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Genres: Sci-Fi; reviews: A secluded farm is struck by a strange meteorite which has apocalyptic consequences for the family living there and possibly the world; Release year: 2019; 5023 Votes; duration: 111 m; Creator: Scarlett Amaris. Everything this man touches is pure cinematic gold.
Fun fact, this story was actually based on lovecraft's fear of the color brown
Full movie el color surgido del espacio 10. West of Arkham the hills rise wild, and there are valleys with deep woods that no axe has ever cut. There are dark narrow glens where the trees slope fantastically, and where thin brooklets trickle without ever having caught the glint of sunlight. On the gentler slopes there are farms, ancient and rocky, with squat, moss-coated cottages brooding eternally over old New England secrets in the lee of great ledges; but these are all vacant now, the wide chimneys crumbling and the shingled sides bulging perilously beneath low gambrel roofs. The old folk have gone away, and foreigners do not like to live there. French-Canadians have tried it, Italians have tried it, and the Poles have come and departed. It is not because of anything that can be seen or heard or handled, but because of something that is imagined. The place is not good for the imagination, and does not bring restful dreams at night. It must be this which keeps the foreigners away, for old Ammi Pierce has never told them of anything he recalls from the strange days. Ammi, whose head has been a little queer for years, is the only one who still remains, or who ever talks of the strange days; and he dares to do this because his house is so near the open fields and the travelled roads around Arkham. There was once a road over the hills and through the valleys, that ran straight where the blasted heath is now; but people ceased to use it and a new road was laid curving far toward the south. Traces of the old one can still be found amidst the weeds of a returning wilderness, and some of them will doubtless linger even when half the hollows are flooded for the new reservoir. Then the dark woods will be cut down and the blasted heath will slumber far below blue waters whose surface will mirror the sky and ripple in the sun. And the secrets of the strange days will be one with the deeps secrets; one with the hidden lore of old ocean, and all the mystery of primal earth. When I went into the hills and vales to survey for the new reservoir they told me the place was evil. They told me this in Arkham, and because that is a very old town full of witch legends I thought the evil must be something which grandams had whispered to children through centuries. The name “blasted heath” seemed to me very odd and theatrical, and I wondered how it had come into the folklore of a Puritan people. Then I saw that dark westward tangle of glens and slopes for myself, and ceased to wonder at anything besides its own elder mystery. It was morning when I saw it, but shadow lurked always there. The trees grew too thickly, and their trunks were too big for any healthy New England wood. There was too much silence in the dim alleys between them, and the floor was too soft with the dank moss and mattings of infinite years of decay. In the open spaces, mostly along the line of the old road, there were little hillside farms; sometimes with all the buildings standing, sometimes with only one or two, and sometimes with only a lone chimney or fast-filling cellar. Weeds and briers reigned, and furtive wild things rustled in the undergrowth. Upon everything was a haze of restlessness and oppression; a touch of the unreal and the grotesque, as if some vital element of perspective or chiaroscuro were awry. I did not wonder that the foreigners would not stay, for this was no region to sleep in. It was too much like a landscape of Salvator Rosa; too much like some forbidden woodcut in a tale of terror. But even all this was not so bad as the blasted heath. I knew it the moment I came upon it at the bottom of a spacious valley; for no other name could fit such a thing, or any other thing fit such a name. It was as if the poet had coined the phrase from having seen this one particular region. It must, I thought as I viewed it, be the outcome of a fire; but why had nothing new ever grown over those five acres of grey desolation that sprawled open to the sky like a great spot eaten by acid in the woods and fields? It lay largely to the north of the ancient road line, but encroached a little on the other side. I felt an odd reluctance about approaching, and did so at last only because my business took me through and past it. There was no vegetation of any kind on that broad expanse, but only a fine grey dust or ash which no wind seemed ever to blow about. The trees near it were sickly and stunted, and many dead trunks stood or lay rotting at the rim. As I walked hurriedly by I saw the tumbled bricks and stones of an old chimney and cellar on my right, and the yawning black maw of an abandoned well whose stagnant vapours played strange tricks with the hues of the sunlight. Even the long, dark woodland climb beyond seemed welcome in contrast, and I marvelled no more at the frightened whispers of Arkham people. There had been no house or ruin near; even in the old days the place must have been lonely and remote. And at twilight, dreading to repass that ominous spot, I walked circuitously back to the town by the curving road on the south. I vaguely wished some clouds would gather, for an odd timidity about the deep skyey voids above had crept into my soul. In the evening I asked old people in Arkham about the blasted heath, and what was meant by that phrase “strange days” which so many evasively muttered. I could not, however, get any good answers, except that all the mystery was much more recent than I had dreamed. It was not a matter of old legendry at all, but something within the lifetime of those who spoke. It had happened in the eighties, and a family had disappeared or was killed. Speakers would not be exact; and because they all told me to pay no attention to old Ammi Pierces crazy tales, I sought him out the next morning, having heard that he lived alone in the ancient tottering cottage where the trees first begin to get very thick. It was a fearsomely archaic place, and had begun to exude the faint miasmal odour which clings about houses that have stood too long. Only with persistent knocking could I rouse the aged man, and when he shuffled timidly to the door I could tell he was not glad to see me. He was not so feeble as I had expected; but his eyes drooped in a curious way, and his unkempt clothing and white beard made him seem very worn and dismal. Not knowing just how he could best be launched on his tales, I feigned a matter of business; told him of my surveying, and asked vague questions about the district. He was far brighter and more educated than I had been led to think, and before I knew it had grasped quite as much of the subject as any man I had talked with in Arkham. He was not like other rustics I had known in the sections where reservoirs were to be. From him there were no protests at the miles of old wood and farmland to be blotted out, though perhaps there would have been had not his home lain outside the bounds of the future lake. Relief was all that he shewed; relief at the doom of the dark ancient valleys through which he had roamed all his life. They were better under water now—better under water since the strange days. And with this opening his husky voice sank low, while his body leaned forward and his right forefinger began to point shakily and impressively. It was then that I heard the story, and as the rambling voice scraped and whispered on I shivered again and again despite the summer day. Often I had to recall the speaker from ramblings, piece out scientific points which he knew only by a fading parrot memory of professors talk, or bridge over gaps where his sense of logic and continuity broke down. When he was done I did not wonder that his mind had snapped a trifle, or that the folk of Arkham would not speak much of the blasted heath. I hurried back before sunset to my hotel, unwilling to have the stars come out above me in the open; and the next day returned to Boston to give up my position. I could not go into that dim chaos of old forest and slope again, or face another time that grey blasted heath where the black well yawned deep beside the tumbled bricks and stones. The reservoir will soon be built now, and all those elder secrets will be safe forever under watery fathoms. But even then I do not believe I would like to visit that country by night—at least, not when the sinister stars are out; and nothing could bribe me to drink the new city water of Arkham. It all began, old Ammi said, with the meteorite. Before that time there had been no wild legends at all since the witch trials, and even then these western woods were not feared half so much as the small island in the Miskatonic where the devil held court beside a curious stone altar older than the Indians. These were not haunted woods, and their fantastic dusk was never terrible till the strange days. Then there had come that white noontide cloud, that string of explosions in the air, and that pillar of smoke from the valley far in the wood. And by night all Arkham had heard of the great rock that fell out of the sky and bedded itself in the ground beside the well at the Nahum Gardner place. That was the house which had stood where the blasted heath was to come—the trim white Nahum Gardner house amidst its fertile gardens and orchards. Nahum had come to town to tell people about the stone, and had dropped in at Ammi Pierces on the way. Ammi was forty then, and all the queer things were fixed very strongly in his mind. He and his wife had gone with the three professors from Miskatonic University who hastened out the next morning to see the weird visitor from unknown stellar space, and had wondered why Nahum had called it so large the day before. It had shrunk, Nahum said as he pointed out the big brownish mound above the ripped earth and charred grass near the archaic well-sweep in his front yard; but the wise men answered that stones do not shrink. Its heat lingered persistently, and Nahum declared it had glowed faintly in the night. The professors tried it with a geologists hammer and found it was oddly soft. It was, in truth, so soft as to be almost plastic; and they gouged rather than chipped a specimen to take back to the college for testing. They took it in an old pail borrowed from Nahums kitchen, for even the small piece refused to grow cool. On the trip back they stopped at Ammis to rest, and seemed thoughtful when Mrs. Pierce remarked that the fragment was growing smaller and burning the bottom of the pail. Truly, it was not large, but perhaps they had taken less than they thought. The day after that—all this was in June of 82—the professors had trooped out again in a great excitement. As they passed Ammis they told him what queer things the specimen had done, and how it had faded wholly away when they put it in a glass beaker. The beaker had gone, too, and the wise men talked of the strange stones affinity for silicon. It had acted quite unbelievably in that well-ordered laboratory; doing nothing at all and shewing no occluded gases when heated on charcoal, being wholly negative in the borax bead, and soon proving itself absolutely non-volatile at any producible temperature, including that of the oxy-hydrogen blowpipe. On an anvil it appeared highly malleable, and in the dark its luminosity was very marked. Stubbornly refusing to grow cool, it soon had the college in a state of real excitement; and when upon heating before the spectroscope it displayed shining bands unlike any known colours of the normal spectrum there was much breathless talk of new elements, bizarre optical properties, and other things which puzzled men of science are wont to say when faced by the unknown. Hot as it was, they tested it in a crucible with all the proper reagents. Water did nothing. Hydrochloric acid was the same. Nitric acid and even aqua regia merely hissed and spattered against its torrid invulnerability. Ammi had difficulty in recalling all these things, but recognised some solvents as I mentioned them in the usual order of use. There were ammonia and caustic soda, alcohol and ether, nauseous carbon disulphide and a dozen others; but although the weight grew steadily less as time passed, and the fragment seemed to be slightly cooling, there was no change in the solvents to shew that they had attacked the substance at all. It was a metal, though, beyond a doubt. It was magnetic, for one thing; and after its immersion in the acid solvents there seemed to be faint traces of the Widmannstätten figures found on meteoric iron. When the cooling had grown very considerable, the testing was carried on in glass; and it was in a glass beaker that they left all the chips made of the original fragment during the work. The next morning both chips and beaker were gone without trace, and only a charred spot marked the place on the wooden shelf where they had been. All this the professors told Ammi as they paused at his door, and once more he went with them to see the stony messenger from the stars, though this time his wife did not accompany him. It had now most certainly shrunk, and even the sober professors could not doubt the truth of what they saw. All around the dwindling brown lump near the well was a vacant space, except where the earth had caved in; and whereas it had been a good seven feet across the day before, it was now scarcely five. It was still hot, and the sages studied its surface curiously as they detached another and larger piece with hammer and chisel. They gouged deeply this time, and as they pried away the smaller mass they saw that the core of the thing was not quite homogeneous. They had uncovered what seemed to be the side of a large coloured globule imbedded in the substance. The colour, which resembled some of the bands in the meteors strange spectrum, was almost impossible to describe; and it was only by analogy that they called it colour at all. Its texture was glossy, and upon tapping it appeared to promise both brittleness and hollowness. One of the professors gave it a smart blow with a hammer, and it burst with a nervous little pop. Nothing was emitted, and all trace of the thing vanished with the puncturing. It left behind a hollow spherical space about three inches across, and all thought it probable that others would be discovered as the enclosing substance wasted away. Conjecture was vain; so after a futile attempt to find additional globules by drilling, the seekers left again with their new specimen—which proved, however, as baffling in the laboratory as its predecessor had been. Aside from being almost plastic, having heat, magnetism, and slight luminosity, cooling slightly in powerful acids, possessing an unknown spectrum, wasting away in air, and attacking silicon compounds with mutual destruction as a result, it presented no identifying features whatsoever; and at the end of the tests the college scientists were forced to own that they could not place it. It was nothing of this earth, but a piece of the great outside; and as such dowered with outside properties and obedient to outside laws. That night there was a thunderstorm, and when the professors went out to Nahums the next day they met with a bitter disappointment. The stone, magnetic as it had been, must have had some peculiar electrical property; for it had “drawn the lightning”, as Nahum said, with a singular persistence. Six times within an hour the farmer saw the lightning strike the furrow in the front yard, and when the storm was over nothing remained but a ragged pit by the ancient well-sweep, half-choked with caved-in earth. Digging had borne no fruit, and the scientists verified the fact of the utter vanishment. The failure was total; so that nothing was left to do but go back to the laboratory and test again the disappearing fragment left carefully cased in lead. That fragment lasted a week, at the end of which nothing of value had been learned of it. When it had gone, no residue was left behind, and in time the professors felt scarcely sure they had indeed seen with waking eyes that cryptic vestige of the fathomless gulfs outside; that lone, weird message from other universes and other realms of matter, force, and entity. As was natural, the Arkham papers made much of the incident with its collegiate sponsoring, and sent reporters to talk with Nahum Gardner and his family. At least one Boston daily also sent a scribe, and Nahum quickly became a kind of local celebrity. He was a lean, genial person of about fifty, living with his wife and three sons on the pleasant farmstead in the valley. He and Ammi exchanged visits frequently, as did their wives; and Ammi had nothing but praise for him after all these years. He