Happy Father's Day

Have a happy Father's Day, from all of us here at the Darkley Niche! Feeling inclined to watch some Father's Day horror for the occasion? Well, look no further than our Seasonal Horror Calendar. Be sure to also browse down the calendar to September as well, for those of you who have grandfathers (Grandparents Day) and stepfathers (Stepfamily Day). After all, it's Father's Day for them too, you know. And in the spirit of Father's Day, here's some fatherly advice from a handful of horror film dads.

JACK TORRANCE
'The Shining' (1980)

"Enjoy the time you have while you're still a kid, and don't be in such a hurry to grow up. Make friends, use your imagination -- well, maybe less in your case, Danny -- and play. Especially play. As the old saying goes, 'All work and no play...' "

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NATHAN GRANTHAM
'Creepshow's first story, "Father's Day" (1982)

"Everyone wants to feel appreciated, dear ol' Dad included. Find a way to say 'thank you' to someone special. Perhaps a simple, handmade card or a small gift. As long as the thought is evident, they'll know it's heartfelt. Although I personally prefer cake..."

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PAPA JUPITER
'The Hills Have Eyes' (1977)

"Teach your boys how to hunt, to clean their kill, and cook a meal. We want our sons to eventually become self-reliant and these are good ways to show them how. Remember, it's a dog-eat-dog world out there..."

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"DAD"
'The People Under the Stairs' (1991)

"Respect to 'Mother' shows respect to me. The same holds true with any family, and your father will feel the same. Besides, whenever you go over her head it's usually up to Dad to bring the heavy-duty discipline. And believe you me, you do not want to see him dressed in a borderline bondage, leather suit..."

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ERICH STREATOR
'Twilight Zone's episode "Living Doll" (1963)

"Like all personal belongings, when toys aren't in use it's best to put them in their proper place. A toy chest, closet, underneath the bed, et cetera. Wherever it works best. Especially be sure to keep toys off of the stairs. Someone could accidentally break their neck..."

Black History Month, part II

This February, the Niche looks at some of the talented black men and women in horror, who are not only noteworthy actors, but also dignified in their parts. In commemoration of Black History Month, here is part II of our honorary mentions. (To read part I, select here.)

DANNY GLOVER
(1946-present)

To action enthusiasts, he is Detective Roger Murtaugh from the 'Lethal Weapon' franchise; to Disney lovers, he is baseball manager George Knox from 'Angels in the Outfield' (1994). To those in the sci-fi community, however, he is Lt. Mike Harrigan from 'Predator 2' (1990) and even more recently to fans of horror/thriller films as a detective in 'Saw' (2004) and the conductor in 'Night Train' (2009). Talk about a diverse acting career, and the thing is that he's good in each situation. I'll be sure to elaborate more on Glover in a review of 'Night Train' that I've been neglecting.

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EUGENE CLARK
(1951-present)

I can't speak on the behalf of Romero's 'Dead' franchise fans, but 'Day of the Dead' (1985) seemed a bit off the mark. But what the third film did have going for it was Bub, the zombie that gradually learns. 'Land of the Dead' (2005) expanded on this concept, casting Clark as the zombie dubbed "Big Daddy", who leads a revolution as well as exhibits camaraderie and empathy with other zombies. The difficulty of portraying those characteristics as a zombie while remaining believable shouldn't be underestimated. On a side note, Clark has also played minor parts in master television programs the likes of 'Alfred Hitchcock Presents' ("User Deadly") and 'The Twilight Zone' ("The Wall").

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NAOMIE HARRIS
(1976-present)

Now, I've abstained from using the generalization of "African American", because we have something of a rarity, an Englishwoman in our midst. Ms. Harris has appeared in the latter two 'Pirates of the Caribbean' ('06 and '07) Disney films, and even more recently in 'Ninja Assassin' (2009), but what makes her remarkable, to myself at least, is her role in the gritty epidemic scenario seen in '28 Days Later' (2002). (Personally, I don't care if you call them "infected" or "zombies". Be technically correct if you like, I call it being anal retentive.) The story doesn't pull punches and neither does she, depicting a strong woman who has had to harden herself in order to survive this nightmare. Along with 'Resident Evil's Rain (Michelle Rodriguez), I would want '28 Days Later's Selena in my survivor group.

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AALIYAH HAUGHTON
(1979-2001)

While 'Queen of the Damned' (2002) wasn't an especially great vampire film (though I will take it any day over 'Twilight' (2008) in a heartbeat), it does have its redeeming qualities, such as Aaliyah. Alluring and seductive, her role as Akasha, queen-goddess of the vampire race, was memorable even if you put the starlet's own untimely death out of mind. When she walks into the modern day London club, exuding a feral power and stride that I can only describe as a female panther personified, she immediately grabs your attention. The only shame is that we see so little of her in this Anne Rice adaptation.

