“In his house at R’lyeh dead Cthulhu waits dreaming.”
H.P. Lovecraft, “The Call of Cthulhu”
“Filming something scary is incredibly difficult because you are dealing with something intangible. Fear is in the mind’s eye, not on the screen.”
John Carpenter
Introduction
H.P. Lovecraft’s stories are the stuff of nightmares, filled with cosmic horror and unspeakable terrors that lurk just beyond the threshold of our understanding.
For years, filmmakers have struggled to adapt his works to the screen, as the very nature of Lovecraftian horror makes it almost impossible to capture visually. The unknown and incomprehensible cannot be easily portrayed, and the fear of the unseen is difficult to convey in a visual medium.
Despite these challenges, a number of filmmakers have attempted to bring Lovecraft’s stories to life on the big screen, each one exploring the themes of madness, otherness, and the terror that lies just beyond our comprehension.
Through the use of practical effects, creative cinematography, and expert storytelling, these films offer a glimpse into the world of Lovecraftian horror, where the true horror lies not in the monsters themselves, but in our own limitations as human beings.
The Deep Ones (2020)
“The Deep Ones” is a 2020 horror science fiction film that takes inspiration from H.P. Lovecraft’s classic 1931 novel “The Shadow over Innsmouth”. Written and directed by Chad Ferrin, the film follows a young couple, Alex and Petri, who rent a cottage on a remote island for a romantic getaway. However, their plans are derailed when they discover that the island’s residents are all members of a secretive cult that worships the Deep Ones, a race of fish-like creatures from Lovecraft’s mythology.
As Alex and Petri become entangled in the cult’s machinations, they soon discover that the Deep Ones are not merely a myth, but a very real and dangerous force that threatens to consume them both. The film explores themes of alienation, otherness, and the dangers of blindly following tradition, all hallmarks of Lovecraft’s writing.
Critically, “The Deep Ones” has received mixed reviews. Some critics have praised the film for its atmosphere, cinematography, and commitment to Lovecraft’s themes, while others have criticized its slow pacing and lack of scares. Additionally, some viewers have taken issue with the film’s use of Lovecraft’s mythology, arguing that it simplifies and sanitizes the author’s more problematic views on race and ethnicity.
Overall, “The Deep Ones” is a solid effort that will likely appeal to fans of Lovecraft’s work and cosmic horror in general. While it may not be the definitive adaptation of “The Shadow over Innsmouth”, it does offer an interesting take on the source material and raises thought-provoking questions about the nature of fear and the unknown.
Underwater (2020)
“Underwater” is a science fiction horror film that takes place in a deep-sea mining facility called the Kepler 822 Station. The story follows a group of researchers, led by engineer Norah Price (Kristen Stewart), who must fight for survival after an earthquake damages the station and unleashes a group of monstrous creatures from the depths of the ocean. As they attempt to escape to the surface, the team faces a series of terrifying obstacles, including dwindling oxygen, pressure problems, and the creatures that stalk them at every turn.
Underwater is a thrilling and intense science fiction horror film that takes the claustrophobia of films like Alien and The Abyss and brings it to the depths of the ocean. The movie is anchored by Kristen Stewart’s powerful performance as Norah, a tough and resourceful engineer who leads the team in their desperate bid for survival. The film also features an excellent supporting cast, including Vincent Cassel as the gruff captain of the Kepler 822 Station and T.J. Miller as the wisecracking Paul, who provides some much-needed comic relief.
Director William Eubank does an excellent job of building tension and creating a sense of dread throughout the film, and the underwater setting provides a unique and haunting backdrop for the action. The monsters themselves are suitably terrifying, with the film gradually revealing more about their origins and motivations as the story unfolds. The film’s visual effects are also impressive, with the underwater scenes and creature designs feeling both realistic and otherworldly.
Underwater is an excellent science fiction horror film that delivers on both thrills and scares. It’s a well-crafted and entertaining movie that should appeal to fans of the genre, and Kristen Stewart’s standout performance is worth the price of admission alone.
