Shivering with sweat in a dark room, a man kneels on bare floorboards. Illuminated by candles, he works feverishly to solve the puzzle box in his hands. An ornate construction, made up of sliding panels and mysterious chambers. The air flexes with a distant tolling bell as polished pieces click into place. Out of it, a banal melody plays on a hidden mechanism. The din is reduced to a naked scream as the gates of hell open.
What is your pleasure, sir?
Clive Barker’s horror novella, The Hellbound Heart was first published in 1986. Dissatisfied with other film adaptations of his work, Barker made his directorial debut with Hellraiser in 1987. An almost verbatim adaptation of the novella. The film was the beginning of a multimedia franchise expanding on The Hellbound Heart. With each sequel peeling away more layers of Barker’s dark dreamscape. The doors of which are opened by a 3-inch cube called the “Lament Configuration”.
The box was originally called “the Lemarchand Configuration” in Barker’s novella. Known to most humans as only a rumor on the lips of a derelict. Several boxes were thought to exist but few were willing to track one down. Described as charts of the interface between the real and realer still. A box would break the surface of the trivial delights of human condition. The novella mentions one being locked away in the vaults of The Vatican. Another said to have been used by the Marquis De Sade while imprisoned in the Bastille.
All boxes were said to be created by a French craftsman, Philip LeMarchand. Previously famed for creating mechanical birds, he constructed a tool in the form of a toybox. A puzzle that to solve would mean to travel across the schism. LeMarchand’s background would develop later in Epic’s Hellraiser comic series that ran from 1989-1993 with the support of Barker. In them, LeMarchand was described as a mass murderer using human fat and bone in the construction of his boxes. The film Hellraiser IV: Bloodline would portray LeMarchand as an ingenious toymaker hired by an aristocratic occultist. The crafting of lament configuration would curse LeMarchand’s bloodline.
The existence of multiple boxes seems to have found its inspiration by way of the occult world. Some suggest it is reminiscent of the 13 Crystal Skulls mythology. Or more seriously, The Key of Solomon, a Renaissance grimoire of seals that command spirits. Barker once explained wanting access to hell in the book and movie. “Explored by something rather different than drawing a circle on the floor with magical symbols around it.” The idea of a puzzle came from childhood memories of his grandfather. A ship’s cook, having returned from a trip to the Far East with souvenirs. After one particular trip, Barker was given a carved wooden puzzle box.
In The Hellbound Heart, the Lemarchand Configuration was described as smooth, black lacquered faces with hidden pressure points. A surface reflecting faces of souls caught up in the obsession. Inside were the mirrored innards of fluted slots and oiled pegs. The cinematic version of the Lament Configuration was made of polished wood and brass. Special effects designer, Simon Sayce had studied ancient writings and symbolism from North Africa to China. He notes the inlaid characters of box’s brass work were inspired by surgical tools from an exhibit at the Pitt Rivers Museum. Later to be seen in the film as the disembodied torture devices summoned by the box.
The instructions to solving the Lament Configuration were part pragmatic and part metaphysical. The puzzle requires a cunning mind and nimble fingers. But to truly open it requires a dark desire for knowing. Desperate individuals seeking pleasure beyond mortal understanding. “You have to become aware of the Lament Configurations”, claims Doug Bradley. Longtime friend of Barker and actor that portrayed lead cenobite, Pinhead. “And then you have to find one, and then solve the puzzle. It’s not just the physical act of opening the box. It’s the motivation behind it.”
Barker’s Configuration has lent its inspiration to the modern urban legend/Creepypasta called The Devil’s Toybox. Part of a Halloween roadside attraction in rural Louisiana. It is described as a single room shack with 6 inward facing mirrors. The attraction’s challenge is to step inside for as long as possible without losing your mind. Another inspired object of the same name is used by paranormal investigators. These Devil’s Toy Boxes are much smaller mirrored contraptions. Popularized by Joshua P. Warren on Coast to Coast AM, it is believed to create an endless loop of energy. Some claim it attracts spirits and demons. Others utilize it to trap and remove negative entities.
