Julian Sands as The Phantom in Dario Argento's Il fantasma dell'opera (The Phantom of the Opera)

Julian Sands as The Phantom in Dario Argento’s Il fantasma dell’opera (The Phantom of the Opera)

Asia Argento as Christine Daaé in Dario Argento's Il fantasma dell'opera (The Phantom of the Opera)

Asia Argento as Christine Daaé in Dario Argento’s Il fantasma dell’opera (The Phantom of the Opera)

Written by Gérard Brach and Dario Argento

Based on the novel by Gaston Leroux

English adaptation by Giorgina Caspari

Having watched Dario Argento’s laughably pathetic re-telling of Bram Stoker’s classic novel Dracula I must say I was a tad bit gun-shy about watching his adaptation of Gaston Leroux’s The Phantom of the Opera. I almost didn’t watch because I didn’t want to be burdened with the knowledge that was two authors turning over in their graves. Alas, I bit the bullet and while it is safe to say that Stoker is still turning over like a rotisserie chicken Leroux has flipped over once, possibly twice, and gone back to sleep.

Argento’s The Phantom of the Opera is a faithful adaptation of the original story-for the most part. It is still the story of the Phantom (usually named Eric but who is given no name in this film) who lives beneath the Paris Opera house and of the series of unfortunate ‘accidents’ that he causes in the name of hearing his love, Christine (Asia Argento), sing the lead on the stage of the opera house. Several gruesome deaths later, including a falling chandelier onto a packed audience, and the Phantom (Julian Sands) gets his wish.

It is when Argento strays away from the source material that the film suffers. The Phantom is a normal-looking guy in this one; or as normal as you can get with Julian Sands. The Phantom is a sort of ‘rat whisperer’ and sends the vermin out to do his nefarious biddings. Having read The Phantom of the Opera I don’t recall there being a scene where we would possibly hear a reprisal of “Ben” by Michael Jackson. I also don’t recall the Phantom and Christine engaging in coitus in the book but nonetheless there it is on the screen. This leads me to comment on the fact that Argento has no qualms with either accentuating his daughter’s breasts and nipples or showing them off altogether. As lovely a pair of ta-tas as Miss Argento has I can’t help being more than a little disturbed by the whole thing.

Julian Sands is good as the Phantom considering that with lines like, “Your perfume, your female smell; it flows through my veins like the melody of the rolling ocean”, he doesn’t have much to work with. Asia Argento does the best she can with the role of Christine but with the limits of the character and of her range she doesn’t have very much luck.

In closing I would have to say that the best way to approach The Phantom of the Opera is to remember that A. Dario Argento has made much better films that this-Suspiria being one of them; and B. The absolute worst (Dracula 3D) is yet to come.


Rumour has it that Dario Argento’s original cut of the film ran almost an hour longer and that the version which was finally released, has been heavily re-cut and changed by the producers to assure the film’s appeal to wider audiences.

The role of the Phantom was first intended for John Malkovich.

Despite the art work on the theatrical poster showing the Phantom’s mask, this is the only version which the Phantom does not actually wear a mask.


Julian Sands also appears in Warlock and Arachnophobia.

Asia Argento also appears in Land of the Dead and The Heart is Deceitful Above All Things.








Thomas Kretschmann as Dracula in Argento's Dracula

Thomas Kretschmann as Dracula in Argento’s Dracula

Marta Gastini as Mina Harker in Argento's Dracula

Marta Gastini as Mina Harker in Argento’s Dracula

Asia Argento as Lucy Kisslinger in Argento's Dracula

Asia Argento as Lucy Kisslinger in Argento’s Dracula

Rutger Hauer as Van Helsing in Argento's Dracula

Rutger Hauer as Van Helsing in Argento’s Dracula

Directed by Dario Argento

Screenplay by Dario Argento, Enrique Cerezo, Stefano Piani and Antonio Tentori

Based on the novel by Abraham Stoker

With this article I am not writing so much of a review as an admonishment to Dario Argento for his ‘re-shaping’ of Bram Stoker’s iconic vampire. Think of it as an ‘open letter’, so to speak.


