COLLECTOR'S CRYPT - THE DUNWICH HORROR (ARROW BLU RAY)
H.P. Lovecraft is one of the most popular sources of literature for film adaptations in the horror genre. Whether you’ve read his stories or not, you’ve most certainly seen a film based on his work, however loosely. From Stuart Gordon’s Re-Animator to Richard Stanley’s Color Out of Space, Lovecraft’s mark on the genre is felt as much indirectly as it is directly and is often the source of inspiration for many creatures and entities within the genre. Just think about how many times someone has referred to something as “Lovecraftian”. An adjective created and reserved exclusively for describing things that seem like they would have appeared in the late author’s stories. The hallmarks of this are describing the horror as “cosmic” or “beyond imagination”, while also being subtly sexual in a visceral and reptile-like way. The funny thing about something being called “Lovecraftian” is that it often refers to something being beyond both comprehension and definition, which also means description. It’s one of the reasons that adapting Lovecraft’s works has been so uneven since the author doesn’t really leave a lot of hints about the horror you are reading in striking detail. In fact, most of the best adaptations are the ones that take massive liberties with the author's work, which could be the case with ARROW VIDEO’s recent BLU RAY release of THE DUNWICH HORROR. Is this adaptation worthy of the indescribable Old Gods, or is this one just another in a long line of failed attempts to bring the late author's words off the page and onto the screen?
WHAT’S IT ABOUT?
A mysterious young man, Wilbur Whateley travels from the small town of Dunwich to the library of the Miskatonic University which holds one of the only copies of the Necronomicon, a legendary book of occult lore that Wilbur hopes to borrow. Graduate student Nancy Wagner falls under his malign influence and travels with him back to his home where Wilbur has plans to use her in a ritual to raise 'The Old Ones', cosmic beings from another dimension. But who, or what, is in the locked room at the top of the stairs? And what will happen if they get out?
HOW IS IT?
It’s worth knowing that I have not read the short story “The Dunwich Horror” on which the film in this review is based, so I can’t compare the differences in the story to the ones in the film. I am familiar with the story beats at a high level (thank you Cliff Notes), but can’t critique precise differences as much as broader ones. That said, THE DUNWICH HORROR is an odd beast of a film that is strangely compelling for how schlocky and striking it is. Arriving just two years after Polanski’s “Rosemary’s Baby”, THE DUNWICH HORROR is clearly trying to hitch its wagon to that film’s success while also trying to carve out a unique identity at the turn of a decade where distrust and unrest are growing into the eventual powder keg that is the 70s. While it isn’t successful in every sense, it’s far more interesting than just a “Rosemary’s Baby” tagalong that would have been served better by zigging rather than zagging with respect to the source material.
Let’s start with what works here. Something special about the late 60s and early 70s horror output is the psychedelic hangover that seems to loom over much of it. Much of that hangover can be felt with THE DUNWICH HORROR, but not in a bad way. From the younger characters in the film to the visual gimmicks used throughout there is a lucid and almost hallucinogenic quality through which things happen and are understood. For example, the way the characters at the start talk so nonchalantly about the Necronomicon as if it’s just an ordinary text. This kind of levity for such a diabolical book feels ignorant, but in a way very fitting for the kind of cultural shift that was occurring at the time. The same goes for how easily swayed characters seem to be by Wilbur, even though it is hinted at this may be some form of mysticism working there is a cautionary tale here about trust and that bodes well with the increasing levels of societal distrust at the start of the 70s. As the decade would progress, the stories would be more grounded in reality (i.e. Messiah of Evil, TCM, etc.) and in THE DUNWICH HORROR, we get equal measures of absurdity and practicality which make the story and movie overall far more interesting even if it feels somewhat detached. Lastly, the music and set design here is all aces. It’s a constant reminder that the advance of technology can sometimes make us yearn for days when the use of practical effects was the default. Now that green screens and virtual landscapes dominate the box office, seeing sets built even if they have to forgo some detail is far more immersive than a CGI-created world.