Cold Skin (2017)
“Cold Skin” is a 2017 science fiction-horror film based on the novel of the same name by Albert Sánchez Piñol. Directed by Xavier Gens, the film follows a young man named Friend who arrives on a remote island in the Antarctic to work as a weather observer. He soon discovers that the island is home to strange, amphibious humanoid creatures who emerge from the ocean each night to attack the island’s human inhabitants.
Friend takes refuge in a lighthouse with the island’s only other resident, a grizzled old man named Gruner. Despite their initial mistrust of one another, the two men must work together to defend themselves against the creatures, who seem to be increasing in number and ferocity with each passing night. As the two men struggle to survive, they also begin to unravel the mystery of the creatures’ origins and their purpose on the island.
Critically, “Cold Skin” has received mixed reviews. Some critics have praised the film for its atmospheric visuals, eerie sound design, and strong performances from its two leads. Others, however, have criticized the film for its uneven pacing, inconsistent tone, and lack of character development. While it may not be a perfect adaptation of Piñol’s novel, it does offer a compelling exploration of themes such as isolation, xenophobia, and the nature of humanity.
Overall, “Cold Skin” is a visually stunning and thought-provoking film that appeals to fans of Lovecraftian horror and science fiction.
One of the most significant themes in the film is the idea of humanity’s insignificance in the face of vast and incomprehensible cosmic forces.
The film’s setting on a remote island in the Antarctic emphasizes the isolation and vulnerability of the human characters, who are completely cut off from the rest of the world. As they struggle to survive against the amphibious humanoid creatures that emerge from the ocean each night, they are forced to confront the fact that their existence is inconsequential in the grand scheme of things.
The creatures themselves are also reminiscent of Lovecraft’s creations, such as the Deep Ones in “The Shadow over Innsmouth.” Like those creatures, the amphibious beings in “Cold Skin” represent a threat to humanity’s sense of order and security, embodying the idea that there are incomprehensible and malevolent forces in the universe that cannot be controlled or understood.
Another Lovecraftian theme in the film is the idea of the unknown and the unexplainable. The creatures and their origins are never fully explained or understood, adding to their mystery and otherworldly nature. This element of the unknown also extends to the human characters, who are often forced to confront their own fears and limitations in the face of the creatures’ onslaught.
“Cold Skin” also explores the theme of madness, which is a common element in Lovecraft’s work. As the film progresses, the characters’ sanity begins to unravel as they struggle to come to terms with the creatures and the implications of their existence. This descent into madness underscores the idea that there are some things in the universe that are simply beyond human comprehension or understanding.
Innsmouth (2015)
“Innsmouth” is a short horror film that takes inspiration from H.P. Lovecraft’s “The Shadow over Innsmouth.” The film is directed by Izzy Lee, who also co-wrote and co-produced it with Francesco Massaccesi.
The film follows a young woman named Izzy (played by Tristan Risk) who travels to the town of Innsmouth in search of her estranged father. She soon discovers that the town is shrouded in mystery and terror, with its inhabitants harboring dark secrets and ancient rituals.
As Izzy delves deeper into the town’s history, she begins to unravel the truth about her family and the sinister forces that have been lurking in Innsmouth for generations. With the help of a local woman named Ruth (played by Diana Porter), Izzy must confront the horrors of the town and escape before it’s too late.
“Innsmouth” is a well-crafted and atmospheric horror film that effectively captures the eerie and unsettling tone of Lovecraft’s writing. The film’s use of practical effects and practical makeup is particularly impressive, creating a sense of physicality and tangible dread that is often missing in contemporary horror films.
The performances are also strong, with Tristan Risk and Diana Porter delivering nuanced and believable portrayals of their characters. The film’s pacing is brisk and engaging, with a sense of escalating tension that builds to a thrilling and satisfying climax.
Overall, “Innsmouth” is a compelling and well-executed horror film that is sure to delight fans of Lovecraftian horror and indie cinema alike. It’s a testament to the creativity and skill of its filmmakers, and a must-watch for anyone looking for a spooky and atmospheric horror experience.
