THE WITCHES. (1966) A HAMMER FOLK HORROR REVIEWED BY SANDRA HARRIS. ©

THE WITCHES. (1966) A HAMMER FILM PRODUCTION. ADAPTED BY NIGEL KNEALE FROM NORAH LOFTS’ BOOK, ‘THE DEVIL’S OWN.’ DIRECTED BY CYRIL FRANKEL.

STARRING JOAN FONTAINE, ALEC MCCOWEN, KAY WALSH, MICHELE DOTRICE, GWEN FFRANGCON-DAVIES, INGRID BRETT AND LEONARD ROSSITER.

REVIEW BY SANDRA HARRIS. ©

This is not my favourite Hammer horror film, as it’s a little short on sex, Hammer glamour and ginormous boobies, but it’s still a really decent, unsettling folk horror movie, which is one of my favourite sub-genres of horror.

Set in a little English village in modern times (well, the ‘Sixties), it stars Hollywood Golden Age actress Joan Fontaine (REBECCA, SUSPICION, JANE EYRE) in the lead role of Gwen Mayfield.

Joan is the sister of the Little Johnny Live-A-Lot also known as Hollywood Golden Age actress Olivia de Havilland, who died over the summer (yes, this summer!) at the staggering age of 104. What great longevity some of these old Hollywood broads had! Their male contemporaries rarely lived this long.

Anyway, Gwen Mayfield is a school teacher who takes up a post in a tiny rural English village called Heddaby. Her last post before this was in Africa, where her run-in with the witchcraft practised by the natives caused her to have a breakdown.

Her new employer is the strange and rather monosyllabic Reverend Alan Bax, played by Alec McCowen, who might be best known for his wonderful portrayal of a homicide detective, Chief Inspector Oxford, driven culinarily demented by a wife who’s been doing a gourmet cookery course, in Alfred Hitchcock’s FRENZY (1972).

God Almighty, all the poor chap wants is a decent dinner after a hard day’s detecting, but the weird and sometimes inedible fare his wife serves up is barely enough to feed one of the poor quails who sadly died and found its way on to her menu.

Anyway, as for the Reverend Alan Bax, well, there’s a mystery there all right, but it will be a while before Miss Mayfield is able to determine whether he’s a friend or a foe in the strange situation in which she finds herself enmeshed in Heddaby.

Odd things happen in her new locale that makes Gwen wonder if perhaps her parish of superstitious villagers back in Africa isn’t too different from the quaint little backward-thinking village of Heddaby after all, where the locals favour healing with herbs over calling in a medically-trained doctor.

A teenage boy falls ill and is spirited away by his mother, just as a headless boy doll is found in a tree with a bunch of voodoo pins stuck all over him. The boy’s father is found drowned. A teenage girl is allegedly being abused by the grandmother she lives with and then the girl goes missing. There’s a very WICKER MAN vibe about the whole thing.

If Gwen hadn’t actively come up against witchcraft in her little African village, she might not now be so quick to come to the conclusion that the villagers of Heddaby are practising the black arts.

But come to it she does, and not only that. She also comes to another conclusion, that a young girl’s life is in danger (think Rowan Morrison), and that no-one’s efforts but her own can save the girl now…

I love Leonard Rossiter (RISING DAMP, THE FALL AND RISE OF REGINALD PERRIN) as Dr. Wallis, and Michele Dotrice (Betty Spencer, Frank’s long-suffering wife, in sitcom SOME MOTHERS DO ‘AVE ‘EM) as Miss Mayfield’s sort of maid-cum-cleaning lady.

Michele Dotrice, a terrific actress, and not just in comedy roles, also appears in two other fabulous horror films, BLOOD ON SATAN’S CLAW, which is very definitely a folk horror, and also AND SOON THE DARKNESS, a murder mystery which is very folky in its setting, in my humble whatsit.

I also love Kay Walsh, once married to film director David Lean, as Alan Bax’s bossy middle-aged sister Stephanie, a magazine writer and the type of woman who’ll wear wellies to walk the dogs and who tells people what they ought to do in any given situation without having been asked for her advice even slightly.

