The Mammoth Book of Slasher Movies Part 10

After graduating in 1971 he took to the director's chair to make a film that has long since been acknowledged as a cult favourite, the low-budget darkly comedic science fiction spectacle Dark Star (1974). Co-written with Dan O'Bannon, Carpenter scored the music and worked on the production over a four-year period, but never saw a penny for his efforts. That same year he wrote the script for Eyes of Laura Mars (1978) and was then asked to direct a.s.sault on Precinct 13 (1976). Again, with little money he wrote the script and put the music together as well as carrying out the post-production editing, effectively launching his career. The film had little impact in the United States, but in Europe it was a box office delight. In 1978 he collaborated with Debra Hill on the film that gave birth to the slasher genre, yet another low-budget production, Halloween, written in only two weeks, which went on to become one of the highest grossing independent productions of all time. In its wake came a decade of hack and slash and final girls, each of whom had the strength of mind to overcome their masked a.s.sailants. Then followed The Fog (1980), where he was so disappointed with the final cut he insisted about a third of the movie had to be re-shot. His commitment was rewarded; the film remains a celebrated entry in the annals of horror cinema, generating a return of over $21 million. Further success followed with Escape From New York (1981), which introduced his style of filmmaking to a more mainstream audience. Twelve months later, the same summer that saw E.T. The Extra-Terrestrial break the cinema-going public's hearts, he suffered his first commercial failure with The Thing. This graphic portrayal with its blood-splattered special effects was a retelling of one of his own favourites from the past, The Thing from Another World (1951), although it adhered more closely to John W. Campbell Jr.'s novella, Who Goes There? Gore fans loved it, but it was lost on mainstream audiences who preferred the more spiritually uplifting E.T. However, this was the dawn of the video market and very soon Carpenter's seeming failure turned to the welcome familiarity of success.

While the ma.s.s market was to elude him in the years that followed, the apocalyptic Prince of Darkness (1987), featuring Alice Cooper, became another unsettling addition to the world of cinematic terror. Carpenter continued to direct during the 1990s; among his half dozen films of the decade was yet another addition to his occasionally apocalyptic narrative, the psychological terror In Mouth of Madness (1994). Recent years have witnessed a preference for scriptwriting, but Halloween remains his legacy: the film that he would loved to have seen as a kid!

Wes Craven.

(August 2, 1939).

Only a handful of horror directors have left their mark on the genre and Wesley Earl Craven is certainly one of them. He was brought up in Cleveland, Ohio, by a family who were from a strict Baptist background and didn't encourage his watching of films, with the notable exception of Walt Disney's family oriented features. Wes can recall his parents being appalled when Psycho was released; but their disgust only aroused his interest and would be the inspiration for his unforgettable prelude to Scream (1996). He graduated with a combined honours degree in English and Psychology and later attained a Master's degree in Philosophy. He then started teaching English before ascending to become a Professor of Humanities. While he was teaching, he made a short action feature with a student film club in Potsdam, New York, which to his surprise actually made a return. This proved to be a life-changing experience, for it was then that he was ensnared by the bug for filmmaking, and was soon enticed by the more lucrative world of p.o.r.nographic cinema and the hopes of setting up his own film company. Under a series of pseudonyms, he would learn his craft, which would lead to his first feature film, the bold but notorious Last House on the Left (1972). Five years later, he sat in the director's chair, this time for what many consider the second milestone in his career, The Hills Have Eyes (1977).

In 1984, when the slasher movie had been quite literally done to death, Wes reinvented the entire genre and at the same time created one of the largest franchises in American cinema with the release of A Nightmare on Elm Street. Twelve years later, he repeated this success when Scream came to the big screen. With people like Wes lurking behind the scenes, the slasher was never going to be consigned to the grave. Prior to this, in 1988, he had stepped into the domain of George A. Romero and Lucio Fulci, with his acclaimed zombie movie The Serpent and the Rainbow. This film, based upon the book by Wade Davis, was a far cry from the excess of their movies; rather, it dwelled on the superst.i.tious rituals and black magic of Haiti at the time of the overthrow of "Baby Doc" Duvalier. Recent years have seen the Scream series continue to be a box office revelation and remakes of both The Hills Have Eyes (2006) and Last House on the Left (2009) have maintained his position as one of horror's most innovative directors.

Sean S. Cunningham.

(December 31, 1941).

