1
3.00pm
AC H W E D D
E UK PREMIER
de
The Dead Insi
Four Flies on
W E N E R 11 T
Grey Velvet
Masks
eath of the Red D ontillado The Masque e Cask of Am Th m fil rt o plus sh
The Divide
5.20pm E UK PREMIER
Inbred 7.30pm plus Q&A eath Party of the Red D The Masque 9.45pm
Kidnapped of Horror Horny House
E UK PREMIER
W R N 12 TA / DY D D S A D
CHWEDD
Part 1 ompetiton Short Film C
Palace x The Haunted m The Sphin pm us 30 1. pl short fil & Sorcery ley: Celluloid Gavin Badde 3.45pm IERE WORLD PREM Devil’s Bridge 5.00pm n for Evil ley: A Passio Aleister Crow 7.30pm The Thing 9.30pm e ry Grindhous Club idnight Myste M s Joe’ Bad Film 12.00am with Nicko &
2
3.00pm
1.00pm
E UK PREMIER
The Selling
1.00pm
11.00am
Midnight So
MBER AY 12 N O V E
11.15am
10 TA C H W / DY D D IA U
Y9 W E D N E S DA
/ DY D D M N OV E M B E R
S U N D AY
S U L 13 TA C
E R / DY D D 13 N O V E M B
11.45am 2.00pm 4.15pm
HWEDD
Part 2 ompetiton Short Film C ee The Wicker Tr st
Ho The Perfect
E UK PREMIER
sher e House of U The Fall of th paniment m co ac e with liv er om a daught eflections fr R e: ric P ria Victo ceremony 8.30pm and closing
6.30pm
CROESO I
ABERTOIR
WE LCOM E TO
ABERTOIR
Welcome to the sixth Abertoir Horror Festival! We can’t believe it’s been six years since we started Abertoir, and had no idea that it would have grown into an event that attracts people from all over the UK. Thanks goes as always to every one of our loyal audience for giving six days of your life to us, and in return accepting the finest quality mental scarring and hangovers that only Abertoir can offer! We’re always coming up with new ideas, and this year sees our most ambitious festival yet. Adding an extra day helped to address the wealth of wonderful films that we have available to show, and also the sheer fun in running the festival! And of course this year sees the addition of an art installation, a pub quiz and even a gallery of original movie posters! Our biggest excitement however has to be Victoria Price, daughter of the great Vincent, who’s been present on screen in every year that Abertoir has been running. It was a huge honour when Victoria agreed to join us, made even more special by learning of her father’s Welsh roots! It’s been a lot of fun getting to this stage, and we all sincerely hope you enjoy the programme this year. As our unofficial patron once said, ‘It’s as much fun to scare, as to be scared’ and he couldn’t have put it better. Thanks Vincent!
Gaz Bailey
Croeso i chweched Ŵyl Arswyd Abertoir! Mae’n anodd credu bod chwe blynedd wedi mynd heibio ers sefydlu’r ŵyl a ‘doedd gennym ddim syniad ar y pryd y byddai’n datblygu i mewn i weithgaredd sy’n denu pobl o bob rhan o Brydain. Diolch unwaith eto i bob aelod o’n cynulleidfa ffyddlon sy’n rhoi chwe diwrnod o’u bywydau i ni, a gobeithiwn y byddwch yn mwynhau pob munud arswydus o’ch profiad! ‘Rydym bob amser yn croesawu syniadau newydd ac eleni ‘rydym yn cynnig y rhaglen fwyaf uchelgeisiol hyd yma. Mae ychwanegu un diwnod at yr ŵyl wedi ein galluogi i ymestyn yr amrediad o ffilmiau gwych sydd ar gael, ac hefyd wedi ychwanegu at yr hwyl! Ac wrth gwrs eleni hefyd mae gennym osodwaith celf, cwis tafarn ac hyd yn oed oriel o bosteri ffilm gwreiddiol! Ond y peth mwyaf cyffrous yw croesawu Victoria Price, merch Vincent Price, i Aberystwyth. Mae Vincent wedi bod yn bresennol ar y sgrîn bob blwyddyn ers dechrau Abertoir. Mae’n fraint mawr bod Victoria wedi cytuno i ymuno â ni ac ‘roedd yn ddiddorol iawn i glywed am wreiddiau Cymreig ei thad! ‘Rydym wedi cael lot o hwyl yn trefnu’r ŵyl eleni ac ‘rydym yn fawr obeithio y byddwch yn mwynhau’r rhaglen. Fel y dywedodd ein noddwr answyddogol ryw dro ‘Mae’n gymaint o hwyl i roi braw ag ydio i gael braw’ ac ‘roedd o’n berffaith iawn. Diolch Vincent!
Gaz Bailey
Cyfarwyddwr yr Ŵyl
Festival Director
2011 #ABERTOIRtoirfest Follow @aber
RTOIR K.COM/ABE r Festival
OO ge Abertoir Horro FACLiEkeBou r pa
/ABERTOIR FLICKR.COMraphs uploaded live
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S T S E U G L A I SPEC
R IC E V IC T O R IA P t Price: n uthor: Vince
A Biography A Daughter’s
d HARDS er of belove JO S H U A R IC ridge is the daught e ric P ed rit ria to he B Vic d has in Actor: Devil’s nt Price, an iation of actor Vince ec pr ap d love an her father’s d designer, accomplishe an is art. She eaker and or, public sp th BSON au Tenby, n, d ria o art hist M IC H A E L JI was born in 3 purchase 0 s 20 rd ha in ic R d sh , an ridge e Wel Joshua screenwriter ctor: Devil’s B trained at th ries, one of A le d al an G es ey al ew W D West Drama. the former storic Native Of Music And eeminent hi ge pr lle s o d’ C rl o w the lleries. tensive and American ga up in Hull, work is ex e tr ea th Jibson grew s, As le is el H & Ta ha rt ic y A M ith the ur e rb Pric e Cante e trained w r of Victoria e Royal t Yorkshire. H includes: Th Th ar st r ry Ea fo ra e. As the owne IV tr po em , Henry h Music Thea offers cont Macbeth, e You Like It National Yout Design, she ompany; l artists; th C na tio re na ; ea d an e Clwyd Shakesp by regional toria Price Lyle Porter a for Theatr d me to The Vic and Cressid rk includes an o s ho w e ilu tr so o m al ea e Tr fil is th Th is ry r H galle in The Bank Almeida ducts fo die Burton on Rock for orld t-based pro Ed ht W ar d s, rig n, B En oy ew io t N yb ct es Fl lle Co ve Maddox in in the W eated by e 21, and Ste uzz Adams ur individual cr B ct d g as Le an in b, e ud Jo cl m ho ers, in h Pacific. ts and design Tour of Sout Red Mist. Mexico artis To f. p el m rs Ju in stage he Victoria he rds appeared an actor on ner at the Joshua Richa nt his work as in r ce w t in Fo V rs ce Olivier Fi k, en o ge ur for a La laimed bo ven, a Frin ly ed cc nt ea at H -a in ue lly m ow eq C ca no as bs iti w was hy, usical for hich su Her cr t Actor in a M h Festival, w ter’s Biograp de rg es gh si B bu r er au in iv D fo R d Ed so A ar al s w A has Price: Casey in Our London’ in 99 and she ance as Joe erred to 19 m