kindertrauma

Name That Trauma :: Reader Aerial on a Mysterious Merry-Go-Round

Posted on By aunt john

Hello lovelies, this is incredibly obscure and patchy but maybe SOMEONE can help me out here.

It can't have been later than 1974 or 1975, when I started watching a movie on T.V. It MAY have been set in Australia. A mummy and daddy put their tyke on a carousel and wave to him every time he goes past. But when the ride stops..he's gone. They go searching into the surrounding bushland to no avail. When they return to the carousel site, it is of course GONE, leaving a strange impression on the cement or grass..something frog-shaped, I think.

This is my first memory of being thrilled and frightened and I would love to know if anyone knows what I was watching!

Love,

Aerial

Name That Trauma :: Reader Claire on Subterranean Trolls

Posted on By unkle lancifer

I saw it about twelve years ago whilst living in Greece but I think it was older than that. It was American and the Greek title translated as "The Beast." It was set underground, a bunch of people were potholing and found a cavern filled with trolls or goblins. At one point a man was chained to the floor on a lot of carved symbols and there were flaming torches around. At the end a big troll was holding one of the female characters and got caught in sunlight and they both turned to stone. Then it oddly cut to two of the other characters in bed asleep and the woman waking up saying, 'We forgot about X' or, 'But what about X' (X being the name of the stone woman I think). Then the man hushed her and the film ended.

Can anyone help?

Cheers,

Claire



UPDATE: NAME THAT TRAUMA SOLVED! Thanks to reader craig for taking the good & taking the bad and coming up with GRIM:

Traumafessions :: Author, Journalist & Producer Peter Gutierrez on 42nd Street Memories

Posted on By unkle lancifer

I envy you, I really do.

That is, if you're like one of the many Kindertrauma regulars who were nearly scared clean out of childhood itself by media such as public service announcements, doll commercials, Claymation cartoons, and DISNEY/SESAME fare. Sure, I was occasionally creeped out by those things, too, but on the whole probably viewed such incidents as welcome moments of quiet dread. After all, I was too being traumatized by the blood ‘n guts of cinematic material aimed at adults…

A child of divorce, I can't recall a time when my father didn't take me to the movies every Sunday. The problem is, he took me to the movies he wanted to see as I guess this was his set-aside time each week to catch up on both current releases and classics at the revival houses… or just to check out the latest grindhouse offerings on 42nd Street. This was New York City in the 1970's, a wonderland of high-, middle- and lowbrow film culture rubbing shoulders with each other and confusing impressionable little kids like me.

The first grownup movies I recall seeing "officially"—meaning, my mother was aware of these outings, unlike earlier ones—were screened as part of a PLANET OF THE APES mini-fest. One of the titles was 1971's ESCAPE, the topic of a recent excellent Traumafession by FilmFather who sums up my feelings pretty well. By "mini-fest" I mean that in this pre-home-video age, it was common practice to re-release older films in a cycle to play on the same bill as the new installment. So I remember seeing several of the APES movies back-to-back, a nonstop parade of grim violence and sympathetic characters being killed off.

Speaking of sympathetic characters getting the axe, the only movie I was so terrified of that I just couldn't cope at all was THEATRE OF BLOOD (1973). By all accounts this is a worthwhile movie, but to this day, nearly forty years later, I still haven't been able to bring myself to watch it. Fairly early on the dramatic structure/tension of the film is made clear—VINCENT PRICE is killing off, one by one, those whom he feels have slighted him. Since I was either seven or eight when I sat there in the darkness watching this, I'm not sure that I grasped that the victims were cruel theater (oops, "theatre") critics, and certainly the film's campier aspects were lost on me. All I understood was that that people were being murdered… horribly, graphically, inexorably.

This itself probably wouldn't have been an issue for me. I would have just gripped my armrests harder and gutted my way through. But one of the upcoming victims was played by ROBERT MORLEY, whom I already knew as a pitchman from the British Airways TV ads of the time. His persona in these commercials? The charmingly harmless chubby man who just wants to be your friend. And VINCENT PRICE was about to ensure that he wasn't going to be anyone's friend, ever.

