Asylum Erotica / Slaughter Hotel (1971)

I was charmed the other day by a 1915 vintage, almost Victorian looking, Kellogg’s Corn Flakes advertisement poster I spotted amongst the old-fashioned-decor adorned on the walls at a local Cracker Barrel diner. While staring at the ad, for some reason, I became curious as to the origin of Corn Flakes. Where were they invented, and how did they come about? I previously had a stereotypical notion that they may have originated in farming communities, due to the rooster, Cornelius, usually observed on the boxes. After ordering pancakes, I googled “Kellogg’s Corn Flakes history” on my phone, and the results were a little startling.

It appears the invention that brought about Corn Flakes was discovered by accident in 1894, at the Battle Creek Sanitarium in Michigan by health reformist Dr. John Harvey Kellogg and his brother Will Keith Kellogg as part of a bland diet to keep the patients from having increased passions, i.e. to keep them from masturbating.

One day, the Kellogg brothers left a batch of cooked wheat out to sit, when they were diverted by urgent matters at the sanitarium. Upon their return, they’d found that the wheat had gone stale, but because they were under a strict budget, they decided to salvage the wheat. After pressing the wheat through rollers, it formed, to their surprise, wheat flakes that were subsequently toasted and served to the patients; it ended up being a hit. Later Will Keith Kellogg experimented with flaking corn, which he eventually made into a successful business.

Dr. John Harvey Kellogg was a pioneer surgeon, who succeeded in having exceptionally low mortality rates with his surgery practice. He was the superintendent of the Battle Creek Sanitarium and pioneered numerous health reform treatments, some of which still hold up today. However, the good doctor sometimes missed the mark.

Daughters of Darkness (1971)

“Genre rules” seem to be most common in zombie and vampire films, and it’s with these particular genres that breaking the “rules” ends up being the most controversial. Yet, these so called rules are non-existent, and filmmakers can do whatever they want. Of course, the big risk with breaking too many rules is that so many people will already hate the movie before/without even bothering to see it. On the other hand, sticking with the rules and relying too heavily on clichés is too easy and contributes to oversaturation of a genre. I personally enjoy the best of both worlds, classic and innovative, the best of the old with the best of the new. Give me what I came for, but surprise me too. Clichés are important but more for the sake of maintaining a basis of familiarity.

Harry Kümel’s emblematic, chic, and sensual vampire seduction Daughters of Darkness falls somewhere in the middle ground between familiar and different. It probably isn’t even worth mentioning the many parallels between this movie and The Blood Spattered Bride or The Shiver of the Vampires, other than to note they were made around the same time and manage to be so different from one another, even though they tell similar stories. They all contain a common sapphic vampire story that owes a lot to Sheridan Le Fanu’s novel Carmilla, which was adapted a year earlier with The Vampire Lovers in 1970 and ten years before that with Blood and Roses.