sf rm ha o in an . rf , ng tr d pe ki es he s m uc is hi B Ti publ ew Warchus aying York The New cted by Matth elfth os, before pl re di r Tw di tu fo e S S in U us n ch r o te el H he B rit w any ot d Sir Toby aphy, and m Richard III an hton r’s Northern levision te A&E’s Biogr d an s, includes Brig arrie Rutte er B ap r sp fo w ne ht , ig theatre work es N m ing er eu th ay O pl us m e, magazin tr n serves o eida Thea s. lm ria de A si to e ic ad th V ro at s. B ia Rock Brown, Californ program of Pinkie l le Mexico and ca ro iti ew cr N ad le e in us th o the orm boards enborough, roughout achieved en Michael Att rd s n the arts th ha ha by o ic R es e ed H ur us ct of o ct re l le di and the Royal n numer portraya s appeared o roles in ying m for his ha la ai P cl he n ac us S s, ow y. rio am tr sh va gr coun pro ne man ny’s adaptatio both and radio eare Compa ton in his o ur sp ed B A n es ke ur o rl si to a, ha ha vi S ic C s le er te s, g Am ch he ha terbury Tale also ood Mornin Burton whi of The Can ionally. He ir, while at A including G the Menier rn h at te es ht in Fr ig d Fl d an aphy, an ed the tionally rgh in Take gn na rk be si o nd w de Li r d ated for he & E’s Biogr an directed ory (nomin toria and ct ic s d, V Fa ve ce Li ut du te e o o la Th ab d pr co Cho ard for sebud, articles tional an t winning Ro ’s Choice aw rs d in many na er Fi o an ed eg 4 ge ar tr 0 in ea Fr pe 20 SA Th h ap a have inburg a Musical), ch as U ing Actor in n Welles, Ed blications, su rt o pu rs po l O up f na S O e, io t ur at es is B intern & Le ights Dream Hello!, Travel idsummer N M e, 7. A pl 0 s in eo 20 P k . uc y, rs P Toda rn Interio mon of Athen nable Painter in Ti n, and Weste e so tio in Th ea uc R e d A tr e an & ea ud rt A Th edits incl eare’s Globe erfect Television cr at Shakesp Vision, A P d, rl o W Force, New ion, The New London. nd Retribut es am G d Spy, Trial A in od, M cameo in Of Robin Ho includes a rk o w Adventures er Oth d Stephen at. ky Gervais an ic R w and Heartbe ne e th ery Junction, ie film Cemet nn A t y an er ne ch V er , M Boy and as o include Troy film Golden um. rt in o m Film credits nd sh lu e co A th d se ci w’s ep, and Ran in Chris Cro Mary, Dr Sle of the leads Button. feature Panic
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LSON JO S E P H M IL ridge B Actor: Devil’s
ed as one ely recognis id w e is ph Jose leading stag nerations’ ge st o s m hi al of at played roles actors having e country th in e r theatr m every majo itical acclai g great cr al oy R e th and receivin work with e iv ns te ex na for his e Natio l mpany, at th o C re ea sp Shake West End. in London’s Theatre and g e co-starrin e films includ ur at ’s fe t am en ah ec R Abr A nominated opposite in the BAFT r te ar C t g agen e and a Point, playin al asino Roy C in ig ra C Daniel ed by Nick LSTAR (direct TE in le ro cameo Moran). g clude playin sion roles in vi le in te t r en te ar ec R am C elena Bonh m opposite H comedy fro w ne s (the , es sh A To Enid, Campu am), Ashes te g in W To en the Gre g in Talk d co starrin s Survivors an r ITV. He ha rt drama fo pa ur rs fo te a Me ing charac lar/long runn e played regu ice and in th ct ra rs, Peak P de ne en Ja st Ea ah in e Sar spin off Th Doctor Who Adventures.
rected and s written, di ha w ro C is Chr d film works. orts, video an sh d has ce du o pr ork, Chris his film w ous er m Alongside nu d and produce cs, hi ap gr developed motion d se ba e ustration freelanc d photo ill an c hi ap gr photo the world. clients across projects for n e productio is formed th hr C , id 8 av 0 D 20 In wn with ogs Of Ann t company D Chris’ débu is ge s Brid a ng pi lo Lloyd. Devil’ ve de He is currently feature film. th projects ng le e ur at fe r he ot of r ived high numbe recently rece st o m s ha film Panic and for his second m ai cl ac l ca criti Button.
or fan of horr grew up a t gh ni te la David Lloyd g age, watchin s hi ith w from an early lls bi rror double Hammer Ho been tucked ve ha d ul o sh he n he w father up in bed. m ep into fil ng the st ki ta C B B re e o th ef B for David worked e tim is th production, uring r of years. D de si n io ct for a numbe odu stly on the pr he worked fir ing and then m am gr o pr s ew N C of BB New Media roles in the of r be m nu in a in 2006 to ft the BBC le e H n. o si divi Media, which ness Day Trip si bu s hi rm fo e to this day, sy and creativ ors keeps him bu of the direct s role as one alongside hi nnwn. of Dogs Of A
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after his cult feature film ird th s hi is (2011) Archive. Alex ational Film aged 6. Inbred N s K w U e Ja th ng in ei 6) is d by se rderline (200 s life, inspire short film Bo movies all hi is g H . in 7) ak 9 9 m (1 en rella Alex has be 01) and Pervi ts. e of Fear (20 l visual effec ta gi di in movies Cradl rt pe ex an is s and writes, direct
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d , actor an is a writer ns m ur o B fr John riginally median. O e stand up co ade his hom m s Burns ha e, s id ha ys se he er M where h Highlands g in rit w n in the Scottis bega 20 years. He rk o w d he lived for over is publ and his first ry 10 years ago ction of poet lle co a r ce an D d in was W ughter. s autistic da inspired by hi short stories n a number of te rit ng w s ha e H out a climbi st story ab by d he is and his gho bl pu tal Error was e H b. lu C accident, Fa g taineerin un o M h is tt eb the Sco variety of w for a wide sfactory. has written hannel4s Idea C g in ud cl in sites in performed up, he has d an ho st o S a to s A Isles the Orkney d venues from the Highlan ht ug o he br e th to s and in 2005 gi Raging Hag e vu re y duces the comed . He also pro ge in Fr h rg Edinbu radio show sful Internet es cc su ly high y. Purple Comed an play and ’ first one m This is Burns s in the 2010 play’s succes to following the Media plans inge, Purple d an n ai rit Edinburgh Fr B roughout th ow sh e tour th beyond.
