Tag Archives: 1960s retrospective

“Homicidal (1961): A Cinematic Acid Trip Straight to the Loony Bin – Hold onto Your Sanity, It’s a Wild Ride!”

17 Friday May 2024

Posted by in retrospective

≈ Leave a comment

Tags

, , , ,

“Homicidal” (1961) is a maddening whirlwind of a film that defies all expectations, careening off the rails of conventional storytelling and hurtling headlong into the abyss of sheer insanity. From its frenetic pacing to its jaw-dropping plot twists, this flick is a masterclass in cinematic chaos that leaves audiences reeling and questioning their very grasp on reality.

Let’s start with the leading lady, shall we? Emily, played with chilling intensity by Jean Arless, is a femme fatale like no other. She’s got more layers than a Russian nesting doll, each one more twisted than the last. One minute she’s a demure secretary, the next she’s wielding a knife with the finesse of a seasoned assassin. And her backstory? Well, let’s just say it’s a labyrinth of secrets, lies, and enough skeletons in the closet to fill a graveyard.

But Emily is just the tip of the iceberg in this cinematic fever dream. “Homicidal” throws more curveballs than a rookie pitcher on a bad day. Just when you think you’ve got a handle on the plot, it pulls the rug out from under you and sends you careening down a rabbit hole of madness. And the ending? Don’t even get me started. It’s like director William Castle looked at Hitchcock’s “Psycho” and said, “Hold my beer.” Suffice it to say, you’ll be picking your jaw up off the floor for days afterward.

Of course, no discussion of “Homicidal” would be complete without mentioning its sheer audacity. This is a film that gleefully thumbs its nose at convention, gleefully embracing its own insanity with reckless abandon. Who needs logic when you’ve got shock value in spades? Who needs coherence when you’ve got a leading lady who’s more unhinged than a rusty gate? And who needs a tidy resolution when you can leave your audience scratching their heads in bewilderment?

The Prognosis:

“Homicidal” is not for the faint of heart. It’s a cinematic acid trip that’ll leave you questioning your sanity and begging for more. So, buckle up, buttercup, because once this crazy train leaves the station, there’s no turning back. Welcome to the twisted world of “Homicidal” – where the only thing crazier than the plot is the audience daring enough to watch it.

  • Saul Muerte

Retrospective: “The Curse of the Werewolf” (1961) – A Shift in Tone for Hammer Films

16 Thursday May 2024

Posted by in retrospective

≈ Leave a comment

Tags

, , , , ,

“The Curse of the Werewolf” marked a significant departure for Hammer Films in the 1960s, signaling a shift towards darker, more atmospheric horror. Directed by Terence Fisher and starring Oliver Reed in his breakout role, this film stands as a testament to the studio’s evolution and the enduring impact of its leading actors.

Throughout the 1950s, Hammer Films had gained recognition for its vibrant and often lurid adaptations of classic horror tales, characterized by colorful sets, Gothic atmosphere, and iconic performances from stars like Christopher Lee and Peter Cushing. However, with “The Curse of the Werewolf,” Hammer sought to explore more nuanced and psychologically driven horror, drawing inspiration from classic folklore and mythology.

Renowned for its atmospheric tension and captivating performances, it’s interesting to note that despite its English setting, the film’s source material, Guy Endore’s novel “The Werewolf of Paris,” is actually set in France. This deviation from the original setting doesn’t detract from the film’s effectiveness; rather, it adds a layer of mystery and exoticism to the narrative. The decision to transplant the story to Spain in the film further enhances its uniqueness, offering a fresh perspective on the classic werewolf tale.

Oliver Reed’s portrayal of the tortured protagonist, Leon, marked a turning point in the actor’s career and left an indelible mark on cinema. Reed’s raw intensity and brooding charisma brought depth to the character, elevating him beyond the typical tropes of the werewolf genre. His physicality and magnetic presence captivated audiences, establishing him as one of the most compelling actors of his generation.

“The Curse of the Werewolf” not only showcased Reed’s talent but also demonstrated Hammer’s willingness to push boundaries and experiment with new approaches to horror. The film’s moody atmosphere, evocative cinematography, and tragic narrative set it apart from the studio’s earlier offerings, signaling a maturation of the Hammer brand.

Furthermore, “The Curse of the Werewolf” reflected the changing cultural landscape of the 1960s, with its exploration of themes such as repression, identity, and the struggle between civilization and primal instinct. As society grappled with issues of conformity and rebellion, the film’s central conflict resonated with audiences, offering a potent metaphor for the human condition.

