Spechtreum II
Draconis Blackthorne's Shadowmantium

The Abominable Dr. Phibes | Dr. Phibes Rises Again! | Theater of Blood | The Devil's Daughter | Alice, Sweet Alice | The Craft | Blood Orgy of The She-Devils | Interview With The Vampire | Vampires | In The Name of Satan | The Shadow | In The Mouth Of Madness | Francis Ford Copolla's Frankenstein

~ II ~

The Abominable Doctor Phibes
Starring Vincent Price: Directed by Robert Fuest {The Devil's Rain}

A tortured dark soul grieves his lost love who perished at the hands of nine physicians who could not save his beloved wife, so he becomes determined to avenge her death in this perceived wrong-doing. "Dr. Anton Phibes", a genius in theology and an expert organ player, formulates just punishments to deal with incompetence, using the Old Testament's theme of the plagues, and engineers their consecutive deaths in kind, inclusive of employing talismans bearing hebraic symbols representing each plague. In quite a ritualistic manner, using a torch, he melts the faces of their various waxen effigies to seal the deed done. With the precision of a veritable master Ninja, and with the aid of the silently succulent Vulnavia, a graceful creature who provides the charmingly seductive misdirection of a Satanic Witch to render victims agog, Phibes moves in for the kill. A wonderfully complimentary relationship. Also of remarkable note, she plays the violin as the doomed meet their demise; and at one point, Phibes applaudes the spectacle of a plane swirling down towards destruction after the pilot is attacked by a legion of rats in the cockpit. Personally, I found the rats, as well as the bats in an earlier scene, to be absolutely adorable, actually.

Phibes is a man haunted by his past, which he lives as the present, presiding in his total ball-room environment with automatons to create a wonderfully eerie atmosphere reminiscient of Dr. LaVey's Den of Iniquity. His throne is seated before a beautifully ornate crimson-phosphorescent organ, which he plays with diabolical fluorish into the night, channeling his pain through his music. He vows to avenge her death as well as join her by her side when the task is completed, and so it comes to pass in a glorious ending scene wherein he traverses the living realm, and is reunited with his beautiful wife in eternal darkness. For Phibes, a romantic in his black heart, this last noble gesture was indeed worth the world, who remained the god of his existence, and lived completely on his own terms. He himself fulfills the final element, whose death became just as mysterious as his life.

This is an aesthetically-beautious film, repleat with Satanic architecture as well as ideology. Those who know will recognize these subtle, and sometimes rather blatant displays. Obviously, to those familiar with the life of our Founder, there are several parallels between the Dr. Anton Phibes character and that of Dr. Anton LaVey - they even share the same first name, and certain propensities. It is no wonder this film is recomended on The Church of Satan Video List. Take a perusal - these films are becoming incrementally more available.

Rating: 5/5.

Dr. Phibes Rises Again!
{VII A.S. Directed by Robert Fuest. Starring Vincent Price, Peter Cushing, Peter Jeffrey, Fiona Lewis}

After three years in necromantic hibernation, Dr, Anton Phibes resurrects to the next step with a passion to actually revive his belovedVictoria, and with the aid of the silently enchanting Vulnavia, sets off for Egypt to bring her to life by using the mysteries of the ancient pharaohs, and finding the fabled river of eternal life. He awakes to discover his total environment demolished and a crucial piece of papyrus stolen by one "Darius Biederbeck", who also seeks immortality, yet Phibes' incisive ingenuity always regains what is his, removing all obstacles unfortunate enough to stand in the way of his plans, always in delighfful and amusingly poetic, creative methods.

He takes the most important elements of his Lair with him - his precious organ and musical articifial human companions, through which he works the Greater Magic of the-is-to-be, which are briefly found by a snooping passenger, who is dealt with in an expedient and rather 'artistic' manner... placed in a bottle and set afloat!

