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~Page A-26 Shelton-Mason County Journal Thursday, Oct. 29, 2020
Kids can earn a FREE Kids Meal for participating.
(Call or see store for details.)
Weekly Specials
Monday
25% off your meal with a purchase of a beverage or dessert.
“lesday
All you can eat Coconut Prawns served with your choice of any side,
Side Salad and Jalepeno Cheddar Corn Bread $18.99
Wednesday
Senior Burger day ,
Original Burger Claim Burger and Frys for $6.99 with purchase of a
beverage.
Thursday
Steak night — 10 oz Top Sirloin served with a Loaded Baked potato, Garlic
bread and Side Salad for 18.99
Friday 8: Saturday night Prime Rib served with Side Salad, Jalepeno
Cheddar Corn Bread, Loaded Baked Potato and Sauteed Vegetables.
All You Can Eat Pancakes on Saturday & Sunday mornings. 7am to 2 pm
Sunday'Thursday 7:00 am-9:00 pm Friday Saturday 7:00 am-10:00 pm
24171 WA 3 in Belfair 0 360-277-5141. burgerclaimandmoremm
Kitten Rescue of Mason County
Right now we have young and adult cats available for adoption.
Indoor only and a warm lap to sit on are ours and the kitties
request.
Healthy and well adjusted, our kitties want their own home and
family to love. For more information please go to our website
kittenresq.net or call us at (360)- 427—3167.
'varg Fricvwls Looking for a Home
1 Sponsored by:
We have created a I
low-stress, healthy ,
environment ’V
with soft lighting,
music, a regular
exercise program, ,
and frequent,
individualized
attention. We treat
' every pet with
affection, respect,
and kindness.
A‘ P
an 9‘ I.
1v, edge
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(360) 426-3052
270 SE Spring Place
Shelton, Washington 98584
E-mail: sylvan@hctc.com
Outings: Activities abound
for a distanced Halloween
continued from page A—25
On Saturday, a trifecta of Hallow—
een events will be open to the public,
starting with the “Halloween Spook-
tacular” in Kneeland Park from 2 to 6
p.m., sponsored by the Shelton-Mason
County Chamber of Commerce and
the Shelton Downtown Merchants,
featuring a “Pumpkin Walk” through
jack-o’-lanterns and trick-or—treating
with local businesses.
The fun continues with a “Trunk—
R-Treat” at The Pig Pen BBQ at 2333
Olympic Highway N. at 4 p.m., offering
candy and costume contests, followed
by a “Zombie Apocalypse Drive-Thru”
at The HUB for Seniors in Belfair from
5 to 8 p.m., featuring a free “spooky
drive-thru” and “family fun packs.”
Bela Lugosi’s vampiric pimp hand remains strong in Tod Browning’s
"1931
“Dracula.” Courtesy photo
Movies: Predators exhibit
inhumanity in classic horror
continued from page A-25
Fleming, was Lee’s step-cousin).
And Frank Langella’s Tony Award-
nominated performance as Dracula,
in a Broadway revival of the stage
play, not only qualified him to star in
John Badham’s 1979 film version of
“Dracula,” but also likely paved the
way for his show-stopping performance
as Skeletor in Golan-Globus’ 1987 live-
action “Masters of the Universe” film’.
But without Bela Lugosi as Count
Dracula, I submit that moviegoers nev—
er would have had Anthony Hopkins as
Hannibal Lecter in Jonathan Demme’s
1991 “The Silence of the Lambs,” nor
Alan Rickman as Hans Gruber in John
McTiernan’s 1988 “Die Hard.” Lugosi’s
Dracula not only ushered in the era
of the “Universal Classic Monsters,”
along with James Whale’s "‘Franken-'
stein” later in 1931, but he also defined
the apex predator as an affable gentle-
man.
Also? Whether you’re watching Lu-
gosi or Langella as Dracula, pay close
attention; neither one ever wore fangs.
Which makes fictional mass-mur-
derer Michael Myers such a fascinating
contrast. ,
Director John Carpenter and Debra
Hill, his girlfriend at the time, cowrote
a screenplay originally titled “The Bab-
ysitter Murders,” when independent
film producer Irwin Yablanssuggested
setting the film during Halloween
night and renaming it “Halloween.”
While this simple concept was revo-
lutionary enough, since Halloween
itself had never been the theme of a
horror film before, it could not have
hoped for a more pitch-perfect execu-
tion, from Carpenter and Hill’s ef-
fortlessly naturalistic screenplay and
the eerie atmosphere evoked by Car-
penter’s minimalist musical score, to
some career-best (and genre—defining)
performances by Jamie Lee Curtis and
Donald Pleasence.
But what made “Halloween” so fran-
chisable was precisely what almost all
its sequels, reboots and remakes got
wrong, which is'the' harrowing enigma
of Michael Myers himself. '
“Halloween II,” “Halloween 4: The
Return of Michael Myers” and even
“Halloween H20: 20 Years Later” as-
cribed his killing sprees to familial
connections with his primary intended
targets, while “Halloween: The Curse
of Michael Myers” attempted to retro—
actively establish him as the product of
a modern Druidic cult. As for the Rob
Zombie remake, it reductively blames
Michael Myers’ homicidal tendencies
on a stereotypically abusive childhood.
All of these are incorrect approach—
es. Like so many of his generational
contemporaries, John Carpenter was
a student of Alfred Hitchcock, and the
two biggest lessons from Hitchcock
that Carpenter demonstrates in the
first “Halloween” film are the value of
slowly ramping up suspense, and how
much more haunting it is when you
don’t know the reasons behind a freak
phenomenon, such as Hitchcock’s 1963
“The Birds.”
Michael Myers was an utterly
unremarkable 6-year-old boy, grow—
ing up as part of a perfectly ordinary
family living in a white bread picket-
fence Midwestern small-town suburb
'in 1963, the month before President
Kennedy was shot (and the same year
Hitchcock released “The Birds”), when,
for no reason anyone could figure out,
he randomly stabbed his older sister
Judith to death with a kitchen knife in
their home.
It’s what makes Pleasence’s role
as Myers’ psychiatrist, Dr. Loomis, so
essential to the story, because as an
audience, we keep grasping for some
driving motivation behind Myers’
seemingly senseless attacks, but Dr.
Loomis is there to tell us that there
isn’t any, other than Michael Myers
being a bottomless, impenetrably black
abyss of pure evil.
One of the many happy accidents
behind the production of “Halloween”
was that the film didn’t have the bud-
get for anything more than a repainted
William Shatner mask and a boiler
suit to define Michael Myers’ now-icon-
ic look, because the white plastic face’s
placid expression and émpty eyeholes
serve to reinforce the idea of Myers as
a human blank, to the point that the
actor who plays him in costume as an '
adult is credited as “The Shape.” '
And as Dr. Loomis warned, and all
the “Halloween” films made since have
, proven, you can’t stop The Shape.