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Monochromatic Madness: Black and White Horror That Still Holds Up

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As long as we’ve had film, we’ve had horror. Georges Méliès was responsible for bringing sci fi and horror to audiences in the 1890s, shown in silence in glorious black and white. With the development of Nosferatu, The Cabinet of Dr. Caligari, and Frankenstein, the genre was formed. Due to the popularity of Roger Corman classics and Universal Monsters, horror films were widely appealing and readily available. As a result, the relevance of the black and white basics is undeniable.

Some of our most iconic characters are those monochromatic monsters. We can all agree that not all movies age gracefully, however, there are some that keep their teeth long after their release. Here’s my list of 6 of my favorite black and white films that still hold up, some 50+ years after they hit the screen.

The Thing From Another World (1951)

Scientists and American Air Force officials battle a bloodthirsty alien organism while stranded at an arctic outpost. The story will sound really familiar, and it should. John Carpenter’s The Thing was adapted from the same novella.

There’s a lot of dialogue, but they zip from scene to scene at a quick rate. Forget the long, silent stares or slow, dramatic walks across the room. This scene has places to be, dammit! Speaking of the dialogue, for a group facing an unknown threat, they are super sarcastic.

The script is clever and the actors have a great chemistry to tie the whole thing together. Most importantly, they do not shy away from an action sequence. One scene in particular involves a lot of fire and kerosene. Honestly, I don’t know how they didn’t burn the set down. Overall, The Thing From Another World is surprisingly funny, consistently paced, and very satisfying.

Les Diaboliques (1955)

This French film earned a spot on Bravo’s 100 Scariest Movie Moments and TIME’s Top 25 Horror Movies. In Les Diaboliques, the wife and extramarital lover of an abusive boarding school headmaster team up to kill him. The chemistry between the two leading ladies is perfect.

The women have a close-knit connection that stems from the knowledge that they’re both subject to the whims of a well-respected brute. That being said, they’re not quite the Thelma and Louise of 50s French cinema. There’s a formal distance that keeps them focused. As a whole, there are some legitimately frightening moments, but the ending is what will stick with you.

Invasion of the Body Snatchers (1956)

Invasion of the Body Snatchers is a non-stop thriller. There are startling discoveries, creepy effects and chase scenes galore. We follow a dedicated doctor who is a Man! Of! Action! as he is thrown into a frantic mission to stop the invasion of the pod people.

With a run time of only 1hr 20min, it gets right to the meat of the story very quickly. Honestly, you’ll be surprised with how well it keeps up the action, there’s really no room to get bored here. The effects are fantastic; the pods that create the alien impostors are well-made and quite disturbing.

The film has inspired many remakes and references, including an episode of Looney Tunes titled “Invasion of the Bunny Snatchers”. In 1994, it was selected for preservation in the US National Film Registry as “culturally, historically, or aesthetically significant”. Now, significance aside, Invasion is just a classic, energetic, and engaging film.

Carnival of Souls (1962)

Carnival of Souls is centered on a young organist named Mary who finds herself drawn to an abandoned carnival after she is involved in a car accident. The sound design is super eerie and hauntingly beautiful. The score, composed by Gene Moore, uses an organ to build atmosphere.

It highlights the occupation of our protagonist and creates anxiety where there should be a positive affiliation. The character of John Linden is also very effective in creating discomfort. His slimy persistence to try to win over Mary is, frankly, disgusting.

She struggles between her desire to be left alone and her desperate need to keep someone close to distract her from her terror. Those ghostly faces that plague Mary are far more effective in black and white than they would be in full color. The dizzying scenes that surround the carnival reinforce what we all know; carnivals are creepy as shit.

Psycho (1960)

If you ask anyone about Alfred Hitchcock, chances are, this is the film they’ll know. Psycho is absolutely iconic. It won four Academy Awards and is ranked as one of the greatest films of all time. Not only did it feature the first toilet flush on the silver screen, it also gave us the most memorable shower scene in pop culture history.

Even in black and white, the scene is shocking. We are able to see Hitchcock’s skill as a filmmaker in his use of shadows and lighting. When Mr. Arbogast interviews Norman Bates in the lobby, it’s a wonderful demonstration of how shadows can increase the intensity of a scene of straight dialogue.

The final reveal on the fate of Mrs. Bates uses a swinging overhead lamp to add a dynamic flare to a static shot. As a whole, it’s clever, balanced, and overall just a damn good film.

Night of the Living Dead (1968)

An undisputed all-time classic, Night of the Living Dead has to be on this list. It spawned sequels, remakes, and brought the zombie movie into popular culture. As a whole, the cultural significance is undeniable, particularly when you note the casting of Duane Jones.

Casting a black actor as the protagonist with an all white cast was virtually unheard of at the time. Earlier films, like White Zombie, showed the creation of the zombie as a result of voodoo. NotLD reinvented the genre by establishing the rules we still follow in modern zombie media.

They are relentless reanimated corpses, they feast on the flesh of the living, and you must destroy the brain to stop them. Of course, they were referred to as “ghouls”, but, we know what’s up. It has rightfully earned its status as a cult classic, and I don’t think anyone can argue with that.

Want more classic horror? Click Here for Eleven Criterion Blu-Ray Titles Every Horror Fan Should Own

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

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‘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 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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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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