'Haeckel's Tale,' one of the last "Masters of Horror" episodes to be released on DVD, is a strange concoction of contradiction. Plot-wise, the film begins on a serious note but dives further and further into B-level silliness; visually, the costumes and sets run the gamut from impressive accuracy to jaw-dropping cheapness; the FX have a slapdash obviousness (the puppet-dog in the basket to the 'budget zombies'); and finally, it doesn't seem typical of any party involved (which, in this case, really isn't a good thing). John McNaughton, pinch-hitting for George Romero, directs a script by Mick Garris, based on a short story by Clive Barker...it's hard to imagine where such a fine teaming would go wrong, but it does. After the introduction of a poorly conceived (and unnecessary) framing device, we focus on Ernest Haeckel, a young upstart med student with delusions of Frankenstein-ian grandeur; on the way to see his ailing father, he comes across an old man and his attractive bride, who has a strange fixation with the residents of the local cemetery. Even for a 60-minute episode, the plot feels stretched, and the twists and revelations run the gamut from dumb to simply insulting (the ending being the worst offense). While the faux-Hammer period setting and costumes would have made this one of MOH's more ambitious episodes, McNaughton and Garris ultimately transform a promising premise into the type of Saturday-afternoon cheese-fest Vampira would be right at home hosting.
34 Reviews
Sexy and disgusting at the same time
Bored_Dragon22 April 2018
"Haeckel's Tale" takes place in the XIX century, which contributes to the dark and gloomy atmosphere, but the story itself is very slow and without tension, and twist is unsatisfying. It left me with the impression of a dark fairy tale more than horror. Film culminates in one of the most bizarre sex scene I've ever seen and, if for nothing else, it's worth watching this episode. Trust me, you won't forget it any time soon.
6/10
6/10
you have to wait until the end for the horror
trashgang20 June 2013
This is really a slow builder. It's really the telling of Haeckel's story of course but it take a while before it all becomes creepy and even a bit scary. But at the end of the day it was rather good. Still, clocking in just under an hour I would have liked that the horror would come in earlier.
A necromancer's help is needed to revive a man's beloved wife. It is told that the process isn't without any danger. When Haeckel's father becomes ill he travels toward him but comes across the necromancer Montesquino showing him how to bring a dead dog alive. Haeckel is fascinated and stays at the house of an old man married to a beautiful young wife. Haeckel is warned not to visit the cemetery nearby because the necropolis has it's dark secrets but Haeckel is attracted to the young woman and discovers her dark secrets.
It is until the dark secrets are shown on the necropolis that the real horror comes in. Sure, when Montesquino shows that he can bring the dog back alive has it's own gruesome show but face it, the necrophilia at the end with the young woman is were it really starts to work. Leela Savasta who plays the young woman shows it all here and goes fully naked on the grave to have sex with the death and even goes for a trio. Leela moved further after this episode to some famous series and she's best known as Tracey Anne in the much acclaimed Battlestar Galactica (2008) series.
I can understand that some will hate this episode due the storytelling and nothing really happening until the final minutes but it's worth the wait.
Gore 1/5 Nudity 1,5/5 Effects 3/5 Story 3/5 Comedy 0/5
A necromancer's help is needed to revive a man's beloved wife. It is told that the process isn't without any danger. When Haeckel's father becomes ill he travels toward him but comes across the necromancer Montesquino showing him how to bring a dead dog alive. Haeckel is fascinated and stays at the house of an old man married to a beautiful young wife. Haeckel is warned not to visit the cemetery nearby because the necropolis has it's dark secrets but Haeckel is attracted to the young woman and discovers her dark secrets.
It is until the dark secrets are shown on the necropolis that the real horror comes in. Sure, when Montesquino shows that he can bring the dog back alive has it's own gruesome show but face it, the necrophilia at the end with the young woman is were it really starts to work. Leela Savasta who plays the young woman shows it all here and goes fully naked on the grave to have sex with the death and even goes for a trio. Leela moved further after this episode to some famous series and she's best known as Tracey Anne in the much acclaimed Battlestar Galactica (2008) series.
I can understand that some will hate this episode due the storytelling and nothing really happening until the final minutes but it's worth the wait.
Gore 1/5 Nudity 1,5/5 Effects 3/5 Story 3/5 Comedy 0/5
Most of this was pretty good ...
Vic_max24 December 2007
The first 2/3 of this movie is really well done. It plays out like any solid fantasy/horror movie would. When it has to wrap things up, it starts to falter. Given the state of horror movies these days, however, having a good first 40 minutes seems like a significant accomplishment.
The story is about a man who goes to an old woman (a "necromancer") in an effort to raise his recently deceased wife. She warns him that before she does so, she must hear a story about a medical student named Haeckel from many years ago. The movie then picks up with the story of Haeckel.
Everything is done really well - the atmosphere, acting, storyline, etc. Unfortunately, in the last 20 minutes the story tries to inject more horror elements. It doesn't work and the story gets progressively worst and the characters less believable. (In fairness to Clive Barker, I'm willing to believe story probably worked well in print).
Many horror fans will find this step above most horror movies because of the nice setup - see it if that is good enough for you.
The story is about a man who goes to an old woman (a "necromancer") in an effort to raise his recently deceased wife. She warns him that before she does so, she must hear a story about a medical student named Haeckel from many years ago. The movie then picks up with the story of Haeckel.
Everything is done really well - the atmosphere, acting, storyline, etc. Unfortunately, in the last 20 minutes the story tries to inject more horror elements. It doesn't work and the story gets progressively worst and the characters less believable. (In fairness to Clive Barker, I'm willing to believe story probably worked well in print).
Many horror fans will find this step above most horror movies because of the nice setup - see it if that is good enough for you.