The Cthulhu (2007)
“The Cthulhu” is a 2007 horror film directed by Dan Gildark, loosely based on the H.P. Lovecraft story “The Shadow Over Innsmouth.” The film follows Russell Marsh, a gay man who returns to his hometown of Astoria, Oregon, to attend his mother’s funeral. As he reconnects with his estranged father and childhood friends, he begins to experience strange and disturbing visions, and soon discovers that his family and the town are hiding dark secrets.
The film is a slow-burn horror story that is more concerned with psychological terror than jump scares or gore. It tackles themes of sexual identity, repression, and Lovecraftian cosmic horror in a thoughtful and engaging way. The performances are strong, particularly Jason Cottle as Russell Marsh, who delivers a nuanced and understated portrayal of a man struggling to come to terms with his past and his sexuality.
The film’s visual style is also impressive, with its moody cinematography and eerie, dreamlike imagery adding to its overall sense of unease. The use of Lovecraftian imagery and themes is effective, and the film does a good job of capturing the author’s unique brand of horror.
While “The Cthulhu” may not be for everyone, particularly those who prefer more straightforward horror fare, it is a well-crafted and thought-provoking film that is sure to leave a lasting impression on viewers. It is a worthy addition to the Lovecraftian horror canon and is a must-see for fans of the author and the genre.
The Call of Cthulhu (2005)
For a long time, it was believed that the original story could not be adapted into a film. However, the creators of the 2005 adaptation of “The Call of Cthulhu” came up with the innovative idea of making it a silent film, and their passion for the project resulted in favorable reviews and multiple awards.
“The Call of Cthulhu” is a 2005 independent silent film adaptation of H.P. Lovecraft’s famous short story of the same name. The film is directed by Andrew Leman and produced by Sean Branney, and was made with the intention of recreating the look and feel of silent horror films from the 1920s.
The film follows the story of a young man named Francis Thurston, who becomes fascinated with the legend of the ancient and malevolent entity known as Cthulhu. As he delves deeper into the legend, he uncovers a vast conspiracy of cultists who worship Cthulhu and are working to bring about his return to the world.
The film is shot entirely in black and white and features minimal dialogue, relying instead on visual storytelling and a haunting original score by Troy Sterling Nies. The filmmakers use a variety of silent film techniques, such as intertitles, camera angles, and exaggerated facial expressions, to create a sense of unease and foreboding throughout the film.
“The Call of Cthulhu” is a faithful and effective adaptation of Lovecraft’s classic tale, capturing the sense of dread and cosmic horror that is a hallmark of his writing. The use of silent film techniques adds to the overall sense of otherworldliness and helps to create a haunting and unsettling atmosphere. The film is a must-see for fans of Lovecraft and horror in general, and is a testament to the enduring power of the author’s work.
Dagon (2001)
“Dagon” is a 2001 horror film directed by Stuart Gordon and based on the H.P. Lovecraft story “The Shadow Over Innsmouth.” The film follows Paul Marsh, a young man who becomes stranded with his girlfriend Barbara and their friends in a small fishing village called Imboca, which is inhabited by strange, fish-like creatures.
As they try to escape, they soon discover that the townspeople are worshipping Dagon, an ancient sea god, and are willing to sacrifice the outsiders in order to appease him. The group is quickly forced into a fight for their lives as they try to uncover the dark secrets of the town and its inhabitants.
“Dagon” is a gory and unsettling horror film that is faithful to Lovecraft’s original story. The film creates a palpable sense of dread and paranoia as the characters are trapped in a town where nothing is as it seems. The creature designs are both eerie and disturbing, with the inhabitants of Imboca being portrayed as grotesque hybrids of human and sea creature.
The film’s cinematography and score also contribute to its overall sense of unease, with the use of shadows and dimly lit sets creating a foreboding atmosphere. The performances of the cast are solid, with Ezra Godden delivering a convincing portrayal of the increasingly desperate and traumatized protagonist.
Overall, “Dagon” is a highly effective horror film that captures the essence of Lovecraft’s work while also providing plenty of scares and thrills. It is a must-see for fans of Lovecraftian horror and is a testament to the enduring power of the author’s work.
