1960s – Page 7 – PopCult Reviews

Movie Review – The Haunting (1963)

The Haunting (1963)
Written by Nelson Gidding
Directed by Robert Wise

Haunted houses are not something new. Books, movies, comics, and every other form of media have presented haunted houses in one form or another to the point they have become relatively cliche. In today’s world, poorly made “ghost hunter” television shows and web series are a dime a dozen. The film The Haunting is the product of two minds: the author of the original novel Shirley Jackson and the director/producer Robert Wise. Through each artist, this story delivers a haunted house story unlike many that had come before and essentially shaped the subgenre going forward to the present; even those “ghost hunter” shows are profoundly influenced by this story.

Comic Book Review – X-Men Epic Collection: Lonely Are The Hunted

X-Men Epic Collection: Lonely Are the Hunted (2018)
Reprints X-Men #24-45, Avengers #53, and Not Brand Echh #4,8
Written by Roy Thomas with Gary Friedrich
Art by Werner Roth, Don Heck, George Tuska, Ross Andru, Jack Sparling, Dan Adkins, John Buscema, and Tom Sutton

As prolific as Stan Lee was, he just didn’t know what to do with all of his co-creations. You can feel his enthusiasm for characters like Spider-Man and the Fantastic Four in how those worlds build outward from the central protagonists. Unfortunately, the same cannot be said for books like Daredevil or the X-Men. Lee clearly had a concept but didn’t seem to know where to go after that, aside from very few antagonists that would carry on into the present. Finally, after 19 issues, he handed the reins over to Roy Thomas, a rising star editor & writer at Marvel. Thomas had come to Marvel in 1966 after a stint at DC Comics. After fill-in writing on some teen romance books, Thomas’ first long-term writing gig came in Sgt. Fury and His Howling Commandos for one year before being handed the X-Men.

Movie Review – Onibaba

Onibaba (1964)
Written & Directed by Kaneto Shindo

Societies collapse. No civilization on this planet hasn’t gone through an often violent transformation. Nestled within the comforting, indulgent bosom of the imperial core that is the United States, you can easily be swayed to believe “America is eternal,” but that’s thinking with a child’s mind. The United States isn’t even the same country it was when it was founded. This is why the study of history is vital to understanding our present. Humans make the same mistakes over and over, the clothes and hairstyles just change. It is also beneficial to look at art from periods of societal collapse and art that reflects on them. The chaos of collapse is a fruitful place to find human drama, moments that get to the very center of our experiences of survival.

Movie Review – Carnival of Souls

Carnival of Souls (1962)
Written by John Clifford & Herk Harvey
Directed by Herk Harvey

I made a dumb statement in my review of The Innocents. I caught myself. No one had to call me out. I used the term “elevated horror.” Ugh. I was reminded by seeing an excerpt from a John Carpenter interview that the term is meaningless. The word “elevated” implies better than something else, and when we talk about art, it’s profoundly reductive. I know what I meant and what I should have said. There is some horror that takes itself seriously and other horror that is tongue-in-cheek. I prefer the former because I want that suspension of disbelief. Tongue-in-cheek horror can be good, especially if you don’t want to lose yourself entirely in the work; you need some healthy distance & an ability to laugh at what is on screen. “Elevated” is often used to disparage low-budget films that did not have the resources of others. Yet, plenty of moving pieces of horror didn’t cost much to make. Carnival of Souls is undoubtedly one of those.

Movie Review – The Innocents

The Innocents (1961)
Written by William Archibald, Truman Capote, and John Mortimer
Directed by Jack Clayton

Horror is an umbrella term for diverse subgenres that all focus on one emotion: Fear. As a human being, you know fear has many levels and tones. You can have a momentary fright or slowly sink into the quicksand of dread. Horror cinema has films that fit this spectrum of intensity, with cheap jumpscares ruling the box office (for the most part). My personal favorite type of horror leans into existential fears. Gothic horror often does this exceptionally well, emphasizing atmosphere and striking visuals that linger. Alien is an excellent example of Gothic horror, even though it’s set in space. The fear comes primarily from our sense of dread, knowing that something terrible will happen yet not knowing why or if it can be stopped. Henry James’s The Turn of the Screw is about facing something you cannot fully understand, but it still speaks to something you’ve suppressed within yourself. For many people, that type of horror is all too real.