seemed slightly proud of the notice his place had attracted, and talked often of the meteorite in the succeeding weeks. That July and August were hot, and Nahum worked hard at his haying in the ten-acre pasture across Chapmans Brook; his rattling wain wearing deep ruts in the shadowy lanes between. The labour tired him more than it had in other years, and he felt that age was beginning to tell on him. Then fell the time of fruit and harvest. The pears and apples slowly ripened, and Nahum vowed that his orchards were prospering as never before. The fruit was growing to phenomenal size and unwonted gloss, and in such abundance that extra barrels were ordered to handle the future crop. But with the ripening came sore disappointment; for of all that gorgeous array of specious lusciousness not one single jot was fit to eat. Into the fine flavour of the pears and apples had crept a stealthy bitterness and sickishness, so that even the smallest of bites induced a lasting disgust. It was the same with the melons and tomatoes, and Nahum sadly saw that his entire crop was lost. Quick to connect events, he declared that the meteorite had poisoned the soil, and thanked heaven that most of the other crops were in the upland lot along the road. Winter came early, and was very cold. Ammi saw Nahum less often than usual, and observed that he had begun to look worried. The rest of his family, too, seemed to have grown taciturn; and were far from steady in their churchgoing or their attendance at the various social events of the countryside. For this reserve or melancholy no cause could be found, though all the household confessed now and then to poorer health and a feeling of vague disquiet. Nahum himself gave the most definite statement of anyone when he said he was disturbed about certain footprints in the snow. They were the usual winter prints of red squirrels, white rabbits, and foxes, but the brooding farmer professed to see something not quite right about their nature and arrangement. He was never specific, but appeared to think that they were not as characteristic of the anatomy and habits of squirrels and rabbits and foxes as they ought to be. Ammi listened without interest to this talk until one night when he drove past Nahums house in his sleigh on the way back from Clarks Corners. There had been a moon, and a rabbit had run across the road, and the leaps of that rabbit were longer than either Ammi or his horse liked. The latter, indeed, had almost run away when brought up by a firm rein. Thereafter Ammi gave Nahums tales more respect, and wondered why the Gardner dogs seemed so cowed and quivering every morning. They had, it developed, nearly lost the spirit to bark. In February the McGregor boys from Meadow Hill were out shooting woodchucks, and not far from the Gardner place bagged a very peculiar specimen. The proportions of its body seemed slightly altered in a queer way impossible to describe, while its face had taken on an expression which no one ever saw in a woodchuck before. The boys were genuinely frightened, and threw the thing away at once, so that only their grotesque tales of it ever reached the people of the countryside. But the shying of the horses near Nahums house had now become an acknowledged thing, and all the basis for a cycle of whispered legend was fast taking form. People vowed that the snow melted faster around Nahums than it did anywhere else, and early in March there was an awed discussion in Potters general store at Clarks Corners. Stephen Rice had driven past Gardners in the morning, and had noticed the skunk-cabbages coming up through the mud by the woods across the road. Never were things of such size seen before, and they held strange colours that could not be put into any words. Their shapes were monstrous, and the horse had snorted at an odour which struck Stephen as wholly unprecedented. That afternoon several persons drove past to see the abnormal growth, and all agreed that plants of that kind ought never to sprout in a healthy world. The bad fruit of the fall before was freely mentioned, and it went from mouth to mouth that there was poison in Nahums ground. Of course it was the meteorite; and remembering how strange the men from the college had found that stone to be, several farmers spoke about the matter to them. One day they paid Nahum a visit; but having no love of wild tales and folklore were very conservative in what they inferred. The plants were certainly odd, but all skunk-cabbages are more or less odd in shape and odour and hue. Perhaps some mineral element from the stone had entered the soil, but it would soon be washed away. And as for the footprints and frightened horses—of course this was mere country talk which such a phenomenon as the aërolite would be certain to start. There was really nothing for serious men to do in cases of wild gossip, for superstitious rustics will say and believe anything. And so all through the strange days the professors stayed away in contempt. Only one of them, when given two phials of dust for analysis in a police job over a year and a half later, recalled that the queer colour of that skunk-cabbage had been very like one of the anomalous bands of light shewn by the meteor fragment in the college spectroscope, and like the brittle globule found imbedded in the stone from the abyss. The samples in this analysis case gave the same odd bands at first, though later they lost the property. The trees budded prematurely around Nahums, and at night they swayed ominously in the wind. Nahums second son Thaddeus, a lad of fifteen, swore that they swayed also when there was no wind; but even the gossips would not credit this. Certainly, however, restlessness was in the air. The entire Gardner family developed the habit of stealthy listening, though not for any sound which they could consciously name. The listening was, indeed, rather a product of moments when consciousness seemed half to slip away. Unfortunately such moments increased week by week, till it became common speech that “something was wrong with all Nahums folks”. When the early saxifrage came out it had another strange colour; not quite like that of the skunk-cabbage, but plainly related and equally unknown to anyone who saw it. Nahum took some blossoms to Arkham and shewed them to the editor of the Gazette, but that dignitary did no more than write a humorous article about them, in which the dark fears of rustics were held up to polite ridicule. It was a mistake of Nahums to tell a stolid city man about the way the great, overgrown mourning-cloak butterflies behaved in connexion with these saxifrages. April brought a kind of madness to the country folk, and began that disuse of the road past Nahums which led to its ultimate abandonment. It was the vegetation. All the orchard trees blossomed forth in strange colours, and through the stony soil of the yard and adjacent pasturage there sprang up a bizarre growth which only a botanist could connect with the proper flora of the region. No sane wholesome colours were anywhere to be seen except in the green grass and leafage; but everywhere those hectic and prismatic variants of some diseased, underlying primary tone without a place among the known tints of earth. The Dutchmans breeches became a thing of sinister menace, and the bloodroots grew insolent in their chromatic perversion. Ammi and the Gardners thought that most of the colours had a sort of haunting familiarity, and decided that they reminded one of the brittle globule in the meteor. Nahum ploughed and sowed the ten-acre pasture and the upland lot, but did nothing with the land around the house. He knew it would be of no use, and hoped that the summers strange growths would draw all the poison from the soil. He was prepared for almost anything now, and had grown used to the sense of something near him waiting to be heard. The shunning of his house by neighbours told on him, of course; but it told on his wife more. The boys were better off, being at school each day; but they could not help being frightened by the gossip. Thaddeus, an especially sensitive youth, suffered the most. In May the insects came, and Nahums place became a nightmare of buzzing and crawling. Most of the creatures seemed not quite usual in their aspects and motions, and their nocturnal habits contradicted all former experience. The Gardners took to watching at night—watching in all directions at random for something. they could not tell what. It was then that they all owned that Thaddeus had been right about the trees. Mrs. Gardner was the next to see it from the window as she watched the swollen boughs of a maple against a moonlit sky. The boughs surely moved, and there was no wind. It must be the sap. Strangeness had come into everything growing now. Yet it was none of Nahums family at all who made the next discovery. Familiarity had dulled them, and what they could not see was glimpsed by a timid windmill salesman from Bolton who drove by one night in ignorance of the country legends. What he told in Arkham was given a short paragraph in the Gazette; and it was there that all the farmers, Nahum included, saw it first. The night had been dark and the buggy-lamps faint, but around a farm in the valley which everyone knew from the account must be Nahums the darkness had been less thick. A dim though distinct luminosity seemed to inhere in all the vegetation, grass, leaves, and blossoms alike, while at one moment a detached piece of the phosphorescence appeared to stir furtively in the yard near the barn. The grass had so far seemed untouched, and the cows were freely pastured in the lot near the house, but toward the end of May the milk began to be bad. Then Nahum had the cows driven to the uplands, after which the trouble ceased. Not long after this the change in grass and leaves became apparent to the eye. All the verdure was going grey, and was developing a highly singular quality of brittleness. Ammi was now the only person who ever visited the place, and his visits were becoming fewer and fewer. When school closed the Gardners were virtually cut off from the world, and sometimes let Ammi do their errands in town. They were failing curiously both physically and mentally, and no one was surprised when the news of Mrs. Gardners madness stole around. It happened in June, about the anniversary of the meteors fall, and the poor woman screamed about things in the air which she could not describe. In her raving there was not a single specific noun, but only verbs and pronouns. Things moved and changed and fluttered, and ears tingled to impulses which were not wholly sounds. Something was taken away—she was being drained of something—something was fastening itself on her that ought not to be—someone must make it keep off—nothing was ever still in the night—the walls and windows shifted. Nahum did not send her to the county asylum, but let her wander about the house as long as she was harmless to herself and others. Even when her expression changed he did nothing. But when the boys grew afraid of her, and Thaddeus nearly fainted at the way she made faces at him, he decided to keep her locked in the attic. By July she had ceased to speak and crawled on all fours, and before that month was over Nahum got the mad notion that she was slightly luminous in the dark, as he now clearly saw was the case with the nearby vegetation. It was a little before this that the horses had stampeded. Something had aroused them in the night, and their neighing and kicking in their stalls had been terrible. There seemed virtually nothing to do to calm them, and when Nahum opened the stable door they all bolted out like frightened woodland deer. It took a week to track all four, and when found they were seen to be quite useless and unmanageable. Something had snapped in their brains, and each one had to be shot for its own good. Nahum borrowed a horse from Ammi for his haying, but found it would not approach the barn. It shied, balked, and whinnied, and in the end he could do nothing but drive it into the yard while the men used their own strength to get the heavy wagon near enough the hayloft for convenient pitching. And all the while the vegetation was turning grey and brittle. Even the flowers whose hues had been so strange were greying now, and the fruit was coming out grey and dwarfed and tasteless. The asters and goldenrod bloomed grey and distorted, and the roses and zinneas and hollyhocks in the front yard were such blasphemous-looking things that Nahums oldest boy Zenas cut them down. The strangely puffed insects died about that time, even the bees that had left their hives and taken to the woods. By September all the vegetation was fast crumbling to a greyish powder, and Nahum feared that the trees would die before the poison was out of the soil. His wife now had spells of terrific screaming, and he and the boys were in a constant state of nervous tension. They shunned people now, and when school opened the boys did not go. But it was Ammi, on one of his rare visits, who first realised that the well water was no longer good. It had an evil taste that was not exactly foetid nor exactly salty, and Ammi advised his friend to dig another well on higher ground to use till the soil was good again. Nahum, however, ignored the warning, for he had by that time become calloused to strange and unpleasant things. He and the boys continued to use the tainted supply, drinking it as listlessly and mechanically as they ate their meagre and ill-cooked meals and did their thankless and monotonous chores through the aimless days. There was something of stolid resignation about them all, as if they walked half in another world between lines of nameless guards to a certain and familiar doom. Thaddeus went mad in September after a visit to the well. He had gone with a pail and had come back empty-handed, shrieking and waving his arms, and sometimes lapsing into an inane titter or a whisper about “the moving colours down there”. Two in one family was pretty bad, but Nahum was very brave about it. He let the boy run about for a week until he began stumbling and hurting himself, and then he shut him in an attic room across the hall from his mothers. The way they screamed at each other from behind their locked doors was very terrible, especially to little Merwin, who fancied they talked in some terrible language that was not of earth. Merwin was getting frightfully imaginative, and his restlessness was worse after the shutting away of the brother who had been his greatest playmate. Almost at the same time the mortality among the livestock commenced. Poultry turned greyish and died very quickly, their meat being found dry and noisome upon cutting. Hogs grew inordinately fat, then suddenly began to undergo loathsome changes which no one could explain. Their meat was of course useless, and Nahum was at his wits end. No rural veterinary would approach his place, and the city veterinary from Arkham was openly baffled. The swine began growing grey and brittle and falling to pieces before they died, and their eyes and muzzles developed singular alterations. It was very inexplicable, for they had never been fed from the tainted vegetation. Then something struck the cows. Certain areas or sometimes the whole body would be uncannily shrivelled or compressed, and atrocious collapses or disintegrations were common. In the last stages—and death was always the result—there would be a greying and turning brittle like that which beset the hogs. There could be no question of poison, for all the cases occurred in a locked and undisturbed barn. No bites of prowling things could have brought the virus, for what live beast of earth can pass through solid obstacles? It must be only natural disease—yet what disease could wreak such results was beyond any minds guessing. When the harvest came there was not an animal surviving on the place, for the stock and poultry were dead and the dogs had run away. These dogs, three in number, had all vanished one night and were never heard of again. The five cats had left some time before, but their going was scarcely noticed since there now seemed to be no mice, and only Mrs. Gardner had made pets of the graceful felines. On the nineteenth of October Nahum staggered into Ammis house with hideous news. The death had come to poor Thaddeus in his attic room, and it had come in a way which could not be told. Nahum had dug a grave in the railed family plot behind the farm, and had put therein what he found. There could have been nothing from outside, for the small barred window and locked door were intact; but it was much as it had been in the barn. Ammi and his wife consoled the stricken man as best they could, but shuddered as they did so. Stark terror seemed to cling round the Gardners and all they touched, and the very presence of one in the house was a breath from regions unnamed and unnamable. Ammi accompanied Nahum home with the greatest reluctance, and did what he might to calm the