Series: Film / TV

For the fourth and final time this Shocktober season, I would like to shine a light on the giallo films that were so very popular in Europe during the 1970s and early ‘80s. Today’s gathering features a trio of very unusual examples of the genre, as well as one typically head-scratching offering. But each one of them, need I even mention, would make for perfect viewing fare one evening this Halloween season…

IN THE FOLDS OF THE FLESH (1970)

Viewers who sit down to watch Sergio Bergonzelli’s 1970 offering, In the Folds of the Flesh,

When most people think of the British horror film, they probably – almost invariably – think of Hammer Studios, and for good reason; Hammer was indeed something of a relentless factory when it came to producing well-crafted horror fare in the late 1950s to early ‘70s. But the studio did have its rivals, one of the foremost of those being Amicus Productions. Formed by two American producer/screenwriters, Milton Subotsky and Max Rosenberg, the studio was active from 1962 till 1977, and was responsible for such wonderful horror fare as The Skull (1965), Scream and Scream Again (1970),

In today’s Shocktober column, I would like to shine a light on four terrific horror films from merry ol’ England. Three of these, as might be expected, hail from Hammer Studios, the foremost English purveyor of shuddery films in the 1960s, while one is a product of the rival studio Amicus Productions. But all four of these, as might well be expected, will provide the requisite thrills and chills one dark and stormy October night…

THE SKULL (1965)

On paper, the 1965 Amicus Productions film The Skull would seem to be a surefire winner.

In today’s Shocktober column, I would like to take another look, for the third time this Halloween season, at some of the giallo films that were so very popular during the 1970s. But in this quartet of films, you will find a few that press the questions “Just what is a giallo? Can a film be a giallo if it does not hail from Italy, or if it is not all that particularly violent in nature?” As far as I’m concerned, all of the four spotlighted below most assuredly fall into the giallo camp.

Although the Italian horror industry in the late ‘60s and throughout the 1970s seemed to be fairly well focused on the giallo film, and that genre’s stylish and often grisly murder mysteries, other types of horrors were still being produced for the ever-hungry audiences of the day. In today’s Shocktober column, I would like to focus on a quintet of Italian horrors that veered away a bit from the strict formula of the giallo. Thus, here you will find films dealing with rejuvenation, murders in a sanitarium, a vampiric countess, Frankensteinian hijinks, and modern-day zombies … all with a distinctively Italian zest.

In 1957, Hammer Studios in England came out with the first of their full-color horror creations, The Curse of Frankenstein, starring Peter Cushing as the good doctor and Christopher Lee (for the first and only time) as The Monster. The film was such a hit that it not only spawned an entire Frankenstein series from the studio, but would also cause the producers there to begin on a Dracula series and a Mummy series, eventually leading to Hammer becoming one of the preeminent creators of Gothic horror in the 1960s and ‘70s. The Frankenstein series would extend to seven films in all: The Curse of Frankenstein,

The subject of Devil worship is one that the cinema has returned to repeatedly over the decades, and for good reason: Honestly, is there anything much more frightening than a group of people who actually adore and pay homage to the epitome of evil? Whether you refer to him as Satan, the Prince of Darkness, the Serpent, Lucifer, Beelzebub, Mephistopheles, Old Nick or the Antichrist, you’ve got to admit that the dude is one intimidating proposition, and that anyone who willingly bows down to do him honor is one twisted – and fascinating – puppy. Any number of interesting films have been brought to the screen concerning these debased sects: Val Lewton’s wonderfully creepy The Seventh Victim (1943),

When most people think of the cinematic werewolf, chances are that they have in mind the big three, and who can blame them? In 1935, Kentucky-born actor Henry Hull portrayed the first of these lupine creatures to make it to the big screen, the unfortunate Dr. Wilfred Glendon, in the underrated horror outing Werewolf of London. The lycanthropic ball would really start rolling six years later, however, when Lon Chaney, Jr. played, for the first of five times, the immortal character Lawrence Talbot, whose turn in The Wolf Man proved so very popular that Universal featured his character in an entire series of now-classic films.