I find it difficult not to give the number one spot over to that classic slasher film that birthed the infamous killer known as Michael Myers, and tonight is no exception. The rightly-celebrated Halloween theme is as iconic as Bernard Hermann’s Psycho or John Williams’s Jaws. If Alfred Hitchcock can credit Hermann for 33% of the frightening effect of Psycho, Carpenter can credit himself for saving his movie with a terrifying score. Even divorced from the film, those quick, high piano notes overlayed with long, low tones (and that ever present staccato chirp underscoring the whole thing), instill a feeling of dread and foreboding.
Hammer Studios didn’t always produce the best scripts for their classic horror series, but when it came to timeless icons Dracula and Frankenstein, they perfectly captured the spooky, haunting atmosphere. In this follow-up to their adaptation of Bram Stoker’s novel, the thunder claps, the wind howls, the townsfolk fret and the beautiful young sex-kitten is… well, young and sexy.
Christopher Lee returns as the undead count, despite having been turned to ashes in the previous episode. And you thought it was only modern movie monsters like Jason that were hard to kill. Peter Cushing is absent in this follow-up, leaving Andrew Keir as the reproachful Father Sandor to take up arms against the fiendish foe.
Though it followed in the footsteps of the trailblazing The Curse of Frankenstein, this second film in Hammer Studios long-lived love affair with horror virtually invented traditional gothic atmosphere with its quiet, windswept countryside, cozy village inn and brooding, spooky castle. Christopher Lee puts on a tall, dignified air until his dark side comes out, at which point his towering height and unsettling snarl become truly menacing.
Rear Window may not have the slasher pedigree of Psycho, but it does boast some of the finest tension and suspense of director Alfred Hitchcock’s extensive career. Utilizing a single set and no musical score, Hitchcock delivers a higher degree of believability than most films attain on location with hand-held cinematography.
Genre deconstruction has become quite chic in the years following Wes Craven’s reflexive horror classic, Scream. It gave a boost to the horror genre, which was then immediately slogged with cheap spoofs, high-profile remakes and at least two new sub-genres: found footage and the unfortunate and aptly-named torture porn.