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Don’t Scream: Revisiting Wan & Whannell’s ‘Dead Silence’ (2007)

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“As a preliminary exercise let the learner place himself before a mirror… and endeavor, while in the act of speaking, to maintain a fixity of countenance, a rigidity of the muscles and nerves of the face and lips, so that no visible movement may be noticed in them… let him begin by enunciating the vowels fully forward in the mouth, saying, with distinctiveness and regularity, each sound by itself – ah-a-e-i-o-u.”

Australian creatives James Wan and screenwriter Leigh Whannell, famous for their collaboration on several horror films including Saw (2004) and Insidious (2010), and proven admirers of creepy dolls, are undisputed champions of Millenium horror. Their use of dark imagery, startling jump scares, gloomy atmospheres, and imaginative villains dominated 2000s popular culture. While Whannell has proven he is a master storyteller, Wan has solidified himself as a premiere horror director. Yet, despite their talent, their films are not immune to critique, especially their sophomore feature Dead Silence (2007), which had box office trouble and unfortunate reviews.

“Next close the mouth, and rest the upper teeth on the inner part of the lower lip. Be certain that the expression is perfectly easy and natural. Then practice the vowel sounds without disturbing the expression. It will soon be discovered that several different tones can be produced on the same vowel. Begin by forcing the sound against the extreme front part of the roof of the mouth.”

Dead Silence follows Jamie Ashen (Ryan Kwanten) on the hunt for his wife’s murderer after a mysterious ventriloquist dummy named Billy appears on their doorstep in a box with no return address. While Jamie goes to retrieve takeout, his wife Lisa (Laura Regan), following a deafening silence, is brutally thrown from their bedroom, and her tongue is ripped out. Jamie arrives home and hears Lisa’s voice coming from the bedroom. He finds her sitting up under the covers, her tongueless mouth agape. Unfortunately, Jamie becomes Detective Lipton’s (Donnie Wahlberg) main suspect in her murder. However, Jamie senses something malevolent took his wife from him.

“Then force the sound against the back part of the roof of the mouth–the palate–still keeping the countenance easy and natural.”

Jamie ventures back to his and Lisa’s hometown of Ravens Fair. Nearly abandoned, Ravens Fair has since been deteriorating from its former glory, having once had a marvelous theater that was celebrated by the town. Also found deteriorating is Jamie’s estranged father Edward (Bob Gunton), now on his fourth wife, the charming Ella Ashen (Amber Valletta). Jamie is adamant that the doll, Billy, has something to do with Lisa’s death. With the help of local mortician Henry Walker (Michael Fairman), Jamie is introduced to the gruesome history of Mary Shaw, the town ventriloquist, and her many children, including Billy.

“Next, practice to stop, or shut off the sound by the upper part of the windpipe. In order to ascertain the exact spot here indicated, perform the act of swallowing and you will find a subdued ‘cluck’ made in the throat at the precise spot where you can develop the power of speaking inwardly.”

Mary Shaw was an expert ventriloquist in 1930s-1940s Raven’s Fair. Wan and Whannell use the once-deemed evil entertaining act as fodder for the film, which only adds to the sinister lore of Shaw. Dating back to Ancient Greece, the act of ventriloquy was performed by engastrimyths (breaking down to ‘in,’ ‘stomach,’ and ‘speech’). According to ventriloquist Valentine Vox, engastrimyths were linked to necromancy, “the ancient art of allowing a dead person’s spirit to enter the necromancer and speak to the living.” In the 16th century, the act of throwing one’s voice or speaking without moving the lips disturbed many, including “disgruntled God-fearers” who “believed mysterious voices emanated from any number of holes in the ventriloquist’s body—from the vagina to the nostrils.” Some centuries later, ventriloquism became more benign. However, its link to spirits and the dead continue to haunt the art’s legacy. All but one child in Mary Shaw’s audience at the Guignol Theater on Moss Lake in 1941 believed her act. Young Michael Ashen interrupted Mary’s show, “I can see your lips moving!” Soon after the brief confrontation between Michael, Mary, and Billy, Michael disappears. The town blames Mary. An angry mob descends upon Mary’s home and cuts out her tongue.

