Something for you Netflix folks
A friend of mine forwarded this link: http://www.geocities.com/Hollywood/Chateau/8780/The20gothiest.html
and encouraged me to “do better.”
The list that is offered claims to be “The Twenty Best Gothic Films,” and is provided by the “Baron Wolfgang von Schreck.” The titles, listed chronologically, are:
1. The Cabinet of Dr. Caligari (1919)
2. Nosferatu: Eine Symphonie des Grauens (1922)
3. Vampyr (1932)
4. Dr. Jekyll and Mr. Hyde (1932)
5. The Bride of Frankenstein (1935)
6. La Belle et la Bette [aka. Beauty and the Beast] (1946)
7. Les Yeux Sans Visage [aka. The Eyes Without a Face, Horror Chamber of Dr. Faustus] (1959)
8. Psycho (1960)
9. Black Sunday (1961)
10. Masque of the Red Death (1964)
11. Dracula Prince of Darkness (1966)
12. KIll Baby... Kill! (1966)
13. Dance of the Vampires [aka. The Fearless Vampire Killers or: Pardon Me, But Your Teeth Are in My Neck] (1967)
14. Night of the Living Dead (1968)
15. Witchfinder General [aka. The Conqueror Worm] (1968)
16. Suspiria (1977)
17. Nosferatu the Vampyre (1979)
18. The Company of Wolves (1984)
19. Hellraiser (1987) -
20. Interview with the Vampire (1994)
Now, the biggest problem that I face in responding to this site is that nowhere does the Baron take the time to tell us what he means by the word “Gothic.” In what I have written below, I have attempted to clarify this by using the terms “gothic” and “Goth” to mean two distinct things. The word “gothic” (small-“g”) is used to refer to any art-form that derives aesthetic elements from the 19th century literary movement so designated (which itself borrowed heavily from 18th century “Sentimentalist” literature). I am not qualified to make comparisons to gothic architecture or statuary of the Medieval period, or to gothic revivals in architecture during the 19th century. Some key elements of gothic literature, as I understand it, would include: mystery, the supernatural or occult, ghosts, haunted houses, castles, darkness, morbidity, doubles (doppelgangers), decadent or decayed aristocracy, lesbianism, madness, secrets and hereditary curses. Mary Shelley’s Frankenstein may be the most widely-read (and filmed) gothic novel, although Sheridan Le Fanu’s Carmilla should be seen as being at least equally influential. The gothic fiction with which I am personally most familiar is the latter-era work of H.P. Lovecraft, who modernized the genre considerably in the twentieth century.
Because I actually suspect this is more where the Baron is coming from, I have also used the word “Goth” (big-“G”) to designate a musical/lifestyle subculture arising in the late 1970’s/early 1980’s as an outgrowth of the punk movement. Bands such as the Damned, the Misfits, Alien Sex Fiend, and 45 Grave represented a somewhat “morbid” edge to the original New Wave movement, and followers soon branched off to form a distinct identity that today often seems to have little in common with its punk cousin. Goth aesthetics often incorporate aspects of gothic fiction, but with something of an emphasis on the horror-related aspects, and rather less awareness of the original romantic/sentimentalist roots. It also houses (in my opinion) pretty much the Hottest Women in the World (and a number of effeminate men). There is no relationship to the East Germanic tribe of the 2nd to the 6th centuries, CE, nor to Visigoths, Ostrogoths, or Vandals.
Now, for my discussion of his choices. We’ll start with some points of agreement:
1. “Caligari,” absolutely right. Everyone needs to see this.
10. “Masque of the Red Death,” certainly the most lusciously gothic of the Corman-Poe adaptations, thanks in large measure to set designer Daniel Haller (more on him later).
15. “Witchfinder General,” yep. Right on.
16. “Suspiria,” I’ve written extensively about this movie. It is a perfect fairy tale for Goths.
