Fifty Frightful Films

[Philosophe_rouge]

Or, 50 of my favourite horror films.

I want to preface my list by mentioning, I am far from a horror connaisseur, if anything, I'm fairly new to the genre and have only been interested in exploring it for the past two years or so. Still, I think I've seen enough to make a list of what I consider 50 GREAT horror films. Every film on this list offers what I think is something interesting to the genre, and close to the top of my list, there are not only films I consider to be great horror, but among my all time favourites.

There are a few on the list that bend the definition of horror slightly, I tried to be as true as possible to my own conception of the genre as possible, but there are still one or two that I'm still on the fence about considering them horror or not. Nonethlelss, they're on the list.

I don't have much else to say, I'm really going to try and speed through this list and welcome recommendations, comments and disagreements.

Happy Halloween!

[Philosophe_rouge]

50. Bedlam (Mark Robson, 1946)
http://i481.photobucket.com/albums/rr171/justineobscureclassics/39te.jpg

Never console yourself into believing that the terror has passed, for it looms as large and evil today as it did in the despicable era of Bedlam. -Frances Farmer

Though a lesser Lewton classic, Bedlam explores the confines of a madhouse through the eyes of a trapped sane person. Though a part of the upper-class Nell is sickened by the amusement they find in exploiting and visiting the infamous madhouse for a good laugh. Her own journey, and revolsion in famous of the callous Sims (brought to life by Karloff, is he ever NOT good?). She decides to use her influence to help improve conditions at the hospital, but Sims speaks to the financiers heart, reminding that to improve conditions they'd have to increase their taxes. Through his own malice, Sims brings Nell to "trial", claiming her madness... and she is committed. Though dealt with some humour, it's a frightening conception handled very well. What particularly interests me is that the fear of madness is underscored by the fear of abandonment, and being seen as less than human. The actual residents of Bedlam are portrayed with relative care and empathy, and it's Sims who mistreats and neglects his "wards" that is painted as the villain.

[Philosophe_rouge]

49. Shivers (Cronenberg, 1975)
http://i481.photobucket.com/albums/rr171/justineobscureclassics/shivers.png

“He tells me that even old flesh is erotic flesh, that disease is the love of two alien kinds of creatures for each other, that even dying is an act of eroticism."

A new apartment complex has been built on a small island off Montreal, it's advertised constantly and consistently as a little escape from the world; a paradise island. Then they cut to a bearded doctor brutally cutting apart a young teen, though... he isn't murdering her as the scene suggests, he's trying to rid the world of an alien parasite he has created. This is a zombie/alien/mad scientist film, as this parasite that invades the complex turns those it infects into sex starved vessels for the creator. Their lust rules all else, and spreads through the building very quickly. The parasite is not evil, but rather releases a sort of unknown capability for lust and communication that humans seem unable to deal with. It's not necessarily evil, but it's beyond our conception and as a result wrecks apparent havoc.

[Philosophe_rouge]

48. Castle of Blood (Margheriti, 1964)
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“You have stayed with me, Alan.”

Though I don't think this film ever quite reaches it's full potential, it creates an effective atmosphere that puts an interesting twist on the mythology of ghosts. A young man takes a bet to spend the night in a haunted house, only to find that two living and beautiful women live there. The first he meets is apparently the man who bet him he couldn't spend the night's sister, and she is sweet, kind and quiet. She is hiding something, as are the other many and elusive inhabitants of the old, rotting mansion. For this one night time bends, and spirit becomes flesh and the last moments of their lives are revisited. The ghosts desire for life seems to eclipse any other reason or humanity they might have once inhibited, they exist to come back for a single night which is mostly spent ensuring they can return the next year, and the next. Barbara Steele's character seems to reject this notion, or at least the associated blood lust but she years for love. More often than not though, she selflessly helps Alan instead of fulfilling her own desires.