Correct me if I’m wrong, but weren’t the guy who directed Suspiria? You remember Suspiria; a classic of giallo cinema that every self-respecting horror fan has in their collection; you remember it, right? How about the other excellent films you’ve made in your career; do you recall any of those? The trouble is I don’t think you do. If you did then you would understand just what a travesty of filmmaking your ‘re-telling’ of Dracula truly is. Before I air my gripes I want to tell you in a nutshell how bad this movie is: Your version of Dracula is so bad that you have actually managed to make a worse vampire film than Vampirella. Let that sink in while I go into detail.

Let’s start with the sets. The set of a movie is, like the acting and the effects and make-up, a part of the illusion. A good set can transport the viewer into the world that encompasses the film, be it a dystopian future world or Middle Earth. With the sets of Dracula I got the impression that they were nothing more than cardboard walls and bad matte paintings. There is no illusion of reality; no fantasy. I’ve seen better sets in a Uwe Boll film.

How about the effects? What the hell is up with the effects? Did you even hire someone to do the effects; or did you slap a few names onto the credits and use Adobe Photoshop instead? You cheap old bastard, that’s exactly what you did, isn’t it? How else could you explain such atrocious CGI? Naked woman who look as flat as paper when shoved across a room, spiders that look as dimensional as notebook paper, gaping wounds as convincing as a tattoo; anything to cut a few dollars off the budget, right? I can dig that. After all, I buy generic.

I notice that you have once again cast your daughter, Asia Argento. You’ve even managed to show her breasts for a decent amount of screen time of which I secretly have to thank you for as they are quite lovely. However, there’s just something creepy to me about a father photographing his daughter’s bare breasts. But then, actress Marta Gastini as Mina pours cold water over them. You know what cold water does to nipples, don’t you? That makes it beyond creepy, Dario.

A few quick complaints before we come to the end:

Rutger Hauer looks like he wore the same clothes that he wore as Niall Brigant in True Blood.

Was it me, or are the accents all over the place in this movie?

A giant praying mantis? What the hell?

Finally, we come to Dracula himself. Did you even bother to audition anyone for the role; or did you just pick a name out of a hat? Thomas Kretschmann is as convincing as Dracula as the late Gary Coleman would have been as Kareem Abdul-Jabbar. Dracula is depicted in the novel as a warrior, a prince. You and Kretschmann have reduced him to a lovesick puppy that sneaks around disguised as a rat, spider, cockroach or housefly listening in on conversations; only throwing in a blood drenched temper tantrum when you realize you’ve turned him into a pussy.

I know that there has been a steady decline in the quality of your filmmaking over the years. I had always hoped that you would come to your senses and deliver one more masterpiece for us all to rave about. After Dracula, I have come to the conclusion that it’s too late for that.

Disappointed and dismayed,

John Mountain

Written in Blood

Now here is the same article in Italian, thanks to Google translate; if it’s wrong then blame Google and not me.

Con questo articolo non sto scrivendo tanto di una revisione come un ammonimento a Dario Argento per il suo ‘re- shaping ‘ di vampiro iconico di Bram Stoker , Dracula . Pensate a come una ‘ lettera aperta ‘ , per così dire .


Correggetemi se sbaglio , ma non eri il ragazzo che ha diretto Suspiria ? Si ricorda Suspiria , un classico del giallo cinema che ogni auto che si rispetti fan dell’horror ha nella loro raccolta , lo ricordi , vero? Come per le altre pellicole eccellenti che hai fatto nella tua carriera , ti ricordi una di queste ? Il guaio è che non credo che tu fai. Se così fosse , allora si dovrebbe capire solo ciò che una parodia del cinema vostra ri-raccontare ‘di Dracula è veramente. Prima di aria miei difetti io voglio dirvi in poche parole quanto male questo film è : la versione di Dracula è così male che si è effettivamente riuscito a fare un film di vampiri peggio di Vampirella . Sia che affondano nel mentre io vado nel dettaglio .