Phibes had previously prepared a place within a mountain to conduct his occultic endeavors, and begins unlocking the secrets of this hidden chambre, complete with sarchophagus and an ingeniously conceled key. Serpents seem to play a consistent role in the film, from a mechanical snake, which was a mere distraction for a real one to be rid of a brute and regain the papyrus, to the actual handle on the sarcophagus, to cleverly snake-shaped spikes with bident tongues. Reminds this writer of Set the whole way through - the archeypal manifestation of Satan in Egyptian culture.

Biederbeck's obsessions lead him to Phibes, as well as the impressively calculated abduction of his own beloved Diana - for it seems he was preserving himself with an immortality potion, yet fails in his goal as Phibes gleefully rows into the eternal Grotto singing quite a memorably recognizable tune...

Dr, Phibes Rises Again is a most worthy subsequent chapter to The Abominable Dr. Phibes, who displays consistently de-facto Satanic inclinations, to those who know.

Rating: 5/5.

~ Theater of Blood ~
{VIII A.S. Directed by Douglas Hickox. Starring Vincent Price, Diane Rigg, Ian Hendry, Harry Andrews, Coral Brown}

A truly delightful film about austere thespian Richard Lionheart, who was under-appreciated by his so-called 'peers'. is unjustly robbed of his rightful award, and thus nobly seeks to correct the wrong done to him by unperceptive ingrates.

Thus, he admonishes the talentless worm-like critics, and in a fit of depression, hurls himself from a balcony to the horror of his impressively devoted daughter, where he finds surprisingly unexpected company with derelicts, who sought to rob him until they realize the seemingly lifeless body has resurrected. They become his minions in a darkened theatre where he relives and performs his timeless plays with traditional flare, ingeniously planning his revenge all the while.

And thus, true to his romantic nature, subsequently administers well-deserved and amusingly devilicious punishments upon his rotten detractors. Supremely poetic, one by one they are lured into Shakespearian tragedies which were on the itinerary the night of the misplaced recognition, with minor modifications due to environment and practicality:

Julius Caesar: Critic stabbed to death on the Ides of March by Lionheart's killer hippies.

Troilus and Cressida: Critic dragged to death by a horse in front of a funeral being held for the previous victim.

Cymbeline: Critic electrocted.

The Merchant of Venice: Critic impaled, heart removed, weighed to be a perfect pound, and mailed to The Police in an ornate box.

Richard the Third: Critic suffocates own wife in a mad fit of jealousy, whose lover was actually Lionheart in disguise. He will of course perish in prison, and is thusly 'destroyed'.

Romeo and Juliet: Focusing on another scene within the play entirely, an alcoholic critic is drowned in a vat of wine.

Henry the Sixth, part 1: .Critic is surgically beheaded in own bed next to wife amidst the pleasant strains of Beethoven.

Titus Andronicus: Corpulent critic suffocated by mass amounts of the flesh of his own odious poodles, while their little heads repose upon a platter as if witnessing his demise.

King Lear / Othello: Epic fencing wherein Lionheart displays remarkable feats of acrobatics and skill, followed by the defeated 'ringleader' of the critics being restrained within a contraption, and subjected to two perfectly positioned red-hot glowing daggers aimed for his eyes.

After experiencing the fulfillment of the sweet satisfactions of his vengeance, Lionheart unfortunately himself becomes a character in his own tragedy, plunging once more unto terra firma in one last blaze of glory, whose infamy remains immortal.

Another element this film establishes, is the more contemporary introduction of these classic plays to the uninformed. For upon witnessing this presentation, the viewer will at least become somewhat more familiar with the dramatic outline of their plots.

The Devil's Daughter
{VIII A.S., Directed by Jeannot Szwarc. Starring Shelley Winters, Belinda Montgomery, Robert Foxworth, Jonathan Frid, Abe Vigoda, Diane Ladd. Genre: Suspense}

An aspiring mother makes a pact with The Devil for wealth in exchange for her daughter, who would one day marry Satan's son. She despicably tries to renege on the deal, and is promptly punished for her ingratitude. In an attempt to shoot The Devil, the bullet actually penetrates her own chest. Her daughter 'Diane' {Belinda Montgomery} grows up sheltered in convents and private schools, eventually developing into quite a comely young lady until the day of her mother's funeral, where she meets with Lilith Malone {Shelley Winters}, who graciously offers her to stay at her beautiful home, wherein she begins experiencing nightmares and comes upon little secrets here and there, and her suspicion grows. She becomes fascinated by a certain sigil which she notices being virtually omnipresent at the mansion, on objects, and on jewelry upon suspicious persons, including two rather feather-brained women who act like something out of The Stepford Wives.

