Tale of Tales – Movie Review

Genre – Adult Fantasy/Horror
Length – 2hr 14mins
Released in – 2015
My Overall Grading – 4 Stars

Tale of Tales (2015) is that blend of gothic fantasy weirdness which usually immediately catches my attention. As soon as I watched its suggestive atmospheric trailer, I craved to behold the whole movie, and I must say, I wasn’t disappointed.

Let me say this first and foremost – if you’re expecting yet another re-imagining of some popular children’s fairytale like Cinderella or Snow White, you’ll be disappointed. Actually, not even those narratives commonly known as fairy tales are meant for children at all, and only started to be projected that way for the multitudes, after severe editing and further changes by various 19th century writers, such as Charles Perrault and the Grimm Brothers .

Tale of Tales, an Italian-Franco-British production derived from the 17th century collection of tales known as Il Pentamerone and written by Neapolitan poet Giambattista Basile, can be described as an adult fantasy horror, or at best, a metaphorical cautionary tale.

Sinister, yet strangely sensual. Strange but graceful. Haunting yet moving. This movie is a strange experience and definitely not for children. Tale of Tales has three different and yet finally entwined story lines. On the one hand, we encounter the King and Queen of Selvaoscura, who, true to fairy tale canon, are having difficulty producing an heir. A wandering wizard tells them that to do this, they must find and kill a sea monster, and the Queen (Salma Hayek) must eat its heart. It’s portrayed as a horrifyingly huge bloody mass where she eagerly devours the organ on a silver platter.

The second tale takes us to Roccaforte, where a sexually voracious and dissolute king – played by Vincent Cassel – spies on a woman shrouded in a mantle, whom he believes to be a pretty young beauty, but who in reality is a hideous old crone. The crone’s only treasure is her loving relationship with her sister, who is also an old woman. The king hounds what he believes to be a new conquest, bullying and pressing the two sisters, who don’t know which way to turn without revealing their true identity and being punished for it.

The third story arch follows the King of Altomonte and his daughter Violet. The King (Toby Jones) is a shallow and comic creature, prioritizing the care of an unusual flea over that of his own daughter.

Throughout the three story-arches, the one constant emotion is that of obsession, which, we are shown, is the heart of all evil. Obsession vies with what is supposed to be the love of someone’s family. The Queen of Selvaoscura is obsessed with her son, which is why she seeks to destroy any ties he could have with other people. The King of Roccaforte is obsessed with claiming every young woman he sets eyes on, which results in betrayal, suffering and death. The King of Altomonte and his ridiculous obsession with the flea to the exclusion of all else brings about terrifying consequences.

Flea-petting, heart-eating, rape, flaying, betrayal, morbid jealousy… All this and more makes the movie a very strange and curious beast; a truly horrific Renaissance fairy tale. No wonder that, unlike other tales penned by Basile, these three weren’t even adapted to be read by children. Other tales of his, however, have inspired more well-known fairy tale writers such as Hans Christian Anderson and the Brothers Grimm. In this case, the three tales explored and adapted for the screen – The Enchanted Doe, The Flea and The Flayed Old Lady – serve as a dark metaphor to show that real love of one’s family members doesn’t mean warping them into suiting our own wishes and desires, but accepting them for who they are, even if this means letting them go.

The movie also sports beautiful visuals, as filming locations include stunning palaces, haunting forests and beautiful gardens in Naples, Tuscany, Abruzzo and Lazio, amongst others.

I truly recommend this movie to all those who are lovers of the unusual and the artistic – those who appreciate dark humor and black comedy, and who enjoy finding revelations of the truth couched in veiled metaphors and tragic-comic allegory, rather than stark black and white fables.

A version of this article written by me was originally published on Eve magazine.

Outsider

I don’t know how old I was, when I first became  aware of the bubble.

Crouched in a hollow darkness, I always felt as if I was enclosed in a sphere of shadows. A liquid-like transparent force creating a barrier between me and the rest of the world. In slow motion, I moved within it, out of sync with every one else. Almost matching… almost, but not quite.

Maybe it was the terror, that harsh violent presence which made me stutter and hesitate, which first created the circular protective barrier. Or maybe it was the cruel indifferent light reflecting off everyone else which first brought it into being. For sure, my awareness of it only strengthened it. My shield. My cage.

For a time, I believed it had gone. Disappeared with a pop. Finished. For a time, I thought I was here, un-veiled, un-masked, just like everybody else.

Of course, I was wrong.

My bubble is still here. It is dark, dank, comforting. Like an old musty blanket I can clutch around me and slap over my eyes whenever I see something which should not be. I am still here, in a way. But really, I am not. Because I do not want to be. I am not with you. I am not with anyone. And no one is with me. No one looks at me. No one wants to.