"No, Daddy," I remember pleading, "I don't want him to kill the nice fat man and I know he's going to kill the nice fat man."

After attempts at shushing me didn't work—in fact, I was getting louder and whinier and more desperate by the minute—my Dad grabbed my hand and led me up the aisle and out in the sunlight. I had already been crying for some time.

My Dad's anger/annoyance at me was palpable, undeniable. Which is partly how I know I must have been terrified out of my gourd: it would have taken a lot of conviction on my part to defy him to the point where we had to leave the theater (not: "theatre"). And of course I understood his anger and did not find it unreasonable. After all, I had ruined his Sunday-at-the-movies plans with my juvenile anxieties over a bit of gruesome bloodshed.

But even now I don't blame him for his response—I'd been subjected to plenty of other screen-trauma by this point in life, so why was I over-reacting in this one particular case? In truth, though, I was probably so terrified during earlier movies that I couldn't find my vocal cords to protest. One horror flick that left lasting marks on my tender brain was TALES FROM THE CRYPT (1972). The anthology set-up meant a new type of terror was introduced every ten or fifteen minutes, so in effect the movie attacked my childhood from multiple angles. In particular, the famous JOAN COLLINS segment with the murderous Santa Claus was taboo-bashing to a seven-year-old's fragile psyche. In a way it's a proto-slasher sequence, and so helped fuel maniac-at-large fears for me for years to come (e.g., around campfires). Also, another reason I think this segment impacted me for life is that as an adult I perversely find the most compelling theme to be when two evils square off against each other, and that's what we have here since COLLINS is a murderer herself.

But this entire segment is just a warm-up act in TALES FROM THE CRYPT. Poor PETER CUSHING's being picked upon—itself a resonant theme for kids, or at least for me—and then returning from the dead with that hand thrusting upwards from the wormy grave! That moment is still thudding away somewhere deep inside me. And then the topper, somehow beyond that: the red, raw heart as the end punctuation both to the story and to a disturbingly rhymed Valentine's Day verse. Wow, that's like something that's made intentionally to flow into the deeper, darker currents of a kid's imagination…

In fact, this movie had it all, now that I think about, every type of grisly nastiness including revenge-gore: I also suffered a soul-concussion thanks to the segment that ends with the bad guy being chased down a narrow, razor-lined corridor by an attacking dog. Being sliced to ribbons has never been more visceral for me, even in movies when, unlike here, they actually show such the slicing on-camera. In any case, TALES FROM THE CRYPT, aside from ruining me forever in terms innocently enjoying the movies, not to mention my social/moral development, also seemed to speak to me—indeed, it was as if the unspeakable had been uttered aloud. The things you imagine at night when the lights are off, the supreme scariness of dogs, knives, cemeteries—all of this was now reality to me. It was a strange form of validation, knowing now that things this evil and tragic existed in the real world—for of course that's what the movies were to me: they were real because they existed outside of my head. Forget about their being "fictional"—that distinction carried little weight at the time and probably still doesn't.

My Dad also took me to museums and arthouse theaters for horror when it screened as part of festivals or repertory programming. At one museum (NYC's MOMA?) I recall sitting through numerous European silent films, and looking back, I realize that some of these were probably German Expressionist classics (CALIGARI, NOSFERATU) since they seemed quite familiar when I saw them in my late teens a dozen years later. At the time, they were captivating but for the most part didn't hit me in the gut.

