Ghost stories have existed and will be with us long after we are ghosts. Before cinema, stories of maximum appearances came from novels or short stories. Yes, there were oral traditions about the scary place around the corner or hitchhiking on a road, but often someone would write it down in a book. Some of the most important films about meetings come from complete cinematic creations, with the dark vision of a director on screen, others come from real cases or urban legends. These ghost stories are new ideas.
This is by no means a complete list. Almost all of Edgar Allan Poe’s film adaptations have a spectral presence; Charles Dickens’ nocturnal visitors in A Christmas Carol are just ghosts of gifts that we wrap for seasonal coverage; Director Lew Allen’s 1944 horror film The Uninvited is rarely very present because I have yet to read Dorothy Macardle’s Uneasy Freehold (1941), on which it is based; The horror of Amityville comes from a novel, but it’s supposedly “a true story” (which you can read about here). These ghost videos emerge from the mind’s eye and the page. Two things that happen well in the dark.
Director James Watkins’ Woman in Black lists Daniel Radcliffe in the lead role, but the most intriguing character is the mansion. The youth of the community avoid it, only one path leads to it and this trail plunges into a swamp several days. Like the opening of any edition of Dracula, superstitious carriage drivers don’t stop at Eel Marsh House. Hammer Horror drowns out debates in a dark atmosphere and the tone of Victorian ghost fiction, but we will only lose in a really scary sleepless night.
Set in 1906, Arthur Kipps (played here via a post-Harry Potter Radcliffe) is a widowed lawyer from London with a four-year-old son when he travels to the remote village of Crythin Gifford. An indistinct black spirit, the vengeful ghost of a mother who has lost her child, terrorizes the population. Kipps is there to settle your legal affairs. If you fail, your company assures you that this will be your last mission. To ensure this end, the suspicious population fills its head with notions until secrets and rumors are difficult to distinguish, and the woman herself (Liz White) never provides her the time of day, and only a little at night. Elegant and mannered, The Woman in Black comprises the whole atmosphere of classic evening reading.
Attention buyer! If the owner of the mansion about to hire says that the position takes care of itself, you may need to reconsider the offer. Based on Robert Marasco’s 1973 novel, Burnt Offers is director Dan Curtis’ only stage film, made after redefining horror on television. Curtis shakes up the ambiguous ending of the book, but introduces one of horror’s greatest exclusive repairers. Like the novel, the story is disjointed, but it may only be home. Filmed at Dunsmuir House, the 37th century XIX-Room neoclassical mansion is the film’s greatest charm and would later play the role of morgue in Ghost (1979).
Allardyce Manor turns out to be the best vacation spot for Ben (Oliver Reed), his wife Marian (Karen Black) and son David (Lee Montgomery). The owner brothers, Arnold (Burgess Meredith) and Roz Allardyce (Eileen Heckart), only want one thing. Not the house, of course, as they say, she takes care of herself. It is his elderly mother (Lee Montgomery), an inmate who takes trays of food when no one is there and leaves them outside her room. to fill them 3 times a day. No fear there.
Bette Davis plays Ben’s Aunt Elizabeth, an artistic woman oriented to details, anything Marian can wear when her husband and son push each other in the pool. Reading Karen Black’s dual personality about Marion’s ownership through space is creepy. A look at the Delusional Eyes are as emotionally damaging as the entire search for Black in Trilogy of Terrors. The horror is mental to the burnt offerings, but very genuine to Marion.
Tim Burton’s Sleepy Hollow is very loosely in “The Legend of Sleepy Hollow. “Washington Irving’s short story from 1819 explores the myth of the headless horseman, believed to be a Hessian soldier beheaded with a cannonball. This head would be less difficult to locate than Irving’s. Original story in this adaptation.
The film follows NYPD officer Ichabod Crane (Johnny Depp) as he is in a position to bring the formula of justice to the “dawn of a new millennium,” with advanced investigative strategies and true justice. a malicious trial in the rural town of Sleepy Hollow in upstate New York, where he is banished to investigate a series of beheadings carried out by what appears to be a mysterious headless horseman.