Cthulhu (2000)
Cthulhu is a 2000 Australian low budget horror film that was directed, produced, and written by Damian Heffernan. It based on two Lovecraft stories, “The Thing on the Doorstep” and “The Shadow Over Innsmouth”.
It was screened at the Melbourne Underground Film Festival and showed on Australian TV as part of their Australian content quota obligations, and later had international distribution.
It concerns a student that discovers that his best friend has become involved in a cult intent on raising Cthulhu.
Call of Cthulhu (~1995 ?)
Edward Pierce is a fictional private investigator created by the American author and game designer, Keith Herber. Pierce appears in a number of Lovecraftian tabletop role-playing games and stories set in the 1920s, including the popular game Call of Cthulhu.
In the game, Pierce is a skilled investigator who often finds himself drawn into dark and dangerous supernatural mysteries. He is described as a veteran of World War I, a former member of the Boston Police Department, and a man with a troubled past. Despite his flaws, Pierce is a competent and determined investigator who is often able to unravel the mysteries he encounters and foil the nefarious plans of cultists and other supernatural entities.
Pierce is a well known and loved character among fans of Lovecraftian horror and is often cited as one of the most iconic and well-developed player characters in the Call of Cthulhu tabletop game. His adventures have been adapted into numerous novels and short stories, and he remains a popular and enduring figure in the world of Lovecraftian horror.
There is possibly (I am convinced i have seen it) a short fanfic VHS shot film called “Call of Cthulhu” which follows an Edward Pierce like a private investigator in 1920s Boston, as he investigates the mysterious death of an entire family on an island off the coast of Massachusetts. As Pierce delves deeper into the case, he discovers that the family was part of a cult devoted to the worship of an ancient and powerful creature known as Cthulhu. Pierce has to confront his own sanity as he unravels the mysteries surrounding Cthulhu and its followers, all while trying to stay alive in a world filled with dark forces beyond his comprehension.
Played seriously, but on a very low budget with uncredited actors, it is similar to several adaptations of Lovecraft’s works that feature private investigators and detectives in a similar vein to Pierce in the 1990s. For example, John Trent in “In the Mouth of Madness” (1994), John Murdoch in “Dark City” (1998), and John March in “The Resurrected” (1991) all investigate dark and supernatural mysteries that share similarities with the investigations undertaken by Pierce.
Cthulhu Mansion (1992)
“Cthulhu Mansion” (1992) is a Spanish horror film directed by Juan Piquer Simón. The film follows a group of young people who are invited to stay in a mansion located in the countryside, unaware of the horrors that await them. As they explore the mansion, they uncover a dark history involving a cursed book and the evil deity Cthulhu, whose power threatens to consume them all.
The film’s plot is a loose adaptation of H.P. Lovecraft’s “The Case of Charles Dexter Ward” and incorporates elements of the author’s broader mythos. While the film’s low budget is evident in its production values, it still manages to create a creepy and unsettling atmosphere through its use of eerie music and atmospheric lighting.
The performances in “Cthulhu Mansion” are generally solid, with standout performances from Frank Finlay as the creepy Dr. Marlowe and Luis Fernando Alvés as the mysterious and sinister Sandel. The film also benefits from its creative use of practical effects, which help to bring some of the more grotesque and surreal elements of Lovecraft’s work to life.
While “Cthulhu Mansion” may not be a masterpiece, it is an entertaining and campy horror film that will appeal to fans of Lovecraft and classic horror. It may not be the most faithful adaptation of the author’s work, but it is a fun and unique addition to the Lovecraftian horror canon.
The Call (1967)
The Call was a 1967 horror film directed and produced by Orson Welles and starring Anthony Perkins as the narrator. The film follows the story of a young man, Francis Wayland Thurston (Perkins), who discovers a mysterious cult devoted to the worship of an ancient god known as Cthulhu. After uncovering evidence of strange rituals and dark secrets, Thurston embarks on a quest to uncover the truth behind the cult’s activities.
The film begins with Thurston receiving a package from his recently deceased great-uncle, George Gammell Angell. Inside the package is a collection of notes and documents that tell the story of an ancient cult devoted to Cthulhu, an evil god from another dimension. As he reads through the documents, Thurston discovers that the cult is planning to summon Cthulhu from his slumber in order to bring about chaos and destruction.
