Danse Macabre (8 page)

*Take for instance Bill Lee, now of the Montreal Expos, late of the Boston Red Sox. Lee was dubbed "The Spaceman" by his colleagues and is remembered fondly by Boston fans for exhorting those who attended a rally following the Sox's pennant win in 1976 to pick up their trash when they left. Perhaps the strongest proof of his "leftiness" came when he referred to Red Sox manager Don Zimmer as "the designated gerbil." Lee moved to Montreal soon after. from which comes our word
sinister
. According to the old superstition, your right side belongs to God, your left side to that other fellow. Southpaws have always been suspect. My mother was a leftie, and as a schoolgirl, so she told my brother and me, the teacher would rap her left hand smartly with a ruler to make her change her pen to her right hand. When the teacher left she would switch the pen back again, of course, because with her right hand she could make only large, childish scrawls-the fate of most of us when we try to write with what New Englanders call "the dumb hand." A few of us, such as Branwell Brontë (the gifted brother of Charlotte and Emily), can write clearly and well with either hand. Branwell Brontë was in fact so ambidextrous that he could write two different letters to two different people
at the same tine
. We might reasonably wonder if such an ability qualifies as monstrosity . . . or genius.

In fact, almost every physical and mental human aberration has been at some point in history, or is now, considered monstrous—a complete list would include widows' peaks ( once considered a reliable sign that a man was a sorcerer), moles on the female body ( supposed to be witches' teats), and extreme schizophrenia, which on occasion has caused the afflicted to be canonized by one church or another.

Monstrosity fascinates us because it appeals to the conservative Republican in a three-piece suit who resides within all of us. We love and need the concept of monstrosity because it is a reaffirmation of the order we all crave as human beings . . . and let me further suggest that it is not the physical or mental aberration in itself which horrifies us, but rather the lack of order which these aberrations seem to imply.

The late John Wyndham, perhaps the best writer of science fiction that England has ever produced, summarized the idea in his novel
The Chrysalids
(published as
Rebirth
in America). It is a story that considers the ideas of mutation and deviation more brilliantly than any other novel written in English since World War II, I think. A series of plaques in the home of the novel's young protagonist offer stern counsel: ONLY THE IMAGE OF GOD IS MAN; KEEP PURE THE STOCK OF THE LORD; IN PURITY OUR SALVATION; BLESSED IS THE NORM; and most telling of all: WATCH THOU FOR THE MUTANT! After all, when we discuss monstrosity, we are expressing our faith and belief in the norm and watching for the mutant. The writer of horror fiction is neither more nor less than an agent of the status quo.

5

Having said all that, let's now return to the American-International pictures of the 1950s. In a little while we'll tally about the allegorical qualities of these films (you there in the back row, stop laughing or leave the room), but for now let's stick to the idea of monstrosity . . . and if we touch allegory at all, we'll touch it only lightly, by suggesting some of the things films were not. Although they came along at the same time rock and roll broke the race barrier, and although they appealed to the same fledgling hoppers, it's interesting to notice the sort of things that are altogether absent . . . at least in terms of "real" monstrosity.

We've noted already that the AIP pictures, and those of the other independent film companies that began to imitate AIP, gave the movie industry a much-needed shot in the arm during the ho-hum fifties. They gave millions of young viewers something they couldn't get at home on TV, and it nave them a place where they could go and make out in relative comfort. And it was the "indies," as
Variety
calls them, that gave a whole generation of war babies an insatiable Jones for the movies, and perhaps prepared the way for the success of such disparate movies as
Easy Rider, Jaws, Rocky, The
Godfather
, and
The Exorcist
.

But where are the monsters?

Oh, we've got fake ones by the score: saucer-men, giant leeches, werewolves, mole people ( in a Universal picture), and dozens more. But what AIP didn't show as they tested these interesting new waters was anything that smacked of
real
horror . . .
at least as those war babies understood the term
emotionally
. That is an important qualification, and I hope you'll come to agree with me that it warrants its italics.

