In an era of Realism, Gothic and High Camp, Roger Corman gave us 8 films inspired by Edgar Allan Poe and others that kept food on the tables for veteran actors Boris Karloff, Peter Lorrie, Vincent Price, Basil Rathbone and Lon Chaney Jr. Dracula, Frankenstein, and The Mummy were resurrected so-to-speak throughout the 50’s 60’s and 70’s by Hammer Films. With the relaxation of censorship and production codes, Hammer carved out a niche for themselves by reanimating these 1930’s classics with a healthy helping of barely clad women, gore and sexual eroticism.
In juxtaposition to the Camp and Gothic horror, the 60’s horror and sci-fi genre may also be defined for its “realism”. We were embroiled in so many issues; Vietnam, Civil Rights, The Bay of Pigs and political assassinations – that men in monster suits and radioactive, mutant bugs of the ‘50s just seemed silly. The more sophisticated filmgoers of the 60’s expected their escapism to be more rooted in reality.
Perhaps most aptly defining this era was Alfred Hitchcock’s Psycho (1960) and The Birds (1963). Psycho arguably created its own “mad-slasher” sub-genre that would thrive for decades to follow (Halloween, Friday the 13th, et al). But It was also less of a horror movie in the traditional sense – and more a great psychological thriller (you can find its synopsis in our 60’s Suspense page). And those of us of a certain age can still imagine that the next large flock of birds we see could very well turn against us as Hitchcock once imagined.
Ending and beginning their careers in this era were: Peter Cushing, Christopher Lee, Vincent Price, Peter Lorre, Anthony Perkins, Basil Rathbone, and Jack Nicholson.
In juxtaposition to the Camp and Gothic horror, the 60’s horror and sci-fi genre may also be defined for its “realism”. We were embroiled in so many issues; Vietnam, Civil Rights, The Bay of Pigs and political assassinations – that men in monster suits and radioactive, mutant bugs of the ‘50s just seemed silly. The more sophisticated filmgoers of the 60’s expected their escapism to be more rooted in reality.
Perhaps most aptly defining this era was Alfred Hitchcock’s Psycho (1960) and The Birds (1963). Psycho arguably created its own “mad-slasher” sub-genre that would thrive for decades to follow (Halloween, Friday the 13th, et al). But It was also less of a horror movie in the traditional sense – and more a great psychological thriller (you can find its synopsis in our 60’s Suspense page). And those of us of a certain age can still imagine that the next large flock of birds we see could very well turn against us as Hitchcock once imagined.
Ending and beginning their careers in this era were: Peter Cushing, Christopher Lee, Vincent Price, Peter Lorre, Anthony Perkins, Basil Rathbone, and Jack Nicholson.
HORROR-SCIFI FILMS OF THE 1960s
BEYOND THE TIME BARRIER (1960) (75 Min.) Genre: 1960 HORROR-SCIFI, Transfer Quality: B
Edgar G. Ulmer, the phenomenally fast director of many a quickie horror effort, lensed Beyond the Time Barrier in Texas. Test pilot Maj. William Allison (Robert Clarke) is hideously disfigured by a mishap in space. In flashback, we learn that Clarke had earlier returned to his base, only to discover that he'd passed through a time warp and that the Earth has been decimated by some disaster or other. He crosses the path of the ruling class, led by the Supreme, and a tribe of mutants, left over from a plague caused by extraterrestrial radiation. Only by returning to his own time can Clarke save the world from this fate (sound familiar?). Augmented with footage from Fritz Lang's 1959 Journey to the Lost City (aka The Indian Tomb), Beyond the Time Barrier tries hard, but is ultimately defeated by its almost-nonexistent budget.
Starring: Robert Clarke, Darlene Tompkins, Arianne Arden, Vladimir Sokoloff | Directed by: Edgar G. Ulmer
BIRDS, THE (1963) (119 Min.) Genre: 1960 HORROR-SCIFI, Transfer Quality: A
The story begins as an innocuous romantic triangle involving wealthy, spoiled Melanie Daniels (Tippi Hedren), handsome Mitch Brenner (Rod Taylor), and schoolteacher Annie Hayworth (Suzanne Pleshette). The human story begins in a San Francisco pet shop and culminates at the home of Mitch's mother (Jessica Tandy) at Bodega Bay, where the characters' sense of security is slowly eroded by the curious behavior of the birds in the area. At first, it's no more than a sea gull swooping down and pecking at Melanie's head. Things take a truly ugly turn when hundreds of birds converge on a children's party. There is never an explanation as to why the birds have run amok, but once the onslaught begins, there's virtually no letup.
Starring: Rod Taylor, Tippi Hedren, Jessica Tandy, Suzanne Pleshette, Veronica Cartwright, Charles McGraw | Directed by: Alfred Hitchcock
DRACULA, PRINCE OF DARKNESS (1966) (90 Min.) Genre: 1960 HORROR-SCIFI, Transfer Quality: A
Christopher Lee dons the evil Count's cloak once again after an 8-year hiatus for this first "authentic" sequel to Hammer Studios' Horror of Dracula (the literal 1960 follow-up Brides of Dracula did not feature Lee). The story begins when two stuffy vacationing couples make an ill-fated stopover at Castle Karlsbad in the Carpathian mountains -- despite the warnings of the mysterious Fr. Sandor (Andrew Keir) and the near-destruction of their coach when the terrified driver runs for his life. After a slightly tedious stretch, one of the men (Charles Tingwell) is sacrificed in a bloody Satanic ritual, orchestrated by the Count's loyal manservant Klove (Philip Latham) to bring the legendary vampire back to life. The revived Count immediately sets his sights on the man's wife (Barbara Shelley), making her his undead bride; the surviving pair seek refuge in Fr. Sandor's abbey, with the undead bloodsuckers in hot pursuit. This stylish and chilling production is imbued with Gothic atmosphere by director Terence Fisher (one of his last films for the studio) and remains one of the classier entries from Hammer's heyday. Also known as Revenge of Dracula.
