As a huge fan of horror films and the brilliant mind behind some of the most thought-provoking and emotionally resonant works in the genre, I can’t help but be captivated by the life and experiences of Mike Flanagan. His unique perspective on trauma, loss, and the human condition shines through in every project he touches.
At the Hollywood Forever Cemetery, where you’d expect a spooky backdrop for a renowned horror director like Osgood Perkins, there’s an unexpected tranquility instead. On a sunny July afternoon, the cemetery is far from the eerie atmosphere – the sky is clear, grass vibrant, and peacocks wander freely, emitting occasional loud calls. This serene, well-maintained burial ground stands out amidst the rundown Santa Monica Boulevard, offering more than just a place for the deceased. It’s also a venue for music events, an outdoor cinema, and a popular tourist attraction due to its famous residents. Contrasting greatly with the dark Pacific Northwest setting of Perkins’ latest film, “Longlegs,” where FBI agent Maika Monroe hunts down a serial killer (Nicolas Cage), this cemetery exudes a far-removed vibe. Even goth girls are seen conducting a DIY photo shoot near the entrance, undeterred by the bright LA sun.
As we pass Mickey Rooney’s grave, which, like many others here, bears a photo of its occupant, I suddenly realize that there might be other reasons why Hollywood Forever Cemetery seems like an eerie gathering place to Perkins. Although his father, famous actor Anthony Perkins, isn’t interred here, it’s understandable for the offspring of a Hollywood legend to have a complex connection to a place that boasts eternal possession of public figures in its title. But when I raise my concerns, he dismisses them with a wave of his hand. “Come on, it’s charming!” Perkins exclaims. He recalls taking his son to Pierce Brothers Memorial Park in Westwood to pass the time while his wife was at an appointment. “We were rolling a ball along, and I was playing with him,” he says. “Suddenly, I looked down and saw that I was standing on John Cassavetes’ grave. I called out to my son, ‘Hey buddy.’ ” Perkins has reached a peaceful acceptance of death that seems at odds with the deeply personal and symbolic horror films he’s created over the past decade.
Perkins, who is 50 and quite tall, has the distinct look of someone who’s spent over a year in Vancouver shooting multiple films back-to-back instead of being a native of L.A. He’s candidly open as we stroll through cemeteries, sharing his honest opinions – such as finding Christopher Nolan’s work uninteresting and recounting Jordan Peele’s comment that having a big budget for “Nope” means it needs to be the best movie ever made. Perkins has a ruggedly handsome face that stands out anywhere except in Hollywood, where it’s just the minimum requirement. In the early 2000s, his most significant acting role was as the comically awkward “Dorky” David Kidney in “Legally Blonde.” He wasn’t Elle Woods’ love interest but her rigid classmate, and to boost his romantic prospects, Elle pretended he had jilted her after a passionate night. Perkins recently made a film with a renowned scream queen and a legendary wild man, creating enough fear and unease about everyday evil to be the summer’s scariest sensation. However, some viewers will always remember him for his role in Reese Witherspoon’s cheerful romantic comedy. “It was successful and well-made,” he says. “People identify me with that at least five times a week.”
At the age of 6, Perkins’s acting career started unofficially when he was cast as young Norman Bates in flashbacks for “Psycho II.” He describes the experience vaguely, but remembers being frightened because “the set seemed authentic to me… it was undeniably spooky.” This early role was merely a diversion for him and his father. However, when Perkins eventually pursued acting later in life, he landed minor parts in “Secretary” and “Not Another Teen Movie,” with “Legally Blonde” marking the pinnacle of his acting career. Reflecting on his past, Perkins admits, “I didn’t consider myself an actor back then.” Instead, he credits watching music videos on MTV alongside his musician brother Elvis and experimenting with friends and a camcorder during his teenage years as more influential experiences. In 2015, when Perkins made his directorial debut with A24’s “The Blackcoat’s Daughter,” his brother once again contributed by composing the score.
As a devoted horror fan, I’d describe “The Blackcoat’s Daughter” as an intriguing and enigmatic film set at a snow-covered Catholic boarding school in upstate New York. This lesser-known gem, which followed the possible supernatural possession or mental breakdown of Kiernan Shipka’s character, didn’t initially gain widespread acclaim from distributors. However, it piqued the interest of discerning horror enthusiasts for its unconventional narrative structure.
