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Smirk, Sneer and Scream: Great Acting in Horror Cinema
While you may think the old adage about oil and water being unable to mix applies perfectly to the cinema of terror and the craft of great acting, many a grease-painted scare and fluid performance have been combined in the strange alchemy that is the horror film. From the silent mastery of Lon Chaney's The Phantom of the Opera to the cultured cannibalism of Anthony Hopkins in The Silence of the Lambs, the genre has seen an impressive number of noteworthy portrayals, far removed from the stereotypical leering monster and terrified maiden.
Part One of this work highlights the stars of this screen style - those whose numerous roles and outstanding performances made their names synonymous with horror cinema. Part Two covers actors who, although not normally associated with the genre, still contributed to its history. Part Three covers the great actresses in horror films and highlights their acting achievement. An appendix lists all the Academy Award nominations and winners in the horror genre.
Part One of this work highlights the stars of this screen style - those whose numerous roles and outstanding performances made their names synonymous with horror cinema. Part Two covers actors who, although not normally associated with the genre, still contributed to its history. Part Three covers the great actresses in horror films and highlights their acting achievement. An appendix lists all the Academy Award nominations and winners in the horror genre.
257 pages, Hardcover
First published August 31, 2004
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Displaying 1 - 2 of 2 reviews
September 20, 2017
When I first saw the title of this book, Smirk, Sneer and Scream: Great Acting in Horror Cinema, I was sure it was the perfect volume for me. Combining as it does two of my favorite things, horror movies and horror movie actors.
But, like in many horror films, what was waiting for me inside was more, and less, than I had hoped.
My suspicions were first raised when I saw the length of the book. It would make a short biography of one actor let alone dealing with the careers and lives of many actors. Trying to allay my fears I told myself, "Perhaps the writer was succinct and to the point. That he knew his material so well he could present it in a small but entertaining package." Next I read some not so stellar reviews, again trying to calm my brain clouded by images of my perfect book, I told myself to keep an open mind, after all, "It is being published by McFarland press. And they know from monsters."
Alas dear reader the truth is, not horrifying but banal.
It seems that Mark Clark's book is, like Frankenstein's monster, sewn together from other, more in depth and better written, books. And like the monster the whole is less than the sum of its parts.
There is the off-repeated but apocryphal story of Béla Lugosi refusing the part of Frankenstein's monster because he didn't want to cover his matinee idol looks with all that make up. Thus allowing for the rise of Boris Karloff as The Horror Star of Universal Studios. This is proven to be false and the number of biographies of Lugosi but a number of different writers. Yet, like the vampires of old, Mr. Clark continues repeating the myth.
Most of the other actors are given short shrift, a few paragraphs of a truncated biography and a description of their signature film. Worst of all Mr. Clark, who identifies himself as a film critic, performs what passes for criticism nowadays days. By which I mean he gives us the complete plot of the movies with little or no insight.
This book would barely be worth one star if it was not for small section at the end devoted to female horror film stars and costars. These are the actresses that I have been sadly and unfairly forgotten. Mr. Clark keeps saying he wishes he had more room to write about these actresses in greater depth and detail, and to write more about their personal history and films.
In his defense the author seems to have a true love and knowledge of horror film actresses. Where before his writing is superficial and bland in this section you can get a spark of his passion for his subject. So why didn't he write about what he knows and loves? Why not write a longer, more in-depth book? Perhaps it had to do with timing, or his contract, or dybbuks. As in many horror films there is no explanation. There is only a sense of time and money wasted, of hopes dashed, and a prevailing mood of disappointment and melancholy.
My advice, skip this book and watch the movies.
But, like in many horror films, what was waiting for me inside was more, and less, than I had hoped.
My suspicions were first raised when I saw the length of the book. It would make a short biography of one actor let alone dealing with the careers and lives of many actors. Trying to allay my fears I told myself, "Perhaps the writer was succinct and to the point. That he knew his material so well he could present it in a small but entertaining package." Next I read some not so stellar reviews, again trying to calm my brain clouded by images of my perfect book, I told myself to keep an open mind, after all, "It is being published by McFarland press. And they know from monsters."
Alas dear reader the truth is, not horrifying but banal.
It seems that Mark Clark's book is, like Frankenstein's monster, sewn together from other, more in depth and better written, books. And like the monster the whole is less than the sum of its parts.
There is the off-repeated but apocryphal story of Béla Lugosi refusing the part of Frankenstein's monster because he didn't want to cover his matinee idol looks with all that make up. Thus allowing for the rise of Boris Karloff as The Horror Star of Universal Studios. This is proven to be false and the number of biographies of Lugosi but a number of different writers. Yet, like the vampires of old, Mr. Clark continues repeating the myth.
Most of the other actors are given short shrift, a few paragraphs of a truncated biography and a description of their signature film. Worst of all Mr. Clark, who identifies himself as a film critic, performs what passes for criticism nowadays days. By which I mean he gives us the complete plot of the movies with little or no insight.
This book would barely be worth one star if it was not for small section at the end devoted to female horror film stars and costars. These are the actresses that I have been sadly and unfairly forgotten. Mr. Clark keeps saying he wishes he had more room to write about these actresses in greater depth and detail, and to write more about their personal history and films.
In his defense the author seems to have a true love and knowledge of horror film actresses. Where before his writing is superficial and bland in this section you can get a spark of his passion for his subject. So why didn't he write about what he knows and loves? Why not write a longer, more in-depth book? Perhaps it had to do with timing, or his contract, or dybbuks. As in many horror films there is no explanation. There is only a sense of time and money wasted, of hopes dashed, and a prevailing mood of disappointment and melancholy.
My advice, skip this book and watch the movies.
July 29, 2019
Does exactly what it says in the second part of its title.... focus on great acting in the horror cinema. In contrast to the first part of the title it does actually focus on some of the subtle nuances deployed by the classic horror stars, not on over-the-top mannerisms and hammy acting.
Displaying 1 - 2 of 2 reviews