THE OTHERS – Cinefantastique

Hollywood's Scariest Haunted Houses

Posted on March 27, 2009September 3, 2020 by Steve Biodrowski

Yes, the housing bubble has burst; home sales are down. The news sounds bad, but there is a silver lining: namely, it’s a buyer’s market! With the world’s latest haunted house movie, THE HAUNTING IN CONNECTICUT, opening today, what better time for interested shoppers to investigate the possibility of purchasing their very own haunted house?

With that in mind, Cinefantastique Online offers this catalogue of the finest spooky manses, decaying domiciles, awful apartments, murderous mansions, and cob-webbed castles ever imagined by demented writers and constructed by the Hollywood art department for your haunting pleasure. You want the Top Ten Haunted Houses? We have more than twice that many listings. These properties may not have always appeared in the best movies, but each has its own particular selling points.

A word of explanation: Ghosts and haunted houses are considered to be synonymous, and they do often go hand in hand; however, there is a distinction to be made. Most viewers understand that RING, although a ghost story, is about a cursed videotape, not a haunted house; however, a number of reference sources list THE SIXTH SENSE among haunted house movies – even though the ghosts are not limited to a particular location. All of the houses in our listings feature localized phenomena; the ghosts, ghoulies, and long-leggedly beasties that go bump in the night may make an occasional excursion to the outside world, but they are permanent residents whose ethereal existence seems somehow tied to their haunted homesteads.

CASTLES

Looking for something suitably grand and top-of-the-line? Castles tend to be more the province of vampires and/or evil aristocracy in the Gothic tradition, but there are a few that feature genuine ghosts.

Blackwood Castle in DANSE MACABRE (a.k.a. CASTLE OF BLOOD, 1964).
Lord Blackwood has listed his English family estate with us (a fine old Gothic ruin that perfectly embodies the archetype of a haunted house); however, it is not for sale or even, precisely speaking, for rent. Interested parties, however, are invited to spend the night, alone, free of charge – free, that is, except for a wager that you will not live to see the sunrise. Unlike the Allardyce House and the Belasco House (see below), Blackwood Castle is not haunted because of anything intrinsic to its nature; rather, it is merely been the scene of much murder and mayhem that results in the death of the body but not of the spirit, resulting in an impressive haunting. The castle features numerous amenities and selling points:

Crypt (conveniently located in the cellar)
Hypnotic painting (subject appears to be alive, eventually manifests in person)
At least seven ghosts (as of last count). These are vampiric in nature, requiring the blood of the living in order to sustain themselves. They vary in appearance from perfectly normal to hideously corpse-like; in some cases, they are so beautiful and alluring that you might not mind never leaving.
Pets: at least one black cat on premises
Selling points: Visited (or at least glimpsed) by Edgar Allan Poe
Known fatalities: 8

Buyer beware: Survival rate of previous guests who have accepted Lord Blackwood’s wager is zero.
Asking price: not for sale. Market value difficult to determine due to Lord Blackwood understandable reluctance to have the property appraised (the last attempt ended in disaster). Since the value derives from the ghosts, who could easily be dispatched bywithholding the annual victim, we would estimate its value to haunt-seekers at $4-million.

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Castillo Maldito in THE GHOST BREAKERS (1940).
This crumbling Cuban Castle, located on a small island off the coast, is reportedly haunted by several phantoms – and a zombie! Some of these selling points may be a bit exaggerated; we have not been able to authenticate all phenomena as genuine, but then, that was typical of the many spooky mansions constructed during this era. Seen in films like THE BAT WHISPERS (1930), THE OLD DARK HOUSE (1932), and THE CAT AND THE CANARY (1939, these dilapidated dwellings feature creaking floor boards, whistling winds, secret panels, and hidden chambers – not to mention oddball residents as scary as any ghost. We avoid listing these properties in our catalogue, because most of them turn out not to be haunted. Yet Castle Maldito is an exception.

Amenities & Selling Points:

Hidden treasure
One authenticated (or at least not debunked) ghost. Although superficially similar to the decaying family mansion in CAT AND THE CANARY (which also starred Bob Hope and Paulette Goddard), Castle Maldito leaves at least one ghost unexplained at the end. This gives the castle claim to being Hollywood’s first truly haunted house. This historical importance does not come cheap.

Asking price: $1.5-million.

