Nosferatu, The Symphony of Horror (How’s that for a catchy name?) was an unauthorized adaptation of Bram Stoker’s Dracula. It is, as far as I can tell from a brief research, one of the earliest adaptations of Dracula. Directed by F.W. Murnau and released in 1922, the film attempted to get around the problem of not having the rights to the Stoker story by changing the setting from London to the fictional German city of Wisborg and also changing all the names of the characters. Count Dracula becomes Count Orlok, Harker becomes Thomas Hutter, Renfield becomes Knock, and so on. Minus the ending, though, the story is essentially the same as Dracula. [click to continue…]
Like a lot of the general movie-going public, Jamie and I plunked down some change to check out Paranormal Activity Friday night. First, my quick review: very, very good. The story is simple, and the audience is really supposed to focus on the characters as they sink ever deeper into their fear over what is in their home. The film’s style is much like that of The Blair Witch Project from ten years ago. But, I didn’t find that movie at all engaging, much less frightening. Part of the issue for me was the migraine I left the theater with after enduring nearly an hour and a half of people who couldn’t hold a camera steady. Paranormal Activity solves both of those problems. In short, if you enjoy thrills and confronting your own fears, you need to go see this film.
Movies don’t frighten me very often. In fact, I’ve tried to remember the last film that really unnerved me when I saw it in the theater, but I came up empty.** Paranormal Activity actually left me rather shaken. It is frightening in a way I have never experienced with a film. [click to continue…]
Half-Blood Prince’s final chapter opens with a favorite device of Ernest Hemingway, the simple declarative sentence:
“All lessons were suspended, all examinations postponed.”
It really is one of Rowling’s finer moments as a writer, poignant and rich with subtlety. In this one statement, she wipes away all the carefree wonderment of childhood with pointed irony. Hogwarts shifts in symbolism from a place of comfort and safety where the worst worry was two parchments on werewolves for horrible Professor Snape, to a place in which parents are spiriting their children away as fast as possible because Snape has murdered the headmaster.
We see the Centaurs and Merfolk gather and pay their respects in ways I believe would have left Dumbledore deeply honored. His entombment is rich with symbolism, as Harry thinks “for one heart-stopping moment, that he [sees] a phoenix fly joyfully ino the blue.” Yet, the “next second the fire had vanished,” and a brilliant “white marble tomb” sits in its place.
In Dumbledore’s death, Voldemort has seemingly gained a devastating victory. Harry and Hogwarts no longer have their protector. The last bastion of paradise is now vulnerable — very vulnerable. Hogwarts has become, in one sense, a graveyard. [click to continue…]
Travis asked some of us to fill in on the HBP read-thr0ugh, since he’s busy, you know, editing a book!
It would be easy to skip through Chapter 20 thinking that the most important thing we learn is how Voldemort/Riddle came into possession of Hufflepuff’s Cup and Slytherin’s Locket. We know that both end up becoming Horcruxes at some point later. In addition, the connection between these devices, Hogwarts, and Horcruxes is foreshadowed both here and in the earlier Pensieve lesson. Slughorn’s distorted memory points to a conversation about such things with young Riddle, but it’s clear that he’s gone to great pains to hide important elements of that conversation — the wizard’s version of “trying to forget.” [click to continue…]
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