By Bartlomiej Paszylk
The horror style harbors a couple of movies too daring or weird and wonderful to be triumphant with mainstream audiences, yet delivering specific, startling and sometimes groundbreaking features that experience received them a permanent following. starting with Victor Sjostrom's The Phantom Carriage in 1921, this publication tracks the evolution and effect of underground cult horror over the consequent many years, final with William Winckler's Frankenstein vs. the Creature from Blood Cove in 2005. It discusses the positive aspects that outline a cult movie, developments and ordinary symbols, and altering iconography in the style via insightful research of 88 videos. integrated are works by means of well known administrators who bought their begin with cult horror movies, together with Oliver Stone, David Cronenberg and Peter Jackson.
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Extra info for The Pleasure and Pain of Cult Horror Films: An Historical Survey
Although the commercial value of the story seemed poor (there were no likable characters in it), Metro-Goldwyn-Mayer bought the adaptation rights in 1928, hoping it would be good material for another Lon Chaney movie. Chaney died in 1930, but after the huge success of Dracula, MGM’s Irving Thalberg was eager to produce a horror of his own, so PART I Freaks (1932) 27 Where the terror starts: the infamous wedding feast scene in Tod Browning’s Freaks (1932). he contacted Browning, summoned scriptwriter Willis Goldbeck, and started the casting process.
Bulﬁnch is caught in a net. ) It all looks yet more impressive because the ﬁlm was shot in three-strip Technicolor — something rare for a genre movie in the early 1940s. Add to this a truly mesmerizing turn from Dekker and ﬁne art direction that sets the mood for the pic- PART II The Mad Monster (1942) 43 ture, and Dr. Cyclops emerges as one of the most interesting — and certainly one of the most innovative — mad scientist ﬁlms of the era. Another movie that successfully employed the idea of miniaturization was Jack Arnold’s The Incredible Shrinking Man (1957).
It’s a pity then that the movie is now usually recognized as “the one with an uneasy early performance from Humphrey Bogart,” who starred as the resurrected Dr. X. The ﬁrst-ever horror movie in color. And even if what we see are mainly hues of green, the movie still looks remarkably handsome after all these years. Also here: director Michael Curtiz makes an early attempt at refreshing the mad scientist formula, and pre–King Kong Fay Wray treats us to her debut onscreen scream. Freaks DIRECTOR: Tod Browning CAST: Olga Baclanova, Harry Earles, Wallace Ford, Daisy Earles, Johnny Eck, Leila Hyams, Roscoe Ates, Daisy and Violet Hilton, Angelo Rossitto, Prince Randian USA, 1932 In his book The Monster Show — A Cultural History of Horror, David J.
The Pleasure and Pain of Cult Horror Films: An Historical Survey by Bartlomiej Paszylk