Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys, and we’re talking about 1972’s Lemora and 1988’s Paperhouse
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We start by talking about what we’ve done involving horror recently. Liam talks the films Alone, Anything For Jackson, and Rise Of The Guardians, and Justin talks about the films Peninsula, Freaky, and the newest Max Brooks novel Devolution.
Up first is Lemora. Liam talks about how the film examines the idea of pushing the idea of innocence upon a young attractive white woman and how it involves a world filled with characters intent on devouring her in one way or another.
The idea of the film being a criticism of Christianity is examined, and Justin talks about how the name of the town the film takes place in (Astaroth) is indicative of this film being a criticism of Christianity. Justin also talks about how he initially thought the film was a nod to “abject person” as discussed, as is the “sovereign figure”.
Justin talks about how he wasn’t a hundred percent sold on the film although it feels like an archetypical “hero’s tale”. The film as “Southern Gothic” is discussed. We briefly talk about the phenomenon of ghost towns and how they relate to the Great Depression.
Up next is Paperhouse. Justin begins by admitting that he wasn’t feeling the film until the horror element kicked in and then fell in love with how effective the film portrayed the “logic of children” and how it put him in the proper mindset to enjoy it.
We talk about how the film is often accused of not really being a horror film, and Liam argues that this functions as a bait and switch to “ease us into a boiling pot.” We talk about how while the film never explicitly comes out and addresses any underlying issues it’s very clearly about something much darker than the subject matter. We discuss some of the more unexpectedly horrifying imagery.
The idea of the film being about sexual abuse and how children relate to such horror is discussed, and how the structure of the film itself feels like the reality a child would construct to hide the truth of the abuse. The phenomenon of films about children’s unrecognized desires is discussed. The film’s depiction of “puppy love” and how accurate it is is depicted.
The film’s similarity in how abused children view their parents with The Shining. We talk about how the film might not be seen as a horror due to how effective it is in executing certain dramatic elements and how neither of the child characters in the film are annoying. We again talk about how easily and successfully the film nails “dream logic” and it unexpectedly made both of us feel a very real yearning for childhood.
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