These were—we were—children who knew about the psychic distress that came with The Bomb, but who had never known any real physical want or deprivation. None of the kids who went to these movies were starving or dying of internal parasites. A few had lost fathers or uncles in the war. Not many.

And in the movies themselves, there were no fat kids; no kids with warts or tics; no kids with pimples; no kids picking their noses and then wiping it on the sun visors of their hot rods; no kids with sexual problems; no kids with any visible physical deformity (not even such a minor one as vision that had been corrected by glasses—all the kids in the AIP horror and beach pictures had 20/20 vision). There might be an endearingly wacky teenager on view—of the sort often played by Nick Adams—a kid who was a bit shorter or did daring, kooky things such as wearing his hat backwards like a baseball catcher (and who had a name like Weirdo or Scooter or Crazy), but that was as far as it ever went.

The setting for most of these films was small-town America, the scene the audience could best identify with . . . but all of these Our Towns looked eerily as if a eugenics squad had gone by the day before production actually began, removing everyone with a lisp, birthmark, limp, or potbelly—everyone, in short, who did not look like Frankie Avalon, Annette Funicello, Robert Young, or Jane Wyatt. Of course Elisha Cook, Jr., who appeared in a great many of these films, has always looked a bit weird, but he always got killed in the first reel, so I feel he really doesn't count. Although both rock and roll and the new youth movies ( everything from
I Was a Teenage
Werewolf
to
Rebel Without a Cause
) burst upon an older generation, just beginning to relax enough to translate "their war" into myth, with all the unpleasant surprise of a mugger leaping out of a privet hedge, both the music and the movies were only preshocks of a genuine youthquake to come. Little Richard was certainly unsettling, and Michael Landon-who didn't even have enough school spirit to at least take off his high school jacket before turning into a man-wolf—was also unsettling, but it would still be miles and years to the Fish Cheer at Woodstock and Old Leatherface doing impromptu surgery with his McCulloch in
The Texas Chainsaw Massacre
.

It was a decade when every parent trembled at the spectre of juvenile delinquency: the mythic teenaged hood leaning in the doorway of the candy store there in Our Town, his hair bejeweled with Vitalis or Brylcreem, a pack of Luckies tucked under the epaulet of his motorcycle jacket, a fresh zit at one corner of his mouth and a brand-new switchblade in his back pocket, waiting for a kid to beat up, a parent to harass and embarrass, a girl to assault, or possibly a dog to rape and then kill . . . or maybe vice-versa. It is a once-dread image which has now undergone its own myth-making, homogenizing process; pop in James Dean and/or Vic Morrow here, wait twenty years, and heypresto! out pops Arthur Fonzarelli. But during the period, the newspapers and magazines of the popular press saw young jd's everywhere, just as these same organs of the fourth estate had seen Commies everywhere a few years before. Their chain-decked engineer boots and pegged Levis could be seen or imagined on the streets of Oakdale and Pineview and Centerville; in Mundamian, Iowa, and in Lewiston, Maine. The shadow of the dreaded jd stretched long. Marlon Brando had been first to give this empty-headed nihilist a voice, in a picture called
The Wild One
. "What are you rebelling against?" the pretty girl asks him. Answers Marlon: "What have you got?" To some fellow in Asher Heights, North Carolina, who had somehow survived forty-one missions over Germany in the belly of a bomber and who now only wanted to sell a lot of Buicks with Power-Flite transmissions, that sounded like very bad news indeed; here was a fellow for whom the Jaycees held no charms.

But as there turned out to be fewer Communists and fifth columnists than was at first suspected, the Shadow of the Dread JD also proved to be rather overrated. In the last analysis, the war babies wanted what their parents wanted. They wanted driver's licences; jobs in the cities and homes in the suburbs; wives and husbands; insurance; underarm protection; kids; time payments which they would meet; clean streets; clear consciences. They wanted to be good. Years and miles between Senior Glee Club and the SLA; years and miles between Our Town and the Mekong Delta; and the only known fuzz-tone guitar track in existence was a technical mistake on a Marty Robbins country and western record. They adhered happily to school dress codes. Long sideburns were laughed at in most quarters, and a guy wearing stacked heels or bikini briefs would have been hounded unmercifully as a faggot. Eddie Cochran could sing about "those crazy pink pegged slacks" and kids would buy the records . . , but not the pants themselves. For the war babies, the norm was blessed. They wanted to be good. They watched for the mutant.

