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The classic Grizzly of William Girdler and the genre Horrors of the animal.
A review of i - ming
TERRITORIAL DISPUTES
If we mentioned assume that the horror film always needs a Monster to exert its effect may be in the animal horror, the role of the monster taken from animals . How does this reinterpretation of the animal to the monster? Are there similarities in all the different movie monsters to explain to us how the animal is constructed into a monster? What steps are necessary to make the change or they might be accomplished? In general, a behavior must be present, which differs from a norm, be it animal or human behavior, a to allow interpretation of this standard. Here are three basic distinctions with respect to the situations of the stories are taken to be analogous to the patterns of action "action", "response" and "passivity" may be considered:
1) The animal behaves more or less by its very nature, expands the circle of his activities, however, about the usual norm. In this category is the animal described in the disposition to most as an "active part" ( Jaws, Grizzly ).continues, the fear of the monster in the horror film is influenced to a great extent the fear of their own inability to a situation positively. Is the animal in the animal horror proxy for the forces of nature, where man encounters, the question arises as to the responsibility of man to bear the consequences for his encroachment into nature, and after its failure to take up this responsibility. The person is displaced from the role of the agent and it is often only the reaction, no matter what situation, the history up to that point is accepted. The nature shows him back in his place and command respect. Animal Horror addresses the fear of the people as explorers and conquerors, as the crown of creation, its achievements and conquered territories to lose again to the original owners and thus leave its status as rulers and masters. The man is being pushed back: The earth, which he has subjugated chases him out of his colonial home. In the center of the Animal Horrors So is the fear of not more accepted part of this Earth to be a foreign body in the natural system of the planet.
2) The animal reacts to outside influences, usually on human Interference with the natural conditions, these effects have to be a learning curve to understand the animal's reaction as an evolutionary step. This step is a) his mental development (Phase IV , Squirm ), b) include physical mutation ( Tarantula ) or c) both mental and physical evolution ( Bug ). Here the animal the "reactive part" is.
3) The person enters the area one of the animal, and changes in this way the standard ( The Lost World , Open Water ). In this category, the animal is most likely the "passive role". Take
Adam and Eve as confounding factors in the ecosystem earth Briony Behets, John Hargreaves Colin Eggleston
animal horror parable Long Weekend 1978
Animal Horror therefore less supernatural attributes as much more political and more often ecological approaches. As films about natural disasters, environmental disasters and epidemics animal horror part of the larger framework of "eco-horror" is an area of "Nature Strikes Back" is also often associated with the term is. The stress field in which moves Eco-Horror in general, and specifically animal horror is always the question of cause and effect, according to the relationships between human actions and those of the animal. The central question is: Is man responsible for what happened? And if so, how he goes with this responsibility to?
William Girdlers Grizzly in its consequence is the prototypical representative of its genre: plagiativ, calculating in its combination of pure spectacle and superficial explanation, and in its technical execution, at best, average. At the same time he meets all the requirements of a proper style exploitation film: He is a highly cost-produced independent film, a shot rip-off with a clear focus on the economic advantage in the wake of an original product, he was in the 70s, a decade in the today of view totally different production and style rules that prevailed Exploitation icon Christopher George plays a starring role as the sexy Ranger, and last but not least, is peppered with many Grizzly vulgarity. (Mentioned only had to stumble into an open body and the attack of the bear to a little boy, two scenes that put the audience still in amazement at how the performance of Grizzly in the series Bizarre Cinema convince confirmed on 02.11.2008 in Hamburg 3001-cinema could.) You can see both the film's unabashed look at the dollars as well as the unconditional love of his subject and his medium. You get the feeling here was a man at work who loved his work.
WILLIAM GIRDLE
Girdler, born 1947, came during his time with the U.S. Air Force for the first time in contact with the film, when he was there involved in the production of documentary and educational films. In 1970 he founded the company Studio One Productions, which produced first commercials. Girdler filmed in 1972 with his Studio One crew then his first screenplay and delivered his debut film Asylum of Satan . Quite artistically deficient, a story about this film proves Girdlers inimitable business acumen and his nose for the small excesses of genre cinema: In Asylum of Satan a devil costume is used, the Girdler from the inventory of props Roman Polanski's Rosemary's Baby concern from 1968 was: The same Satan, Rosemary Woodhouse was raped, got another head put on and was allowed to drift on the loose.