Upon meeting a new friend Alice Shaw {Diane Ladd}, she decides to be out on her own, and leaves the comfort of this veritable palace for an apartment. Here and there, Lilith and her cohorts begin appearing, monitoring her. Jonathan Frid {of Barnabas Collins / 'Dark Shadows' fame} plays a mute butler / limousine driver, who seems to feel for the young lady's perceived plight, when all she had to do all along is merely accept her birthright as the "Princess of Darkness'.

One night while at a party thrown by Lilith, Diane drinks a bit too much wherein her repressed carnal expression breaks free and begins lasciviously dancing in the midst of the crowd, who begin hailing her as the said 'Princess of Darkness', as well as 'The Demon of Endor'. Her denial persists, despite her increasing experiences with her own diabolical powers made manifest. She is summoned by a Judge who informs her that her father set up a trust fund for her; who pleasantly agrees to 'give her away' at her impending whirlwind romance and wedding. I thought it rather interesting that she began dating her now dead friend's man, who perished in a freak horse 'accident' {seems that during one of Lilith's unexpected visits, she stealthily lifted a horse figurine from Alice's collection, obviously using it for a Curse}. She meets Steve Stone {Robert Foxworth} and falls horns over hoofs in love. We later come to discover that she meets her true "soul-mate" in his form.

Many surprises await the viewer at the end during The Wedding with a truly delightful twist.

The Devil's Daughter was released around the same time as all the legendary 'devil movies' such as The Devil's Rain, Rosemary's Baby, The Exorcist, and later, The Omen were, which also includes an 'all-star' cast, and otherwise served to launch the career of subsequent stars.


Alice, Sweet Alice
{X A.S. A.K.A., 'Communion', 'Holy Terror'. Directed by Alfred Sole. Written by Rosemary Ritvo, Alfred Sole. Starring Linda Miller, Mildred Clinton, Paula E. Sheppard, Alice Spages, Niles McMaster,, Jane Lowry, Rudolph Willrich, Michael Hardstark, Alphonso DeNoble, Gary Allen, Brooke Shields. Genre: Horror}

[Warning: review contains spoilers]

Opening to a scene of a frantically praying shrouded figure, a crucifix wielding a glistening blade is displayed, appropriately introducing this disturbing tale of blindlight insanity.

This film seems to convey a message that those who do not, or in some cases, cannot, because of doctrinal perfidy, receive 'holy communion' are intrinsically "evil" and psychotic. In the case of Alice, being born out of wedlock, despite her desire to do so, she is denied time and time again through a series of strange circumstances, as well as Mrs. Tredoni, who along with Alice's mother Mrs. Spages, lost her daughter on the day of her first communion. She believes the so-called 'sins' of parents are 'payed for' by their children. Mrs. Tredoni is now the caretaker of an ailing priest.

Alice is a troubled girl with a mentally-disturbed history who does not receive the same attention as her younger sibling Karen, who is treated like a veritable princess, wherein her resentment eventually builds to lethal proportions, dispatching her on communion day within the very church by strangulation and immolation, which yields to a scene of utter terror amongst the congregation. There's a sniveling nun who witnesses some of the events, but is too cowardly to intervene.

Alice preserves several special remnants of her exploits in her private space in the cellar within a trunk, wherein right before an act of revenge, lights a candle and ceremoniously attires herself in a yellow raincoat and doll mask, armed with a butcher knife.

An Obese aleurophile named 'Mr. Alphonso' curiously resides in the same building, who harmlessly spends his time caring for his cats and listening to opera, becomes the subject of obnoxious ridicule for Alice, as she routinely pokes fun at this girth, probably transferring her problematic animosities onto him. Encounters between the two are less than amiable, at one point escalating into a tense argument wherein she is cornered and accosted.