Only one aberration per picture was allowed in the early youthcult horror films of the fifties, one mutation. It was the parents who would never believe. It was the kids—who wanted to be good—who stood watch (most often from those lonely bluffs which overlook Our Town from the ends of lovers' lanes); it was the kids who stamped the mutant out, once more making the world safe for country club dances and Hamilton Beach blenders.

Horrors in the fifties, for the war babies, were mostly—except maybe for the psychic strain of waiting for The Bomb to fall—mundane horrors. And perhaps a conception of real horror is impossible for people whose bellies are full. The horrors the war babies felt were scale-model horrors, and in that light the movies that really caused AIP to take off,
I Was a Teenage Werewolf
and
I Was a Teenage
Frankenstein
, become mildly interesting.

In
Werewolf
, Michael Landon plays an attractive but moody high school student with a quick temper. He's basically a good kid, but he's involved in one fight after another ( like David Banner, the Hulk's alter-ego on TV, the Landon character actually provokes none of these fights) until it looks as though he will be suspended from school. He goes to see a psychiatrist ( Whit Bissell, who also plays the mad descendant of Victor Frankenstein in
Teenage Frankenstein
) who turns out to be totally evil. Seeing Landon as a throwback to an earlier stage of human development—like back to the Alley Oop stage—Bissell uses hypnosis to regress Landon totally, in effect deliberately making the problem worse instead of trying to cure it. This plot twist seems cribbed from the then-current and fabulously successful
Search for Bridey Murphy
, the story (purportedly factual but later declared a hoax) of a woman who, under hypnosis, revealed memories of a previous life.

Bissell's experiments succeed beyond his wildest dreams—or worst nightmares—and Landon becomes a ravening werewolf. For a 1957 high school or junior high school kid watching the transformation for the first time, this was
baaad
shit. Landon becomes the fascinating embodiment of everything you're
not
supposed to do if you want to be good . . . if you want to get along in school, join the National Honor Society, get your letter, and be accepted by a good college where you can join a frat and drink beer like your old man did. Landon grows hair all over his face, produces long fangs, and begins to drool a substance that looks suspiciously like Burma-Shave. He peeks at a girl doing exercises on the balance beam all by herself in the gymnasium, and one imagines him smelling like a randy polecat who just rolled in a nice fresh pile of coyote shit. No button-down Ivy League shirt with

the fruit loop on the back here; here's a fellow who doesn't give a fart in a high wind for the Scholastic Aptitude Tests. He has gone absolutely, not apeshit, but wolfshit.

Undoubtedly part of the reason for the movie's meteoric takeoff at the box office had to do with the liberating, vicarious feelings the movie allowed these war babies who wanted to be good. When Landon attacks the pretty gymnast in the leotard, he is making a social statement on behalf of those watching. But those watching also react in horror, because on the psychological level, the picture is a series of object lessons on how to get along—everything from "shave before you go to school" to "never exercise in a deserted gym."

After all, there are beasts everywhere.

6

If
I Was a Teenage Werewolf
is, psychologically, that old dream of having your pants fall down when you stand up during homeroom period to salute the flag, taken to its most nightmarish extreme—the ultimate hirsute outsider menacing the peer groups at Our Town High—then
I Was a
Teenage Frankenstein
is a sick parable of total glandular breakdown. It is a movie for every fifteen-year-old who ever stood in front of her or his mirror in the morning looking nervously at the fresh pimple that surfaced in the night and realizing glumly that even StriDex Medicated Pads weren't going to solve the whole problem no matter what Dick Clark said.