“Weren’t the heads discovered through the bodies?”Ichabod asks, only to be informed that no caboche has been discovered. The Rider takes the skulls with him. The heads appear, accompanied by an iron woman and other tortuous equipment of terrible wonder. Sleepy Hollow is a bloody film that looks like a sublime Hammer Horror movie. It is filmed as sumptuously as Francis Ford Coppola’s Bram Stoker’s Dracula. Production design, art, directing and cinematography create a distinctly paperback atmosphere, and there are times when we feel like running away from fear. Christina Ricci shines darkly in the role of Katrina Van Tassel, the daughter of Baltus (Michael Gambon), the richest of the old bourgeois. Too bad he can’t buy his way out of his ending through the ebook but not through the novel.
The ghosts are both metaphorical and literal in Jack Clayton’s The Innocents, where sexual repression and childish interest are a fatal mix. Henry James’ 1898 novel, The Turn of the Nut, has been adapted 27 times for the screen. , although it customizes the main points in the widest brushstrokes. The screenplay was co-written by Truman Capote and William Archibald, the playwright of the 1950 level adaptation. They imagined it as a ghost story. It is completely imaginable that the housekeeper acted on the spectral evidence that only his brain can see, however, from the camera’s point of view, ghosts are real. Young Flora (Pamela Franklin) and Miles (Martin Stephens) have recently lost their parents, and their newly hired governess, Miss Giddens (Deborah Kerr), has a lot to report about them and the mansion they call Bly.
The former housekeeper, Miss Jessel (Clytie Jessop), resigned under vague circumstances, but possibly left something behind. A rejected valet, Peter Quint (Peter Wyngarde), a drunk and bully whose musk can still be discerned inside the walls. While you may find the spectral evidence appealing, Miss Giddens de Kerr is a generation older than the character in the book and is preoccupied with the day-to-day jobs of more adult subjects. “Above all, I care about young people,” he insists, but young people are, to put it mildly, disconcerting.
Precocious and vaguely unnatural, each and every phrase on his lips oscillates between blameless flattery and threatening suggestion. When Miles is expelled from school for a bad influence, Miss Giddens is empathetic. Love a boy with spirit and feel an older soul. Oh, miss, are you afraid that you will corrupt you?the housekeeper, Mrs. Grose (Megs Jenkins), laughs, perhaps too leniently. Scary.
Director John Hough’s The Legend of Hell House, adapted through Richard Matheson from his 1971 novel Hell House, is a creepy paranormal investigative film with an endless amount of chandeliers to drop. The rich Rudolph Deutsch (Roland Culver) needs to know what’s hiding next. death and is about to commit suicide to find a way out. He hires, at exorbitant prices, physicist Dr. Lionel Barrett (Clive Revill), his fussy wife Ann Barrett (Gayle Hunnicutt) and intellectual psychic Florence Tanner (Pamela Franklin) to go the extra mile. Roddy McDowell plays physical parapsychologist Benjamin Franklin Fischer, who is reluctant to sign up for the party. He is the only survivor of a previous investigation into the site of Casa Belasco, known as the “House of Hell” after the disappearance of its sadly decadent owner after a bloodbath within its walls.
“In God’s call, what did he do to make this space so bad?” asks Ann. “Murder, vampirism, cannibalism, drug addiction, alcoholism, sadism, mutilation,” Fischer replies. If it had ended, we wouldn’t be here,” warns Fischer. Connected to biomonitors and left to the abyss, researchers open themselves to the fate of those who suffered in the past and are now in the field. The ghostly tyrant gathers the strength of intruding investigators. But it has no strength in the face of Fischer’s incessant embarrassment. Be sure to lock the door when leaving.
Ghost Story begins with John Houseman’s Sears James, Esq. , which tells a terrifying story as if he were sitting around a campfire in John Carpenter’s The Fog (1980), which began with the same unmistakable voice. Talk to the Chowder Society, a casual club for men who drink brandy, smell cigarettes and freak out at horrible improvisations. The talking old lawyer usually drinks alone in his study all night, each and every night. You are afraid of falling asleep; nightmares also haunt his former partner, businessman Ricky Hawthorne (Fred Astaire); and Dr. John Jaffrey (Melvyn Douglas) wakes up screaming after terrible dreams. The mayor of the snowy city of Milburn, Vermont, New England, Edward Charles Wanderley (Douglas Fairbanks, Jr. ), is dealing a double blow of nightly terror. Her son David Wanderley (Craig Wasson) appears to have engaged with a decaying corpse, and she resembles the muse of the Chowder Society.