“Let the above be considered the first and most important lesson to be carefully and diligently practiced. Above all, be careful to avoid straining the throat. The power of contraction and expansion must be developed gradually.”

While intriguing and disturbing, this backstory left some audience members and film reviewers unfulfilled. The film barely earned back its budget of $20 million and was given poor ratings by reviewers (Tomatometer: 20%, with an audience score of 51%; Letterboxed score: 2.7/5.0; IMDb score: 6.1/10). When released, Fangoria’s Michael Gingold wrote, “Unfortunately, the story isn’t fresh enough and its people aren’t compelling enough to keep the spookery from seeming old hat… Before Mary’s spirit comes after a victim, all noises drop off the soundtrack… Perhaps that’s what the title Dead Silence is meant to refer to—but too often, unfortunately, it also reflects the likely audience reaction to this film.”

Despite a bumpy start, audiences have returned to Dead Silence over the past decade and have paid their respects to Wan and Whannell’s story, the balance of jump scares and deafening silence, the artistry of Billy and his siblings, and the overwhelming gloomy atmosphere without levity. Additional credit for the bleak atmosphere goes to composer Charlie Clouser. He has worked with Nine Inch Nails and Rob Zombie, and has produced scores for several Saw movies as well as the theme for American Horror Story since 2011.

Reconsider Dead Silence. Mary Shaw belongs in the same category as Bloody Mary and Candyman. The specters of both Mary and Billy earned their place amongst other spooky horror titans that warn you of their seemingly unavoidable evil.

Beware the stare of Mary Shaw
She had no children, only dolls
And if you see her in your dreams
Be sure to never, ever scream…
Or she’ll rip your tongue out at the seam.

Sources:

Fangoria Movie Review: ‘Dead Silence’ By Michael Gingold” March 16, 2019 

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“Inside the World’s Only Museum Dedicated to Ventriloquism.” Smithsonian Magazine May 2, 2019, Jennifer Nalewicki

“The Demonic Origins of Ventriloquism.” Atlas Obscura March 28, 2016, Andy Wright

“How to Begin and Practice Ventriloquism, with Entertaining Dialogues for Rehearsal.” Essay by Antonio Blitz. In The Boys’ Own Book of Indoor Sports and Choice Parlor Games. New York, NY: Hurst & Co., Publishers, 122 Nassau St., 1878

 

 

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Abigail Waldron is a queer historian who specializes in American horror cinema. Her book "Queer Screams: A History of LGBTQ+ Survival Through the Lens of American Horror Cinema" is available for purchase from McFarland Books. She resides in Brooklyn, New York.

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The Best Horror You Can Stream on Shudder in July 2025

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Looks like another July will be spent getting cozy with Shudder in this house. Between all the new (to me) international titles and the conclusion of Hell Motel on July 29th, the app has filled my calendar for the month. Hold my texts, keep your emails in the draft folder, and don’t look for me outside. My TV and I are on a mission, and we’re prioritizing the five titles below. I hope they grab your attention and make it into your Shudder viewings this summer as well. However, I’ll be too busy watching them to know what anyone else is doing, so happy streaming whatever you decide to get into. 

While we have you here, you should consider joining us for Bloody Brunches! Every Sunday at 11 AM CST / 12 PM EST, we’ll be livestreaming a new episode of Hell Motel. Who know’s who you’ll see, sometimes Ian Carpenter and crew stop by!

The Best Movies to Stream on Shudder This Month

Lake Placid (1999)

A small group of people try to capture a gigantic crocodile terrorizing the people of Black Lake, Maine. I am not an aquatic horror girl, and I am usually unimpressed with 90s action horror titles. I make a special exception for Lake Placid though. Sure, it stars Bridget Fonda, Bill Pullman, and Oliver Platt. However, real film buffs know that it’s really the late Betty White who carries this movie. Her foul-mouthed character stood on business and is the reason most of us revisit this title during the summer.

You can watch Lake Placid on July 1st.