The Prognosis:

“The Curse of the Werewolf” remains a landmark film in the Hammer canon, showcasing the studio’s willingness to evolve and adapt to the shifting tastes of audiences. Oliver Reed’s performance, in particular, stands as a testament to his talent and enduring legacy, solidifying his status as one of cinema’s most iconic figures.

  • Saul Muerte

Podcast: The Curse of the Werewolf (1961)

“Poe’s Pulse: The Tell-Tale Heart (1960) and the British B-Movie Influence on Psychological Horror”

15 Wednesday May 2024

Posted by in retrospective

≈ Leave a comment

Tags

, , , , ,

“The Tell-Tale Heart,” directed by Ernest Morris and released in 1960, stands as a significant piece in the cinematic adaptation of Edgar Allan Poe’s literary works. The film, though low budget, managed to capture the eerie essence of Poe’s tale through atmospheric visuals and a haunting performance by Laurence Payne as the tormented protagonist.

During the 1960s, Edgar Allan Poe was revered as a master of macabre literature, his stories and poems considered essential reading for fans of horror and suspense. His works had already been adapted into numerous films, showcasing his enduring influence on popular culture. Poe was often viewed as a mysterious and enigmatic figure, his own life marked by tragedy and a penchant for the morbid and grotesque.

In the realm of cinema, British B movies played a significant role in shaping the horror genre during this period. These low-budget productions, often characterized by their creativity and resourcefulness, contributed to the proliferation of atmospheric and psychologically-driven horror films. While lacking the lavish budgets of their Hollywood counterparts, British B movies compensated with inventive storytelling, strong performances, and a focus on atmosphere and mood.

“The Tell-Tale Heart” exemplifies the influence of British B movies on the horror genre. Despite its modest budget, the film effectively creates a sense of dread and paranoia, mirroring the psychological turmoil of Poe’s protagonist. The use of shadowy cinematography and eerie sound design heightens the tension, while Payne’s portrayal captures the character’s descent into madness with chilling intensity.

Furthermore, British B movies of the 1960s often embraced a more psychological approach to horror, delving into themes of guilt, obsession, and existential dread. These films explored the darker aspects of the human psyche, drawing inspiration from literary sources like Poe to craft tales of psychological horror that lingered in the mind long after the credits rolled.

The Prognosis:

“The Tell-Tale Heart” stands as a testament to both Edgar Allan Poe’s enduring legacy and the impact of British B movies on the horror genre. By channeling the atmospheric qualities of Poe’s original tale and embracing the creative spirit of low-budget filmmaking, the film remains a haunting and evocative adaptation that continues to resonate with audiences today.

  • Saul Muerte

Village of the Damned: A Cinematic Cautionary Tale and the Legacy of John Wyndham

13 Monday May 2024

Posted by in retrospective

≈ Leave a comment

Tags

, , , ,

Rating: ★★★★☆

Released in 1960, “Village of the Damned” emerged as more than just a chilling science fiction film; it served as a mirror reflecting society’s anxieties and exploring themes deeply ingrained in the collective consciousness. Adapted from the novel “The Midwich Cuckoos” by John Wyndham, the film resonated with audiences not only for its eerie narrative but also for its subtle commentary on social consensus and the consequences of conformity.

At its core, “Village of the Damned” delves into the fear of the unknown and the threats posed by outsiders who disrupt the status quo. Set in the tranquil English village of Midwich, the arrival of otherworldly children challenges the community’s sense of security and unity, sparking tension and mistrust among its inhabitants. This narrative thread reflects the societal unease prevalent during the Cold War era, where the fear of infiltration and subversion loomed large.

Director Wolf Rilla skillfully translates Wyndham’s thematic depth onto the screen, employing atmospheric cinematography and a haunting score to heighten the sense of foreboding. The film’s pacing is deliberate, allowing the tension to simmer gradually until it reaches a fever pitch in the gripping climax. Performances from the cast, particularly George Sanders as the skeptical Professor Gordon Zellaby, lend credibility to the narrative, grounding the fantastical elements in emotional realism.

However, it is John Wyndham’s influence that elevates “Village of the Damned” beyond a mere sci-fi thriller. Wyndham’s body of work, characterized by its exploration of societal norms and the consequences of unchecked progress, serves as a thematic blueprint for the film. His novels, including “The Day of the Triffids” and “The Chrysalids,” similarly examine the fragility of societal structures and the dangers of blind conformity, resonating with audiences grappling with their own anxieties about the future.

