![]() ![]() ![]() Poe.įilmmaking talent was important, but money was the lifeblood behind horror's return from the grave. Re-imagining the genre further: a handful of insecure outsiders, often isolated and lonely, who maintained a childhood zeal for the frightening. And it was exceedingly bloody, even in black and white.įrom those two films arose the key qualities for a new kind of scary movie: a multilayered story, complex characters, a familiar setting and shocking images. Romero's "Night of the Living Dead." His tale of flesh-eating zombies was low-budget but connected to the times - its hero a black man fighting a mob, its ending nihilistic - in ways classic horror films didn't. Nothing was normal in the year's other influential horror film, George A. Instead of an old haunted house, the setting was a seemingly normal Manhattan high-rise building. ![]() "Rosemary's Baby" had a healthy budget and a respected director, Roman Polanski, and its story was overtly psychological, drawing from commonplace sources of fear: career, finances, marriage, parenthood. Attitudes began changing with two movies released in 1968, not by happenstance the year Hollywood broke the shackles of self-censorship and society itself nearly came apart. ![]()
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