Raised in New York, Sean s.e.xton Cunningham graduated from Stanford University with a Master's degree in Drama and Film. From there he went on to develop a career in managing theatre companies, among which were productions at New York's Lincoln Center, the Oregon Shakespeare Festival and the Mineola Theatre on Long Island. His first film was a semi-doc.u.mentary ent.i.tled Together (1971), produced with Wes Craven. He hoped their collaboration would improve on the same idea he had used in his exploitative but unusually gainful "white-coater", The Art of Marriage (1970). The film starred Marilyn Chambers, but Cunningham now admits to being embarra.s.sed with his involvement. The return on this venture, however, was enough to allow both Cunningham and Craven to embark upon one of the most controversial films of the decade, Last House on the Left (1972). This unrelenting rape revenge tale, based on Ingmar Bergman's Virgin Spring (1960), featured one of horror cinema's first chainsaw murders, two years before Tobe Hooper shocked the world with The Texas Chain Saw Ma.s.sacre. More exploitation followed, and then in 1977 he turned to comedy with Here Come the Tigers. His efforts weren't to catapult him to stardom, but the transition finally came when, on seeing the success of Halloween (1978) and Alien (1979), he decided to capitalize on the revitalized craze for horror.

Before he even had a script for Friday the 13th, he had gone to Variety to announce his film and made sure no one else could use the name. At that point, it was only an idea, but what an idea! Its graphic violence was by no means as mean spirited as that which shocked American audiences in Last House on the Left, but it was a b.l.o.o.d.y showing, which, unlike Carpenter's film, left nothing to the imagination. After Friday the 13th there came a whole deluge of carved-up teenagers, and Paramount had an unexpected success on their hands, one that, while occasionally problematic, would generate an immensely lucrative franchise, and would provide Cunningham with plenty of work overseeing the ensuing sequels. Jason wasn't like the other bad guys of the cinema; when he picked up an axe the audience were firmly behind him and with Tom Savini creating the gory effects horror fans were in for the rarest of treats. A series of House films would follow during the 1980s, but nothing would compare to the horror sp.a.w.ned by Jason Voorhees.

Lucio Fulci.

(June 17, 1927March 13, 1996).

Born in Rome in 1927, Lucio Fulci began his working life as an art critic and ironically, given the context of the films on show in these pages, opted for a course in medicine. He later moved into scriptwriting with the Experimental Film Studios, which gave him the chance to make several doc.u.mentaries working under Federico Fellini and Mario Bava. Although he originally intended to pursue a career as a writer for film, Fulci took the opportunity to step into the director's chair with Il ladri or The Thieves (1959) and so followed a series of comedies. By the mid-1960s, he had expanded his horizons and progressed into adventure films, which included work with Franco Nero. Then in 1969, he directed his first giallo, Una sull'altra, which saw release outside Italy as One On Top of the Other, and also acquired the emotive t.i.tle of Perversion Story. The content wasn't quite as lurid as that suggested by the t.i.tle; rather, its premise contained an undercurrent that would become increasingly evident in Fulci's work, the perversity of human nature. This was manifest in his film Lizard in a Woman's Skin (1971), which was hugely controversial in its depiction of violence and almost brought charges of animal cruelty owing to Carlo Rambaldi's shocking special effects. However, it also proved to be a resounding success at the Italian box office.

The small town tale of maniacal murder Non Si Sevizia un Paperino or Don't Torture a Duckling (1972) was to reveal the director's growing predilection for violence of the more graphic kind. While the splatter in this film wasn't the match of his later visceral relish, it paved the way for him to succeed Hersch.e.l.l Gordon Lewis as the "G.o.dfather of Gore". After directing the spaghetti western Silver Saddle (1978), so inspired was he by George A. Romero's groundbreaking Dawn of the Dead (1978) he set out to emulate this success with a script conceived by Dardano Sacchetti, who for the next few years a.s.sisted Fulci in creating some of his most memorable films. Their partners.h.i.+p resulted in a low-budget onslaught of the living dead, Zombi 2 (1979) as it was known in Italy, which was re-t.i.tled as Zombie Flesh Eaters in the United Kingdom. It would be later packaged as Zombie and Island of the Living Dead and was unofficially marketed as the sequel to Romero's flesh-eating frenzy of 1978 with its violent excess making it an instant success. With Sacchetti at his side, he followed with a series of films his fans labelled the Gates of h.e.l.l trilogy, each of which was rife with the putrescent creatures that were by then all the rage. Fulci's releases between 1979 and 1983 were described by his critics as being among the most violent and gory films ever made; his fans for quite different reasons weren't too averse to such criticism. City of the Living Dead (1980), The Beyond (1981), House by the Cemetery (1981), The Black Cat (1981) and The New York Ripper (1982) were among his biggest hits, all of which featured unprecedented levels of on-screen blood and cruelty, with at least one scene of eye gouging in each film. Censors across the world would come down heavily on his efforts with understandable accusations of misogyny. His unrated films went straight to the pa.s.sion pits of the drive-ins much to the delight of hordes of horror fanatics across the US.