COUNTRY HOMES AND MANSIONS

Perhaps the most likely place to find a ghost is an an old mansion or country house. Haunting is especially prevalant in England, where the houses are older and have had more opportunity to aquire ghosts, but there are a few good ones in America, too.

The Allardyce House in BURNT OFFERINGS (1976).
This large Victorian mansion in the California countryside looks like a bit of a dump at first – run down, with paint chipped and boards peeling – but if you give it a chance, it’s a real fixer-upper that requires amazingly little effort on the part of its (human) renters. This is one of those rare haunted houses that seems to be malevolent in its own right: there are no signs of surviving personalities; the house itself is the haunt.

Amenities & Selling Points:

The house comes equipped with a pool, but swimmers are advised to beware of unexpected waves.
Self-reparing home. Just move in, and in no time at all the house will almost literally grow on you, shedding its old shingles like a snake shedding its skin, to reveal the glossy appearance hiding beneath the old facade.
Known fatalies: 3

Buyer Beware:

The upper chimney may not be stable, so keep your eyes open for falling bricks.
The upper window (to Mrs. Allardyces’ room) probably needs to be replaced.
The rent is reasonable, but there are strings attached, such as having to leave food outside an upper room for old Mrs. Allardyce, an apparent (and unseen) agoraphobic who insists on remaining at home, even when strangers have rented the place.

Asking price: not for sale. Market value varies, most recently appraised at $750,000.

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The Belasco House in THE LEGEND OF HELL HOUSE (1974).
This is one of the premiere properties in our catalogue, the so called “Mount Everest of Haunted Houses.” Lovingly designed by original owner Emeric Belasco in 1919, this extensive mansion features ornate quarters, spacious living areas, and its own chapel.
Amenities and Selling Points:

Unlike most of the houses in our catalogue, this English mansion was deliberately constructed to be a “haunted house”: it features an innner sanctum sheathed in lead to create a sort of battery containing psychic energy.
This power source fuels a wide range of psychic phenomena, both mental and physical: ectoplasm, shaking tables, self-igniting fireplaces.
Guests may also enjoy the amorous attention of an unseen visitor at no extra cost.
Number of ghosts: one (but appears to be more)
Confirmed fatalies: 40
Pets: There is a sort of house mascot in the form of a black cat, who gives new meaning to the phrase “bad kitty!”

Buyer Beware:

Those with repressed sexual desires and/or a naive faith in their own ability to exorcise the house are advised to say away.
Watch out for spinal and/or leg injuries.

Asking price: $9-million

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Bly House in THE INNOCENTS (1960).
This excellent English country mansion is one of the jewels in our crown, a beautiful property with high turrets, large rooms, a lake, and expansive grounds (although the surrounding terrain is a bit treacherous, especially if you have tipped one too many at the local pub). As with Blackwood Castle, there is nothing inherent in the structure of Bly that makes it haunted; it simply happens to be inhabited by ghosts.

Amenities and Selling Points:

Number of ghosts: 2, Quint and Miss Jessel. These are a rather quiet, incommunicative, and diffident pair, given to appearing at unexpected moments, more for the sake of causing mental unease than for actually doing anything overtly malevolent. However, presence can be quite disconcerting when they make the effort, with shadows and voices combining for a nightmarish effect in the wee hours of the morning.

Buyer Beware:

Several residents have claimed not to see any ghosts at all in Bly.
Please be advised that we do not recommend this property for families with children, who seem to be peculiarly susceptible to the influence of Quint and Jessel.
If you require servants, try to hire a governess who is (1) can swim and (2) is not a neurotic spinster given to doing more harm than good while trying to defend her charges against a supernatural conspiracy.

Asking price: $3-million

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The Dutch Colonial House in THE AMITYVILLE HORROR (1979 & 2005).
This lovely home on Ocean Avenue on the South Shore of Long Beach, New York is one of the most famous properties in our catalogue, but it no longer attracts the attention of most serious shoppers. It was quite popular back in 1979, but since then the value has dropped precipitously, thanks to scurilous rumors that it may not actually be haunted; in fact, there are some who say that the whole thing was made up. Nevertheless, the property’s lovely facade, with upper front windows that suggest menacing eyes, is quite an attractive selling point for buyers who require only that their house look haunted.
Asking price: $500,000.

