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Defining Shots: Capturing the Essence of Our Favorite Horror Films (Part 2)

The most interesting thing about this screen-capture project that I embarked upon with Andre Dumas of The Horror Digest is the fact that the two of us never actually consulted each other ahead of time on which shots we were going to select. And yet, not a single time did our selections duplicate each other. And it's quite fascinating to look at our choices side-by-side, and analyze just what it indicates as far as our own personal perception of each film.

It's also a testament to these classic movies that they are so rich in imagery that we have both been able to pick out such powerful moments from each one. These are moments that have perfectly distilled these particular films for us, eloquently stating the central theme or idea that the movie is trying to convey.

We hope you enjoy the second and final batch of screen-caps...

THE RETURN OF THE LIVING DEAD

B-Sol:
One of the most fascinating aspects of Return of the Living Dead is the frank way in which the film confronts death--pretty ironic considering it is a horror comedy. And this confrontation with the other side is never more fully expressed than it is in this one unnerving moment when Ernie interviews one of the undead to learn what makes them tick. Creepy in the extreme...

Andre:
This has always been my favorite screen grab of Return of the Living Dead. For a similar reason to my American Werewolf selection, this shot also shows that ROTLD had some meat on its bones. My favorite horror comedies are the ones that retain the scares, and Return of the Living Dead had that. This in particular is always such a chilling moment for me, almost different in tone and unexpectedly causes you to catch your breath.

THE SHINING

B-Sol:
The story of one man's dizzying descent into madness, this film brings us face-to-face with the insanity that lies within us all, waiting to be released. We watch as Jack Torrance become more and more unhinged, culminating in an orgy of deranged violence. This moment, right after Jack has dispatched poor Scatman Crothers, says it all.

Andre:
This is a moment that defines the sensory overload that happens in The Shining. The fear and the horror, the anxiety and the terrifying images, seem to just gush out of the screen when you are watching it. It's surprising, beautiful and timeless--all things that I happen to love about The Shining.

SUSPIRIA

B-Sol:
It has been said that Dario Argento is the master of making horror look beautiful, and as a direct extension of this, it's obvious that for him, murder is a sexual act. This is at the heart of his work (pardon the awful pun), and here in Suspiria we witness the ultimate distillation of this notion, as the killer's knife penetrates flesh.

Andre:
This double death scene early on in the film is the defining moment of not only Suspiria, but Dario Argento, as well. It perfectly exemplifies the idea of film as an art form. Quite literally, as this shot in particular looks like a painting. Every time I look at it, it takes my breath away and continuously reminds me why I love that little thing called a terrible beauty.

NOSFERATU

B-Sol:
The figure of Count Orlock is what makes Nosferatu such a terrifying film, even today. His menacing form and threatening demeanor truly make this movie a so-called "Symphony of Fear". Here, the Count famously ascends the stairs to claim his final victim. Perhaps the most classic vampire entrance of all time.

Andre:
For me this is the quintessential portrait of Count Orlok. He will continue to scare the crap out of me until my dying day. This moment where he stands on the threshold of Thomas' room, peering in and standing so rigid and so grotesque looking will always send shivers down my spine.

A NIGHTMARE ON ELM STREET

B-Sol:
The invasion of Freddy into the dreams of his victims represents a powerful violation, and nowhere is this more vividly expressed than in Nancy's infamous bathtub nightmare, in which the slasher's razor glove appears from between the legs of Ms. Thompson. Paging Dr. Freud...

Andre:
This shot proves the almost suffocating effect that Freddy has on his victims. It's such a marvelous shot that it almost feels out of place in a way. It's intrusive, and it's even unexpected. Freddy is supposed to be with Tina isn't he? Two places at once?!

GOJIRA

B-Sol:
What sets the original Godzilla apart from the endless stream of sequels is the way in which the film takes the damage wrought by the monster so seriously, measuring it in a human toll, and not just wanton property damage. This is a movie about people and how their lives are affected by a monster, not about the monster itself. This shot, in which a mother, confronted with imminent death, comforts her children by letting them know they will soon be with their father (presumably killed a few years earlier in World War II). Pretty heavy stuff for a man-in-suit flick.

Andre:
This scene always catches me off guard. Originally, I had decided on the iconic shot of the fire breathing Gojira, but this moment kept calling out to me. It shows the heavy sadness that exudes from the overlaying themes in Gojira. The idea that although the destruction and effects of nuclear war were devastating, there still remained at least a shred of hope and beauty. I think highlighting this aspect is important to do amongst the loudness and anger of Gojira.

Defining Shots: Capturing the Essence of Our Favorite Horror Films (Part 1)

It's been said that a picture is worth a thousand words, and it's certainly true that we humans are very visual creatures. Perhaps this is why the medium of film has become the defining popular art form of our times, capturing the imagination like nothing else. And there is certainly no film genre quite like horror to give us some defining, iconic imagery--the kind that stays with you long after the film has unspooled or the DVD has stopped spinning.