When Alice attacks Aunt Annie, she is committed for psychological observation, yet the murders continue. When Mrs. Spage's ex-husband comes around, the circumstances bring them together wherein they indulge in sex {now being divorced, a Catholic no-no, compounded with what is now considered 'fornication' on her part, and 'adultery' on his, being re-married}, Mrs. Tredoni suffers from 'Crusader Syndrome', presumptuously taking it upon herself to self-righteously 'punish' these "sinners", while also dressed in this raincoat / mask combination.

The fact that both wear the same killer outfit seems more of a symbolic display, that both she and Alice share the same mental 'condition' in common. And so, when Mrs. Tredoni acts out as well, the legacy of psychosis leads to more bloody deaths, including that of Mr. Alphonso and Mr. Spages {whose autopsy contains a very interesting clue}.

The callous, dispassionate manner of these murders is notable in contrast to the demented 'spiritual' motive of the killer, very well displayed in the crazed gaze of Tredoni. Where Alice killed through reasons of an excessive need for attention and over-exagerrated revenge, gaining her a feeling of satisfaction, Tredoni kills through a hysterical religious notion and misplaced regret, ironically resulting in the butchery of one of her very own shepherds. And the 'divine madness' continues...



The Craft

The movie begins in the ubiquitus fashion, amongst a lovely storm. The aesthetics are pleasing to the eye, the grey rainy sky, & the New England-esque architecture. There's the Catholic School, & the pleasant plaid skirts with the knee-high socks that would melt the plaster off them walls. Crucifixes here & there, an icon, candles, the usual sights & sounds of a Catholic institution.

The four main characters go about using some Witchcraft, which is decidely weakan in style, to accomplish petty & superficial ends. As they dabble on, the inevitability of the other extreme becomes evident. Never is a true balance exhibited, i.e., cursing those who deserve it, unrepentantly gaining lust desires, & uncompulsive healings. And when it is done, there is always some guilt-baiting involved. Like when one of the girls curses another, who was rotten, & really deserved the hex, the pseudo-"witch" felt guilty upon seeing her victim suffer. In reality, this would cause a reversal. What she SHOULD have done, is revel in her rightful victim's pangs of lamentation, laughed loudly, & reminded her of her remarks. That's Diabolic Justice for you.

Another neophyte uses a red candle to enslave a would-be lover, who almost becomes her rapist. Although it was remarkable, & rather moving when one of the girls healed herself.

The pretentiousness of the ultra-bunny girl of the group, who attempted to bind the eventual protagonist, cause the most impressive, & complimentary change in her. She really became quite an inspiring hellion. This is when the movie really picked up. But just as she became delightfully wicked, the immoralization begins. This is a good time to stop the tape.


Tantilizing title, I know. This little movie is choke-full of Black Magic, & focuses on sympathetic imagery, all performed by a merciless Witch, who actually manages to exhibit some imaginative techniques that could actually be utilized by the Satanist. She is quite interesting to watch, as memories of one's own practices in the Ritual Chamber begins to manifest. Her acting is at its best when she is cursing a victim, as opposed to her channeling an Amerind spirit, which is rather humorous.

There's a lot of good screaming from girls with healthy lungs, which adds that "classic" effect.

The wicked Witch is commissioned by a senator's political rival, to put him out of office by sinister means, & succeeds nicely. Unfortunately, one of those men is a double-agent, & assassinates her & her shaman, along with a pretty neophyte {THAT was a waste of some good flesh!} But the potent Witch resurrects herself & the shaman, by temporary transmogrification, into the beast of her black cat familiar. She then returns to her healed body, & forthwith gains vengence against the assassin. That got cheers from My company.

Then, she's off to attain more power at the Sabbath Rituals, {with the manditory human sacrifices}, & then the movie turns into a dualistic battle between "white" & "black" magic.