I agree that Bava’s “Black Sunday” and “Kill Baby…Kill” are great picks, although I’d be hard-pressed to decide which is the best of Bava’s movies. I was a bit surprised to see “Kill Baby…Kill” selected as his best ever, although I can see the point, from a gothic point of view. Its main flaw is the English title, in Italian its called “Operazione Paura” (Operation Fear), and it has also been released as “Curse of the Dead,” “Curse of the Living Dead, and “Don’t Walk in the Park,” none of which quite get it. I’d call it “The Suicide Child,” or “The Ghost of Grapps” or something. Anyway, it has several elements from my list, including a ghost, a witch, a medium, a haunted castle, lots of darkness, decadent aristocracy, madness, secrets, and a hereditary curse. Goth chicks can check out the local Wiccan (played by Fabienne Dali) for beauty tips and ritual advice.
“Eyes Without a Face” is an interesting choice that I might not have thought of. Its emphasis is on modern technology as a dehumanizing factor, although there is an aspect of the Double in it as well.
I agree that “Night of the Living Dead” and “Psycho” are great films, but neither is really gothic to my way of thinking. The one possibly Goth aspect of NOTLD is the makeup, which was essentially copied from Carnival of Souls, a _much_ more truly gothic film.
Beyond that, I question nearly all of these choices, and I see quite a few things that were left out.
To begin with the obvious: there is a tragic lack of the best of the Universal canon here. I can think of three movies right off the bat (pun intended) that should be on every Goth’s best-of list:
Dracula’s Daughter (1936): Introduced the vampire-lesbian connection to film, Countess Zaleska and her servant Szandor (I kid you not!) are vital Goth icons. Actually, there is a surprising avoidance of lesbianism on this entire list, undermining the Baron’s claim to be representing the “Gothic” fairly. I’ll go into this further later.
The Black Cat (1936): Lugosi and Karloff team up in an Art Deco/surrealist twist on the spooky-old-house set on the site of a WWI massacre. Karloff plays a Satanist called Hjalmar Poelzig said to be based on Aleister Crowley (doubtful), but was more likely influenced by genuine LHP occultist Hans Poelzig, an architect (designed the Max Reinhardt theater in Berlin) and set designer (for “Der Golem,”). Karloff got in his best line ever in this film: “Do you hear that Vitus? The phone is dead. Even the _phone_ is dead.”
The Old Dark House (1932): James Whale’s lesser-known horror movie. As a commentary on a degenerate family dwelling in a gigantic stone castle (or tower), it is clearly part of the 19th century gothic literary tradition. Also has better combination of horror and humor than “Bride of Frankenstein,” although I like that one too.
Taking a step back, I’m pretty disappointed in the overall quality of the silent-era films. “Nosferatu” sucks. Sorry, it just does. I waited years for it to be “re-discovered” only to find that all the lovely images conjured up by the stills I had seen were destroyed by Murnau’s pedestrian handling of the camera. How about some real expressionism:
“Der Golem” (1929): One of several treatments of a classic Jewish-Bohemian myth, which includes genuine cabbalistic and occult references, especially in the set design (see above).
Metropolis (1927): In spite of Lang’s expressed hatred for Expressionism, he outdid nearly everyone in this one. Although it is generally considered “science fiction,” it has all the elements of the gothic horror piece: a decadent lordly manor corrupted by the sins of the father, an occultist wizard who manipulates those who appear more powerful, a woman who is “split in two” - innocent and pure in one persona, but with a doppelganger who is destructive and openly sexual.
As far as Murnau goes, I’d be willing to label “Faust” a far more successful gothic film, and even “Sunrise” has qualities of the gothic tradition, including that doubled feminine (this time manifesting in two distinct female characters).
Nothing but ignorance of the great horror classics of the thirties could lead one to put Mamoulian’s worst movie on a top-20 list. Granted, it does have a bit of pre-code raciness, and some innovative camera work by German exile Karl Struss (past work included “Ben Hur,” (1925) in the future he would do “The Fly,” (1958) and “Kronos” (1957)), but Struss would later admit he was disappointed with the result, calling the makeup “just awful.”