I would have loved it if, instead of magazine articles, she’d been an Agatha Christie-style writer of crime novels or murder mysteries, like Auriol Lee as Isobel Sedbusk in Alfred Hitchcock’s SUSPICION (1941), for her role in which superb suspense thriller Joan Fontaine actually won a Best Actress Oscar, incidentally.

Anyway, THE WITCHES is a tiny bit hokey but it looks gorgeous, and Joan Fontaine, sporting the most bouffant of bouffant hairstyles, is absolutely brilliant at looking shocked, surprised and frightened in it. Joanie channels her best Tippi Hedren (THE BIRDS) here, in her olive-green ensemble, and Kay Walsh is a dead ringer for dear old Bette Davis in her horror cossie.

There’s a smart cat called Vesper in it, and also a sort of wild, fruit-based orgy amongst the natives in which you’ll probably be praying, like me, for the participants to please keep their clothes on. You’ll enjoy watching this horror classic, I promise you. It’s great fun.

AUTHOR BIOGRAPHY OF SANDRA HARRIS.

Sandra Harris is a Dublin-based novelist, poet, short story writer and film and book blogger. She has studied Creative Writing and Film-Making. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, women’s fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page: http://www.amazon.com/-/e/B015GDE5RO

Her debut romantic fiction novel, ‘THIRTEEN STOPS,’ is out now from Poolbeg Books.

THE PLAGUE OF THE ZOMBIES. (1966) A HAMMER CLASSIC REVIEWED BY SANDRA HARRIS. ©

THE PLAGUE OF THE ZOMBIES. (1966) A SEVEN ARTS/HAMMER FILM PRODUCTION. DIRECTED BY JOHN GILLING. PRODUCED BY ANTHONY NELSON KEYS. MUSIC BY JAMES BERNARD.

STARRING ANDRE MORELL, BROOK WILLIAMS, DIANE CLARE, JACQUELINE PEARCE, MICHAEL RIPPER AND JOHN CARSON.

REVIEW BY SANDRA HARRIS. ©

This is a top-notch zombie horror film from Hammer Film Productions, the company that brought us such cinematic gems as the 1958 DRACULA starring Christopher Lee and THE CURSE OF FRANKENSTEIN (1957) with Peter Cushing.

Sir James Forbes is an eminent English physician, beautifully played by Andre Morell, who also portrayed Dr. Watson for Hammer in THE HOUND OF THE BASKERVILLES (1959) and Professor Bernard Quatermass for the BBC television serial QUATERMASS AND THE PIT (1958-1959).

Sir James is disturbed in August 1860 to get a letter from a former student of his, who is now the local doctor in a small Cornish village. People have been dying from a mysterious plague in the village and the doctor, Peter Tompson, wants the advice of his former professor and mentor.

Sir James will jolly well go one better than that. He’ll go to Cornwall and see what’s up for himself. He is accompanied by his beautiful blonde daughter, Sylvia, who just so happens to be old pals with the doctor’s wife, the equally beautiful brunette, Alice, played by Jacqueline Pearce (THE REPTILE).

When Sir James and Sylvia arrive at the Cornish village, they are just in time to see the funeral of the latest plague victim being interrupted by a crowd of red-coated yobbos hunting a fox.

At the Tompsons’ house, they find Alice pale, unhealthy-looking, with a bandaged cut on her wrist, and extremely ill at ease. Then, in the local tavern, Sir James finds the young Dr. Tompson being harangued by the locals for his apparent inability to diagnose the cause of death in the plague victims.

Dear old Hammer regular Michael Ripper, for once, isn’t behind the bar at the local tavern, pulling pints and dispensing local gossip and homespun wisdom in equal measure.

In this film, he’s playing the copper who catches Sir James and Dr. Tompson digging up the corpse of the most recent plague victim, in the hopes of finding out what killed him.

Autopsies are banned by order of the local Squire Clive Hamilton, you see, which is a little strange. Why wouldn’t the Squire want to find out what’s been killing off his villagers and tenants?