[MacGuffin]

Castle of Blood is okay. I liked the bookends of the movie the best because they are respectively more mysterious and more intriguing than anything else in the movie. I think the ghost mythology and most of what goes on in the castle aside from the beginning exploring falls a bit flat, but Barbara Steele is magnificent as always. It is a good movie, but certainly not without flaws.

[Philosophe_rouge]

Castle of Blood is okay. I liked the bookends of the movie the best because they are respectively more mysterious and more intriguing than anything else in the movie. I think the ghost mythology and most of what goes on in the castle aside from the beginning exploring falls a bit flat, but Barbara Steele is magnificent as always. It is a good movie, but certainly not without flaws.
These are pretty much my thoughts, though of course I like it enough to include it. Steele is enough to bring up any film a few notches, and the premise is a bit more interesting than the execution. Still a decent horror film

[Cult]

Awesome, probably my favorite genre. Can't wait to get some more recommendations.

[Ezee E]

Do continue!

[Philosophe_rouge]

47. Dr. Jekyll and Mr . Hyde (Rouben Mamoulian, 1931)
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"I have no soul. I'm beyond the pale. I'm one of the living dead!”

From what I’ve seen Dr. Jekyll and Mr. Hyde is the best of the early sound horrors, in part due to Fredric March’s rich performance in the title role, but it’s really Mamoulian’s direction that raises it above the pack. He has a natural talent for sound, and visuals. He took risks that paid off, and was one of the first early sound directors who dared to move the camera. He is even credited for inventing the boom mike, an invention used to free the actors and the camera from being still. His use of sound extends to using them quite effectively to create sound bridges between scenes, adding to an already rich visual palette.

This is the first adaptation of the classic story by Robert Louis Stevenson to incorporate the second woman, and the element of sexual repression. Dr. Jekyll is an exemplatory young doctor, devoting as much time to the free wards as he does with his students and rich patrons. His curiosity, ambition and liberal attitude are seen as being “eccentric”, and even he tries to conform to the confines society has set up, largely conservative and traditional. It’s this idea that drives him to create the potion that will split the psyche between good and evil. It’s his sexual desires that he personally associates with evil. He cannot marry his fiancee for eight months and he cannot seem to quell his lust. In a revealing statement, after he has been given a sensuous kiss from a barmaid, he says to his friend “Can a man dying of thirst forget water?”, when questioned about his engagement. This ties his sexual desire with something so essential, that without it, he may die. It’s this desperation that drives him to experiment with science, so he can remove this weight from his soul. He truly loves his fiancee, but he simply cannot wait. As he understands it, if he releases the “evil” within, it will find fulfillment and finally disappear forever.

The mischief and evil committed by Mr. Hyde are largely centered on sex, as he returns to that first barmaid who tempted him and turns her into his sexual slave. Though constricted by the censorship of the time, having been made in the early 1930s it was lucky enough to be made before the production code was instated. It gets away with far more blatant violence, and sex than most Hollywood films you’ll ever see. Hell, the plot as-is would never have passed in 1935. Hyde’s sexual violence is especially frightening, partially due to March’s incredibly transformative performance. It’s more than just make-up, it’s an entirely different man, body and soul. The first time I saw the film, I wasn’t even sure it was played by the same actor… it’s truly one of the better performances of the 1930s. Hyde’s actions and movements are unpredictable, and one feels just as trapped as his victims. He moves, talks and behaves as an animal would, and is an extreme perversion of male sexuality. There is no tenderness in his love or lust, it’s brutal and violent. He pleasures in torturing his lover in every imaginable way, and she is so afraid of his brutishness that she cannot help humouring his games and requests.

All this is highlighted by the strong sense of visuals that the film creates. It’s dark, twisted and magical. It’s a heightened view of the world, though never artificial enough to draw the viewer out of the story. Clearly inspired by late German cinema, it’s not quite expressionistic… fitting more with the late German masters of silents, like Lang and Pabst. The world is somewhat twisted, the variations slight, the symbols subtle… everything FEELS real, but is never quite right. The outdoor scenes especially are clearly sets. They aspire to realism, but are painted with blurs, water and reflection. The indoors are larger than life, filled with trinkets and glass. More-so than most early talkies, they’re forever crowded with objects and relics. Only Josef Von Sternberg bests Mamoulian in creating effective and beautiful sets. I don’t think Mamoulian is quite the stylist that Sternberg is made out to be, but nonetheless, he is one of the greatest of his era.