The Prognosis:

“Village of the Damned” endures not only as a classic of the science fiction genre but also as a poignant reflection of the human condition. Its exploration of social consensus and the impact of external forces on community dynamics remains as relevant today as it was in 1960. As we continue to navigate an ever-changing world fraught with uncertainty, the cautionary tale of “Village of the Damned” serves as a reminder of the importance of vigilance and individuality in the face of conformity.

  • Saul Muerte

Unraveling the Seductive Chaos: A Surreal Dive into ‘The Housemaid’ (1960)

12 Sunday May 2024

Posted by in retrospective

≈ Leave a comment

Tags

, ,

Rating: ★★★★☆

Prepare to be seduced and unsettled in equal measure as we journey back to the twisted world of “The Housemaid,” a fever dream of desire and destruction that defies all expectations. Released in 1960, this Korean masterpiece of psychological horror remains as enigmatic and provocative today as it was upon its initial release.

Set within the opulent confines of a wealthy household, “The Housemaid” introduces us to a seemingly idyllic family on the surface. But beneath the veneer of respectability lies a seething cauldron of lust, jealousy, and betrayal waiting to boil over. When the innocent and alluring housemaid (played with captivating allure by Lee Eun-shim) enters the fray, she unwittingly becomes the catalyst for a descent into madness that will leave no one unscathed.

What sets “The Housemaid” apart is its fearless exploration of taboo subjects and its willingness to push the boundaries of conventional storytelling. Director Kim Ki-Young employs a surreal and dreamlike aesthetic that blurs the line between reality and fantasy, inviting viewers to question the nature of truth and illusion. As the narrative twists and turns with dizzying speed, we find ourselves drawn deeper into a world where nothing is as it seems, and every character hides a dark secret.

At the heart of “The Housemaid” lies a powerhouse performance by Lee Eun-shim, whose magnetic presence electrifies every frame. With a single glance, she can convey a universe of emotions, from innocence to seduction to outright menace. As the titular housemaid, she is both victim and villain, a symbol of feminine power unleashed and unchecked.

But “The Housemaid” is more than just a showcase for its talented cast; it’s also a meditation on the corrosive effects of desire and obsession. As the characters spiral ever deeper into their own personal hells, we are forced to confront our own darkest impulses and desires. It’s a harrowing journey, to be sure, but one that ultimately leaves us with a newfound appreciation for the fragile beauty of the human soul.

The Prognosis:

“The Housemaid” is a mesmerizing and unforgettable cinematic experience that defies easy categorization. Equal parts horror, drama, and psychological thriller, it challenges our preconceptions and leaves us questioning the nature of reality itself. Whether you’re a fan of avant-garde cinema or simply crave a story that dares to push the boundaries of convention, “The Housemaid” is an essential viewing experience that demands to be seen to be believed. So, dim the lights, open your mind, and prepare to be swept away on a journey into the darkest recesses of the human psyche.

  • Saul Muerte

Unveiling the Haunting Charms of Kaibyo Otama-ga-ike (1960)

12 Sunday May 2024

Posted by in retrospective

≈ Leave a comment

Tags

, , , ,

Rating: ★★★★☆

Step into the mysterious and enchanting world of Japanese folklore with “Kaibyo Otama-ga-ike,” a hidden gem waiting to be discovered by a new audience. Released in 1960, this atmospheric tale of supernatural intrigue offers a captivating blend of horror, mythology, and cultural richness that is sure to leave viewers spellbound.

Set against the backdrop of rural Japan, “Kaibyo Otama-ga-ike” transports audiences to a realm where ancient spirits and malevolent forces hold sway. At its heart lies the haunting Otama Pond, a place steeped in legend and whispered tales of tragedy and terror. When a young couple, Tadahiko and Keiko, stumble upon the pond during a hiking trip, they unwittingly awaken dark forces that have lain dormant for centuries.

What sets “Kaibyo Otama-ga-ike” apart is its deep-rooted connection to Japanese folklore and mythology. Director Yoshihiro Ishikawa draws upon a rich tapestry of traditional stories and beliefs, weaving them into the fabric of the narrative with skill and finesse. From vengeful spirits to mischievous yokai, every corner of the film brims with cultural authenticity and reverence, inviting viewers to immerse themselves in a world where the supernatural is as real as the air they breathe.

But “Kaibyo Otama-ga-ike” is more than just a showcase of folklore; it’s also a masterclass in atmospheric storytelling. Yoshihiro Ishikawa expertly crafts a sense of foreboding and unease that hangs over every frame, using light, shadow, and sound to create a palpable sense of dread. As the tension mounts and the mysteries deepen, viewers will find themselves drawn deeper into the dark heart of Otama Pond, unable to look away even as the shadows close in.