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EARTHA KITT
(1927-2008)

Alright, so I confess that I grew up watching the 'Ernest' movies as a kid, 'Ernest Scared Stupid' (1991) being my hands-down favorite. Aside from Jim Varney, Eartha Kitt was the most interesting character, cast as "Old Lady" Hackmore, Briarville's town recluse with a yard covered in junkyard sculptures. She fits the part perfectly, absolutely perfectly. And while 'Ernest Scared Stupid' is at its heart a comedy, it's the closest to horror that I've seen Eartha Kitt act in. And from what I hear, it's a heck of a lot better than 'Troll' (1986) or 'Troll 2' (1990). "Oh, my Goddddddd...!"

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RONALD McCALL and JERYL PRESCOTT

Unfortunately, I couldn't find much information about either McCall or Prescott, but if you've seen 'The Skeleton Key' (2005), you will remember them very well as Papa Justify (McCall) and Mama Cecile (Prescott). Granted, their screen time is very short, but their characters are pivotal to the plot. And while most movies with voodoo (or hoodoo, in this case) come across as either hokey or outright offensive, 'The Skeleton Key' makes it seem all too real and something to fear. Watch the ritual with Papa Justify's Conjure of Sacrifice record playing and tell me that you don't get goosebumps.

Black History Month, part I

While the recent hype is Women in Horror Month amongst bloggers, February is remembered here in the States, and Canada, as Black History Month. With that in mind, the Niche recognizes the talents of a select handful of the many black men and women who have contributed to the genre with a particular dignity, generally not perpetuating the negative racial archetypes seen, unfortunately, in numerous horror films. (I'm not just referring to blaxploitation flicks, I'm talking to the likes of the Wayans, too, with films such as 'Scary Movie'.) Here are half of a dozen individuals who will be acknowledged this time around. The remaining six will be accredited in a second post. It should be noted that they are not listed in any particular order.

DUANE JONES
(1936-1988)

No respectable list would be complete without Duane Jones, the lead in Romero's 'Night of the Living Dead' (1968) with Judith O'Dea. Jones later went on to star in a lesser known horror film called 'Vampires'/'Abandon' (1986), though I haven't seen this one, myself. Still, this one-hit wonder would be immortalized in zombie horror cinema as the predecessor to the "survivor" role seen regularly in such films.

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TONY TODD

(1954-present)

Portraying the only black, supernatural slasher among the likes of Freddy Krueger or Jason Voorhees in the 'Candyman' trilogy, Tony Todd also cameos in the first three 'Final Destination' films as well as playing Duane Jones' part in the 1990 remake of Romero's 'Night of the Living Dead'. Say "Tony Todd" in front of the mirror five times. Go on, we double-dog dare you.

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KEN FOREE
(1948-present)

"... When there is no more room in Hell, the dead will walk the earth."

'Dawn of the Dead' (2004 remake) was one of the first real zombie films that I had seen early on, aside from 'Shaun of the Dead' (2004) and 'Resident Evil' (2002). Something between the background music and Ken Foree's televangelist message gave me a sense of legitimate dread. Probably just the very notion of a zombie outbreak as something more than an infection, rather a form of apocalyptic punishment in the likes of Revelation. While Foree will always bring the remake to mind first for myself, he is better known in the original '78 film by George A. Romero. Some additional film appearances by Foree include: 'From Beyond' (1986), Rob Zombie's 'Halloween' (2007), and 'Zone of the Dead' (2009), among others.

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KEITH DAVID (WILLIAMS)
(1956-present)

Personally, I'm more familiar with Keith David's talents as a voice actor than a physically present one. Voicing Goliath from Disney's 'Gargoyles' ('94-'97) and Al Simmons, a.k.a. Spawn, from HBO's 'Spawn' ('97-'99) television series, his rich and deep vocals are easy to recognize. However, David has acted live in such films as John Carpenter's 'The Thing' (1982) and 'They Live' (1988), as well as 'The Puppet Masters' (1994) and 'Pitch Black' (2000).

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BENJAMIN "SCATMAN" CROTHERS
(1910-1986)

A regular jack of all trades, "Scatman" Crothers was an actor, dancer, musician, and singer. To horror fans he is best remembered as the Overlook Hotel's cook, chef Dick Hallorann, in Kubrick's 'The Shining' (1980). Crother's character is the whole reason behind the title of the story, telling Danny Torrence, "I can remember when I was a little boy. My grandmother and I could hold conversations entirely without ever opening our mouths. She called it 'shining'..." Crothers also appears in 'Twilight Zone: The Movie' (1983) in the second segment of the film, a remake of the episode "Kick the Can".