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d an ordaine deley is an d an , Gavin Bad an Sat the Church of Reverend in has worked ho w t lis journa experienced ammer. He H r and Metal ve er bs O e for Th e BBC and thority for th au t ul cc o e is th Cambridge s addressed ha , 4 e el nn Cha profiled in Th d has been an , g ity in rs en ve Ev ni U ndon t and The Lo d ke o ov pr Independen ve is books ha t bu n, io Standard. H nt edia atte m d an y rs ng controve figure amo ns a popular he still remai s alike. an ists, and Pag Goths, Satan
confusing, have been e Jo s & ko Nic ing audience and delight y ng ed bi m ur co st di d of unique bran sm ia us th with their us en Their infectio since 2004. creativity in d te is tw and in many on stage s resulted ha g in r rit w their e to othe being mad ns o l ris ea rr pa com the su range from e es Th ey . Tr ts artis iants to Might be G of group They , creators ne to Matt S Parker and South Park. ongs we ong show, ‘S -l ur ho st fir Their debuted at which they ’, ow kn e w think l Comedy Internationa ne ur bo as el M the in 2004, w ck in back ba st la al r iv ei st Fe was th l received as as w ch hi critically wel Out w & Joe - Sell in show Nicko rgh Fringe bu in Ed at the e. performed nu ve us Underbelly the prestigio they already r live shows ei th as by l el w As eir belt, Geek D’s under th C e e re dg th Fu ve ha d Tartan aper and Aul d ul o sh e Proxy, Wallp at Jo er proving th s. D Box, the latt C the wed to name never be allo
on some ren’s televisi ild ch h is rit B t on a cult star. le from a stin propel him to be recognisab to ht t ig se m y ks o ve Har le lo Laurence R. s first film ro e actor, but hi ag st a as er care
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THE CLASSIC HORROR CAMPAIGN
CUCUMBER CROCODILES &
Campaign founder Richard Gladman talks about the background to his campaign to get genre classics back on the small screen
Jenny Hammerton tries Cooking Price-Wise
My passion for horror and the fantastic began at an early age. As a small child I became obsessed with Disney’s animated features after being taken to see a rerelease of Snow White at the cinema. When I got home I drew endless pictures to try and keep the memories of this film fresh in my mind. But it wasn’t the beautiful princess, the handsome prince or the comical dwarves that had grabbed my interest; it was the wicked, murderous, magical witch! I began scouring movie books and magazines for any pictures showing the darker side of Disney, such as the Night on Bald Mountain sequence from Fantasia or the evil shape-changing Maleficent from Sleeping Beauty. As time wore on I discovered the classic horror films via BBC2’s Saturday Night Horror Double Bills which introduced me to the frights of Universal’s Dracula and Frankenstein flicks alongside the delights of the British Hammer horror classics.
‘There are three things that really turn me on, as the current saying goes, one is work... another is art, and the third is food.’
These popular seasons of horror double bills were screened from 1975 through to 1981 and many families in the UK gathered around their TV sets every Saturday night during the summer months to laugh and scream at these tales of terror. My own horror and film education began with these screenings as the BBC programmers would usually blend an old black and white film with a more recent colour offering. The creepy atmosphere of Val Lewton’s Cat People would lead into the graphic violence and social commentary of George Romero’s The Crazies; black and white monster movie The Beast From 20,000 Fathoms would slither onto our screens followed by the loopy giant bunnies of Night of the Lepus. But all good things come to an end, apparently, and the BBC, in their infinite wisdom, decided to stop screening these iconic double bills for no apparent reason. For the next couple of summers myself and other like-minded horror fiends would scour the Radio Times in the vain hope of seeing the horror double bill rise from the grave but were sadly disappointed: which brings us to the Classic Horror Campaign. Bored with the same old television programming and lack of cool classic films on the box I started the Classic Horror Campaign to try and persuade the BBC to bring back these treasured horror double bill seasons on primetime television. In the beginning there was an online petition followed by a website and a Facebook page. Now the Classic Horror Campaign hosts horror double bill screenings around the UK in order to spread the word and celebrate these iconic movies with other dedicated pop culture, nostalgia and horror buffs. With goodwill from various celebrities, actors, writers and producers as well as many publications including Rue Morgue, Freaky Monsters, Shock Horror Magazine and others, the Classic Horror Campaign continues to go from strength to strength. British horror stars Emily Booth (Evil Aliens, Doghouse) and Eileen Daly (Razorblade Smile), as well as Hammer stalwarts Caroline Munro and Shane Briant, have all provided their support over the last year-and-a-half alongside many others whose whole careers have been influenced by watching the BBC’s original classic horror screenings back in the day. So horror fans unite! Sign our petition, email the BBC and let’s get those classic horror films back on our screens for a whole new generation of fans to enjoy and appreciate. For more information on the campaign, visit www.classichorrorcampaign.com and to sign the petition visit www.ipetitions.com/petition/bringclassichorrorfilmsbacktothebbc
VINCENT PRICE
So wrote Vincent Price in the introduction to his 1971 cookbook Cooking Price-Wise. This highly entertaining collection of recipes is peppered with stories told by Vincent to whet our appetites and was an accompaniment to the excellent ITV television series of the same name. To say that Vincent was a good cook is an understatement of gargantuan proportions. He was a genius cook, collecting recipes from all around the world and gaining great joy from sharing them with others. He had a passion for encouraging home cooks, whatever their levels of ability or resources, to try some of the greatest recipes from the world’s greatest kitchens. In their glorious book, A Treasury of Great Recipes, Vincent and his wife Mary recorded their worldwide gastronomical travels with sparkling anecdotes and colour saturated photographs. They made friends with the chefs of such establishments as the Forum of the Twelve Caesars in New York, The Ivy in London and La Boule d’Or in Paris and begged for recipes. Top chefs are often secretive about their methods and ingredients, but Vincent’s charming ways convinced them to share, and he reported that ‘not a skillet has been raised in high dudgeon when we invaded their domain’. Like Vincent, I am an avid recipe collector. My real passion is finding recipes that film stars have shared with their fans through magazines and in promotional booklets. My collection now numbers over 4,000 and I’ve been trying them out for over five years and writing about them on the Silver Screen Suppers blog. I decided early in 2011 to start another project, trying one Vincent Price recipe per week during the Vincentennial year. My kitchen has been on fire with wonderful experiments! I’ve made Breast of Chicken Au Champagne (‘use only French champagne’), Fish Filets Nord Zee (‘creamed potatoes are used to represent the dikes, while the sea is represented by fish’), House Bread (‘Fresh homemade bread is the greatest of gourmet treats’) and Friday Chicken (‘one of the best things we take for lunch, or dinner in our mobile home’). The last is illustrated by a fabulous photograph of Vincent, Mary and their poodle entertaining friends in what might be better known here in Britain as a caravan... Of all the culinary delights the wonderful Mr Price has suggested, the one that has caused the most pleasure and joy amongst myself and my friends is his legendary Cucumber Crocodile. If you make no other Vincent Price recipe, I urge you to try this one! For details of how to make a cucumber crocodile visit www.vincentennialcookblog.wordpress.com and for more film star related escapades, www.silverscreensuppers.com 7
I R P T N E C N I V
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11
‘THE GREAT BEAST’
ALEISTER CROWLEY An introduction by Keri O’Shea “The joy of life consists in the exercise of one’s energies, continual growth, constant change, the enjoyment of every new experience. To stop means simply to die.”