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Nyi Blorong (1982)

The South Sea Queen’s daughter rises to take a human lover. I have a long history of disliking snakes and movies about snakes. However, I’m leaning into this 1982 film because I deserve a retro Indonesian horror fantasy moment. I am also excited because it stars the late Suzzanna, the queen of Indonesian horror. I only learned about her a few years ago and wanted to spend some time with her work. As usual, Shudder is making it too easy to become a better cinephile. 

You can watch Nyi Blorong on July 7th.

The Housemaid (2018)

An orphaned girl is hired as a housemaid at a haunted rubber plantation in 1953 French Indochina. Once there, she falls in love with the landowner, which sends the ghost of his dead wife into a jealous rage. I was excited to watch this just because it sounds chaotic, and I do not see enough Vietnamese horror for my liking. However, I recently discovered it is also an IFC Midnight title, so now my expectations are through the roof. IFC has been the home of upsetting, weird, and unique horror since 2010. I have a date with Shudder on July 14th, because I want this movie in my eyeballs the second it becomes available.

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You can watch The Housemaid on July 14th.

Swallow (2020)

A pregnant housewife is compelled to eat dangerous objects, leading her husband and in-laws to become more controlling. Swallow had the misfortune of debuting during the top of the pandemic, so many people missed it. I found it on accident during Thanksgiving back when Showtime still had its own app. It’s quiet chaos that surprised me in a good way. I have been trying to make everyone I know watch it, and Shudder is making that so much easier this month. I am overdue for a rewatch myself, so I will also be hitting play while it’s available this July. 

You can watch Swallow on July 21st.

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Monster Island (2024)

A Japanese ship transporting prisoners of war and a British POW are stranded on an island where a mythical creator hunts them. Can they work together now that their very survival depends on it? I was bummed I missed this movie at Overlook Film Fest this year because all my friends loved it. So, obviously, I am thrilled Monster Island (also known as Orang Ikan) is hitting the Shudders streets so soon. I do not know what the other monster movies are doing this July because my heart belongs to this baby.

You can watch Monster Island on July 25th.

So, as usual, I will be hiding in my apartment and trying to make Shudder Saturdays my personality. I’m running at their international titles like it’s my job and revisiting a few movies I never spend enough time with. I hope your Shudder watches spark as much joy for you as I expect mine will this July. 

 

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‘Bride of Frankenstein’ at 90: Why Universal’s Horror Classic Still Haunts and Inspires

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In the 90 years since its release, The Bride of Frankenstein is still the Universal Monsters franchise’s strongest film.

I first watched The Bride of Frankenstein on cable around 15 years ago. Director James Whale’s fable of a misunderstood creature’s quest for a bride really stayed with me after subsequent viewings. Speaking of The Bride, she’s the Universal Monster with the most potential for a gripping and modern reimagining that hasn’t been fully tapped into yet. Universal’s newest theme park Epic Universe, opening back in May, inspired a deeper dive into The Bride of Frankenstein, the titular role and its legacy.

Unveiling The Bride: The Plot and Power of the 1935 Classic

Immediately following 1931’s Frankenstein, The Bride of Frankenstein centers on Henry Frankenstein (Colin Clive) as the sinister Dr. Pretorius (Ernest Thesiger) urges him to collaborate on creating a mate for The Monster (Boris Karloff). In the meantime, The Monster travels across the countryside, learns to speak, and meets Pretorius. When both scientists complete and unveil The Bride (Elsa Lanchester), she rejects The Monster, motivating him to pull a lever and famously say, “We belong dead.” Pulling the lever ignites an explosion, killing The Monster, The Bride, and Pretorius.

Just as it took two scientists’ minds to create her onscreen, two individuals gave life to The Bride’s characterization and look: Lanchester and makeup master Jack Pierce, who designed nearly all the original Universal Monsters.

The Bride’s Hiss: How Lanchester Stole the Show with Limited Screentime

The Bride not being the film’s main protagonist is ironic since she’s the title character. Making the most of her brief performance, Lanchester’s swan-like mannerisms as The Bride sharply contrast with the humanity Karloff brings out of The Monster. After her dual role as The Bride and author Mary Shelley herself in the film, Lanchester took on more horror film roles like Henrietta Stiles in Willard (1971). It’s not hard to imagine what could’ve been for her career if she reprised her role in The Bride of Frankenstein’s sequels Son of Frankenstein and Ghost of Frankenstein. If a lab explosion couldn’t kill The Monster, wouldn’t it be the same for The Bride?

