The Night Walker (1964) Sure, Irene's husband Howard is a millionaire inventor, but he's also psychotically possessive, has an obsession with cuckoo clocks, and records everything that happens in his home, which Irene is never allowed to leave. After Howard seemingly blows himself up, Irene is haunted by surreal dreams of his disfigured ghost lumbering around the house. Convinced her increasingly weird nightmares are more real than fantasy, Irene exercises her new found freedom to return to her old digs in the back of a beauty parlor. Alas, the strange dreams and death follow her there. For once, William Castle eschews any of his trademark gimmicks and counts on the names of Barbara Stanwyck and Psycho scribe Robert Bloch to attract viewers instead. The gamble pays off in a slightly above average thriller, but a gimmick would still have been nice.
TIL: Just because someone uses gimmicks doesn't always mean it's a bad thing. Writing for Catholic Culture, Fr. Jerry Pokorsky notes, "The word 'gimmick' usually has pejorative connotations. A gimmick is a trick or device intended to attract attention, publicity, or the business of a going concern. But not all gimmicks are unworthy of holiness. Jesus is the Master of holy gimmicks. His mighty deeds attract our attention and direct it to the 'going concern' of our salvation … His miracles—healing the sick, raising the dead, and feeding the multitude—are holy gimmicks. He intends to attract our attention so that we recognize the authority of His words as our going concern … [Jesus'] holy gimmicks ensure we encounter the words of eternal life until we see God."
The Hunchback of Notre Dame (1939) Like most filmed versions of the classic tale, this one retains the basic story of a victimized Romani girl offered asylum within the walls of the church by the titular character, and like most versions it changes her pursuer from a corrupt clergyman to a lecherous public official. However, similarities aside, this take on Victor Hugo's novel is widely considered the best live-action adaptation to date, thanks mostly to Charles Laughton's heartbreaking turn as Quasimodo ("Why was I not made of stone, like thee?") and the absolutely massive sets recreating medieval Paris, especially the exterior of Notre Dame cathedral. No arguments from me.
TIL: The broader concept of granting asylum in religious places predates the Church. The ancient Hebrews even had entire cities of refuge for those who killed someone accidentally. For Christianity in particular, the practice was first recognized in Roman imperial law under the Code of Theodosius in 399 AD, and then sanctioned by Pope Leo I in 460 AD. By the end of the 18th century, however, officially recognized sanctuary was abolished in most places. These days, some individual churches may attempt to offer sanctuary, but it is not canonically recognized and carries no legal status with the authorities.
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