The
1965 movie Die Monster Die credits
H.P. Lovecraft’s story The Colour Out Of
Space for its source material. In
fact the film is really a combination of this tale with The Dunwich Horror. In
several film adaptations of Lovecraft stories, elements are often borrowed and
assembled to serve the needs of the screenplay writer, who takes considerable liberty
with the source material. This is not
necessarily a bad thing, depending on the quality of the film. Jerry Sohl, who wrote the script for Die Monster Die, in essence created an
entirely new story cobbled together from details taken from Lovecraft’s two
tales.
(Jerry
Sohl was a colleague of Charles Beaumont, Robert Bloch, Ray Bradbury,
and Richard Matheson, among others. He
contributed scripts to many popular science fiction and horror TV shows of the
1960s, for example The Outer Limits, The
Twilight Zone, Alfred Hitchcock Presents, and Star Trek. An interesting
history and profile of his work is available at http://bradleyonfilm.wordpress.com/2010/04/01/jerry-sohl/
.)
Die Monster Die takes place near the village of
Arkham, as in the story, but this is Arkham, England, not Arkham,
Massachusetts. Steve Reinhart has been
invited to the Whitley’s gothic mansion by the mother of his college sweetheart. No one in the village will help him with
transportation from the train station to the estate, nor even talk about the
Whitley family. He walks to the mansion
and along the way passes by the “blasted heath”, a charred and lifeless stretch
surrounding a mysterious crater.
The
enormous house is occupied by just a handful of people. These include Steven’s beautiful girlfriend
Susan, her ailing mother, her father, Nahum Whitley, (played by the iconic
Boris Karloff—he was 77 when he made this film), and two servants. Members of the household have been succumbing
to a mysterious illness, and one of the servants apparently has
disappeared. When they are alone
together in her sick room, Susan’s mother begs Steven to take her daughter away
from the manor, before it is too late. This
is essentially the crux of the movie: “Get
my daughter out of this terrible house.”
It is a familiar theme in gothic fiction.
Night Gallery style paintings along the stair
case profile the history of the family patriarchs, beginning with the respectable
Elias Whitley, who founded the estate, his son Corbin Whitley, the evil
grandfather who conducted unspeakable cult practices in the basement, and the
well intentioned but clueless Nahum Whitley, Susan’s father. In one scene, Nahum’s debilitated wife
Letitia warns him that he is following in his father’s footsteps. “I haven’t uttered any incantations,” he
complains. “I think I see the future…a
richness we have never known.” The
Whitley clan is shunned by the people of Arkham because of the occult
activities of Nahum’s father, Corbin.
Alert
readers of Lovecraft will notice that the Whitleys of Arkham are reminiscent of
the Whatelys of Dunwich fame. It is
Nahum Gardner and his family who
succumb to The Colour Out of Space, while
it is the fearsome Whatleys—the grandfather, his daughter Lavinia, and grandson
Wilbur—who bring about The Dunwich
Horror. In the movie, Steven discovers one of Corbin Whitley’s
forbidden books, Cult of the Outer Ones. In
the Dunwich Horror, both Old Man Whately and his grandson Wilbur rely on the dreaded
Necronomicon for procedural
guidance. To be fair, both of Lovecraft’s
stories contain a “blasted heath”, but the heath is blasted for different
reasons.
Following
a freak show tour of the estate’s conservatory, containing various animal
monstrosities and mutations, Steven and Susan discover that her father has been
using pieces of a radioactive meteorite in genetic experiments with plants and
livestock. Nahum wants to restore the good
name of the Whitley clan by bestowing on humanity the benefits of his
research. But his pride and hubris
prevent him from seeing the terrible deterioration of his family members and
himself. Frequent cutaways to the
portrait of Corbin Whitley, his eyes glowing sinisterly, lets us know that his
spirit, combined with the meteorite’s radioactivity, is a malevolent presence.
Whitley
Manor would be an average, wholesome English country estate except for the
black mass paraphernalia and glowing, humming meteorite in the cellar. A final confrontation with the strange power
of the meteorite creates a special effects monster and the eventual destruction
of the mansion.
While
the story line is interesting, the film has several flaws, including poorly
edited fight scenes, and problems with believability. Despite several cases of
serious illness and insanity, no one in the house goes to a doctor or contacts the authorities. Perhaps this is because of the Whitley name. The moody setting of the story, on a foggy,
gothic estate is diminished by hokey TV startle effects. Nahum at one point is frightened by a large
tropical tarantula in the cellar, and Steven is attacked by enormous artificial
bats whose wings do not move. Susan is
menaced by shadowy veiled figures at windows; these vanish when others
investigate, then reappear. Oddly, when
there are sudden bloodcurdling shrieks and howls nearby, the characters barely
react.
Near the
end of the film, at the graveside of his wife, Nahum has had a change of heart. He had believed that the meteorite was a gift,
but in fact it had brought terrible evil, an evil he could not see at first
because of his pride and ambition. This
is a classic theme in tragedy, and the irony makes this scene the most powerful
in the film.
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