Cominciamo con i set . Il set di un film è , come la recitazione e gli effetti e make-up , una parte dell’illusione . Un buon set in grado di trasportare lo spettatore nel mondo che comprende il film , sia esso un mondo futuro distopico o la Terra di Mezzo . Con i set di Dracula ho avuto l’impressione che fossero nient’altro che pareti di cartone e matte painting cattivi . Non vi è alcuna illusione della realtà , non fantasia . Ho visto gruppi migliori in un film Uwe Boll .

Come circa gli effetti ? Che diavolo è in su con gli effetti ? Hai assumere anche qualcuno per fare gli effetti , o hai schiaffo alcuni nomi sui crediti e utilizzare Adobe Photoshop , invece? È a buon mercato vecchio bastardo , che è esattamente quello che hai fatto , non è vero ? Altrimenti come si potrebbe spiegare come CGI atroce ? Nudo di donna che guardano piatta come carte da gioco , quando spinse in una stanza , i ragni che sembrano dimensionale carta di notebook , ferite aperte come convincenti come un tatuaggio , nulla di tagliare un paio di dollari fuori bilancio , giusto ? Posso scavare quella . Dopo tutto, io compro generico .

Ho notato che avete ancora una volta lanciare la vostra figlia , Asia Argento . Sei anche riuscito a mostrare il seno per una discreta quantità di tempo sullo schermo di cui ho segretamente devo ringraziarvi per come sono piuttosto bella. Tuttavia, c’è solo una cosa raccapricciante a me su un padre fotografare il seno nudo di sua figlia . Attrice Marta Gastini come Mina versa anche l’acqua fredda su di loro . Sai cosa acqua fredda fa per capezzoli , non è vero? Questo lo rende al di là raccapricciante , Dario .

A poche lamentele veloce prima di arrivare alla fine :

Rutger Hauer come Van Helsing sembra che indossava gli stessi vestiti che indossava , come Niall Brigant in True Blood .

Era me , o sono gli accenti dappertutto in questo film ?

Un gigante mantide religiosa , che diavolo ?

Infine , veniamo a Dracula se stesso . Avete anche la briga di ascoltare qualcuno per il ruolo , o hai semplicemente scegliere un nome da un cappello ? Thomas Kretschmann è convincente come Dracula alla fine degli anni Gary Coleman sarebbe stato come Kareem Abdul – Jabbar . Dracula è raffigurato nel romanzo come un guerriero , un principe . Tu e Kretschmann lo hanno ridotto a un cucciolo malato d’amore che si insinua in giro travestito da topo , ragno , scarafaggio o mosca ascoltare le conversazioni , ma solo gettare un capriccio intrisa di sangue quando ti rendi conto che lo hai trasformato in una figa . Se ho voluto guardare vampiri figa sarei guardato Twilight.

So che c’è stato un calo costante della qualità del vostro cinema nel corso degli anni . Avevo sempre sperato che si sarebbe venuto a vostri sensi e fornire un altro capolavoro per tutti noi di entusiasmante . Dopo Dracula , sono giunto alla conclusione che è troppo tardi per questo , Dario . Il tuo tempo è passato .

Deluso e scoraggiato ,

John Montagna

Scritto in Blood


The first time Van Helsing (a Dutchman in the novel) has actually been played by someone from the Netherlands.

Rutger Hauer plays Van Helsing in this production, he previously played Dracula in Dracula III: Legacy (2005).

One of the biggest differences with Bram Stoker’s original novel is that this version’s plot takes place entirely in Transylvania. Stoker’s work moves the action to England.

The first time Dario Argento has worked in 3D.

