Three Corpse Circus took over the historic Michigan Theatre in Ann Arbor, MI last night, Devil’s Night and presented four hours of short horror movies. Yup, four whole hours of films, contests and costumed tomfoolery. If you weren’t there, you done goofed up bad. I spoke briefly with one of the organizers Jonathan Barkan who says they hope the Circus will grow to be more than just a film festival, that Three Corpse Circus might become a rallying point for the horror community in Michigan. Last night was a excellent start.
The films were better than I’d feared, a notch above the mixed bag you’d expect from a college town. A couple were real gems. Others were arty and experimental. Some cute and amusing. And to be frank, some were unspeakable, trite, poorly shot, not acted at all… dumb. Bad even for Youtube. But what I saw last night were movies I never would have seen elsewhere. Most of the pieces had some aspect that was pretty interesting. Their failures were mostly in consistency. Technically, I suppose many of the movies were “mediocre” but I mean a kind of expectant and exciting mediocrity. They left me with a sense of anticipation, that I’m really interested in seeing the NEXT movie by these film makers.
A great example of this category is “The Lair.” (http://www.thelair-movie.com/) The acting was more than good enough, much better than many commercial horror movies. There was evidence of actual script composition and, egad, character development, again a relative rarity in short horror. Competent editing built actual suspense and didn’t rely on cheap jump scares, well, not excessively. OK so the setting was the tried and true deserted campground and, granted, the premise wasn’t the most original. But the piece was generally effective. If I had to be a dick – and critics are supposed to be dicks, right? – the footage shot at night was too grainy. But where else would I have had the opportunity to see this film except at a film festival like Three Corpse Circus?
A gem of the evening was “Connected,” one two offerings from Denmark. (http://www.ov43.com/) Clocking in at barely 8 minutes, “Connected” gets in, does the job and gets out and it does so ENTIRELY WORDLESSLY. Great futuristic costumes, a convincing post apocalyptic backdrop and a clear situation, conflict and bleak resolution. It was probably dark science fiction more than straight out horror but, damn, it was a joy to watch. And again, I never would have even heard of it if I hadn’t attended the Three Corpse Circus.
The true highlight of the evening for me was the other Danish film Opstandelsen (“Ressurection”) which was as good a zombie movie as I’ve ever seen – and this is coming from someone who doesn’t find zombies particularly compelling. The movie is shot in and around an old austere church and incidentally, they shot the HELL out of this location. There are scenes in the sanctuary, the basement, UNDERNEATH the basement, the bell tower… I’ve whined in the past how easy access to fantastic ancient locations can make even crappy European movies into something watch-worthy, but the makers of Opstandelsen squeeze every bit of ambience from this place. It’s not just a cheap and easy backdrop. The prosthetics were first rate and relatively understated. The blood and gore was believable and I think the tone of its color grew progressively darker until the blood was nearly black by the end. The make up especially on the female survivor was exceptional. By the end of the movie, she was basically wearing corpse paint – her skin so pale as to be nearly white with drippy spatters of dark blood around her eyes. Lovely! The script showed off nice characterization with juicy familial strife. All three of the primary survivors had character arcs that led to satisfying conclusions. Damn, it’s hard to find something to complain about but, perhaps the range of the acting was a bit constrained – one character always stuck on high, another on low with the coke-snorting protagonist being a nice blend. I’d have to see it again before I said it was perfect but since it’s a 50 minute movie, a length too short to distribute commercially and too long for the internet, there is likely NO chance I would have been able to see it at all except at a film festival like Three Corpse Circus.
You’ve picked up on my take-home message by now. If you’re into horror and you’re in Michigan, get to the next Three Corpse Circus. It was well worth while this year and every indication is that it’s just going to continue to get better.
by Ray Parker Jr (or should I say Huey Lewis… a lawsuit alleged that the melody is highly reminiscent of “I Need a New Drug” but frankly the bass line of BOTH songs sounds like “Pop Muzik” by M) If you can get the video to “I’m in Love with the Other Woman” see if you can project that somewhere because it features a haunted house. This track is so obvious that is has to go somewhere. Succumb.
by, heck hasn’t EVERY authentic country western group recorded a version of this classic? – If I had to pick one, I think The Highwaymen did a serviceable rendition. Consider using several different versions of this track on the playlist, as a refrain. The Cowboy Cultural Society, an internet radio station, often plays a half hour of “G.R.I.T.S.” with different versions.
” by Robyn Hitchcock off Fegmania. This is a subtle alternative/folks ballad about domestic troubles caused when a husband is torn between his current wife and his dead ex. Told with Hitchcock’s typical irony yet with heart of genuine emotion. A nicely sing-able chorus too.
by Concrete Blonde. A little more raucous alternative rock tune by the band that brought you “Joey.”