As a movie buff, I’ve had the chance to watch several interviews with Perkins, and each one seems to include a poignant account of his personal history that resonates with me like a powerful tragic opera. My father, Anthony, passed away from complications related to AIDS in 1992. He had led a life that was quite different from mine up until then – he had only been involved with men until undergoing conversion therapy and marrying Berry Berenson when he was 41. Berry, a talented photographer, actor, and model, who happened to be the granddaughter of renowned designer Elsa Schiaparelli, remained married to my father till his last breath. Tragically, she was on American Airlines Flight 11 that fateful September 11th.
In contrast, “Longlegs” focuses on Perkins’s mother’s side of the story. He shares, as we cruise around a lake with a glimpse of the ominous Cathedral Mausoleum behind him, how mothers have the ability to shape narratives for their children, providing comforting yet not perfect explanations of their lives and those of their parents. In “Longlegs,” Agent Lee Harker (Monroe) is tasked with investigating a series of supernatural murders. Unbeknownst to her, these cases have ties to her own childhood. Perkins recognizes in the character of Lee’s mother, Ruth (Alicia Witt), who single-handedly raised her and held unconventional religious beliefs, a reflection of his personal experiences. Growing up with a father believed to be heterosexual but possibly bisexual or homosexual, who led a life incompatible with the family image presented to them, Perkins describes the struggle of reconciling his understanding with the given narrative as the inspiration for the mother who knowingly participates in a deceptive story.
In my experience as a movie reviewer, “Longlegs” marks Perkins’s fourth directorial venture following “I Am the Pretty Thing That Lives in the House” and “Gretel & Hansel.” This time around, United Artists produced a film from Rob Hayes’ screenplay, promising a more approachable experience compared to his previous works. The movie initially feels reminiscent of “Silence of the Lambs,” but soon reveals itself as an eerier and more twisted tale. It explores various sources of American fear throughout the decades, ranging from the Zodiac killer to the Satanic panic. Cage’s chilling presence in “Longlegs” is a standout, with his full appearance unveiled early on in a shocking opening sequence. If this film gains traction, it could be a turning point for Perkins, who has two more projects ready – “Keeper,” a tense thriller featuring Tatiana Maslany, and “The Monkey,” an adaptation of Stephen King’s short story about a cursed toy causing fatalities, which Maslany will also star in. With a budget of around $10- $11 million, “The Monkey” is Perkins’ most significant project yet and the most autobiographical.
At a low marble table where we rest our legs awkwardly near our ears to avoid the sun, Perkins shares with me his initial reaction to the script of “The Monkey.” He found it overly focused on trauma and unauthentic. Instead of adhering to the generic narrative, he aimed to explore the underlying emotional truth from his own experiences. Both his parents passed away in unexpected ways, which inspired “I Am the Pretty Thing That Lives in the House” and “Longlegs.” “The Monkey,” a comedy that Perkins wrote, revolves around him and his brother dealing with the loss of a parent. Although the siblings in the movie are twins and portrayed by Theo James, it’s about learning to cope and finding humor in the absurdity of death. “Everybody, including ourselves, dies,” Perkins said, “which is an absurd concept, but what can we do about it? Just stay in bed?”
As a film enthusiast, I’m excited to share that “The Monkey” will carry an R-rating. This film brings me back to my childhood memories, much like watching “The Amityville Horror” and “Salem’s Lot” on TV with my babysitter. Childhood experiences leave a profound impact, more so when you’re exposed to intense content at a young age or even when your father is part of its creation. In my case, I’ve directed films like “Longlegs” and “The Monkey,” offering small roles to my teenage daughter as a shared activity rather than an introduction to acting. I believe she sees it as natural as her dad being a mechanic or a stockbroker, just another part of our lives.
We get up from the small marble stools and make our way to Maila Nurmi’s grave, also known as Vampira, an innovator in horror movie hosting during the 1950s who appeared in Ed Wood’s “Plan 9 From Outer Space.” A fan has placed what seems to be a drawing of her character on her simple tombstone. Perkins lifts it nearby and chuckles. “She was a friend of my father’s, back when Hollywood was still new to us,” he shares. “And I find this blend of horror and sexiness in kitsch truly delightful. It’s a unique convergence of concepts.”
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2024-07-22 19:28