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Old Mar 4th 2017, 06:06 PM
Abishai100 Abishai100 is offline
Join Date: Jul 2014
Posts: 186
Default "Valentine" [2001]

This offbeat modern horror film directed by Jamie Blanks (of Urban Legend fame) and starring Denise Richards presents the seemingly cliched story of an emotionally awkward young American whose scarring experience on Valentine's Day leaves him with a vengeful heart against those seeking easygoing or sentiment-optimistic life moments on the iconic 'day of romance.'

He grows up to be a serial killer wearing the mask of Cupid (a god representing love and the serendipity of enchantment).

This film addresses a very important civilization/humanity emotion: the anger (not poetry) created by unrequited love. We've all heard stories of unrequited/tragic love (historical and fictional) --- Antony and Cleopatra, Romeo and Juliet, Bonnie and Clyde, etc., etc.

Love can lift us to places of peace, and the frustrating loss of love or feeling of desolation can take us to the pits of yearning, rage, and alienation.

Valentine invites us to ask psycho-sociological questions, such as "Should I kill my wife for committing adultery?", "Does a hapless marriage signify a 'time to forget'?", "Can a lack of love create inhuman deformity'?"

That's why I give this very very symbolic and under-rated (if straightforward) modern-era horror gem at least 3/5 stars and liken it to The Birds, Child's Play, and Ghost in the Machine.

{interpretation dialogue}


TEENAGER 1: You're like the Phantom of the Opera!
KILLER: I'm simply a spirit.
TEENAGER 2: No way, you're the opposite of Cupid!
KILLER: I look the way you feel...in your worst dreams.
TEENAGER 1: You're a monster.
KILLER: I'm a 'friend.'
TEENAGER 2: You're no friend; you're destroying Valentine's Day.
KILLER: Don't you want me to? You have no care for love!
TEENAGER 1: Not true. V-Day is sacred to many American teenagers.
KILLER: Prove it.
TEENAGER 2: You're a real psycho.
KILLER: Death is never proud.
TEENAGER 1: You're no messenger of St. Valentine!
KILLER: I'm an 'angel of death.'
TEENAGER 2: You're the angel of death.
KILLER: Always be careful what you wish for...


Valentine (Film)

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Old Mar 5th 2017, 08:25 AM
Abishai100 Abishai100 is offline
Join Date: Jul 2014
Posts: 186
Default Angelia

Valentine inspired me to think about the 'politics of betrayal.' I suppose horror films do engage thoughts about 'sociological normality.' For example, after watching Friday the 13th [2009], I thought about how horror film 'ghouls' symbolize human anxieties about serendipity-based intelligence.

So here's a short-story I cooked up (with a new mythology-oriented 'avatar' named Angelia) inspired by Valentine which should inspire pseudo-philosophical thoughts in those interested in academic connections between 'etiquette' and 'corruption.'

In some ways, Valentine is the opposite of Scorsese's film (adaptation of Edith Wharton's etiquette-sentiment novel of the same name) The Age of Innocence.

It occurred to me that one reason American horror films are considered 'low-brow' is because they naturally speak to pedestrian fears --- so it's sort of like going to the doctor's office (you're not interested in flowery).


Angelia was a wicked angel sent to Earth by Satan to corrupt humanity on Valentine's Day. Angelia studied the human mythology surrounding the god Cupid (a cherub-like spirit who causes people to fall in love by shooting magical enchantment-arrows). Angelia realized he was the opposite of Cupid and was interested to see what his contribution to history would symbolize. Angelia made a deal with Satan --- if everyone was satisfied with his deeds on this Valentine's Day, he would continue his 'work.'

Angelia visited the high school in Beverly Hills, California. It was an affluent neighborhood, so the kids/students were rich and somewhat snobby. Valentine's Day was quite the buzz at the high school, since guys and dolls alike were interested in celebrating sentimental chic (and expensive!) romance-themed clothing/fashions and of course chocolate. One girl named Eva wanted to see if her boyfriend Rex (the high school football team quarterback) was simply going to buy her another box of very expensive white-chocolate.

Angelia watched over and observed the activities of Eva. He decided that he would 'stalk' her and confound her romantic and sentimental relations this Valentine's Day and see how it would affect her perspective on affluence, luxury, romance, and betrayal. Angelia went to a nearby university library to read about the studies on the reliability of social contracts from an anthropological perspective (to deepen his understanding of civilization context). He studied about the Magna Carta, the US Constitution, and even the Hippocratic Oath. He started formulating 'links' between sentiment and governance.

Angelia returned to spook Eva. He started dropping fake love-notes in her locker with eerie handwriting, so she would think it was something unusual her boyfriend Rex did, and that's just what Eva thought. "What is Rex up to? He shouldn't try to be awkwardly creative and just send me some expensive box of white-chocolates!" Angelia then had boxes of expensive white-chocolate planted in the lockers of two of Eva's favorite girlfriends. When her friends approached Eva, she was enraged and thought to herself, "Rex is trying to court my girlfriends to see who will appreciate his expensive white-chocolate gift on Valentine's Day more!" Eva swore revenge.

Eva decided to go to Rex's house the night before Valentine's Day with a box of chocolates with bugs crawling inside (as a wake-up joke and furious insult!). She knew Rex's parents had gone to their lavish beach-house for the weekend, so Rex would be home alone (he didn't even have any pets). When she got to the door, she was surprised to find it was open. She let herself in and was horrified as she followed a trail of blood-stains all the way up to Rex's bedroom. When she walked into Rex's bedroom, Eva found his dead body (his throat was slit and he had a knife in his hand) next to an apparent suicide-note he had written.