0 out of 5 Blood Drops.

Thomas Krestschmann also appears in King Kong and Open Grave.

Marta Gastini also appears in The Rite and Io & Marilyn.

Asia Argento also appears in Land of the Dead and The Heart Is Deceitful Above All Things.

Rutger Hauer also appears in Batman Begins and Flesh+Blood.




Steven Weber as Frank Spivey

Steven Weber as Frank Spivey

Carrie Anne Fleming as Jenifer

Carrie Anne Fleming as Jenifer

Directed by Dario Argento

Teleplay by Steven Weber

Based on a short story by Bruce Jones

When I was a younger man in my late 20’s I worked as a pizza delivery driver. I had a boss, Ben, who was adamantly against the use of drugs of any kind. I mean, the guy didn’t even drink. That is, until he met Denise. There was only one way to describe Denise and that was that she was a crack whore. Denise led Ben down a path that he never completely recovered from. He still wouldn’t do drugs himself; but he bought them for her, and he even went to prison for her. Nothing would ever again be the same for Ben.

Now, I told you that story to demonstrate that at first I wasn’t really sure what director Dario Argento and writer/star Steven Weber were trying to say in their Masters of Horror adaptation of a Creepy comics tale from Bruce Jones. This story of a cop, Weber (WingsJeffrey) who takes in a horrifically facially disfigured woman who leads him down a path of self-destruction is exactly the same as that of my friend and his albatross of trouble. At first, I thought that the episode was one long joke about ugly women and how men will fuck them, but they surely will not tell their friends about it. At the risk of sounding sexist or cruel, it reminds me also of that old joke about the similarity between a fat girl and a Moped; they’re both fun to ride, you just don’t want anyone to see you. Another is that when it comes to women, the majority of men let the little head do the thinking. Even after she eats the family cat and the kid from next door, Frank still has no qualms about dipping his wick in Jenifer. After all, the body is a classy chassis; it’s the face that looks like it smacked a wall at 90 miles per hour. Hell, then again who knows? Maybe I’m missing the point altogether. Somehow, I don’t think I am.

One thing I know for sure is that this is the first episode of Masters of Horror that lives up to the name. Director Dario Argento (SuspiriaMother of Tears) seems to be having a lot of fun with the episode and treats it more like a mini-movie than he does a TV show. Steven Weber is good in the role of Frank; and Carrie Anne Fleming grunts, whines, licks and snorts her way through her role as Jenifer. After a flawed, but promising start and then a big step backward, Argento and company set Masters of Horror back in forward motion with Jenifer.


This was the only Season 1 episode to require cuts. 2 shots were removed from the final film, both involved graphic depictions of oral sex. The first one occurred during the sex scene in the car, and the second occurred at the end of the film. The deleted scenes are edited into the ‘So Hideous My Love’ documentary on the DVD.

The source material first appeared in 1974 in Creepy #63 and was illustrated by Bernie Wrightson.


Wow, I’ve done ten editions of “What’s Their Best Film?” already. In that time I have received great response from some of my regular and my non-regular commentators. I’m sure that a lot of you have voiced your opinion of not what you thought a particular filmmaker’s best movie was; but listed your favorite film from said director instead. Hey, that’s cool; because in order to accurately give an opinion of a director’s best movie you would have had to have seen every film in their catalog. I love movies, but I will not and cannot watch movies 24 hours a day, seven days a week. There are more important things such as work, supporting a family and figuring out ways to get Honey Boo Boo off the air. Damn what an annoying kid and her equally annoying mother!

So why am I babbling on and on? I shall tell you. In the last ten editions of “WTBF?” it has been you, dear reader, who has voiced your humble opinion. Now it’s my turn to give you my opinion. I will list each director below and I will tell what I think is their best movie or my favorite movie; whatever you want to call it.

Let’s begin:


Is it any surprise that I’m going with Goodfellas for this one? In my opinion it’s the greatest gangster flick ever made.