Starring: Christopher Lee, Barbara Shelley, Andrew Keir, Francis Matthews, Charles "Bud" Tingwell, Thorley Walters | Directed by: Terence Fisher
FLIGHT THAT DISAPPEARED, THE (1961) (71 Min.) Genre: 1960 HORROR-SCIFI, Transfer Quality: B
Flight that Disappeared sugars its Vital Message with a sci-fi/fantasy coating. Three nuclear scientists prepare to deliver their report on the potentials of atomic weaponry to the President. En route to Washington, the scientists' plane disappears from view. They awaken to find themselves in the presence of benign aliens, possibly residents of the Afterworld. Before the scientists are permitted to leave, they have been persuaded that their nuclear report will need a healthy dose of anti-bomb rhetoric.
Starring: Craig Hill, Gregory Morton, Paula Raymond, Dayton Lummis | Directed by: Reginald Le Borg
HOUSE OF USHER, THE (1960) (85 Min.) Genre: 1960 HORROR-SCIFI, Transfer Quality: A
The first of Roger Corman's Edgar Allan Poe films, Fall of the House of Usher was originally released as simply House of Usher. Vincent Price stars as the foredoomed Roderick Usher. Living in his decaying family mansion with his young sister Madeline (Myrna Fahey), Roderick does his best to shoo away Madeline's fiance Philip Winthrop (Mark Damon). He tells the young swain that Madeline suffers from the family curse of encroaching madness, and thus cannot be permitted to bear children. After a series of suspicious, near-fatal accidents, Phillip insists that Madeline be allowed to leave with him at once. But Roderick sadly announces that this is impossible: Madeline has died, and is slated to be entombed. Informed by the family butler that Madeline has previously been prone to near-catatonic spells, Phillip angrily insists that the girl may very well have been buried alive. The climactic conflagration would be recycled as stock footage in future Corman/Poe efforts, as would the set representing the Usher home. — Hal Erickson
Starring: Vincent Price, Mark Damon, Myrna Fahey, Harry Ellerbe | Directed by: Roger Corman
PANIC IN YEAR ZERO (1962) (93 Min.) Genre: 1960 HORROR-SCIFI, Transfer Quality: A
Ray Milland both starred in and directed the morose, minimalist sci-fier Panic in the Year Zero! (original title: Panic in Year Zero!). En route from Los Angeles to a vacation in the mountains, Harry Baldwin (Milland), his wife, Ann (Jean Hagen), and his teen-aged children, Rick (Frankie Avalon) and Karen (Mary Mitchell), are appalled to see a mushroom cloud forming over the L.A. skyline. With the highways clogged by panicking motorists, Milland and his family decide to head to the shelter of their fishing spot, there to wait until more news about the nuclear disaster is available. Everywhere they drive, however, the family is confronted by rampaging looters, heavily armed survivalists, and doped-up motorcycle punks. Attempting to remain calm and collected in the face of Armageddon, Milland ends up as violent and animalistic as everyone else. Though it avoids proselytizing for the most part, Panic in the Year Zero! does fall back on the old reliable "The Beginning" fadeout title. The most powerful aspect of the film is the "normalcy" of Milland's family: we are made to feel throughout that what happens to them could very well happen to us, and how then would we react?
Starring: Ray Milland, Jean Hagen, Frankie Avalon, Mary Mitchell, Richard Garland | Directed by: Ray Milland
RAVEN, THE (1963) (86 Min.) Genre: 1960 HORROR-SCIFI, Transfer Quality: A
Although Roger Corman narrowly managed to avoid self-mockery in his pulpy, flamboyant adaptations of Edgar Allan Poe tales, it appears that the director chose this opportunity to let loose with outright parody; the result is a wonderfully entertaining romp with tongue planted firmly in cheek. The first screen teaming of legendary horror stars Boris Karloff, Vincent Price, and Peter Lorre — later billed as "The Triumvirate of Terror" — this so-called "adaptation" uses Poe's most famous poem as a springboard for Grand Guignol comedy from scriptwriter Richard Matheson. Melancholy magician Erasmus Craven (Price), having recently relinquished his membership in the Brotherhood of Sorcerers after the apparent death of his wife Lenore (Hazel Court), is paid a visit by a foul-mouthed talking raven, claiming to be small-time wizard Adolphus Bedlo (Lorre). After some persuasion, Craven returns Bedlo to human form, reversing a spell placed by the evil Dr. Scarabus (Karloff), Craven's chief rival. After learning that a woman bearing a strong likeness to Lenore was seen in the Doctor's company, Craven accompanies Bedlo to Scarabus' castle, where the resulting battle of wills escalates into all-out magical warfare between the two embittered sorcerers. Corman and company relished the opportunity to poke fun at the staid Poe series, and the distinguished leads contribute to the spirit of fun by lampooning their own cinematic reputations. Fans of Jack Nicholson (who cut his acting teeth on this and other AIP productions) should enjoy his melodramatic performance here as Bedlo's straight-arrow son; Nicholson would later co-star with Karloff in Corman's The Terror, which was shot in two days using the same sets! — Cavett Binion
Starring: Vincent Price, Peter Lorre, Boris Karloff, Hazel Court | Directed by: Roger Corman