Sadly, for the last ten years of his life Fulci did not enjoy the best of health, constantly plagued by the suicide of his wife in 1969 and the death of his daughter, and then came the acrimonious split with his scriptwriter Dardano Sacchetti. These occurrences were to detract from his later works, with many of his later films being badly written and cheaply produced, although Aenigma (1987) and Voices From Beyond (1991) hinted at the man who had once almost been on a par with Dario Argento and a creditable mention should be given to House of Clocks (1989). The two great Italian horror directors met in 1995 and looked to work together on a new horror feature they called Wax Mask, a remake of House of Wax (1953), but Fulci died before filming could begin. While his films remain virtually unknown outside the genre, his admirers celebrate his stylish cinematic compositions of extreme gore set against a backdrop of delirious hallucinatory vistas with their seductive images and almost incoherent narrative. Fulci was a man who truly deserved the distinction as the "G.o.dfather of Gore".

Hersch.e.l.l Gordon Lewis.

(June 15, 1929).

The first "G.o.dfather of Gore" started life in the most innocuous of manners, being brought up in Pennsylvania and after graduating with a degree in Journalism and going on to become a Professor of English Literature. He left his academic life at Mississippi State College to move into managing a radio station, then stepped up to become a director in the same field. A move into advertising in Chicago would see him return to part-time teaching until he began directing commercial adverts. In 1960 Hersch.e.l.l G. Lewis produced his first film, Prime Time, shot in the city of Chicago, but from there on in he chose the director's chair, working alongside exploitation producer David F. Friedman. Their collaboration began with Living Venus (1961), a fict.i.tious account of Hugh Hefner and his early years with Playboy. There followed a series of exploitation movies, many of which contained scenes of soft-core p.o.r.nography, which would never have made it to a Hollywood feature, owing to the watchful eye of the Hays Office. These films were low-budget ventures, designed to make a fast buck.

When these nude-styled films began to wane in popularity, Lewis and Friedman produced their first horror film and made it available to the drive-in theatres. The gore-ridden Blood Feast (1963) shocked its young audience but still had them begging for more. Although considered camp, as many of his movies were, it is now recognized by many as the first splatter movie. Two Thousand Maniacs! (1964) and Color Me Blood Red (1965) used the same outrageous display of blood-soaked cheap gore effects and set the standard for the horror movies of the next few years as other emerging film companies looked to follow suit. In 1967 Lewis pushed the boundaries by introducing electrical implements to scalp his victims when he let a mad old woman and her mentally challenged son loose in The Gruesome Twosome, announcing "The most barbaric humour since the guillotine went out of style". He later resorted to butchering strippers in a sleazy nightclub in the self-parodying ultra-cheap schlock-fest, The Gore Gore Girls (1972), before going into semi-retirement from the world of film, although he was occasionally tempted back to stand behind the camera. Away from film he developed a successful career in the areas of copyrighting and marketing, and then after almost thirty years away from directing he returned to begin work in 1999 to make the direct-to-video Blood Feast 2: All U Can Eat (2002). This movie was as exploitative and sleazy as anything Lewis had previously released, characterized by the same hankering for scantily clad women and copious amounts of blood and guts from over thirty years before. At the age of eighty, Lewis returned to deliver more of his lurid blood-filled madness with The Uh-Oh Show (2009), an extreme quiz show that punished the wrong answer with the severing of an arm or a leg; reality TV was never quite like this, well not so far!

His work would influence Tobe Hoper as he embarked on his legendary entry to the world of splatter cinema, and more recent low-budget gore sleaze directors such as Canada's Lee Demarbre, whose Smash Cut (2009) combined Lewis's two streams of exploitation, s.e.x and gore, before going on to direct the worthy slasher of the same year, Summer's Blood. Lewis has his detractors but among his fans he remains exalted, for without his self-effacing excess we may never had had so many of the excruciating features found in these pages. Hersch.e.l.l Gordon Lewis really was the man "who ought to know better, but don't".