Runner-up: Taxi Driver



Most of what Bay puts out is complete shit; but if I had to choose a movie of his to watch I’d go with Armageddon . At least it got the Criterion Collection treatment.

Runner-up: Transformers


Alfred Hitchcock

Psycho. It’s my favorite “Hitch” film and in my humble opinion it is also his best. The shower scene alone is worth the price of admission.

Runner-up: Rear Window



Schlinder’s List. Spielberg may have given us the first summer blockbuster with Jaws; but with Schindler’s List he gave us his first and finest masterpiece. Ralph Fiennes is chilling as Amon Goeth.

Runner-up: Jaws



Two words: Kill Bill Vols. 1 and 2, Okay, so that’s six words. That’s because these movies rock so hard they blow up two words and turn them into six!

Runner-up: Pulp Fiction



I loved Magnolia and watch it at least three times every year. There are just so many great performances in this film from Julianne Moore to John C. Reilly. Tom Cruise was robbed of an Oscar for his role as informercial sex guru Frank ‘T.J.’ Mackey.

Runner-up: Boogie Nights



Do you honestly think I would choose anything other than The Thing?

Runner-up: Halloween



Jeff Goldblum had the role of a lifetime in Cronenberg’s vision of the George Langelaan short story The Fly. Be afraid. Be very afraid.

Runner-up: The Dead Zone



Some might say Carrie, some might say Scarface; I’m going with Blow Out as De Palma’s best. Travolta’s performance is one of the key reasons Tarantino wanted him for Pulp Fiction.

Runner-up: Carrie or Scarface (tie)



I loved Short Cuts the first time I saw it and every time after that. Fantastic ensemble acting.

Runner-up: M*A*S*H



Not only is Sin City Rodriguez’ best film; but it is also the single most faithful adaptation of a graphic novel from page to screen that I have ever seen in my entire life. It’s also the movie that once again made a contender out of Mickey Rourke.

Runner-up: From Dusk ’til Dawn



Unforgiven is one of the greatest westerns ever made. It was directed by Clint Eastwood; who in turn learned a few tricks from one of the greatest filmmakers, Sergio Leone.

Runner-up: Million Dollar Baby or Mystic River (tie)



This is cheating, but I’m going with the entire Evil Dead trilogy for this one. Who needs Spider-man when you’ve got Ash? Bruce Campbell rocks!!

Runner-up: Spider-man 2



To be honest, I’ve only seen three Argento films: Suspiria, Mother of Tears and Opera. Of the three of those I suppose my choice for his best would be Suspiria. What a creepy and atmospheric film.

Runner-up: Opera



I have to go with The Wrestler on this one. I’ve been a fan of the squared circle for quite a long time and it’s the first film to take the subject matter seriously. Mickey Rourke was amazing as Randy “The Ram” Robinson.

Runner-up: Black Swan



I could be a complete asshole and go totally against the popular choice of A Nightmare on Elm Street as Craven’s best; but that would just be stupid. He gave us Freddy Fucking Krueger with this one, for crying out loud!

Runner-up: The Last House on the Left or Scream (tie)



Just as Craven brought usFreddy Krueger with his greatest film A Nightmare on Elm Street; so did Tobe Hooper bring us The Texas Chainsaw Massacre and Leatherface 10 years prior. Watch this movie and you’ll think twice about picking up hitchhikers and eating Texas Bar-B-Que.

Runner-up: Poltergeist



It may seem like a strange choice, but I pick his remake of Wes Craven’s The Hills Have Eyes over High Tension (aka Haute Tension aka Switchblade Romance) as Aja’s best film. It’s close though; both movies are fucking brutal.

Runner-up: High Tension 



Some people seem to love Rob Zombie’s films and other people seem to hate his films and his fucking guts. There’s no middle ground. What’s his best film? That’s easy: The Devil’s Rejects.