Rumor had in the famous scene in Rosemary's Baby incidentally carried none other than Anton LaVey the rubber devil during the filming, in his capacity founder of the Church of Satan, and probably of post-modern Satanism par with his rationalist, anti-spiritual attitude and his now entered into pop culture imagery and the theatricality. Girdler tried to make contact with LaVey to him for his support to win the set of Asylum of Satan . LaVey was not available and instead sent one of his adepts, who eventually helped to optimize the satanic black mass dialogues and design more realistic, in part, by objects from LaVey's pool for the set. Whether LaVey has actually played for Polanski Satan is still a matter of speculation. His surviving comments on Rosemary's Baby but are priceless: "The best paid advertising for Satanism since the Inquisition." Or, " Rosemary's Baby was for the Church of Satan, what Birth of a Nation been for the Ku Klux Klan, complete with recruitment posters in the cinema foyer. "
Anton LaVey ( Look , August 1971) The following year was Girdlers Three on a Meathook published, a horror movie about a serial killer whose story is vaguely based on the life story of Ed Gein, and which is said therefore he would be an important source of inspiration for Tobe Hooper's The Texas Chainsaw Massacre been in 1974. In fact, it seems the Trailer to be more interesting than the movie itself was in 1974 by Abby Girdlers out, one by American International Pictures (AIP) produced Exorcist rip-off as a blaxploitation version. Warner Bros. moved because of plagiarism in court and won. Abby had to be withdrawn from cinemas and was the only rider from William Friedkin's' The Excorcist that was actually taken from distribution. Before Abby disappeared from the cinemas, he had recorded many times its modest production costs of $ 100,000. Girdler saw nothing of the revenue, maybe it was between Warner and AIP, where a deal in which he was not involved.
A short throw in more or less personal note: I often confuse statements by both critics and producers who proclaim the star of a film evidence in his latest performance "courage to ugliness." This expression and the mindset behind it, are contrary to my view of what I consider to be acting. He seems to be an expression of the idea of good acting, would be dressed nicely to present to the audience. Now I have nothing against prettily actresses and actors, but this rise to the norm and everything is different, can be described as brave, seems to me to be a very superficial understanding of acting, which the Performance of the actors can never meet. It is also observed that the phrase "So-and demonstrates the courage to ugliness" mainly in the assessment of female actresses is utilized. In this score, I would like to beat most in all the contradictions of consciousness when I say: What the really charming Carol Speed, star of many blaxploitation films of the 1970s, in Abby make how changed her wonderfully pretty face in a disgusting grimace, the has to be seen to be believed. In addition, as the entire film.
Carol Speed in the Portrait / Carol Speed as Abby 1975 staged Girdler also for AIP the Blaxploitation -Action movies Sheba, Baby with Pam Grier in the lead role, which at the time considerable success with the movies Coffy , 1973, and Foxy Brown , 1975, from Jack Hill was recorded. In 1976 followed Grizzly both Girdlers biggest commercial success as a director and Edward Montoros greatest financial success as a producer. Montoro, in anticipation of the circumstances of his subsequent disappearance, cheated by the unexpected and enormous advertisement of director and co-producers and tried to embezzle the sum. Girdler and the other sued Montoro and FVI, but could not get a share of the revenues. Girdler again went away empty-handed, although he had created a real blockbuster, one of the most profitable independent films in cinema history. Despite everything, did not lose the courage and Girdler directed 1977 for Montoro and Film Ventures International (FVI) Day of the Animals , a sort of sequel to Grizzly .
Girdlers to other films, The Zebra Killer of 1974 and Project: Kill from 1976 to reference at this point to the wonderful website www.williamgirdler.com , are mentioned only to his last title The Manitou of 1978 with none other than Tony Curtis in the lead role, the incredible with the German distribution title Super-Zombie: The birth of horror was provided. (The Manitou also ran as part of Cinema Bizarre in Hamburg.) It was in this year 1978, when William Girdler the location hunting in the course of preparations for his next project in the Philippines in a helicopter crash fatal accident. At that time he was 30 years old and had turned in six years, nine films. Statistically, he is still one of the most prolific American directors of all.
Girdler had never given up the illusion of producing art films: His works should be produced quickly and cheaply as possible and bring in much money. Looking at its output, but are close to two conclusions: the man was an obsessive workaholic with a strong business sense, and he loved the cinema unconditionally. There are sources that tell it, he had worked so obsessed, because he foresaw his early death. Have we come Girdler once in their words:
"I'm in this business to make money. Why would you lie to yourself? No one wants to lose money. We have produced no art films and will not do in the future. I have no message to the world, we consider scenarios in terms of their commercial usefulness. I aim not to produce with my film art, but try to make them as elaborate as possible. "(Translation of the author)Girdlers love of cinema, his passion for film and the special attitude to filmmaking in general and its own work in particular with respect to express themselves in words only in the elusive charm that radiates Grizzly, the movie can be called Girdlers masterpiece.
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