George Andrew Romero.

(February 4, 1940).

George Romero, like many other directors, will admit to having moments in his professional career where he has become completely fed up with producers, but he has never tired of zombies. So much so, he has been bestowed with the honour as the "G.o.dfather of all Zombies". Without his vision, we may never have seen Lucio Fulci produce his splatter-filled masterpieces and those who have since followed the trail of the walking dead. Inspired by the fantasy elements of Michael Powell and Emeric Pressburger's film The Tales of Hoffmann (1951), and having been given an 8-mm camera at the age of fourteen, he looked to a career in media. Soon after graduating Pittsburgh's Carnegie Mellon University in 1960 he went into shooting short films and commercials for The Latent Image, a company he co-founded with friends John Russo and Russell Streiner. The trio soon became bored with commercials and discussed the idea of producing a horror movie, which was no surprise with Romero having been a fan of the legendary Universal features of the 1930s and 1940s as well as the notorious horror comics of the 1950s. They went on to establish Image Ten Productions and between them raised the money to produce Night of the Living Dead (1968). Inspired by Richard Matheson's novel I Am Legend, Romero's film, co-written with John A. Russo, has became a cult cla.s.sic and changed the face of modern horror cinema, although, as he has always insisted, none of his flesh-eaters, as they were termed in this film, and his later zombies has ever demonstrated an overwhelming appet.i.te for brains.

The less successful Season of the Witch (1972) and The Crazies (1973) soon followed, but his next visit to the director's chair produced the critically acclaimed vampire tale Martin (1977). Ten years after making his seminal flesh-eating movie, Romero returned with this same atrophied host to breathe life into the highly influential Dawn of the Dead (1978). This was the film that was to set the standard for the blood l.u.s.t of the next three decades and ultimately popularized this flesh-eating breed. In 1982, alongside Stephen King, he returned to the terrors of his youth, directing the comic book inspired Creepshow. Romero then made the third entry in his "Dead Series" with Day of the Dead (1985), which didn't prosper anywhere near as well as its predecessors at the box office. While Romero has tried to resist the idea that his zombie films have a sociological undercurrent, these films have inadvertently reflected the socio-political climates of three very different decades. Collaborations with his long-time friend Dario Argento on the Edgar Allan Poe adaptation, Two Evil Eyes (1990), and Stephen King on The Dark Half (1993) have since followed, among many other projects, none of which has captured the cinema-going public's imagination.

It appears he can never escape the walking dead; although he has made other kinds of features he is regarded by both the industry and fans alike as a genre filmmaker. He updated his original screenplay for Night of the Living Dead and handed it to special effects maestro Tom Savini, who a.s.sumed the role of director for the remake in 1990. Again this film didn't fare too well; it looked as if the dead were about to be returned to the grave. However, having settled down in Toronto he brought a renewed breakdown of society in Land of the Dead to his new home city in 2005, followed by a filmmaker's vision of the apocalypse in Diary of the Dead (2007). Two years ago, he gave us another insight into how humanity would react to their downfall in Survival of the Dead (2009) with a couple more "Dead" movies currently in the planning stage. Recent years have seen Romero become involved with videogames and the writing of DC Comics zombie t.i.tle "Toe Tags", based on an unused script that was originally intended as a sequel to the original "Dead Trilogy". His favourite zombie movie of the latest batch is Ruben Fleischer's visually stylish Zombieland (2009).

Mark Shostrom.

(May 13, 1956).

As a child, Mark was an avid of reader of Famous Monsters of Filmland and his introduction to the world of horror movies came with Bride of Frankenstein (1935) and the pioneering craft of Jack Pierce. He was later inspired by d.i.c.k Smith's book Do-It Yourself Monster Make-Up Handbook, from a make-up artist who started with the semi-doc.u.mentary styled noir Call Northside 777 (1948) and at the height of his career contributed to the success of The Exorcist (1973), The Taxidriver (1976) and Scanners (1981). At the age of thirteen, Shostrom moved with his parents to Hong Kong where he was exposed to both oriental and European cinema. While living in Hong Kong he also met the widow of Boris Karloff, who became a friend for the next eighteen years.