Although otherwise a creature of contradictions, Aleister Crowley (1875 – 1947) certainly lived by our opening quote: he was a man of unique daemonic self-belief and ambition, with a lust for life which often proved devastating to those in his orbit. Variously a scholar, mountaineer, writer, poet and even a German spy, Crowley is perhaps best known for his career as an occultist – and his famous (often misused) edict, ‘do as thou wilt shall be the whole of the law’. The Victorian England into which Crowley was born has become synonymous with repression and arch piety, and in many ways his adult life was a long process of rebelling against the circumstances of his earliest years. This was the conflict at the heart of Crowley’s character: he sought to rid himself of restrictions, but in so doing he made his stance into a law – perhaps simply because his early life was so shaped by rules. Born Edward Alexander Crowley, his parents were members of The Plymouth Brethren; an austere sect whose literal interpretation of the Bible led them to shun even other Christians. Home life was a very insular environment for the infant ‘Alick’, leaving him ill-prepared for the cruelty of school life when he started to attend, aged eight. The death of his beloved father in 1887 and his gradual exposure to the harsher edge of human nature led to disillusionment in the credo preached by pious parents. He craved freedom – and he found it, first in his newfound love of climbing, and then in the heady environment of Cambridge University. It’s an intriguing possibility that, during his time at Cambridge, the flamboyant Aleister (who inherited a sizeable sum of money when he turned twenty-one) might well have come to the attention of a certain M R James, then Dean of King’s College. In one of James’ famous ghost stories, Casting the Runes, the character of Karswell bears an uncanny resemblance to Crowley and although the story pre-dates the worst excesses of Crowley’s career, it accurately predicts some of the things he would go on to do. If this is a coincidence, then it’s a strange one. At the very least, if James encountered Crowley during his Cambridge years, he would have met a young man about to embark on the most important phase of his life – his practice of magic. Occultism had enjoyed a revival in the late 1800s, becoming 12
voguish among fashionable intellectuals and artists. By the dawn of the twentieth century, high society was teeming with diverse esoteric groups and secret societies espousing a jumble of different belief systems: Egyptian gods kept company with Eastern tantrism and Jewish mysticism, alongside Celtic lore, freemasonry, even demonology. One of the more influential of these groups was The Hermetic Order of the Golden Dawn. Its secretive hierarchical structure and colourful programme of occult rites fascinated Crowley, and the time he spent as a member would colour his own experiments with magic for the rest of his life. However, Crowley never played well with others: he may have advanced rapidly through the Order’s grades at first, but Crowley soon fell out with fellow members who disapproved of Crowley’s immoral private life. His career at the Golden Dawn ended with a spectacular schism with its leader, Samuel Liddell ‘MacGregor’ Mathers, culminating in a magical duel, where Crowley claimed he fended off hostile demons. Undaunted, Crowley continued his magical career, slowly formulating what he referred to as ‘Crowleyanity’ – a spiritual system to replace all spiritual systems. Key to all of this was Crowley’s experiences in Egypt during 1904... By now travelling with his wife Rose (Crowley had impulsively entered into marriage with the sister of a friend) he was both alarmed and intrigued when, in a trance-like state, Rose told him that ‘they are waiting for you’. To find out who ‘they’ were, Crowley performed a magical rite. He discovered that it was the falcon-headed Ancient Egyptian war god Horus who wished to communicate with him in order to initiate a new phase in human history. In his capacity as the prophet of this new age of Horus, Crowley wrote his bible – The Book of the Law – dictated to him, he claimed, by an Angel calling itself Aiwass. Crowley said much of the text baffled even him, but it became the cornerstone of his philosophy of Thelema, a creed the preached the sacred imperative of following one’s own will.
Crowley decided to set up his own magical commune, dubbing it the Abbey of Thelema. Here, Crowley promoted his philosophy by example. Visitors commented on the strange mix of domesticity (Leah and another woman, Ninette, both had children by Crowley), extreme poverty, and the heady atmosphere of sex and drugs so integral to Thelemic magic. It would prove Crowley’s undoing. When a young devotee died at the abbey, his widow went straight to the British press. In the ensuing scandal the Italian dictator Benito Mussolini expelled Crowley as an undesirable. The British press, predictably, had a field day. Under headlines like ‘A Man We’d Like to Hang’ and ‘The Wickedest Man in the World’, salacious exposés of life at the abbey found their way into print. Some part of Crowley seemed to revel in notoriety, but it had a significant downside. Always a prolific writer, Crowley (who had long since spent his fortune) was now depending on writing to make ends meet. The negative press frightened off most potential publishing outlets, creating a financial crisis for the Beast that heralded the beginning of his twilight years. Though now notorious, broke, and chronically addicted to heroin, Crowley maintained his interest in magic (while, somehow, his demonic magnetism meant he always had women in his life). He survived another World War, finally expiring in Brighton in 1947. There is some debate as to his final words. One account has it as ‘I am perplexed’, another, ‘Sometimes I hate myself’. As a curious conclusion, Crowley’s funeral service contained one of his own poems, ‘Hymn to Pan’. Newspapers reported that his funeral had therefore been a Black Mass, and the local council vowed to take steps to avoid such a thing happening again...
Thelema was to be the governing force in Crowley’s life ever after: as the years progressed, this became increasingly coloured by experimentation with drugs, and deviant sex, which – in Crowley’s magical system – had profound ritual significance. After abandoning his wife, Crowley attracted a succession of devotees who doubled up as sexual, and therefore magical, partners. One of these was a diminutive young poet by the name of Victor Neuberg, who – under the sway of his charismatic guru – would assist in the raising of gods, most famously the ‘Dweller in the Abyss’, Choronzon. The aftermath of these physically and psychologically exhausting rituals led to Neuberg having a nervous breakdown. He recovered, however, and was in later years instrumental in launching the career of Welsh poet Dylan Thomas. Crowley spent the duration of World War One in the United States where he found employment writing for German propagandist media. He was accused of treason, though Crowley hotly denied this, pointing out that the material he was writing was so ludicrous that it could only harm the German cause. If you look at the articles concerned, this doesn’t seem implausible. Regarding German air-raids on London, Crowley mischievously wrote: ‘A great deal of damage was done to Croydon, especially at its suburb Addiscombe, where my aunt lives. Unfortunately her house was not hit. Count Zeppelin is respectfully requested to try again. The exact address is Eton Lodge, Outram Road.’
So – how to sum up the life of such a man? Crowley might have enjoyed a renaissance during the magical era of the 1960s, making his way onto the cover of The Beatles’ Sergeant Pepper’s Lonely Hearts Club Band and influencing Led Zeppelin’s guitarist Jimmy Page to buy Crowley’s old house in Scotland. He’s inspired musicians as diverse as David Bowie and Marilyn Manson as well as appearing in countless works of fiction, biographies, and films in numerous shapes and forms. There’s no question, though, that for those who knew him, Crowley was a challenging, frequently difficult, even cruel peer. He blazed a trail of destruction through many lives, leaving a trail of suicides, committals to mental institutions and destitution behind him as he focused his energy on ‘The Great Work’.