In the end, the bubble does not make that much of a difference after all.

Susan Waitt’s Night Gallery – Halloween Interview

My first personal meeting with American artist Susan Waitt occurred some years ago at a private spiritually-themed event and reception, taking place in a certain ex-bordello in Valletta. Her colourful, vibrant outlook and curiosity immediately struck a chord. A Scorpio, the Connecticut-born artist worked as an illustrator for a Disney studio in Massachusetts, hosted her own American TV talk show and was an artistic director and writer for Liquorish TV, to name but a few of her achievements.

On the other hand, her gothic, surreal artwork seems to spell quite a different character; more dark, more mysterious, but still very intriguing. Waitt’s perception seems to filter and reproduce vagrant metaphysical ideas of succubi and the supernatural; sinister presences which may as well hide within each and every one of us, or even behind the closed door around the corner.

What prompted you to come to live in Malta?

Originally, I came here to co-organise an international conference on the consciousness of the Megalithic Temple builders, and somehow, I never left. I’ve lived in Malta for nine years.

From Disney artwork to the grotesque: How did one category of art evolve into the other?

The concept of the grotesque in art and literature speaks to something profoundly basic about human nature, and the nature of existence itself. In fact, Disney perfected for a general audience the interplay of paradoxical opposites such as fear and laughter, aggression and playfulness, and the merging of bizarre, carnivalesque atmospheres with rational and logical realities. Think of all the terrifying moments in Bambi, Peter Pan, and Snow White to name just a few animated feature films. My art evolved from this quite naturally, in that I felt like it was part of the whole circle of life, since the spectrum of experience was all there in Disney already.

 

Of course, I was always drawn to Bosch, Goya, Fuseli, Moreau, Dali and many other artists who portrayed what was dark, subterranean and wrapped in ineffable mystery. Now, having grown older and somewhat wearier of the world, it often appears to me that there are also precious gifts within the darkness of the human mind – depth, profundity, nuance and complexity. Intense contrasts of light and dark add a sense of drama and therefore a sense of awe. Awe is a key aspect of the experience of the sublime.

Is there a particular unifying theme within the exhibition?

I deliberately used Victorian Spiritualism and mediumistic séances together as a unifying trope or motif, because I felt it represented the collective desire of humanity to probe the unspeakable enigma at the centre of existence.

What is your method of creation?

For many years I painted in acrylics only, especially for large-scale mural projects. Now with my studio work, I usually first execute an unfinished acrylic under-painting, usually on a toned background and then finish in oils. When I was working as a commercial book illustrator for Disney and Fisher Price, I was constrained to lay out book galleys meticulously. That required sketching and sometimes re-sketching scenes and finishing with inks, water colours and airbrush. In recent years, I started executing artworks with the same absolute freedom and energy that I had usually reserved for my free-time sketching and doodling. I’m producing art directly onto the canvas now.

 

 

This article/interview appeared on EVE Magazine on 22.10.2016 – Please follow the link to read the rest of it: http://www.eve.com.mt/2016/10/22/susan-waitts-night-gallery-the-uncanny-the-sublime/

Insomnia

I cannot save you
While the blood rages and the heart moans
I cannot save you
As you look askance at the twisted vines
I cannot save you
Your gaze is too suspicious, your mind is too old

Let go
Of all those moments of rank belittilement
Let go
The gnashing thunder within your veins
Let go
Those tears of madness you are still hiding

You know
They clamor ever hungry for reprisal
You know
Your violent flame is roaring for more
You know
This is the reason why sleep flees

And yet
The pounding surf cannot be silent
And yet
That vortex of hate will not be still
And yet
Your eyes will always spit blood and flame

And that, is why
I cannot save you
Unless you save yourself
And dream

© M_Moonsong

Before Tea Time

She had stolen mother’s lipstick. Her crimson gash of a mouth was stretched in a satisfied smirk. Her dirty bitten finger-nailed hands opened and closed slightly as she held D. My treasure. My hope. My friend.

I asked her to let her go.
First, I asked her softly. Tears hidden. Lips rubbery.
Second, I asked her mockingly. Hands behind my back. Flawless syntax.
Third, I asked her forcefully. Cheeks cherry with rage. Feet shuffling.

She only laughed.

I rushed at her and it was over suddenly. That bubble gum face disappearing down the stairs. The surprisingly tepid thump as she hit the bottom. Those clutching hands, broken, lifeless under a twisted back.

I looked at Dolly. Dolly looked at me. A wave of love and compassion stole over me. Poor dear had her hair all plastered to her head. Time for some tidying up.

© Melisande Moonsong

This is a quick piece of flash fiction I wrote for the ‘Ad Hoc Fiction Competition‘. Don’t really expect to win anything, but it was fun to do.