hysterical sobbing of little Merwin. Zenas needed no calming. He had come of late to do nothing but stare into space and obey what his father told him; and Ammi thought that his fate was very merciful. Now and then Merwins screams were answered faintly from the attic, and in response to an inquiring look Nahum said that his wife was getting very feeble. When night approached, Ammi managed to get away; for not even friendship could make him stay in that spot when the faint glow of the vegetation began and the trees may or may not have swayed without wind. It was really lucky for Ammi that he was not more imaginative. Even as things were, his mind was bent ever so slightly; but had he been able to connect and reflect upon all the portents around him he must inevitably have turned a total maniac. In the twilight he hastened home, the screams of the mad woman and the nervous child ringing horribly in his ears. Three days later Nahum lurched into Ammis kitchen in the early morning, and in the absence of his host stammered out a desperate tale once more, while Mrs. Pierce listened in a clutching fright. It was little Merwin this time. He was gone. He had gone out late at night with a lantern and pail for water, and had never come back. Hed been going to pieces for days, and hardly knew what he was about. Screamed at everything. There had been a frantic shriek from the yard then, but before the father could get to the door, the boy was gone. There was no glow from the lantern he had taken, and of the child himself no trace. At the time Nahum thought the lantern and pail were gone too; but when dawn came, and the man had plodded back from his all-night search of the woods and fields, he had found some very curious things near the well. There was a crushed and apparently somewhat melted mass of iron which had certainly been the lantern; while a bent bail and twisted iron hoops beside it, both half-fused, seemed to hint at the remnants of the pail. That was all. Nahum was past imagining, Mrs. Pierce was blank, and Ammi, when he had reached home and heard the tale, could give no guess. Merwin was gone, and there would be no use in telling the people around, who shunned all Gardners now. No use, either, in telling the city people at Arkham who laughed at everything. Thad was gone, and now Merwin was gone. Something was creeping and creeping and waiting to be seen and felt and heard. Nahum would go soon, and he wanted Ammi to look after his wife and Zenas if they survived him. It must all be a judgment of some sort; though he could not fancy what for, since he had always walked uprightly in the Lords ways so far as he knew. For over two weeks Ammi saw nothing of Nahum; and then, worried about what might have happened, he overcame his fears and paid the Gardner place a visit. There was no smoke from the great chimney, and for a moment the visitor was apprehensive of the worst. The aspect of the whole farm was shocking—greyish withered grass and leaves on the ground, vines falling in brittle wreckage from archaic walls and gables, and great bare trees clawing up at the grey November sky with a studied malevolence which Ammi could not but feel had come from some subtle change in the tilt of the branches. But Nahum was alive, after all. He was weak, and lying on a couch in the low-ceiled kitchen, but perfectly conscious and able to give simple orders to Zenas. The room was deadly cold; and as Ammi visibly shivered, the host shouted huskily to Zenas for more wood. Wood, indeed, was sorely needed; since the cavernous fireplace was unlit and empty, with a cloud of soot blowing about in the chill wind that came down the chimney. Presently Nahum asked him if the extra wood had made him any more comfortable, and then Ammi saw what had happened. The stoutest cord had broken at last, and the hapless farmers mind was proof against more sorrow. Questioning tactfully, Ammi could get no clear data at all about the missing Zenas. “In the well—he lives in the well—” was all that the clouded father would say. Then there flashed across the visitors mind a sudden thought of the mad wife, and he changed his line of inquiry. “Nabby? Why, here she is! ” was the surprised response of poor Nahum, and Ammi soon saw that he must search for himself. Leaving the harmless babbler on the couch, he took the keys from their nail beside the door and climbed the creaking stairs to the attic. It was very close and noisome up there, and no sound could be heard from any direction. Of the four doors in sight, only one was locked, and on this he tried various keys on the ring he had taken. The third key proved the right one, and after some fumbling Ammi threw open the low white door. It was quite dark inside, for the window was small and half-obscured by the crude wooden bars; and Ammi could see nothing at all on the wide-planked floor. The stench was beyond enduring, and before proceeding further he had to retreat to another room and return with his lungs filled with breathable air. When he did enter he saw something dark in the corner, and upon seeing it more clearly he screamed outright. While he screamed he thought a momentary cloud eclipsed the window, and a second later he felt himself brushed as if by some hateful current of vapour. Strange colours danced before his eyes; and had not a present horror numbed him he would have thought of the globule in the meteor that the geologists hammer had shattered, and of the morbid vegetation that had sprouted in the spring. As it was he thought only of the blasphemous monstrosity which confronted him, and which all too clearly had shared the nameless fate of young Thaddeus and the livestock. But the terrible thing about this horror was that it very slowly and perceptibly moved as it continued to crumble. Ammi would give me no added particulars to this scene, but the shape in the corner does not reappear in his tale as a moving object. There are things which cannot be mentioned, and what is done in common humanity is sometimes cruelly judged by the law. I gathered that no moving thing was left in that attic room, and that to leave anything capable of motion there would have been a deed so monstrous as to damn any accountable being to eternal torment. Anyone but a stolid farmer would have fainted or gone mad, but Ammi walked conscious through that low doorway and locked the accursed secret behind him. There would be Nahum to deal with now; he must be fed and tended, and removed to some place where he could be cared for. Commencing his descent of the dark stairs, Ammi heard a thud below him. He even thought a scream had been suddenly choked off, and recalled nervously the clammy vapour which had brushed by him in that frightful room above. What presence had his cry and entry started up? Halted by some vague fear, he heard still further sounds below. Indubitably there was a sort of heavy dragging, and a most detestably sticky noise as of some fiendish and unclean species of suction. With an associative sense goaded to feverish heights, he thought unaccountably of what he had seen upstairs. Good God! What eldritch dream-world was this into which he had blundered? He dared move neither backward nor forward, but stood there trembling at the black curve of the boxed-in staircase. Every trifle of the scene burned itself into his brain. The sounds, the sense of dread expectancy, the darkness, the steepness of the narrow steps—and merciful heaven. the faint but unmistakable luminosity of all the woodwork in sight; steps, sides, exposed laths, and beams alike! Then there burst forth a frantic whinny from Ammis horse outside, followed at once by a clatter which told of a frenzied runaway. In another moment horse and buggy had gone beyond earshot, leaving the frightened man on the dark stairs to guess what had sent them. But that was not all. There had been another sound out there. A sort of liquid splash—water—it must have been the well. He had left Hero untied near it, and a buggy-wheel must have brushed the coping and knocked in a stone. And still the pale phosphorescence glowed in that detestably ancient woodwork. God! how old the house was! Most of it built before 1670, and the gambrel roof not later than 1730. A feeble scratching on the floor downstairs now sounded distinctly, and Ammis grip tightened on a heavy stick he had picked up in the attic for some purpose. Slowly nerving himself, he finished his descent and walked boldly toward the kitchen. But he did not complete the walk, because what he sought was no longer there. It had come to meet him, and it was still alive after a fashion. Whether it had crawled or whether it had been dragged by any external force, Ammi could not say; but the death had been at it. Everything had happened in the last half-hour, but collapse, greying, and disintegration were already far advanced. There was a horrible brittleness, and dry fragments were scaling off. Ammi could not touch it, but looked horrifiedly into the distorted parody that had been a face. “What was it, Nahum—what was it? ” he whispered, and the cleft, bulging lips were just able to crackle out a final answer. “Nothin. nothin. the colour. it burns. cold an wet... but it burns. it lived in the well. I seen it... a kind o smoke. jest like the flowers last spring... the well shone at night. Thad an Mernie an Zenas... everything alive. suckin the life out of everything... in that stone. it must a come in that stone... pizened the whole place. dunt know what it wants... that round thing them men from the college dug outen the stone. they smashed it. it was that same colour. jest the same, like the flowers an plants. must a ben more of em... seeds. seeds. they growed. I seen it the fust time this week. must a got strong on Zenas... he was a big boy, full o life. it beats down your mind an then gits ye. burns ye up. in the well water... you was right about that. evil water. Zenas never come back from the well. cant git away. draws ye... ye know summats comin, but taint no use. I seen it time an agin senct Zenas was took. whars Nabby, Ammi. my heads no good. dunt know how long senct I fed her. itll git her ef we aint keerful... jest a colour. her face is gettin to hev that colour sometimes towards night. an it burns an sucks. it come from some place whar things aint as they is here. one o them professors said so. he was right. look out, Ammi, itll do suthin more. sucks the life out. ” But that was all. That which spoke could speak no more because it had completely caved in. Ammi laid a red checked tablecloth over what was left and reeled out the back door into the fields. He climbed the slope to the ten-acre pasture and stumbled home by the north road and the woods. He could not pass that well from which his horse had run away. He had looked at it through the window, and had seen that no stone was missing from the rim. Then the lurching buggy had not dislodged anything after all—the splash had been something else—something which went into the well after it had done with poor Nahum. When Ammi reached his house the horse and buggy had arrived before him and thrown his wife into fits of anxiety. Reassuring her without explanations, he set out at once for Arkham and notified the authorities that the Gardner family was no more. He indulged in no details, but merely told of the deaths of Nahum and Nabby, that of Thaddeus being already known, and mentioned that the cause seemed to be the same strange ailment which had killed the livestock. He also stated that Merwin and Zenas had disappeared. There was considerable questioning at the police station, and in the end Ammi was compelled to take three officers to the Gardner farm, together with the coroner, the medical examiner, and the veterinary who had treated the diseased animals. He went much against his will, for the afternoon was advancing and he feared the fall of night over that accursed place, but it was some comfort to have so many people with him. The six men drove out in a democrat-wagon, following Ammis buggy, and arrived at the pest-ridden farmhouse about four oclock. Used as the officers were to gruesome experiences, not one remained unmoved at what was found in the attic and under the red checked tablecloth on the floor below. The whole aspect of the farm with its grey desolation was terrible enough, but those two crumbling objects were beyond all bounds. No one could look long at them, and even the medical examiner admitted that there was very little to examine. Specimens could be analysed, of course, so he busied himself in obtaining them—and here it develops that a very puzzling aftermath occurred at the college laboratory where the two phials of dust were finally taken. Under the spectroscope both samples gave off an unknown spectrum, in which many of the baffling bands were precisely like those which the strange meteor had yielded in the previous year. The property of emitting this spectrum vanished in a month, the dust thereafter consisting mainly of alkaline phosphates and carbonates. Ammi would not have told the men about the well if he had thought they meant to do anything then and there. It was getting toward sunset, and he was anxious to be away. But he could not help glancing nervously at the stony curb by the great sweep, and when a detective questioned him he admitted that Nahum had feared something down there—so much so that he had never even thought of searching it for Merwin or Zenas. After that nothing would do but that they empty and explore the well immediately, so Ammi had to wait trembling while pail after pail of rank water was hauled up and splashed on the soaking ground outside. The men sniffed in disgust at the fluid, and toward the last held their noses against the foetor they were uncovering. It was not so long a job as they had feared it would be, since the water was phenomenally low. There is no need to speak too exactly of what they found. Merwin and Zenas were both there, in part, though the vestiges were mainly skeletal. There were also a small deer and a large dog in about the same state, and a number of bones of smaller animals. The ooze and slime at the bottom seemed inexplicably porous and bubbling, and a man who descended on hand-holds with a long pole found that he could sink the wooden shaft to any depth in the mud of the floor without meeting any solid obstruction. Twilight had now fallen, and lanterns were brought from the house. Then, when it was seen that nothing further could be gained from the well, everyone went indoors and conferred in the ancient sitting-room while the intermittent light of a spectral half-moon played wanly on the grey desolation outside. The men were frankly nonplussed by the entire case, and could find no convincing common element to link the strange vegetable conditions, the unknown disease of livestock and humans, and the unaccountable deaths of Merwin and Zenas in the tainted well. They had heard the common country talk, it is true; but could not believe that anything contrary to natural law had occurred. No doubt the meteor had poisoned the soil, but the illness of persons and animals who had eaten nothing grown in that soil was another matter. Was it the well water? Very possibly. It might be a good idea to analyse it. But what peculiar madness could have made both boys jump into the well? Their deeds were so similar—and the fragments shewed that they had both suffered from the grey brittle death. Why was everything so grey and brittle? It was the coroner, seated near a window overlooking the yard, who first noticed the glow about the well. Night had fully set in, and all the abhorrent grounds seemed faintly luminous with more than the fitful moonbeams; but this new glow was something definite and distinct, and appeared to shoot up from the black pit like a softened ray from a searchlight, giving dull reflections in the little ground pools where the water had been emptied. It had a very queer colour, and as all the men clustered round the window Ammi gave a violent start. For this strange beam of ghastly miasma was to him of no unfamiliar hue. He had seen that colour before, and feared to think what it might mean. He had seen it in the nasty brittle globule in that aërolite two summers ago, had seen it in the crazy vegetation of the springtime, and had thought he had seen it for an instant that very morning against the small barred window of that terrible attic room where nameless things had happened. It had flashed there a second, and a clammy and hateful current of vapour had brushed past him—and then poor Nahum had been taken by something of that colour. He had said so at the last—said it was the globule and the plants. After that had come the runaway in the yard and the splash in the well—and now that well was belching forth to the night a pale insidious beam of the same daemoniac tint. It does credit to the alertness of Ammis mind that he puzzled even at that tense moment over a point which was essentially scientific. He could not but wonder at his gleaning of