It’s October! The leaves on the trees are turning brown, it’s getting darker earlier in the evening and folks are rummaging through their DVD collections, looking for their favourite horror films to watch in time for Halloween. As such, every week this month will see us expand on our Decade In Film series with a spin off article focussing on five horror films from the sixties, the seventies, the eighties, the nineties and the noughties! The format will be much the same as our regular series, but with a slight twist.
Back again this week after successfully tackling the sixties (even if we do say so ourselves), our regular contributors to the series come up with a list of five-of-the-best for the nineteen-seventies. Owen and Mike are back along with our talented guest writers Andrew, Paul and Liam, generously imparting their experience on us to tell us what are their favourite horrors of the 1970’s.
After the counterculture movement that occurred in the nineteen-sixties, what emerged in its place in the seventies (particularly with regards to the world of film) was something more artistic and radical. Directors were riskier, braver and perhaps even less subtle in their political motivations. There was no room for John Wayne to glamorise The Green Berets any more. Instead, the harsh reality of the toll the Vietnam War took was the topic of many films, from The Deer Hunter to Apocalypse Now. Director’s like Francis Ford Coppola, George Lucas, Stephen Spielberg, Martin Scorsese, Wes Craven, John Carpenter etc etc emerged out of their shells and produced some of the greatest and most challenging works ever. Horror films became edgier, darker and more popular with a mainstream audience than they had ever been before. Halloween, The Exorcist, The Texas Chainsaw Massacre, these movies terrified audiences and inspired film makers; and the best thing is, to this day they still continue to do so. We begin by looking at our particular favourites of this revolutionary decade, starting with…
“Here lies the body of Mary Lee; died at the age of a hundred and three. For fifteen years she kept her virginity; not a bad record for this vicinity.”
January 1976 and a visit to the Classic in Hastings to see Jaws. A stupidly excited 6 year old going to an evening showing of, “that film with the big shark in”. Circle seats (as was a birthday treat) secured, would’ve been a kia-ora and a choc-ice too. That music….even now sends shivers down your spine. Cinemas were pitch black during films in the 70’s, latecomers had to be shown to their seats by a torch wielding usherette. Booming audio, an enormous screen, total darkness.
Being transported to Amity, the terrifying opening scene, the respite as the sun drenched community springs into holiday mode. But always that sense of something unpleasant about to happen…..and when the underwater scene arrived. To this day, it’s still crystal clear, the heart stopping, terrifying moment that severed head bobs out. It’s just as effective now, as my daughter who was a similar age when I watched it with her, nearly jumped out of her skin. There are more horrific films from the era, and more frightening I’m sure, but to have been frightened by Jaws in its original cinema run was a real privilege that’s stayed with me forever.
by Paul Field (@pafster)
The Omen (1976)
“Here is wisdom. Let him that hath understanding count the number of the beast; for it is the number of a man; and his number is 666.”
I always remember liking The Omen as a kid; the dogs, the great music and of course quite literally the child from hell; the name Damien now etched in the folklore of horror films. Yet it’s only recently that I’ve come to see just how good The Omen actually is.
Richard Donner’s slick direction, his stunning use of wide shots coupled with some beautiful cinematography gives the film a fantastic look. Whilst it’s a little dated now, it still looks better than most films from that time. Jerry Goldsmith’s Oscar winning score is breath-taking, adding to the film’s constant dread, you cannot but think of this film when you hear “Ava Satani”.
Like Hitchcock’s Psycho, Donner doesn’t rely on gore or cheap scares as he allows the story to build to a frightful climax between father and son and one of the best endings in modern horror. Yet Donner still manages to shock with a number of well-crafted deaths throughout the film.
The screenplay is fine, but it’s the cast that truly makes this film work; there are strong performances all round. Harvey Stephens ‘Damien’ is evil personified; such a fantastic performance and pivotal to the film’s success. Peck and Remick as Damien’s parents are both excellent, while the supporting cast of Whitelaw, Troughton and Warner are all outstanding. Whitlelaw delivers one of the creepiest Nanny’s I’ve see in any film; a suitable ally for the evil Damien.
I liked The Omen, I like it more now I’ve grown up, my favourite horror film from the 70’s.
by Mike Shawcross (@Shawky1969)
Dawn of the Dead (1978)
“Something my granddad used to tell us. You know Macumba? Vodou. My granddad was a priest in Trinidad. He used to tell us, ‘When there’s no more room in hell, the dead will walk the Earth.’”