Crowley took to referring to the most important of his female partners as his ‘Scarlet Women’ (a reference to the apocalyptic Biblical book of Revelation from which he drew his own title, the Great Beast). Perhaps the most significant of all of the Beast’s Scarlet Women was a former school teacher called Leah Hirsig, whom he met during his years in the States. Leah later accompanied Crowley to the island of Sicily when, in 1920,
Yet, people were always drawn to him. Crowley had a unique intelligence, a chaotic joie de vivre and a mesmerising personality. In short, there’s never been anyone else quite like him, and it is difficult not to stand in awe of that irrepressible – albeit toxic – energy. Few knew him better than his friend and sometime secretary Gerald Yorke, who while conceding Crowley’s numerous faults, concluded his assessment of the Great Beast by enthusing ‘what fun he was!’ 13
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U K P R E M IE R
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LAC E A P D E T N U T H E H A A 1963, 87mins
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ham who village of Ark e th g in rs cu rds to inherit with his wife last dying wo is m h a , h ke rk a A t st a e s further. at th rrive st going any ck, is burned arles Ward, a in o h a rl g C a , a w d ve l e ti vi rn e la a n re w nt Curwen, a rse, and are later, a dista uished. 1765: Joseph sult of the cu ndred years re u a h , a d r r from exting re ve u fa g O is fi . n n is e d w o rw ly d u ib C rr im h o p hunted h e villagers h ower of Jose hy . They find th on find the p le so st d ca n a ’s , nematograp n le e st Curw e luscious ci t their ca si th f vi o s ll rd a a s W , in , the n Poe canon 35mm conta Nonetheless screening in eir Edgar Alla d th n f a o , craft, rt rk a o p w s a ’s is film gs to HP Love Corman th n d d lo n te e a e b ce rk lly ri a a P m u in IP act ly seen entry istributors A ce the story This is a rare terestingly, d fans will noti r In o . rr ct o e h p d x e e rs come to s. Yet well-ve that we have Poe’s poem f o e n o m o tle fr taking the ti exter Ward’. of Charles D se a . C e ‘Th m fro llan Poe story ssic Edgar A a cl a f o t n e m ort re-enact r another sh fo x e in g h a p st S e e Th kes to th once again ta Vincent Price rda
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WO R L D P R E
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E G D I R B S ’ L I D E V UK 2010, 85mins
Chris Crow, cast and crew 12 Tachwedd h Plus Q&A wit 12 November | Dydd Sadwrn
ally revive his who can illeg t lis a ci e sp d rmer rworl desperate fa h of an unde d rc n a a n se ke in s ro b le a y, a ral wilds of W William Parr ntally cross ds into the ru e n id ie fr cc a o y tw e is th , Sean takes h ted territory in alien, isola p e e D . ss e n d revenge aroun him. failing busi violence and ss ranoid of all e a tl p in d o n a p l f o fu ree hate Darkness sp dangerously ific Heart Of rr o h a to in trol, spiraling ing terrain... ly out of con id p ra s in and unforgiv sp n rk o a ti a st ased in e tu si th e Th lthough rele A ds across n . n ie o fr tt e u B re ic th an ts the acclaimed P as Parry hun here in Aber! the critically f o r o ct e rld premiere ir o d w e e th th , t w n ro se re from Chris C n bring, we p the debut film roduction ca is p e g st d o ri p B f o l’s lls Devi only the pitfa rder in a way o g n ro w e th ay
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to-door in preach doorto s a x e T e , leav ir Lachlan fiefdom of S oy boyfriend r b e w rd co o r b e e h d th , an ck ospel singer on to Tresso g they are. joy and elati nd Steve, a g a h it th w e d B e s nt and wron n m o ia ce lc o st e n ri w h in C w re g o a n H ey You about Jesus. ial abuse, th en, after init to hear more h t W n . a d l film to w n a ly tl p co m S m his origina hosts si o ir fr e s e th e m e m u th g ey ass satire applyin Morrison, th broad social a is n a M r ke ssic The Wic our. to his cult cla p u w llo hic black hum fo rc s a y’ n a rd h a it H w in d b Ro ntalism, lace ian fundame that of Christ
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U K P R E M IE R
T S O H T C E F R T H E P E 2010, 93mins
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for his dinner party cy n fa a n o ut claiming to n about to p annered ma y a stranger b m d te ild p u m rr a , te n e in the police, h arwick Wilso le when he’s ecially from er) stars as W aring the tab sp si p e , ra re e p (F id f h e o rc to le ie d id a few secrets David Hyde P d is in the m stranger has d, shaved an is re e th w o ile h sh w t ’s u .B friends. He f some help .. nd in need o ie fr a bout dinner. f o d n Warwick is a be a frie s u o ri se w o on exactly h didn’t count
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40
I N CO NVE R SAT I O N WI T H
ADAM REHMEIER
Following the BBFC’s outright rejection of his directorial debut The Bunny Game, Nia Edwards-Behi discusses one of this year’s most anticipated genre films
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I consider myself lucky – privileged, even – to have been able to see a very special film in the course of considering films for this year’s Abertoir line-up. That particular film is The Bunny Game, recently refused a certificate by the BBFC, and now illegal to watch in the UK, and so not a part of our schedule. Part narrative film and part performance art, it’s a powerful, stylish and disturbing work that deserves the opportunity to challenge adults and to be taken seriously. It is not, as far as I’m concerned, the gratuitous, exploitative or potentially harmful film that the BBFC statement about it makes out. I posed some questions to Adam Rehmeier, who, along with the film’s star, Rodleen Getsic, takes almost complete authorial control of the film. I talked to Adam about filmmaking, the film’s conception, and the BBFC decision.
What’s your background - have you always been into making films? I have been interested in making films since my youth. I figured out the basics by wiring the family camcorder into a VCR and pressing record and pause to edit the footage I had shot. I used to make films with my friends on the weekends. We were very inspired by American horror films and Tom Baker in Doctor Who. When I was 18 years old I saw Maya Deren’s Meshes of the Afternoon and something clicked. I went to film school, learned the technical aspects of the craft, and worked my ass off shooting as many projects as I could. I shot two features as a DP while in school and a hundred short projects. After graduating, I worked as a DP, 2nd Unit Director, and Documentarian for many years. The Bunny Game is my first solo feature.
Did you already know Rodleen? How did she become involved in the project? I have known Rodleen for a decade. We met through mutual friends and I used to watch her musical performances around Los Angeles. When she confided her abduction story to me in 2006, I was already working on developing my first horror feature. I was very disturbed by her tale, which, emotionally, became the catalyst for our collaboration on what would become The Bunny Game. When making the film did you think it would draw the sort of attention it has, in relation to its depiction of violence? Despite the recent negativity from the BBFC, I feel we were very responsible with the violence and grounded it in reality. This is not a gratuitous film, like so many horror films that use gore and special effects to gross out an audience. That said, we also didn’t sugar coat the violence in The Bunny Game. Any elements of violence that are present in the film are real. There is physical violence, but I think the psychological terror of the film weighs heavier on the soul when you experience the film. Rodleen and I made a pact before we started the film to keep it hardcore...a modern cautionary tale. So many filmmakers just go through the motions when using violence, torture, or rape. It’s a common plot point now in our aggressive society. People don’t think twice about sitting down in a cinema with a bucket of popcorn to watch a remake of I Spit On Your Grave, which has some very graphic and brutal rape scenes. Somehow it is chalked up as entertainment. We didn’t make The Bunny Game to be entertainment. This was an experience for us to have when we made the film, and it is an experience for the audience to have as they witness it. We wanted the process of making the film to be as horrific as the end result. This is an anti-popcorn film.