There isn't an actual orgy, per se, but there ARE lots of pretty girls to look at. The "blood orgy" indicated the massacre initiated by the "white" magician, who just could not mind his own damned business.

Be that as it may, Blood Orgy of the She-Devils is classic 60's & 70's horror-flick entertainment, & should stimulate quite a bit of laughter & interest.


Interview With The Vampire

Arising from the depths of Anne Rice's mind, the vampires have come forth, both elegant & savage, cultured & barbaric. Ms. Rice adds a lot more to vampire legendry than do many of the gothic novels of contemporary times. We are taken back in time with a mind that seems to have actually been there. All the characters are given such life & personality, that the story gives the impression that it could actually be feasble. There is a mysticism here, a deep fascination for the fantasy, that gives it a life all its own.

The brilliance of a truly vampiric talent, resurrects the folklore into a way of existence. Many of they who feel they are born too late in this dull age of mass-consumerism. Finally, we elect are experiencing a menagerie of gothic masterpieces remade to please, & inspire one to dig up the original classics from their cobwebbed & dusty shelves of libraries & parlours.

The movie is very accurate to the book, the characters dramatically animate on screen, more than enough to delight audiences, impress the fantoms, & even sufficiently please the authoress, & it is quite rare to please an author, unless the production is pretty much identical to the original. The movie was not terribly "hollywood-ized" as some other vamp films were. The book & the genre's integrity is kept intact. The world portrayed therein seems to come alive from within, a part of one's soul projected onto the screen.

Tom Cruise makes for an excellent Lestat {who would have known?}, & the others do not disappoint either. Sure, there really is no substitute for curling up on a dark & stormy night, with candlelight illuminating a good horror novel, but I think it is finally time to intigrate such marvelous movies by the darkness of a black candle's flicker. For many of us, it has already been long as such.

Interview With The Vampire is top quality entertainment for vapire lovers. It contains much emotional/situational relativity to those living in morbid perspective. It is a pleaser. Romantic & enthralling. We, as Gods, will be able to relate a lot of the philosophical aspects spoken in moments of vampiric revelation. Simply put, Interview With The Vampire is fangtastic.

{Ancient Mysteries / A&E}


Like a swelling, throbbing vein, fiercely pumping sanguinary nectar, by a heart beating with fear, this video is engorged with information on the dreaded vrykolax, like a freshly fed vampire bat.

The video coffin is opened, & we enter into the misty past, witnessing ancient Romanian customs, listening to traditional tales, visiting morbid landmarks like Castle Dracula, & learning about historical figures, such as the infamous impaler, Vlad Tepes. VAMPIRES ebbs with illustrations, & depicts society's fascination & sublimated obsession with the night-clad creatures. Vampires are both hated & loved, desired & feared.

From the pale, passionate, darkly romantic lover, to the grotesque, horrifying nightmare of Nosferatu, the supernatural entity is envied & reviled. For its immortality, bizarre beauty, & eternal youth.

There are continuous visitations by by varied hosts of the macabre studies. Interviews with Anne Rice, Raymond McNally, Radu Florescu, & other prominant names in the field of Vampirology, appear to lend a dark shadow of knowledge upon the subject.

VAMPIRES is highly entertaining & educational at the same time. Excellent to watch by candle's flame & incense.

{Bob Larson Miseries}

Magister Peter Gilmore, Rex Diabolos Church, Boyd Rice, Vincent Crowley, & Thomas Thorn

In The Name Of Satan

The video presentation by jeezwiz ratings whore Bob Larson, who follows in Geraldo Rivera's footsteps, in willful ignorance, purposeful misunderstanding, & many times, with a decidely non-xian mean-spiritedness. This sub-journalistic desacration, whose purpose is supposedly to "educate" the flock about the great Satanic conspiracies, & how to fight the unholy influences of Lucifer, instead, only scares the shivering, huddled sheep deeper into their church slaughterhouses. It is their preyish nature to cower, except on those rare occasions when one pokes his head out, bellowing about the evils of humanity, & inevitably gets his head chewed off. Its purpose was ultimately a selfish one, anyway, for repressed ego-fulfillment, & for monetary gain, such as in the Larson's case.