One hugely notable exception on the Euro-front was a film that so traumatized me that I didn't know its title (or even if I imagined the film itself) until decades later. That's how strong my repression of it was. Anyway, SPIRITS OF THE DEAD was another anthology film, with three famous directors each trying their hand at a POE adaptation. Released in the late ‘60s, I must have seen it in revival four or five years later. There are three stories in this film, but LOUIS MALLE's "William Wilson" segment so horrified me that I later blocked out all memory of the others. The erotic S&M undertone (overtone?) was, I'm guessing, inappropriate for an under-ten child, with one key scene showing ALAIN DELON whipping a too-sexy BRIGITTE BARDOT. But the scene that lifted the top of my skull and then proceeded to stir my brains with a sharp spoon featured a dissection by DELON on a still-living young woman. I believe he's interrupted, but that's beside the point, which was… YOU MEAN YOU CAN CUT UP SOMEONE LIKE YOU CUT UP YOUR DINNER? YOU MEAN SUCH STUFF CAN BE SHOWN IN MOVIES? YOU MEAN YOUR OWN PARENTS CAN TAKE YOU THESE MOVIES?!?

Okay, enough shouting. The bottom line is that these movies, and a lot more in addition, messed me up irrevocably… but in a good way. After all, I've earned my living over the years in large part from horror. So what—and whom—do I have to thank for that? In short, maybe it wasn't a "problem," as I described it earlier, that my father took me to the films he wanted to see, but rather a blessing…

Thanks, Dad!

UNK SEZ: Thanks Peter for the super deluxe traumafession! I envy your seventies era 42nd street memories. I think I was eating Wonder Bread in Alison Park, PA at the time, terrified by car headlights beaming light on my bedroom ceiling and a poorly placed clown painting. For all you folks out there who don't know our friend and early (meaning essential) supporter PETER GUTIERREZ, he is an author, journalist and now with NIGHT OF THE LIVING DEAD: REANIMATED, a DVD producer!

NIGHT OF THE LIVING DEAD: REANIMATED is a fresh new look at your favorite ROMERO classic created by a collaboration of a multitude of artists and fans of the original film. If you haven't already seen it, check out the trailer below to get an idea of what's in store for you! You can snag a copy HERE and why don'tcha check out the official website for more info HERE!

Name That Trauma :: Reader Matt on a Psycho Pinocchio

Posted on By aunt john

Hi there,

I would love to send you a link or pic, but have not been able to track down anything on a film I remember being scared of in my early teens (around 1991-1995.) It was in my local Blockbuster Video and the evil antagonist was sort of an evil Pinocchio — a thin man made entirely of wood. He was a kind of Freddy Krueger type and very sinister. He was slender and had a bald head and thin nose, and human eyes in a wooden body.

I think he may have been called "Woody" and the film had "FEAR" in the title, but I really cannot remember.

I'd love to re-live watching it – and would welcome your help if can help find it…

Thanks so much,

Matt

UNK SEZ: Matt, you pretty much answered your own Name That Trauma! I believe the flick you are searching for is 1995's THE FEAR which sports a very wooden villain (whose name is actually Morty!) This straight-to-VHS movie does not have the best reputation but it does have a few things going for it. FEAR's cast includes director WES CRAVEN as "Dr. Arnold" and ANN TURKEL, from one of my faves, 1980's HUMANOIDS FROM THE DEEP. In 1999 FEAR gave birth to a bouncing baby sequel named THE FEAR: RESURRECTION. Both movies are available on DVD but be careful, rumor has that the picture quality on both is grainy! (Hey, I think I made a pun.)

Traumafessions :: Reader Alexandra W. on The Return of Sherlock Holmes ep. "Devil's Foot"

Posted on By aunt john

Hi Kindertrauma!

Searching through your archives it seems that no one has brought up PBS's famous MYSTERY! program. My parents were huge fans and every Sunday night at 8 I distinctly remember running into my room and slamming the door shut as soon as I heard the strains of the opening theme and the EDWARD GOREY illustrated opening credits flashing across the television screen.

I adore MYSTERY! now, but when I was little there was nothing more terrifying than Sherlock Holmes, Miss Marple, or Poirot solving brutal murders. One episode in particular of THE RETURN OF SHERLOCK HOLMES starring the fabulous JEREMY BRETT remains seared into my mind after all these years. The episode is entitled "Devil's Foot" and the mystery involves three people, a sister, who had apparently been literally scared to death, and her two brothers who had been driven mad by whatever had killed the sister.