The puzzle box remains an iconic artifact. Possessing an intricate mythology splashed across the pages of books, comics, and the big screen. Inspiring artwork, jewelry, toys, and a wide variety of other replicas. Many online merchants peddle puzzles that might offer access to paradise instead of hell. What kind of doors can you unlock with your own Lament Configuration? What is your pleasure?
As a card-carrying surrealist with an introverted philosophy, Jan Švankmajer is one of the most influential and obscure multimedia animators of Central Europe. The Czech director’s techniques in puppetry and stop-motion animation tap into the souls of everyday objects, characterized with deadpan tones. The unforgettable absurdity of his films and spiritual references, disgust and delight fans of the avant-garde and horror alike.
The Surreal Life
Jan Švankmajer was born in Prague in 1934, describing himself as an introverted child. Enthralled by traditional European puppetry, he spent most of his time creating worlds within his imagination and giving life to unconventional objects. Often recalling his love for a Punch & Judy booth he received as a Christmas gift. In the ‘50s he pursued his interests in theater, studying at the School of Applied Arts in Prague and enrolling in the Academy of the Performing Arts’ puppetry department. But it would be the multimedia theater, Laterna Magika, that would introduce Švankmajer to film. While not particularly known for creating horror, Jan Švankmajer’s uncomfortable aesthetic and understanding of surrealism as psychology invokes a horror from within. Utilizing diverse techniques that allow the audience a peak through the lens of grotesque divinity. His body of work favors gothic literature and Slavic mythology. Reimagining multiple works of Edgar Allen Poe in more contemporary settings, he offers a unique take on surrealist horror that will haunt his audience for years.
Fall of The House of Usher
In 1980, Jan Švankmajer released a short film based on Poe’s Fall of The House of Usher. Staying faithful to the original story, he replaced the characters with a system of objects in an exploration of tactile stimulus. Claiming that the sensation of touch is often utilized in Poe’s psychological studies of characters. Švankmajer’s result was shot in black and white without actors, focusing on longing pans across patterned surfaces and stop motion animation. With a foreboding film score that’s reminiscent of American b-films, a free roaming coffin crawls through a thorny briar and sentient furniture sinks itself in a swamp. Transforming the classic tale of grief into a very pure definition of surrealist horror.
The Pendulum, The Pit, and Hope
Švankmajer’s 1983 surrealist horror short borrowed from Poe’s The Pit & The Pendulum and Auguste Villiers de l’Isle-Adam’s story, A Torture by Hope. Filmed from a grainy monochrome POV, our protagonist is captured by unknown enemies. A hooded figure leads the audience through claustrophobic catacombs to a mechanical torture chamber. With whimsical renderings of hell painted across the scenery, it vaguely gives the impression of a carnival funhouse ride. Bags of grain act as counterweights to the swinging pendulum as our prisoner struggles against his restraints. Resisting the slow domination of machines, he dances back and forth with little sparks of freedom. Brief rays of hope taunting the audience beyond the faint shadow of exhaustion.
Updating Goethe’s version of the German legend of Faust, Švankmajer simultaneously honors Franz Kafka with 1994’s feature length film of the same name. Set in a mundane metropolis, the film deviates from the erudite title character by portraying him as a depressed drudge stuck in a looping rat race. Ignoring subtle harbingers at first, he is lured into an otherworldly puppet theater where he finds himself in the dressing room, holding a script. In a very meta scene, he defines himself as “Faust”, by reading lines out loud. Jaques’ famous line from Shakespeare’s As You Like It is made gospel with an opening cue and Faust takes the stage. Approached by life sized wooden marionettes of an angel and devil, Faust is goaded at the cross roads. Will he pursue a path of righteousness or devote himself to the dark arts? Worldly pleasure and unlimited knowledge prove too tempting to refuse, and so Faust strikes the infernal bargain. Staged in a dilapidated guignol, the jerky motions of human puppets are unsettling for anyone that grew up watching the Puppetmaster films. When the cue light blinks red to alert Faust that the Devil has come to collect his due, he finds himself just another marionette hung on the wall. Controlled by the hands of fate, the quest for power always comes with strings attached.