Well, maybe if he was part of the reason they’ve been dropping like flies and disappearing from their coffins, he’d be anxious not to have his handiwork laid out in a laboratory while a surgeon takes a pizza cutter to the cadavers’ big, juicy delicious brains, nom-nom-nom…

When Alice’s corpse is found on the moors, as dead as the proverbial dodo, Sir James and the distraught widower decide to have a peep in her coffin. (The graveyard is the same one from THE REPTILE, by the way.) They won’t forget what they see in a hurry. It’s enough to give the poor bereaved hubby nightmares…

Meanwhile, the lovely Sylvia, Sir James’s pride and joy (though he hides his love beneath a gruff exterior), who earlier has narrowly avoided being gang-raped by the members of the local hunt (shades of Sir Hugo and his cronies in THE HOUND OF THE BASKERVILLES, much?), is being targeted by the evil Squire for his own secret, nefarious purposes.

A cut on her finger engineered by the cunning toff and all of a sudden she’s chanting Haitian voodoo mantras, to the alarm of young Dr. Thompson. Is Sylvia doomed to spend the rest of her existence as one of Squire Hamilton’s mindless zombies, performing his evil bidding (whatever that is) for all eternity, or will the two medics work out what’s going on and rush to the rescue? The dénouement is shockingly dramatic.

The scenery, costumes and settings are all gorgeous, as usual (you wouldn’t expect anything less from Hammer, whose standards and production values were always of a super-high quality), and Andre Morell is absolutely superb in the lead role, showing the younger ones how it’s done in a way that older actors don’t always get to do.

The film will put you very much in mind of WHITE ZOMBIE (1932), in which the magnificent Bela Lugosi, playing the wonderfully-named Murder Legendre, turns Haitian natives into zombies for the sole purpose of employing them as free labour in his sugar cane mill.

The idea of using zombies as unpaid workers, as you will see here, is by no means a new one, and it certainly saves you from having to engage with any annoying union reps. It may also remind you, to a certain extent, of other early zombie films such as I WALKED WITH A ZOMBIE (1943) and THE DEAD ONE (1961), otherwise known as BLOOD OF THE ZOMBIE. I’m delighted especially to have this last one in my possession, as it was once considered to be a lost film.

I don’t love THE PLAGUE OF THE ZOMBIES as much as I do THE REPTILE (I really love THE REPTILE!), but it’s still a bloody good horror film, some say one of Hammer’s finest productions. Don’t miss out on seeing it under any circumstances.

AUTHOR BIOGRAPHY OF SANDRA HARRIS.

Sandra Harris is a Dublin-based novelist, poet, short story writer and film and book blogger. She has studied Creative Writing and Film-Making. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, women’s fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page: http://www.amazon.com/-/e/B015GDE5RO

Her debut romantic fiction novel, ‘THIRTEEN STOPS,’ is out now from Poolbeg Books.

WHITE ZOMBIE. (1932) REVIEW BY SANDRA HARRIS. ©

white zombie bela closeup

WHITE ZOMBIE. (1932) BASED ON THE 1929 NOVEL BY WILLIAM SEABROOK, THE MAGIC ISLAND. DIRECTED BY VICTOR HALPERIN AND PRODUCED BY EDWARD HALPERIN.

STARRING BELA LUGOSI, MADGE BELLAMY, JOHN HARRON, ROBERT W. FRAZER AND JOSEPH CAWTHORN.

REVIEW BY SANDRA HARRIS. ©

This is such a marvellously atmospheric old horror movie, starring Bela Lugosi who was still fresh from his success as UNIVERSAL’s DRACULA (1931). He looks young, extremely handsome, charismatic and devilish here as the white Voodoo Master of Haiti who puts a spell on a beautiful young woman on whom he has personal romantic designs. But let’s start at the beginning, shall we?

The beautiful young woman in question is a blonde ‘Twenties bombshell called Madeleine Short, and she’s come to Haiti to marry her fiancé Neil Parker, who’s already there for some reason. I think he has a plantation there. On the boat over to Haiti, she meets a rich young man called Charles Beaumont who’s determined to befriend the young married-couple-to-be for reasons known only to himself.

