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Horror in Black and White: ‘The Haunting’ (1963)

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The Haunting

In 1961, Robert Wise was finishing up post-production on West Side Story, when he happened upon a review of Shirley Jackson’s The Haunting of Hill House in Time magazine. Intrigued, he sought out a copy of the book and upon reading decided he must bring it to the big screen.

He spent some time talking to the author and had soon optioned the rights to adapt the novel as a film.

It has been said that during their conversations, he asked if she had ever thought of a different title for the novel, and she replied that the only other title she’d ever considered was simply The Haunting.

The rest, as they say, was history.

The Haunting Poster

Wise brought the novel to screenwriter Nelson Gidding who soon found himself crafting what would become one of the greatest haunted house films ever created.

I’ve wanted to write about this film for this series since I started writing about Horror in Black and White a few weeks ago, and today felt like the day.

You see, Robert Wise, rightly, decided that black and white was the perfect medium for this particular story because the monochromatic look would enhance the depth of the shadows and increase the tension of the psychological elements of the story.

When you’re right, you’re right.

For the uninitiated or for those only familiar with the more recent Netflix adaptation, Wise’s film told the story of Dr. John Markway (Richard Johnson) who, in an attempt to study the paranormal, invites psychically sensitive Nell (Julie Harris) and fully clairvoyant Theodora (Claire Bloom) to spend a weekend at Hill House.

The Haunting Cast
THE HAUNTING, Richard Johnson, Russ Tamblyn, Claire Bloom, Julie Harris, 1963.

It is said the house is one of the most haunted in the world, and Markway hopes that the gifted women will stir the spirits of the house to present themselves.

Along for the ride are Luke Sanderson (Russ Tamblyn), who stands to inherit the house, and Grace Markway (Lois Maxwell). The latter turns up unannounced and fully in doubt of her husband’s work.

The house is soon alive with echoing booming sounds in the night, and timid, mousy Nell, who wasn’t wholly stable to begin with, soon finds herself the focal point of an increasingly dangerous haunting.

Harris is vulnerable and raw as Nell. While filming, she kept herself isolated from the rest of the cast, rarely joining them for dinner or to chat during filming breaks.

The Haunting Harris
Julie Harris as Nell in The Haunting

Apocryphally, it has been said that she suffered terrible depression during the shoot, but Claire Bloom later recounted that Harris turned up at her home bearing gifts and an explanation for her behavior.

Bloom had been worried that Harris kept her distance because the character of Theo was a lesbian. In fact, it was this particular part of the character is what drew Bloom to the role.

By the 60s, the film industry had begun to loosen some of the stringent requirements of its past, and queer-coding, though still alive and well, was giving way to queer characters–though their portrayals were still problematic.

Theo was an exception. While certainly coded in some respects, she was not in any way what had been presented previously. She was not a “hard” woman, nor was she predatory.

On the contrary, she was a lovely, sophisticated woman, and while her sexuality is only hinted at throughout the film, it’s hard to deny who she is when Nell, in a fit of rage calls her one of “nature’s mistakes.” The epithet was a common term at the time.

It’s interesting to note that in an early version of the film there was a scene which involved a recent breakup of Theo’s. Wise went so far as to film the scene, but unfortunately he was forced to cut it.

Harris and Bloom were phenomenal in their respective roles and the rest of the cast was equally good, but the true star of the show was house itself, and the ways in which it seemed to come alive. Much of that has to do with Wise’s direction.

The Haunting Claire Bloom Julie Harris
Julie Harris and Claire Bloom in The Haunting

With sound and shadow, he created a terrifying claustrophobic environment without ever actually revealing the spirits of Hill House. In fact, it is incredible just how well those two elements work together in this film.

The shadows seem to elongate and move while deafening sounds from the heart of the house itself unsettle the viewer as much as the actors onscreen.

Furthermore, Wise used lenses that gave a curved appearance to the walls, creating an even more unsettling skewed view of the sets.

The film opened to mixed reviews and an average box office for the time, but its popularity has grown over the years with a devoted fan base.

The film was later remade in the late 90s starring Lili Taylor, Liam Neeson, Catherine Zeta-Jones, and Owen Wilson, but it lacked the spark of the original.

The Haunting is available for streaming via Vudu and other platforms. Check out the trailer below and for more Horror in Black and White, check out our other entries including Cat People and Strait-Jacket!

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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Strange Darling Kyle Gallner

‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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