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103. “The Phantom Carriage” (Victor Sjöström, 1921)
The most profound horror movies aren’t just about death, but about wasted life. David Holm (Sjöström) has led about as worthless a life as you can imagine. Putting his love of the bottle before all else, he pushed away his wife and children, he led his brother into alcoholism also (resulting in his brother becoming a murderer), and he almost deliberately infects a Salvation Army worker with tuberculosis. He’s a dirtbag. On New Year’s Eve, he chooses to ring in midnight in a church cemetery with two fellow hobos, when he gets word that the dying Salvation Army girl wants to see him before drawing her final breath. He refuses. The other two hobos are so appalled one smashes a bottle over his head, killing him. You know this movie has an extra degree of realism because it’s one of the few films to accurately suggest how damaging being smashed in the noggin with a bottle would be! That realism makes the supernatural elements that follow all the more tangible: Death’s Coachman comes to collect David, not just to spirit him off to Hell, but for David to take up his job. Whosoever dies at the stroke of midnight on New Year’s Eve has to drive Death’s coach for a year before passing to the beyond. What follows is some combination of “A Christmas Carol” and “The Seventh Seal” (on which “The Phantom Carriage” was clearly a huge influence) and powerful enough that you can see why Sjöström quickly became an MGM contract director. –CBBuy on Amazon.
102. “Safe” (Todd Haynes, 1995)
Set in an arid stretch of California at the height of the AIDS epidemic that it never mentions by name, Todd Haynes’ oblique and beguiling “Safe” continues to resonate through the horrors of our public-health crises. Julianne Moore gives an all-in, body-and-soul performance as Carol White, an unremarkable homemaker trying to go through life without taking up too much space. Her voice is meek and muted, every utterance a struggle not to consume too much oxygen; her small world is at once both airless and toxic. And then she gets sick with an “environmental illness” that eludes diagnosis — in the wake of a violent anaphylactic attack at a dry-cleaning facility, Carol is hospitalized in a new age desert community where people with similar conditions hide out from a supposedly contaminated civilization. For them, isolation is both the answer to their problem and the problem itself. What is the cause of Carol’s illness? Could she be allergic to the 20th century, itself?
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