On the coach-ride to Mr. Beaumont’s plantation, the young couple pass a funeral party that is burying the deceased in the middle of the road. This is to deter anyone who might have a mind to steal the corpse and turn it into one of the ‘undead,’ explains their Haitian coachman matter-of-factly. And, speaking of which, here come a party of these eerie ‘undead’ rascals right now!

The coachman whips up the horses to a frenetic degree.

‘What the hell are you playing at, driver?’ demands Neil irately. ‘We might have been killed!’

‘Or worse, Mister Neil,’ replies the coachman sagely, ‘we might have been CAUGHT…!’

Apparently, Haiti is swarming with these ghouls, who once walked the earth as human beings but whom the most nefarious black magic has raised up from the dead and turned into mindless zombies who work night and day in the islands’ sugar-cane mills. What a life, or should I say what an un-life…?

Mr. Beaumont is a wealthy plantation owner and it soon becomes clear that he’s fallen madly in love with the gorgeous Madeleine, with her huge doe eyes, Clara Bow lips and short blonde ‘Twenties hair.

She’s the very image of a ‘Twenties babe, despite the fact that we’re now in the ‘Thirties. The fashions here are very much still of the ‘Twenties. It gives the whole production the look of a silent movie and, as I’m a huge fan of silent movies, that’s no bad thing in my opinion.

In fact, the film would have worked very well as a silent movie. There’s kind of minimal dialogue in it anyway and the fantastic music score would have been ideal for a silent horror flick.

There’s a long stretch of the film at the end, the bit where Neil is fighting off the zombies by himself, where there’s little or no dialogue and the music is extremely dramatic. You could easily imagine yourself to be watching a terrific old silent movie at this point.

Mr. Beaumont wants to stop the marriage between Madeleine and Neil. He seeks out Bela Lugosi’s evil Voodoo Master, a white creator of zombies with the fantastically memorable name of ‘Murder Legendre,’ to help him. He wants the marriage stopped, but when he realises that the Voodoo Master’s method of doing it is to turn Madeleine herself into one of these ‘living dead’ zombies, he freaks out.

When the Voodoo Master in turn works a spell on Beaumont to immobilise him while he, Murder Legendre, claims Madeleine for his own, the situation becomes desperate. Can Neil rescue the lovely Madeleine from Murder’s evil clutches and, whether he can or he can’t, what will happen now to poor zombified Mr. Charles Beaumont, himself a rich plantation owner but who is now under one of Murder’s terrible spells?

Is he doomed for all time to slave in the Voodoo Master’s mills as one of the undead? And why am I calling him ‘poor’ Mr. Beaumont? If he hadn’t tried to break up Madeleine and Neil in the first place, none of this stuff would now be happening…! He’s only got himself to blame but still, being a zombie is probably a lot less exciting than it sounds.

The bit where Beaumont meets Murder Legendre in the Voodoo Master’s sugar-cane mill is quite chilling. Not only has the VM turned hundreds of once-living people into mindless zombie workers for profit (they work long hours for no pay and never quibble about anything because they can’t), but he’s also turned a specific coterie of them into his own personal group of bodyguards.

‘See these lads here?’ he tells the horrified Beaumont with his trademark evil Bela Lugosi smile. ‘These all used to be my enemies. This one here used to be my master.’

Beaumont is clearly shocked.

‘What happens if the spell you put on them is ever broken?’ he asks nervously.

‘Why, then they will tear me to pieces,’ says Bela matter-of-factly, still smiling. ‘So that can never be allowed to happen…’

By the way, here are some random facts about the film. The film was savaged by the critics upon release for the very things I love about it, the slightly hammy acting and the silent movie look and feel of the thing. The critics were nuts. This is possibly the best zombie movie ever made. Certainly it was the first full-length one.

I WALKED WITH A ZOMBIE from 1943 has the same dark, shadowy atmospheric look and feel to WHITE ZOMBIE. It’s an excellent film as well, though with a slightly more modern feel to it because it’s a full decade older.