the same impression from a vapour glimpsed in the daytime, against a window opening on the morning sky, and from a nocturnal exhalation seen as a phosphorescent mist against the black and blasted landscape. It wasnt right—it was against Nature—and he thought of those terrible last words of his stricken friend, “It come from some place whar things aint as they is here. one o them professors said so. ” All three horses outside, tied to a pair of shrivelled saplings by the road, were now neighing and pawing frantically. The wagon driver started for the door to do something, but Ammi laid a shaky hand on his shoulder. “Dunt go out thar, ” he whispered. “Theys more to this nor what we know. Nahum said somethin lived in the well that sucks your life out. He said it must be someat growed from a round ball like one we all seen in the meteor stone that fell a year ago June. Sucks an burns, he said, an is jest a cloud of colour like that light out thar now, that ye can hardly see an cant tell what it is. Nahum thought it feeds on everything livin an gits stronger all the time. He said he seen it this last week. It must be somethin from away off in the sky like the men from the college last year says the meteor stone was. The way its made an the way it works aint like no way o Gods world. Its someat from beyond. ” So the men paused indecisively as the light from the well grew stronger and the hitched horses pawed and whinnied in increasing frenzy. It was truly an awful moment; with terror in that ancient and accursed house itself, four monstrous sets of fragments—two from the house and two from the well—in the woodshed behind, and that shaft of unknown and unholy iridescence from the slimy depths in front. Ammi had restrained the driver on impulse, forgetting how uninjured he himself was after the clammy brushing of that coloured vapour in the attic room, but perhaps it is just as well that he acted as he did. No one will ever know what was abroad that night; and though the blasphemy from beyond had not so far hurt any human of unweakened mind, there is no telling what it might not have done at that last moment, and with its seemingly increased strength and the special signs of purpose it was soon to display beneath the half-clouded moonlit sky. All at once one of the detectives at the window gave a short, sharp gasp. The others looked at him, and then quickly followed his own gaze upward to the point at which its idle straying had been suddenly arrested. There was no need for words. What had been disputed in country gossip was disputable no longer, and it is because of the thing which every man of that party agreed in whispering later on that the strange days are never talked about in Arkham. It is necessary to premise that there was no wind at that hour of the evening. One did arise not long afterward, but there was absolutely none then. Even the dry tips of the lingering hedge-mustard, grey and blighted, and the fringe on the roof of the standing democrat-wagon were unstirred. And yet amid that tense, godless calm the high bare boughs of all the trees in the yard were moving. They were twitching morbidly and spasmodically, clawing in convulsive and epileptic madness at the moonlit clouds; scratching impotently in the noxious air as if jerked by some alien and bodiless line of linkage with subterrene horrors writhing and struggling below the black roots. Not a man breathed for several seconds. Then a cloud of darker depth passed over the moon, and the silhouette of clutching branches faded out momentarily. At this there was a general cry; muffled with awe, but husky and almost identical from every throat. For the terror had not faded with the silhouette, and in a fearsome instant of deeper darkness the watchers saw wriggling at that treetop height a thousand tiny points of faint and unhallowed radiance, tipping each bough like the fire of St. Elmo or the flames that came down on the apostles heads at Pentecost. It was a monstrous constellation of unnatural light, like a glutted swarm of corpse-fed fireflies dancing hellish sarabands over an accursed marsh; and its colour was that same nameless intrusion which Ammi had come to recognise and dread. All the while the shaft of phosphorescence from the well was getting brighter and brighter, bringing to the minds of the huddled men a sense of doom and abnormality which far outraced any image their conscious minds could form. It was no longer shining out, it was pouring out; and as the shapeless stream of unplaceable colour left the well it seemed to flow directly into the sky. The veterinary shivered, and walked to the front door to drop the heavy extra bar across it. Ammi shook no less, and had to tug and point for lack of a controllable voice when he wished to draw notice to the growing luminosity of the trees. The neighing and stamping of the horses had become utterly frightful, but not a soul of that group in the old house would have ventured forth for any earthly reward. With the moments the shining of the trees increased, while their restless branches seemed to strain more and more toward verticality. The wood of the well-sweep was shining now, and presently a policeman dumbly pointed to some wooden sheds and bee-hives near the stone wall on the west. They were commencing to shine, too, though the tethered vehicles of the visitors seemed so far unaffected. Then there was a wild commotion and clopping in the road, and as Ammi quenched the lamp for better seeing they realised that the span of frantic greys had broke their sapling and run off with the democrat-wagon. The shock served to loosen several tongues, and embarrassed whispers were exchanged. “It spreads on everything organic thats been around here, ” muttered the medical examiner. No one replied, but the man who had been in the well gave a hint that his long pole must have stirred up something intangible. “It was awful, ” he added. “There was no bottom at all. Just ooze and bubbles and the feeling of something lurking under there. ” Ammis horse still pawed and screamed deafeningly in the road outside, and nearly drowned its owners faint quaver as he mumbled his formless reflections. “It come from that stone. it growed down thar. it got everything livin. it fed itself on em, mind and body. Thad an Mernie, Zenas an Nabby. Nahum was the last. they all drunk the water. it got strong on em. it come from beyond, whar things aint like they be here. now its goin home. ” At this point, as the column of unknown colour flared suddenly stronger and began to weave itself into fantastic suggestions of shape which each spectator later described differently, there came from poor tethered Hero such a sound as no man before or since ever heard from a horse. Every person in that low-pitched sitting room stopped his ears, and Ammi turned away from the window in horror and nausea. Words could not convey it—when Ammi looked out again the hapless beast lay huddled inert on the moonlit ground between the splintered shafts of the buggy. That was the last of Hero till they buried him next day. But the present was no time to mourn, for almost at this instant a detective silently called attention to something terrible in the very room with them. In the absence of the lamplight it was clear that a faint phosphorescence had begun to pervade the entire apartment. It glowed on the broad-planked floor and the fragment of rag carpet, and shimmered over the sashes of the small-paned windows. It ran up and down the exposed corner-posts, coruscated about the shelf and mantel, and infected the very doors and furniture. Each minute saw it strengthen, and at last it was very plain that healthy living things must leave that house. Ammi shewed them the back door and the path up through the fields to the ten-acre pasture. They walked and stumbled as in a dream, and did not dare look back till they were far away on the high ground. They were glad of the path, for they could not have gone the front way, by that well. It was bad enough passing the glowing barn and sheds, and those shining orchard trees with their gnarled, fiendish contours; but thank heaven the branches did their worst twisting high up. The moon went under some very black clouds as they crossed the rustic bridge over Chapmans Brook, and it was blind groping from there to the open meadows. When they looked back toward the valley and the distant Gardner place at the bottom they saw a fearsome sight. All the farm was shining with the hideous unknown blend of colour; trees, buildings, and even such grass and herbage as had not been wholly changed to lethal grey brittleness. The boughs were all straining skyward, tipped with tongues of foul flame, and lambent tricklings of the same monstrous fire were creeping about the ridgepoles of the house, barn, and sheds. It was a scene from a vision of Fuseli, and over all the rest reigned that riot of luminous amorphousness, that alien and undimensioned rainbow of cryptic poison from the well—seething, feeling, lapping, reaching, scintillating, straining, and malignly bubbling in its cosmic and unrecognisable chromaticism. Then without warning the hideous thing shot vertically up toward the sky like a rocket or meteor, leaving behind no trail and disappearing through a round and curiously regular hole in the clouds before any man could gasp or cry out. No watcher can ever forget that sight, and Ammi stared blankly at the stars of Cygnus, Deneb twinkling above the others, where the unknown colour had melted into the Milky Way. But his gaze was the next moment called swiftly to earth by the crackling in the valley. It was just that. Only a wooden ripping and crackling, and not an explosion, as so many others of the party vowed. Yet the outcome was the same, for in one feverish, kaleidoscopic instant there burst up from that doomed and accursed farm a gleamingly eruptive cataclysm of unnatural sparks and substance; blurring the glance of the few who saw it, and sending forth to the zenith a bombarding cloudburst of such coloured and fantastic fragments as our universe must needs disown. Through quickly re-closing vapours they followed the great morbidity that had vanished, and in another second they had vanished too. Behind and below was only a darkness to which the men dared not return, and all about was a mounting wind which seemed to sweep down in black, frore gusts from interstellar space. It shrieked and howled, and lashed the fields and distorted woods in a mad cosmic frenzy, till soon the trembling party realised it would be no use waiting for the moon to shew what was left down there at Nahums. Too awed even to hint theories, the seven shaking men trudged back toward Arkham by the north road. Ammi was worse than his fellows, and begged them to see him inside his own kitchen, instead of keeping straight on to town. He did not wish to cross the nighted, wind-whipped woods alone to his home on the main road. For he had had an added shock that the others were spared, and was crushed forever with a brooding fear he dared not even mention for many years to come. As the rest of the watchers on that tempestuous hill had stolidly set their faces toward the road, Ammi had looked back an instant at the shadowed valley of desolation so lately sheltering his ill-starred friend. And from that stricken, far-away spot he had seen something feebly rise, only to sink down again upon the place from which the great shapeless horror had shot into the sky. It was just a colour—but not any colour of our earth or heavens. And because Ammi recognised that colour, and knew that this last faint remnant must still lurk down there in the well, he has never been quite right since. Ammi would never go near the place again. It is over half a century now since the horror happened, but he has never been there, and will be glad when the new reservoir blots it out. I shall be glad, too, for I do not like the way the sunlight changed colour around the mouth of that abandoned well I passed. I hope the water will always be very deep—but even so, I shall never drink it. I do not think I shall visit the Arkham country hereafter. Three of the men who had been with Ammi returned the next morning to see the ruins by daylight, but there were not any real ruins. Only the bricks of the chimney, the stones of the cellar, some mineral and metallic litter here and there, and the rim of that nefandous well. Save for Ammis dead horse, which they towed away and buried, and the buggy which they shortly returned to him, everything that had ever been living had gone. Five eldritch acres of dusty grey desert remained, nor has anything ever grown there since. To this day it sprawls open to the sky like a great spot eaten by acid in the woods and fields, and the few who have ever dared glimpse it in spite of the rural tales have named it “the blasted heath”. The rural tales are queer. They might be even queerer if city men and college chemists could be interested enough to analyse the water from that disused well, or the grey dust that no wind seems ever to disperse. Botanists, too, ought to study the stunted flora on the borders of that spot, for they might shed light on the country notion that the blight is spreading—little by little, perhaps an inch a year. People say the colour of the neighbouring herbage is not quite right in the spring, and that wild things leave queer prints in the light winter snow. Snow never seems quite so heavy on the blasted heath as it is elsewhere. Horses—the few that are left in this motor age—grow skittish in the silent valley; and hunters cannot depend on their dogs too near the splotch of greyish dust. They say the mental influences are very bad, too. Numbers went queer in the years after Nahums taking, and always they lacked the power to get away. Then the stronger-minded folk all left the region, and only the foreigners tried to live in the crumbling old homesteads. They could not stay, though; and one sometimes wonders what insight beyond ours their wild, weird stores of whispered magic have given them. Their dreams at night, they protest, are very horrible in that grotesque country; and surely the very look of the dark realm is enough to stir a morbid fancy. No traveller has ever escaped a sense of strangeness in those deep ravines, and artists shiver as they paint thick woods whose mystery is as much of the spirit as of the eye. I myself am curious about the sensation I derived from my one lone walk before Ammi told me his tale. When twilight came I had vaguely wished some clouds would gather, for an odd timidity about the deep skyey voids above had crept into my soul. Do not ask me for my opinion. I do not know—that is all. There was no one but Ammi to question; for Arkham people will not talk about the strange days, and all three professors who saw the aërolite and its coloured globule are dead. There were other globules—depend upon that. One must have fed itself and escaped, and probably there was another which was too late. No doubt it is still down the well—I know there was something wrong with the sunlight I saw above that miasmal brink. The rustics say the blight creeps an inch a year, so perhaps there is a kind of growth or nourishment even now. But whatever daemon hatchling is there, it must be tethered to something or else it would quickly spread. Is it fastened to the roots of those trees that claw the air? One of the current Arkham tales is about fat oaks that shine and move as they ought not to do at night. What it is, only God knows. In terms of matter I suppose the thing Ammi described would be called a gas, but this gas obeyed laws that are not of our cosmos. This was no fruit of such worlds and suns as shine on the telescopes and photographic plates of our observatories. This was no breath from the skies whose motions and dimensions our astronomers measure or deem too vast to measure. It was just a colour out of space—a frightful messenger from unformed realms of infinity beyond all Nature as we know it; from realms whose mere existence stuns the brain and numbs us with the black extra-cosmic gulfs it throws open before our frenzied eyes. I doubt very much if Ammi consciously lied to me, and I do not think his tale was all a freak of madness as the townfolk had forewarned. Something terrible came to the hills and valleys on that meteor, and something terrible—though I know not in what proportion—still remains. I shall be glad to see the water come. Meanwhile I hope nothing will happen to Ammi. He saw so much of the thing—and its influence was so insidious. Why has he never been able to move away? How clearly he recalled those dying words of Nahums—“cant git away. draws ye. ye know summats comin, but taint no use. ” Ammi is such a good old man—when the reservoir gang gets to work I must write the chief engineer to keep a sharp watch on him. I would hate to think of him as the grey, twisted, brittle monstrosity which persists more and more in troubling my sleep.
Full movie el color surgido del espacio en.
