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The Case of Charles Dexter Ward has great potential if someone could handle it right.
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Anyone seen The Resurrected by Dan'o bannon (of Alien fame)
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The following cut and paste is a summary of the plotline:
Charles Dexter Ward's wife enlists the help of a private detective to find out what her husband is up to in a remote cabin owned by his family for centuries. The husband is a chemical engineer, and the smells from his experiments (and the delivery of what appear to be human remains at all hours) are beginning to arouse the attention of neighbors and local law enforcement officials. When the detective and wife find a diary of the husband's ancestor from 1771, and reports of gruesome murders in the area begin to surface, they begin to suspect that some very unnatural experiments are being conducted in the old house. Based on an H.P. Lovecraft story
This has a contemporary setting like the other Lovecraft adaptations, but seems to get quite healthy reviews. I'm somewhat tempted to purchase it. Here's a review I found.
One of the great mysteries of the 1990s must be “What ever happened to Dan O’Bannon ?” As scriptwriter, O’Bannon made two grandslams in the 1970s with the scripts for Dark Star (1974) and Alien (1979). O’Bannon then went on to deliver some fine hard-edged scripts, including the likes of Dead & Buried (1981), Heavy Metal (1981), Blue Thunder (1983), Lifeforce (1985) and Invaders from Mars (1986), before making an excellent directorial debut with Return of the Living Dead (1985) which inverted George Romero’s Dead trilogy with a cheerful punk cynicism. But in the 1990s O’Bannon has almost entirely dropped from the cinematic radar. There have been a number of scripts with his name attached - Total Recall (1990), Screamers (1995) and Hemoglobin/Bleeders (1996) - but all were old scripts that had been reworked by other writers. The Resurrected was O’Bannon’s second directorial outing, the only work in the 1990s in which O’Bannon has had hands-on experience. All of which is a shame as O’Bannon is one writer that one really wishes would return to the genre.
The Resurrected is adapted from an H.P. Lovecraft story, The Case of Charles Dexter Ward (1941). [The same story had previously been adapted as Roger Corman’s The Haunted Palace (1963)]. Here O’Bannon is directing another writer’s script - in this case Brent V. Friedman, a genre writer who has written screenplays for the likes of Syngenor (1990), Ticks (1993), American Cyborg: Steel Warrior (1993), the Prehysteria! sequels and produced genre tv series such as Dark Skies (1996) and Secret Agent Man (1999-2000), as well as delivering the script for the Lovecraft portmanteau film Necronomicon (1994). Lovecraft’s The Case of Charles Dexter Ward is a relatively straightforward piece about a man’s possession by the spirit of his ancestor that emerges from a portrait. The Resurrected came about as part of a vogue for Lovecraft that had been created by the success of Stuart Gordon’s Re-Animator (1985). However Re-Animator had identified Lovecraft with a campy splatter-heavy approach, one that has been taken as lead by the various Lovecraft adaptations ever since. Charles Dexter Ward is not on the face of it a Lovecraft story that geared toward such a splattery approach. However Friedman quite ingeniously solves the problem with a series of twists about Curwen not being a disembodied spirit so much as a an evil ancestor raised from the dead through black sorcery, thus allowing the insertion of various Hellraiser (1987)-styled bodily reconstitution scenes. In an interesting trivia note this is the only Lovecraft adaptation to use Lovecraft’s home turf (and the story’s setting) - Providence, Long Island - as a location (even if the Providence scenes are really shot in Vancouver).
The Resurrected lacks the energy and vigour that O’Bannon displayed with Return of the Living Dead. Nearly half the film is on the story-heavy exposition side wherein nothing much happens, although O’Bannon and Friedman do create a good mystery and effective images such as the overacting Chris Sarandon suddenly talking in 18th Century tongue. However in the latter half O’Bannon does eventually deliver the goods in a sequence where Terry, Sibbett and Romanus venture by torchlight down into the catacombs beneath the Curwen home finding arcane diaries, partially raising something from the dead with a serum, encountering half-seen monstrosities in the dark and then the torch going out at the crucial moment and they having to make their way back in the dark and by matchlight as the mutations close in. The twist ending and revelations about who is impersonating whom and Terry’s means of dealing with this are also well done. It is during these sequences that O’Bannon conjures something of the mood of Lovecraft and his sense of abominable experiments, unspeakable monstrosities and forbidden knowledge. Indeed this makes Resurrected one of the few post-Re-Animator films that does successfully capture the mood of Lovecraft.