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Fort Marmorus in THE BLACK CAT(1934).
Or more precisely, the house built by Satanic architect Hjalmar Poelzig upon the remains of the fort. Unlike most of the houses listed in our catalogue, this one has a distinctly modern look – bright, with clean lines and wide open spaces; fortunately, there are some dark corridors, for tradition’s sake. Whether or not the house is, strictly speaking, haunted, is another matter. Rather like our other Poe-inspired property, the House of Usher (see below), Poelzig’s manor seems embued with psychic influences, in this case the result of the many hundreds of souls who perished on the battlefield during the first world war; the skeptical may consider this to be “supernatural baloney,” but some visitors have succumbed to the uneasy atmosphere, turning temporarily “mediumistic” under its palpable influence.

Amenities & Selling Points:

Located conveniently close to a cemetery (see picture)
Numerous glass cases displaying the preserved bodies of former wives.
Dynamite in basement for easy self-destruct
Confirmed fatalies: 100s – or even thousands – if one counts those who died on the surrounding battliefields.

Buyer Beware:

Even the phone is dead.
While this house may not be for everyone, it is an unusual find for just the right purchaser, one who doesn’t require howling banshees and clanking chains, but prefers a more subtle shade of psychic influence.

Asking price: $1-million.

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Gull Cottage in THE GHOST AND MRS. MUIR (1947).
Other realtors may hesitate to show this house, for fear of its haunted reputation, but we are more than eager to go the extra mile on your behalf, assuming that you will not be intimidate by the ghost of a brusque British sea captain. The cottage is a quaint, comfy abode witha nautical theme to its decor, and the view of the ocean is beautiful. Quiet, serene, and beautiful, it is a perfect seaside home for a widow raising a child. If not for an unfortunate accident with a gas lamp, it would not be haunted at all; fortunately, Captain Gregg is one of the most interesting and accommodating of ghosts – if you can get on his good side. If you are concerned about the propriety of living under the same room with a man to whom you are not married, just remember: he’s a ghost, so he doesn’t have a body.

Amenities:

Number of ghosts: 1 (or 2)
Captain Gregg is very effective at removing unwanted guests

Asking price: $1-million

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The Haunted Mansion in THE HAUNTED MANSION (2003).
This is another property we are eager to unload. The house itself looks great, and its name is certainly promising, but the ghosts inside just don’t cut it. They try their best, but they’ve got no real spirit. They’re less like phantoms from the beyond than like…recycled gags from a theme park attraction.

Asking price: $300,000

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Hill House in THE HAUNTING (1963). Built by Hugh Crain for his young wife (who died on the way to seeing it) this certainly the jewel in our crown, our most prized and coveted listing. Why? Because of all the haunted houss in this catalogue, this is the one that appears to be self-haunting. Many have died there, and indeed some may have remained in spirit form, but Hill House appears to have been born bad – a malign place before the first resident ever set foot in it – and those who perished within are more victim than ghosts. In short, there is little chance that whatever walks there will be exorcised as long as the house itself remains standing, which it has done for 80 years and might do for 80 more. It is an expert if eccentric piece of architecture, with no right angles; although the tiny variations are individually imperceptible to the eye, they add up to a virtual maze, wherein one can never be sure what lurks beyond each new door. The construction is superb: walls are upright; bricks meet neatly; floors are firm. Current owner has considered reconverting the building into a nightclub, but no plans are in the works.

Amenities & Selling Points:

The avid psychic investigator will be pleased to find that the house offers a distinctive “cold spot” (the heart of the haunting).
Musical instruments do not quite play themselves but they do resonate with ambient tones.
Doors close by themselves when not watched; when they are watched, these closed doors bend inward as if pressed by some sinister unseen force from outside.
Loud pouding noises at night
Confirmed fatalities: 5
Number of ghosts: the haunt does not manifest surviving, invididual personalities

Buyer Beware:

Staircase in need of repair.
Treacherous driveway
Look out for the writing on the walls
If you feel a hand holding yours in the night, for god’s sake, turn on a light to confirm whether it is indeed your fellow investigator, frightened into silence, or…something else.