As is the case with every film, THE DUNWICH HORROR is not without its fair share of flaws. The primary one is that it’s trying to do a lot more than it has to for this story to make sense. There is really only one storyline, but the way we get there isn’t always clear and the finale that the film concludes with doesn’t land near as well because of how unfocused the film is. The thing is, it’s not as if the story or the plot points are complex, it’s just that they often offer little to the story except to extend the runtime. Lots of McGuffins abound which all exist to focus on the least interesting and most derivative aspect of the story. As mentioned in the first paragraph of this section, I am aware of the story and the basic plot points well enough to say that the focus on the sacrificial aspect and the allusions to “Rosemary’s Baby” are what bring this film down. Not only are they the least interesting things to focus on, but the more interesting thing is relegated to the very end aside from a few seconds of shock spruced throughout the first two acts. Shifting the focus from the sacrificial aspect away from the mysterious twin in the attic not only goes against the source material but also offers much less of an opportunity to establish the Whateleys as a truly terrifying and villainous lineage. Still, this decision doesn’t tank the entire movie as much as it messes with the pacing. Overall, THE DUNWICH HORROR is best to be taken as “inspired by” Lovecraft over feigning authenticity. For the most part that works in the film's favor due to great lighting, set design, and some great “wtf” moments. As long as you’re not an H.P. Lovecraft purist there is enough here to warrant a hearty recommendation.
HOW DOES IT LOOK?
As is often the case when it comes to ARROW VIDEO, the picture quality and presentation of THE DUNWICH HORROR are top-notch. This being a first-time watch I have no previous edition as a basis for comparison, however, Arrow restored this from the original camera negative and scanned it into 2K for this release. The film looks fantastic, especially considering the more pastel and watercolor-like palette look of it. The 60s-70s horror films had this hue over them and here it is lovingly integrated without taking away from the amazing new clarity on account of the transfer and scan. You can see images from the film used throughout this review and seen below:
HOW DOES IT SOUND?
ARROW VIDEO brings us the original mono soundtrack for the film restored to provide optimal clarity and balance to the beautiful score and dialogue. The action here is more intimate and less explosive, so the music and the heightened scenes of terror are where you work out the limits of the mono soundtrack. This is the ideal presentation for this film given its age and that it just wouldn’t benefit from the kind of surround sound remastering that newer films enjoy.
ANYTHING SPECIAL?
As is the case with 99.9% of ARROW releases, this one has more than its fair share of special features for the most interested and curious of fans. While I wasn’t able to review all of them, I spent some time with a couple that offered a wealth of information about the film and then some. First, was The Door into Dunwich, a new conversation between film historian Stephen R. Bissette and horror author Stephen Laws. This is a solid 2+ hours of deep discussion between two guys just being fans. From the very get-go they talk about how they first got introduced to Lovecraft’s work, the impact it had on them, as well as a very detailed and exhaustive history of the film’s production and some of the key players involved. It’s a lot of information, and what keeps it so enticing to watch is just how into it the two of these guys are. They really love this movie and films in general, and it shows in how lively they get and just how much they know.
The second feature was The Sound of Cosmic Terror, an interview with music historian David Huckvale. The music in THE DUNWICH HORROR stands out for how strange and beautiful it is. Hearing David Huckvale talk through not just the composer, Les Baxter, but also precise musical inspirations from all periods of music for the compositions in the film is the kind of detail we are spoiled to have in the special features. While my music theory is a bit rusty, the explanations never felt like they were being talked down or over me, very academic and approachable. At around 40 minutes this covers a lot of ground, and if you like the music as much as I did you’re in for a real treat with this one. The full list of special features on this disc is listed below:
New 2K restoration by Arrow Films from the original camera negative
High Definition (1080p) Bluray presentation
Original lossless mono audio
Optional English subtitles for the deaf and hard of hearing
New audio commentary by Guy Adams and Alexandra Benedict, creators of the audio drama Arkham County
The Door into Dunwich, a new conversation between film historian Stephen R. Bissette and horror author Stephen Laws in which they discuss The Dunwich Horror, Lovecraft, and their memories of seeing the film on release
After Summer After Winter, a new interview with science fiction and fantasy writer Ruthanna Emrys, author of The Innsmouth Legacy series
The Sound of Cosmic Terror, a new interview with music historian David Huckvale in which he takes a closer look at Les Baxter's score for The Dunwich Horror
Theatrical trailer
Image Gallery
Reversible sleeve featuring original and newly commissioned artwork by Luke Preece
FIRST PRESSING ONLY: Illustrated collector's booklet featuring new writing by film critics Johnny Mains and Jack Sargeant
LAST RITES
THE DUNWICH HORROR may not be the most faithful Lovecraft adaptation out there, but like others that stray from the literary path it succeeds in spite of that rather than because of it. While it’s far from perfect, it’s a visual and auditory delight filled with weird post-psychedelic horror that should make for a groovy addition to your collections!
THE GORY DETAILS
Thank you to the fine fiends at MVD ENTERTAINMENT for providing a review copy of THE DUNWICH HORROR for the crypt. THE DUNWICH HORROR is available NOW via MVD DIRECT and ARROW DIRECT!
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