2005’s Lunacy is Švankmajer’s surrealist horror comedy, thematically focused on Edgar Allen Poe’s “The System of Doctor Tarr and Professor Fether” and “The Premature Burial“. This feature length movie parallels The Cabinet of Dr. Caligari as well as utilizing historical elements of the life of Marquis de Sade. Since his mother’s passing in a mental institution, Jean regularly has nightmares of being dragged off by hospital orderlies. Struggling with his loss, he encounters a strange fellow while making funeral arrangements. The man claims he is the Marquis de Sade and had also recently lost his mother. Forging an acquaintanceship, he suggests Jean voluntarily commit himself to help ease his grief and nightmares. Desperate for penance, Jean agrees and admits himself to an asylum managed by a friend of the Marquis. As a patient he is subjected to extreme methods of treatment ranging from indulging in decadent pleasures and vice to vicious corporeal punishment and acts of violence. All part of Dr. Murlloppe’s vision of freedom by balancing mind and body. There is a great deal of misdirection with the introduction of each character and blurred lines of who are the patients and who are the doctors. Some aspects of Švankmajer’s Lunacy feel like a melancholy drama as seen through the eyes of Clive Barker, while other scenes echo the loneliness within Jodorowsky’s Santa Sangre.
The Ossuary and Other Controversies
Jan Švankmajer’s films were heavily restricted for over 2 decades, as his disturbing imagery and gritty aesthetic were considered politically undesirable. Although his work was never officially banned in his country, the distribution was suppressed after the 1968 Soviet invasion of Czechoslovakia. The regime installed in the fall of 1969 was infamous for its cultural repression. Filmmakers, particularly those of the “Czech New Wave,” were among the most severely persecuted. In 1970, Švankmajer was commissioned to document The Sedlec Ossuary in Kutna Hora. Shot in black and white, the result was a 10-minute-long feature entitled, Kostnice (The Ossuary). Loosely described as a real-life “horror documentary”, the Sedlec Ossuary’s creation came from a mass grave of nearly 70,000 casualties of the 14th century’s Black Plague and 15th century’s Hussite Wars. Kostnice features long textured shots of tomb stones and intricate repurposing of human remains. Overdubbed with an actual tour-guide’s exhibit monologue as she addresses a group of children with flat frankness and warped humor. Svankmajer did not shy away from themes of exploitation and tourism, which was considered an unacceptable subversion by the Czech Communist authorities. The film maker was forced to replace the soundtrack with a jazz arrangement of the poem “How to Draw the Portrait of a Bird” by Jacques Prévert. A scathing critique of his short film, Leonardo’s Diary, arose in 1974 after its debut at the Cannes Film Festival. A Czech film critic negatively regarded it as “a strange piece of fantasy without socialist content”. Švankmajer would again receive scrutiny for a spoof documentary titled Castle of Otranto. It featured a demented archaeologist interviewed by an actual well-known newscaster. The censors did not want Švankmajer to mix fact and fiction for fear of distorting the public’s view of news media. He was asked to instead cast comedians to which he refused.
Often, Jan Švankmajer has turned to Slavic folktales and the terrors of childhood for inspiration. Once suggesting that children stand outside of good and evil and seek the meaning of mortality within dark fantasy. His surrealist horror movies made for children, while mild to the average fan of the genre, tend to be the most disturbing in his catalog. The innocent perspective of a child breathes life into the mundane and sets the stage for the cruelest lessons in life.