Asking price: $10-million

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The House of Usher in THE FALL OF THE HOUSE OF USHER (1960).
This ancient family mansion might not appeal to the average avid haunt fan, but it would be the perfect purchase for a buyer with the proper aesthetic appreciation. The problem is that it is not, technically, a haunted house; rather, it seems to be imbued witha miasma of intangible atmosphere. Even Hill House, by the end, appears to contain at least one genuine ghost, but the House of Usher really is its own monster – a vessel for the accumulated decadence of the family that has inhabited it for so long. This manifests in the occasional balustrade giving way (was the wood rotted, or was the housetrying to dispose of an unwanted guest?) and in the general decline of the two surviving family members, one of whom suffers from catalepsy.

Amenities & Selling Points:

Family crypt conveniently located in basement
Confirmed fatalies: the entire Usher family
Number of ghosts: none (unless you count their appearance in a dream)
The house is the monster

Buyer Beware:

The house is in need of some repair; in particular, that big crack running through the outside wall needs to be fixed before the entire structure splits in two and sinks into the tarn.
If you bury someone in the crypt, make sure the door is locked – so they can’t get out!

Asking price: $1-million.

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The Old Country House in THE HOUSE THAT DRIPPED BLOOD (1970).
We have just about given up on this one. The previous retailer assured us that this house was some kind of karmic balance adjuster, dishing out just deserts to its inhabitants according to what they deserved. But on further investigation, we discovered that the house – despite its notorious name – had little or no blood on its…er, hand? (No – well how about no blood on its window panes?) The victims either died in other locations (like a wax museum), were felled by problems that pre-dated their residency, or brought into the house outside objects that were the real culprit (like a mysterious vampire’s cloak). It’s not a bad piece of property, but haunted?
Confirmed fatalities: 5 (not counting those who died outside the house)
Asking price: We’d like to unload it for $250,000.

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The Remote Country House in THE OTHERS (2001).
This graceful estate on the isle of Jersey is somewhat in the style of Bly House. In the manner of haunted houses, it is big and dark and beautiful. It features the traditional fog-bound atmosphere, but with an interesting distinction: the fog seems to be literally impenetrable, as if the house were shrouded from the outside world, cut off in some kind of limbo land all its own.
Amenities & Selling Points:

A piano plays itself in an empty room.
A figure that initially presents as an innocent child turns out to be a hideous hag
Confirmed fatalities: 3 (not counting a husband who died overseas in the war)
Number of ghosts: 3, 6, or 7 (depending on the occasion)

Buyer Beware: Residents may expect to experience different phenomena, depending on their point of view.
Asking price: $1.5-million.

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The Winward House in THE UNINVITED (1944). Like Gull Cottage, this is a lovely seaside residence located conveniently close to the ocean. It does not provide the outward appearance of being haunted; consequently, it has no trouble aquiring residents unprepared for the phenomena within. Up until 1944, most old dark houses turned out not to be haunted after all; following the comedic THE GHOST BREAKERS (1940), this is probably the first Hollywood movie to present a genuine haunted house seriously. This lends the property, with its muted thrills and subtle suggestions of horror, an almost inestimable historical value.
Amenities & Selling Points:

Cold spots
Flowers that wilt in the blink of an eye
The melancholy sobbing of an unseen woman
Confirmed fatalities: 3
Number of ghosts: 2

Buyer Beware: that seaside cliff is treacherous!
Asking price: $5-million.

HOTELS

Perhaps you are not looking for a permanent residence but only a place for a pleasantly haunted stay? Or maybe you are looking to get into the haunt business yourself – purchase a property and rent it out to others? Here are some prime properties that should interest you.

The Overlook Hotel in THE SHINING (1980).
This is another one of the great haunted properties, one that dwarfs most of the competition. Built on the remains of an old Indian burial ground, the Overlook features high ceilings and brighlty lit rooms that are virtually the opposite of traditional haunted house decor, and yet the atmosphere is all the more effective because of it. The isolated location adds to the allure, and residents may rest assured that it is inhabited by enough ghosts to fill a dozen other haunted houses. Of particular note are the mysterious woman in Room 237 and the mysterious set of playful twins in the corridor. There is also a lovely band playing old-fashioned dance music, a helpful butler, and – best of all – a bartender named Lloyd who likes to offer drinks on the house. It is hard to say whether the Overlook was born bad or became bad as the result of the people who died there; it’s a sort of chicken-or-the-egg question. However, it got that way, it is safe to say that this Hotel is one of the most haunted places on the planet.

