3/16/2024 0 Comments Autumn colors 94 fuck![]() ![]() ![]() Things of course get tinglier once Chapin captures an actual rubbery spine centipede-and, meanwhile, Castle was always ready to exploit his audience’s squirm factor, having “Percepto!” contraptions installed into each theater seat, set to buzz the butts of already agitated film-goers to scare them into thinking the insectoid creature was crawling between their legs. The parasite will grow and decimate a person’s backbone unless it’s defeated/deflated by the only logical reaction to fear: screaming. Chapin (Vincent Price at the height of his weirdo sophisticate phase), a man who believes that every human being has a parasite living in their spine that feeds off of extreme fear-that’s the “tingling” sensation you get every time you’re panicked. And, to prove his medical conclusions, Castle introduces us to Dr. The only way to live through The Tingler? You’re going to have to scream. Fear is a natural but serious affliction, a building up of poisonous humors within one’s nervous system, and so it must be addressed should you endure the film he’s about to show you. So begins The Tingler, Castle’s 1959 creature feature, wherein Castle appears on screen like a B-grade Alfred Hitchcock to remind the audience that what they’re about to see is hardly a lark. Or at least he wanted to convince you as much: If he didn’t have you believing you had some serious stakes in what was happening onscreen, then he-the 20th century’s consummate cinematic showman-wasn’t doing his job. So we’ve tried to keep an eye on the films that defined something about the era, and while anyone might squabble over one being more artistically important than another (rightly so, in some cases), we’ve pulled together a list of films that all tick the “if you want to consider yourself a culturally literate cinephile, you need to see this” box for one reason or another.įor William Castle, going to the movies was a matter of life and death. Film took off in a million directions during the 1950s, and it is truly up for debate what constitutes the “best” of this prolific and diverse decade. Psychological thrillers, Shakespeare adaptations, goofy musicals, and the “cast of millions” epic style canonized by Cecil B. The French New Wave was in full flow, with directors such as Jean-Luc Godard and Francois Truffaut defining what would come to be known as auteur theory. It was the decade of Alfred Hitchcock and Ingmar Bergman, and in Asia, Akira Kurosawa and Satayajit Ray were both producing some of their finest work. Cold War paranoia and anti-Communist sentiment joined with a profusion of new technologies to fuel American film-science fiction and “outer space” films, in particular. Television became mainstream, and Hollywood found itself with some stiff competition from the networks. There is also an emphasis on teen culture, perhaps best represented by the brief but meteoric career of James Dean. The affluence that grew in the post-war years and the rise of “leisure culture” play a role in the zeitgeist of this decade. ![]() We also see the proliferation of color technology. We still see the profound influence of WWII, we still see film noir and Westerns and the development of European neorealism.
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