Full movie el color surgido del espacio la. Full movie el color surgido del espacio para. This story, written nearly one hundred years ago, seems ahead of its time even had it originated just today. Such extraordinary vision possessed by this author. Full Movie El color surgido del espaço. Color Out of Space, 2020 Directed by Richard Stanley Starring Nicolas Cage, Joely Richardson, Qorianka Kilcher, Tommy Chong, Brendan Meyer, Madeleine Arthur, Julian Hilliard, and Elliot Knight SYNOPSIS: A town is struck by a meteorite and the fallout is catastrophic. Some stories are seemingly impossible to translate from one entertainment medium to another, but thats no reason not to occasionally try, even if the movie in question happens to be about an indescribable color that takes the form of aliens. Color Out of Space marks writer and director Richard Stanleys return to filmmaking after 25 years, here adapting the short story from legendary weirdo H. P. Lovecraft, seemingly unfazed on just how to put to screen a color that does not exist. Its challenging material to adapt, but the approach to simply go with pinkish hues is fine enough of a substitute, even if its hard to get out of your mind that technically you are looking at a color that is very real. Still, one can make the case that Color Out of Space was always meant to be read and not absorbed visually, although those visuals are indeed face melting. The longer the movie goes on, the characters lose their grip on reality and time, all as the Technicolor color palette goes from aesthetically pleasing to look at to overwhelming visually and thematically, functioning as an extension of madness and insanity. To say that I have no idea what the hell I just watched would be an understatement, but I know I saw some shit and that I loved every second of the third act, which puts to good use incredible makeup effects (creatures that would not only do Lovecraft proud but bring to mind some truly disturbing sites such as Zelda from the original Pet Semetary and the symbolic nightmarish imagery from the Silent Hill games) and monster design for a grotesque climax. It all starts with a meteorite crash landing into Nathan Gardners front lawn. As played by Nicolas Cage, Nathan is an oddball himself as a loving family man trying to make a living farming and raising alpacas, but not without the usual over-the-top idiosyncrasies (fits of rage, over-the-top mannerisms, and silly arguments. On one hand, there is some fun to be found in the hilarity of watching Nicolas Cage slamdunk some badly tasting fruit into a trashcan (one of the side effects of this meteorite, aside from making everyone go insane, is accelerated growth of produce) but theres also the feeling that hes going too far in the comical direction and throwing the tone out of whack for a movie that is legitimately unsettling and terrifying. Elsewhere, the rest of the family members are not as particularly intriguing as they should be. Thats also a shame considering one of the first scenes showcases teenage daughter Lavinia (Madeleine Arthur) enacting a Wiccan ritual to assist healing her recovering mother Theresa (Joely Richardson) from breast cancer. Naturally, the entire running time one begins to wonder if and how the magic will connect to the cosmic horror, but its more just an exaggerated character trait that clumsily doesnt have much to do with anything. Aside from Nicolas Cage acting a damn fool once in a while, the rest of this family is blue-collar and lived-in; their teenage son Benny (Brendan Meyer) copes with moving to the middle of nowhere by smoking pot, Theresa works with clients from home, the youngest child is your standard young boy, and the parents are expanded on with a dynamic of them fearing to become similar to their own parents. That is also something that the Lovecraftian imagery touches on. Meanwhile, sequences of Lavinia cutting herself around the neck performing other rituals when all control of the situation is lost feels miscalculated. Its like Richard Stanley threw in a Wiccan character without asking why or how it can better serve the narrative at large. Shoddy characterization aside, the actors do all have great chemistry together, especially once spooky events start transpiring. There is a great scene where Theresa is chopping up vegetables, and without spoiling what happens, it should get almost anyone good. The middle stretch somewhat overdoes aliens distorting technology (everything from radios to TVs to computers are affected) so its refreshing that the third act comes along when it does to obliterate the mind. Nicolas Cage himself is outstanding when the material is calling for him to be serious and express emotions such as pain and suffering alongside his waning sanity. Theres also a hydrologist named Ward (Elliott Knight) conveniently scanning the area and testing the waters, who is also supposed to be the audience surrogate to observing the effects on the family. He also gets to deliver some opening and closing narration, but in general, hes another element that the movie probably doesnt need as much as it might think it does. Color Out of Space is at its best when its building on its dread and further plunging viewers into indecipherable cosmic terror. A slow build is fine, but there is a desire for more of that freakiness rather than characters stumbling upon garbled electronics for the third time. There are no greater character plans at play here, so just get on with eviscerating the senses. Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★ ★ Robert Kojder is a member of the Chicago Film Critics Association and the Flickering Myth Reviews Editor. Check here for new reviews, friend me on Facebook, follow my Twitter or Letterboxd, check out my personal non-Flickering Myth affiliated Patreon, or email me at.
This look like a bad trip on schrooms... I'm literally watching 6 Underground on Netflix while I'm watching this video. Full movie el color surgido del espacio del. This director bday 11/22/66 Very intriguing this guy with his Reds. United States, 2019 Horror, Sci-Fi A town is struck by a meteorite and the fallout is catastrophic. This film is not currently playing on MUBI but 30 other great films are. See whats now showing Color Out of Space comes to the screen as a febrile, energetic phantasmagoria, shot through with Lovecraftian weirdness. “Color Out of Space, ” apparently, is blindingly bright and magnificently malevolent. In this bonkers yet weirdly beautiful science fiction-horror hybrid (directed, with retro panache, by the great Richard Stanley) the light is a throbbing lilac and blood is Schiaparelli pink. And if I tell you that Nicolas Cages eyeballs will turn into ultraviolet high-beams, then youll know immediately if youre in or out. Jeannette Catsoulis January 23, 2020 Directing a feature film for the first time in nearly 25 years, Stanley clearly relishes the opportunity to visualize various strange and grotesque encounters, and the judicious mix of CGI and ‘80s-era Carpenter-style practical effects (including a writhing, many-headed mutation straight out of The Thing) works splendidly. Whats less assured is the tone, which could generously be described as “elastic. ” Adam Nayman September 10, 2019.
Colors in the well UNLIKE ANY SEEN ON EARTH ! JUST MOVE AWAY I watch that Overly Sarcastic Productions Lovecraft video so much, it's hilarious. I would definitely be afraid if any of this Lovecraft stuff happened to me, but it's fun to hear a humorous retelling of it. Speaking of humorous, I wonder what crazy Cage stuff Nick'll do.
If this starts a trend for H. P. Lovecraft adaptations, I'll be so happy... Full movie el color surgido del espacio de. Color Out of Space Theatrical release poster Directed by Richard Stanley Produced by Daniel Noah Josh C. Waller Elijah Wood Lisa Whalen Written by Richard Stanley Scarlett Amaris Based on " The Colour Out of Space " by H. P. Lovecraft Starring Nicolas Cage Joely Richardson Madeleine Arthur Q'orianka Kilcher Tommy Chong Music by Colin Stetson Cinematography Steve Annis Edited by Brett W. Bachman Production company XYZ Films ACE Pictures Entertainment SpectreVision Distributed by RLJE Films  Release date September 7, 2019 ( TIFF) 2] January 24, 2020 (United States) Running time 111 minutes  Country United States Portugal Malaysia Language English Box office 715, 193  5] Color Out of Space is a 2019 American science fiction cosmic horror  film directed by Richard Stanley, based on the short story " The Colour Out of Space " by H. Lovecraft. It stars Nicolas Cage, Joely Richardson, Madeleine Arthur, Q'orianka Kilcher and Tommy Chong. This is Stanley's first feature film directed since his firing from The Island of Dr. Moreau (1996. 7] According to Stanley, it is the first film in a trilogy of Lovecraft adaptations, which he hopes to follow up with an adaptation of The Dunwich Horror.  Plot [ edit] In the wake of his wife Theresa's mastectomy, Nathan Gardner moves his family to a rural farm where he attempts to grow tomatoes and raise alpacas for their milk. His daughter, Lavinia, takes up Wicca and performs rituals in hopes of restoring her mother's health. One of these rituals is interrupted by the arrival of Ward, a hydrologist surveying the water table in planning for a hydroelectric dam. The family is strained by the move - Theresa, a financial adviser, is losing clients because she cannot get a reliable internet signal in their remote location; Nathan feels neglected because they have not had sex since her surgery six months ago and the rest of his family does not take his attempts at farming seriously; his son Benny hangs with Ezra, a local hermit, and has started smoking pot; his youngest son Jack is withdrawn and only interacts with their family dog, Sam. One night, Nathan convinces Theresa that despite her feelings of mutilation she is still attractive, and they begin to have sex, but they are interrupted when a brilliantly glowing meteor crash lands in their front yard. The rock emits an unearthly Color which distorts the world around it and causes Nathan to detect a horrific smell. Later, Benny and Lavinia witness the meteor being struck by several bolts of lightning. The next morning, the meteor is no longer glowing and is crumbling to dust. Ward, along with the mayor and the sheriff of the nearby town of Arkham arrive to see it. Ward notices that the groundwater has taken on an oily sheen and tests it. When his test strips begin to glow brightly with the Color, he advises the Gardners not to drink it, but he cannot convince the mayor to do anything since she does not want to scare off the dam developers. Jack becomes obsessed with a well which stands a few feet from where the meteor landed. Strange, brightly colored vegetation begins growing around it, mutated insects fly out of it and Jack insists he can hear a man in there. Nathan and Ward visit Ezra, who plays a tape recording for them of what he says are creatures moving around underground. A news crew arrives to interview Nathan about the meteor, but it has mysteriously vanished and Nathan comes off looking like a drunken fool. Later, while Theresa is preparing dinner, she absentmindedly cuts off two of her fingers. While Nathan rushes her to the hospital, he leaves Benny in charge, but things quickly get out of hand as Benny finds the alpacas uncontrollable, Sam runs away and Jack is traumatized by something he saw in the well. Nathan excoriates Benny and Lavinia, lashing out with uncharacteristic rage. He tries to take a shower but is interrupted when a squid-like creature emerges from the drain. The next day, after Nathan tries to harvest his tomatoes - which have all turned out misshapen and inedible - he and Theresa get into a fight when the internet goes out again and she loses a client. The next night, Theresa hears Jack screaming in the barn and rushes to his aid. To their horror, something awful has happened to Sam and the alpacas, and they try to flee the barn only to be struck by several bolts of Color lightning which fuses mother and child together into a single, deranged mass. Unable to start the car or call for help as all electronic devices have started malfunctioning, Nathan and the other children carry the monster into the attic where they struggle to decide what to do about the miserable, gibbering thing. Nathan, enraged at what the Color has done to his family, gets a shotgun and enters the barn, where he finds Sam and all of his alpacas fused together, and he destroys the resulting creature. He returns to the attic, orders his children to leave, and prepares to put down his mutated wife and son, but he cannot go through with it. Lavinia tries to perform a Wiccan ceremony to save her family, mutilating herself in the process. She and Benny conspire to run away from the farm, but as they are preparing to leave, Benny hears Sam whining down in the well and insists on going down after him. The Color bursts from the water and kills him, driving Lavinia insane. Losing his grip on sanity, Nathan locks Lavinia in the attic with the monster, which has now grown aggressive and attacks her. Ward and the sheriff arrive and break into the attic, and Nathan shoots the creature. As they exit the house, the Color erupts out of the well and drives Nathan insane. He tries to shoot the Color, but the sheriff mistakes Nathan's aim for Ward and shoots Nathan, who dies in Lavinia's arms. Lavinia declares she will not leave. Still intent on leaving, Ward and the sheriff go to pick up Ezra, but only find his dessicated corpse and a recording he left behind, where he surmises that the Color is attempting to remake Earth into "something it knows. The corpse implodes, raining Color down everywhere, and a tree comes to life and kills the sheriff while Ward flees. Ward arrives and attempts to rescue Lavinia, but the Color explodes from the well and roars into the sky in a towering funnel. Lavinia touches him and shares with him her vision of where the Color hails from – a horrific sector of outer space inhabited by repulsive, tentacled alien entities similar to itself – and as he is traumatized, she dissolves into dust from her corruption. Attempting to save himself, Ward hides in the farmhouse, where space and time begin to unravel around him as he is confronted by jumbled visions of the Gardner family, and attacked by a murderous apparition of Nathan speaking in all of the family's voices, and narrowly hides in the wine cellar as the Color vanishes into the sky, tearing down the house and leaving the surrounding farmland a "blasted heath" covered in ash and drained of all color and life except for Ward himself. In an epilogue, Ward stands on top of the finished dam, and says that knowing what he knows about this place, he will never drink its water. Cast [ edit] Nicolas Cage as Nathan Gardner Joely Richardson as Theresa Gardner Madeleine Arthur as Lavinia Gardner Brendan Meyer as Benny Gardner Julian Hilliard as Jack Gardner Elliot Knight as Ward Phillips Q'orianka Kilcher as Mayor Tooma Tommy Chong as Ezra Josh C. Waller as Sheriff Pierce Production [ edit] This section needs expansion. You can help by adding to it. January 2020) Richard Stanley 's mother, Penny Miller, was a huge fan of H.  She read Lovecraft's works to Stanley when he was young.  At the age of 12 or 13, he read " The Colour Out of Space. which has "always been a part of [his] psychological makeup. 9] When his mother suffered from cancer, Stanley read Lovecraft's works to her in her declining years.  Stanley initially announced the project in 2013, showcasing a proof of concept trailer online.  