As with so many kids of his age, Shostrom became addicted to the Planet of the Apes films and then later the television series. In 1975 he began corresponding with the acclaimed make-up artist John Chambers, who won an academy award for his work on Planet of the Apes (1968). Chambers had started life as a medical technician in World War II, repairing the faces of the injured and building prosthetic limbs. He also created Leonard Nimoy's pointed ears for the original Star Trek series. Working from a converted garage next to his house he stayed in touch with the young Shostrom and later appointed him as his mould maker for a film to be made for television. Sadly, this fell through, but a position did come when he was asked to join an aspiring Bart Mixon, although Chambers was still working on his behalf in the background. Shostrom's new partner later went on to create the make-up for the much maligned zombie movie The Curse of the Screaming Dead (1982) before going to work on a series of major features, including A Nightmare on Elm Street Part 2: Freddie's Revenge (1985), House of 1,000 Corpses (2003) and Pirates of the Caribbean: Dead Man's Chest (2006).

Thankfully, Shostrom's ingenuity was also recognized; his first major a.s.signment would be the Santa slasher To All A Goodnight (1980). Soon after that he found regular engagements, notably on The Slumber Party Ma.s.sacre (1982), Videodrome (1983), A Nightmare on Elm Street (1984) and the groundbreaking metamorphosis in A Nightmare on Elm Street Part 2: Freddie's Revenge (1985). Television also beckoned with placements on prestigious shows such as Star Trek Deep s.p.a.ce Nine, Star Trek Voyager, The X-Files and Buffy the Vampire Slayer, and then he later worked with Tobe Hooper to outdo the CGI effects on his zombie movie Mortuary (2005). Shostrom has become one of the genre's greatest heroes and twenty-five years later his imaginative work on Evil Dead II (1987) is still lauded by splatter fans across the world. No doubt there will be a youngster reading one of the current selection of monster mags who is inspired by Shostrom's artistic innovation.

Tom Savini.

(November 3, 1946).

"The more you do, the more you get to do" has remained Tom Savini's philosophy and once he entered film, it certainly paid off. He was born in Pittsburgh, Pennsylvania, six years after his co-conspirator George A. Romero. At the age of twelve, he was inspired when he saw Man of a Thousand Faces (1957), which starred James Cagney as the legendary Lon Chaney Sr. He would one day follow his hero, Chaney Sr. to become that rarest of breeds, when he showed himself to be a hugely capable stuntman, actor, make-up artist and director. He was also another makeup artist in the making to be beguiled by the work of Jack Pearce on Universal's Frankenstein and was later able to give a fellow creator for whom he had such admiration a call to discuss their techniques: none other than effects wizard d.i.c.k Smith. As Savini made his way in the business, he was astounded by the work of his fellow professionals, among them Stuart Freeborn, Rob Bottin, Rick Barker and Stan Winston.

Savini met George Romero while still at school when he was an aspiring actor. Several years later, just as he was about to join Romero on Night of the Living Dead (1968), he was drafted and sent to Vietnam as a combat photographer. His wartime experiences between 1969 and 1970 would see him come face to face with the wounded and the dead. For the first time in his life he would encounter something few effects artists would ever see: "anatomically correct gore". When he moved into film and set to creating his gory effects, he strived to achieve the same feeling he had experienced when he was first exposed to these b.l.o.o.d.y scenes. If his efforts didn't create this same impression, he knew he had not accomplished his goal.

In 1974 he found work with Bob Clark as a special make-up artist and still photographer on his movie Dead of Night (1974), which later became known as Deathdream. That same year he stepped up to work as the head special make-up artist on Clark's next film, Deranged, which was very loosely based on the life of serial killer Ed Gein, and directed by Alan Ormsby. At this time, Savini was working as a freelance photographer by day and as an actor and make-up artist at night doing repertory regional theatre in North Carolina. Here he learned the skills of the trade, both as an actor and in the various areas of production. While teaching and attending Carnegie Mellon University under a fellows.h.i.+p, he finally got the chance to work with Romero on his vampire movie Martin (1977). Romero certainly got his money's worth as Savini not only supplied the make-up effects, with one notable wrist-slas.h.i.+ng sequence, but also played one of the roles in addition to performing the stunts. The following year he was invited to work on Dawn of the Dead (1978). Here Savini came into his own, creating the emaciated creatures that would become his trademark. As this host of zombies rampaged through the shopping mall, they became the inspiration for countless others, including Lucio Fulci, for whose creations Savini would come to have such great respect.