Thurston travels to New England in search of more information about the cult and its plans. Along the way, he meets several people who have had dream encounters with Cthulhu or are connected to him in some way. He also discovers evidence of strange rituals being performed by members of the cult in order to summon Cthulhu.
Eventually, Thurston finds himself face-to-face with a manifestation of Cthulhu himself. In a desperate attempt to save humanity from destruction, Thurston manages to banish Cthulhu back into his slumber. The film ends with Thurston, clearly now insane, babbling his reflections on his experience and warning others not to meddle with forces beyond their understanding.
The Call – A forgotten Classic ?
Orson Welles had a long and difficult history of getting his films financed and made. His first major film, Citizen Kane, was famously taken away from him by the studio and re-edited without his input. This experience left him with a deep distrust of Hollywood studios, which made it difficult for him to get any of his subsequent projects off the ground.
In the late 1960s, Welles attempted to make a film adaptation of H.P. Lovecraft’s short story “The Call of Cthulhu”. He wrote a script and tried to get it financed by various Hollywood studios, but all of them rejected it due to its unconventional subject matter and lack of commercial appeal. Welles was also unable to secure financing from independent sources, as he had done with some of his previous projects.
Ultimately, Welles was unable to get the project off the ground and it remained unmade until 1966 when it was finally adapted into a low-budget independent film. The struggles that Welles faced in trying to get “The Call” made are indicative of the difficulties he faced throughout his career in getting his projects financed and produced.
The total budget assigned by the studio to Welles’ project was a measly $200,000. Orson Welles was, however a legend in the business who was prepared to go through great lengths to find additional money to make his film. Unfortunately, Welles was unable to secure enough funding from traditional sources and had to resort to other methods in order to finance the project, this involved significant artistic compromises.
One of the first steps Welles took was to approach his friends and contacts for financial assistance. He asked them for donations, loans, or any other form of support they could provide. This allowed him to raise some money but it wasn’t enough for the entire production budget. He then turned to private investment firm in order to raise additional funds. Through this scheme, he was able guarantee loans and reach out to a wider non-hollywood audience and successfully raised enough money for the film’s production costs.
Welles also sought out private investors who were willing to put up their own money in exchange for a share of the profits from the film’s release. He managed to find several investors who were willing to take a risk on his project and provided him with the necessary funds he needed.
Finally, Welles also looked into alternative financing options such as pre-sales and tax incentives. Pre-sales involve selling off distribution rights before the film is even completed in order to generate revenue that can be used for production costs.
Tax incentives are government programs that provide filmmakers with financial assistance in exchange for certain requirements being met during production or post-production stages of filmmaking.
By taking advantage of these options, Welles was able to secure just about enough money for “The Call” without having to rely solely on traditional sources of funding.
The film not was really not intended to be a low-budget horror movie, rather a psychological study of a mans singular descent into madness after “The Call”.
During the production, Welles had creative differences with the studio over the direction of the film. He wanted to make a more artistic and experimental version of the story, while the studio wanted a more traditional horror movie. This led to disagreements between Welles and the studio, which ultimately resulted in him losing control over the some of creative decisions on the project.
The role of George Gammell Angell, in the flashback scenes was played by the veteran actor Dean Boland who died of an heart attack during production, further tied the production up in claims of legal negligence leading it to be regarded as cursed production.
Welles had to call in favours from his friends. As a result, Anthony Perkins’ performance as the narrator in the film was unique and memorable for a number of reasons.
From what we known form the few surviving recordings, he used a very distinct voice that was both soothing and eerie at the same time. His delivery was also very precise and measured, which added to the overall atmosphere of the film. Additionally, his narration was often delivered in a poetic manner, which gave it an almost dream-like quality. He was able to convey a wide range of emotions through his performance, from fear and dread to hope and optimism. All of these elements combined to make Anthony Perkins’ performance as the narrator in the film truly unforgettable.