11] In September 2015, it was announced that Spectrevision would be producing the film with a projected start date of early 2016.  After many delays, it was announced in December 2018 that Nicolas Cage had signed to play the lead role and that filming would begin in early 2019.  14] In January 2019, the production announced additional cast members including stars Joely Richardson, Tommy Chong, Elliot Knight, Julian Hilliard and Q'Orianka Kilcher.  16] Filming took place in Portugal  in February 2019.  Release [ edit] Color Out of Space premiered on September 7, 2019 in the Midnight Madness portion of the 2019 Toronto International Film Festival.  On September 6, 2019, it was announced that RLJE Films acquired U. S. rights in a low-mid seven figure deal.  Following select preview screenings on January 22, the film was released in 81 theaters in the United States on January 24, 2020.  With previews and the first weekend box office, the film grossed 358, 154 over four days.  Critical response [ edit] On review aggregator Rotten Tomatoes, Color Out of Space holds an approval rating of 84% based on 141 reviews, and an average rating of 6. 66/10. Its consensus reads, A welcome return for director Richard Stanley, Color Out of Space mixes tart B-movie pulp with visually alluring Lovecraftian horror and a dash of gonzo Nicolas Cage. 21] On Metacritic, the film has a weighted average score of 70 out of 100, based on 8 critics, indicating "generally favorable reviews. 22] Chris Bumbray from Arrow in the Head rated the film a score of 7/10, praising the film's performances, visual style and effects while noting the film's length. Bumbray summarized his review by writing, While it's maybe a touch slow and arty for hardcore horror fans, Color Out of Space is still a handy comeback for Richard Stanley, who hasn't lost a beat. 23] Mary Beth Andrews from Daily Grindhouse gave the film a positive review, writing, His [Richard Stanley] film successfully captures the madness of Lovecraft's work and is a dazzling modern interpretation. Lovecraft is notoriously hard to adapt, but Stanley walks the fine line between horror and existential dread to create a successful adaptation. 24] Deborah Young from The Hollywood Reporter offered the film similar praise, writing, Hitting the main plot points with well-designed SFX and some impressive night photography, Stanley's film manages to be frightening indeed, even with star Nicolas Cage's semi-farcical leavening adding some nutty laughs. 25] Jonathan Barkan of Dread Central awarded the film 3. 5 out of 5 stars, praising the film's visual style, special effects, and soundtrack, while criticizing the film's first and third act. Nevertheless, Barken summarized his review by stating, Gorgeous, vibrant, and terrifying, Color Out of Space is packed with Lovecraftian creatures and cosmic infections galore. It's not perfect but goddamn is it a wild ride. 26] Dennis Harvey from Variety gave the film a mostly positive review, noting the film's uneven tone, full-bore" climax, and Cage's "arbitrarily oddball" performance; while praising the film's otherworldly imagery, cinematography, and direction.  The Skinny ' s Katie Goh gave to the film a rating of 3 on 5, stating that. Colour Out of Space is at its best when Stanley goes for this subtle and intelligent filmmaking, gesturing at the horror rather than pushing it in our faces. 28] Accolades [ edit] References [ edit] a b "Nicolas Cage's 'Color Out of Space' Bought Ahead of Toronto Premiere. Variety. 2019-09-06. ^ Color Out of Space. TIFF. ^ Color Out of Space. Toronto International Film Festival. Archived from the original on 2019-08-08. Retrieved 2019-08-14. ^ a b. The Last Full Measure' And 'Color Out Of Space' Have Solid Debuts, Parasite' Crosses 30M – Specialty Box Office. Deadline Hollywood. 2020-01-26. ^ Color Out of Space (2019. Box Office Mojo. Retrieved February 7, 2020. ^ White, James (November 7, 2019. Nicolas Cage Confronts Lovecraftian Horror In The Color Out Of Space Trailer. Film. Retrieved November 22, 2019. ^ Nicolas Cage Nabs Lead in Sci-Fi Thriller 'Color Out of Space. 2019-01-23. ^ Color Out of Space Spoilers & Richard Stanley's Lovecraft Trilogy Plans - The Witching Hour" – via. ^ a b c d Whittaker, Richard (September 19, 2019. Fantastic Fest Interview: Richard Stanley Sees the Color Out of Space. The Austin Chronicle. Retrieved November 22, 2019. ^ Davis, Mike (July 25, 2013. Richard Stanley to direct New "Colour Out of Space" movie (with teaser trailer. ^ » RICHARD STANLEY IS WORKING ON AN ADAPTATION OF LOVECRAFT'S THE COLOUR OUT OF SPACE. ^ Richard Stanley's H. Lovecraft Flick COLOR OUT OF SPACE Is Happening. 2015-09-24. ^ Richard Stanley is back in the saddle again, will direct 'Color out of space. starring Nicolas Cage. Screen Comment. 2019-01-23. ^ Nicolas Cage Nabs Lead in Sci-Fi Thriller 'Color Out of Space. The Hollywood Reporter. 2019-01-25. ^ Miska, Brad (January 23, 2019. Nicolas Cage to Topline Richard Stanley's 'Colour Out of Space. Bloody Disgusting. ^ Bachman, Brett W. (May 24, 2019. Picture lock on Richard Stanley's adaptation of H. Lovecraft's COLOR OUT OF SPACE. A @ SpectreVision. ^ Collis, Clark (November 6, 2019. Nicolas Cage-starring Color Out of Space trailer teases otherworldly horrors. Entertainment Weekly. Retrieved November 22, 2019. ^ McNary, Dave. "Nicolas Cage to Star in Horror Movie 'Color Out of Space. Retrieved November 22, 2019. ^ Toronto unveils Midnight Madness, Discovery, TIFF Docs, Cinematheque. Screen Daily, August 8, 2019. ^ Erbland, Kate (November 8, 2019. Color Out of Space' Trailer: Nicolas Cage Tackles H. Lovecraft in Trippy Alien Invasion Thriller. IndieWire. Retrieved November 22, 2019. ^ Color Out of Space (2020. Rotten Tomatoes. Rotten Tomatoes. Fandango Media. Retrieved 22 January 2020. ^ Color Out of Space Reviews. Metacritic. CBS Interactive. Retrieved 21 January 2020. ^ Bumbray, Chris. "Color Out of Space (TIFF 2019 Movie Review. Chris Bumbray. Retrieved 12 September 2019. ^ Andrews, Mary. TIFF 2019 REVIEW] DESCEND INTO TECHNICOLOR MADNESS WITH 'COLOR OUT OF SPACE. Mary Beth McAndrews. Retrieved 12 September 2019. ^ Young, Deborah. Color Out of Space' Review. Deborah Young. Retrieved 12 September 2019. ^ Barken, Jonathan. "TIFF 2019: COLOR OUT OF SPACE Review - Gorgeous, Scary, Unhinged - Dread Central. Dread. Jonathan Barken. Retrieved 12 September 2019. ^ Harvey, Dennis. Color Out of Space' Review – Variety. Dennis Harvey. Retrieved 12 September 2019. ^ Goh, Katie. "TIFF 2019: Colour Out of Space. Katie Goh. Retrieved 23 September 2019. ^ Tsirbas, Christos (September 8, 2019. Toronto: Nicolas Cage Tells Spotlight Initiative Awards Art Is "Healthiest Medicine. Retrieved November 22, 2019. External links [ edit] Color Out of Space on IMDb.
This is what happens when LSD falls into the backyard. An eerie radiance, a glow unlike anything else, suddenly suffuses the area, bringing with it a stifling sense of latent malignancy. Colour Out of Space CR 10 XP 9, 600 CN Huge ooze ( incorporeal) Init +12; Senses blindsense 120 ft. Perception +18; Aura lassitude (300 ft., DC 22) DEFENSE AC 23, touch 23, flat-footed 14 ( 6 deflection, 8 Dex, 1 dodge, –2 size) hp 126 (12d8+72) Fort +10, Ref +14, Will +10 Defensive Abilities amorphous, incorporeal; Immune acid, cold, fire, mind-affecting effects, ooze traits, poison, sonic; SR 21 Weaknesses susceptible to force effects OFFENSE Speed 30 ft., fly 50 ft. (perfect) Melee disintegrating touch +15 touch (6d6; DC 22) Space 15 ft. Reach 15 ft. Special Attacks feed STATISTICS Str —, Dex 26, Con 22, Int 19, Wis 23, Cha 23 Base Atk +9; CMB +19; CMD 36 (cant be tripped) Feats Dodge, Improved Initiative, Lightning Reflexes, Mobility, Spring Attack, Weapon Finesse Skills Fly +27, Knowledge (geography) 16, Knowledge (nature) 16, Knowledge (planes) 16, Perception +18, Stealth +12 Languages Aklo (cant speak) SPECIAL ABILITIES Aura of Lassitude (Su) A creature within 300 feet of a colour out of space (even when the colour is hiding within a solid object) must succeed at a DC 22 Will save or become overwhelmed with listlessness and ennui. While under this effect, the creature takes a –4 penalty on all Will saving throws, and doesnt willingly travel farther than a mile from the area where it failed its saving throw against that colours aura of lassitude. A break enchantment spell (DC 22) ends the effect, as does removing the victim from the auras area of effect. Every 24 hours, a creature affected by an aura of lassitude can attempt a new DC 22 Will save to cast off the effects of the aura. A creature that succeeds at this saving throw is immune to that colours aura of lassitude for 24 hours. A creature that is under the effects of an aura of lassitude from a colour out of space cant be further affected by this ability from other colours. This is a mind-affecting effect. The save DC is Charisma -based. Disintegrating Touch (Su) A colours touch causes a terrible disintegration of flesh and bone. A successful DC 22 Fortitude save halves the damage caused by a colour out of spaces touch attack. A creature reduced to 0 hit points by a colour out of spaces touch attack must succeed at a DC 22 Fortitude save or be immediately slain and reduced to a pile of fine ash. The save DC is Constitution -based. Feed (Su) A colour can attempt to feed on any living creature or a region of plant life as a full-round action. If it feeds on a single creature, the colour must have line of sight and be within 300 feet of the target. If it feeds on a region of plant and animal life, it only needs to be within that region. It can attempt to feed on a region once per week, and upon a living creature at will (but only once per day per living creature. Feeding on a region of plant life is automatically successful, blighting that region of plant life as if by a diminish plants spell used to stunt growth. A creature can resist being fed upon by a colour out of space by succeeding at a DC 22 Will save, in which case the colour must wait 24 hours before attempting to feed on that creature again. If this saving throw fails, the victim takes 1d4 points of Charisma drain and Constitution drain. The save DC is Charisma -based. A creature whose Constitution score is drained to 0 by a colour out of spaces feed attack immediately dies, crumbling into a mass of desiccated tissue. A creature whose Charisma score is drained to 0 by a colour out of spaces feed attack gains the colour-blighted simple template. Every time a colour successfully feeds on a creature, it gains 1 growth point. A colour out of space can never have more than 100 growth points—it can expend 100 growth points after spending 24 hours concentrating on its growth, and in so doing gains 1 permanent Hit Die. Susceptible to Force Effects (Ex) A colour out of space takes half again as much damage ( 50% from force effects, and takes a –4 penalty on all saving throws to resist force effects. A colour out of space cant damage force effects with its disintegrating touch. Its aura of lassitude and feed ability is blocked if the colour is completely entrapped by force effects (such as by a windowless cell version of forcecage or a telekinetic sphere. ECOLOGY Environment any Organization solitary Treasure incidental The deepest, strangest parts of space hold truly alien beings—and of those, few are more notorious than the colour out of space. The lack of a physical body does little to impede this deadly alien life forms ability to cause incredible devastation to other life it encounters. A colour out of spaces life cycle requires periodic visits to the deepest reaches of space for the creature to gestate and grow in the vicinity of powerful gravitational fields (such as those created by planets) and this custom only increases the monsters opportunities to bring ruin to countless worlds. The colour out of space is just that—a mobile radiance. Its glow is unlike any seen in nature. The few who encounter one of these creatures and survive sometimes describe the radiance or portrayed it in art as a sinister, green-gray illumination, but these depictions are flawed reproductions. To witness the colour out of space is to know there are things no humanoid mind can fully comprehend, describe, or explain. Very little is known about the life cycle of a colour that dwells in the depths of space, for it is only when it comes to a planet to grow and reproduce that other life forms encounter it. A colours arrival upon a world is typically via a small meteorite strike—the colour itself infuses a meteoroid, and shortly after the falling stars arrival, the rock crumbles away to expose the semisolid mass of a larval colour that seeps into the surrounding landscape. Although a colour is incorporeal, and thus able to move through solid objects, it can also exist as a free-floating, eerie radiance. Natural sunlight doesnt particularly harm colours out of space, but they prefer to dwell in darkened areas like deep caves or abandoned wells where their own radiance is the only light. Over the course of several weeks, months, or even years, the colour feeds upon the surrounding plant and animal life—the act of being fed upon is weirdly addictive to its victims, who develop a self-destructive lassitude that prevents them from fleeing the region. When a colour has absorbed enough life to grow to full maturity (usually signified by reaching 25 to 30 Hit Dice) it gathers its strength and erupts from its den, coruscating into the sky as it launches the majority of itself back into space. Sometimes, enough remains of the parent colour to survive on its own, and in these cases the life cycle repeats again and again. Areas blighted by a colour out of space are singularly recognizable, not only for the eerie pallor of local plant life and large swaths of blasted, barren landscape, but also by the presence of those the colour has fed on. These unfortunate, deformed individuals, known as colour-blighted creatures, never live for long, but while they do, their madness often drives them to violent behavior, be they people or beasts. Colour-Blighted Simple Template (CR +0) A creature with the colour-blighted simple template appears hideously deformed and glows with the same unnamable color as the creature that blighted it. A colour-blighted creatures quick and rebuild rules are the same. Rebuild Rules: A colour-blighted creatures ability scores are already drained as a result of being fed upon by a colour out of space, but once a creature gains this template it becomes immune to further feed attacks from colours out of space until it loses the colour-blighted simple template. A Charisma score drained to 0 by a colour out of spaces feed attack is raised to 1; otherwise, its ability scores are not altered by this template. In order to remove this simple template from a creature, one only has to restore all of its drained ability scores to normal. As long as a creature suffers the colour-blighted template, it becomes aggressive toward creatures that do not exude the colors of a colour out of space, and gains a +1 bonus on attack rolls and weapon damage rolls against such targets. Every 24 hours, a creature suffering from this simple template must succeed at a DC 12 Fortitude save or crumble into fine, white ash—such a doom means instant death and, for many color-blighted creatures, the only chance at escape from a life filled with pain. Section 15: Copyright Notice Pathfinder Roleplaying Game Bestiary 4 2013, Paizo Publishing, LLC; Authors: Dennis Baker, Jesse Benner, Savannah Broadway, Ross Byers, Adam Daigle, Tim Hitchcock, Tracy Hurley, James Jacobs, Matt James, Rob McCreary, Jason Nelson, Tom Phillips, Stephen Radney-MacFarland, Sean K Reynolds, F. Wesley Schneider, Tork Shaw, and Russ Taylor.
