Mark of The Vampire.

Inside Detective - Mark Of The Vampire April 1939 copy

Mark of The Vampire? No, it’s not a feature on MGM’s 1935 Todd Browning film with Bela Lugosi donning the black cape (only the second time onscreen, I think).

This “Mark of The Vampire” is from the 1939 issue of Inside Detective magazine with cover art by illustrator Albert Fisher, and is a lurid ‘all-true’ story about an Oakland, California ‘vampire killer’, his victim found in a lovers lane.

Mark 3

I’d been planning on something goofy for later Halloween evening, once the trick-or-treaters stop ringing the bell, that is. Instead of watching creepy classics (and I have a few on DVD), maybe just a horror comedy like Victoria Justice in The Boy Who Cried Werewolf (what, you don’t have any guilty pleasures?) or perhaps the first Elvira movie with…well, Elvira, of course.

mark 1

But I know I have MGM’s 1935 Mark of The Vampire lurking somewhere on my shelves. Bela Lugosi, ultra-creepy Carrol Borland as his vampire daughter Luna, the two Lionel’s – Barrymore and Atwill – as an investigator and police inspector in a mid-1930’s visual delight of gothic eeriness, despite Todd Browning’s insistence on inserting intrusive comedic bits that really…just…aren’t. Originally titled The Vampires of Prague, adapted from Browning’s silent era London After Midnight (the Holy Grail of lost silent era films) and based on a scenario by Guy Endore, the film deals with the death of a Bohemian nobleman, apparently a victim of Count Mora and his daughter Luna, the local vampires. But near the film’s end, it’s all revealed as an elaborate ruse to catch a very human murderer with his eye on the victim’s daughter. I’ve never decided if Todd Browning was a genius or a hack (most likely a little of both) but the man sure could set up some stunning visuals, and Mark of The Vampire, for all of its flaws, is classic horror eye candy.

Hmmm…I could go gloomy and gothic instead of ‘goofy’, couldn’t I?

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Blurred Lines.

The Leopard Man

The Leopard Man (1943)

Crime Reads may not be the first place you’d turn to for talk about horror, even at Halloween time. But it’s definitely worth a visit to read Zach Vasquez’ look at 20 essential films which blur the line between horror and noir (link below). Myself, I’ve always been surprised that more films do don’t do precisely that, the two ‘genres’ sharing some common roots and any number of familiar tropes and stylistic cues. Want to quibble with some of Vasquez’ choices, or toss in your own instead? Go right ahead. I fully concur with several of the article’s selections.

Crime Reads

After all, anything produced by Val Lewton might qualify, and Vasquez’ chooses 1943’s The Leopard Man. Similarly, while the article singles out David Lynch’s 1997 Lost Highway, most anything in Lynch’s body of work will likely merge something horrific with the vaguely noirish, the possibly anachronistically retro, and certainly the just-plain-weird. Vasquez also points to The Eyes of Laura Mars from 1978, that Helmut Newton fashion-kink photo suite brought to life on the big screen, its screenplay adapted from a spec script penned by John Carpenter (Halloween). Or there’s Mickey Rourke and Robert DeNiro in Angel Heart from 1987, and of course, Henri-Georges Clouzot’s 1955 dark classic Les Diaboliques.

Les Diaboliques

Les Diaboliques (1955)

Some can argue that many films billed as horror are really just particularly gruesome serial killer thrillers. And others might assert that the moment a film (or story or novel) includes anything remotely supernatural, it no longer qualifies as ‘noir’. But then some people get too hung up on genres and classifications, and I’m not getting into those arguments. Rather, I’ll just encourage you to read Zach Vasquez’ 10.29.19 Crime Reads article “20 Essential Films That Blur The Line Between Horror And Noir” and see for yourself if you don’t find a film you might want to watch come Halloween night.

 

https://crimereads.com/20-essential-films-the-blur-the-line-between-horror-and-noir/

 

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