Though taken to horrific extremes, the film shows the danger of supressing human nature. How conservatism often breeds hypocracy, supressing intellectual pursuits as well as breeding contempt and violence among those who cannot conform. All the initial desires expressed by Dr. Jekyll are only natural, they are nothing to be scorned or condemned… but they are irrepressible. The guilt he feels drives him, essentially to madness, expression energy and desire through violence. I feel like going on a huge tangent at this moment, but I’m not particularly interested in political debate… but yea, if you can read my mind, you may just be able to see exactly what I’m hinting at. Hopefully you can’t if you disagree with me. Whaazazaoop.

Also, on a sidenote. The film does fall on some conservative values, essentially putting limits on science. The film cryptically seems to side with the idea that most of scientific thought and theory falls in the domain of God. I will argue though, this takes a back seat to he more allegorical take on repression and emotion. Science is simply an easy backdrop to facilitate the film’s exploration of sexuality and conservative values. Though Jekyll never seems entirely convinced his attempts are wrong, he also feels enormous guilt and pain over the consequences.

[Philosophe_rouge]

46. 28 Weeks Later (Juan Carlos Fresnadillo, 2007)
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“Blood makes me nauseous.”

Juan Carlos Fresnadillo’s film, 28 Weeks Later evokes contemporary fears in a post September 11th world. The film plays heavily on imagery remiscent of the events, while also hinting at a post-war nation, not unlike Iraq, plagued by a troubled rebuilding stage. It plays with a growing distrust in figures of authority, down from fathers up to high ranking millitary officials, who cam in the form of U.S. lead NATO troops.

The first indication that England has begun to recover since the introduction of the rage virus, is the shot of a plane flying overhead. What begins as a hopeful image, descends quickly as the plane dissapears behind a tall skyscraper and the film establishes an immediate sense of doom. Further juxtaposed against imagery of a devastated London, the image takes on added meaning to anyone who watched the events of September 11th unfold on their television sets. As the film progresses the images become more overt and increasingly powerful. Doyle, a soldier who is outraged by the actions of his leaders sides with the civilians, acts as a guide to the ins and outs of military procedure. Before his death, the military in an attempt to eradicate anyone who may have survived (a Code Red was earlier signaled, which essentially is the green light to destroy the civilian populace to prevent the spread of the virus), sends out an unidentified poison gas into the streets. The gas can be best described as dust coloured, and even it’s slow movement through the streets is more like the after-effects of an explosion or collapse then any gas. It does not simply sit on the city, but rather engulfs it, invoking claustorphobia. The claustorphobia is not only physical, as the gas surrounds the car, but as it slowly cuts off all the streets the sense there is of being surrounded by an unstoppeable force with nowhere left to go.

This hopelessness is tied directly with a lack of faith, and outright fear of figures of authority. The film furthers this anxiety, by compromising the victims’ trust of all those in power, by having them betray and destroy those in positions of dependence. This idea is reinforced early in the film through the actions of the central father figure, Don (Robert Carlyle). His position as leader is established within the house of those hiding out, as he takes authority over the situation and comforts his wife as she contemplates what might of been had her children remained in England. However, once those infected with rage enter the house, he quickly retreats into a mode of self-preservation, leaving his wife and a young boy to fend for themselves. His negligence only grows in the film, as he lies to his children about what happened, and then breaches rules in order to see his wife, which causes the virus to spread once again through London. He becomes the alpha “zombie”, seemingly more evolved than the rest, as he is able to focus his attention and retains memories of his past life. Giving his character this added nuance furthers an almost conscious decision on his part to inflict destruction, while also reinforcing his children’s and wife’s fear of his abused power over them.