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"The Colour Out of Space" Title page of "The Colour Out of Space" as it appeared in Amazing Stories, September, 1927. Illustration by J. M. de Aragon.  Author H. P. Lovecraft Country United States Language English Genre(s) Science fiction, horror Published in Amazing Stories Media type Print ( Magazine) Publication date September 1927 " The Colour Out of Space " is a science fiction/horror short story by American author H. Lovecraft, written in March 1927. In the tale, an unnamed narrator pieces together the story of an area known by the locals as the "blasted heath" in the wild hills west of the fictional town of Arkham, Massachusetts. The narrator discovers that many years ago a meteorite crashed there, poisoning every living being nearby; vegetation grows large but foul tasting, animals are driven mad and deformed into grotesque shapes, and the people go insane or die one by one. Lovecraft began writing "The Colour Out of Space" immediately after finishing his previous short novel, The Case of Charles Dexter Ward, and in the midst of final revision on his horror fiction essay " Supernatural Horror in Literature. Seeking to create a truly alien life form, he drew inspiration from numerous fiction and nonfiction sources. First appearing in the September 1927 edition of Hugo Gernsback 's science fiction magazine Amazing Stories, The Colour Out of Space" became one of Lovecraft's most popular works, and remained his personal favorite of his short stories. It has been adapted to film several times, as Die, Monster, Die! 1965) The Curse (1987) Colour from the Dark (2008) The Colour Out of Space ( Die Farbe) 2010) and Color Out of Space (2019. Synopsis [ edit] A 2012 illustration by Ludvik Skopalik showing the well on Gardner Farm with the mysterious colour emerging, central to the story An unnamed surveyor from Boston, telling the story in the first-person perspective, attempts to uncover the secrets behind a shunned place referred to by the locals of Arkham as the "blasted heath. 2] Unable to garner any information from the townspeople, the protagonist seeks out an old and allegedly crazy man by the name of Ammi Pierce, who relates his personal experiences with a farmer who used to live on the cursed property, Nahum Gardner. Pierce claims that the troubles began when a meteorite crashed into Gardner's lands in June 1882.  The meteorite shrinks but does not cool, and local scientists cannot discern its origin. As it shrinks, it leaves behind "globules of colour" which are referred to as such only by analogy, 4] as they fall outside the range of anything known in the visible spectrum. The stone is eventually destroyed by six bolts of lightning, and the lab specimens are destroyed when placed in a glass beaker. The following season, Gardner's crops grow unnaturally large and abundant. When he discovers that, despite their appearance, they are inedible, he becomes convinced that the meteorite has poisoned the soil. Over the following year, the problem spreads to the surrounding vegetation and local animals, altering them in unusual ways; the plants around the farmhouse become "slightly luminous in the dark. 5] Gardner's wife goes mad, and he locks her in the attic. Over time, Gardner isolates his family from the neighboring farmers; Pierce becomes his only contact with the outside world.  Shortly after the onset of Mrs. Gardner's madness, the vegetation erodes into a grey powder, and the water from the well becomes tainted. One of Gardner's sons, Thaddeus, also goes mad, and Gardner locks him in a different room of the attic. The livestock turns grey and dies off; like the crops, their meat is tasteless and inedible. Thaddeus dies in the attic. Merwin, another of Gardner's sons, vanishes while retrieving water from the contaminated well. After two weeks with no contact from Gardner, Pierce visits the farmstead and witnesses the tale's eponymous horror in the attic. Gardner's final son, Zenas, has disappeared, and the "colour" has infected Nahum's wife, whom Pierce puts out of her misery. Pierce flees the decaying house as the horror destroys the last surviving resident, Nahum.  Pierce returns later that day to the farmstead with six men, including a doctor, who examine Nahum's remains. They discover both Merwin and Zenas' eroding skeletons at the bottom of the well, as well as bones of several other creatures. As they reflect upon their discoveries in the house, a light begins to shine from the well; this becomes the colour, which spreads over everything in the vicinity. The men flee the house and escape as the horror blights the land and then flies into the sky. Pierce alone turns back after the colour has gone; he witnesses a small part of it try to follow the rest, only to fail and return to the well. The knowledge that part of the alien still resides on Earth is sufficient to disturb his mental state. When some of the men return the following day, they find only a dead horse and acres of grey dust. The Gardners' neighbours leave their homes and flee the area.  Background [ edit] Lovecraft began writing "The Colour Out of Space" in March 1927, immediately after completing The Case of Charles Dexter Ward.  As he wrote the tale, however, he was also typing the final draft of his essay on horror fiction. Supernatural Horror in Literature. 7] Although the author himself claimed that his inspiration was the newly constructed Scituate Reservoir in Rhode Island, Lovecraft scholar S. T. Joshi believes that the planned Quabbin Reservoir in Massachusetts must have influenced him as well. American writer and pulp fiction enthusiast Will Murray cites paranormal investigator Charles Fort, and the "thunderstones" lightning-drawing rocks that may have fallen from the sky) he describes in The Book of the Damned, as possible inspirations for the behavior of the meteorite.  Andy Troy argues that the story was an allegory for the coverage of the Radium Girls scandal in The New York Times, with the symptoms of the Gardners matching the newspaper's description of radium necrosis.  Lovecraft was dismayed at the all-too human depiction of aliens in other works of fiction, and his goal for "Colour" was to create an entity that was truly alien.  In doing so, he drew inspiration from a number of sources describing colors outside of the visible spectrum. Most notably, Joshi points to Hugh Elliott 's Modern Science and Materialism, a 1919 nonfiction book that mentions the "extremely limited" senses of humans, such that of the many "aethereal waves" striking the eyes, The majority cannot be perceived by the retina at all. 11] Lovecraft had used this concept previously, in his 1920 short story. From Beyond. 11] Completed by the end of March, The Colour Out of Space" first appeared in Hugo Gernsback 's science fiction magazine, Amazing Stories in September 1927.  The story was illustrated by J. de Aragón, an artist who produced occasional artwork for the magazine.  Reception and legacy [ edit] The Colour Out of Space" appeared in the September 1927 edition of Amazing Stories "The Colour Out of Space" became the only work from Amazing Stories to make Edward O'Brien's anthology of The Best American Short Stories, 14] appearing in the 1928 "Roll of Honor. 7] Gernsback paid Lovecraft only 25  approximately 368 in present-day terms) and was late in doing so, leading Lovecraft to refer to the publisher as "Hugo the Rat. 14] He never again submitted anything to the publication.  Lovecraft did not write another major short story until the following year, when he crafted " The Dunwich Horror. although he did pen " History of the Necronomicon " and " Ibid " as minor works in-between, 10] as well as an account of a Halloween night's dream that he called " The Very Old Folk. 7] In addition to being Lovecraft's personal favourite of his short stories, 10] 15] critics generally consider "The Colour Out of Space" one of his best works, and the first with his trademark blending of science fiction and horror.  Lovecraft scholar Donald R. Burleson referred to the tale as "one of his stylistically and conceptually finest short stories. 16] Joshi praises the work as one of Lovecraft's best and most frightening, particularly for the vagueness of the description of the story's eponymous horror. He also lauded the work as Lovecraft's most successful attempt to create something entirely outside of the human experience, as the creature's motive (if any) is unknown and it is impossible to discern whether or not the "colour" is emotional, moral, or even conscious.  His only criticism is that it is "just a little too long. 17] E. F. Bleiler described "The Colour Out of Space" as "an excellent story, one of Lovecraft's finest works; in my opinion the best original story to appear in Amazing Stories. 18] The text of "The Colour Out of Space" like many of Lovecraft's works, has fallen into public domain and can be accessed in several compilations of the author's work, as well as on the Internet.  It also had a strong influence on Brian Aldiss 's The Saliva Tree, which has been seen as a rewriting of Lovecraft's tale.  In 1984, the novel The Color Out of Time by Michael Shea was published as a sequel to the original novelette.  Film adaptations [ edit] The 1965 film Die, Monster, Die! directed by Daniel Haller, is based on "The Colour Out of Space. The film stars Nick Adams, Suzan Farmer, and Boris Karloff. Lovecraft scholar Don G. Smith claims that, of the scenes that are derived from Lovecraft's work, the "blasted heath doesn't live up to Lovecraft's description" 21] 22] and asserts that, overall, the film does not capture Lovecraft's intent to " the idea of an alien life form completely different from anything humans can imagine. 23] Smith considers Haller's work an imitation of Roger Corman 's Edgar Allan Poe films, rather than a serious attempt to adapt Lovecraft's tale.  Another adaptation, The Curse (1987) was directed by David Keith and stars Wil Wheaton, Claude Akins, Cooper Huckabee, and John Schneider. It more closely follows the plot of Lovecraft's work, albeit set in the 1980s. Lovecraft scholar Charles P. Mitchell referred to the film as faithful to the author's original work, but Mitchell claimed that " t]he last twenty minutes of the film are so disjointed that they virtually ruin the entire film. 24] 25] The 2008 film Colour from the Dark, directed by Ivan Zuccon, is an adaptation set in Italy. The film stars Michael Segal, Debbie Rochon, Marysia Kay, Gerry Shanahan, and Eleanor James.  Bloody Disgusting praised the film, stating Zuccon "managed to do the famous writers twisted tale of unseen terror a really fair share of justice by capturing the bleak, grotesque and utterly frightening atmosphere of the source material very, very well. 27] The 2010 film Die Farbe ( The Color. 28] directed by Huan Vu, is an adaptation set in Germany. It is shot mainly in black and white, the exception being the "Colour" itself. S. Joshi described it as "the best Lovecraft film adaptation ever made. 29] The 2018 film Annihilation — itself based on the 2014 novel of the same name by Jeff VanderMeer — contains numerous plot similarities with Lovecraft's story, most prominently a colorful alien entity that crash lands on earth and begins mutating nearby plant and animal life.  A new version was adapted by writer/director Richard Stanley  and released in 2020 under the title Color Out of Space. This film stars Nicolas Cage, 32] 33] and Joely Richardson, 34] and was produced by Elijah Wood through his production company SpectreVision.  Stephen King says that his 1987 novel The Tommyknockers, in which residents of a small town in rural Maine are physically and mentally affected by the emanations from an alien ship unearthed in the nearby woods, and a major character is also named Gardner, was strongly influenced by "The Colour Out of Space. Like many of his works at that time, it was adapted into a TV miniseries, broadcast in 1993; in 2018 it was reportedly to be developed as a feature film.  See also [ edit] 1927 in science fiction Impossible colours Weeds (short story) also known as "The Lonesome Death of Jordy Verrill" References [ edit] ISFDB... Retrieved 2020-01-14. ^ Lovecraft, p. 595 ^ a b c d e f Lovecraft, H. (2008. H. Lovecraft: Complete and Unabridged. New York City: Barnes & Noble. p. 1098. ISBN 978-1-4351-0793-9. ^ Lovecraft, p. 598 ^ Lovecraft, p. 601 ^ Burleson, Donald R. (1983. Lovecraft, a critical study. Westport, Connecticut: Greenwood Publishing Group. p. 243. ISBN 0-313-23255-5. ^ a b c Joshi, S. (2001. A dreamer and a visionary: H. Lovecraft in his time. Liverpool University Press. p. 422. ISBN 0-85323-946-0. ^ Murray, Will, Sources for 'The Colour Out of Space. Crypt of Cthulhu No. 28 (Yuletide 1984) pp. 3-5; cited in S. Joshi, Annotated Lovecraft, p. 70. ^ Troy, Andy (August 2015. A Stalking Monster" The Influence of Radiation Poisoning on H. Lovecraft's "The Colour out of Space. Lovecraftian Proceedings No. 1: Papers from Necronomicon Providence 2013, New York: Hippocampus Press, pp. 33–51 ^ a b c d Joshi, S. (1996. A Subtler Magick: The Writings and Philosophy of H. Lovecraft. Rockville, Maryland: Wildside Press. p. 316. ISBN 1-880448-61-0. ^ a b Joshi, S. T. The Sources for 'From Beyond. Crypt of Cthulhu No. 38 (Eastertide 1986) 15-19 ^ a b c Joshi, S. Schultz, David E. An H. Lovecraft encyclopedia. pp. 43, 294. ISBN 0-313-31578-7. ^ Ashley, Mike; Lowndes, Robert A. W. (2004. The Gernsback Days: A Study of the Evolution of Modern Science Fiction From 1911 to 1936. p. 80. ISBN 0809510553. ^ a b Ashley, Michael (2000. The History of the science fiction magazine. p. 320. ISBN 0-85323-855-3. ^ Burleson, Donald R. (1990. Lovecraft: disturbing the universe. University Press of Kentucky. p. 170. ISBN 0-8131-1728-3. ^ Burleson, Critical" p. 135 ^ Joshi, Subtler" p. 137 ^ Bleiler, E. and Bleiler, Richard, Science-fiction: the Gernsback years: a complete coverage of the genre magazines from 1926 through 1936. Kent, Ohio: Kent State University Press, 1998. ISBN 9780873386043 (p. 261-2. ^ Gaiman, Neil (2012. Short Stories. FAQs » Books, Short Stories, and Films... Retrieved 2012-12-18. ^ D'Ammassa, Don (2009-01-01. Encyclopedia of Fantasy and Horror Fiction. New York City: Infobase Publishing. p. 315. ISBN 1438109091. ^ a b Smith, Don G. (2006. Lovecraft in popular culture. Jefferson, North Carolina: McFarland & Company. p. 173. ISBN 0-7864-2091-X. ^ Smith, p. 45 ^ Smith, p. 47 ^ Mitchell, Charles P. The complete H. Lovecraft filmography. p. 249. ISBN 0-313-31641-4. ^ Mitchell, p. 115 ^ Colour from the Dark on IMDb ^ Staff (2008-11-30. MOVIES: Colour From The Dark. Retrieved 2017-10-27. ^ The Color Out of Space on IMDb ^ Joshi, S. (2014-05-16. May 16, 2014. Retrieved 2016-03-30. ^ Anderson, Kyle (2018-02-28. Alex Garland's Annihilation is More Lovecraftian Than You Thought. Retrieved 2018-03-05. ^ a b Webster, Christopher. "Richard Stanley's H. Lovecraft Flick COLOR OUT OF SPACE Is Happening. Quiet Earth. Retrieved 26 October 2019. ^ Richard Stanley is back in the saddle again, will direct 'Color out of space. starring Nicolas Cage. Screen Comment. 2019-01-23. ^ Nicolas Cage Nabs Lead in Sci-Fi Thriller 'Color Out of Space. The Hollywood Reporter. 2019-01-25. ^ Miska, Brad (2019-01-23. Nicolas Cage to Topline Richard Stanley's 'Colour Out of Space. Bloody Disgusting. ^ Kaye, Don (2018-04-21. Stephen King's The Tommyknockers Heads to Universal After Bidding War. SyFyWire. Retrieved 2019-01-31. External links [ edit] The Colour Out of Space at Faded Page (Canada) The Colour Out of Space title listing at the Internet Speculative Fiction Database.