Haeckel: Portrait of a Serial Necromancer
Coventry12 August 2006
Having directed the one classic horror milestone "Henry: Portrait of a Serial Killer" apparently was enough to include John McNaughton in the whole Masters of Horror project. This was originally meant to become George A. 'father of all zombie movies' Romero's episode, but McNaughton does a great job and the opening credits still refer to Romero as being some kind of inspiration source. That's cool. And it only gets better, as the writer of "Haeckel's Tale" is no less than Clive Barker; creator of such brilliant genre efforts like "Hellraiser" and "Candyman". So, is this really one the best entries of the entire first season? Well it's not in the top 3 but, yes, it is another very solid and worthwhile horror adventure with a neat Gothic atmosphere and a handful of genuine shocks. The script lacks a bit of structure and continuity but overall it's compelling and refers to Mary Shelley's Frankenstein quite often. The mini-movie opens with a little wraparound story about a young man that requests the help of an elderly witch to bring back his beloved bride from the dead. The witch wants to help him but warns him about the dangers of necromancy by telling the tale of Ernst Heackel... He was a talented and obnoxious young scientist, on his way home to visit his ill father, until he made acquaintance with a bizarre couple in the woods. Raising the dead was an important part of their lives every night and that had terrible consequences for Mr. Haeckel. This tale is a strange combination of stylish Gothic thrills, morbid science, Fulci-esquire zombie splatter and sleazy sex scenes. The film is occasionally scary, but at other times very humorous and truly eccentric. For a good half hour, you have no real idea where the story is going! It initially looks like Haeckel is another amateur-Frankenstein and his obsession with science will drive him one step too far, but then suddenly he becomes the victim in a dark world of black magic and the occult. The make-up effects are terrific and especially the supportive characters of the film are highly memorable. Notably the always-reliable Jon Polito and the breathtaking young actress Leela Savasta. Another very recommended Masters of Horror episode.
An Episode That Will Grow On You
gavin69429 December 2006
Young Haeckel (Derek Cecil) wants to bring corpses back to life after studying the notes of German doctor Victor Frankenstein. He fails in his early attempts, and then sets out to discredit the necromancer Montesquino (Jon Polito, who co-starred with Cecil in "Push, Nevada") who can accomplish the task with magic rather than science.
We start with a short story written by Clive Barker, who has made himself a living legend by writing "Hellraiser", among other things. Add a "bookend" story from Mick Garris, and you have a film. Not surprisingly, the part from Garris is weaker than the Barker core, but it is hard to blame him for trying to make this story fit into a nice package.
George A. Romero was set to direct, but had to bow out due to scheduling conflicts. The opening credits still say this was "in association with" Romero, but his involvement seems minimal and what he added is unclear. Stepping into his shoes is John McNaughton, who had previously worked the horror scene with "Henry: Portrait of a Serial Killer" and "The Borrower". (McNaughton may be a "master of horror", but he has never defined himself so narrowly, working regularly in cop thrillers and comedies, as well.)
McNaughton probably brought us some aspects Romero would have shied away from. Both have no qualms with gore, but McNaughton is more associated with sensuality than Romero, and that aspect of the film is a key aspect of the plot in the latter half. We know that McNaughton took over very early on, enough that he was taking part in the casting process. He also had direct input in the imagery, which was inspired by the artist Hieronymus Bosch and his "deadly orgies of skeletons".
Of course, he cannot take full responsibility for the success or failure of the picture. McNaughton says "the crew was like a locomotive", and although he was only on set for ten days, they had been working on the series for months and knew how to maximize their resources. There was not even time for rehearsals beyond a table read, so casting known variables was key.
Upon first seeing this film, viewers might feel that it is one of the weakest installments in the Masters of Horror series, due to the episode offering little excitement until the last ten minutes... which is then followed up by a "twist" ending that the audience should have seen coming halfway through the film. Repeat viewings might make viewers find something more. While it is true that the first half of the film relies heavily on retelling the Frankenstein story, which is well-established in other movies and not very innovative, the departure point is critical and the introduction of necromancy makes the film unique.
The acting is fine, even if Jon Polito goes a bit over the top. McNaughton personally cast Polito, a regular in his work, knowing what he was able to bring to the role. The costumes and scenery are very nice. The effort put into getting period-appropriate outfits is noticeable and commendable. There is also great work from special effects wizard Howard Berger, particularly the dead dog puppet. Berger has few equals.
For those looking deeper, you may find some interesting ideas touched upon, albeit briefly. There is discussion of bringing the soul back from the dead, and the declaration that animals have no soul. Haeckel finds this unusual, which seems out of character -- what use does a man without God have for a soul? And the idea certainly was not new. Many philosophers and theologians have declared animals soulless. George Hegel, in 1821, wrote, "An animal too has impulses, desires, inclinations, but it has no will and must obey its impulse if nothing external deters it." Haeckel also calls to mind the difference between religion and science, a "playing God" attitude that was largely absent in the "Frankenstein" story, at least in such a direct and blatant exposition.
The features of the DVD are impressive, with plenty of interviews and featurettes. Someone could dismiss the Masters of Horror series as a television show, but the DVD proves these are films in their own right. Sadly, the commentary from McNaughton is sparse, and there are too many minutes of silence. But he still adds enough information to make a listen worthwhile.
We start with a short story written by Clive Barker, who has made himself a living legend by writing "Hellraiser", among other things. Add a "bookend" story from Mick Garris, and you have a film. Not surprisingly, the part from Garris is weaker than the Barker core, but it is hard to blame him for trying to make this story fit into a nice package.
George A. Romero was set to direct, but had to bow out due to scheduling conflicts. The opening credits still say this was "in association with" Romero, but his involvement seems minimal and what he added is unclear. Stepping into his shoes is John McNaughton, who had previously worked the horror scene with "Henry: Portrait of a Serial Killer" and "The Borrower". (McNaughton may be a "master of horror", but he has never defined himself so narrowly, working regularly in cop thrillers and comedies, as well.)
McNaughton probably brought us some aspects Romero would have shied away from. Both have no qualms with gore, but McNaughton is more associated with sensuality than Romero, and that aspect of the film is a key aspect of the plot in the latter half. We know that McNaughton took over very early on, enough that he was taking part in the casting process. He also had direct input in the imagery, which was inspired by the artist Hieronymus Bosch and his "deadly orgies of skeletons".
Of course, he cannot take full responsibility for the success or failure of the picture. McNaughton says "the crew was like a locomotive", and although he was only on set for ten days, they had been working on the series for months and knew how to maximize their resources. There was not even time for rehearsals beyond a table read, so casting known variables was key.
Upon first seeing this film, viewers might feel that it is one of the weakest installments in the Masters of Horror series, due to the episode offering little excitement until the last ten minutes... which is then followed up by a "twist" ending that the audience should have seen coming halfway through the film. Repeat viewings might make viewers find something more. While it is true that the first half of the film relies heavily on retelling the Frankenstein story, which is well-established in other movies and not very innovative, the departure point is critical and the introduction of necromancy makes the film unique.
The acting is fine, even if Jon Polito goes a bit over the top. McNaughton personally cast Polito, a regular in his work, knowing what he was able to bring to the role. The costumes and scenery are very nice. The effort put into getting period-appropriate outfits is noticeable and commendable. There is also great work from special effects wizard Howard Berger, particularly the dead dog puppet. Berger has few equals.
