Showing posts with label unspeakable horror. Show all posts
Showing posts with label unspeakable horror. Show all posts

Wednesday, July 13, 2016

With Cthulhu in Antarctica


How could it be that the ancient horror is revealed in plain sight and yet the world is not capable of recognizing their peril, capable of realizing that even now the Elder Things stir in the frigid black wastes and that Cthulhu must laugh at the endless stupidity of the biped mammals.

The people of the world are so gullible. They are told that one or possibly two scientists have gotten suddenly deathly ill in the remote wastes of Antarctica, but we are not told what has happened to them. We only know that two men must be withdrawn from the icy wastes at great risk. Only one kind of airplane can make the hazardous journey to Antarctica in this season, the Twin Otter. Two of them have been sent, one for backup, and one to make the complete journey.





They have arrived, and the men will be withdrawn.

But what evil have the experienced? What are they not telling us? I remind all who have the willingness to brave this knowledge to reread those paragraphs from near the end of At the Mountains of Madness:

I have said that Danforth refused to tell me what final horror made him scream out so insanely—a horror which, I feel sadly sure, is mainly responsible for his present breakdown. We had snatches of shouted conversation above the wind’s piping and the engine’s buzzing as we reached the safe side of the range and swooped slowly down toward the camp, but that had mostly to do with the pledges of secrecy we had made as we prepared to leave the nightmare city. Certain things, we had agreed, were not for people to know and discuss lightly—and I would not speak of them now but for the need of heading off that Starkweather-Moore Expedition, and others, at any cost. It is absolutely necessary, for the peace and safety of mankind, that some of earth’s dark, dead corners and unplumbed depths be let alone; lest sleeping abnormalities wake to resurgent life, and blasphemously surviving nightmares squirm and splash out of their black lairs to newer and wider conquests.

All that Danforth has ever hinted is that the final horror was a mirage. It was not, he declares, anything connected with the cubes and caves of echoing, vaporous, wormily honeycombed mountains of madness which we crossed; but a single fantastic, daemoniac glimpse, among the churning zenith-clouds, of what lay back of those other violet westward mountains which the Old Ones had shunned and feared. It is very probable that the thing was a sheer delusion born of the previous stresses we had passed through, and of the actual though unrecognised mirage of the dead transmontane city experienced near Lake’s camp the day before; but it was so real to Danforth that he suffers from it still.

He has on rare occasions whispered disjointed and irresponsible things about “the black pit”, “the carven rim”, “the proto-shoggoths”, “the windowless solids with five dimensions”, “the nameless cylinder”, “the elder pharos”, “Yog-Sothoth”, “the primal white jelly”, “the colour out of space”, “the wings”, “the eyes in darkness”, “the moon-ladder”, “the original, the eternal, the undying”, and other bizarre conceptions; but when he is fully himself he repudiates all this and attributes it to his curious and macabre reading of earlier years. Danforth, indeed, is known to be among the few who have ever dared go completely through that worm-riddled copy of the Necronomicon kept under lock and key in the college library.




At the Mountains of Madness

Washington Post Article About Rescue

Thursday, November 22, 2012

An Attempted Reconstruction of a Deleted Sequence from The Mummy (1932)


The Mummy (1932) is the definitive version of a certain sub-genre of horror film: the fallen priest of the old religion of Ancient Egypt who is cursed yet is reincarnated to act out his revenge and his love in the modern world. It is shot in fabulous black and white, and stars many character actors that are immediately recognizable from other Universal horror films. Boris Karloff saying "I have waited over 3,000 years to read the scroll of Isis" is a peak moment for me in this or any film.


This fall, men will wear fez's and women will wear headgear with fantasy elements.

Apparently there was a sequence which was filmed but deleted in which our Mummy, Imhotep, explains to the romantic interest, the mummy's intended victim, about her past lives through history. This sequence was cut from the film and it is believed that none of the footage survives.

But apparently publicity stills from this sequence do survive, and someone has made an effort to recreate the sequence on Yourtube in a form of "slideshow" set to music.

The person who made this "slideshow" did a very good job, I think. I do not know enough about this situation to be able to judge whether she has this all correct. But it certainly feels plausible, and is worth reviewing.

Saturday, September 8, 2012

Lovecraft's At The Mountains of Madness



I am forced into speech because men of science have refused to follow my advice without knowing why. It is altogether against my will that I tell my reasons for opposing this contemplated invasion of the antarctic - with its vast fossil hunt and its wholesale boring and melting of the ancient ice caps. And I am the more reluctant because my warning may be in vain.

Lovecraft's At the Mountains of Madness is a classic of American horror. If you haven't read it, it is a short read, you can probably read it in an hour or so. It is online below.

There was some hope about a year ago that Guillermo del Toro would direct a movie of Madness.  But that project has gone away.  Its probably all for the best.






Wikipedia
http://en.wikipedia.org/wiki/At_the_Mountains_of_Madness


Text
http://www.dagonbytes.com/thelibrary/lovecraft/mountainsofmaddness.htm