Fifty years after its premiere, Trilogy of Terror remains one of the most iconic made-for-TV horror films of all time. Directed by Dan Curtis and adapted from the works of Richard Matheson, this three-part anthology owes much of its success to one crucial factor: the extraordinary performance of Karen Black. Already an established actress known for her roles in Easy Rider (1969), Five Easy Pieces (1970), and The Great Gatsby (1974), Black’s work in Trilogy of Terror cemented her as an unforgettable presence in the horror genre. Playing four distinct roles across three terrifying tales, she turned what could have been a standard anthology into a must-see masterclass in psychological horror.

At a time when anthology horror had found success on television through shows like Night Gallery and The Twilight Zone, Trilogy of Terror stood apart due to its unrelenting tension and Black’s transformative abilities. Each story explores different facets of fear—seduction, duality, and relentless terror—and Black is at the heart of them all, shifting seamlessly between characters with eerie precision.

Story One: “Julie” – The Predator and the Prey

The opening segment, “Julie,” introduces us to Black as the seemingly timid college professor Julie Eldridge, who catches the eye of a manipulative student named Chad (Robert Burton). Chad, under the guise of youthful bravado, sets his sights on seducing Julie, photographing her in compromising situations, and blackmailing her into an illicit relationship. At first, Julie appears to be the hapless victim of Chad’s power play, but the tables turn in shocking fashion.

Karen Black’s performance in “Julie” is one of quiet menace. Her transition from meek schoolteacher to someone far more dangerous is executed with chilling restraint. The twist—revealing that Julie had been in control all along—elevates the story beyond a simple morality tale. It plays with audience expectations, making us question who the real predator is.

Story Two: “Millicent and Therese” – A Battle of Good and Evil

The second segment showcases Black in a dual role as two feuding sisters: the uptight, puritanical Millicent and the wild, hedonistic Therese. The two could not be more different—Millicent, dressed in conservative black attire, believes her sister is the embodiment of evil, while Therese, clad in provocative red, embraces her libertine lifestyle. Millicent’s desperation to rid herself of Therese leads to a final, brutal act—but the true horror lies in the revelation that the two women are not what they seem.

Black’s ability to play against herself is remarkable, making each character feel wholly distinct. The segment delves into themes of repression, trauma, and psychological breakdown, making it the most unsettling of the three. The ultimate twist—that Millicent and Therese are one and the same, suffering from dissociative identity disorder—adds a tragic weight to the story, demonstrating Black’s ability to navigate complex psychological horror with nuance.

Story Three: “Amelia” – The Zuni Doll Nightmare

Without a doubt, the final segment, “Amelia,” is what turned Trilogy of Terror into an enduring horror classic. Black plays Amelia, a woman who purchases a Zuni fetish doll as a gift, only for the doll to come to life and launch a relentless, frenzied attack on her in her apartment. The short is a masterclass in suspense, as the seemingly ridiculous premise of a tiny, knife-wielding doll is executed with such intensity that it becomes genuinely terrifying.

Here, Black delivers a physically demanding, emotionally raw performance, spending much of the runtime in a desperate battle against an unrelenting supernatural force. Without many special effects at its disposal, the film relies on sheer tension, pacing, and Black’s visceral performance to sell the terror. The climactic image of Amelia, possessed by the spirit of the Zuni warrior, grinning with razor-sharp teeth, remains one of horror’s most unsettling final shots.

Karen Black’s Lasting Legacy in Horror

Karen Black’s work in Trilogy of Terror redefined her career, making her an icon in horror cinema. While she had already proven herself as a versatile and talented actress in dramas and thrillers, this anthology showcased her ability to command the screen in multiple roles, each with a distinct sense of dread. Her contributions to horror would continue in later films like Burnt Offerings (1976), It’s Alive III: Island of the Alive (1987), and Rob Zombie’s House of 1000 Corpses (2003), solidifying her status as a genre legend.

Fifty years later, Trilogy of Terror remains a shining example of anthology horror done right. It may have been a made-for-TV production, but thanks to Black’s powerhouse performances, it stands the test of time as a must-watch for horror fans.

• Saul Muerte