EP 24: PRINCE OF DARKNESS (1987) vs. RAW MEAT (1972)
It's a pleasant DONALD PLEASENCE double-feature with JOHN CARPENTER's PRINCE OF DARKNESS (1987) and EDGAR WRIGHT's favorite video nasty, DEATH LINE (1972), also known as RAW MEAT! Get ready for ominous English voices and mutant tube-dwelling miscreants galore!
We urge you to "Have a PLEASENCE evening," this week on CULT and CLASSIC Films Podcast!
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Host: Nate Wyckoff
Panelists: Amanda Longley, & Greg Johnson
More on “PRINCE OF DARKNESS” (1987):
Prince of Darkness, directed by John Carpenter and released in 1987, is a chilling horror film that delves into the terrifying realm of scientific inquiry and supernatural forces. With Carpenter's distinct touch, the film provides an unnerving and atmospheric experience that leaves the audience questioning the very nature of reality. The story revolves around a group of graduate students and their professor, who become involved in a secretive research project led by an eccentric priest, Father Loomis, played by Donald Pleasence. Loomis reveals to them the existence of a mysterious cylinder, buried beneath an abandoned church in downtown Los Angeles, that supposedly contains an ancient evil force.
As the students gather at the church to examine the cylinder, they discover it holds a swirling, green liquid substance with an uncanny ability to emit intense energy. To their growing horror, it becomes clear that this substance is not only a potential agent for Satan himself, but it also possesses an eerie ability to manipulate the minds of those nearby.
As the malevolent force within the cylinder gains strength, strange occurrences increase in frequency. The group's dreams are gradually invaded by eerie transmissions from the future and grotesque figures, while the homeless population around the church becomes more violent and aggressive, serving as the ominous pawns in the malevolent force's grand scheme. Gradually, the students find themselves drawn further into the sinister web of the ancient evil, becoming desperate to escape the clutches of an impending apocalypse. Father Loomis and a few brave individuals attempt to decipher the mysterious messages received from the future in order to find a way to close the gateway, protect humanity, and prevent the rise of the Prince of Darkness himself.
As Carpenter adeptly skews the line between reality and nightmare, the tension builds to a nerve-wracking climax, filled with both visceral horror and philosophical dilemmas. With a deeply atmospheric score composed by Carpenter himself, the film immerses viewers in a bleak and claustrophobic environment, heightening the sense of dread. Prince of Darkness delves into complex themes, exploring the intersection of science, religion, and the supernatural. It presents the idea that the forces of evil exist even within the laws of physics and challenges our understanding of reality. With its gripping narrative, chilling visuals, and thought-provoking ideas, the film continues to captivate and disturb audiences, cementing its position as a cult classic in the horror genre.
More on “DEATH LINE” aka “RAW MEET” (1972):
Set in the dark and seedy underbelly of London, "Death Line" is a grim and atmospheric horror film released in 1972. Directed by Gary Sherman, the movie delves into the disturbing mystery surrounding a series of disappearances within the city's underground tube network. With its unsettling tone, memorable characters, and thought-provoking themes, "Death Line" stands as a cult classic that offers much more than just scares.
The story begins when an affluent couple stumbles upon the lifeless body of a man in a deserted subway station. Investigating the incident, the police fail to find any clues or witnesses, leading them to dismiss the case. However, when the detective in charge, Inspector Calhoun (played by Donald Pleasence), uncovers evidence suggesting a connection between this case and other missing persons, his curiosity becomes piqued. He takes it upon himself to dig deeper into the matter.
As Inspector Calhoun delves into the dark labyrinth of the underground tunnels, he finds himself in the company of an eccentric yet resourceful investigator, Detective Rogers (played by Norman Rossington). Together, they discover the existence of a hidden community beneath the streets of London. This hidden world is home to a sole survivor named "The Man" (played by Hugh Armstrong), whose ancestors were trapped during the construction of the subway system over a century ago. Due to a cave-in, these survivors were forced to adopt cannibalism as a means of sustenance. Over the years, they have evolved into a deformed and feral group, struggling to survive in the shadows. "The Man" emerges as a tragic figure, both sympathetic and disturbing, as he fiercely protects his subterranean realm. As the investigation unfolds, Calhoun and Rogers become consumed by their determination to unearth the truth and apprehend the killer behind the disappearances. In their quest, they encounter themes of societal neglect, class disparity, and urban decay, painting a stark portrait of the dark underbelly of London. Forced to confront their own prejudices and assumptions, the two detectives push forward, even as the danger intensifies.
"Death Line" is more than a traditional horror film; it's a socio-political commentary wrapped in a grisly narrative. Director Gary Sherman skillfully combines elements of suspense, social critique, and gore to create a film that lingers in viewers' minds long after the credits roll. As the thrilling climax approaches, the tension grows, and the true extent of the horror lurking beneath London's streets is revealed. Released in the early 1970s, "Death Line" was well-received by audiences who embraced its raw nature and unconventional storytelling. The film's gritty atmosphere, strong performances, and intricate themes have solidified its status as a cult classic. By seamlessly blending horror with social commentary, "Death Line" challenges its viewers to question the hidden worlds lurking beneath the surface of our society and the disturbing consequences of neglecting those who dwell there.