For those looking deeper, you may find some interesting ideas touched upon, albeit briefly. There is discussion of bringing the soul back from the dead, and the declaration that animals have no soul. Haeckel finds this unusual, which seems out of character -- what use does a man without God have for a soul? And the idea certainly was not new. Many philosophers and theologians have declared animals soulless. George Hegel, in 1821, wrote, "An animal too has impulses, desires, inclinations, but it has no will and must obey its impulse if nothing external deters it." Haeckel also calls to mind the difference between religion and science, a "playing God" attitude that was largely absent in the "Frankenstein" story, at least in such a direct and blatant exposition.
The features of the DVD are impressive, with plenty of interviews and featurettes. Someone could dismiss the Masters of Horror series as a television show, but the DVD proves these are films in their own right. Sadly, the commentary from McNaughton is sparse, and there are too many minutes of silence. But he still adds enough information to make a listen worthwhile.
Curse of the 13th episode
Vergilya16 February 2006
Haeckel's Tale is not directed by Takashi Miike as reviewed. It is John McNaughton who brought us Wild Things that did it. Haeckel's Tale, by the way, is based on a short story written by Clive Barker of the same title. If you are familiar with his work you'll know what to expect especially if you remember his one of a kind Hellraiser.
The last episode which was supposed to be directed by Takashi Miike was withheld from being aired by Shotime executives due to some scenes they were unhappy about. At the moment the 13th episode known as Imprint will only be available on DVD.
All in all Masters of Horror is a tour de force of horror on television. If you like a good scare, some laughs, action, nudity, rock music, variety and disgust this show's definitely for you. Lock the doors, turn off the lights and blast the speakers for a fun and thrilling ride.
The last episode which was supposed to be directed by Takashi Miike was withheld from being aired by Shotime executives due to some scenes they were unhappy about. At the moment the 13th episode known as Imprint will only be available on DVD.
All in all Masters of Horror is a tour de force of horror on television. If you like a good scare, some laughs, action, nudity, rock music, variety and disgust this show's definitely for you. Lock the doors, turn off the lights and blast the speakers for a fun and thrilling ride.
Could have been good, but this episode is boring
LoneWolfAndCub15 January 2007
George A. Romero was originally meant to direct this episode of Masters of Horror and I really think he should have. The undead is his area of expertise and I think this episode would have been one of the best if he had been behind the camera. Unfortunately he dropped out and was replaced by John McNaughton, who I thought would be able to direct a rather disturbing little movie (as he did the controversial horror Henry: Portrait of a Serial Killer). Unfortunately this episode was quite boring up until the final 20 or so minutes where it gets quite interesting and weird. But the first 40 minutes are quite boring with not a lot happening although I never completely lost interest. It was rather disappointing that this episode never reached its full potential as the plot was extremely interesting.
2/5.
2/5.
Old school classic, one of the series' best
mrthrill17 December 2006
This is squarely in the tradition of AIP/Hammer/Bava period Gothic chillers (with a touch of Romero) which mixed horror and eroticism back in the 60s and 70s on a routine basis, before nudity again became somewhat taboo in our increasingly conservative culture. For me, this one has it all - a naked nympho, atmospheric sets, cool monster makeup, and best of all - ZOMBIE SEX! This is totally a B movie - B meaning going back to the basics of breasts, beasts and blood - and I loved it unashamedly. The scene in the fog-shrouded graveyard with the orgasmic babe being mauled by horny zombies is stunning, like an uncensored full page panel from one of those B&W horror mags of the 70s, Creepy, Vampirella or Eerie - in the full-colored flesh. I'd like to freeze-frame it and hang it on the wall of my tiki lounge. This is the greatest zombie sex flick since "Cemetery Man" and the addition of the zombie baby is a nice nod to Pete Jackson's "Dead Alive." Along with the equally erotic (and twisted) "JENIFER" and "SICK GIRL" - another very entertaining drive-in throwback - this is my favorite of the MOH series so far (season one.)
Late Night Writing?
jrock1419 January 2007
Warning: Spoilers
I just want to say that Haekel's Tale starts off like the classiest of all the Masters of Horror leading you to believe that Haekel will have a Frankensteinish encounter in his lust for control over necromancy that would ultimately be his undoing, however it completely goes to the gutter when Clive Barker got bored and started writing up sick stuff. (In fact Haekel is undone at the hands of a zombie baby which just made me grimace in disgust when this easily could have been one of the best MOH episodes)You can pretty much time line this out to how it was written: At 10 O'clock he wrote the first half of the story, at 11 O'clock he started looking at pornographic material, at 12 O'clock he finished writing the story.
Another 'Master'..
sunflwrgrrl8 January 2007
Warning: Spoilers
Now, I have to say that this episode, even though it was a tad slow, didn't suck as much as some of the other episodes in the series. And while I personally really liked 'Henry', I hardly think that makes John McNaughton a master in his field (nor do episodes of 'Without a Trace', not the show I look to for horror) My main comment on this episode, the part that made me totally want my 56 mins back, came at the end.
When faced with the undead, the fella turns to run.. THEN STOPS TO GRAB HIS HAT??????? *sigh*
Where are all the real masters at??? Honestly- if this show were just called "Horror" I'd be OK with the directors they've picked. "Masters" is a whole other world.. I think only John Carpenter really understands where that world is.
When faced with the undead, the fella turns to run.. THEN STOPS TO GRAB HIS HAT??????? *sigh*
Where are all the real masters at??? Honestly- if this show were just called "Horror" I'd be OK with the directors they've picked. "Masters" is a whole other world.. I think only John Carpenter really understands where that world is.
Come for the Haeckel stay for the Savasta
juliankennedy2320 December 2006
Masters of Horror: John McNaughton: Haeckel's Tale: 7 out of 10: Can one justify seeing a rather pedestrian one hour episode simply because a gorgeous woman has one of the most bizarre and erotic sex scenes near the films "climax"? I'm certainly going to try.
First the pedestrian stuff. This is an historical horror movie, all horse drawn carriages and talk of electricity. It's nice for a change of pace and is well done here.
The films main character is that old chestnut "a man of science". He is trying to replicate Victor Frankenstein's experiments and is instead setting corpses on fire. The movie takes a very unexpected turn as he is summoned to his dying father and precedes on a leisurely peregrination kind of like that the gay character takes in As Good As It Gets.
On his jaunt he runs into a Necromancer that raise people from the dead for a fee who is very well played by Coen favorite Jon Polito (A cheap talented Danny DeVito). Man of science is curious but disparages the hocus pocus mystical explanation of the necromancers skills.