The BBFC’s statement regarding the film states that The Bunny Game eroticises or endorses sexual violence. What do you think about this claim? How does such an inherent accusation - that your film encourages harmful thoughts or behaviour in viewers - make you feel?
Can you tell us a little bit about the concept behind The Bunny Game? The Bunny Game is a monster. Rodleen Getsic and I are merely the caretakers of it. It was a spontaneous manifestation without a script and without boundaries. Its genesis is rooted in emotional trauma: Rodleen was abducted several years prior, and this film was a cathartic process designed to expel the negativity of her experience and cleanse her spirit.
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When I read complete diaper shit like that I wonder if they even watched the film. It is so far from the spectrum of where we were coming from with The Bunny Game that it is insulting. At no point, after any of our screenings at reputable film festivals or institutions, has a single audience member come to this conclusion, suggesting that the film endorses or eroticises sexual violence. That is absurd, and the complete opposite of our intentions for creating the film. That said, this is not a film for everyone. I was hoping that the BBFC would see the merit in it as a cautionary tale and give it an 18 certificate. I think curious adults should be able to witness the film. This is not a film for young adults or children. In fact, I pulled it out of one festival because the programmer couldn’t guarantee me that minors wouldn’t be present.
The BBFC statement describes Rodleen’s character as a ‘helpless woman’. Do you think that’s accurate? Rodleen’s character in the film is a prostitute. She has sex for money, drugs, or both. Her own actions and choices have led her to where she is in life. Because her life is consumed with constantly scoring drugs, she doesn’t sense danger like a rational person. To me, this is a cautionary tale. Down on their luck women have been disappearing from society since the dawn of time. Again, I think we are grounded in reality. It may not be attractive, but we never try to glamorize her lifestyle. When you look at a film like Pretty Woman, the insight into the life of a prostitute is so skewed and fairy tale-like that it is palatable for teenage girls to watch at a slumber party.
The statement also claims that the film’s ‘stylistic treatment may encourage some viewers to enjoy and share in the man’s callousness and the pleasure he takes in the woman’s pain and humiliation’. As the film’s director, do you think this is a fair judgement? The stylistic treatment of the film is to get your heart racing and dizzy your senses. It’s a blitzkrieg of information, intuitively designed to repulse and terrorize the viewer. The fact that the official BBFC statement includes this particular concern makes me wonder if someone at the BBFC found it particularly pleasurable. Are we even talking about the same film?
What projects do you have in the pipeline? Jonas is up next; I hope to have it completely finished by Jesus’ birthday. It is the squeaky clean companion piece for The Bunny Game, following a minor character from the film, 18 months down the road. After a life-changing, intense religious experience, a man intuitively goes door-to-door in Los Angeles to reveal a powerful message.
My heartfelt thanks go to Adam for his time and candour in answering these questions. Abertoir can’t show you The Bunny Game, but we can offer our own discussion of film censorship in the UK, in our panel discussion on Tuesday, 8th November, at 8.30pm in the cinema.
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SH
TI I T E P M O C O RT F I L M
FT E M P LOY E E O
HE MONTH
Olivier Beguin nd, 14mins la 2011, Swizer
ST T H E LA S T P O n Axelle Caroly ins m 12 K, U , 11 20
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U N C H K IN L IT T L E M ws Ryan Andre ins m 2011, UK, 10
TA S T E G O O D so n Greg Han :00 2011, USA, 10
SE ss S H O RTileLy-EBoAnd & Jennifer Ei Prano Ba mins 2010, UK, 14
E L LA E O N E LA S T T IM
man Barney Fr yd , 10mins m iu lg Be , 2011
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CT IN!
Cyrille Dravon 14mins , 2011, France
Dan Gitsham s in 2011, UK, 9m
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MO S U RV IVA L IS pes José Pedro Lo , 9mins al ug rt Po , 2011
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O P E N IT N E V E RcCEarVthEyR Damian M , 9mins 2011, Ireland
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A IN sen B O R N erAreGga ard Clau Henrik Bj ark, 13mins 2010, Denm
HE DEAD CA B IN EmOplFemTent Vincent Te , 10mins 2010, France
Méliès d’Argent & Abertoir Audience Award for Best Short
X oz & David Muñ B R U TArdLonRa,E LA Rafa Dengrá Adrián Ca 15mins 2010, Spain,
As part of Abertoir's role in the European Fantastic Film Festivals Federation, our short films competition will award a Méliès d'Argent. This is an internationally recognised prize and celebrates the best in genre filmmaking across Europe. The winner of our Short Film Méliès d'Argent will go forward to the final lineup at the Sitges International Fantastic Film Festival in Spain to compete against winners at oter festivals for the prestigious Méliès d'Or Award for the Best European Fantastic Short Film. The Abertoir audience will also award a prize for best short.
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The
A-Z
of Witchcraft Movies
you’ve never seen!
ARCANA (Arcane) – Extremely obscure Italian supernatural thriller from 1972 from Guillio Questi, the director of equally forgotten giallo DEATH LAID AN EGG and the ultra-violent Spaghetti Western DJANGO KILL! A clairvoyant’s sinister son, who has genuine psychic powers, falls in love with one of his mother’s clients with devastating consequences. ARCANA, like DEATH LAID AN EGG, is equally bleak as it is surreal. A unique hypnotic sound effect is used during the conduction of a Witch’s spell was apparently an original recording of a shamanic rite held in Macedonia taken by the director. British Bikers – PSYCHOMANIA (1971) – top-notch slice of 70s cult British horror has the hell-raising ‘Living Dead’ biker gang, in a quest for immortality, kill themselves and return from the dead to wreck local havoc. This was the result of gang-leader Tom’s (Nicky Henson) fascination with the occult and his frog worshipping Witch mother (Beryl Reid) and her sinister butler, Shadwell (George Sanders). Complete with a scorching soundtrack, daredevil motorcycle stunts and sideburns! “He really got it on…he rode that sweet machine just like a bomb” THE CONQUEROR WORM…having provided their prolific contract player Vincent Price to star as the infamously cruel Matthew Hopkins in WITCHFINDER GENERAL, US distributors AIP were eager to capitalize upon the success of previous Vincent Price Edgar Allan Poe horror epics - THE PIT & THE PENDLUM (1961) & THE HOUSE OF USHER (1960)… and re-titled Michael Reeve’s 1968 masterpiece as (Edgar Allan Poe’s) THE CONQUEROR WORM. The title taken from Poe’s 1843 poem and flimsily justified by being quoted across the original US poster artwork… THE DEVONSVILLE TERROR (1982) – Directed by Ulli Lommel (THE BOGEYMAN) – The arrival of three women in a New England town during the anniversary of the burning of 3 witches 300 years ago sparks superstition amongst the eccentric locals. Donald Pleasance plays the local Doctor who spends the majority of his screen-time plucking maggots out from under his skin. Eighties…with slice n’ dice slashers & entrails-scoffing zombies evoking the censorious wrath of the MPAA (or the UK’s BBFC)….cinematic witches were a fairly safe haven for naff horror films in the late 80s – WITCHBOARD (1986), WITCHES BREW