It is obvious that it is intimidated by Satanists & what we have to say, for the rudely apparent manner in which he edits the brood, only to give credit to his proclamations. His insecurity is so evident, as to be laughable.

Like Geraldo, he attempts to lead people to believe that those true Satanists of The Church of Satan are involved in narcotics, pedophilia, animal & human sacrifices, etc. As if criminal dysfunctional "tommies" & black sheep are worthy to be numbered amongst the Satanic elite! In The Name of Satan

On & on, the xian propaganda infomercial drones, in lies & assumptions, half-truths, & futile wishful thinking. In regards to "The Satanic Century", it has already begun! Where the heaven have YOU been, Bob? It is under way, & there's nothing anyone can do against it! Lex Talionis Excelsi! Ave Satanas!

The reason why Larson cuts & splices the taped interviews with Satanists is apparent. He is afraid at what they say. He fears the hardcore brutal truth, the undefiled wisdom. It does not fit in his regimented message of fantasy polarization, the mythological nonsense he wishes to espouse, the age-old paranoia-mongering that brainwashes the subhuman cattle ever so effectively.

Speaking of subhuman cattle, I find it particularly amusing, bordering on disgusting, when Larson speaks with the illiterate, brain-dead idiots infesting his audiences, about their miniscule, meager "lives", & their exploits of meaningless stupidities, claiming influence with the devil, as a convenient scapegoat for their irresponsible & irrational, aberrant behaviour.

Let it be noted for the record, that any such trash, & any such scabs like sean sellout, have had nothing to do with The Church of Satan, & the modern, progressive, elitist, intellectual Satanic Movement that is globally becoming more recognized.

Such inferior, under-developed rejects have no place amongst true Satanists. May the blatant misinformation that Larson pieces together for a conveniant misrepresentation, therefore, fabricated cannon-fodder, be recognized as the cullied, custom-made falsehood & folklore that it REALLY is. He has attempted to turn the realities of Satanic thought & practice into a pulp-fiction consumer product, to serve his own non-xian selfish ends. Taking noble Individuals like Rex Diabolos Rex, Boyd Rice, Vincent Crowley, Pete Blakk, Peter Gilmore, & others, for use in this travesty, is extremely rotten! Therefore, Larson must pay for his purposeful innacuracies, the defamation of characters, & his under-handed, insulting comments all through the video.

Bob Larson is the personafication of the accursed revealed in The 5th Chapter of The Book of Satan. May he be blotted out! With such despicable charlatans besetting xianity, no wonder Satanism is the preferred religion, & shall overtake the nazarene cults in the end! SO IT IS DONE.


The Shadow

He knows what evil lurks in the heart of men - & indeed he does, as he puts away the rotten element, & holds up nobility as a bastion of conduct for The Strong. Indeed, as THE SHADOW proves over & over again, The Strong dominate the weak, lest we deign forget, but the clever always dominates The Strong. But being Clever AND Strong makes The Mighty. As we Satanists know, Might is Right, & in this case, right is Left.

There he comes, upon the fleeting winds, whispering vengence from the shadows, although amidst the light. This movie is repleat with Satanic aesthetics & actualized philosophy - the highest form of Satanic expression. That is, the ACTION that unequivically proves the Ideology. The breath-taking scenes are masterfully done to Noir splendor, glorifying the era which is on the verge of return.

There are many tense moments, as the evil Kahn strives to conquor the world, & ironically, is of the same "kind" as THE SHADOW {can we guess what kind?}. As they both manipulate the simpletons of subhumanity. One particularly inpressive scene, was when Kahn forced a mentally-weak security guard to terminate himself, because he did not have the fortitude to either fight or join. As it should be. Cowards die many times, it is said. The valiant taste of death but only once.

THE SHADOW is just what the Doctor recommended, a refreshing shot in the arm, with The Draconian Seal of Approval.