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Besides the white streaks, Lanchester surprisingly didn’t wear a wig to portray The Bride since Pierce shaped her red hair to look the way it does. Pierce’s work on The Bride is just as iconic if not more so than Lanchester’s performance, ensuring the character became inseparable from her intended suitor in pop culture’s eyes. Case in point: There’s so much officially licensed merchandise playing up a romance between the two characters, even though The Bride can’t stand her intended mate. Beyond Lanchester and Pierce, there is one man responsible for how the film itself would come out.

James Whale’s Masterpiece: Directing The Bride of Frankenstein

Whale stitched great set designs, fantastic performances and composer Franz Waxman’s eerie score together to create a masterpiece.

Having Frankenstein, The Old Dark House and The Invisible Man under his belt by the mid-‘30s, it’s clear Whale creatively peaked while working on The Bride of Frankenstein. Although so much about Whale’s talents has been said, there’s a reason why his work on the film stands out across his filmography: He really went wild when directing it. Every character is practically cartoony, the sets are more elaborate and the plot is thematically richer than the original’s. Being an openly gay filmmaker, he cranked up The Bride of Frankenstein’s camp to legendary heights.

The Bride of Frankenstein is the final horror movie Whale directed. The novel Father of Frankenstein and its film adaptation Gods and Monsters, starring actor Ian McKellen as Whale, dramatize his life after directing the film. According to the reference book Universal Horrors by Tom Weaver, Michael Brunas and John Brunas, he initially didn’t want to direct his horror work’s apex. Just like Henry Frankenstein’s relationship with the monster he created, The Bride of Frankenstein’s production is a case of life imitating art. The Monster’s in-universe infamy further parallels Whale’s Frankenstein duology’s lasting popularity.

How The Bride of Frankenstein Shaped Horror Sequels and Adaptations

The Bride of Frankenstein’s influence can be seen across other horror films and Frankenstein adaptations.

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Having “Bride of” in a horror sequel’s title is synonymous with including the main character’s female counterpart, leading to Bride of Re-Animator, Bride of Chucky, etc. The similarities go further than the titles, with The Bride of Frankenstein inspiring the former’s plot and furthering Tiffany’s arc in the latter. The Bride of Frankenstein inevitably shaped Frankenstein’s future adaptations as well.

Directed by Kenneth Branagh, Mary Shelley’s Frankenstein from 1994 closely follows the original novel. Breaking away from the novel’s narrative, its third act pays homage to The Bride of Frankenstein when Victor brings Elizabeth back to life with similarly brief screentime. Mia Goth’s seemingly red hair on the set of Guillermo Del Toro’s upcoming Frankenstein may hint at her character similarly becoming The Bride.

The Bride’s Untapped Potential for a Modern Horror Remake

With Warner Bros. releasing its own take on the character with The Bride! in 2026, it makes Universal’s reluctance to make a new remake downright egregious.

The Bride is still the literally redheaded stepchild among the Universal Monsters. When it comes to being neglected by Universal, The Creature From the Black Lagoon is the only character who rivals The Bride, but that’s another story. Universal did plan a remake directed by Bill Condon, who helmed Gods and Monsters, for its aborted Dark Universe film franchise.

The Bride’s Absence in Epic Universe’s Monsters Unchained Ride

Looking at Epic Universe, the Monsters Unchained: The Frankenstein Experiment ride apparently leaves The Bride out, even though she makes more sense to be in it than The Phantom of the Opera. However, The Bride does make meet-and-greet appearances across Dark Universe’s grounds.

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Several ideas can be incredible for when Universal finally releases a remake of The Bride of Frankenstein someday. Based on what I’ve heard about 2023’s Poor Things, it’s exploration of a mad scientist’s creation’s experiences in a restrictive society is closer to what a modern reimagining should be. Having a woman behind the camera can lead to a feminist vision, delving into The Bride questioning her life’s purpose.

Until the day a proper remake debuts, the original 1935 film remains The Bride of Frankenstein’s definitive incarnation.

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