More work as a special-effects man and actor would follow in Maniac (1980) and then came another jewel in his crown, Friday the 13th (1980). As the years rolled on he would be asked to join two legends of the period, Dario Argento on Trauma (1993) and Tobe Hooper for The Texas Chainsaw Ma.s.sacre 2 (1986), after having contributed to so many gory masterpieces during the 1980s, among which was the scaled-down Day of the Dead (1985). While he readily joined the set on some of the more memorable films of these years, he was not averse to becoming involved in low-budget projects such as his transformation into Jack the Ripper in Christopher Lewis's straight-to-video The Ripper (1985). He later played the whip-wielding, vampire-fighting biker 's.e.x Machine' in From Dusk till Dawn (1996) and only recently fought off an infestation of zombies in Planet Terror (2007).

As a director, Savini would come to appreciate George Romero's frustration when the budget on the remake of Night of the Living Dead was drastically reduced in 1990. In recent years while still working on many projects he has been running the Special Effects Make-Up and Digital Film Programs at the Douglas Education Center in Monessen, Pennsylvania, as well as writing several books on special effects. It is only in the last decade that Savini's most grisly work has been seen by gore-mongers in the UK and the US following a relaxation in att.i.tudes towards censors.h.i.+p. During the late 1970s and on into the 1980s he endured the frustration of seeing so much of his most accomplished moments end up on the cutting room floor. Now the world can see the true extent of his blood-crazed carnage.

The Video Nasties.

They Tried to Ban.

Listed below are the seventy-two films that between 1983 and 1985 were registered on the UK Director of Public Prosecutions' offending lists of video nasties. Some of these films only stayed on the list for a matter of months, while thirty-nine of them remained banned until the end of the panic. Most of these films have since been released.

Absurd (1981) also known as Rosso Sangue; Horrible; The Monster Hunter; Anthropophagus 2 Anthropophagous: The Beast (1980) also known as Antropophagus; Anthropophagous; Antropof.a.go; Gomia, Terror en el Mar Egeo; Man Beast: Man-Eater; The Savage Island; The Grim Reaper Axe (1974) also known as Lisa, Lisa; California Axe Murder; The Axe Murders The Beast in Heat (1977) also known as La Bestia in Calore; Horrifying Experiments of S.S. Last Days The Beyond (1981) also known as E Tu Vivrai Nel Terrore L'aldila; Seven Doors of Death Blood Bath (1971) also known as Reazione a Catena; A Bay of Blood; Twitch of the Death Nerve Blood Feast (1963) Blood Rites (1968) also known as The Ghastly Ones b.l.o.o.d.y Moon (1981) also known as Die Sage des Todes The Bogey Man (1980) also known as The Boogeyman The Burning (1981) Cannibal Apocalypse (1980) also known as Apocalypse Domani Cannibal Ferox (1981) also known as Make Them Die Slowly Cannibal Holocaust (1980) The Cannibal Man (1972) also known as original t.i.tle La Semana del Asesino; The Apartment on the 13th Floor Cannibal Terror (1981) also known as Terreur Cannibale Contamination (1980) Dead & Buried (1981) Death Trap (1977) also known as Eaten Alive Deep River Savages (1972) also known as Il paese del sesso selvaggio; The Man from Deep River Delirium (1979) also known as Psycho Puppet Devil Hunter (1980) also known as Il cacciatore di uomini Don't Go in the House (1980) Don't Go in the Woods (1982) Don't Go Near the Park (1981) Don't Look in the Bas.e.m.e.nt (1973) also known as The Forgotten The Dorm That Dripped Blood (1982) also known as Pranks; Death Dorm The Driller Killer (1979) The Evil Dead (1981) Evilspeak (1981) Expose (1976) Faces of Death (1980) Fight For Your Life (1977) Flesh for Frankenstein (1973) also known as Andy Warhol's Frankenstein Forest of Fear (1980) also known as Toxic Zombies; Bloodeaters Frozen Scream (1975) The Funhouse (1981) Gestapo's Last Orgy (1977) also known as L'ultima orgia del III Reich The House by the Cemetery (1981) also known as Quella villa accanto al cimitero House on the Edge of the Park (1980) also known as La casa sperduta nel parco Human Experiments (1981) also known as Strange Behaviour I Miss You, Hugs and Kisses (1978) also known as Drop Dead, Dearest I Spit on Your Grave (1978) also known as Day of the Woman Inferno (1980) Island of Death (1975) also known as Ta Pedhia tou dhiavolou Killer Nun (1978) also known as Suor Omicidi The Last House on the Left (1972) The Living Dead at the Manchester Morgue (1974) also known as Non si deve profanare il sonno dei morti; The Living Dead; Let Sleeping Corpses Lie; Don't Open the Window Love Camp 7 (1968) Madhouse (1981) also known as There Was a Little Girl Mardi Gras Ma.s.sacre (1978) Night of the b.l.o.o.d.y Apes (1969) also known as La Horripilante bestia humana Night of the Demon (1980) Night School (1981) also known as Terror Eyes Night Train Murders (1975) also known as L'ultimo treno della note; Late Night Trains Night Warning (1983) also known as Butcher, Baker, Nightmare Maker; Nightmare Maker Nightmares in a Damaged Brain (1981) Possession (1981) Primitive Desires (1978) also known as (original t.i.tle): La montagna del dio cannibale; Prisoner of the Cannibal G.o.d; Mountain of the Cannibal G.o.d Return of the Boogeyman (1983) also known as Boogeyman II The Slayer (1982) Snuff (1976) SS Experiment Camp (1976) also known as Lager SSadis Kastrat Kommandantur Tenebrae (1982) also known as Tenebre The Toolbox Murders (1978) Unhinged (1982) Visiting Hours (1982) The Werewolf and the Yeti (1975) also known as La Maldicion de la Bestia The Witch Who Came From the Sea (1976) Women Behind Bars (1975) also known as Des diamants pour l'enfer Zombie Creeping Flesh (1980) also known as Virus; h.e.l.l of the Living Dead Zombie Flesh Eaters (1979) also known as Zombi 2; Zombie

