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Comment on the latest article by @RyanF on Horror films.
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An Alternate History of Horror. Part XII, Modern Times
- Thread starter David Flin
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IIRC the origin of Targets is Corman saying "hey kid I have rights to use footage from this old Karloff film and Boris agreed to work for a few days, hack me out something" and somehow that leads to a gunman shooting up a screening of a horror film
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- NYC (né Falkirk)
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I'm convinced when handing out assignments to his proteges Corman was like those English exam questions of the format "Write in any way you choose using the title X".IIRC the origin of Targets is Corman saying "hey kid I have rights to use footage from this old Karloff film and Boris agreed to work for a few days, hack me out something" and somehow that leads to a gunman shooting up a screening of a horror film
OHC
Opalized
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- Little Beirut
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- they/she
I just watched Witchfinder General for the first time yesterday - great stuff. Interestingly despite it being a period piece I think its realism is part of what makes it so effective, giving it something in common with the contemporary-setting horrors you discuss here. Hopkins and Sterne are just so cynically vile and up-front about the temporal satisfactions they get from their work, and it's apparent throughout that nobody really believes in witchcraft and that this is all just a big charade to enable extortion, rape, and the elimination of social outcasts. Seemed to me to be very much a film about the real horrors of wartime, anticipating Apocalypse Now and other almost-horror war pictures of later decades.
Hopkins and Sterne are just so cynically vile and up-front about the temporal satisfactions they get from their work, and it's apparent throughout that nobody really believes in witchcraft and that this is all just a big charade to enable extortion, rape, and the elimination of social outcasts.
It's a really nasty, grimy little piece (that nihilistic ending!) and Price utterly nails this take on Hopkins.
- Location
- NYC (né Falkirk)
- Pronouns
- he/him
I just watched Witchfinder General for the first time yesterday - great stuff. Interestingly despite it being a period piece I think its realism is part of what makes it so effective, giving it something in common with the contemporary-setting horrors you discuss here. Hopkins and Sterne are just so cynically vile and up-front about the temporal satisfactions they get from their work, and it's apparent throughout that nobody really believes in witchcraft and that this is all just a big charade to enable extortion, rape, and the elimination of social outcasts. Seemed to me to be very much a film about the real horrors of wartime, anticipating Apocalypse Now and other almost-horror war pictures of later decades.
It's a really nasty, grimy little piece (that nihilistic ending!) and Price utterly nails this take on Hopkins.
The far too young death of Michael Reeves shortly following its release, whilst he was already working on The Oblong Box (released in 1969 directed by Gordon Hessler) is a POD that would have massive implications not only for the development of UK horror films but UK cinema in general. He could set the tone for UK horror films from the start of the 1970s, but I doubt he'd stick to that as his only genre.