‘The first monster that an audience has to be scared of is the film-maker. They have to feel in the presence of someone not confined by the normal rules of decency.’
Thus decreed Wes Craven, that maestro of horror who gave us, among other gems, The Last House on the Left (1972), in which a girl is forced to urinate on herself by a gang of rapists.
And on some level, he is obviously right. But as Jason Zinoman points out in his deft study of the rise of New Horror — that is, horror movies of the late 1960s and 1970s, which were more realistic, and so a hell of a lot scarier, than the Hammer-style schlock that had gone before — the pioneers of the style actually tended to be mild-mannered, geeky types, at least to outward view.
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