Of course, no discussion of “Kaibyo Otama-ga-ike” would be complete without mentioning the standout performances of Shôzaburô Date and Noriko Kitazawa. Their portrayal of Tadahiko and Keiko brings depth and humanity to the story, grounding the supernatural elements in a relatable emotional reality. As they navigate the treacherous waters of Otama Pond, their journey becomes a mirror for our own fears and desires, inviting us to confront the darkness within ourselves.

The Prognosis:

“Kaibyo Otama-ga-ike” is a haunting and evocative journey into the heart of Japanese folklore, filled with spine-tingling scares and moments of profound beauty. Whether you’re a seasoned fan of horror or a newcomer to the genre, this hidden gem is sure to captivate and enthrall, leaving you hungry for more tales from the depths of Otama Pond. So, gather your courage, take a deep breath, and prepare to be transported to a world where the line between the living and the dead grows ever thinner.

  • Saul Muerte

Unearthly Delights: The Eccentric Charms of ‘The City of the Dead’ (1960)

11 Saturday May 2024

Posted by in retrospective

≈ Leave a comment

Tags

, , , ,

Rating: ★★★★☆

Prepare to be bewitched and bewildered by the enigmatic allure of “The City of the Dead,” a delightful journey into the occult realms of 1960s horror. Starring the iconic Christopher Lee, this film serves up a deliciously off-kilter blend of supernatural thrills and twisted storytelling that is sure to leave audiences both intrigued and entertained.

Set in the eerie town of Whitewood, Massachusetts, “The City of the Dead” follows the adventures of Nan Barlow (played with wide-eyed innocence by Venetia Stevenson), a plucky college student with a penchant for the paranormal. Determined to unravel the mysteries surrounding the town’s dark history, Nan finds herself drawn into a web of witchcraft, black magic, and sinister secrets.

What sets “The City of the Dead” apart from its contemporaries is its offbeat charm and quirky sensibilities. Director John Llewellyn Moxey infuses the film with a distinct sense of atmosphere, conjuring up a world where shadows dance and whispers linger in the air. From the hauntingly beautiful cinematography to the eerie sound design, every element of the film contributes to its otherworldly appeal.

Of course, no discussion of “The City of the Dead” would be complete without mentioning the magnetic presence of Christopher Lee. As the enigmatic Professor Alan Driscoll, Lee exudes an aura of quiet menace, his piercing gaze hinting at depths of darkness yet to be revealed. It’s a testament to Lee’s talent that he can command the screen with such effortless grace, elevating every scene he’s in to new heights of cinematic brilliance.

But perhaps the true star of “The City of the Dead” is its twisted narrative, which twists and turns like a labyrinthine maze. Just when you think you’ve unraveled its secrets, it pulls the rug out from under you, leaving you gasping for breath and begging for more. It’s a rollercoaster ride of shocks and surprises, guaranteed to keep you on the edge of your seat until the very end.

The Prognosis:

“The City of the Dead” is a deliciously off-kilter delight that deserves a place of honor in the pantheon of 1960s horror. With its bewitching atmosphere, magnetic performances, and twisted storytelling, it’s a film that defies expectations and delights at every turn. So, dim the lights, gather round the screen, and prepare to be transported to a world where the supernatural reigns supreme.

  • Saul Muerte

Mysteries Unveiled: Mill of the Stone Women (1960)

11 Saturday May 2024

Posted by in retrospective

≈ Leave a comment

Tags

, , , , , , ,

Rating: ★★★☆☆

Transport yourself back to the enchanting era of 1960s horror with “Mill of the Stone Women,” a Gothic gem that stands as a historical milestone in Italian cinema. Shot in vibrant color, this film immerses viewers in the lush landscapes of the Holland countryside, expertly captured by cinematographer Pier Ludovico Pavoni. Drawing inspiration from Flemish and Dutch painters, the visuals alone are worth the price of admission. Also, on a worthy note, the opening credits claim that the film is based on the book Flemish Tales by Pieter van Weigen. This is a fictionalised statement as no such book exists and sparks the imagination and inspiration of similar concepts adopted by future filmmakers who claim their features are ‘based on a true story’.

The story revolves around journalist Hans von Arnim (Pierre Brice), who embarks on an investigation into the fabled Mill of the Stone Women. Designed by the enigmatic Professor Gregorious Wahl (Herbert A.E. Böhme), the mill features a carousel adorned with female statues. As Hans delves deeper into the mysteries surrounding the mill, he becomes entangled in a web of secrets, madness, and macabre occurrences.

