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The Revenant Review

Horror Film History, Analysis, and Reviews

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1925

Movie Review – Maciste in Hell (1925)

This review is part of the A Play of Light and Shadow: Horror in Silent Cinema Series

Movie Review – Maciste in Hell (1925)

The Hercules-like character of Maciste, one of cinema’s oldest recurring characters, first hit Italian screens in the 1914’s Cabiria, with Bartolomeo Pagano playing the central role. Throughout the silent era (27 films starring Pagano before 1927), and again in the 1960s, the physically and morally strong hero was placed in fantastical situations, usually involving evil rulers and black magic, and the macho Maciste needing to rescue a beautiful damsel. It’s all very much the stuff of boys’ pulp fantasies.

On rare occasions Maciste would venture into the horror realm, sometimes literally. In 1925’s Maciste in Hell, the hero (once again played by Pagano) is kidnapped by a demon and sent to the underworld where he must use his bulk to battle his way out. The movie borrows heavily from the images of 1911’s L’Inferno, a feature-length adaptation of Dante’s work in which the author is shown through the levels of Hell via a series of imaginative special effects (coincidentally, it was the first feature length Italian movie and the first feature length film shown in its entirety, in one screening, in the United States). Maciste in Hell borrows that film’s volcanic landscape, the tortured souls chained and tormented by demons, and even the giant Satan snacking on souls like they were milk duds. We even have a giant help the hero get to another level.

Maciste in Hell 1925 still

Yet whereas L’Inferno was a serious film, Maciste is an adventurer’s romp where the bruiser smashes his adversaries and smiles at the metal-bikini clad she-devils. Truly, the special effects are both terrific and creative, such as when Maciste punches off a demon’s head, which then lands on a trident and is healed, thrown back to the standing body, and reattached to allow the demon to keep fighting. Other special effects are just as impressive and add to the sense of fun, and any young boy can’t help but smile as Maciste uses his brute force to push a crowd of demons over a precipice.

Where Maciste doesn’t excel is in the story itself, which is understandably simple and geared towards younger viewers, where the line between good and bad is clearly drawn. When the demons take human form they become the mustache-twirling villains in black capes and black top hats that early silent comedies employed as their antagonists, famously tying people to railroad tracks or saw tables. While many people today associate these Snidely Whiplash-like characters with silent cinema, few understand that these archetypes were seen at the time as products of clichéd Victorian melodramas and were used purely to comic effect, and the same is true in Maciste, where they come off more as pranksters trying to get people to blaspheme than truly potent menaces. Children watching the movie could feel confident in resisting them as well as Maciste himself.

Maciste in Hell 1925 still2

Maciste no doubt influenced and was influenced by pulp fiction, and probably had a hand in creating comic book heroes in the following decade. Likewise, we would begin seeing many of the same tropes in blockbuster cinema of the late 1970s and 1980s, from Princess Leia’s slave attire to Arnold Schwarzenegger’s ultra-macho shows of strength, such as in Commando (1985). Likewise, the idea of an otherworldly being playing with their severed head would arise in a movie like Labyrinth (1986).

Maciste in Hell is another example of silent cinema pushing creative boundaries even as it retreads earlier works. With the advent of “talkies” and therefore bulky sound equipment, it became more difficult for filmmakers to create the spectacle of chaos that silent films could muster, where the sounds on stage or at a location didn’t matter. It would be a few more generations before movie technology and directors’ visions could once again catch up to the standards of fantasy set by movies like this.

Grade: B

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Movie Review – Wolfblood: A Tale of the Forest (1925)

This review is part of the A Play of Light and Shadow: Horror in Silent Cinema Series

Movie Review – Wolfblood: A Tale of the Forest (1925)

Wolfblood: A Tale of the Forest (1925), also known simply as Wolf Blood, is saddled with some modern misconceptions. Firstly, it is often erroneously described as the first werewolf film, but that honor belongs to the now lost The Werewolf from 1913, considered by some to also be the first true Universal monster, though the much later The Hunchback of Notre Dame (1925) would have far greater impact in establishing that studio’s series. The Werewolf involved a Navajo witch who transformed into a wolf to kill white settlers, and then returned a century later to kill again. (Some are even more in error in calling 1935’s Werewolf of London the first werewolf film, but it was merely the first mainstream Hollywood one.) Nevertheless, Wolf Blood can properly be considered the earliest surviving werewolf movie.

Secondly, Wolf Blood is today advertised as a horror film, but really it’s a drama-romance with some werewolf elements coming into play in the second half. It tells of the manager of a logging camp named Dick Bannister who falls in love with his pretty young boss. After a fight with a business rival he requires a blood transfusion, and the only blood available is that of a she-wolf. Worries about the effects soon spring forth and he fears that the blood is changing his brain, edging him ever further toward homicide and madness.

Lycanthropy comes fairly late in the film, more than half-way through. There is no transformation scene. Instead, we see Bannister running through the forest in a fit of madness alongside ghostly wolves. Before the release of Dracula and Frankenstein in 1931, American films generally shied away from inserting the sincerely supernatural into their narratives, unlike their German and Scandinavian counterparts. American plots had a tendency to explain away the seemingly supernatural with human agency, misunderstanding, or mental breakdown, and the trend is no different here.

The director and star, George Chesebro, was a regular fixture in B-movie Westerns, often playing a villain. Likewise, his co-stars were also well-known to contemporary Western fans, and the influence of that genre can be felt throughout. Also present are numerous jokes about Prohibition and jazz, as well as a pinch of racism, placing this film firmly within the time in which it was created.

The forest vistas, with the stately pine trees, are beautiful to behold, but the rest of the movie is very dimly lit and at times difficult to discern. The story is simple and the curious ideas about blood transfusion innocently quaint, but there isn’t much to invest the viewer’s attention. I couldn’t find contemporary reviews, but I imagine this was seen as pretty middling-fare even in the 1920s.

Wolf Blood, while not being a bad film, does not have a great deal to offer the modern audience except for its novelty as the longest surviving runt in a very particular pack.

Grade: D

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