The movie continues to meander much like the main character until he ends up at the house of a weird old man and his too young and beautiful wife. This is where my patience with the film paid off.
Leela Savasta made such an impression on me I immediately want to see the rest of her films both of them. Heck I want to buy an office block in Vancouver. (She sells Canadian real estate as well as acting and modeling). Yes I turned from bemused viewer to gushing fan boy almost immediately.
So in conclusion movie is decent albeit slow and Savasta will make a man leave his wife and travel a continent and buy a small affordable Canadian strip mall. Or at the very least see that new Black Christmas remake.
First the pedestrian stuff. This is an historical horror movie, all horse drawn carriages and talk of electricity. It's nice for a change of pace and is well done here.
The films main character is that old chestnut "a man of science". He is trying to replicate Victor Frankenstein's experiments and is instead setting corpses on fire. The movie takes a very unexpected turn as he is summoned to his dying father and precedes on a leisurely peregrination kind of like that the gay character takes in As Good As It Gets.
On his jaunt he runs into a Necromancer that raise people from the dead for a fee who is very well played by Coen favorite Jon Polito (A cheap talented Danny DeVito). Man of science is curious but disparages the hocus pocus mystical explanation of the necromancers skills.
The movie continues to meander much like the main character until he ends up at the house of a weird old man and his too young and beautiful wife. This is where my patience with the film paid off.
Leela Savasta made such an impression on me I immediately want to see the rest of her films both of them. Heck I want to buy an office block in Vancouver. (She sells Canadian real estate as well as acting and modeling). Yes I turned from bemused viewer to gushing fan boy almost immediately.
So in conclusion movie is decent albeit slow and Savasta will make a man leave his wife and travel a continent and buy a small affordable Canadian strip mall. Or at the very least see that new Black Christmas remake.
Decent Masters of Horror episode.
poolandrews16 May 2007
Warning: Spoilers
Masters of Horror: Haeckel's Tales is set sometime during the 19th Century where John Ralston (Steve Bacic) has recently lost his wife & has gone to a known Necromancer named Miz Carnation (Micki Maunsell) in an attempt to try & bring her back from the dead, Miz says that he doesn't know what he's asking for & tells him that if he still wants his wife brought back from the dead after she has told him a story then she will oblige. Miz starts her story, it's about a young medical student named Ernst Haeckel (Derek Cecil) who is obsessed with bringing the dead back to life. After his scientific methods fail he approaches a Necromancer called Montesquino (Joe Polato) who claims to have the magical ability to raise the dead, however after accepting a room for the night from one of Montesquino's customer's Haeckel realises there is a horrible price to pay for his services...
This Canadian American co-production was episode 12 from the generally hit-and-miss Masters of Horror TV series, Haeckel's Tale turned out the be the final screened episode after Takashi Miike's Imprint got pulled shortly before it was due to air. Originally to be directed by George A. Romero who strangely still gets a 'In Assaciation with' credit even though I'm not sure in what capacity he worked on it, if any. In the end John McNaughton got the job & he turns in a perfectly watchable Masters of Horror episode, it's not the best this series has to offer but it's far from the worst. The script by the show's regular producer Mick Garris was based on a short story by Clive Barker of the same name & you can definitely see Barker's perverse imagination dotted throughout Haeckel's Tale, sex with the dead, zombies, violence, gore, twisted revelations, good vs evil, the whole creation of life, what it means & various religious themes along with a general messed up approach to things. The storytelling here is quite good & I really liked the tale within a tale narrative & it's rather cool twist ending which I didn't see coming. However it's not all good news, I thought it dragged a little in places & isn't the most exciting of episodes either & around the scenes that obviously came from Barker's twisted imagination it's a tad dull.
Director McNaughton does alright although why was he chosen for a Masters of Horror episode when he had never made a horror film before except maybe Henry: Portrait of a Serial Killer (1986) & even that is more of a thriller than horror puzzles me, answers on a postcard please. This has a few stylish moments, I liked the period setting which made it feel like a Hammer film at times & there are some suitably creepy & nasty scenes in it. The gore doesn't really kick in until the final 10 minutes or so, there's a dead cut open body, someone is disembowelled & has their eyes poked out & eaten by some rotten zombies, there's some blood splatter, a zombie dog & a gross zombie baby who has a face only a mother could love...
Technically this is good & has nice production values, it's well made & obviously had a fair amount of time spent on it as the period setting is well realised. The acting is alright but there are no 'names' in this one.
Haeckel's Tale is a good Masters of Horror episode, it's certainly one of the better ones & was an OK if somewhat premature way to end season 1. Definitely worth a watch for horror fans or fans of the series.
This Canadian American co-production was episode 12 from the generally hit-and-miss Masters of Horror TV series, Haeckel's Tale turned out the be the final screened episode after Takashi Miike's Imprint got pulled shortly before it was due to air. Originally to be directed by George A. Romero who strangely still gets a 'In Assaciation with' credit even though I'm not sure in what capacity he worked on it, if any. In the end John McNaughton got the job & he turns in a perfectly watchable Masters of Horror episode, it's not the best this series has to offer but it's far from the worst. The script by the show's regular producer Mick Garris was based on a short story by Clive Barker of the same name & you can definitely see Barker's perverse imagination dotted throughout Haeckel's Tale, sex with the dead, zombies, violence, gore, twisted revelations, good vs evil, the whole creation of life, what it means & various religious themes along with a general messed up approach to things. The storytelling here is quite good & I really liked the tale within a tale narrative & it's rather cool twist ending which I didn't see coming. However it's not all good news, I thought it dragged a little in places & isn't the most exciting of episodes either & around the scenes that obviously came from Barker's twisted imagination it's a tad dull.
Director McNaughton does alright although why was he chosen for a Masters of Horror episode when he had never made a horror film before except maybe Henry: Portrait of a Serial Killer (1986) & even that is more of a thriller than horror puzzles me, answers on a postcard please. This has a few stylish moments, I liked the period setting which made it feel like a Hammer film at times & there are some suitably creepy & nasty scenes in it. The gore doesn't really kick in until the final 10 minutes or so, there's a dead cut open body, someone is disembowelled & has their eyes poked out & eaten by some rotten zombies, there's some blood splatter, a zombie dog & a gross zombie baby who has a face only a mother could love...
Technically this is good & has nice production values, it's well made & obviously had a fair amount of time spent on it as the period setting is well realised. The acting is alright but there are no 'names' in this one.