Švankmajer’s most well-known film is his reimagining of Lewis Carroll’s Alice in Wonderland. Released in 1988 and simply titled Alice, the film is a mesh of live action, stop motion, and puppetry. Actress Kristyna Kohoutova plays the title role and asks the audience to close their eyes at the beginning of the movie. Only by blinding their adult selves can the viewer really begin to truly see. Alone and bored in her bedroom, Alice witnesses a taxidermied rabbit on her shelf come to life. Breaking free from its display, the rabbit adorns itself in elegant clothes before disappearing into a desk drawer. Alice follows through a labyrinth of furniture and cupboards, filled with endless bones and bobbles. Before the notion of The Backrooms was ever acknowledged, Švankmajer’s Alice created a whole series of the sub-levels to out-creep any pasta. Enter the bottomless sewing bag of your great auntie! While remaining true to Carroll’s original story, the juxtaposing fears of a child are closely explored. In some undulating dream states, Alice becomes an animated porcelain doll. Helpless and ignored by the rest of the world while at other times creatures of bones and glass eyes seize her liminal form. Between doll and flesh, child and adult, Alice is lost in this menagerie all contained within a singular house. The film Alice is somewhat of a spiritual successor to Švankmajer’s 1971 film, Jabberwocky. Loosely based on Carroll’s poem and a children’s book by Vítězslav Nezval. While less brooding than Alice, it contains many of the same visual elements of rotting fruit, doll cannibalism, and sentient origami.
2001’s Little Otik (also known as Greedy Guts) is Švankmajer’s most purposeful surrealist horror film that drips with dark humor. Based on the Czech fairy tale Otesánek, it bears a resemblance to Pinocchio and Little Red Riding Hood. Containing an ambiguous moral which leaves a lot of room for interpretation. Karel and Bozena are a miserable couple, unable to conceive a child of their own. While on vacation, Karel digs up a stump from the yard that somewhat resembles a baby. Initially meant as a joke, he presents it to his wife in an attempt to cheer her up. Bozena is instantly smitten with the log and swaddles it in her arms as if it were a real infant. Upon naming it Otik, the lump of wood comes alive. Suddenly she’s devising a plan to fake her pregnancy for when they return to their apartment in the city. Karel is horrified as Otik cries out in hunger, a thrashing mass of roots and branches screaming for food under the bare cabin bulb. Begging his wife to end the madness and chop it to pieces, the couple violently wrestle with an axe as Otik shrieks for sustenance. These fevered scenes of stop motion and minimal light mirror Sam Raimi’s Evil Dead. One wonders if Švankmajer imagined what kind of child Cheryl would have conceived after her encounter with the deadite trees. Bozena’s motherly instincts triumph and the couple take their Golem-like child home. Struggling to keep the stump fed, Otik’s maw is a ghastly knot in the center of its would-be face. A swirling death portal of teeth and tongue. Its insatiable appetite nearly scalps Bozena and soon the family cat goes missing. Growing in size with each culinary sacrifice, roots reach out for another meal. Once the mailman goes missing, Otik is locked in the basement and discovered by a suspicious little girl next door. She understands exactly what Otik is and vows to feed him.
Walking away from the heavier tones of Švankmajer’s work, Manly Games is less surrealist horror as it is a violent comedy. A short film with the simple premise of a sports fan watching television. A former soccer player and devoted fanatic returns to his flat with a case of beer and snacks to watch his game. The athletic event itself is an animation style popularized by Terry Gilliam’s work on Monty Python’s Flying Circus. With upbeat elevator muzak, each athlete is brutally disfigured by everyday mundane objects like scissors, plungers, meat grinders and toy trains. Their collapsed skulls of clay are nailed shut in a coffin, only to return to the soccer field and resume the game. The crowd cheers wildly for each bloodless death. After an intermission of a basket of kittens (yes really), the game ball is kicked into the sports fan’s apartment. Manly Games is hilariously absurd, remarking on desensitization toward bloodsports in all their violent glory.
Jan Švankmajer retired in 2018 following the release of his film Insect. His unique aesthetic of cultural and spiritual allusion has influenced multiple generations of artists like Terry Gilliam, Guillermo Del Toro, and the Brothers Quay. The childlike simplicity of some of his short films feel strangely familiar, anchored in the shared subconscious language of memory. Faintly echoing Sesame Street’s psychedelic animations of the 70s and 80s. In his closeted world, Švankmajer almost seems to obsess over the horrors of childhood and disassociate with themes of food and death. When questioned about these fixations, Jan admitted he had not yet fully closed the door to his childhood and continues to have dialogs with that chapter of his life.
“If there were no such obsessions, that we have been dragging behind us from our childhood, then what would we create from?”