The creature and effects for the 1968 version of Call were designed by special effects artist, Wah Chang. Chang used a combination of stop-motion animation and puppetry to create the iconic Cthulhu creature seen it the dreams sequences.
To make Cthulhu look large and to scale on the screen, Chang used a combination of techniques. He created a full-scale puppet of Cthulhu that was operated by several puppeteers. This puppet was then filmed in front of a blue screen, allowing it to be composited into the film’s scenes. To give the creature more depth and texture, Chang also used stop-motion animation to animate its tentacles and other features.
Chang chose to make Cthulhu look like an octopus because he wanted to capture the Lovecraftian horror of the creature. As Octopuses are often seen as mysterious creatures that lurk in the depths of the ocean, which made them an ideal choice for representing Cthulhu’s alien nature, the many tentacles that can be animated using stop-motion techniques, making them easier to work with than other creatures.
To finish the film, Welles had to go through great lengths in order to find additional funds for “The Call”, which distracted him from direction. This led to delays in production and a lack of resources, resulting in a final product that was deemed unsatisfactory by the studio. but ultimately failed to get funds for distribution.
The bitter irony was that Welles of course lost the rights to his film due to a number of factors. The production was plagued by financial issues, with Welles unable to secure enough funding to complete the project and had to cut scenes and make do with stock footage.
Unfortunately, the film only made its debut in 1968 at the San Francisco International Film Festival. “The Call” was not well-received by critics or audiences, who lambasted the incoherent plotting and ridiculous looking monster effects. This caused it to be pulled d and was never released in widely theatres.
It saw some limited showings in mid-west theatres as a filler feature, leaving young theatre goers with either strange experience, later half remembered, or just forgotten with all the other B Movies of the era. It is estimated that the film has made around $1 million, certainly not enough to sustain it. It was quickly forgotten, prints disappeared into the ether of dead films. As a result, Welles lost eventually lost all hits rights to the film and it forgotten, out of circulation for decades. Even through all the home video crazes and revivals in horror fandom, it was never subsequently released on home video.
Orson Welles hard work would of course eventually pay off as a partial, degraded print of “The Call” surfaced on the internet in 2016.
The subsequent recovery efforts, pain staking restoration and legal wrangling over studio rights are documented else where. The film is remastered Blue Ray and features commentary from visual effects artist Chang and retired costume designer Abigail Waite. The hype arounds the limited edition release meant that it went on to become one of the most sort after and critical successful horror films revivals, with copies of the film exchanging hands well over its l very high RRP. If one pops upon ebay, be sure to grab it. “The Call” Joins Welles other unfinished projects including his short lived in the equally strange “The Man in the High Castle”. The Call is reconsidered a a minor classic today.
The Haunted Palace (1963)
“The Haunted Palace” is a 1963 horror film directed by Roger Corman and starring Vincent Price. While the title may suggest that the film is based on the Edgar Allan Poe poem of the same name, it is actually an adaptation of the H.P. Lovecraft novella “The Case of Charles Dexter Ward.”
The film follows Charles Dexter Ward, a man who inherits a mansion in the small town of Arkham that was once owned by his ancestor, Joseph Curwen, a notorious warlock who was burned at the stake. As Ward and his wife explore the mansion, they begin to experience strange and frightening visions, and it becomes clear that Curwen’s evil presence still lingers in the town.
“The Haunted Palace” is a stylish and atmospheric horror film that benefits greatly from the presence of Vincent Price, who gives a typically charismatic and creepy performance. The film’s sets and costumes are also impressive, creating a convincing and immersive world that feels like a Lovecraftian nightmare come to life.
While the film does deviate from Lovecraft’s original story in certain aspects, it still manages to capture the essence of the author’s work, with themes of madness, occultism, and ancient evil permeating throughout. The film’s climactic finale is particularly effective, with Price delivering a memorable and chilling monologue that cements his status as a horror icon.
Overall, “The Haunted Palace” is a highly entertaining horror film that successfully blends the styles of Roger Corman and H.P. Lovecraft, resulting in a unique and memorable viewing experience. It is a must-see for fans of both the director and the author, as well as anyone looking for a creepy and atmospheric horror film from the 1960s.