View trailer here
'The Monster Club' is another film I watched early on as a youngster which made a big impact and contributed towards my love for the Horror genre. The opening sequence where we see horrific busts of monsters displayed in the dingy shop window had me hooked instantly.
This is a weird little film which is essentially an
old-fashioned anthology, presided over by two of the genre's iconic elder
statesmen - John Carradine and Vincent Price, no less. Despite these two genre
heavyweights, the film itself is a strong, yet funny film which makes clever
points about human nature. Essentially, the message is "Can't we all just
get along?" The 'Species diagram' displayed proudly within the Monster
Club itself, charts the not-always pleasant integration of humans and monster,
and is thus a metaphor for race relations.
The film itself begins with a suspiciously homoerotic
encounter in a dark alley at night, next to the shop previously mentioned.
Horror novelist R. Chetwynd-Hayes (Carradine) is standing at the shop window admiring
a display of his latest novel and photo portrait, when he is quite literally
reached out to by the famished vampire, Erasmus (Price). Erasmus asks the
stranger for a rather intimate favour - to drink his blood. The writer agrees
to help the vampire however he can, and after quenching his thirst, a new
friendship is forged. Erasmus recognises that he has just drank the blood of
one of his favourite horror authors, and in gratitude he offers to take him to
a place "not too far from here" to show him a world where he could
gather ideas for his future horror novels. Even at the young age I was when
first viewing this film, I always wondered why Erasmus did not take the short
trip to the club in the first place if he were that famished, for an ice-cold
drink of blood, rather than drink from a stranger in a dark alley. Then again,
this wouldn't have made much of a film!
At the Monster Club, Erasmus begins to tell the tales of men
and monsters and their difficult history together.
The first story tells the tales of a lonely Shadmock who is
exploited by two crooks, one being a beautiful woman named Angela. "You
have no idea what meeting you has meant to me", the tragic ghoul tells Angela,
unaware of her treacherous plan. She ultimately finds out the hard way that a
Shadmock's special ability to whistle often results in a slow and painful
death. Throughout this story, the Monster is portrayed sympathetically, which
can't be helped as we see him weeping from a broken heart.
The second story is a reversal of the conventional vampire
tale - again showing the monster in a sympathetic light. This is essentially a
family drama. A young boy is horrified to find out that his father - a vampire-
is being hunted by a ruthless vampire killer (played here by another horror
great, Donald Pleasance). This vampire family, immigrants from 'the old
country', are simply trying to get on with their existence in a new world, but the
vampire hunter is a bad, bad man who will not rest till he rids the world of
one more blood sucker. He dresses in black - initially approaching the
unsuspecting boy disguised as a vicar - and carries a violin case, and
generally looks like a classic Mafia mobster, only the violin case does not
contain a machine gun. Instead, it houses a stake and hammer.
This story cements the theme that monsters are a
misunderstood and non-aggressive minority in society. The young boy's vampire
father's motto is, "Feed without greed", which suggests that although
some unpleasantness has to take place in order for their survival, the vampire
is not a lethal predator, as portrayed in other genre films. Fortunately for
this family, the climax to the story ends happily for them. The father was
smart enough to wear a stake-proof vest (I shit you not!) and the boy grows up
to become a vampire film producer.
The third story of this film involves a humgoo - the result
of cross-breeding between a human and a ghoul. This is an interracial monster
that although primarily still human, has picked up the genetic make-up from the
ghoulish side of the family tree and feeds on the dead. An unlucky horror film
director is scouting for locations for his next film when he comes across a
remote village which looks perfect for filming. Unfortunately for him, this
village is populated entirely by ghouls. I always felt as a child that this was
by far the most frightening of the stories within this anthology, and I still
stand by that today. The village has a misty gateway separating it from the
outside world, leading to a gloomy, frightening place with no telephones... but
plenty of monsters! The director is there to exploit the locals for his film,
but ultimately, the tables get turned on him.
After the final story plays out, the action settles down
inside the Monster Club where Erasmus proposes Chetwynd-Hayes be allowed to
join as a full member of the club. The chairman of the club - a bespectacled
werewolf - protests, "But, he's a human!" Erasmus then launches into
a monologue of how humans and monster do have some common ground. He suggests
that humans are probably the best of monsters, stating that in the past sixty
years they have destroyed millions of their own kind. When questioned what
special abilities a human has, seeing as they do not have fangs or claws... or
a deadly whistle(!) Erasmus explains that the human has invented guns, tanks,
extermination camps and atomic bombs. This logic is accepted by the rest of the
monsters and so the first human is admitted as full member to The Monster Club.
To celebrate this, we are treated to Carradine and Price
'getting down' on the dance floor as yet another monstrous band (each story
within the film is separated by a band playing live on stage in the club) plays
on into the night.
The 1970s was probably the great age of British horror
anthologies, with films such as 'Tales from the Crypt' (1971) and 'Asylum'
(1972) amongst others, but 'The Monster Club' makes a good showing for the 1980s... rubber-masked disco-dancing
monsters, and all!
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