The forties are a trickier decade, and I guess I’ll confirm “La Belle et la Bete” (I spelled it right, the Baron didn’t) as the most atmospheric and gothic-romantic of that time period. There are a number of spooky-old-house pictures, some with Bela Lugosi, that are worth checking out, but nothing really inspiring (see “Night Monster” (1942), “Scared to Death” (1947) and “The Devil Bat” (1940) for examples). I might also include “The Wolf Man” (1941) which has several gothic elements, including the castle, the curse, and the decadent noble line. Not as good, but quite true to gothic traditions is “Son of Dracula” (1943), with its decadent southern family, spiritualism, and hot Goth chick (Louise Allbritton). I’d bump “Abbott and Costello Meet Frankenstein” (1948) ahead of “Fearless Vampire Killers” on the queue for horror comedy; it also has a great Goth-look woman (Lenore Aubert). At least he didn’t pick any Mel Brooks.
I’m a little more surprised at the lack of 50’s films, although I assume that’s because the 50’s has the stigma of “sci fi” that scares away the more serious Goths. Even in that genre, though, I think some titles are worth looking at for their gothic influences. The aforementioned “The Fly” (1958) is one - the sense of Old World romanticism is heightened by the French names of all the characters. But in terms of sheer influence on modern-day Goths, I don’t think you can beat Maila Nurmi (Vampira) in “Plan 9 From Outer Space” (1959). Her image is the one nearly all tall, thin, long-haired Goth Chicks aspire towards, and this movie is the reason why.
I’d also include “I Bury The Living,” in spite of its Noir-esque title and camerawork, as a very interesting inquiry into the occult world of sigil-magic, madness, and the power of dreams. But, the crowning gothic achievement of the 50’s is “Daughter of Horror” (1955), AKA “Dementia.” I’m not going to say much, except that this is the “Caligari” of the post-WWII era, and, incidentally, it is the movie they are watching in the movie theater when the Blob attacks.
While some good films appear in the 60’s section, there is a lot missing here. I’ve already mentioned “Carnival of Souls” (1962), which is a ghost story set in the Midwest which borrows stylistically from Cocteau. Includes ghosts, secrets, madness, a haunted carnival pavilion, and a surprisingly feminist message. More importantly, I can’t believe anyone would seriously pick “Dracula, Prince of Darkness” as the one Christopher Lee film, when it doesn’t even include his sonorous voice! Take a look at “Horror Hotel” (1960), in which he plays a Satanist University Professor of History who lures young coeds to an obscure New England town to be sacrificed to the Devil (don’t get any ideas - I’m not basing my career on this film!). I could mention dozens of others, but I’ll restrict myself to one more: “The Devil Rides Out” (1968). Here, Lee is the good guy, a well-trained White Magician fighting a diabolical Satanist openly patterned on Aleister Crowley. Show this to your friends so that they learn how to pronounce “Ipsissimus.”
Also missing from this period are the first important Lovecraft adaptations, both directed by Daniel Haller of “Masque of the Red Death” fame. “Die Monster Die” (1965) and “The Dunwich Horror” (1970) are both seen as camp classics today, but I think Haller is to be congratulated for doing what far too few Lovecraft filmmakers manage: leaving the real horror to our imaginations. The first one is based on _The Color Out of Space_, if anyone cares.
Which brings me back to Corman, although his attempt at Lovecraft, “The Haunted Palace” (1964, actually based on _The Case of Charles Dexter Ward_), was less successful. Worth checking out from a gothic perspective are “The Undead,” (1957) in which a woman under hypnosis regresses to a former life as an accused witch (check out the real witch, played by the luscious Alison Hayes), and “The Terror,” (1963) in which a young Jack Nicholson fighting for Napoleon finds lust, decay and madness in a German castle.
William Castle was also a bit of a closet Goth, as seen in his efforts “The House on Haunted Hill” (1959), “Mr. Sardonicus” (1961), and “The Tingler” (1959). “Sardonicus” is probably the most traditionally Goth - a nobleman is punished for his crimes by being hideously disfigured and laments that he was driven to madness by the evil ways of his wife. “Haunted Hill,” is a more traditional spooky old house picture, with ghosts, murder, and decadent rich folks. “The Tingler” is a fascinating adaptation of “Diabolique,” (1955), which also should have been on this list, but familiarity with the French film will not reduce the surprise ending of this one. Castle’s production of “Rosemary’s Baby” (1968) was mentioned in passing in the original list, but definitely deserves its own slot.
