Thursday, August 13, 2009

Rollators, Scottsdale, Az.

Vampire . The vurdalak family of Alexei K. Tolstoy

distant cousin of Leon and multidisciplinary writer, Alexei wrote these two short works in full swing in mid-nineteenth century Europe in favor of the vampire myth, or vurdalak, as it is called in the Slavic tradition. After the short introduction
symbol novelization by Polidori, the fever for the character extended its tentacles across the Atlantic, and so to this day. For Tolstoy, the two stories, separated only in its implementation for a few years corresponding with the transition from vampire story between Gothic fashion - The vampire - that is, between how classic horror story, and modern narrative - vurdalak The family - which will reach its final expression Stoker's Dracula and eventually the myth and fully inserted into the celluloid in the last century.

The first of two stories is relatively concentrated structure in the manner of Potocki and his Manuscript Found in Saragossa, and the aroma of the works of Ann Radcliffe, where horror becomes no more than incidental and where turbulent situations, mysterious and supposedly terrifying end up merely absurd misperceptions or misunderstandings. Although unlike in the novels of the great lady of the Gothic less taken, in Tolstoy's vampire is still room for ambiguity, for the event yet inexplicable. Aims to advocate the grand guignol , but still remains in the dark of flashing cartoon comedy and lightweight. Even so, remain for posterity the caustic atmosphere of Sugrobina old mansion, where they end up developing all matters of the heart and blood, with that cast of characters and occurrences between the decidedly bizarre and grotesque.

Very different is "vurdalak family." Set in rural Serbia and inhospitable, it is a wonderfully disturbing and modern adventure, in which the protagonist describes his experience as host of a farm family where the patriarch after the departure of it, triggering the most diverse events that will lead to an unstoppable corruption in the heart of progeny, the victim of an indelible stigma and the most pressing food needs.
The house, surrounded at a certain point of a hungry brood willing to cross the barrier that separates him from his prey, not only refers to genre cinema at its most current version of vampire, but, thanks to its refined and refined description reminds us of the most memorable zombies frames, George A. Romero ahead. Not to mention the movie directly inspired by its pages and its meager but crucial narrative vein as The Three Faces of fear or that giallo, The Night of the Devils. Being a much shorter story than the first, but it is also much more agile and sweeping, real touchstone of successive plots and subplots of contemporary terror.


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