– Dwight Yoakam. Straight ahead country. Mournful tale of a love that lasts longer than life. 
— Bessie Smith. Do you really need a reason to put Bessie Smith on a playlist? She carved out a gutsy place for the female voice within blues of the early 20th century. A fun surprise from 1924.
– The Psychadelic Furs. Moody, haunting love song that makes you want to mousse up your hair and wear tight 80’s style pants. Does she love you? Is she dead? Who knows, but it’s all sadness and doom. The Counting Crows do a just-as-sad acoustic cover version of 
— My Chemical Romance. A sad song to be sure, especially with the repeated line “Never coming home.” Since music and music videos have become fused in our culture and in our minds, it’s hard to hear the song without thinking of scenes of soldiers getting one last dance at the USO before they head off to the trenches of WWII. 
— Kate Bush. Like a bit of literature mixed in with your art pop music? Kate Bush delivers a lovely concoction in this emotional song which went on to become her biggest selling single. Sung from the point of view of Catherine, who pleads outside Heathcliff’s room “I’m so cold. Let me into your window.” The lyrics take on a sinister twist if one considers the events of the novel; she may well be a ghost, inviting Heathcliff to join her in death.
–Tegan and Sara. A good song to dance to while trying to exorcise the ghost of a ex-boyfriend or the nightmare you had last evening. Covered by the White Stripes too.
— Norman Greenbaum. The tune combines psychedelic rock and gospel music with its distorted electric guitars, loud drums, tambourines and hand-clapping background singers to produce a feel-good song about meeting up with the Spirit in the afterlife. 
— Tanya Donelly. A sweet and sad song from the ghost’s point of view. She’s happy as she follows him around but seemingly has no impact on him. 
— Marc Cohn. Anthematic 1991 hit from singer-songwriter Marc Cohn. The guy in the lyrics follows the ghost of Elvis to the gates of Graceland and later rock outs with a gospel band.
by Warren Zevon off “Excitable Boy” or “Genius.” It’s the obvious track because everyone knows it and it’s clearly related to the theme. It’s got the same name at least as a classic werewolf movie, though as with all of Zevon’s tunes, he was likely referring to something else entirely. Give in. It’s got to go on the mix somewhere. At least the live version linked here has enough novelty and verve to remind us what made the song a classic in the first place.
by Creedence Clearwater Revival. This tune was linked forever to the werewolf mythos through “American Werewolf in London.” If you don’t want to be SO obvious about it, use the very servicable cover version of 
by Raspuntina. 
. Classic X, driving beat, tight harmonies that made it almost as much as folk as punk. Personified wolves.
by Los Lobos (get it? “the wolves”) A band from the other side of L.A. uses wolves as a metaphor for the difficulties of human life. Relatively profound lyrics and a catchy tune.
by Shakira off the album of the same name. A bouncy latino-pop track from that lady who, I swear, has an extra vertebra in her spine.
by the Grateful Dead. The studio version is on “Working Man’s Dead” and that rendition at least has relatively clear lyrics for those unfamiliar with the tune. A gabillion live recordings as well, most of them with a bit more verve and life. A jaunty rhythm and an odd, singable chorus “Don’t murder me.” the song tells tale of a card game with a 600 pound wolf.
by Steppenwolf. This has no explicit werewolf references, other than the “wolf” in the band’s name which is actually an artsy reference to a German novel. Blue Oyster Cult does a version and live they used to ride a motorcycle onstage. The idea of a biker gang of werewolves actually has been turned into a movie “Werewolves on Wheels (1971)”
by The Tragically Hip from their first EP Tragically Hip – The Hip are a solid act. Their lyrics are literate, their music is blues-y and raucous rock and their fan base is rabid– that is, if you’re from Canada. North of the border they’re more popular than the Beatles but in the U.S. hardly anyone has heard them. This track isn’t their best tune by far but heck, it fits on the list.
by Sam the Sham and the Pharoahs – I knew this song primarily through a version my brother in law would croon. Research it unearthed some fun details: http://en.wikipedia.org/wiki/Lil’_Red_Riding_Hood
by the Five Man Electric Band. Obscure track from the mid 1970’s that I think I can bet no one at the party will have heard. Tells the tale of a boy gone feral and his family’s attempts to cope. Using a gun.
by the Cramps. Heck, if you’re pressed for time, you could drop on a whole album of the Cramps. There’s a movie link of course to Michael Landon (Bonanza, Little House on the Prairie) in the title role.