All of which leads me to the most effective spooky-old-house picture of all time, “The Haunting” (1963), based on the Shirley Jackson tale _The Haunting of Hill House_. Here a reclusive young woman possessed of questionable psychic abilities joins a Professor’s team of “Haunted House researchers” and forms unhealthy attachments to him…and the house. There’s a lesbian mind-reader, and a decadent member of the family that owned the house originally.
Did somebody say lesbians? What would gothic film be without them? Especially in terms of vampirism, they’re far too important to leave out. I already mentioned “Dracula’s Daughter” as a standard-setter in this genre, let’s see what else there is:
The best-known, most openly Goth vampire lesbo movie is “The Hunger” (1983), with Susan Sarandon and no less than Catherine Deneuve in the mandatory nude scene. Also with David Bowie and music by the Bauhaus. Surprisingly little darkness in this vampire movie, but it has almost everything else from my list.
But the Euro-sleaze directors have really gone to town with this theme. I think I’ll restrict myself to the best, “Daughters of Darkness” (1971, also known as “Levres Rouge”). It has Delphine Seyrig in the Deneuve role, and Danielle Ouimet as the newlywed Sarandon-equivalent. Needless to say, the groom is not pleased with the situation.
There are also dozens of filmed versions of Le Fanu’s Carmilla, the best of which (in my opinion) is “The Vampire Lovers” (1970), a Hammer production with Ingrid Pitt in the title role (Carmilla, that is). Her innocent lover is Madeline Smith, and Peter Cushing is there as a concerned, but distant, father-figure.
It was originally going to be a brief response to a friend's email, and turned into a monster project that was eating up all my time a couple of weekends ago. I have now declared myself "done with it" in spite of it's first-draftiness and incompleteness, because I Just Don't Have The Time.
and encouraged me to “do better.”
The list that is offered claims to be “The Twenty Best Gothic Films,” and is provided by the “Baron Wolfgang von Schreck.” The titles, listed chronologically, are:
1. The Cabinet of Dr. Caligari (1919)
2. Nosferatu: Eine Symphonie des Grauens (1922)
3. Vampyr (1932)
4. Dr. Jekyll and Mr. Hyde (1932)
5. The Bride of Frankenstein (1935)
6. La Belle et la Bette [aka. Beauty and the Beast] (1946)
7. Les Yeux Sans Visage [aka. The Eyes Without a Face, Horror Chamber of Dr. Faustus] (1959)
8. Psycho (1960)
9. Black Sunday (1961)
10. Masque of the Red Death (1964)
11. Dracula Prince of Darkness (1966)
12. KIll Baby... Kill! (1966)
13. Dance of the Vampires [aka. The Fearless Vampire Killers or: Pardon Me, But Your Teeth Are in My Neck] (1967)
14. Night of the Living Dead (1968)
15. Witchfinder General [aka. The Conqueror Worm] (1968)
16. Suspiria (1977)
17. Nosferatu the Vampyre (1979)
18. The Company of Wolves (1984)
19. Hellraiser (1987) -
20. Interview with the Vampire (1994)
Now, the biggest problem that I face in responding to this site is that nowhere does the Baron take the time to tell us what he means by the word “Gothic.” In what I have written below, I have attempted to clarify this by using the terms “gothic” and “Goth” to mean two distinct things. The word “gothic” (small-“g”) is used to refer to any art-form that derives aesthetic elements from the 19th century literary movement so designated (which itself borrowed heavily from 18th century “Sentimentalist” literature). I am not qualified to make comparisons to gothic architecture or statuary of the Medieval period, or to gothic revivals in architecture during the 19th century. Some key elements of gothic literature, as I understand it, would include: mystery, the supernatural or occult, ghosts, haunted houses, castles, darkness, morbidity, doubles (doppelgangers), decadent or decayed aristocracy, lesbianism, madness, secrets and hereditary curses. Mary Shelley’s Frankenstein may be the most widely-read (and filmed) gothic novel, although Sheridan Le Fanu’s Carmilla should be seen as being at least equally influential. The gothic fiction with which I am personally most familiar is the latter-era work of H.P. Lovecraft, who modernized the genre considerably in the twentieth century.