When Holmes is notified of the deaths it flashes to a shot of the siblings sitting around a table in the living room, just as they had been the night before, but this time the women is slumped over to one side, clearly dead, her hands frozen into place around her neck and her eyes almost completely rolled back into her head. One of the brothers is rocking back and forth in a chair muttering to himself and the other is grabbing his head while white foam comes pouring out of his mouth.

This episode aired the one night I chose to watch with my parents after they had been raving about how good the series was and how much I would like it. Needless to say that when I saw this little tableau on the screen I calmly got up, walked to my room, and didn't watch MYSTERY! again until I was at least 17 or 18. To this day that scene still creeps me out.

Thanks, SIR ARTHUR CONAN DOYLE!

Sadly, I am unable to find any images of the scenes I've described from this particular episode. It is on YouTube though! The scene takes place right at the beginning of this segment:

Thanks!

Alexandra W.

Images of Film:: Darkness

Posted on By unkle lancifer

I got tagged by the JOHN KENNETH MUIR to do a meme (check out his "Images of America" HERE.) The concept comes from over yonder at CHECKING ON MY SAUSAGES and THE DANCING IMAGE. The idea is to pick a theme and to select images that, "Stand for so much of what makes cinema such a rich and exciting medium." I took it easy on myself and chose "darkness" as my theme and the images I selected are below. I put the titles of the films in the comments section.

Before I forget, I'm supposed to tag five more folks to keep this thing going. Don't feel obliged to comply if you are listed. If you like, just take it as a compliment on your screen-grabbing charms! ARBOGAST ON FILM, LOVE TRAIN FOR THE TENEBROUS EMPIRE, BAKING WITH MEDUSA, MY NEW PLAID PANTS and THE HAUNTED CLOSET!

Nightmares in Red, White and Blue

Posted on By unkle lancifer

I have to give you horror fans out there a heads up about a new documentary called NIGHTMARES IN RED WHITE AND BLUE. It covers the entire history of American horror while keeping a sharp eye on the social changes that influenced them. Don't think you've seen this all before because this one bounds past the usual tunnel vision horror fan approach. Not only does it have an awareness of the cultural temperature outside of the air-conditioned theater but it also pays respect to fringe films usually neglected. By damn, they even put Jiminy Cricket and WALT DISNEY in the hot seat for a spell and you know I'm all in support of that.

Seriously kids, after the recent and excellent NEVER SLEEP AGAIN, I figured I'd have to wait a couple years at least for another outstanding documentary on horror and yet here is NIGHTMARES IN RED WHITE AND BLUE. You may be thinking, "How the hell are they gonna cram the whole history of American horror into one film?" and the answer is…editing, like, really good editing. As I check out the IMDb I see that the film was edited by ANDREW MONUMENT the same guy who directed it, two gold stars for you ANDREW. It's based on a book that has somehow escaped my grasp (and not for long) by author JOSEPH MADREY. You want talking heads? How ‘bout these noggins? JOHN CARPENTER, JOE DANTE , ROGER CORMAN, LARRY COHEN and GEORGE ROMERO, to name just a few. Lordy, my unofficial godfather LANCE HENRIKSEN even narrates! The only thing missing is JAMIE LEE CURTIS spoon-feeding you Activia while you watch it.

Did I mention bloggin' buddy JOHN KENNETH MUIR is in it yet? If you've stopped by REFLECTIONS ON FILM AND TELEVISION or read any of his books then you already know that he is whip smart and knows of what he speaks. In this doc he fires a starting pistol that initiates the best FRIDAY THE 13th kill montage that has ever existed outside of my head. Besides that, he's a guy who is committed to reading between the lines and digging up cinematic revelations that, if they were snakes, would have bitten your entire face off years ago. He even sings NIGHTMARE IN RED, WHITE AND BLUE's touching closing theme song…O.K., I made that last part up.

