Alice Krige: Queen of ‘Silent Hill’ and Horror’s Most Malleable Monster

Of the many monsters roaming the ashen realm of Silent Hill, one stands head and shoulders above the rest. Christophe Gans’ 2006 adaptation recreates the terrifying spectres found in Konami’s survival horror game, from faceless mutant nurses and cockroaches with strangely humanoid heads to the rotting corpse of a sexual predator bound with rusty barbed wire.

That’s not to mention the muscle-bound brute known as Pyramid Head (Roberto Campanella), who instantaneously strips the skin off of his unlucky victims. But these monsters pale in comparison to an ostensibly demure religious leader claiming to protect her flock. Leader of a fanatical cult called the Brethren, Christabella (Alice Krige) not only rules through oppressive fear, but her self-righteous cruelty is responsible for thirty years of death and destruction.

Once an idyllic mining community, the tiny town of Silent Hill was ravaged by a coal seam fire that left it virtually uninhabitable. Decades later, the abandoned city exists in a liminal space where monsters lurk in the malevolent darkness. When her adopted daughter Sharon (Jodelle Ferland) has a series of frightening dreams, Rose (Radha Mitchell) takes her to the decimated village, hoping to spark Sharon’s memories and contextualize her fear. But Rose finds herself not only separated from the little girl but pulled beyond the borders of reality and trapped in a dangerous hellscape of alternating fog and darkness. Alongside a cop named Cybil (Laurie Holden), she must not only survive the nightmarish creatures of Silent Hill, but also uncover her daughter’s connection to the town and its chaotic evil.

Following a series of ominous clues, Rose discovers that long before the cataclysmic fire, Christabella commanded the Brethren with a deadly variation of historical misogyny. Born out of wedlock, the cult leader proclaimed her niece Alessa (Ferland) a witch, sparking ostracization from both children and adults. When the vilified child was raped by a janitor while hiding from her relentless bullies, Christabella insisted they “purify” her through ritualistic immolation. But Alessa managed to survive this hideous ordeal, and the Brethren’s fire spread to the mines, leading to city-wide destruction. Survivors are now trapped in an alternate reality that periodically falls victim to Dark Alessa’s metaphysical rage. In the thirty years since her horrific mistake, Christabella has convinced her followers that they have survived the apocalypse thanks only to their purity via adherence to her oppressive rule.

Challenged by the arrival of Rose and Cybil, Christabella attempts to protect her authority by again proclaiming the women witches and demanding her followers burn them at the stake. Though Rose escapes, the Brethren capture Cybil and roast her alive over a roaring bonfire. Claiming Sharon — who looks exactly like the young Alessa — has been fathered by a demon, she plans to burn the child as well, completing the ritual that once went wrong. Fortunately, Alessa partially possesses Rose’s body and confronts the evil woman with her own hypocrisy. The spirit of Dark Alessa takes bloody revenge, tearing Christabella apart with ropes of barbed wire spinning outward from her charred body. This cathartic revenge transforms Gans’ survival horror story into a cautionary tale against women who prey on the vulnerable.

As the leader of this insidious cult, Christabella is one of the genre’s most vile female villains. But she is not Krige’s first monstrous character, nor would she be the last. In 1981, the accomplished actress appeared in frightening dual roles as Alma and Eva in John Irvin’s haunting Ghost Story. Adapted from Peter Straub’s classic novel, the film follows a group of distinguished older men who find themselves tormented by the woman they murdered in their youth. We first meet the ghostly Alma in the present as she seduces the sons of this powerful clan, systematically leading them to their deaths.

Desperate to save themselves, the surviving members of the “Chowder Society” admit that nearly fifty years ago, Edward (Kurt Johnson) accidentally killed a young woman named Eva to prevent her from revealing his sexual inadequacy. Fearing the ruination of their lives, the young men placed Eva’s body inside her car and pushed it into a nearby lake. But as the vehicle sank beneath the waves, the men saw her staring at them through the rear window and realized too late that she was still alive. Now they must find a way to make amends before Alma/Eva can complete her venomous mission. Krige’s ethereal beauty adds menace to this slow-burning horror story as she seeks revenge from beyond the grave.