{Original Broadcasts from radio's Golden Age} The Condo Nast Publications, Inc./Great American Audio Corp. 33 Putnam Rd. New Rochelle, NY, 10801

The Shadow

Coming out of the shadows once again, to terrify & inspire the thrall of humanity, is that haunting figure from the past, still clouded in mystery, THE SHADOW! He brings an air of refreshment, to a time sorely lacking in that unique charm. You hear the sinister voice of The Shadow from the darkness, & let out a gasp, foloowed by a sigh of relief. He has returned, as his maniacal laughter echoes through the room, out of thin air.

With him, comes the whole original cast, including his girl Margo Lane, played by Agnes Moorehead.

The Shadow has gone through five incarnations thusfar, including the latest movie released in Year 30 A.S. recently.

Contained in this attractive box-set, which comes in the shape of an old-style radio, are the original manifestations of Orson Welles, Bill Johnstone, John Archer, & Bret Morrison.

Here, in these four sixty-minute cassettes, you will be taken into the dark world of The Shadow, approriately called The Noir Era, where he applies his psychotic genius against lunatic madmen, to solve cold-blooded crimes beyond the abilities or comprehension of The Police.

We are offered eight of the best episodes of the series: "Traffic In Death" & "Can The Dead Talk!" starring Bill Johnstone; "Circle Of Death" & "The Death Triangle" starring the immutable Orson Welles; "The Destroyer" {most excellent --- depicts a genocidal madman --- hinting at Hitler?}, & "The Little Man Who Wasn't There" {Shadow vs. "Shadow"?} starring John Archer; "Death In A Minor Key" & "Mind Over Murder" starring Bret Morrison. Each recording is truly an EXPERIENCE worth living.

A delightful surprise for Me, was that some of the commercials were left herein, such as advertaisements for "Blue Coal", among others. It is interesting to hear about some of the products being offered at the time, & in that distinctive announcer technique. It may be that it is really those commercials that put you there in that time, as it gives the impression of it being current.

Gather 'round the radio, dim the lights, & allow yourself to be escorted into a necromantic timewarp, where your own Imagination will conjure forth the images of muder & mayhem, that are just as entertaining today, if not more so, than they were when they originally aired from September 26th 1937 - December 26th 1954.

"The Weed of Crime bears bitter fruit..."

John Carpenter's

In The Mouth Of Madness

In this particular terrible tale of fright, the nightmare world of a novelist becomes reality, & it is up to the publisher to find the missing author, that the horrors may be contained. But in order to accomplish this, he must submerge himself into the very horrors of the stories themselves. He encounters many wickedly confusing & uncanny situations. The only map out of this hell, are the books, & the key becomes his wits & daring. Wit the help of a devious companion planted by the book company, they both go through a maze of contorted existence, spawned by the evil genius of the Horror writer, who, incidently, becomes possessed by Lovecraftian demons.

This is the second recent movie to come out about the omnipotence of the writer. For it is he, of this most noble of professions, that that create worlds & residents thereof. Philosophers lay down the stablizing foundation for others to persue their aspirations. Writers create those precious evocations that is reflected back upon.

The fact that these themed movies are coming out more often, tells Me that they are finally getting it! At last, a return to the appreciation of Godflesh! The proles in the audience were speachless, scared out of their wits, & taking any consolation from the possible truth by laughing raucously at the jokes cracked by the characters, from time to time.

From The Mouth of Madness is the top masterpiece by the great John Carpenter, who brought us such shocking epics like Halloween I & II. Nowadays, he is concentrating more on psychological-horror, rather than slasher flicks. Which is a brilliant move, since the eustress of mere entertainment crosses over into the space of the viewer, & creates a bit of distress.

The impression one derives from this newest cinematic assault, id the pervasive possibility of all. What if it were true? It SEEMS completely plausible, & how do you know that this life is not just the imagination-child of a writer? How can you tell that you are not just a character invented to act in a story? In any case, xians seem to think so. Their invisible friend, "jesus", & their castles in the sky...

I would rename this type of movie, a Parapsychological-Thriller, because of its supernatural facts. It is a reflection of the Microcosm upon the sphere of one's personal universe. {Microcosm=Universe / Macrocosm=Omniverse}.