Rob Zombie’s metal band WHITE ZOMBIE took their name directly from the film and they wouldn’t have done that unless they thought it was the coolest movie ever, which it is, so take that, moronic critics. I still can’t believe they dissed this film.

The huge stone tower or cliffside castle where the zombified Madeleine is being held prisoner is actually a painting. It’s just like a black-and-white version of the fabulous painted castles in Roger Corman’s Edgar Allan Poe film adaptations for AMERICAN INTERNATIONAL PICTURES. It’s a gorgeous castle, very atmospheric-looking and quite like something out of the 1931 UNIVERSAL DRACULA too.

The two little maids assigned to care for Madeleine are scared to brush her hair because they know she’s one of the undead. They’re also too afraid to run away because the wicked and cunning VM will find them and turn them into zombies too. It’s quite a creepy no-win situation in which they find themselves.

Madeleine looks like a medieval princess when she comes out onto the balcony with that long dress on her with the low-slung belt around the waist. If her hair was several feet longer, she’d make a great Rapunzel. She’s the perfect damsel in distress, waiting patiently in her medieval tower to be rescued. There ain’t nothing remotely proactive about this dame. 

I’m not sure, though, why Neil is in such an all-fired great hurry to snap her out of the vacant, glassy-eyed zombified state she’s in. At least while she’s checked out like this, she won’t be nagging him to change his socks or get up from the sports on the telly to put the bins out. Some blokes clearly don’t know they’re born.

AUTHOR BIOGRAPHY OF SANDRA HARRIS.

Sandra Harris is a Dublin-based novelist, film blogger, poet and book-and-movie reviewer. She has studied Creative Writing and Film-Making. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, womens’ fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page:

http://www.amazon.com/-/e/B015GDE5RO

You can contact Sandra at:

https://www.facebook.com/SandraHarrisPureFilthPoetry

https://sandrafirstruleoffilmclubharris.wordpress.com

http://sexysandieblog.wordpress.com

http://serenaharker.wordpress.com

sandrasandraharris@gmail.com

https://twitter.com/SandraAuthor

I WALKED WITH A ZOMBIE. (1943) REVIEW BY SANDRA HARRIS. ©

carre-four

I WALKED WITH A ZOMBIE. (1943)

BASED ON A STORY BY INEZ WALLACE. DIRECTED BY JACQUES TOURNEUR. PRODUCED BY VAL LEWTON. STARRING FRANCES DEE, TOM CONWAY, JAMES ELLISON, EDITH BARRETT, CHRISTINE GORDON, JAMES BELL, THERESA HARRIS, DARBY JONES AND CALYPSO SINGER SIR LANCELOT.

REVIEW BY SANDRA HARRIS. ©

This is a strange, eerie and mysterious little classic horror film that’s positively oozing with atmosphere. It’s the story of a young attractive nurse called Betsy Connell (by whom the story is being told), who is brought from the cold and snow of a wintry Canada to the island of San Sebastian in the West Indies to take up a new job.

She is to look after the invalid wife of posh Britisher Paul Holland, who assures her on the boat over that San Sebastian is a place of misery and decay, and not at all the lovely island paradise it appears to be. What a downer! Anyone would think he was trying to put her off.

The boat on which they travel to the island is worthy of mention because it’s a proper old-fashioned sailing ship complete with the big sails and everything, just like on MUTINY ON THE BOUNTY and in all the old swashbuckling pirate movies. It makes the film seem even older and more atmospheric than it already is.

When Betsy gets to the island, she discovers first of all that it is populated by black people who were brought to the island as slaves by the Holland family. Even now, now that slavery has been abolished, they still work as servants or other employees to the Hollands.

We can infer from that, I think, that the island has been a silent witness to many years of suffering and bondage on the part of the slaves and former slaves. The history here is bound to have left its mark on the island, in the same way that pain and misery suffered within its walls can leave its mark on a bricks-and-mortar building. Can leave it haunted, even, at times, with the restless spirits who once lived there and the unhappy souls who now consider that they have unfinished business here on Earth.

Betsy is introduced to the handsome Wesley Rand, the half-brother of Paul Holland. Wesley is an American guy who was born to their mother and her second husband, while Paul was the progeny of Mrs. Rand and her first husband, who is now deceased.

