If
I were a 127 year old reanimated corpse, a physician no less, who needed an
ambient room temperature of less than 55 degrees Fahrenheit at all times, I
would likely not live in Malibu, California.
I would do better somewhere in my own home state, much further north,
where this temperature is more readily found throughout the year. Or I might prefer New York, the original
setting of H.P. Lovecraft’s short story “Cool Air”, though not in summer. And I would certainly avoid living on the
third or fourth floor, in an apartment that faces south. I think I would be most comfortable in the basement.
That
said, the film Cool Air (2012), is a
pleasure to watch, and contains a number of creative adaptations that enhance
the underlying themes of darkness, decay, death and the unwholesome clinging to
life. Lovecraft purists will appreciate
that the film does follow the original story fairly closely despite some
modernizations.
As
with the 1967 film The Shuttered Room
reviewed above, a female character, the doomed Dr. Shockner, is the focus of
much of the movie. (This is one area
where modern adaptations of Lovecraft’s work depart from the originals, which are
often devoid of women in any significant roles.) Her relationship with the male narrator,
chronicled and described through numerous extended voiceovers, drives much of
what happens. Viewers more accustomed to
visual action and intense dialogue in a horror film will find these voiceovers tiresome
at times. But they are very much in the
style of a typical Lovecraft story, and definitely develop the mood and themes
of the tale.
As
in the original Lovecraft story, Charlie Baxter, a struggling writer, locates
an inexpensive place to live, and soon becomes aware of the idiosyncrasies of
his housemates, in particular, of the reclusive Dr. Shockner, who lives
upstairs. Soon after arriving, there is
an ominous spill upstairs, a strange smell, and the leaking of fluid onto the
ceiling of Baxter’s apartment. Dr.
Shockner must live in a refrigerated apartment due to an unusual chronic illness,
which she also treats with various ancient concoctions.
Baxter
is later stricken with a heart attack and stroke, and struggles up the stairs
for help from the doctor. This is how
the two principal characters meet. She
restores him, and as he recovers, their relationship deepens. This is no ordinary doctor-patient
relationship, however. Dr. Shockner is
alternately maternal and seductive throughout their bedside conversations. Her unfolding intent is to initiate him into
the secret knowledge that was passed down to her from her physician. (He is
briefly mentioned as a Dr. Torres of Valencia, who was also the mentor of Dr.
Muñoz, the doctor’s name in the original story.)
Played
by Crystal Laws Green, Dr. Shockner is a mesmerizing figure. Her hoarse, breathy voice and sardonic, sepulchral
smile convey intelligence, arrogance, willfulness and passion, but also world
weariness and ultimately, resignation. As
Lovecraft puts it, her methodology, described in the original story, involves
understanding that “the will and consciousness are stronger than organic life
itself.”
One
of the characters, a young autistic woman named Estella, is used sensitively
and not exploitively in the plot. She is
the daughter of the conniving landlady, and knows but cannot express the awful
truth of Dr. Shockner’s work. She is
also a patient of doctor’s, and her mother insists that her “treatments”
continue. Baxter approaches her gently
and respectfully. With effort, she
answers some of his questions but leaves him with many new ones; her halting
conversation of the unfolding horror amplifies its effect. Indeed, much is left unsaid. There are not many details offered about the
doctor’s methodology or paraphernalia.
As in the original story, this is left to the viewer’s imagination.
There
is a subplot involving a fellow tenant, whose wife is kept in a freezer in the
basement, (she does not get many lines). This does not add appreciably to the
overall story, and might have been the focus of its own film, perhaps a sequel
to this one—“Cool Air II”. Happily, by
the end of the film, the tenant and his wife are reunited in a relationship
that will remain new and fresh as long as the power stays on.
There
is an interesting role reversal involving Charlie Baxter and Dr. Shockner
toward the climax of the film. They have
switched places at the bedside—now he is ministering to her, and has become the
stronger of the two. Her impending doom
forces her to rethink her method and theory of preserving life at all costs. For his part, Baxter continues into his future
forever changed by his relationship with Shockner. The film’s score, and a mix of interesting
sound and visual effects, augment the mood of darkness and despair.
Some
readers will recall the early 70s television show Night Gallery, hosted by Rod Serling. A second season episode shown in December of
1971 contained a segment entitled “Cool Air”, written by Rod Serling
himself. Unlike the 2012 film or the
original, this version is a love story.
A woman, played by Barbara Rush, narrates a tragic tale of her
friendship with the doomed Juan Muñoz, a brilliant physician and another protégé
of Dr. Torres of Valencia.