Runner-up: Halloween



What have I said before? The Howling is the greatest werewolf movie ever made; so the choice here is a no-brainer.

Runner-up: Gremlins



Re-animator, of course. Those of you who disagree can get a job in a sideshow. This film brings a whole new meaning to the term ‘giving head.’

Runner-up: From Beyond



I haven’t seen everything by Del Toro, but I thoroughly enjoyed The Devil’s Backbone. It was an amazing little ghost story.

Runner-up: Hellboy



There is no question that Night of the Living Dead is Romero’s greatest film; the trouble is that Dawn of the Dead is every bit as awesome. Folks, we have a tie! Zombies everywhere have Uncle George to thank for their popularity.

Runner-up: Day of the Dead



I loved Session 9 and The Machinist on equal terms; but if I had to choose I’d have to go with the latter based simply on the strength of the performance from Christian Bale. The Machinist is a brilliant film about guilt and how it can affect us so deeply.

Runner-up: Session 9



William Friedkin

The Exorcist. Nothing else need be said.

Runner-up: The French Connection



Lucky McKee

I choose May as McKee’s best for one simple reason: the deliciously disturbing performance from Angela Bettis. She deserved an Oscar for that movie.

Runner-up: The Woman



Eduardo Sanchez

It’s going to take Sanchez a long time before he gets out from under the shadow of The Blair Witch Project. He’s been making heavy strides with films like Altered and Lovely Molly. Still, it is the witch who holds sway over all.

Runner-up: Altered



I’ve only seen one Bava film and that is Black Sunday. I do want to see more.



The same goes for Lucio Fulci and Zombie. I know, I know I need to watch more Fulci and Bava.



The man who gave us The Man with No Name. It’s hard to pick one great Leone film. A Fistful of Dollars? The Good, the Bad and the Ugly? Once Upon a Time in the West? Once Upon a Time in America? Nope, I just can’t do it.


There you go; my choices. Some are your choices as well and some are not. Opinions are like assholes; everybody has one and they make the world go ’round.

Raimi, Argento, Aronofsky: What’s Their Best Film?

It’s a Friday afternoon and normally I would be watching a movie and blogging on it. But, with a new job comes new hours and therefore I have to work. So, before I depart for my place of employment I wanted to get a quick post in just to let everyone know that I am still alive and still blogging. Those of you who have read my previous “What’s Their Best Film?” installments know the drill. I name three directors and you tell me what their very best film is, in your opinion. Those of you who are first time readers I urge you to read the previous sentence as I do not like to repeat myself. I love to hear comments from each and every one of you and I try to reply to each and every one. So, without further ado let’s get this show on the road.




























TWO EVIL EYES (Co-Directed with George Romera. Argento directed “THE BLACK CAT“)-1990









DRACULA 3-D-2012









Don’t be strangers; I want to hear from you. Take care and stay scared!!


THE PHANTOM OF THE OPERA-United Kingdom-1962

Herbert Lom as The Phantom

Heather Sears as Christine Charles

Thorley Walters as Lattimer

Michael Gough as Lord Ambrose D’arcy

Edward de Souza as Harry Hunter

Directed by Terence Fisher

Screenplay by John Elder

Based on the novel by Gaston Leroux

Gaston Leroux’s 1910 novel “Le Fantôme de l’Opéra”, or “The Phantom of the Opera”, has been told in many forms over the years. There was, of course, the classic 1925 film starring Lon Chaney, Sr. as Erik and Mary Philbin as Christine. Then there is the 1943 edition starring Claude Rains and Susanna Foster. Even director Dario Argento has aimed his directorial vision at this tragic tale.