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By Tristan Thompson (1985…lame enough to be sold direct to TV), WITCH TRAP (1989), La Casa 4 (aka WITCHERY…1988…an Italian horror movie starring David ‘The Hoff’ Hasselhoff….his televised personal breakdown now becomes more understandable) and WITCHCRAFT (1989)…which in 2006 reached it’s 12th sequel…WITCRAFT 13: BLOOD OF THE CHOSEN…for the purpose of this year’s Abbertoir Guide….I watched NONE of them! The Filipino Aswang (Witch) - Filipino cinema were producing incredibly eerie Witch movies since the silent era, based upon their folklore Aswang legends, a mythical witch creature, 1927’s Ang Manananggal (The Visceral Sucking Witch), Nuno ng mga Aswang (Mr Tano, The Elder of The Witches, 1932) but it was with 1993’s ASWANG that the Filipino Witch legend was used within a contemporary US horror movie setting. Met with critical acclaim during the Sundance Film Festival ASWANG was one of the strongest horror films of the year… but fractured distribution sentenced it to obscurity until the DVD revolution! “They’re coming to feed on the unborn...” ‘Ghoulita…Ghoulish Goddess of the Living Dead’ joins the bevy of beautiful and demonic dancing women, such as Skeleton Girl, Slave Girl and Zombie Girl in ORGY OF THE DEAD (1965), madcap lunacy from the pen of Ed Wood JR! Filmed in ASTRAVISION… and SEXICOLOUR! A threadbare horror premise barely held together by appearances from The Mummy, The Werewolf and….TV psychic Criswell…ultimately to showcase topless women go-go dancing in a midnight cemetery! The ads screamed “ARE YOU HETROSEXUAL…?” Haunted Health Club – Michael Fischa’s possessed gymnasium gore-fest DEATH SPA, complete with possessed saunas, dodgy driving boards and scalding pipes was, more appealingly, released onto video as WITCH BITCH. Typical 80s dry-ice and naff music accompany the amusing gore-effects. Fischa maintained this level of direct-to-video drivel next with MY MOM’S A WEREWOLF! Indonesian Cult Cinema….unlike the earlier examples of 80’s US Witchcraft cinema, truly embraced the concept and, while imbedding the rich folklore of legend and folklore, delivered some truly kick-ass demented witchery movies! Witches with erupting snakes from their knickers, witches as indestructible robot killing machines, witches
gulping blood while breathing fire…..from the bizarrely mind-bending MYSTICS IN BALI (1981), to the bikini-clad buxom beauties & beasties of DANGEROUS SEDUCTRESS (1992) and….the legendary insane NASTY HUNTER (1989, LADY TERMINATOR)…that manages to combine the Indonesian legend of The South Seas Queen within an remake of James Cameron’s THE TERMINATOR…. demented viewing! JACK’S WIFE (1972) – indulgently artistic, hypnotically surreal, George A Romero’s JACK’S WIFE follows a bored suburban housewife’s plight into extramarital sex as she is lured into the world of occult and witchcraft. As beautiful as it is, on a commercial realm Romero’s film is ultimately flawed! In a bid to make a buck, legendary distributor Jack H Harris shamelessly marketed the few raunchy scenes and advertised it as a soft-core romp renamed as HUNGRY WIVES. Following the worldwide hit of DAWN OF THE DEAD (1978), JACK’S WIFE was once again released, remarketed, as the more horrific sounding SEASON OF THE WITCH! Kneale – Dissatisfied with how his original story of ancient warlocks, traditional witchcraft and Stonehenge was tinkered with (and beefed up with violence!), Quatermass writer Nigel Kneale swiftly demanded that his name be removed from the credits of HALLOWEEN 3: SEASON OF THE WITCH. The majority of the audience were also disappointed with this unconnected sequel…no knife-wielding Michael Myers here…instead a sinister toy-maker’s plan to mass-murder children across America as a Halloween prank! HALLOWEEN 3: SEASON OF THE WITCH is as eccentric as it is muddled…a small, but appreciative, cult following exists out there somewhere! LORNA THE EXORCIST (1974) – riddled with gambling debts Patrick (Guy Delorme) enters a pact with beautiful enigmatic Witch Lorna (Pamela Stanford) to sign away his daughter, Linda (Lina Romay), on her 18th birthday in exchange for success and wealth. Sure enough the day comes where Lorna returns to claim the girl’s soul…. Drenched in lurid and perverse imagery with incestuous undertones, LORNA THE EXORCIST is one of Jess Franco’s most beautifully hypnotic films…and rarely seen in its entirety. Male Snake Witch…another folklore legend as featured in Fie tou mo nu…or THE WITCH WITH THE FLYING HEAD…ultra obscure and ultra demented 1977 Hong Kong movie about a woman who is possessed by a Male Snake Witch – by releasing a small green demon snake to slither up her skirt…he turns her into a ‘Floating Head Vampire’. Sure enough, by night her head floats off, breathes fire and chases anyone on a midnight stroll! Just to think…everyone queued up in 1977 to see STAR WARS? Despite an internet age and worldwide accessibility of DVD/Blu-Ray…its oddly
reassuring that there is the occasional movie that you’re just gonna have to hunt out…THE WITCH WITH THE FLYING HEAD is just one of them! NIGHT OF THE WITCHES (1970). Obscure 70s drive-in movie directed and starring Keith Larsen (the star of WOMEN OF A PREHISTORIC PLANET), hiding behind the pseudonym of Keith Erik Burt. Whilst on the run, the lecherous Reverend Erza Jackson stumbles upon a coven of Witches in a seaside mansion who he foolishly tries to blackmail. Due to scenes of explicit nudity and sexual violence NIGHT OF THE WITCHES was heavily cut and, at one time, regularly shown on cable TV within this watered down version….the uncut version has become the very essence of legend! THE OFFSPRING – dark, yet underrated, horror anthology from 1986 has local librarian Vincent Price reflecting upon the town’s grisly history to a female newspaper reporter – this sets the scene for four horror stories. The 3rd story revolves around Lovecraft’s Travelling Carnival where a snake woman uses witchcraft to control a man who eats razor blades and glass…gory consequences to come! Released in the UK as FROM A WHISPER TO A SCREAM, almost completely devoid of humour! Often billed as ‘Vincent Price’s Last Horror Film’…would have been if not for Tim Burton’s EDWARD SCISSORHANDS…let’s just say, it was Mr Price’s last ‘good’ horror film! THE POSSESSED (1975)….or better still, known as DEMON WITCH CHILD – a wonderful slice of Euro-trash goodness! DEMON WITCH CHILD is a supernatural Exorcist-inspired chiller (complete with screeching profanity and even a cheap head spinning scene!) from Amando De Ossorio (the Spanish director who unleashed THE BLIND DEAD upon the world). A gypsy witch returns from the grave to possess a young Susan Barnes who begins sprouting moles, loosing her hair and begins to cackle and begins getting up to demonic hijinks! Susan Barnes was played by Marian Salgado, who was sought after for the role as she had dubbed Linda Blair on the Spanish release of THE EXORCIST. QUEENS OF EVIL (1971) – Hiding out following a sinister traffic alteration on a deserted mountain road, hippy Ray Lovelock finds himself the guest at a luxurious villa, flourished throughout with the most surrealist of 70s décor, and 3 enticingly beautiful & seductive women. But is he a guest…or prisoner! Drawn to the hedonistic care-free life style, treated like a prince, with chocolate cake for breakfast and plentiful sex, Lovelock finds he is unable to leave the alluring grasp of the tantalising trio…but is Witchcraft at hand? Wonderfully macabre 70s Italian horror thriller with nightmarish fairytale undertones…you just won’t it to end…neither did Lovelock, much to his comeuppance!