I've always believed that certain shots can sum up an entire film, and this is why I've always been such a big fan of using screen grabs in my posts whenever possible. One individual who definitely is a blogger after my own heart would be Andre Dumas of The Horror Digest. Both Andre and myself are big fans of horror imagery, and decided to pool our efforts on a little project we're calling "Defining Shots".

The idea here was to take a series of our most beloved horror films, and to both of us identify the single shot out of the entire film that we respectively feel defines the entire film in question. And so we selected 12 classics, and applied this little exercise to them. Tonight, I bring you part 1 of the experiment, and you can look forward to part 2 a little later in the week.

Below, I've grouped together the two shots we've picked from the first six films of the bunch, with a little explanation from the both of us as to why we selected that one image. I found it quite fascinating to see the different images we both selected from the same exact movies, and I hope that you do, as well...

LET THE RIGHT ONE IN

B-Sol
At the heart of this beautiful film is the unique relationship between a 12-year-old boy and a much older androgynous vampire in the body of a child of similar age. And Eli's visit to Oskar in his room perfectly epitomizes the connection between the two of them, as well as the contrast between them. A breathtaking moment from a breathtaking movie.

Andre
This is another perfect example of a terrible kind of beauty. I love it because not only does it show the brutal nature of the consequences Eli suffers when not being allowed to enter (which is something rarely depicted) it also takes time out of that brutality to offer up such a brilliant moment of beauty and quietness. A very important aspect of Let the Right One In that sets it apart from almost every single vampire film out there.

JAWS

B-Sol
Many have compared Jaws to Moby Dick, and with good reason. If the comparison is to be considered valid, then surely Quint is the film's Ahab. And it is this moment, when Quint realizes he has finally met his match, that the essential conflict of the film reaches its zenith. It is man vs. nature at its purest.

Andre
Those that know me are aware of my immense fear concerning this movie. In this moment I always feel exactly the way that Brody must. He is listening to Quint's horrific description of a shark biting off someone's hands, and he is surrounded by the jaws of the very beast he is about to meet, a look of fear and smallness swimming in his eyes. In many ways he looks incredibly small put up against all the jaw bones and in reality he is incredibly small put up against the shark.

THE EXORCIST

B-Sol
Those who know The Exorcist realize that the film's central character is not in fact Regan, nor is it Father Merrin, but rather Father Damien Karras, the agnostic priest who finds his faith in conflict with the Devil himself. And it is this moment, when Karras makes the ultimate sacrifice to save the girl, that sums up the character's ethical journey.

Andre
The iconic shot of good vs. evil is made one step deeper by the appearance of a second picture showing through. I have always believed this was appropriate as it depicts the way that evil transcends throughout everything. One minute it is there in Iraq, and the next it is in the bedroom of Regan MacNei and no matter how many times it is vanquished it continues to return.

DAY OF THE DEAD

B-Sol
George Romero's third zombie opus presents us with the notion that zombies can regain at least some of their humanity, with the unforgettable Bub being the prime example. In this shot, Bub is tempted to chow down on his mentor, Dr. Logan, but successfully restrains that impulse and proves his humanity. A turning point in the Romero cycle.

Andre
Besides the fact that this shot just looks fucking cool, it also shows how utterly surprised I was throughout Day of the Dead. I was shocked that I loved it so much and shocked that I cared so much for it. I secretly hate zombies, but here was Day of the Dead tantalizing my senses and invading my dreams.

AN AMERICAN WEREWOLF IN LONDON

B-Sol
Interestingly, it takes more than half of the film for David to finally transform into the werewolf once and for all, and by the time it happens, the audience has been waiting for it with bated breath. Right here, David completely loses his humanity and gives himself over at last to the raging beast emerging from within him.

Andre
This is my favorite scene from An American Werewolf in London. I love it because it does not contain one shred of humor. This screen grab perfectly shows the horror that lies within the film. John Landis did not intend for the film to be a comedy and I often think that notion is forgotten in regards to the film.

FRANKENSTEIN

B-Sol
The monster confronts its maker. This is the moment in which Henry Frankenstein at last must face his creation out in the open, away from the lab and with their father/son relationship dashed to pieces. The doctor beholds what he has wrought, and must find it within himself to destroy it, or at least try.

Andre
I really struggled trying to find a screen shot that got across my point of view concerning Frankenstein. In the end I settled on this more simplistic shot of my very favorite Universal monster. I think although it is simple in appearance it shows a tremendous amount of depth in the Frankenstein Monster's character. A monster that actually has a character, a heart and a point of view.

STAY TUNED for the 2nd part of Defining Shots, featuring images from Nosferatu, Gojira, A Nightmare on Elm Street, and more...

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