This idea of untrustworthy figures of authority is further reinforced by the military’s actions in lieu of the new outbreak. It is difficult to pin down the first instance where the viewer’s trust in the military is dispelled. Is it the infantile conversation of soldiers brandishing their guns while talking about jerking off? Or the condescending and reductive attitude they have towards the re-patrioted brits? Maybe it’s when they start shooting without prejudice at anyone who enters their field of view (although to be fair, this is a progressive scene, and there are several objectors to this place of action)? Regardless of the exact turning point, it is clear that once the virus has broken out that the military is no longer to be trusted. Their outright disregard for human life is somewhat dispelled by a few sympathetic characters, but overall the message is clear: when things turn for the worst, no one can be trusted. The fear that anyone, even those you trust most will turn against you, creates a uniquely paranoid atmosphere. This reflects not only a distrust of a nation in it’s leaders, but a wider fear of an unknown and invisible enemy. The film dares to associate the two, almost as members of the same kin. In a way, this equates those who are meant to be our protectors, with the very destructors of order and peace.

Using imagery strongly reminscent of the terrorist attacks on September 11th, Fresnadillo is able to tap into pervading social fears and anxieties relating to those in positions of power. Working from an inverted pyramid, the focus begins with a father who fails to protect his family, to a military turning on the very people they were charged to protect. The line between human and monster becomes increasingly blurred, as soon even some infected with the rage virus stop exihibiting symtoms. The world presented in 28 Weeks Later is one where no one can be trusted, and doom is unavoidable, if only because of the human error and lack of foresight.

[Dead & Messed Up]

Awesome. I haven't seen three of the films you listed, and I like to consider myself something of a horror expert. I did watch some of Bedlam, but I fell asleep.

Please, keep it coming.

[Philosophe_rouge]

Awesome. I haven't seen three of the films you listed, and I like to consider myself something of a horror expert. I did watch some of Bedlam, but I fell asleep.

Please, keep it coming.
You certainly know more about horror than I do, I think many of my viewings in the past year were guided by your list you presented on RT.

[ledfloyd]

i need to see 28 weeks later, i liked 28 days later.

[Philosophe_rouge]

i need to see 28 weeks later, i liked 28 days later.
They're very different, I like both, but having enjoyed Days does not necessarily mean you will like Weeks.

[monolith94]

Still, I enjoyed Days and loved (or at least REALLY liked) Weeks.

That Shivers quote is GREAT.

[megladon8]

This is awesome! Keep it up! :)

[Dead & Messed Up]

28 Weeks Later

...I absolutely love the opening (http://www.youtube.com/watch?v=fKR2Uv61DC8). It's terrifying and real and bloody brilliant in how it sets up the ostensible "protagonist." I thought there were a few dealbreaker moments in the story (e. g. the kids escaping quarantine), but I do appreciate that the film feels like its own entity. Its political subtexts, its characters, its style...all respectful to the original without repeating or settling.

That's incredibly rare these days, regardless of genre, and it's commendable. If there's a 28 Months Later, I'll look forward to it.

[SirNewt]

47. Dr. Jekyll and Mr . Hyde (Rouben Mamoulian, 1931)
http://i481.photobucket.com/albums/rr171/justineobscureclassics/44444ff1.jpg


How I have not seen this yet?

[Bosco B Thug]

Customized screencaps! Right? Always some sexy surprises with homemade screencaps.

Bedlam's cool, really need to see Shivers it seems, and really should see some sort of 'Jekyll and Hyde' incarnation - a Mamoulian film seems a great place to start.

[MadMan]

Hopefully you finish this list. I sadly haven't viewed any of the movies on it so far though.

[Philosophe_rouge]

28 Weeks Later

...I absolutely love the opening (http://www.youtube.com/watch?v=fKR2Uv61DC8). It's terrifying and real and bloody brilliant in how it sets up the ostensible "protagonist." I thought there were a few dealbreaker moments in the story (e. g. the kids escaping quarantine), but I do appreciate that the film feels like its own entity. Its political subtexts, its characters, its style...all respectful to the original without repeating or settling.