Really, across the board I was impressed by the insights delivered by all involved. (As far as I'm concerned everything that comes out of JOHN CARPENTER's mouth should be carved in stone.) It may sound silly but the type of discussion within the film makes me proud to be a horror fan. This is a documentary that understands the power of the genre to speak of anxieties we've yet to fully confront yet. It looks beyond the violence at the fears and regrets that they represent. Perhaps even more importantly, it points out that many of the issues that are addressed in horror simply aren't addressed anywhere else and that horror records a secret history all its own. It reminds you that horror is grander than the sum of its parts (even if those parts include the lovely CURTIS and Jason Voorhees's still riveting upside down handstand hack from PART 3.) Plus is there anything more stimulating than a well-executed montage? Well-executed montages curl my toes.

NIGHTMARES IN RED WHITE AND BLUE is available for preorder HERE but I myself caught it "On Demand" thanks to my local cable provider who I used to hate but now realize I love (is that Stockholm Syndrome?) Now don't be all cynical thinking I'm raving about this thing just because our buddy MUIR is in it. I honestly think that it would be impossible for any horror fan not to enjoy this informative yet still jocular (there's a riff on door slamming in THE THING FROM AN OTHER WORLD which is inspired) examination of the history of horror film in America. Miss this one at your own peril.

Name That Trauma :: Reader Rachel R. on a Mannequin Maker & a Stony Statue

Posted on By aunt john

I'm hoping your wonderful website can help me identify a couple of my Kindertraumas:

The first movie would have been shown on HBO or Showtime in the early 1980s, and would have been made in that same era. It involved the typical group of stupid young people, and they go into a large white plantation-type house or hotel. The building is being used by a creepy man who makes manikins. There are also manikins and manikin pieces stored there. The horror element is that the creepy man actually turns people into manikins, then dismantles them. He can make the manikins, and even just the pieces, come alive and turn inanimate again. He can put the pieces of different people together. I seem to remember him removing one girl's arm while she was alive and it turned into a manikin arm before her eyes.

The creepy man picks off about half the group one by one. Further toward the end of the movie, when the creepy man is going after the last 2 or 3 young people left from the group, all hell breaks loose. Two things really freaked me out:

1) The hanging, jointed, very fake looking manikin arms suddenly turn alive and very human looking and start grabbing at the remaining young people as they run out of the building.

2) The creepy man is chasing the remaining young people. I can't remember if it is just from creepy man's touch, or if he's actually cutting off body parts with something, but one young person's arms and head fly off. You see the body parts flying through the air and landing on the ground and they have turned to manikin pieces. The pieces then turn alive again, but are obviously not attached to each other any more. The head is crying and screaming. This scared the bejesus out of me. I turned it off at that point and switched to a nicer movie so I could go to sleep MUCH later. It was absolutely horrifying to me to think about that head being alive and knowing what had happened to it. Far more scary than just being turned into a manikin head.

I have no idea when this other movie was made, but I watched in the early or mid-1970's, very late at night, I think as part of "Creature Feature." I think it was in color, but I'm not positive.

I remember a statue of a woman, maybe even a Medusa, that turned people to stone at night. I remember the statue's face would be shown very close-up and then the people would turn to stone. I also remember close-ups of bushes and vines. I think the statue was deep in a large garden or park. People would walk through the vines and run into the statue. I seem to remember a striking cuckoo or Black Forest-type clock being shown right before or during the attacks. I think maybe the statue would only turn you to stone at midnight, but I'm not sure.

I was pretty young when I saw it and never came across the movie again, so I may not be remembering that part correctly. I know this is not much to go on, but I'm hoping it rings a bell for someone.

Thanks in advance,

Rachel R.

UNK SEZ: Rachel R., thanks for the NTTs! Even though all the details don't fit snug, I think the first movie you're talking about must be 1979's TOURIST TRAP. I can't think of any other movie as mannequin crazy as that one. Check out the trailer below…

My guess for the second trauma would be the 1964 HAMMER flick THE GORGON but that seems almost too easy. There is a simple way to confirm that one though, you can watch THE GORGON in its entirety HERE or check out the trailer below! Let us know!