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TIM REID
(1944-present)

Much for the same reason that Ms. O'Toole earned a place in the Niche's "Women in Horror Month" part II, Tim Reid is recognized for his role in the film adaptation of Stephen King's 'IT' (1990). Mike Hanlon (Reid) is key to the story, serving as watchman by remaining in his hometown of Derry, Maine to keep vigil for Pennywise's reemergence and calls the other "Losers Club" members together. Granted, while this is his main contribution to horror, Reid proves himself more than capable of adapting to the genre.

Night Gallery: Pickman's Model

It wasn't until recently that I had heard of the NBC '70-'73 television series 'Night Gallery', hosted by 'The Twilight Zone's own Rob Sterling, and even more recently that I watched an episode. Actually, it was during a search for artwork inspired by H.P. Lovecraft's "Pickman's Model" that I accidentally learned of the dark fantasy anthology serial. Episode eleven of the second season adapts this particular Lovecraft story, including two other stories, though not H.P.L.'s. And as fortune would have it, a limited selection of 'Night Gallery' episodes from its three seasons are available at Hulu for your viewing pleasure. Moving along, since "Pickman's Model" was what drew me to the series, this is the episode that I began with.

Night Gallery host Rob Sterling beside "Ghoul Preparing to Dine", a Pickman painting

After Sterling's introduction into the episode, it begins with Bostonians Eliot Blackman (Joshua Bryant, 'Salem's Lot' 1979) and Larry Rand (Jock Livingston, 'The Devil's Daughter' 1973) discussing the possible authenticity of a painting (above) discovered by Eliot in the cheap, North End studio that he had started rented. As the men speculate, they start to suspect that this may also be the very apartment that was used by the painter in question, Richard Upton Pickman (Bradford Dillman, 'Piranha' 1978). Cue the flashback, we're taken to a classroom where Pickman teaches a still life session to his current pupils, daughters from well-to-do families. One young lady in particular has her eye on the professor, charmed by a combination of Pickman's dark mood and handsome looks. Yes, unfortunately, this adaptation adds a romantic air where none should be found. Still, this is the only particular point that dramatically diverges from the original.

an early form of what we commonly call the "obsessive fan girl"

During the lecture, Pickman not only catches Miss Goldsmith (Louise Sorel, 'The Curse of Dracula' 1979) sketching the artificial flowers in their still life as wilted, but also himself. It's quite obvious that she is infatuated with him, though his half of the conversation is cold as he draws over the partial portrait, changing it into a bestial face. "Beware of self-portraits, ladies. At the least you may lose an ear [like Van Gogh], while at the worst you run the danger of revealing... your soul," warns Pickman as he finishes discussing his own self-discovery, which drastically changed the subject matter of his artwork and ultimately resulted in his expulsion from the Boston Art Institute. To keep afloat Pickman had taken on pupils. But a lady from the Institute, which funds these lessons and supplies the students, arrives after the session to inform him that his services are no longer required due to parental disapproval.

Pickman's improvisation on Miss Goldsmith's portrait of himself

Miss Goldsmith overhears the conversation and follows Pickman to a pub in Canbury Lane, a less than genteel part of Boston, and confronts him again. Brashly she sits down at the table with Pickman, despite his disapproval, and gleans that the rumors are true, that he is infact working on a sequence of horrifying paintings. Eagerly she presses him for more about it. Defeated by Miss Goldsmith's enthusiasm, he describes the inspiration, a legend "that tells of an eldritch race more foul and loathsome than the putrid slime that clings to the walls of Hell. Twisted creatures... half men, half beast. They move with the rostering sound of predatory rats, carrying with them the stench of the charnel house. Wretched mutations that live deep beneath the earth in dark tunnels, surfacing in the dead of night and returning before dawn. Practice their unspeakable acts... breed their filthy spawn... until the day arrives when their swollen numbers will finally emerge and ravish the earth like a noxious plague."