Because I actually suspect this is more where the Baron is coming from, I have also used the word “Goth” (big-“G”) to designate a musical/lifestyle subculture arising in the late 1970’s/early 1980’s as an outgrowth of the punk movement. Bands such as the Damned, the Misfits, Alien Sex Fiend, and 45 Grave represented a somewhat “morbid” edge to the original New Wave movement, and followers soon branched off to form a distinct identity that today often seems to have little in common with its punk cousin. Goth aesthetics often incorporate aspects of gothic fiction, but with something of an emphasis on the horror-related aspects, and rather less awareness of the original romantic/sentimentalist roots. It also houses (in my opinion) pretty much the Hottest Women in the World (and a number of effeminate men). There is no relationship to the East Germanic tribe of the 2nd to the 6th centuries, CE, nor to Visigoths, Ostrogoths, or Vandals.
Now, for my discussion of his choices. We’ll start with some points of agreement:
1. “Caligari,” absolutely right. Everyone needs to see this.
10. “Masque of the Red Death,” certainly the most lusciously gothic of the Corman-Poe adaptations, thanks in large measure to set designer Daniel Haller (more on him later).
15. “Witchfinder General,” yep. Right on.
16. “Suspiria,” I’ve written extensively about this movie. It is a perfect fairy tale for Goths.
I agree that Bava’s “Black Sunday” and “Kill Baby…Kill” are great picks, although I’d be hard-pressed to decide which is the best of Bava’s movies. I was a bit surprised to see “Kill Baby…Kill” selected as his best ever, although I can see the point, from a gothic point of view. Its main flaw is the English title, in Italian its called “Operazione Paura” (Operation Fear), and it has also been released as “Curse of the Dead,” “Curse of the Living Dead, and “Don’t Walk in the Park,” none of which quite get it. I’d call it “The Suicide Child,” or “The Ghost of Grapps” or something. Anyway, it has several elements from my list, including a ghost, a witch, a medium, a haunted castle, lots of darkness, decadent aristocracy, madness, secrets, and a hereditary curse. Goth chicks can check out the local Wiccan (played by Fabienne Dali) for beauty tips and ritual advice.
“Eyes Without a Face” is an interesting choice that I might not have thought of. Its emphasis is on modern technology as a dehumanizing factor, although there is an aspect of the Double in it as well.
I agree that “Night of the Living Dead” and “Psycho” are great films, but neither is really gothic to my way of thinking. The one possibly Goth aspect of NOTLD is the makeup, which was essentially copied from Carnival of Souls, a _much_ more truly gothic film.
Beyond that, I question nearly all of these choices, and I see quite a few things that were left out.
To begin with the obvious: there is a tragic lack of the best of the Universal canon here. I can think of three movies right off the bat (pun intended) that should be on every Goth’s best-of list:
Dracula’s Daughter (1936): Introduced the vampire-lesbian connection to film, Countess Zaleska and her servant Szandor (I kid you not!) are vital Goth icons. Actually, there is a surprising avoidance of lesbianism on this entire list, undermining the Baron’s claim to be representing the “Gothic” fairly. I’ll go into this further later.
The Black Cat (1936): Lugosi and Karloff team up in an Art Deco/surrealist twist on the spooky-old-house set on the site of a WWI massacre. Karloff plays a Satanist called Hjalmar Poelzig said to be based on Aleister Crowley (doubtful), but was more likely influenced by genuine LHP occultist Hans Poelzig, an architect (designed the Max Reinhardt theater in Berlin) and set designer (for “Der Golem,”). Karloff got in his best line ever in this film: “Do you hear that Vitus? The phone is dead. Even the _phone_ is dead.”