The major morale of the story, Satanically speaking, is that Man is God. Whatever a Superior Mind can invoke, can & does become manifest. The scale of the creation depending upon the multifusion of believers. This therefore, produces a dimension, which can be tapped into by emotionally-charged output; intigration of belief. Such concepts will be elaborated upon & ritualistically applied in Dracomeroth.

For those who are easily susceptible to suggestion, go see this movie! For those of you who enjoy a marvellously stimulating night out, there it is. From The Mouth Of Madness is a valuable gem of parapsychologic knowledge to those who can recognize it.



Once again, Mr. Copolla has creted another ingenious reproduction of a classic. Unlike the original Dracula & Frankenstein, these productions are more believable, as far as mannerisms, vestmentry, & situations are concerned. As usual, it is a rollercoaster of emotional stimulation. As with DRACULA, there are incredible angles & panoramas, with amazing action-scenes. It is very accurate to the book, & even starts out with the actual introduction thereof.

Everything is much more down to earth, much "rawer" than the more watered-down versions of previous presentations, with the exception of the original Boris Karloff spectacular. that is. This is bacause, it sticks closer to the book, as if Mary Shelley herself were producing.

When I witness the conviction & die-hard dedication of Dr. Victor Frankenstein, with his enormous visions for the progression of science, & his logical dismissal of krysto-babble, I cannot help but to admire the man. Though all of his frightened & intellectually constipated "colleagues" absurdly "warn" him of the "abominations" of his wonderous dreams & experimentaions, he drives ever-forward, at fever pitches, to accomplish that which just may be the ultimate proof that it is finally Man who is the brain of god, through his modifications of Nature.

Inevitably, as the movie progressed, I found Myself hearing echoings of Dr. LaVey's voice speaking of Artificial Human Companions, & how the future shall be inundated with them, as the subhuman populace declines - thank SATAN! They have just enough intelligence to serve & entertain without complaint or self-righteous moralistic rhetoric. We certainly would not want a repetition of what we see in horror movies, of creations becoming too smart & conquoring the world.

As for re-animation, which indeed IS possible, either by Necromancy &/or Future Science, much care must be taken in the formative periods. For example, Victor Frankentein's creation was struck very forcefully upon the cranium when he was barely concious - a very bad mistake. That brilliant mind was damaged because of it, inasfar as fascillitating abrupt violent tendencies as an uncontrolled impulse, rather than stablized rationale. Without such neuro-trauma, the creation may have been very well more amiable & adaptable.

As far as the scars are concerned, if the cosmetic appearance becomes such an issue, laser treatemnts can be administered, which erases the scarring tissue.

Another point in the movie which should be addressed, is the fact that Dr. Frankenstein underwent three major emotional traumas in the sudden losses of his mother, a nephew, & finally, his beloved wife. When he pleaded to "God" with all of his heart, mind, & soul, there was no response whatsoever. So, in true Satanic form, he took matters into his own omnipotent hands, & re-animated his beloved wife back to life. The other two could not be returned, unfortunately, for the procedure had not yet been perfected. But they were not a total loss. for they served as the daemonseeds of divinity, & as cathartic agents, to purify the Mind from the ridiculous limits imposed by inferior xian morales, which are meant to keep the lower man in line, NOT the Higher, He who MAKES the rules, rather than blindly following, as in BLINDLIGHT. When his eyes were at last opened, he became relentless in his persuits - & to proven success.

Most unfortunate, however, at the time there were not the cosmetic techniques to fully restore & rebeautify his bride, so she self-destructed.

The single most valuable lesson to be learned from Dr. Frankenstein's efforts & experiments, is to learn from his mistakes, & take great care not to repeat them, in order to save yourself from the hardship he underwent.

The character of Dr. Victor Frankenstein is certainly one to be admired, as His heart burned fiercely with the Black Flames of Satan. He is an archetype representative of the iconoclast & the rebel, an intellectual renegade, to be always remembered.

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