After this haunting telling, which has chilled even her normally sunny demeanor, Miss Goldsmith insists on accompanying Pickman to his studio and seeing his work. Even a confession of love, which does take him somewhat off guard, is not enough to to sway Pickman and promptly leaves the pub. However, in his haste Pickman accidentally leaves behind his painting "Ghoul Preparing to Dine". Back home, Miss Goldsmith talks with her Uncle George (Donald Moffat, 'The Thing' 1982), who relates a near century old myth circulating around about North End, about an alleged breed of creatures that had tunneled beneath that part of Boston, linking them with the burial grounds and the sea from whence they came. "To some," Uncle George adds, "it became a fanatical obsession [to prove that these creatures existed], particularly to those whose womenfolk had disappeared in the dead of night. It was believed that these creatures had carried them off to their subterranean dwellings for purposes of... erm, procreation." Traps failed as did attempts to smoke them out. In desperation, they sealed off every underground opening that they could find.

Using the painting depicting North End that Miss Goldsmith had purchased, she deduces that it is from the vantage point of Pickman's studio and tracks it down. Meaning to return his other painting, she calls and knocks at the dilapidated building's door only to receive no answer. Inside though, a clawed hand gently pulls a curtain aside to view Miss Goldsmith, unnoticed. Something in the shadows quickly scurries up the stairs when Miss Goldsmith enters, again eluding her detection. A little frightened when the gas lights inside snuff out, she hastens herself upstairs, still calling for Richard to no avail as a pair of red eyes watch from the dark. Miss Goldsmith rushes into a room and closes the door behind. There she finds Pickman's ghastly drawings with both incomplete and completed paintings of these "ghouls".


In timely fashion, Pickman arrives at his studio apartment and is surprised to find Miss Goldsmith in it. Despite her protests, Richard pleads with her to leave immediately and never to return. However their argument is interrupted when a scratching sound is heard coming from outside. "Oh my God, it's too late..." Richard gasps breathlessly, then retreats to the back of his studio to fetch an iron poker. "Wait here. Do not leave this room..." he instructs, then adds when Miss Goldsmith persists, "Did you not hear me when I said I had no need of human company?! And could you not understand why?!" Shut in the room, Miss Goldsmith glances down at the painting (above) in her hand, the truth finally dawning on her as a guttural growl is heard beyond the door. She finds another painting (below) and props it up on an easel, the words her uncle spoke about these beasts breeding with human women echoing in her head as she looks in horror.

Pickman's painting, likely of a mother and her son

behind the boy, whose facial features are slightly feral, is a ghoul -- this implies
that the boy is their combined offspring, and possibly a portrait of Pickman himself

Only Richard's cry draws her from the terrible reverie, his voice commanding some unseen thing back down to the cellar. A crash from the hallway, the studio gas light goes out, then the door slowly creaks open, revealing a clawed hand. Miss Goldsmith runs in terror from the ghoul that chases her through the small studio, faints, and is carried out. Richard, though wounded, leaps to her rescue and struggles with the ghoul as a revived Miss Goldsmith watches, frozen in fear. Amidst the fight, Richard's glove is removed, exposing a clawed, grayed hand similar to the ghoul's. Pickman is revealed to be an offspring of human and ghoul breeding.

The fight grows so violent that Richard and the ghoul both fall over the railing along the second floor, landing hard on the first. Knocked unconscious, Richard is carried down into the cellar as Miss Goldsmith flees North End. Later, dressed in mourning, Miss Goldsmith returns to the studio with her uncle to collect Richard's work. Remarking that Pickman must have been mad as they leave, she corrects her uncle, saying, "No... He painted what he saw... and what he was."

the ghoul

Fading back to the present time, Larry asks if they might look around, hoping to unearth another lost Pickman painting. Their search leads Eliot and Larry down into the cellar where they find a large, cylindrical object protruding from the floor. Possibly a large sewer pipe from their guess with a brick covering. Eliot expresses a lighthearted concern that something might be down there, but Larry encourages him. After all, there might be more paintings sealed away. Using a nearby pickax, Eliot chips away at the brickwork. As the sound of the pickax reverberates, a pair of red eyes glimmer in the gloom beneath.

Maybe it's just my own affinity for art, but I found this to be a remarkable episode. You can rest assured that I will watch more of the 'Night Gallery' series. Even the romantic spiel, which I am generally disdainful of, was done well and did not conflict with the overall macabre theme. As I understand it, there are a handful of other "Pickman's Model" film adaptations. But I will be surprised if any of these are executed nearly as well as this one was. I give it four-and-a-half out of five painted ghouls.
On a side note, if anyone can tell me the name of the artist who painted these, I would be grateful. Most likely these were done by Tom Wright, the series artist, but I'm not certain. But more than that, I would be very, very grateful if someone was able to help me ascertain either information about the original's owner, acquiring a physical print, or at the very least a high-resolution digital image of the last painting (mother, son, and ghoul portrait). I would love to feature it in the Darkley comic as part of storyteller Damien's collection.