The Old Dark House (1932): James Whale’s lesser-known horror movie. As a commentary on a degenerate family dwelling in a gigantic stone castle (or tower), it is clearly part of the 19th century gothic literary tradition. Also has better combination of horror and humor than “Bride of Frankenstein,” although I like that one too.
Taking a step back, I’m pretty disappointed in the overall quality of the silent-era films. “Nosferatu” sucks. Sorry, it just does. I waited years for it to be “re-discovered” only to find that all the lovely images conjured up by the stills I had seen were destroyed by Murnau’s pedestrian handling of the camera. How about some real expressionism:
“Der Golem” (1929): One of several treatments of a classic Jewish-Bohemian myth, which includes genuine cabbalistic and occult references, especially in the set design (see above).
Metropolis (1927): In spite of Lang’s expressed hatred for Expressionism, he outdid nearly everyone in this one. Although it is generally considered “science fiction,” it has all the elements of the gothic horror piece: a decadent lordly manor corrupted by the sins of the father, an occultist wizard who manipulates those who appear more powerful, a woman who is “split in two” - innocent and pure in one persona, but with a doppelganger who is destructive and openly sexual.
As far as Murnau goes, I’d be willing to label “Faust” a far more successful gothic film, and even “Sunrise” has qualities of the gothic tradition, including that doubled feminine (this time manifesting in two distinct female characters).
Nothing but ignorance of the great horror classics of the thirties could lead one to put Mamoulian’s worst movie on a top-20 list. Granted, it does have a bit of pre-code raciness, and some innovative camera work by German exile Karl Struss (past work included “Ben Hur,” (1925) in the future he would do “The Fly,” (1958) and “Kronos” (1957)), but Struss would later admit he was disappointed with the result, calling the makeup “just awful.”
The forties are a trickier decade, and I guess I’ll confirm “La Belle et la Bete” (I spelled it right, the Baron didn’t) as the most atmospheric and gothic-romantic of that time period. There are a number of spooky-old-house pictures, some with Bela Lugosi, that are worth checking out, but nothing really inspiring (see “Night Monster” (1942), “Scared to Death” (1947) and “The Devil Bat” (1940) for examples). I might also include “The Wolf Man” (1941) which has several gothic elements, including the castle, the curse, and the decadent noble line. Not as good, but quite true to gothic traditions is “Son of Dracula” (1943), with its decadent southern family, spiritualism, and hot Goth chick (Louise Allbritton). I’d bump “Abbott and Costello Meet Frankenstein” (1948) ahead of “Fearless Vampire Killers” on the queue for horror comedy; it also has a great Goth-look woman (Lenore Aubert). At least he didn’t pick any Mel Brooks.
I’m a little more surprised at the lack of 50’s films, although I assume that’s because the 50’s has the stigma of “sci fi” that scares away the more serious Goths. Even in that genre, though, I think some titles are worth looking at for their gothic influences. The aforementioned “The Fly” (1958) is one - the sense of Old World romanticism is heightened by the French names of all the characters. But in terms of sheer influence on modern-day Goths, I don’t think you can beat Maila Nurmi (Vampira) in “Plan 9 From Outer Space” (1959). Her image is the one nearly all tall, thin, long-haired Goth Chicks aspire towards, and this movie is the reason why.
I’d also include “I Bury The Living,” in spite of its Noir-esque title and camerawork, as a very interesting inquiry into the occult world of sigil-magic, madness, and the power of dreams. But, the crowning gothic achievement of the 50’s is “Daughter of Horror” (1955), AKA “Dementia.” I’m not going to say much, except that this is the “Caligari” of the post-WWII era, and, incidentally, it is the movie they are watching in the movie theater when the Blob attacks.
