“The pure horror movie would be that in which the forces of evil succeeded in taking over, the one they would themselves direct: pure, and therefore unrealizable. Carmilla, the gorgeous undead girl (invented by Joseph Sheridan Le Fanu) who infiltrated bourgeois households in Blood and Roses and The Vampire Lovers, was the advance agent for a New Order, but you would never get to see what sort of a world that would be. There would never be The Last Man on Earth II, detailing what happened on virus-ridden Earth in the aftermath of Sidney Salkow’s unforgettably downbeat 1964 production, after there was no one left except vampires. The inheritors, in such a scenario, would propose a ravenous alternative dispensation, in which the lords of chaos in their unrestrained domesticity could give themselves over to a voracity without end.”
The evocative passage above was by the writer/critic/editor Geoffrey O’Brien and taken from his superb, impressionistic analysis of movies and memory, The Phantom Empire: Movies in the Mind of the 20th Century, originally published in 1993. It’s not a traditional critical examination at all, but it’s brilliantly written and contains many insights that keep me going back to it all these years later. Reading the above paragraph immediately reminded me of the movie below.
The video clip is taken from the experimental movie Begotten, directed by E. Elias Merhige, from 1991. It’s not really a horror movie, although it contains plenty of macabre imagery and feels unwholesome in that way only the best horror movies can exude. It looks and feels as if it had been unearthed from ancient soil and screened as a sacrament to unnameable gods. It feels like something they would screen for themselves for a night of entertainment, when their bellies were too bloated to continue their ritualistic sacrifices.