Based on Peter Straub’s 1979 novel, Ghost Story is known as the last mythical film of the stars Astaire, Douglas, Fairbanks Jr. and Houseman they made together. Like David’s fiancée, Alma Mobley and Eva Galli, long-lost love. From the Chowder Club, Alice Krige may have stolen this ghost story, but she respectfully allows herself to sink into dark oblivion as sweetness shines through on veteran artists. Directed by John Irvin from a screenplay by Lawrence D. Cohen, who wrote the screenplay for Brian De Palma’s Carrie, have had more screen time. The cast is amazing, the direction is solid, and the ebook has so much more to offer. Two hours does not do it justice.
“Nothing is as it seems,” says John Baxter (Donald Sutherland) at the opening of Nicolas Roeg’s Don’t Look Now. He does not back down from the conclusion. But it’s the openness that colors the cinematic experience. The accidental drowning of young Christine Baxter, who was playing too close to a pond in her bright red raincoat. We see this red raincoat in the movie. It is reflected in the water, through a stained window of a Venetian church, on a remote bridge, behind two arches of a Venetian canal as a ship passes, and reflected in the eyes of the horrified figure of Sutherland’s father, who realizes his daughter’s misstep, too late.
After the tragic loss of their daughter, John and Laura Baxter (Julie Christie), move to Venice. A killer is on the loose in the misty city and a child’s doll lies through a canal. Police locate a body. The Grand Canal is teeming with rats. The red figures move away from John during his many walks through the Venetian streets, but the grieving father, who runs as a church restorer, sees no omens or the afterlife at that time. The architect has no plan for the unknown and is drowning in skepticism.
Over lunch, the Baxters meet British tourists Wendy and her sister Heather, who is blind but mentally gifted and claims to see Christine. She also sees John’s kinetic charge, knows that he has foreseen her daughter’s death, and feels that he knows what is going to happen. But the long term is as dubious as the dead ends and bad twists in an adventure through the abandoned Venice last night. Every bridge, canal and street promises indescribable horrors that never come, while Roeg leaves you lost in a suspenseful wait. The film creates a disturbing and unconventional anticipation and leaves only dread in its wake.
Adapted from Daphne du Maurier’s 1938 novel, Alfred Hitchcock’s ghost novel Rebecca never shows the main character. There are no portraits of her, no photographs, sketches or drawings. No actor plays her. The giant portrait that crowns the collection of the circle of relatives is that of a girl Caroline de Winter, a former relative. Rebecca de Winter, the future wife of Maxim de Winter (Laurence Olivier), owns the film through her absence, at most. Memorable spirits from ghost movies. He chases him with a beautiful hunch. “Last night I dreamed I was going back to Manderley,” we hear as the film begins as Hitchcock’s camera shows the ruined remains of a grandiose and gloriously gothic beyond on the Manderly. House. ” It seemed to me that it was near the iron gate leading to the alley, and for a moment I could not enter, because the road blocked me. “
Now there is a new Madame de Winter, interpreted with tangible optimism and full of hope through Joan Fontaine, who lives in the busy east wing while the west wing is closed in time like a tomb. M. de Winter never calls his wife by a first name. That she lost for her husband, as well as all the dreams she hid, because she boasted that he was in love with her, or so she is told.
You may never expect to live up to the call Rebecca has made to herself. So you never hear his. It’s a ghost. Judith Anderson is more ghostly than any specter like the head cleaner, Mrs. Danvers. Every aspect of irony drains the very life of the new Madame de Winter, marked as a terminal disappointment. Actually, it is enough to jump from an open window to a confident death. I wish the crypt of the circle of relatives was not so full of the bodies of Madame de Winters without a call.
We don’t see ghosts in Robert Wise’s 1963 classic, The Haunting. The audience catches the slamming doors, the shadows fading down a spiral staircase or the last movements of a rocking chair when we enter a room, just a moment too late. “What does it take to convince you that the dead don’t rest in peace, but that some houses, like Hill House, are born bad?We are asked, but the evidence is hopelessly elusive.
Faithfully based on Shirley Jackson’s 1959 novel The Haunting of Hill House, there is no blood or worry in the film, only a forbidden atmosphere, scheming characters, and lingering uncertainty that simply missed something.