Betsy, by the way, is immediately attracted to her employer, Paul Holland, even though he’s the stiff-upper-lip type, he’s married and he’s much less approachable than his boozy brother Wesley. Let’s see if her inappropriate attachment gets her anywhere, eh?

Paul and Wesley don’t like each other much. That much is clear. There’s a bad history there, some bad mojo as they say. Mrs. Rand, the boys’ mother, is a kindly doctor who tries to bring good medical practices and standards to the islanders, but this is difficult enough to achieve as the islanders are steeped in superstition and the centuries-old practice of voodoo.

Speaking of which, Betsy is shocked to discover that her patient is in fact what she terms a ‘mental case.’ The scene in which she encounters the beautiful catatonic Jessica Holland, a tall elegant blonde in a white flowing gown, wandering around silently like a ghost in the Tower is one of the two best- and spookiest- scenes in the film.

Can Jessica be cured of her trance-like state, brought on by a fever that destroyed part of her spinal cord and left her unable to speak, hear or feel? She can still walk, though, funnily enough. Mrs. Rand and Paul Holland are both adamant that she’s incurable. She’s a zombie for life, one of the living dead.

But not according to Alma, a maid in the Holland-Rand household. Alma, a native islander, tells Betsy that there are voodoo priests on the island who can cure Jessica of her terrible affliction. Betsy now loves Paul Holland so much that she wants to give his wife back to him, cured. That’s some funny kind of love, isn’t it? I’m pretty sure that I’d never be able to love that unselfishly myself.

Betsy, however, is well up for it. She’s obviously made of sterner stuff than me. She and an insensible Jessica make their way to the place known as the houmfort by night, where the voodoo priests meet and the magic happens.

The scene where they have to pass through the silent fields guarded by the zombie Carre-Four in the dead of night, with the tall grasses blowing in the breeze and the sky filled with frightening shadows, is the second of the two best and most memorable scenes in the film. Such haunting images! I know I won’t forget them.

So, does voodoo cure Mrs. Holland or has Betsy just twisted the lid off of a big old can of worms? You know perfectly well that she has, lol. But if you want to find out what happens next, you’ll have to watch this fabulous old film, which incidentally celebrates its seventy-fifth anniversary this year. It shouldn’t be any hardship. It’s a genuine old masterpiece.

AUTHOR BIOGRAPHY OF SANDRA HARRIS.

Sandra Harris is a Dublin-based novelist, film blogger, poet and book-and-movie reviewer. She has studied Creative Writing and Film-Making. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, womens’ fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page:

http://www.amazon.com/-/e/B015GDE5RO

You can contact Sandra at:

https://www.facebook.com/SandraHarrisPureFilthPoetry

https://sandrafirstruleoffilmclubharris.wordpress.com

http://sexysandieblog.wordpress.com

http://serenaharker.wordpress.com

sandrasandraharris@gmail.com

https://twitter.com/SandraAuthor

JESSABELLE. (2014) A SUPERNATURAL HORROR FILM REVIEWED BY SANDRA HARRIS. ©

jessabelle

JESSABELLE. (2014) DIRECTED BY KEVIN GREUTERT. WRITTEN BY ROBERT BEN GARANT. STARRING SARAH SNOOK, MARK WEBBER, DAVID ANDREWS, JOELLE CARTER AND ANA DE LA REGUERA.

REVIEW BY SANDRA HARRIS. ©

This is the story of a haunting and a possession set in modern times down on the good old Louisiana bayou. Jessie, short for Jessabelle, is the unluckiest girl in the whole world, having just lost her boyfriend and her unborn baby in a car crash that happens just as they’re all driving off happily together to their new home and their new lives. That’s when Fate reckons you’re at your most vulnerable and strikes like a deadly cobra, lol.

Now, after the accident, Jessie is wheelchair-bound and forced to go and live with her one remaining relative, the father she hasn’t seen since she shook the dust of their small town off her feet years ago to go to college. It seems as if she went off to college mainly to get away from her kippy home town and her surly mean father, and you can’t really blame her for that.