Amenities & Selling Points:

A hedge maze. If you have some time on your hands, you might try your skills and finding your way in and out, but try to pick a day without snow.
A convenient elevator service for those not frightened by the sight of enough blood to fill a dozen Dario Argento movies
Long corridors great for riding your big wheel
Confirmed fatalies: 6 (but obviously many more, judging from the number of ghosts)
Number of ghosts: too numerous to count
Your money’s no good here – which means more than enough free phantom booze to intoxicate a recovering alcoholic

Buyer Beware: The location is extremely isolated in the snowy winter season, so take care that nothing happens to the battery in the snow mobile.
Asking price: $8-million.

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Seven Doors Hotel in THE BEYOND (1981).
Outwardly, this Louisiana hotel is no match for the Overlook, but it does have one unbeatable thing going for it: it’s built on one of the Seven Gateways to Hell! This puts the hotel in that special category of properties that will always be haunted, regardless of who died there. Yes, the ghosts of the dead are restless within its walls, but that gateway is responsible for a far more apocalyptic form of supernatural mayhem.
Amenities & Selling Points:

Confirmed fatalities: 3(not counting those who died elsewhere)
Number of ghosts: Only a few are identifiable, but there appear to be many more – perhaps infinite
The gateway to hell not only revives dead souls and reanimates bodies into zombies; it also bends the very fabric of reality, teleporting unsuspecting victims literally to Hell and Gone – also known as the Sea of Eternal Darkness. You don’t get amenities like that in the Overlook!

Asking price: $5-million.

SUBURBS AND APARTMENT LIVING

City ghosts were once an anomaly; spirits used to keep to isolated locations: mansions and castles or at least houses set well apart from the neighbors. In the modern era, however (perhaps due to the population explosion), phantoms have been forced to seek residence in more highly populated areas. This is a great advantage to haunt enthusiasts who would like to purchase a ghost-invested property without givng up the benefits of city life.

The Freeling House in POLTERGEIST (1982).
This is definitely one for bargain hunters – we are slashing prices way, way, way down! It turns out that it wasn’t really the house that was haunted; it was the damn television that acted as a portal to the afterlife, allowing all manner of spirits to enter the land of the living. Now the TV’s gone, and so are the ghost.
Asking price: $250,000

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The House in HOUSE (1986).
This is a model that was quite popular in its day, but the market value has fallen more than average for this kind of property. Buyers want something new, or they want the classics. These mid-level haunted houses are all right for brief visits, but no one much wants to live there, especially when the haunting seemed so specific to the previous owner, rather than a part of the house’s nature.
Asking price: $250,000

* * *

The Rundown Apartment House in DARK WATER (2001 & 2005).
One of the small, dingy rooms in this building would be a terrible place for a divorced mother to raise her child – even if the place were not haunted. Unfortunately, a little girl died there a while back, and though not outright malevolent, she is downright scary in her supernatural quest to secure a surrogate mommy.
Amenities & Selling Points:

Confirmed fatalities: 2
Number of ghosts: 2

Buyer Beware:

Watch out for leaky faucets, bathtubs, etc.
Don’t let your kids play on the roof, and especially don’t let them climb up on the water tank!

Asking price: not for sale, but rent is cheap – even if not haunted, this place should be condemned.

* * *

The Saeki Residence in THE GRUDGE (2004).
Externally inauspicious, this is in fact one of the most intensely haunted properties in our catalogue, thanks to three malevolent yūrei residing there: Kayako, Takeo, and Toshio. The death of the three familiy members (a murder-suicide perpetrated by father Takeo) left a curse on the property, resulting in an extremely high fatalities among subseqeunt residents, besting many of the more elaborate models; just about everyone who passes into its portal succumbs. Despite its conventional appearance, this haunted house engenders intense feelings of dread and apprehension at the mere thought of crossing its thresshold. The house has been seen in four Japanse JU-ON movies and two American GRUDGE films. Of these, THE GRUDGE implicity suggests that the curse falls only on people who have entered the Saeki House, raising the property’s importance to the haunting – and thus its value – over the Japanese predecessors.
Amenities & Selling Points:

A lovely staircase, perfect for making a memorable entrance (especially if you like crawling on your hands and knees)
Pets: one black ghost cat
Confirmed fatlities: 8 (not counting those who died elsewhere)
Number of ghosts: 3
Like the Seven Doors Hotel, the Saeki House can bend reality – in this case time, creating weird anomalies in which characters from the present can view the past and perhaps be viewed (or at least sensed) in return

