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the w o o l a m a l o o gazette edinburgh, scotland, literature, photographs, movies, beer, cats and satire search main menu skip to primary content skip to secondary content home about post navigation ← older posts creeping folk horror in dogged posted on july 11, 2018 by joe reply dogged , directed by richard rowntree , starring sam saunders, debra leigh-taylor, nadia lamin, philip ridout, jo southwell, aiysha jebali, toby wynn-davies richard rowntree has being paying his dues in the movie business for years, working on all sorts of productions large and small, crafting some of his own short films, and now his directorial feature debut, dogged. and it is a rather tasty, creepy slice of british folk horror at that. young sam (sam saunders) returns to his home, a small island whose causeway is submerged twice a day at high tide, leaving it isolated. the opening montage of rural and coastal scenes would normally be restful, but rowntree picks angles and perspectives that right from the start convey an impression of something wrong, something out of kilter, of leaving the regular world behind and entering somewhere that conforms not to society’s wider norms but to its own, secretive rules. just to reinforce the unwelcoming atmosphere, his father picks him up by the causeway without so much as a “hello”, just a bad-tempered “hurry up, the tide is coming in”, while the signs where causeway meets the island all make clear visitors are not welcome here. sam was born and raised on the island, but escaped its cloying, inward-looking small community to go to university. he’s only returned now, reluctantly, to attend the funeral of the young daughter of one of their neighbours, supposedly killed in an accidental fall from the cliffs. except sam finds it hard to believe this was an accident, all the local kids know to avoid the cliffs… at the memorial service in the small local church the vicar (a superbly, quietly menacing and creepy toby wynn-davies) gives a sermon which seems more of a veiled warning to the mourners than it is a message of hope or comfort. the padre clearly has some power over his local community, more than just a spiritual leader, and he is less than happy to see sam return as he knows his daughter is fond of sam, and this is a man who obviously does not like challenges to his authority. rowntree litters dogged with some inventive camera angles and perspectives that make even a leafy country lane or what should be a comforting house becoming filled with menace, along with other nice little touches (the young couple walking into the local tearoom sees all conversation stop as they are stared at, like a scene from a cowboy saloon in a western). figures are glimpsed in the woods, one even knocks sam from his bike before running off, another is lurking near his gran’s house, and for some reason these young men all run around topless sporting animal head masks. it all builds tension throughout the film – it is clear some in the village are not who they seem, that there are secrets, but what secrets, and are they related to the death of the young girl? sam is as far from the pro-active horror hero as you can get, a young man who has been under his strict father’s thumb for so long that although he tries to investigate he is often fairly passive and pushed along by events and other characters, although it is hard not to feel sorry for him – he has escaped what he thought was an overbearing, isolated community, come back briefly and found himself not only drowning in it once more, but being submerged into darker, hidden depths that he hadn’t known were there.  i’m guessing rowntree didn’t have access to a big budget, but he marshals what resources he has quite effectively. the aforementioned clever use of odd camera angles and perspectives, the expressions on the faces of the locals, the simple sight of half-naked male figures in animal head masks lurking in the woods, all combine to raise the tension steadily, leading to a satisfying final reel. rural horror often plays on the sense of the small, isolated community, and by having this on an island cut off twice a day rowntree increases that sense of isolation and difference, as well as adding a feeling of claustrophobia, both generally (across the whole community) and more personally (sam’s own family) and that “you don’t really belong” sense. i was put in mind numerous times of the original wicker man, which i think rowntree was channeling very well here, offering us a creepy, disturbing slice of brit horror. dogged is out now from left films posted in film | tagged dogged , dvd , film , folk horror , horror , review , reviews , richard rowntree | leave a reply the doctor is in – greta helsing returns in dreadful company posted on july 10, 2018 by joe reply dreadful company , vivian shaw , orbit books ( delectable cover art by will staehle ) “an absolute delight.” that was what i said about the first of vivian shaw’s great helsing novels, strange practice , around this time last year ( see here for the review ). in fact you can see that quote on the back cover of this second book; it really was one of the most enjoyable novels i read in 2017 and made my annual best of the year list. so you can imagine that when the second book, dreadful company, showed up on my desk you would have seen me shiver with anticip…. ation…. did the that difficult “second album” live up to the promise of the first book? nope, in fact it surpassed it; vivian has taken all of the best elements (characters you really get to know and care about, sly sense of humour, clever references, some social commentary), allied them to an intriguing new story and along the way also nicely expanded the world greta and her friend inhabit. greta is, like almost all gps, constantly run off her feet, but her medical practice in london takes in an unusual set of patients, ones who otherwise would struggle to obtain healthcare – vampires, ghouls, werewolves, mummies and more, greta treats any who need it. unusually dreadful company takes her away for a few days, both from her practice and from london, invited to fill in at short notice at a medical conference for those with her unusual selection of patients, greta is in paris for a few days. lord ruthven returns from the first book (yes, that lord ruthven) and he is delighting in escorting greta, treating her to the finest the city of light has to offer – sumptuous hotel, elegant evening dress, a night at the opera in the palais garnier. vivian has a delicious line in descriptive prose, and here the overly ornate opera house decor as possessing the “same kind of uninhibited, glittering cheer as a polished drag queen’s performance.” the use of the opera house offers up the first in a number of references to one of the great classics of horror literature, gaston leroux’s phantom of the opera, even down to a scene on the grand staircase where ruthven feels as if another presence is watching them close by (a nice nod to the 1920s film version of phantom with lon chaney snr, which used some remarkable early colour for the staircase scene and remains an astonishing piece of early cinema). of course they are indeed being watched, there are local parisian vampires at the opera – opera being one of those things that just attracts vampires, as is noted wryly in the book. and it isn’t long after ruthven has to take his leave that greta finds herself in trouble, snatched by the leader who has an entire coven of vampires in the infamous catacombs near the père lachaise cemetery (where else??), and this leader has a grudge against ruthven, putting greta in a huge amount of danger. ( the ball sequence in the opera house from the 1920s phantom of the opera ) into this mix come new characters such as the werewolf st germain (a nod to the famous vampire novel series?), who is effectively the supernatural protector of paris. in a nice touch st germain’s origins allude to the real historical mystery beast of

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