ANNIVERSARY of Edgar Allan Poe’s Mysterious Death!

‘I became insane, with long intervals of horrible sanity’ – Edgar Allan Poe

Technically, this was yesterday, but I only realized today.

Edgar Allan Poe, his works, and his life, have always had a special fascination for me. He is the daddy of the horror genre and the supernatural mystery. His poems especially are so full of dark romantic agony, that they called to my trembling brimful heart from a very young age. Poe, who married his cousin a child bride of 13 who died only 2 years after the marriage (she was 15). Poe, who forever after wrote sad poems lamenting his pure innocent lost love. Poe who was given to bouts of depression, took laudanum and was a drunk, but published brilliant detective stories, the first of their kind. Poe, who always had a kind of mythological terror of cats, because for him they symbolized the dark wild part of himself, and who feature again and again in small ways in almost all of his prose-work.

Poe who mysteriously and inexplicably died 166 years ago, yesterday.

Most people erroneously believe he died of his alcoholism but that is not the case. First of all, though he was a known alcoholic, he is reported to have not touched a drop for ages. Also, the person who found him, alone, confused and wandering, in the dark a week after he had disappeared from his home on the way to New York, said he looked sick but not drunk. Secondly, let us keep in mind that the person who wrote Poe’s biography after his death, Rufus Wilmot Griswold was a hated rival who was trying to portray him as badly as possible. He said he was ugly, dirty and unkept, a drunk, a brute and a savage. To which others, Poe’s doctor included, attested he was not. Unfortunately, there was no autopsy done on Poe’s body, and all his medical documents were ‘lost’, so there is no record of what actually took place.

Theories abound. Some say he died of a heart-attack. Some that it was suicide (he had already overdosed on laudanum once), which is not possible since he was ‘found’ wondering the streets. Some say it was diabetes or tetanus.

Like Poe’s marvelluous detective mysteries, his death too, remains a mystery. Still he played and still plays a big influence on my mode of thought, not to mention my writing and my tastes. ALL HAIL EDGAR ALLAN POE – MASTER OF TERROR!

Btw this is a very good article on his death – http://www.openculture.com/2015/10/the-mystery-of-edgar-allan-poes-death-19-theories-on-what-caused-the-poets-demise-166-years-ago-today.html

Enjoy 🙂

Lohri – Another aspect of Yule

I did not write about Yule last December, basically because everyone else did. We all know what Yule is – it is a celebration of life which takes place during the longest night of the year. When the year is at its coldest and the earth is the furthest away from the sun, which physically takes place on the 21st of December – the Winter Solstice, when the Goddess brings forth the God in darkness, as a sign that from now on, all will be life again.

It is a festival of the sun, which is present in its absence. It is a time of joy amid the terror. A time to remember what we have, when it all seems so distant and far away.

I did not write about Yule, but now I wish to at least mention the Festival of Lohri, which takes place in India today, on the 13th of January. Lohri is another manifestation of Yule, celebrated in a Northern region of India. People come out of their homes to celebrate their winter crops, of which the main one is wheat. They celebrate the promise of what is to come. Renewed life.

In the evening, with the setting of the sun, huge bonfires are lit and the people dance and sing around them, praying for abundance and prosperity. Lohri celebrates fertility and the joy of life.

As we move closer to the feast of the Goddess Eostre, who with her eggs and hares, symbols of fertility, leads us to the Spring Equinox, we sing in joy and are grateful for the life, the love, and the beauty which surrounds us. We let go of the ugliness and minutiae which clog us down everyday, and bask in the light of those who came before.

She of the Venomenous Name

Smear it over me, let me bathe in it
Tip my breasts with gobs of scarlet heat
My hands mold and shape cavernous monsters of hatred
My tongue licks it up in a tense explosion of lust

She gnaws at me from the inside
this invisible creature inside my head,
prodding and prying at my weakest spots
scurrying silently in the hard shiny darkness

Always, she is present
eroding away at the maggoty substance of my brain
cheering on the neverending cacophony of shadows
thwarted and twisted by the past

Still, I listen
always unsure whether she be friend or foe
although her words, like twinkling shards, hurt
they are always true after all

She is the ME that can never be forgotten
the ME that can never be forgiven
I have always known her secret name
always been afraid of earning her notice

Her gaze gleams like black oil on a mirror
Grinning teeth smirking at every inconsistency
Paranoid and succulent she awaits for a pause,
a moment, a single excuse to sing her banshee lament

I thank her sometimes, for opening my eyes,
at others I wonder if she merely ripped new ones
hungry for blood she awaits, never sleeping
my Goddess, my lover, my sister in the blood

© M.M