The slow-burning horror works from within, as does 90-year-old Hill House, motionless in the opening as his story of suicides and murders is told through Dr. John Markway (Richard Johnson). His examination of paranormal studies brings spiritually sympathetic seekers of the invisible to the site. Other sensitive people like Eleanor Lance (Julie Harris) get lost in the past, witches like Theodora (Claire Bloom) are blinded by the future, and so-called homes are bent to their malevolent will. Russ Tamblyn plays the cynical Luke Sanderson, who will inherit the house, an act does not mean possession.
No one owns Hill House; Space owns them. But it is Eleanor, who experienced poltergeist activity as a child and gave her adult life to her invalid mother, who has the ultimate unnatural charm of space. The chills are as discreet as Theodora’s biting double senses, yet in devastating conclusions.
Stanley Kubrick’s 1980 adaptation of Stephen King’s novel The Shining is a masterpiece, whether the Overlook Hotel is haunted or not. Peace and quiet to write. The Overlook Hotel is rarely the simple task that is advertised. The boiler requires constant examination so as not to explode (at least in the book), and there is a blood-spitting elevator in the corridors. . Oh, and some of the former customers never left. Where do they have?
Jack’s son, Danny (Danny Lloyd), has an imaginary friend named Tony who lives in his mouth. The remnants of Overlook are possibly only on Jack’s mind. He already has an open-door policy because his son is psychic and the chef, Dick. Hallorann (Scatman Crothers), shines so brightly that she can read minds like cans in the hotel’s spacious pantry. It’s scary how much food is there, hidden among the Tang.
Horror is a component of the global in Kubrick’s film. Most scenes take place in broad sunlight through a wide-angle lens so the audience doesn’t miss a thing. The moment Jack announces, “Here’s Johnny!” for his wife Wendy (Shelley Duvall), it seems that his getaway is aimed at the public. We are concerned about the terrors that are taking hold, not eliminated through darkness. We are wide awake to the nightmare and may be afraid to close our eyes when it is over.
The Shining is full of ghosts: the Brady twins, the bartender and the one in room 237 among them, but Kubrick’s film is about madness, isolation, possession and visionary imagination. What do you see when you notice Jack smiling in the foreground in The Definitive Photo in 1921?This is a Rorschach test for horror fans.
Based on Koji Suzuki’s 1991 novel, Ringu is the scariest ghost movie ever made, for this writer. It’s infinitely more subliminal and disturbing than the incredibly well-made 2002 American remake, The Ring, due to a little discussion in the mid-section’s backstory that it couldn’t possibly spoil. It’s a must-see, not only for horror genre enthusiasts, but also for cinematic ingenuity enthusiasts. However, you may not need to see it on a TV screen. The film comes to life on television screens, and in a way that invades you, too close.
Ringu is not only one of the most influential Japanese horror films, but it revolutionized the genre and is at the most sensitive point of all Hollywood horror classics. Based on the mythical ghost of the Onryo, Sadako Yamamura, played by Rie Ino’o, is a horror figure as iconic as Freddy Krueger, Michael Myers, Pennywise the clown, the monster of Frankenstein or Godzilla. Ringu is visually immersive and feels mentally toxic, provoking the terror of the terrifying psyche that lives within us. Anyone, anywhere, can identify themselves with an urban legend. So when teenagers in Tokyo start circulating a cursed video that kills its audience seven days after watching it, we should all watch it. And we can see it. We feel as scarred as the characters we look at.
Journalist Reiko Asakawa (Nanako Matsushima) goes in search of clues to a strange mystery. His niece Tomoko (Yūko Takeuchi) was part of a teenage organization who died after visiting a cabin in the woods. While investigating the scene, Reiko discovers a videotape, unmarked, but rewound and fit to inflict subliminal damage on the nerves of anyone who presses play. Unfortunately, he surprises his son Yōichi (Rikiya Ōtaka), in an apparent nod to the 1982 ghost film Poltergeist, watching Record as the boy falls into the blue light of the static, blurry symbol of a well, which will hang the audience for a long time after the film’s end.
The cursed videotape blurs the Japanese mythology of ghosts with a fashionable anxiety, as the generation acts like a virus and a remote control can cause the delivery system. Director Hideo Nakata doesn’t like surprises or gore. The slow chase and sophisticated suspense of the mutilated and oily Sadako is more effective than any worry of jumping.