That's incredibly rare these days, regardless of genre, and it's commendable. If there's a 28 Months Later, I'll look forward to it.

It starts very strong, and while I agree it never lives up to the intro it's still interesting and exciting enough throughout that my interest is maintained. It's not perfect but as you say, it's not cookie cutter, and I appreciate that.


Customized screencaps! Right? Always some sexy surprises with homemade screencaps.

Bedlam's cool, really need to see Shivers it seems, and really should see some sort of 'Jekyll and Hyde' incarnation - a Mamoulian film seems a great place to start.
Half and half, I stored a few during the month I was watching but quite a few I had to go find because I dont have any on hand. Still, I'm trying to avoid the most popular or used ones for a reason.

I've actually only seen the Mamoulian Jekyll, the 41' version I've started on several occassions but it doesn't strike me as being as interesting.

[Philosophe_rouge]

45. The Others (Alejandro Amenábar, 2001)
http://i481.photobucket.com/albums/rr171/justineobscureclassics/others-6-2.jpg

"I'm beginning to feel totally cut off from the world.”

Though in recent years, the best remembered ghost film is the Sixth Sense, this one, as far as I’m concerned is not only better executed but holds up better over time. It unfortunately had similar ideas as the first, and I think suffered as a result. Still, as things go, I think it’s musings on life and death, are far more interesting. I like the children better, their simplicity is endearing and their wisdom never feels “adult” as with most child protagonists. Their views on religion and good and evil are inquisitive and uninformed. Their questioning seems obstinant to the mother, a harsh and rational woman… at least within her world. Though many today see religion as being seperate from rational thinking, it seems to be within place of her own. She rationalizes everything, even her faith, the bible… everything and in the end death seems far too complex an idea to reduce to one single, unwavering statement.

[MacGuffin]

I like this one; it has some chilling and well realized moments, but I recently saw The Innocents and if we want to talk about the "ghosts in a mansion" subgenre, that takes the cake.

[Philosophe_rouge]

I like this one; it has some chilling and well realized moments, but I recently saw The Innocents and if we want to talk about the "ghosts in a mansion" subgenre, that takes the cake.
I think I agree :P

[Wryan]

Surprised #47 wasn't at a better spot. But this is your list. Good so far. Keep it up. Try not to put too much Cronenberg on here. :)

[Philosophe_rouge]

Surprised #47 wasn't at a better spot. But this is your list. Good so far. Keep it up. Try not to put too much Cronenberg on here. :)
A year or two ago it might have been. I've seen the film too many times right now, and it's lost some of it's charm :( There won't be too much Cronenberg, I assure you :p

[Bosco B Thug]

45. The Others (Alejandro Amenábar, 2001)

Though in recent years, the best remembered ghost film is the Sixth Sense, this one, as far as I’m concerned is not only better executed but holds up better over time. It unfortunately had similar ideas as the first, and I think suffered as a result. Still, as things go, I think it’s musings on life and death, are far more interesting. I like the children better, their simplicity is endearing and their wisdom never feels “adult” as with most child protagonists. Their views on religion and good and evil are inquisitive and uninformed. Their questioning seems obstinant to the mother, a harsh and rational woman… at least within her world. Though many today see religion as being seperate from rational thinking, it seems to be within place of her own. She rationalizes everything, even her faith, the bible… everything and in the end death seems far too complex an idea to reduce to one single, unwavering statement. Awesome, I can totally get behind this choice. The Others totally stomps The Sixth Sense's punkass. The character study at the center of this film that you go into is definitely much more interesting than anything 'Sixth' has to offer.