Chronology.

of Movies.

Film Alternative names or remakes 1916.

Intolerance 1929.

Un Chien Andalou 1932.

Thirteen Women Hypnose 1945.

And Then There Were None 1957.

The Curse of Frankenstein 1958.

Dracula The Horror of Dracula The Revenge of Frankenstein 1959.

Bucket of Blood The Woman Eater 1960.

Black Sunday La Maschera del Demonio, Revenge of the Vampire, The Mask of Satan Eyes Without a Face The Horror Chamber of Dr Faustus Jigoku Peeping Tom Face of Fear Psycho 1963.

Blood Feast 1964.

At Midnight I'll Take Your Soul Away a Meia-Noite Levarei Sua Alma Blood and Black Lace The Evil of Frankenstein Straight-Jacket Two Thousand Maniacs!

1965.

Color Me Blood Red 1966.

Dracula Prince of Darkness 1967.

A Taste of Blood Frankenstein Created Woman The Gruesome Twosome This Night I'll Possess Your Corpse 1968.

Dracula Has Risen From the Grave The Ghastly Ones Blood Rites Night of the Living Dead The Strange World of Coffin Joe 1969.

The Awakening of the Beast O Despertar da Besta Frankenstein Must Be Destroyed The House that Screamed La Residencia, The Boarding School Night of the b.l.o.o.d.y Apes Horror y s.e.xo One On Top of the Other Una sull'altra, Perversion Story 1970.

The Bird with the Crystal Plumage The Horror of Frankenstein Taste the Blood of Dracula Wizard of Gore 1971.

A Bay of Blood Twitch of the Death Nerve, Reazione a Catena, Ecologia del delitto, Bloodbath, Carnage, Last House on the Left II Lizard in a Woman's Skin Short Night of the Gla.s.s Dolls La corta notte delle bambole di vetro, Paralyzed The Slaughter Slaughter Hotel La bestia uccide a sangue freddo, Asylum Erotica, Cold Blooded Beast The Strange Vice of Mrs Wardh Lo Strano Vizio Della Signora Wardh Straw Dogs 1972.

Cannibal Man Apartment on the 13th Floor Deliverance Don't Torture a Duckling Non Si Sevizia un Paperino Dracula A.D. 1972 The Gore Gore Girls Blood Orgy Last House on the Left The Man From Deep River Il Paese Del Sesso Selvaggio, Deep River Savages, Mondo Cannibale, Sacrifice Three on a Meat Hook What Have You Done to Solange?

Cosa avete fatto a Solange?