T
HIS MONTH, ONE OF THE UK’S MOST NOTORIOUS METAL BANDS, CRADLE OF FILTH, RELEASES ITS NINTH STUDIO EFFORT, DARKLY DARKLY
, VENUS AVERSA (NOVEMBER 9 ON NUCLEAR BLAST RECORDS/SONIC UNYON) – AN EROTIC, NIGHTMARISH CONCEPT
ALBUM CENTRED ON ADAM’S FIRST WIFE, THE DEMONESS LILITH. “She’s been a character that’s hid, a bit serpent-like, behind the band in the
shadows for as long as I can remember,” says singer Dani Filth. “At [the new album’s] heart is essentially a Gothic horror novel along the lines of the books I love from the turn of the 20th century, late 19th century. Very English!” This isn’t the first time Cradle of Filth has expressed a fondness for the fairer sex. Take Cruelty and the Beast, the band’s 1998 album based on
1 Monica Bellucci
“Not only is she beautiful and very vamp- ish but she appeared as one of the brides in one of my favourite films, Bram Stoker’s Dracula [1992]. I know people will mock it and say that it’s a bit cheesy but I love the cinematics of it; it just looks beautiful, it had some amazing performances and it was a magical step. Brotherhood of the Wolf was another one of her, a Gothic horror gem I discovered by accident and was just blown over by. It was an amazing film, an epic almost. Then there’s
Irre-
versible, which I would deem a horror film.”
2 Elsa Lanchester
“Not because of the amount of stuff she did really, but just because she became so iconic with the imagery. Like Yvonne De Carlo (The Munsters) even. Elsa Lanches- ter as the Bride of Frankenstein; I’ve got this huge horror compendium and it’s just her head on the front, which kind of sums it up. Loads of women dress up as [her] when they go to horror- themed parties – it’s the hair, isn’t it? The iconic na- ture of it. As soon as you see her, you know what genre you’re in and what she rep-
resents.”
,
the femme fatalism of Hungarian “blood countess” Elizabeth Báthory, or its 2004 effort Nymphetamine (the title track of which Filth once referred to as “a drug-like addiction to the woman in question...”), and you get the idea that the English band enjoys venerating the ladies. To mark the release of the new album, RM asked Filth to give us a run-
down of his top ten favourite women in horror movies, and he obliged, noting, “The top ten are definitely, solely and humbly [chosen] because of their acting ability in the genre or the fact that they’ve become impor- tant icons whether I like it or not.” He adds, “I like them all anyway. They obviously get the roles for being [beautiful], so it comes as part and parcel, doesn’t it? Sex and horror!”
3 Barbara Steele
“She’s another iconic-looking actress. Often misconstrued as being Italian be- cause she was dubbed in a lot of things and she did a lot of Italian cinema. Lit- erally, I think one of her quotes was, ‘I never want to climb out of another fuck- ing coffin again,’ which I liked. She’s got such an extensive filmography; my favourite film she ever did is The Pit and the Pendulum by Roger Corman. I just love that movie. It’s the colours, it’s the theme, the Gothic nature of it. It’s the darkest of Corman’s Poe adaptations.”
4 Melissa George
[Laughs] “Well, she’s cute and she’s actually forging herself a horror career in such a short span of time. [I’ll] always re- member her from being in a dreadful soap called Home and Away – an Aussie soap right up there with Neighbours. It was awful. But then she did The Amityville Horror [2005], Turistas, Waz [released as The Killing Gene in North America], which resembled a stern Saw – in fact, I thought [the title] was just ‘Saw’ in reverse – 30 Days of Night and Triangle, which my daugh- ter, who’s only eleven, loves, so I thought [including her] was kind of putting the cat amongst the pi- geons.”
RM36
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