In 1992, Krige played one of horror’s most surprising villains in Mick Garris’ cult classic Sleepwalkers. Based on a screenplay by Stephen King, the story follows an energy vampire werecat hybrid named Mary (Krige) and her son (and lover) Charles (Brian Krause), who flee to rural Indiana after murdering a young girl on the western coast. Known as Sleepwalkers, Mary and Charles wield a host of telepathic powers and survive by draining the life force of virginal girls. While attempting to feed on a local high school student named Tanya (Mädchen Amick), Charles is attacked by a policeman’s cat, the Sleepwalkers’ only natural enemy.

This encounter leaves the werecat gravely injured, and Mary embarks on a murder spree as she desperately tries to save his life. The vengeful mother takes out a squad of police officers, impaling one on a white picket fence while stabbing another with an ear of corn. She’s finally undone by a swarm of neighborhood cats who scratch and claw at her body until she finally bursts into flames.

Krige adds gravitas to the admittedly bonkers story by playing Mary with deadly seriousness. She effortlessly navigates the film’s outlandish murders and incest scenes while convincing us to care about the grieving woman, no matter how monstrous she may be.

Four years later, Krige would make waves in the sci-fi world as the amoral leader of the Borg, a cybernetic Collective driven by the unwavering need to achieve perfection. Structurally similar to a colony of bees, the Borg operates as a singular hive mind, forcibly assimilating individual victims with bio-technology that transforms them into zombie-like drones. In his 1996 sequel Star Trek: First Contact, Jonathan Frakes introduces us to the Borg Queen (Krige), the only member of the Collective possessing full autonomy.

Strangely beautiful, she appears with grayish skin pulled into a hideous bun behind her head and a cenobite-esque industrial torso attached to her chest via painful hooks. Insisting that “resistance is futile,” the silver-eyed seductress employs a variety of manipulative tactics to prevent Earth’s first contact with alien life, thus altering the landscape of space exploration.

Though several actresses would go on to play this nebulous villain, Krige originated the role in a haunting performance, ensuring the Borg Queen a place in the vast Star Trek universe for decades to come.

The same year, Krige terrified audiences as Christabella, the talented actress, who would play a pivotal role in another film centering on a survival horror game. William Brent Bell’s Stay Alive follows a group of friends who find themselves terrorized by a mysterious video game with the power to kill in reality. By speaking aloud the disc’s sinister invocation, Hutch (Jon Foster) and his friends find that they have unleashed the spirit of a murderous Countess (Maria Kalinina) who maintains her youth and beauty by bathing in the blood of virginal girls. As the Author, Krige explains this horrific legend and the real-life figure whose rumored sadism inspired the video game.

Hampered by clumsy effects and an abundance of mid-aughts cliches, Stay Alive is surprisingly enjoyable and arguably ahead of its time. Blending historical fiction with virtual reality, Bell’s Countess is based on Elizabeth Báthory, a 17th-century Hungarian noblewoman who was accused of murdering 600 girls and was permanently sealed in her castle’s tower. Though Krige appears in a single scene, only available in the Director’s Cut, she elevates Bell’s forgotten film in a disturbing monologue chronicling the alleged crimes of history’s first female serial killer.

Fourteen years later, Osgood Perkins would cast Krige as another sinister woman, this time occupying a magical house. Gretel & Hansel is a gender-flipped version of the classic Grimm’s fairy tale, following a young girl thrown out of her mother’s home and tasked with caring for her younger brother. Starving, Gretel (Sophia Lillis) and the immature Hansel (Samuel Leakey) traverse the dangerous woods only to stumble upon a kindly old woman named Holda (Krige) who lures them in with sumptuous treats. But we soon learn that this fortuitous banquet is an illusion. Holda is a wicked witch who survives by cooking innocent children and then disguising their corpses as mouthwatering food.

Though admittedly wicked, Krige plays the older version of a shapeshifting creature who also serves as a surprising mentor. While encouraging Gretel to kill her own brother, Holda allows the girl access to her extensive grimoire and helps unlock her own burgeoning magic. Though she unabashedly preys on children, the cannibalistic Holda is a strangely empowering figure in this magical coming-of-age fantasy.

Krige may not exclusively play villains and boasts a decades-long career filled with characters embodying all aspects of the female experience. However, the formidable actress has nonetheless provided horror with some of its most iconic monsters, from cyborg queens and wicked witches to incestuous mothers and women scorned. But of all Krige’s diverse villains, Christabella is undoubtedly her most sinister. As the malevolent leader of the Brethren, she is a cautionary tale warning of the destruction caused by women who would sell out their own to maintain positions of authority. 

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