Angelia had convinced Rex to kill himself by suggesting to him that high school rumors that he was planting white-chocolate gifts in the lockers of Eva's girlfriends made people think Rex was unsure of his affections towards Eva (a very popular and attractive young woman) and towards women in general! Rex realized people at his gossip-obsessed high school would think he was experimenting with homosexuality, and he didn't want that kind of gossip circulating about him, especially since he was getting ready to be a high-profile player on the UCLA college football team, which gets national media attention every autumn.

Eva read Rex's note and evaluated what happened, while Satan congratulated Angelia for a job certainly representative of 'anti-sentimental human angst' (Angelia then considered becoming an annual Valentine 'monster'):

"As a 'rich white boy' getting ready to play high-profile football for UCLA, I didn't feel comfortable having wild rumors that I was experimenting with homosexuality or betraying my girlfriend. I have a terrible past. My mother's sister was very abusive towards me before committing suicide (while my parents divorced temporarily and left me in her care). The haunting memory motivated me to think about the social ramifications of prestige, betrayal, and emotional corruption. I'd rather be a ghost than face this Valentine's Day with this 'stigmata.' Farewell, cruel world!"


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Old Jun 20th 2017, 03:36 PM
Abishai100 Abishai100 is offline
Join Date: Jul 2014
Posts: 186
Post Annabelle

I want to compare "Valentine" [2001] to "Annabelle" [2014], since they both present stories/ideas/images of sentiments gone awry.

Annabelle is about a spooky girl-doll which continues to plague human beings with its demonic presence.

Dolls remind us of pretty things, daintiness, and carefree youthful life, but the doll in this offbeat horror film, which is an installment in the 'metaphysics-trap' Conjuring film franchise, reminds us of unrequited hopes, lost courage, forgotten innocence, and of course, fear.

Horror films, fantasy-films, and comic book adapted vigilantism-daydream films are all the rage in Hollywood recently, so we should appreciate how post 1990s films such as Valentine and Annabelle represent a cinematic investment in 'paranoia-proselytization'...

{interpretation dialogue}


DOLL: Remember, you're pretty and doomed...
GIRL: You frighten me, but I love you.
DOLL: I'm your secret nightmare/dream.
GIRL: I wonder if mommy is scared of you.
DOLL: We should scare her and find out...
GIRL: I'm scared of the dark!
DOLL: Darkness is a thief.
GIRL: Let's turn on the lights.
DOLL: Alright.
GIRL: I'll make you a lace for your pretty dress, Annabelle...
DOLL: I'd rather drink some blood!
GIRL: What if I never found you?
DOLL: You'd be all alone...forever.
GIRL: Alright!


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Old Oct 13th 2017, 10:59 AM
Abishai100 Abishai100 is offline
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Posts: 186
Default Forlorn Love(?)

Finally, for my last addendum to this thread (and perhaps my last Internet post anywhere, since I'm retiring from blogging --- after 15 years of it --- I had a blast my friends!), I want to talk about the development/evolution of love stories and how it contributes to the modern-age presentations of 'horrifying shock of love-experiences' (i.e., horror and betrayal themed cinema --- definitively a modern trend) on this great superstition-tradition day of Friday the 13th.

If we look at Biblical stories of great love --- e.g., Abraham and Sarah, David and Queen of Sheba, Samson and Delilah --- and compare them to new age romance-intrigue stories in popular folklore --- e.g., Romeo and Juliet, Tristan and Iseult, Bonnie and Clyde --- we find distinct parallels regarding social norms, political complications, and cultural factors, but we also find divergences regarding anticipation of optimism, the reality of traffic-congestion, and the challenges of modernization.

In particular, the story of Samson and Delilah represents incredible obstacles of an ethical nature, while the story of Tristan and Iseult represents sentimentalism in the face of great social progress.

Therefore, new age love stories (such as that of Tristan and Iseult) signify an appreciation specifically of society-confounded progress-related complications to love.

Tristan and Iseult have to deal with politics and monarchies/kingdoms and are ultimately considered paragons of love sought but always simply/tragically romanticized. Samson and Delilah, on the other hand, represent love yearned and challenged by barbarism/cynicism.

This contrast in stories about forlorn love between the old world and new world reveals the thematic approach of many horror film-makers (such as Jamie Blanks) in composing great and shocking tales of complete psychos 'avenging' themselves for love never obtained (but perhaps once sought).

Valentine, The Phantom of the Opera, and Sleeping with the Enemy obviously stand out in this respect.

It would be interesting to do a study of how horror-cinema symbolizes stances on the ironic undesirability of love-complications (and perhaps then of love itself!).

It can be argued that Hitchcock's Psycho started all this 'heresy.'


TRISTAN: My love is an elegy...
SAMSON: My love is a parable only...
TRISTAN: Maybe I will be remembered as a hunter!
SAMSON: I will be remembered as a prophet.
TRISTAN: It's strange how times have changed.
SAMSON: Love is no longer a story about humanity.
TRISTAN: Yes, it's now (also) a story about politics.
SAMSON: Love-vengeance may be uglier...
TRISTAN: Forlorn love is motivation for anarchy.
SAMSON: Do Christians fear 'betrayal-retribution'?
TRISTAN: Certainly, modernists fear 'dystopian complications'!
SAMSON: Perhaps then horror-films symbolize pure pity.


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