While some good films appear in the 60’s section, there is a lot missing here. I’ve already mentioned “Carnival of Souls” (1962), which is a ghost story set in the Midwest which borrows stylistically from Cocteau. Includes ghosts, secrets, madness, a haunted carnival pavilion, and a surprisingly feminist message. More importantly, I can’t believe anyone would seriously pick “Dracula, Prince of Darkness” as the one Christopher Lee film, when it doesn’t even include his sonorous voice! Take a look at “Horror Hotel” (1960), in which he plays a Satanist University Professor of History who lures young coeds to an obscure New England town to be sacrificed to the Devil (don’t get any ideas - I’m not basing my career on this film!). I could mention dozens of others, but I’ll restrict myself to one more: “The Devil Rides Out” (1968). Here, Lee is the good guy, a well-trained White Magician fighting a diabolical Satanist openly patterned on Aleister Crowley. Show this to your friends so that they learn how to pronounce “Ipsissimus.”
Also missing from this period are the first important Lovecraft adaptations, both directed by Daniel Haller of “Masque of the Red Death” fame. “Die Monster Die” (1965) and “The Dunwich Horror” (1970) are both seen as camp classics today, but I think Haller is to be congratulated for doing what far too few Lovecraft filmmakers manage: leaving the real horror to our imaginations. The first one is based on _The Color Out of Space_, if anyone cares.
Which brings me back to Corman, although his attempt at Lovecraft, “The Haunted Palace” (1964, actually based on _The Case of Charles Dexter Ward_), was less successful. Worth checking out from a gothic perspective are “The Undead,” (1957) in which a woman under hypnosis regresses to a former life as an accused witch (check out the real witch, played by the luscious Alison Hayes), and “The Terror,” (1963) in which a young Jack Nicholson fighting for Napoleon finds lust, decay and madness in a German castle.
William Castle was also a bit of a closet Goth, as seen in his efforts “The House on Haunted Hill” (1959), “Mr. Sardonicus” (1961), and “The Tingler” (1959). “Sardonicus” is probably the most traditionally Goth - a nobleman is punished for his crimes by being hideously disfigured and laments that he was driven to madness by the evil ways of his wife. “Haunted Hill,” is a more traditional spooky old house picture, with ghosts, murder, and decadent rich folks. “The Tingler” is a fascinating adaptation of “Diabolique,” (1955), which also should have been on this list, but familiarity with the French film will not reduce the surprise ending of this one. Castle’s production of “Rosemary’s Baby” (1968) was mentioned in passing in the original list, but definitely deserves its own slot.
All of which leads me to the most effective spooky-old-house picture of all time, “The Haunting” (1963), based on the Shirley Jackson tale _The Haunting of Hill House_. Here a reclusive young woman possessed of questionable psychic abilities joins a Professor’s team of “Haunted House researchers” and forms unhealthy attachments to him…and the house. There’s a lesbian mind-reader, and a decadent member of the family that owned the house originally.
Did somebody say lesbians? What would gothic film be without them? Especially in terms of vampirism, they’re far too important to leave out. I already mentioned “Dracula’s Daughter” as a standard-setter in this genre, let’s see what else there is:
The best-known, most openly Goth vampire lesbo movie is “The Hunger” (1983), with Susan Sarandon and no less than Catherine Deneuve in the mandatory nude scene. Also with David Bowie and music by the Bauhaus. Surprisingly little darkness in this vampire movie, but it has almost everything else from my list.
But the Euro-sleaze directors have really gone to town with this theme. I think I’ll restrict myself to the best, “Daughters of Darkness” (1971, also known as “Levres Rouge”). It has Delphine Seyrig in the Deneuve role, and Danielle Ouimet as the newlywed Sarandon-equivalent. Needless to say, the groom is not pleased with the situation.
There are also dozens of filmed versions of Le Fanu’s Carmilla, the best of which (in my opinion) is “The Vampire Lovers” (1970), a Hammer production with Ingrid Pitt in the title role (Carmilla, that is). Her innocent lover is Madeline Smith, and Peter Cushing is there as a concerned, but distant, father-figure.
It was originally going to be a brief response to a friend's email, and turned into a monster project that was eating up all my time a couple of weekends ago. I have now declared myself "done with it" in spite of it's first-draftiness and incompleteness, because I Just Don't Have The Time.