Haeckel's Tale is a good Masters of Horror episode, it's certainly one of the better ones & was an OK if somewhat premature way to end season 1. Definitely worth a watch for horror fans or fans of the series.
Decent, but ...
kosmasp22 June 2010
... the more I start reading about this episode, the less I like it. First it's a short story from Barker, which makes the source material really really good and explains, why I liked the idea of the whole thing. Secondly, I read that this one was meant to be George A. Romeros episode (who had to cancel due to the work on one of his "Dead" movies) ... which makes me actually sad, because I would have loved to see, where Romero would've gone with it ... I'm pretty sure, it would have been less erotic, but therefor more dramatic!
Then the set design. While most Masters of Horror movies might have some problems with that particular area, it is even more apparent here, because of the "time" this is all unfolding. The cinematography is not up to task and the ending was ... "weird" to say the least. You knew, where this was going, but it seems like it's afraid to actually "punch" ...
The actors don't seem to be completely up to it and I felt, there was more to the story that could be told ...
Then the set design. While most Masters of Horror movies might have some problems with that particular area, it is even more apparent here, because of the "time" this is all unfolding. The cinematography is not up to task and the ending was ... "weird" to say the least. You knew, where this was going, but it seems like it's afraid to actually "punch" ...
The actors don't seem to be completely up to it and I felt, there was more to the story that could be told ...
Great period piece with an articulate script.
nosferatusblood192216 August 2007
Warning: Spoilers
Originally slated for George Romero's directorial whims--Haeckel's Tale--Based on a short story by Clive Barker--is a gruesome take revolving around necrophilia, necromancy, and of course Ernst Haeckel (Derek Cecil.)
The film journey begins by showing a man desperately in love with his deceased wife. So much so, that he pursues an old woman evidently capable of raising the dead. However, he finds that his request is not as easy as he'd hoped for and must entertain the tale of Haeckel, as orated by the old hag, before he makes a final decision about his lady six feet under.
The rationality of medicine & science drive Ernst Haeckel on his quest to prove reanimation is possible without God. That in fact, God is completely unnecessary in such matters. Needless to say, his pious peers are less than impressed when he sets a corpse on fire in his laboratory during a Dr. Frankenstein type experiment gone terribly amiss. Later on, Haeckel meets with the great necromancer: Montesquino. A sideshow act to some. Ernst thinks he's a charlatan, but is convinced otherwise via the help of his own senses and clamoring from the Wolfram's who let him stay at their house while en route to see his sick father. Which is another reason for Ernst's interest in necromancy... Not to mention his interest in Elise (Who the hell wouldn't be?) Anyhow, Elise is established as a necrophiliac who humps her dead husband in the graveyard surrounded by wandering corpses who join in on the orgy orchestrated by Montesquino. A ritual Haeckel & Mr. Wolfram will eventually partake in. After all, it's all about sex & death in the bloodied necropolis.
This is a cool film. From the excellent script, acting, costumes, photography...it's got everything you could want, really. Most of all it feels authentic. And oh yeah, the end is pretty creepy...
Mr. McNaughton, you've done well! I will definitely look into your oeuvre now, sir.
Leela Savasta! You're stunning... I want to see the remake of Black Christmas now. Heh.
The film journey begins by showing a man desperately in love with his deceased wife. So much so, that he pursues an old woman evidently capable of raising the dead. However, he finds that his request is not as easy as he'd hoped for and must entertain the tale of Haeckel, as orated by the old hag, before he makes a final decision about his lady six feet under.
The rationality of medicine & science drive Ernst Haeckel on his quest to prove reanimation is possible without God. That in fact, God is completely unnecessary in such matters. Needless to say, his pious peers are less than impressed when he sets a corpse on fire in his laboratory during a Dr. Frankenstein type experiment gone terribly amiss. Later on, Haeckel meets with the great necromancer: Montesquino. A sideshow act to some. Ernst thinks he's a charlatan, but is convinced otherwise via the help of his own senses and clamoring from the Wolfram's who let him stay at their house while en route to see his sick father. Which is another reason for Ernst's interest in necromancy... Not to mention his interest in Elise (Who the hell wouldn't be?) Anyhow, Elise is established as a necrophiliac who humps her dead husband in the graveyard surrounded by wandering corpses who join in on the orgy orchestrated by Montesquino. A ritual Haeckel & Mr. Wolfram will eventually partake in. After all, it's all about sex & death in the bloodied necropolis.
This is a cool film. From the excellent script, acting, costumes, photography...it's got everything you could want, really. Most of all it feels authentic. And oh yeah, the end is pretty creepy...
Mr. McNaughton, you've done well! I will definitely look into your oeuvre now, sir.
Leela Savasta! You're stunning... I want to see the remake of Black Christmas now. Heh.
The most unfocused episode in the series
ThrownMuse10 October 2007
John McNaughton's MOH entry is one of the more disjointed ones. It concerns a man who goes to witch doctor to see if she can revive his dead wife. She tells him the tale of a man named Haeckel, a Frankenstein type who was obsessed with making life out of death. That is, until one day he's traveling to visit his dying father and ends up staying with a woman with zombiephilia. It's refreshing to see an episode that's a period piece, but the lack of a cohesive story structure really hinders it. I would have liked to have seen more Clive Barker (who wrote the short story one which the episode is based) and less Mick Garris (who adapted it.) It is a fairly nasty episode and there are a few effective scare scenes. The ending is really gross and silly in a good way, but perhaps I only took at as that because everything that came before it was somewhat dull.
MASTERS OF HORROR: HAECKEL’S TALE (John McNaughton, 2006) **1/2
Bunuel197626 November 2008
Intriguing yet all-too-familiar and, therefore, middling entry in the “Masters Of Horror” series; interestingly, it had first been offered to George A. Romero (who was unavailable) and Roger Corman (who had to decline because of ill-health) – their original option was a natural, since the episode deals with zombies in a period setting. Still, the final choice of director wasn’t an entirely happy one – even if McNaughton was perfectly capable of handling intense gore (HENRY: PORTRAIT OF A SERIAL KILLER [1990]) as well as twisted sex (WILD THINGS [1998]), the intended Gothic atmosphere is largely dissipated through the dreary and utterly flat look which (regrettably) has virtually become the standard in today’s TV and film work!
Anyway, the narrative deals with a young follower of Dr. Victor Frankenstein(!) in the re-animation of corpses – though the first experiment he conducts (before a disbelieving audience) sees his female subject burned to a crisp(!), he’s later advised to seek the help of an itinerant necromancer. Dubbing him a charlatan after he brings a dog back to life, the scientist leaves to attend to his dying father – but, on the way, he’s taken in by an old man who tells him it’s not safe to rest beside a cemetery at night. The latter is married to a much younger girl, who naturally elicits the studious hero’s attentions (of which the husband is fully aware).