While the initial setup may feel somewhat pedestrian, the film gains momentum as it hurtles towards its climactic finale. Director Giorgio Ferroni deftly infuses the narrative with Grand Guignol flair, delivering a theatrical and melodramatic conclusion that grips viewers until the very end. Though it may not reach the dizzying heights of Mario Bava’s “Black Sunday,” released in the same year, “Mill of the Stone Women” still offers plenty to sink your teeth into, from its captivating storyline to its haunting visual charm.

The Prognosis:

“Mill of the Stone Women” is a captivating journey into the heart of Gothic horror, filled with intrigue, suspense, and visual splendor. While it may stumble at times, it ultimately delivers a satisfying cinematic experience that will linger in the minds of viewers long after the credits roll.

  • Saul Muerte

1960s Horror Retrospective: Black Sunday (1960)

06 Monday May 2024

Posted by in retrospective

≈ 7 Comments

Tags

, , , , , , , ,

The Birth of Baza

As I began my retrospectives of the 1960s horror era, part of my excitement centred on the Master of Italian Italian Horror and pioneer in the Giallo scene, film director Mario Bava. He led the way and inspired so many filmmakers with his visual style, particularly for his use of colour that would leave a lasting legacy on the genre. This all started in earnest with his solo directorial debut, the Gothic horror starring Barbara Steele, Black Sunday. That’s not to say he was a stranger to the celluloid art, having crafted a career since the late 30’s in many guises that would lead him to becoming a cinematographer to harness his voice and vision, come the release of Black Sunday.

Loosely based on the short story Viy by Nikolai Gogol, that was a passion project of Bava and one he had a close liking to having told the story numerous times to his own children before they went to bed. It’s little wonder that his own son Lamberto Bava would follow in his father’s footsteps and direct horror films. 

Black Sunday is a tale of vengeance and retribution and is most predominantly remembered for its shocking opening scene. Asa (Steele) and her paramour, Javutich are accused of sorcery and sentenced to death. Part of their sentence involved being placed in bronze masks with spikes on the inside and having them hammered in place over their face.

Two centuries later her preserved corpse is reanimated and in order to be fully resurrected, Asa must possess the body of her look-alike descendant Katia. Will she succeed? Can love prevail?

Also starring John Richardson before he was cast in Hammer’s She, and One Million Years BC, as the love interest. Black Sunday is held in high esteem because of some of its imagery, such as the afore-mentioned opener and maggots crawling out of an eye socket in another scene, but it’s also the decision to shoot in black and white, monochrome with a richness to it that both arcs back to the films of Universal that had initially paved the way for horror on screen, but also bridges the gap to the future and how the genre would be shaped. It would launch Barbara Steele’s career, especially in horror for classic films such as The Pit and the Pendulum, and The Horrible Dr Hichcock. For Bava, he would mould his movies over the following decade and cement his name in history. 

– Saul Muerte

1960s Horror Retrospective: Jigoku (1960)

27 Saturday Apr 2024

Posted by in Movie review, retrospective

≈ Leave a comment

Tags

, , , ,

Across the pond, Japan was also delivering on the genre scene in what would be known as their Golden Age of cinema. Part of the foundations of this era were the big 6 production houses of which Shintoho were significant in the make up. Unfortunately Jigoku would be the last to be released by the company having filed bankruptcy not long after it hit cinemas. Despite this, Shintoho would go out with a bang, producing one of the most compelling films from the country and one that went against the grain of popular cinema at the time to go on to be a cult film in its own right. 

With its graphic depiction of hell Jigoku would follow a couple Shirō and Yukiko appear to have it all going for them until one tortuous night when Shirō gets a lift home with his friend Tamura when tragedy strikes. Tamura knocks down and kills a yakuza gang leader, Kyōichi. This incident was witnessed by Kyōichi’s mother and from here on out, the tragedy unfolds with macabre consequences, including the death of Yukiko and the vengeance of the yakuza gang still looking out for justice. And all this is before Shirō goes on a Dante’s Inferno style journey into limbo, fighting for his very soul among the damned and trying to steer him and his family towards enlightenment.

Perhaps it was because they had their backs up against the wall but with extras all pulling their weight to build the sets and complete the last picture for Shintoho, Jigoku was able to weave all these components together to tell a fractured tale of heartache, loss and the fight for purity. It’s the visual imagery that stands it apart from the crowd, with a narrative that leans into the heart and soul of spirituality among the darkness to expose the sinners of hell and make way for grace to shine through. For this, Jigoku deserves its place alongside the other classic films released in the 60s. 

– Saul Muerte

1960s Horror Retrospective

The Flesh and the Fiend

Eyes Without A Face

Peeping Tom

Psycho

The Brides of Dracula

House of Usher