If George A Romero defined what a zombie film actually is with his 1968 classic Night of the Living Dead (as chosen by Andrew in our last article), then it is with Dawn of the Dead that he reclaimed the mantle of master of horror from a succession of pretenders to the throne throughout the early part of the decade.
Wry and satirical, pre-empting the capitalist self-serving boom in the eighties by setting the majority of the movie inside a brand new shopping mall – “they’re after the place. They don’t know why; they just remember. Remember that they want to be in here” – it is as biting in its message as the brain-munching zombies themselves.
From its explosive beginning as Kevin Foree and Scott H. Reiniger raid an apartment building infested with the undead, to the aggressive invasion of the fortified mall by a motorbike gang led by Tom Savini, when there’s no more room for zombies, the humans shall tear shit up instead. As friction rises between helicopter pilot Stephen (David Emge) and his TV Exec wife Francine (Gaylen Ross), it impacts on the trapped foursome as a whole, forcing them to confront the horrors inside as well as outside of their confines.
Throw in a memorable soundtrack by Goblin, a sophisticated and darkly comical story (written by Romero) and a marauding horde of blood thirsty corpses and you’re left with not only one of the best horrors of the seventies, but possibly one of the best movies of all time.
by Owen Hughes (@ohughes86)
Towards the end of the 70’s, most horror sub-genres had their rules and tropes set in stone. But Sci-Fi horror didn’t quite find its feet until 1979, when Ridley Scott scared an entire generation into sleeping with the lights on with Alien.
Until then, the only real Science Fiction in “Sci-Fi Horror” came on the form of dodgy body snatching pods and the “Thing from Outer Space”. Writers Ronald Shusett and Dan O’Bannon would change that by introducing arguably the most terrifying monster in horror movies. The “Xenomorph”.
Ordered to investigate a distress call on a strange planet, Tom Skerritt and his misfit blue-collar crew (including Sigourney Weaver, Ian Holm and John Hurt) find nothing but an arachnid with a desire to attach itself to John Hurt’s face. A quarantine and a few experiments later and the thing seems to fall off like an old scab, appearing to leave Mr Hurt unharmed. You know, until he decides to give birth in the scariest, bloodiest way possible at the breakfast table!
What follows is possibly the scariest hour in film history. A dark, claustrophobic hunt for a seven foot bio-mechanical looking tower of teeth and more teeth while it, in turn, is hunting for Dallas (Skerritt) and his crew. Alien’s genius is in its simplicity. There is no complicated reason the creature kills. It just does. It’s not angry at its mum or its school councillor. It’s a killing machine, plain and terrifyingly simple and it’s coming for the unarmed, unprepared crew.
Alien solidified so much on its release. It made Sigourney Weaver a household name. It gave Ridley Scott his first massive success. But most importantly, it gave film lovers everywhere a reason to be fearful of heartburn more than three decades later.
by Andrew Brooker (@Brooker411)
Nosferatu – Phantom Der Nacht (1979)
“The absence of love is the most abject pain.”
This version of the oft told vampire legend has many highs and lows, yet still manages to come out head and shoulders above any other version I’ve seen.
It’s beautifully shot in some wonderful locations, the lighting, tension building, long and lingering scenes stay in the memory. Klaus Kinski’s performance in the lead role is one of his finest. He brings an agonised, almost pitiful quality to the Count, without losing the base nature of the creature.
Isabelle Adjani’s portrayal of Lucy is extremely good. Her appearance in this is why Alison Brie looked so familiar to me, the likeness is very strong. This version of Lucy is brave (once she stops fainting) clever and cunning in her attempts to save her husband, Jonathan.
It’s Jonathan that brings the main low point. Bruno Ganz just isn’t very good in this. Guilty of terrible overacting in parts, both facial & body movements seem farcical in some scenes.
A hugely enjoyable film, even its faults are oddly entertaining. I’ve used the German title deliberately, see the German language version rather than the English. It’s far better, the English one really accentuates the faults and dulls the brilliance.
by Liam (@ElmoreLTM)
Thanks for reading! We’ll be back next week, picking our top five horror films of the eighties, where things will undoubtedly be louder, cruder and cooler.