[Philosophe_rouge]

44. Frankenstein (Whale, 1931)
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Touching, emotional and frightening there are scenes in Frankenstein that seem out of touch with the rest of the film. The Frankenstein monster stumbles upon a young girl who offers whim some flowers. Together they sit by the water and throw the waters onto the calm surface of the water, watching them float quietly along the surface. The monster is dazzled by the discovery but soon runs out of flowers. He turns to the girl, and the unfortunate innocence of his understanding of the world, he picks her up and throws her in the water expecting her to float; she doesn't. Not included in all versions of the film, the scene is heartbreaking in that we don't regard the monster with hatred, but rather a melancholy sadness for his ill-conceived destiny. Frankenstein himself, so wrapped up in creating, and finally dissapointed with the result, neglected all responsabilities he had signed on to as father, and well... God. For me, the best monster films are often those where the audience's sympathies lie just as much with the monster as with the victim, because in many ways they are often victim of circomstance, unable to control their actions, or in this case, not choosing to be born. Though having a very primitive understanding of the world, the monster clearly feels unwanted and is mistreated in such a way that his actions are almost justified as an act of self-preservation.

[Dead & Messed Up]

44. Frankenstein (Whale, 1931)
http://i481.photobucket.com/albums/rr171/justineobscureclassics/F2-1.jpg
Touching, emotional and frightening there are scenes in Frankenstein that seem out of touch with the rest of the film. The Frankenstein monster stumbles upon a young girl who offers whim some flowers. Together they sit by the water and throw the waters onto the calm surface of the water, watching them float quietly along the surface. The monster is dazzled by the discovery but soon runs out of flowers. He turns to the girl, and the unfortunate innocence of his understanding of the world, he picks her up and throws her in the water expecting her to float; she doesn't. Not included in all versions of the film, the scene is heartbreaking in that we don't regard the monster with hatred, but rather a melancholy sadness for his ill-conceived destiny. Frankenstein himself, so wrapped up in creating, and finally dissapointed with the result, neglected all responsabilities he had signed on to as father, and well... God. For me, the best monster films are often those where the audience's sympathies lie just as much with the monster as with the victim, because in many ways they are often victim of circomstance, unable to control their actions, or in this case, not choosing to be born. Though having a very primitive understanding of the world, the monster clearly feels unwanted and is mistreated in such a way that his actions are almost justified as an act of self-preservation.

Yes, yes, yes. James Whale easily stands as one of the best horror film directors of all time, and it's his understanding of monstrosity - the tragedy of it all - that makes him one of the greats. His two Frankenstein films and The Invisible Man all offer individuals who seem locked into their destinies, and who are entirely sympathetic the whole way down.

Of course, Frankenstein is also appealing from a visual standpoint. Whale is a maestro at creating Gothic mood, but my favorite scene in the film is when the father carries his dead daughter through the town. Whale follows the man with a long tracking shot, centering him while everyone walks around him, stunned and surprised. It's a fantastic moment, sad and technically perfect.

[Philosophe_rouge]

Yes, yes, yes. James Whale easily stands as one of the best horror film directors of all time, and it's his understanding of monstrosity - the tragedy of it all - that makes him one of the greats. His two Frankenstein films and The Invisible Man all offer individuals who seem locked into their destinies, and who are entirely sympathetic the whole way down.

Of course, Frankenstein is also appealing from a visual standpoint. Whale is a maestro at creating Gothic mood, but my favorite scene in the film is when the father carries his dead daughter through the town. Whale follows the man with a long tracking shot, centering him while everyone walks around him, stunned and surprised. It's a fantastic moment, sad and technically perfect.
I still need to see The Invisible Man, but there will be another Whale film on the list and The Old Dark House just missed the list. He really does have a great handle and respect for his monsters and characters, also a great deal of humour.

Actually, my original review of the film I wrote about two scenes, the first the one about the girl by the water and the one you're talking about. Both are incredible standouts. His films DO look wonderful and work very well within the story. He stood out among the rather one note filmmaking of the early sound era.

[The Mike]

Keep up the awesome. :)

[Grouchy]

Just wanted to tell you that I'm reading and lovin' it.

I don't like 28 Weeks Later as much as you do and feel it's somewhat out of place in between all the great stuff, but you wrote a detailed review that made me understand your putting it on the list.

And there can never be enough Cronenberg.