The
woman, Agatha Howard, has found some letters of Dr. Muñoz’ among the papers of
her recently deceased father. Muñoz and
her father had been friends, fellow physicians, both committed to the battle
against death, though Muñoz was by far the less conventional of the two. Ms. Howard would like to discuss these letters
with Dr. Muñoz and learn more about his work.
He cannot leave the confines of his chilly apartment, so they agree to
have dinner at his place. As with
Charlie Baxter above, much of the story is told by Agatha Howard in mournful voiceovers.
She
visits often, their relationship intensifies, and she frequently sits enthralled in
his discussion of Goya, history, and other aspects of Spanish culture. She appreciates the tragedy of his life, his
lonely confinement, his persevering spirit.
Over dinner, Muñoz tells his guest that he is a now a widower; the awful
reason for his wife’s suicide becomes grimly understandable later in the episode.
Inevitably
there are mechanical and power failures that threaten the doctor’s existence. There are desperate searches for ice and
repairmen. A loud storm seems to
announce that this travesty of nature must come to an end. The doctor’s tissues reach a point of
dissolution that cannot be reversed. Along
with his colleague Dr. Shockner, in the film described above, he concludes that
his theory that the human will is able to sustain the outer shell despite organ
death is ultimately inadequate, even with technological assistance. At this point, Serling cannot resist
inserting the line “Physician, heal thyself.”
In
H.P. Lovecraft’s short story, the unnamed narrator is also a frustrated writer,
who first encounters the doctor just as Charlie Baxter does in the 2012 film. He has a heart attack and immediately seeks
his aid. Unlike Charlie Baxter’s
experience, he does not actually die.
After Dr. Muñoz revives him, he becomes a devotee and disciple. There is mention of mediaevalist
incantations, ancient volumes and unorthodox treatment. Dr. Muñoz half jokingly suggests that he can
teach the narrator to live, or at least have some conscious existence, without
any heart at all. Inevitably, the doctor’s
hubris cannot save him from decay and death; even his precious, life prolonging
willpower falters at the end. Unlike
Charlie Baxter, the narrator of Lovecraft’s original story does not preserve
the work of Dr. Muñoz, but destroys it.
What
is interesting in all three versions of this tale is the near complete absence
of any reference to an afterlife or a power higher than the individual human
will—which dies in the end along with physical existence. (There is brief mention of reincarnation as
an option in Serling’s version, but this is dismissed.) It would be interesting to determine why
Lovecraft left this aspect out, and what led him to this perspective. So much of what fascinates me about Lovecraft’s
work is what is not there, and elements
that are added or emphasized by later interpreters of his material.
As
an aside, the modulation of attitudes toward Spanish culture is noteworthy as
one proceeds from the original story to the 2012 film. In Lovecraft’s story, consistent with his generally
negative view of foreigners and members of other ethnic groups, he disparages
the characters of Spanish descent and contrasts them with the purer, nobler
protagonist and the cultured physician, Dr. Muñoz, who possesses “a physiognomy
otherwise dominantly Celtiberian…the whole picture was one of striking
intelligence and superior blood and breeding”.
He describes the landlady, Mrs. Herrero as “a slatternly, almost bearded
Spanish woman” and his fellow tenants as “Spaniards a little above the coarsest
and crudest grade.”
In
contrast to this, Serling’s adaptation glorifies Spanish culture in dialogue
about history and art, against a musical score of passionate classical
guitar. Agatha Howard at one point attempts
to surprise Dr. Muñoz with a gift of imported Spanish olive oil. Finally, in the 2012 film, the ethnicity of the
landlady and her daughter is implied, but is otherwise completely unremarkable
in the milieu of Southern California.
Besides
Death, all three versions of “Cool Air” include a preoccupation with a loss of
wealth and status, of better days long since gone. The doctor has lost everything despite his or
her brilliance and accomplishments. The
writers who narrate the physician’s demise, in both Lovecraft’s original and
the 2012 film have seen better days themselves.
In this tale, even the architecture has declined along with the social
class of its inhabitants.
“There
is,” Lovecraft has his narrator say “…an infinite deal of pathos in the state
of an eminent person who has come down in the world.” Perhaps this is a painful autobiographical
note. Death is not the only preoccupation of the
author. The human will is no more able
to sustain physical health indefinitely than it is to sustain its socioeconomic
status. Is this why the physician in
each version insists on living at the top of the stairs?
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