“I have just been fired because nobody wants to see vampire killers anymore, or vampires either. Apparently, all they want to see are demented madmen running around in ski-masks, hacking up young virgins.” – Fright Night
If Kamala is selected president, she promised a new post-apocalyptic movie. She’s calling it Mad Marx.
As I’ve mentioned before, when I was a kid (think four or five) there was a local channel that ran horror movies late at night on Saturday night. First there was the news at 10PM, then Star Trek at 10:30PM, and then, finally, at 11:30 Creepy Creature Feature started.
There was no host, just a title card with a vampire and perhaps some cobwebs followed by one or two B-movies and whatever ads the local salesguy could sell for midnight on a Saturday night. I’d imagine the ads were nearly free: five-year-olds in my generation didn’t have a lot of disposable income.
The movies were (at the time I was growing up) almost all from the 1950s and 1960s, and almost all of them were in black and white. I think that the television station could get these movies for very low cost, or, perhaps free in movies that failed to follow the proper copyright steps, like Night of the Living Dead.
Who flips Rob Zombie’s pancakes? Count Spatula.
Last month Bob suggested I revisit the old Hammer Film Productions® films, which are mainly known for their Frankenstein and Dracula movies. The studio turned out over fifty films, however, before it started cranking out science fiction and horror movies around 1957, and brought Peter Cushing in as an actor and having him join former British commando Christopher Lee in 1958 with Lee playing Dracula.
An aside: apparently when they were filming Lord of the Rings, director Peter Jackson was describing how he wanted Lee (playing Saruman) to react when Wormtongue stabbed him in the back. Lee stopped Jackson when he was trying to explain what he wanted. Lee: “Have you any idea what kind of noise happens when somebody is stabbed in the back? Because I do.
To be blunt: I have never seen a scary Hammer™ film. Most of them were, at their very best, entertaining. F-Troop’s Forrest Tucker as a scientist in the 1957 film The Abominable Snowman? Yeah, that’s not going to be scary.
And if the animal got stuck in the chute, would that make him adoorabull?
Oh, sure, when I was a kid Hammer’s® Quatermass and the Pit (United States title: Five Million Years to Earth) gave me shivers when I was in still in the footed pajama set, but rewatching it as an adult, I found it an interesting concept (alien overlords still “kind of” alive underneath London), but not scary.
One of the big differences I have seen in either the Hammer™ movies, or any number of movies from the day were built around concepts that seem to have been put away in the current political climate.
What concepts?
Humans are the good guys. Sure, not all humans were good. There were sniveling bad guys (mostly effeminate) or traitors (especially mostly secret commies) or scientists who didn’t understand what they were doing. Or Dr. Fu Manchu – he was definitely a bad guy, from a culture so different that although his goal of world domination was clear, his motives were less so.
Dr. Fu Manchu is still more credible than Dr. Fauci.
There was an optimism about the future. Roger Corman’s horrible movie Day the World Ended (1955) scared me six ways from Sunday because there was a mutant that was afraid of rain and I lived in a place where it hardly ever rained. But the end of the
Just like traitors, the scariest bad guys looked like us but weren’t us. Dracula, for instance, was, like Cornpop, a bad dude. And he looked like us. And, sort of, acted like us. But you knew, deep down, he wasn’t human.
We (generally) win. Now, I’ll admit that I like John Carpenter movies where at the end of the movie I’m pretty sure that mankind was wiped out sometime not long after the credits roll: (The Thing, Prince of Darkness, In the Mouth of Madness). But most horror movies of the 1950s and 1960s were optimistic that brainpower plus grit would solve almost any problem we face. Of course, the 1956 film Invasion of the Body Snatchers was in the “we lose” category, but it was pretty amazing, but much more common were films like When Worlds Collide where humanity, led by Elon Musk, manages to save itself through nearly impossible odds. On a rocket. With hot chicks.
I guess he’s now offering space for rent.
For whatever reason, I think the end of the optimism was around 1970. Westerns turned dark, and B-movies where humanity was the bad guy or where humanity out and out lost became much more common, such as Colossus, the Forbin Project, where supercomputers manage to link up and prove that A.I. is scary and may become humanity’s master benevolent and will be the best thing ever to happen to humanity. Not long after this (1974) Hammer® was essentially done making films and their quirky and optimistic take didn’t seem to sell anymore.
Perhaps not coincidentally, Hammer’s© fall was right after The Exorcist (1973) came out. It might be the final and most optimistic movie of this period of horror/science fiction. Although not a B-movie, it did show a world where true Evil was far scarier than anything that Dracula or Frankenstein ever was.
Yeah, the doctor even called the cemetery, “Human Resources”.
The Exorcist, optimistic? William Peter Blatty certainly thought so, since, although there was Evil, it could be vanquished.
By Good. And no matter how many times Peter Cushing’s Van Helsing tried, he never ever could get rid of Hammer’s™ Dracula. Probably because Van Helsing knew that Christopher Lee was pretty good with a knife.