RITUAL OF EVIL (1970) was the second pilot to a proposed TV horror series from Universal called Bedivilled, the first being FEAR NO EVIL. Louis Jordon returns as psychic investigator Dr David Sorell this time to uncover the truth of a young heiress that was involved in witchcraft. Of course Darren Gavin was introduced as Carl Kolchack the supernatural investigator in THE NIGHT STALKER in 1974 and television horror would never be the same again.
wrangled with Dracula, the Wolf-Man, Aztec Mummies, robot assassins, Martian midgets and a bearded Frankenstein Monster understandably found himself in the ring with a few Witches in his time! Most notably in 1974’s SANTOS EN LA VENGANZA DE LA LLORONA (roughly translated as Santo in the Vengeance of the Crying Woman). OK, so there’s no balls-out rampant witch-wresting… but he does do the El Santos tangle with gangsters & zombies
SEX OF THE WITCH (1973) – More delightful euro-trash sleaze, this time from Angelo Pannaccio who would go on to deliver EXORCIST 3: CRIES & SHADOWS a good 15 years before William Peter Blatty delivered his own 1990 sequel. SEX OF THE WITCH deploys a ‘giallo’ framework to its mystery of ‘who is the killer’ within a family inheritance dispute…any supernatural element of witchcraft is merely hinted. Explosive 70s rock music, gratuitous gore and nudity liven up the mystery….what’s not to like?
X-rated Witches –writing under the pseudonym of James Darke, prolific UK pulp writer Laurence James wrote an exploitative horror series entitled The Witches during the 80s. Published by Sphere and wonderfully advertised as an ‘Adult Series of Devilry & Lust’, the series ran to 8 volumes and come under heavily critical fire for their explicit hardcore violence and perverse sex scenarios. During the Video Nasties scandal, in a knee-jerk reaction, WH Smiths banned The Witches series from their paperback shelves…don’t expect a republishing schedule anytime soon!
TEEN WITCH (1989) – typical nauseous 80’s ‘from nerd to witches’ teen-comedy of a 16 year old girl who discovers she is a reincarnated witch….look out school teachers, stand aside bullying cheerleaders…a lavish ad campaign promoted TEEN WITCH as the female version of TEEN WOLF (1985)…no wonder nobody turned up! THE UNDEAD – cheap, cheerful but damnable good fun, grade Z Roger Corman AIP quickie from 1956 stars Pamela Duncan as a prostitute who through therapy sessions finds herself condemned as a witch in medieval times. Seductive virgins, dancing dwarves and the Devil himself (played by Richard Devon) all encased in a story of sexual temptation and reincarnation. Originally double-billed with VOODOO WOMAN Video-camera horror - BLAIR WITCH PROJECT – the horror phenomenon of the 90s! Based upon the premise of found videotape footage! Three luckless (and dislikeable) teens hopelessly lost in the vast Maryland wilderness while filming an amateur documentary feature on the local legend of the Blair Witch. The newly discovered videotape tells of their plight! A visionary marketing campaign that truly harnessed the internet, that begun a year before release, screamed that the filmmakers were never to be seen again…an accidental masterpiece or a baseless exercise in abject fear? Critics smugly cite Ruggero Deodato’s CANNIBAL HOLOCAUST as a source of inspiration but THE BLAIR WITCH PROJECT probably owes more to the pseudo-Bigfoot-documentaries of the 70s like THE LEGEND OF BOGGY CREEK (1973). Wrestling Witches – Mexico’s premier horror star El Santo (The Saint) the Masked Wrestler, in a monster-bashing career that spanned nearly 40 years where he
The Year 5,000…..TERROR IN THE YEAR 5000….OK, not exactly a Witch Movie…but this sappy Sci-Fi sucker has a 4-eyed cat transported from the year 5000 via a timemachine. Soon transforming into the sexy Salome Jens, it hypnotizes males with her long glittery fingernails to take back to her radioactive destroyed future...sounds enough like female Witchcraft & devilry! “From a time unborn…a hideous She-Thing” Ze do Caixado (Jose of the Grave)….or perhaps more widely known as Coffin Joe… Brazil’s leading horror icon. Inspired by the US horror pulp comics of the 50s&60s, Jose Mojica Marins created the macabre character of the demonic gravedigger, Jose of the Grave, complete with dark cape, top hat and repugnantly extended fingernails. AT MIDNIGHT I WILL TAKE YOUR SOUL (1964) was truly visionary and largely unseen outside Brazil…opening with a Witch’s warning of “Don’t watch this film….go home!”
Thanks to Steven Jay Schneider, Pete Tombs, Paul Brown, Harvey Fenton & Kevin Bucknall Tristan Thompson is the author of THE ILSA CHRONICLES (a study of the ILSA SHE WOLF OF THE SS movies) & BLAZING MAGNUMS (classic Italian Cop-Crime movies of the 70s). Former editor of IT’S ONLY A MOVIE fanzine and a contributing writer of many cult film publications including THE DARKSIDE, SHIVERS, NEON, DELIRIUM & IS IT UNCUT. Tristan has been working with FAB Press on the UK cult-film festival circuit since 2003.
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No matter where you have come from, it would have been impossible without our fabulous audience and the support of the fans who came in previous years. Every one of you has made this festival grow, so from everyone here: thank you! A special thanks to Victoria Price, Alex Chandon, Chris Crow, Joshua Richards, Michael Jibson, Joseph Millson, David Lloyd, Joe Timmins, Nicola Vaughan, John Burns, Russell Davies, John Davies, Fraser Stevens, Gavin Baddeley, Teresa Davies, Emma Pett, Mikel Koven, Stuart Amphlett, Tessa Williams, Rachel Ridge, Paddy Rogers, Meirul Din, Shanaz Shakir, Martin Lakin, Kathryn Campbell, James Plumb, Alexey Bogdanov, Travis Betz, Elodie Mouz, John Sweeney, Valentina Sutto, Simon Anlezark, Ivo Scheloske, Scott Leberecht, Talal Selhami, Etta Devine, Ryan Levin, Helen Blesky, Sanam Madjedi, Paul Davis, Frazer Lee, Joseph Alberti, Peter Stevenson, Alan Hewson, Louise Amery, Rachel Scurlock, Nerys Hughes, Martin Barker, Vincent Price, Tristan Thompson, Keri O’Shea, Jenny Hammerton, Jake Whittaker, Richard Gladman, Rob Nevitt, Karolina Grushka, Holly Dacre-Davis, Liam Dacre-Davis, Denise LeMay, Rhowan Alleyne, Sally Griffiths, the Film Agency for Wales, Aberystwyth Arts Centre and everyone else who’s supported the festival! CANOLFAN Y CELFYDDYDAU ABERYSTWYTH ARTS CENTRE
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