That night, the scientist is surprised to see the necromancer visit the couple – after which, the girl exits the house; the young man goes after her against the elder’s pleas not to interfere. It turns out she had been married to another, who has died – but her passion is so strong that the girl has the necromancer resuscitate him to keep their sex life going(!)…for which not only are his buried ‘neighbors’ invited to join in, but the union had even borne her a monster child! Witness to all this, the hero obviously tries to put a stop to it by shooting the necromancer dead…though when the second husband intervenes, he’s attacked and feasted upon by the living dead – while the scientist himself faints.
So far so good (that is to say, not that bad) – but the film is bookended by a sequence depicting the request of a grief-stricken young man to an old woman who’s said to be capable of raising the dead (during which Haeckel’s Tale itself unfolds). However, the ending – involving the wholly unsurprising revelation of the old lady as the girl in the story (though she looks nothing like the petite sexy actress of her younger guise!), who then informs the men in her life (i.e. two husbands, necromancer and scientist), obviously zombified yet conveniently residing inside the house, that dinner is served, all the while bottle-feeding her repulsive baby – is at once unnecessary, heavy-handed and potentially campy!
Anyway, the narrative deals with a young follower of Dr. Victor Frankenstein(!) in the re-animation of corpses – though the first experiment he conducts (before a disbelieving audience) sees his female subject burned to a crisp(!), he’s later advised to seek the help of an itinerant necromancer. Dubbing him a charlatan after he brings a dog back to life, the scientist leaves to attend to his dying father – but, on the way, he’s taken in by an old man who tells him it’s not safe to rest beside a cemetery at night. The latter is married to a much younger girl, who naturally elicits the studious hero’s attentions (of which the husband is fully aware).
That night, the scientist is surprised to see the necromancer visit the couple – after which, the girl exits the house; the young man goes after her against the elder’s pleas not to interfere. It turns out she had been married to another, who has died – but her passion is so strong that the girl has the necromancer resuscitate him to keep their sex life going(!)…for which not only are his buried ‘neighbors’ invited to join in, but the union had even borne her a monster child! Witness to all this, the hero obviously tries to put a stop to it by shooting the necromancer dead…though when the second husband intervenes, he’s attacked and feasted upon by the living dead – while the scientist himself faints.
So far so good (that is to say, not that bad) – but the film is bookended by a sequence depicting the request of a grief-stricken young man to an old woman who’s said to be capable of raising the dead (during which Haeckel’s Tale itself unfolds). However, the ending – involving the wholly unsurprising revelation of the old lady as the girl in the story (though she looks nothing like the petite sexy actress of her younger guise!), who then informs the men in her life (i.e. two husbands, necromancer and scientist), obviously zombified yet conveniently residing inside the house, that dinner is served, all the while bottle-feeding her repulsive baby – is at once unnecessary, heavy-handed and potentially campy!
Not for most people
timhayes-12 April 2006
Warning: Spoilers
There's a lot in Haeckel's Tale that makes it s strong contender for one of the better films in the Masters Of Horror lot. First off, its a period piece which in this genre is rare these days. Scodnly, there's some great acting. Thirdly, the atmosphere is to die for. Director John McNaughton has filmed a near perfect episode in that regard. Fourthly, its adapted by series creator Mick Garris from a Clive Barker story so there is pedigree here. And finally, there are zombies that look like they just shambled out of Lucio Fulci's early eighties gore classics. Nice! What really pulls the episode back down to the bottom of the pile after all these wonderful points is the fact that its about a woman who has sex with her deceased husband. Add on that the titular hero has a jones on for her as does her current husband and seemingly every other zombie in the graveyard and you get one heck of a rotting orgy of the the dead. Its just that after that titillation, there's no other legs for the story to stand on so it falls flat on its face. this would have played far better as a full feature with the masters segment that is presented being only a small scene in the film (say 10-20 minutes of the runtime) Then it might have had impact and many of the threads that are left dangling would have been tied up. A failure. Still better than Fair Haired Child, though.
Haeckel's Tale
Scarecrow-8820 December 2006
Warning: Spoilers
Nasty piece of business from director John McNaughton has atheist scientist Ernst Haeckel(Derek Cecil)finding out that his father is gravely ill, and as he is returning to his home runs into a couple who have had dealings with a man he knows from his past..a necromancer named Montesquino(Jon Polito)who can bring the dead back to life. There's a catch, however, and that is the dead remain in their same condition..and thirst for flesh as all zombies apparently always do.
The couple Haeckel meets on his journey home is an old man named Wolfram(Tom McBeath)and his lovely, very young wife, Elise(Leela Savasta, who has an incredible body). Elise has need of the necromancer as her love and devotion is to one man..her dead husband! So here is Haeckel in amongst all this madness ceaselessly trying to find out how to send the dead back to their graves, but understanding futilely that there is no way.
This yucky MOH offering has some wild sex scenes between Elise,who really lets go and makes the sexual love-making with a corpse erotic in the disgusting sense. There is gut-munching for zombie fans and even a homage to FRANKENSTEIN thanks to an inspired Mick Garris teleplay. Garris uses a narrative device from an old female necromancer telling some poor sad soul(who has returned from his beloved wife's funeral and wishes her resurrected)this tale of what Haeckel experienced. There's an ending only a horror fan could love..it is indeed a unique twist to cap it off.
I'm not real fond of the idea showing sex with corpses, but there is a built in audience for this sort of thing. McNaughton relies on some mediocre filler scenes designed to make a person jump(such as a dead pederast hanging from a noose or a stones falling from a hole in the wall housing rats)which take away from the overall story. This shows signs of a mini-film having to work through a plot rather quickly instead of giving it the proper development it really does need.
The couple Haeckel meets on his journey home is an old man named Wolfram(Tom McBeath)and his lovely, very young wife, Elise(Leela Savasta, who has an incredible body). Elise has need of the necromancer as her love and devotion is to one man..her dead husband! So here is Haeckel in amongst all this madness ceaselessly trying to find out how to send the dead back to their graves, but understanding futilely that there is no way.