But it is the 1962 Hammer Films edition of the film that I remember best. Not because I remember seeing the film; until now I had never seen the film. I remember it because I was not allowed to watch when it first premiered on television as the movie of the week for Saturday night. The film premiered in theaters in August of 1962; so I can only guess that I may have been 3 or 4 years old when it made its TV debut. Thinking I was too young, my parents sent me away to bed. However, they didn’t bother turning down the volume. I remember hearing Christine’s beautiful voice as she sang for the Phantom (Herbert Lom, “The Dead Zone”). I remember that the Phantom would tell her that she would sing ‘only for me’. Finally, my memory is hearing the announcer’s voice saying ‘We continue now with…The Phantom of the Opera.’ I knew that one day I would see this film and that I would wonder if I would be as scared to see it as my parents thought I would be. Honestly speaking, that is not the case at all.

Horror films are filled with creatures of all kinds. Many of them are evil and deserve our disdain. They are hideous to behold and are the stuff of our nightmares. As for the Phantom of the Opera, that is not so. He is a man to be pitied. He had a gift and it was stolen from him. He lashed out in anger and was punished. Here is a man who merely wanted his songs to be sung and his music to be heard. For Hammer’s Phantom, the monster is not the man behind the mask, but the cruel and unscrupulous Lord D’Arcy (Michael Gough in a deliciously over the top performance). He is a thief, a scoundrel of the lowest morals. He is the most inhuman of monsters because he is all too human in the first place. The Phantom hides a beautiful soul behind a hideous mask. Lord D’arcy is hideous through and through; no mask in the world could hide such corruption.

Looking back, I’m actually glad my parents sent me off to bed. My impressionable young mind may not have understood that the bad guy is not always who we think it is.


The film was originally written for Cary Grant, who wanted to do a horror film. The Phantom’s character was rewritten as a more tragic figure, with the dwarf (played here by Ian Wilson) doing the actual violence, to suit Grant’s image. Grant declined the part (possibly unhappy with the watered down character) and it went to Lom.

The mask was made on the fly just before shooting out of cloth, tape, string and paint.

At one point, Christopher Lee was seriously considered for the Phantom part.




 This question is for the older gentlemen in the audience; how many of you had this poster hanging on your walls when you were teenagers? Raise your hands. Wait; keep them up so I can take a count. Wow, that many? Okay, now how many decided to forego the tape or thumbtacks and hold up the poster with only one hand? No wait, don’t answer that. That falls under the Too Much Information act of 2012. Anyway, my last few Scream Queens have been dedicated to the younger ladies of the horror genre. So I thought it would be fair that I would feature one of the beauties that helped pave the way.

Adrienne Barbeau became known to audiences as Carol Traynor, the divorced daughter of Bea Arthur’s titular character “Maude”. The popular show ran on CBS television from 1972-1978. She made her first dive into the horror genre when she starred in her then-husband John Carpenter‘s made-for-TV filmSomeone’s Watching Me” (1978). From that point on she starred in Carpenter’s “The Fog” (1980) and “Escape from New York” (1981), “Swamp Thing” (1982), directed by Wes Craven, and George Romero’s “Creepshow” (1982), based on tales written by horror author Stephen King ; as well as Dario Argento and George Romero’s directorial team-up “Two Evil Eyes” (1990). Her latest genre film was the SyFy original “War Wolves“. In addition to films she has starred as the voice of Catwoman on the acclaimed “Batman: The Animated Series” and has had roles on “The Drew Carey Show“, “Carnivale” and “Dexter”, just to name a few. Her autobiography is entitled “There Are Worse Things I Could Do” and was published in 2006 and she is also the author of the novel “Vampyres of Hollywood” as well as its sequel. It is her busy schedule and her longtime contribution to the world of horror and science fiction that Written in Blood honors the beautiful Adrienne Barbeau as the Scream Queen of the Month for July, 2012.


 Is of French and Armenian ancestry.

In 1978, a poster of Adrienne Barbeau wearing a tight purple corset was a bestseller. The poster’s image later served as a cover photo for her autobiography.

Bust: 34DD.

Sister-in-law of musician and actor Steve Van Zandt.