When she gets to the house, the Dad opens up a secret cobwebby room that’s been all locked up for at least twenty years and says, well, here, in ya go to the bedroom your mother died in, giving birth to y’all way back when.

God help the girl if she’s of an imaginative bent or in any way given to dwelling on things too much, which of course all young girls are, especially if they’ve suffered a lot or undergone a trauma like bereavement, and Jessie’s life is chock-full of bereavements.

Her mother, her boyfriend, her unborn baby and, by extension, the wonderful life she and her bloke were going to have in their new home with their new baby. All gone up in smoke, the whole kit-and-kaboodle. That’s a lot of bereavements, enough to give any woman the heebie-jeebies.

There’s no furniture in the room barring a giant four-poster bed and a box of video-tapes the mother made for Jessabelle while she was still pregnant with her. The Momma is the kind of hippy-dippy type who believes in psychic readings and fortune-tellings and all that kind of thing.

In the video-taped psychic readings Momma performs for her as yet unborn daughter, she keeps turning up scary shit like death and burnings and an angry female presence in the house that wants Jessie out, because the ghost thinks the house is hers by rights.

Jessie is, not unnaturally, scared shitless by these dire premonitions which, if you’ll excuse my authorial interjection here, was a very unfair and insensitive legacy for any mother to leave for her child to see, long after the mother has died of the cancer that blighted her last months of life. Jessie should be thrilled when her father tries to burn the evil tapes, instead of bitching at him about it.

Unfortunately Pops, who’s clearly no luckier at the game of life than his daughter Jessabelle, only succeeds in burning himself, leaving Jessie in the haunted house alone with no-one to help her with anything. This is where she gets her claws back into her childhood sweetheart Preston, whom she left without a second glance when she quit town.

Preston is unhappily married now to poor Samantha, who is really not thrilled about the helpless little Jessie, with her soft blonde hair and her braless bosoms hanging out of her low-cut dresses, sleeping on their couch because her own house is too haunted to live in for now.

I don’t blame the hardworking, sensibly-dressed-in-sweatpants Sam at all for resenting Jessie. When was the last time Preston unhinged her, Sam’s, flaps in the tender, devoted way he does Jessie’s? (You’ll have to watch the film to decipher this naughty in-joke, lol!)

There’s definitely an angry, jealous female spirit present in Jessie’s house. There’s a tiny coffin buried out on the bayou as well with the skeleton of a newborn baby in it. That’s some real creepy shit right there.

There’s voodoo and superstitious locals who believe in what Preston refers to as ‘all that mumbo-jumbo’ but, as Jessie’s witnessing a lot of strange things since her return to the bayou, she can’t help wondering what evil supernatural forces are at work here and what exactly they want her to do…?

This is a very water-based horror film, with baths and lakes in it. It puts me in mind of THE CHANGELING, WHAT LIES BENEATH and the film adaptation of Stephen King’s excellent novel BAG OF BONES for exactly that reason.

The film’s a bit messy and implausible at times, but it’s not the only film ever to put a wheelchair-bound person in an isolated setting with no possible way of doing certain things for themselves, so we won’t berate it too harshly for that.

I enjoyed the film, though, even the cheesy ending, and I’d certainly recommend it as a one-time-viewing for horror fans. It’s like a floaty supernatural dream or something, with voodoo and some stunning visuals thrown in and some good old-fashioned sexual jealousy to boot. Enjoy it, with my humble blessing, lol.

AUTHOR BIOGRAPHY OF SANDRA HARRIS.

Sandra Harris is a Dublin-based novelist, film blogger, poet and book-and-movie reviewer. She has studied Creative Writing and Film-Making. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, womens’ fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page:

http://www.amazon.com/-/e/B015GDE5RO

You can contact Sandra at:

https://www.facebook.com/SandraHarrisPureFilthPoetry

https://sandrafirstruleoffilmclubharris.wordpress.com

http://sexysandieblog.wordpress.com

http://serenaharker.wordpress.com

sandrasandraharris@gmail.com

https://twitter.com/SandraAuthor