This yucky MOH offering has some wild sex scenes between Elise,who really lets go and makes the sexual love-making with a corpse erotic in the disgusting sense. There is gut-munching for zombie fans and even a homage to FRANKENSTEIN thanks to an inspired Mick Garris teleplay. Garris uses a narrative device from an old female necromancer telling some poor sad soul(who has returned from his beloved wife's funeral and wishes her resurrected)this tale of what Haeckel experienced. There's an ending only a horror fan could love..it is indeed a unique twist to cap it off.
I'm not real fond of the idea showing sex with corpses, but there is a built in audience for this sort of thing. McNaughton relies on some mediocre filler scenes designed to make a person jump(such as a dead pederast hanging from a noose or a stones falling from a hole in the wall housing rats)which take away from the overall story. This shows signs of a mini-film having to work through a plot rather quickly instead of giving it the proper development it really does need.
Eternal Love
claudio_carvalho26 January 2008
In the nineteen century, a man seeks help with a necromancer, asking her to revive his beloved wife. The woman advises him that the process could be dangerous, since she can bring the body back, but not necessarily the spirit and proposes him to listen to Haeckel's story to help in his decision. Ernst Haeckel (Derek Cecil) is a cocky medical student fascinated with resuscitation. When the illness of his father becomes terminal, he travels to visit him and in his journey he meets the necromancer Montesquino (Jon Polito), who claims to have the ability to bring the dead back to life. While preparing to spend the night nearby a cemetery, the old man Wolfram (Tom McBeath) offers him shelter in his home, telling him that it would be very dangerous to stay near the necropolis. Haeckel accepts the invitation and meets his young wife Elise Wolfram (Leela Savasta). He feels seduced by the sexy woman, and sooner he finds her eternal love for her deceased husband.
"Haeckel's Tale" is a great erotic zombie tale and one of the best episodes of "Masters of Horror". The atmosphere is creepy, and the Canadian is one of the sexiest actresses I have ever seen. Her sensual "zombie gang bang" is morbidly fascinating and absolutely original, but not for conservative and bigoted audiences. My vote is eight.
Title (Brazil): "A Terrível História de Haeckel" ("The Terrible Story of Haeckel")
"Haeckel's Tale" is a great erotic zombie tale and one of the best episodes of "Masters of Horror". The atmosphere is creepy, and the Canadian is one of the sexiest actresses I have ever seen. Her sensual "zombie gang bang" is morbidly fascinating and absolutely original, but not for conservative and bigoted audiences. My vote is eight.
Title (Brazil): "A Terrível História de Haeckel" ("The Terrible Story of Haeckel")
Erotic Nights of the Living Dead...
The_Void21 August 2006
I don't think I'm on my own when I say that the first few episodes of the Masters of Horror series were largely disappointing; but the series certainly took a turn for the better mid-way through, and alas; it ended up being minnow Masters of Horror; Lucky McKee and William Malone that delivered the best episodes, while John McNaughton isn't far behind. Whether or not McNaughton is actually a master of horror is debatable; as Henry: Portrait of a Serial Killer aside, his successes have all been outside of the genre. But whether or not his past credits warrant his presence is beside the point, as McNaughton steps into zombie master George A. Romero's shoes nicely. The episode is based on a short story from the great Clive Barker, and features themes of necromancy and bringing the dead back to life. Haeckel's Tale might not be very original, but the way that all the story elements are brought together is superb, and this instalment certainly never lets its audience know what is going to come next, as the story jumps from science to magic, while still retaining the same basic point. I was surprised at how much gore was featured in this episode given that it was made for TV, and the pivotal sequence involving zombies towards the end is a major highlight. Overall, I won't hesitate to name this as one of the best of the Masters of Horror efforts, and it gets a big thumbs up from me!
Very atmospheric
rlaine25 August 2010
I've watched maybe five episodes so far and this is by far the best I've seen yet for one particular reason, the late 19th century set design and atmosphere. There are way too few movies which portray the gloomy side of this era, graveyards, fireplaces, darkness, it's all there. Perfect watch for a rainy autumn night. There is a bit of an studio like feel to some scenes, but it doesn't make it any less attractive.
I must say I wasn't too keen on the necrophilia part, but for what it's worth, it could've been a lot more disturbing. This is more of an old school "fun" horror. And even tho there is a bit of gore, it's not disturbing as it has been in some episodes.
Watch it for the atmosphere, not so much for the story.
I must say I wasn't too keen on the necrophilia part, but for what it's worth, it could've been a lot more disturbing. This is more of an old school "fun" horror. And even tho there is a bit of gore, it's not disturbing as it has been in some episodes.
Watch it for the atmosphere, not so much for the story.
Just Plain WRONG On So Many Levels...
cchase14 March 2006
Warning: Spoilers
HAECKEL'S TALE is directed by John McNaughton (THE BORROWER and HENRY: PORTRAIT OF A SERIAL KILLER), with an assist from zombie master George Romero (although how much of a part he played in this ep's completion, I couldn't say.) MOH creator Mick Garris adapted Clive Barker's short story, and I would like to believe that a LOT of liberties were taken in the process, from having seen the finished product.
Clive proved that he was adept at bringing his own work to the screen with the classic HELLRAISER, but others seem to have a little trouble translating the stunning, horrific yet elegant prose stylings of the author in a similar fashion. I don't know if having too many chefs stirring the pot might've resulted in the "hacking" of HAECKEL'S, and it's even more difficult to say without having read the original source material. But unless tales that combine the undead gut-munching of Lucio Fulci, the B-movie vibe of AIP knockoffs and the softcore smarm of Showtime After Dark gives you a chubby, you might want to steer well away from this wreck.
It begins stylishly enough, just like an old Roger Corman pic. A young man seeks the services of an aging necromancer, who reluctantly agrees to resurrect the man's recently deceased bride, but only if he agrees to listen to the tale of a man who came before him, one Ernst Haeckel, who believed that he could unlock the secret to raising the dead.
An admirer and acolyte of the experiments conducted by Dr. Viktor Frankenstein, Haeckel is your garden-variety Herbert West wanna-be, whose initial attempts at resurrection are about as successful in kind. As Fate would have it, he meets with the mysterious Professor Montesquino, (a robust performance by character vet Jon Polito), who challenges Haeckel's staunch belief in science with his own supernaturally-based skills, which the young doctor snidely dismisses outright.
Fate throws in yet another twist as Haeckel receives a tragic note: his father is deathly ill and has little time to live. He decides to make the journey to see his father and maybe help him with what knowledge he has gleaned from his experiments. During the journey, are there more surprises in store? Absolutely, as an old man invites Haeckel back to his cottage to escape the cruelty of the elements, and to meet his stunningly beautiful, much younger wife.