Hopefully this means we'll get The Dunwich Horror. It was one of my favorite Lovecraftian works. Full movie el color surgido del espacio ecuador. F2movies is a Free Movies streaming site with zero ads. We let you watch movies online without having to register or paying, with over 10000 movies and TV-Series. You can also Download full movies from F2movies and watch it later if you want. Terms of service - DMCA - Contact - Sitemap - Convert2mp3 F2movies does not store any files on our server, we only linked to the media which is hosted on 3rd party services. F2movies.
All I hear you say is Colorado spice.
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I certainly want to see it. Interesting that, at least as of right now (26 Jan) Netflix is scheduled to release it on DVD in February. Full Movie El color surgido del espacial. Just call it The Matrix: Reboot And you got easy money. Holy shit, an lovecraft recent movie, i hope they capture it well, im a huge fan but it takes skill to capture lovecrafts stories and essence. Copyright 123stream. All Rights Reserved Disclaimer: This site does not store any files on its server. All contents are provided by non-affiliated third parties. Hot movies 2017 xmovies8 fmovies solarmovie putlockers 123moviesfree 9movies 123stream sitemaps.
The Colour out from the Darkness
Full movie el color surgido del espacio de la. How much of the plot do you want the trailer to reveal? Producers: Yes. Looking forward to this one. Loved Mandy. Full movie el color surgido del espacio al. Full movie el color surgido del espacio pelicula completa. Full movie el color surgido del espacio el. Full Movie El color surgido del estación. Full movie el color surgido del espacio 2. Full Movie El color surgido del espalion. Full Movie El color surgido del espacil. Nic 'Wait For Me To Lose My S. Cage plays to his own unique type in this initially interesting but ultimately dull chiller/thriller. A meteorite lands in his front garden and strange things start to happen in his isolated woodland family home, so far so very 80s. Animals and people and plants start to behave differently as whatever it is infects more and more of the environment, and there's a really nice build up of oddness.
Full movie el color surgido del espacio gratis. Kids, do NOT take drugs. Looks trippy. I wanna watch it now. 1:47 : when you hit your elbow. Excellent thank you very much for this. The only movie really worth seeing here is Antlers, imo. Full Movie El color surgido del estaciones. Written and directed by Richard Stanley (his first film in 25 years, after he was infamously fired three days into production on his long-gestating dream project, The Island of Dr. Moreau (1996)H. P. Lovecraft& 39;s 1927 short story "The Colour Out of Space" and takes a good stab at depicting one of Lovecraft& 39;s most oblique entities. Mixing humour and body horror (perhaps weighed a little too much towards humour) the film gives Nicolas Cage another opportunity to go full-Cage, and boy does he lean into it - this is the most ludicrous, histrionic, and borderline farcical performance he& 39;s given since Vampire& 39;s Kiss (1988), and how much latitude you give him may well determine your opinion of the movie.
Just outside the city of Arkham, MA (the fictitious setting of many Lovecraftian stories) Nathan Gardner (Cage) his wife Theresa (Joely RichardsonBrendan MeyerMadeleine ArthurJulian Hilliard) have moved into Nathan& 39;s deceased father& 39;s property, with Nathan embracing rural life by raising alpacas on the property& 39;s farm. On an otherwise normal night, the sky fills with pulsating light and a meteorite crashes onto the Gardners& 39; land, and as time passes, the Gardners start to experience ever-more bizarre events - unnaturally localised lightning storms that seem to come from nowhere; huge fuchsia-like plants that seem to grow overnight; a horrific odour that only Nathan can smell; a gigantic purple mantis flying around; radios and the internet cutting out more than normal; the water turning strange colours; the family& 39;s dog, Lavinia& 39;s horse, and Nathan& 39;s alpacas starting to acting strangely; even time itself appears to be corrupted. And soon enough, the family members themselves begin to show signs of unnatural change.
After some basic narrative preamble and a contemplative sub-Terrence Malick-style voiceover, the film features one of the most inorganic expositionary scenes I& 39;ve ever seen, as Nathan and Theresa stand on the porch, and spend a good five minutes telling each other things that they both already know. Thankfully though, the clunkiness of this opening isn& 39;t a sign of things to come, and one of the film& 39;s most consistent elements is the subtlety with which Stanley depicts the entity, or rather, doesn& 39;t depict it. Lovecraft felt that if humanity were ever to encounter real cosmic beings, they could be so unlike anything in our experience as to be impossible to describe, or even process in our minds, and one of his aims with "Colour" was to create an entity that doesn& 39;t conform to human understanding - hence the only description is by analogy, and even then, only in relation to a colour beyond the visual spectrum. With this in mind, Stanley wisely keeps everything as vague as possible - vibrant, modulating pulses of light that seem to be emanating from somewhere just outside the frame, vaguely-defined spatial distortions, colour manipulations with no obvious source, etc.
Important here is the colour itself, and instead of attempting to create the indescribable colour featured in the story, director of photography Steve Annis chooses to go the route of not settling for any one stable colour - every time we see the effects of the meteorite, the hue appears to be in a state of flux - so although we can say the colours are recognisable, they& 39;re never identifiable as any one specific colour, which, is probably the best choice the filmmakers could have made.
As we get into the third act, the film abandons all sense of restraint and goes completely insane, with the body horror which has threatened to break through from the earliest moments finally unleashed, foregrounding the exceptional work of special effects supervisor/creature designer Dan Martin. These scenes are heavily indebted to David Cronenberg, especially his earlier work such as Shivers (1975)Rabid (1977), and The Brood (1979), although the most obvious touchstone is Chris Walas& 39;s work on Cronenberg& 39;s masterpiece, The Fly (1986). A lot of Martin& 39;s creature design also seems inspired by the legendary work of Rob Bottin, and there& 39;s a direct visual quote of one of the best moments in John Carpenter& 39;s The Thing (1982)
It& 39;s also in the last act where Cage is turned loose, signalled by an epic meltdown when he discovers Benny hasn& 39;t closed the barn door and the alpacas have gotten out. From there, it& 39;s Nicolas Cage unrestrained. There is a problem with this, however. Full-Cage has been seen in films such as Vampire& 39;s Kiss, Face/Off (1997)The Bad Lieutenant: Port of Call - New Orleans (2009)Mom and Dad (2017), and Mandy (2018), but each performance has felt fairly organic, never becoming self-conscious. In Colour, however, to an even greater extent than in the virtually unwatchable The Wicker Man (2006), Cage crosses into self-parody, with his performance having as much to do with people& 39;s preconceived notions of a Nicholas Cage performance as it does with finding the character. There are a couple of scenes here that seem to have little to do with legitimate character beats and more to do with Cage winking at the audience.
Which might be entertaining and all, but which doesn& 39;t serve the film especially well. For all its insanity, this is a relatively serious movie, but Cage& 39;s performance is so manic, that it affects everything around it. For example, after the aforementioned meltdown ( quot;Don& 39;t you know how expensive those alpacas were". which just about fits with what we know of the character, as Nathan is walking away from Benny and Lavinia, he stops, turns, pauses, shouts "ALPACAS" pauses again, and then walks away. This got a huge laugh at the screening I attended, and it was undoubtedly funny. But does self-reflexive humour by the leading man help tell the story or even create the right tone? No, not in the slightest. In essence, this scene marks the point where the character ceases to be Nathan Gardner and becomes a version of Nicolas Cage.
The other characters all have a kind of internal logic to their crumbling sanity; the meteorite affects each of them differently, with their minds disintegrating in different, but consistent ways. With Nathan, however, Stanley seems unwilling, or unable, to establish the parameters by which his mind is breaking down, seemingly going for laughs rather than something more cogent.
This issue notwithstanding, I enjoyed Colour Out of Space a great deal. Stanley& 39;s return to the director& 39;s chair is to be admired for its restraint and how faithful it remains to the very tricky Lovecraftian original. The body-horror in the film& 39;s last act will appeal to fans of the grotesque, whilst others will take great pleasure from Cage& 39;s insanity, as narratively unjustified as it is. The film is ridiculous on many levels, but it& 39;s extremely well realised and well made, and is to be applauded for not trying to attach an explicit meaning to a story which avoids any kind of thematic specificity.
Learn more More Like This Mystery, Sci-Fi Thriller 1 2 3 4 5 6 7 8 9 10 6. 6 / 10 X Based on the H. P. Lovecraft story of the same name, a folklorist investigates reports of unusual creatures in Vermont only to uncover more than he bargained for Director: Sean Branney Stars: Annie Abrams, Zack Gold, Stephen Blackehart Fantasy Horror 7. 2 / 10 While sorting the affairs of his late Uncle, a man accidentally stumbles across a series of dark secrets connected to an ancient horror waiting to be freed. Andrew Leman Matt Foyer, John Bolen, Ralph Lucas Short 6. 7 / 10 A meteorite, strange vegetation, a colour: an experimental take on H. Lovecraft's spiral into madness, shot with a vintage camera on truly unique LomoChrome 16mm film. This is a beautiful exercise in the surreal. Patrick Müller 7 / 10 Haunted by recent events and on the run, a man finds himself the unwitting pawn of a possessed evangelical radio station and like his unfortunate predecessor must ask himself whether it is better to reign in hell than serve in heaven. David Prior Eric Lange, John Billingsley, Ray Wise 7. 4 / 10 A man locks himself in his own house, in order to fight his inner demons. Things begin to take a dark turn when a strange visitor lands in his backyard. Ítalo Donato David Figueiroa, Lucas Ponciano 6. 3 / 10 A secluded farm is struck by a strange meteorite which has apocalyptic consequences for the family living there and possibly the world. Richard Stanley Nicolas Cage, Joely Richardson, Madeleine Arthur 4. 7 / 10 Pietro and Lucia live on an isolated farm with Alice, Lucia's younger sister. Poor farmers, they live tilling the soil. Pietro is a good worker and a strong man who, unlike his three. See full summary » Ivan Zuccon Debbie Rochon, Michael Segal, Marysia Kay 6. 2 / 10 A boating accident runs a young man and woman ashore in a decrepit Spanish fishing town which they discover is in the grips of an ancient sea god and its monstrous half human offspring. Stuart Gordon Ezra Godden, Francisco Rabal, Raquel Meroño Action A man led by horrific visions to a mysterious cabin hopes to put a stop to his nightmares. An H. Lovecraft inspired film. Alexander Crews Michael Minto, Jonathan Castile 5. 1 / 10 When a meteorite lands near his family farm during a storm in Tennessee, the son of a struggling farmer believes it's connected to strange plague-like events afflicting the crops, the farm animals and even the family themeselves. David Keith Wil Wheaton, Claude Akins, Malcolm Danare 5. 6 / 10 A young man visits his fiancée's estate to discover that her wheelchair-bound scientist father has discovered a meteorite that emits mutating radiation rays that have turned the plants in. See full summary » Daniel Haller Boris Karloff, Nick Adams, Freda Jackson Drama 4. 6 / 10 A Seattle history professor, drawn back to his estranged family on the Oregon coast to execute his late mother's estate, is reaquainted with his best friend from childhood, with whom he has. See full summary » Dan Gildark Jason Cottle, Casey Curran, Ethan Atkinson Edit Storyline Arkham, 1975: Jonathan Davis' father has disappeared. His tracks lead to Germany, to the Swabian-Franconian Forest where he was stationed after the Second World War. Jonathan sets out to find him and bring him home, but deep in the woods he discovers a dark mystery from the past. Based on H. Lovecraft's short novel "The Colour Out of Space. Written by Vu, Huan Plot Summary Add Synopsis Taglines: No one, no one forgets it... Details Release Date: 30 October 2010 (Germany) See more » Also Known As: The Color Out of Space Company Credits Technical Specs See full technical specs ».
Just watched the color out of space it was all i hoped for. This was amazing. Full Movie El color surgido del espacio.
Full Movie El color surgido del espacios
MYSTERIOUS COLORS UNLIKE ANY WE'VE SEEN ON EARTH. 宇宙からの色～！黄泉からの色～！. The color. The color. Full movie el color surgido del espacio con. This reminds me of a reoccurring conversation between my friend in me. He loves camp, kitsch, and Lovecraftian type pulp fiction and horror, and doesn't understand why I can't get into series like Stranger Things and Twin Peaks. I just can't give myself over to the ironic parody of the performances of camp, acting poorly or over acting (whatever you want to call it) to make fun of other serious but bad movies in the same genre. So I get why the guys fundamentally disagree, and naturally, I find Alex's points to be more grounded and convincing haha. Also, will you guys be reviewing the new Terrence Malick film, A Hidden Life, releasing this week? A film guaranteed to be diametrically opposite to this pulpy indie picture.
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Color Out of Space
Full Movie Color Out of Space release date 2019 year 1280p english subtitle 3.7
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