Comic Book Review – X-Men Epic Collection: Children of the Atom

X-Men Epic Collection: Children of the Atom (2015)
Reprints X-Men #1-23
Written by Stan Lee
Art by Jack Kirby, Werner Roth, and Alex Toth

The X-Men have had quite a tumultuous history. When I was getting into comic books in the late 1980s/early 1990s, they were insanely hot. X-Men comics were some of the best-selling books, which spun off into action figures, video games, and multiple animated series. When we think of the X-Men, many immediately think of Wolverine. My personal favorites have always been Colossus and Nightcrawler. Yet, none of that is present at the beginning and wouldn’t be for over a decade. The original X-Men was such an oddball book, feeling like an afterthought by Stan Lee.

Movie Review – Village of the Damned

Village of the Damned (1960)
Written by Wolf Rilla
Directed by Stirling Silliphant, Wolf Rilla, and Ronald Kinnoch

Uncertainty is a regular part of life, but the systems we live under often create ways to blunt it. This is done by providing the citizens with a host of needed resources and using propaganda to shape their worldview. However, these systems can’t hold back the tide of reality forever and cracks inevitably appear. COVID-19 has been one of those uncertainty moments, something so significant that it pierces the veil and creates chaos. We are also conditioned to go into immediate denial (the effects of the propaganda) even if we see it happen right before us. “But I was assured,” we say, “That the people in charge have everything under control.” If you haven’t been convinced yet, just wait; things will get worse as denialism grows in the face of multiple global catastrophes.

Movie Review – Black Sunday (1960)

Black Sunday (1960)
Written & Directed by Mario Bava

While the French critics were wringing their hands over Eyes Without a Face, the Italian cinematic world was embracing the fervor of horror movies in the same way all of their films seemed to overflow with passion. Elements of gore and the Gothic were treasured, and the filmmakers associated with these pictures clearly understand the nature of spectacle in film. Mario Bava is the father of Italian horror movies, having directed the first horror “talkie” in the country, I Vampiri. Black Sunday was his first solo effort; he was no longer collaborating and could finally indulge in the lush horror he loved. The result would be a piece that formed his trajectory for the rest of his days and established actress Barbara Steele as one of the scream queens of the decade.

Movie Review – Eyes Without a Face

Eyes Without a Face (1960)
Written by Georges Franju, Jean Redon, Pierre Boileau, Thomas Narcejac, Claude Sautet, and Pierre Gascar
Directed by Georges Franju

The 1960s were the prelude to the horror boom of the 1970s. This means you’ll find some archetypes and tropes refined here, elements that will be at their zenith in the following decade. Foreign film markets were gaining strength during the Sixties, with places like France & Italy at the forefront. There weren’t many French horror films then, so Eyes Without a Face was quite different. Producer Jules Borkon thought it was an untapped market in France and purchased the rights to a horror novel he’d recently read. Director Georges Franju had only made documentaries, so this was his first fictional narrative feature. Smartly, he hired writers who had worked on Les Diaboliques and Hitchcock’s Vertigo to help work out the script. The result is something that feels like a horrific modern fairy tale. A princess locked in a tower in the woods who has been turned into a monster by another.

Patron Pick – The Spy Who Came In From the Cold

This is a special reward available to Patreon patrons who pledge at the $10 or $20 a month levels. Each month those patrons will pick a film for me to review. If they choose, they also get to include some of their thoughts about the movie. This Pick comes from Bekah Lindstrom.

The Spy Who Came In From the Cold (1965)
Written by Paul Dehn & Guy Trosper
Directed by Martin Ritt

One of the most destructive forces on the planet since World War II has been Western intelligence agencies. The CIA. MI6. These orgs have devoted themselves to an increasingly insane ideology that sees the upholding of a system that crushes the most vulnerable as “noble” and “good.” Regular people exist as pieces on a board, to be manipulated and moved about, with little regard for their lives. This espionage lifestyle has been glamorized in films, mostly the James Bond series, with fanboys thinking they too could be a dashing spy in a tuxedo bedding buxom women at every turn. The reality is much like what we find in a John LeCarre novel. The lives of spies are ones riddled with paranoia & alienation. When you master being a manipulator, how can you trust that other people aren’t doing the same to you?