Can you see where this is going yet? Let's just say that the bride of Haeckel's guest prefers her men a little...STIFFER than most, and that Montesquino's involvement in the lives of everyone involved goes a lot deeper than anyone would've dared imagine.
I wish I weren't making this sound better than it actually is. I'm sure the good intentions were there to produce something that drops your jaw in absolute shock, and it does achieve that goal...just not in a good way.
The story shares some of the same qualities as JENIFER, but where that episode rooted itself firmly in the rules and the scenario it had established, TALE takes a left turn into absolute absurdity once Haeckel meets his wizened benefactor, and then never recovers. How did the old man come to be married to such a beautiful bride? How did they both become involved with Montesquino? Besides a madness caused by unending love and devotion, what would make the woman want to sleep with her undead husband, and why would he share the wealth with his rotting compatriots? I don't mind a noble attempt to combine horror movie genres, as long as the creative team making the attempt can make it work, and work well. There are more loose ends in this story than the steaming entrails ripped fresh from a screaming victim's heaving gut, (and that's the LEAST graphic image in this ep!) Just call me old-fashioned, but if the main purpose of this TALE was to see a lovely young thing get gang-banged by the extras from DAY OF THE DEAD, then you just lost me.
Sorry, people, but in good conscience I can only dub HAECKEL'S TALE the worst of the MOH lot. * out of **** stars.
Clive proved that he was adept at bringing his own work to the screen with the classic HELLRAISER, but others seem to have a little trouble translating the stunning, horrific yet elegant prose stylings of the author in a similar fashion. I don't know if having too many chefs stirring the pot might've resulted in the "hacking" of HAECKEL'S, and it's even more difficult to say without having read the original source material. But unless tales that combine the undead gut-munching of Lucio Fulci, the B-movie vibe of AIP knockoffs and the softcore smarm of Showtime After Dark gives you a chubby, you might want to steer well away from this wreck.
It begins stylishly enough, just like an old Roger Corman pic. A young man seeks the services of an aging necromancer, who reluctantly agrees to resurrect the man's recently deceased bride, but only if he agrees to listen to the tale of a man who came before him, one Ernst Haeckel, who believed that he could unlock the secret to raising the dead.
An admirer and acolyte of the experiments conducted by Dr. Viktor Frankenstein, Haeckel is your garden-variety Herbert West wanna-be, whose initial attempts at resurrection are about as successful in kind. As Fate would have it, he meets with the mysterious Professor Montesquino, (a robust performance by character vet Jon Polito), who challenges Haeckel's staunch belief in science with his own supernaturally-based skills, which the young doctor snidely dismisses outright.
Fate throws in yet another twist as Haeckel receives a tragic note: his father is deathly ill and has little time to live. He decides to make the journey to see his father and maybe help him with what knowledge he has gleaned from his experiments. During the journey, are there more surprises in store? Absolutely, as an old man invites Haeckel back to his cottage to escape the cruelty of the elements, and to meet his stunningly beautiful, much younger wife.
Can you see where this is going yet? Let's just say that the bride of Haeckel's guest prefers her men a little...STIFFER than most, and that Montesquino's involvement in the lives of everyone involved goes a lot deeper than anyone would've dared imagine.
I wish I weren't making this sound better than it actually is. I'm sure the good intentions were there to produce something that drops your jaw in absolute shock, and it does achieve that goal...just not in a good way.
The story shares some of the same qualities as JENIFER, but where that episode rooted itself firmly in the rules and the scenario it had established, TALE takes a left turn into absolute absurdity once Haeckel meets his wizened benefactor, and then never recovers. How did the old man come to be married to such a beautiful bride? How did they both become involved with Montesquino? Besides a madness caused by unending love and devotion, what would make the woman want to sleep with her undead husband, and why would he share the wealth with his rotting compatriots? I don't mind a noble attempt to combine horror movie genres, as long as the creative team making the attempt can make it work, and work well. There are more loose ends in this story than the steaming entrails ripped fresh from a screaming victim's heaving gut, (and that's the LEAST graphic image in this ep!) Just call me old-fashioned, but if the main purpose of this TALE was to see a lovely young thing get gang-banged by the extras from DAY OF THE DEAD, then you just lost me.
Sorry, people, but in good conscience I can only dub HAECKEL'S TALE the worst of the MOH lot. * out of **** stars.
Haeckel's TERRIBLE story
Fernando-Rodrigues21 November 2020
A creepy Gothic tale that's well done
super marauder9 June 2013
When I found out this was a Clive Barker story I expected a lot of sex and gore, so I was prepared. What I wasn't prepared for was a good story.
It takes place in the late 1700s or early 1800s in a non-specific place in early America. A grieving gentleman speaking old English very well comes to a house to see a woman who is rumored to be a necromancer. He begs her to bring back his wife from the dead, but she tells him to be sure that's what he really wants. After he says yes, she agrees if he would sit down and listen to her story about Ernst Haeckel.
Ernst is a physician who believes in science above all else. Not only does he want to save lives, he wants to bring people back from the dead. (There is a great Frankenstien reference here!). After hearing that his father is dying, he begins a journey to be by his side. He spends the night at an older gentleman's cottage only to find that he has a beautiful younger wife.
I'm skipping some broad strokes here because this because I feel this a very warm story about true love with a horror element.
As a movie it is very well acted, the costumes and sets give it that old world feel. And yes! There is sex in it but I myself don't feel it's trashy and done only for shock value. It has a point.
In the end, for me it's an old fashioned campfire story that that I enjoy. And coming from the mind of Clive Barker, I'm very surprised! There is a good story here.
It takes place in the late 1700s or early 1800s in a non-specific place in early America. A grieving gentleman speaking old English very well comes to a house to see a woman who is rumored to be a necromancer. He begs her to bring back his wife from the dead, but she tells him to be sure that's what he really wants. After he says yes, she agrees if he would sit down and listen to her story about Ernst Haeckel.
Ernst is a physician who believes in science above all else. Not only does he want to save lives, he wants to bring people back from the dead. (There is a great Frankenstien reference here!). After hearing that his father is dying, he begins a journey to be by his side. He spends the night at an older gentleman's cottage only to find that he has a beautiful younger wife.
I'm skipping some broad strokes here because this because I feel this a very warm story about true love with a horror element.
As a movie it is very well acted, the costumes and sets give it that old world feel. And yes! There is sex in it but I myself don't feel it's trashy and done only for shock value. It has a point.
In the end, for me it's an old fashioned campfire story that that I enjoy. And coming from the mind of Clive Barker, I'm very surprised! There is a good story here.
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