Asking Price: $7-million

* * *

The Victorian Mansion in THE CHANGELING (1981).
This lovely old structure perfectly conforms to everyone’s idea of what a haunted house should be: it’s big, imposing, old, and spooky, with more than enough room for plenty of ghosts. In point of fact it is not a particularly evil place, and the haunting is limited to the ghost of a single murdered child – a troubled but not particularly malevolent spirit of the type that cannot rest peacefully until justice has been rendered. Whatever the ghost’s intentions, the effect is suitably unnerving, creating an effective haunting that should please those who enjoy their ghosts that raise the hair on the back of their necks rather than jumping out and screeching “Boo!”
Asking price: $2-million.

A Day to Celebrate Malicious Mothers of the Movies

Posted on May 11, 2008 by Steve Biodrowski

We all know a boy’s best friend is his mother, but mom and apple pie do not always equate with wholesome goodness when it comes to cinefantastique. In movies, the old cliche about the female of the species being as deadly as the male usually refers to a luscious femme fatale, but there are also many memorable examples of malicious, malevolent, and monstrous mothers. Of course, the very concept of malignant motherhood is disturbing; it violates our deepest, most cherished expectations of the nurturing caregivers who raise helpless babes to become frolicking children and eventually well-adjusted adults. This inversion of expectations is what gives these monstrous mothers the nasty little kick that makes their wickedness all the more horrible; after all, fairy tales have taught us to expect wickedness from step-mothers, but real mother? No, never…

Mrs. Rand in I WALKED WITH A ZOMBIE (1943).

This apparently benevolent matriarch has a little secret: in order to dispense medicine to the superstitious locals, she poses as a voodoo priestess. Near the end, it turns out she has an even bigger secret: enraged by a love triangle between her two sons and a woman, she joined one of the voodoo ceremonies and put a curse upon the woman, turning her into a zombie. The result is tragedy and sorrow for all concerned, including the eventual death of one of her sons. Way to go, Mom!

Mrs. Bates in PSYCHO (1960).

The mother of all monstrous mothers is Norman Bates’s alter ego in Hitchcock’s masterpiece of psychological horror. One might argue that the real Norma gets a bum rap (after all, we never see her, only her psycho son’s re-enactment of her), but the very fact that her son is so screwed up leads us to believe she must have been just as terrible as we can possibly imagine. In any case, whatever the reality of her as a character, the film uses her as a symbol of debased motherhood, destroying the old-fashioned schism of classic horror films, in which horror was something outside the home that attacked the goodness and purity inside. Here, home is the house of horror, thanks to the domineering matriarch.

Baroness Meinster in THE BRIDES OF DRACULA (1960).

The Baroness claims the lives of no victims directly, but she has much to answer for. Her indulgent ways led her son, Baron Meinster, into a life of wickedness that eventually turned him into a vampire. Now she keeps him locked up on a chain, but she procures occasional female victims, to appease his bloodlust. The implication, as in PSYCHO, is that the horror proceeds from the mother-son relationship, in this case with the mother vicariously enjoying the dissolute ways of her son.

Gorgo’s Mom in GORGO (1961).

Mother Love expands to monstrous – and destructive – proportions in this English movie about a giant prehistoric beast run amok. Gorgo’s Mom is not really malicious; she’s just looking for her off-spring, but her effect on London is pretty dire, including the destruction of London Bridge.

The Horta in “Devil in the Dark” (Star Trek)

Like Gorgo, the Horta is not truly malicious – unless provoked. Initially presented as a mindless monster, this silicon-based life form on the planet Janus VI racks up an impressive body count (over 50 victims). Like The Blob, she dissolves her victims (with corrosive acid), and no obstacles stands in her way – she is capable of appearing anywhere. However, a mind meld with Mr. Spock reveals a startling truth: the Horta is an inoffensive creature, the only member of her species left alive, destined to mother the next generation of her race, when they hatch from the silicon eggs that human miners have thoughtlessly been destroying in their quest to find new deposits of valuable minerals. The poor Horta has merely been fighting back to protect her children and ensure the future survival of her kind. In the episode’s remarkable climax, the vengeful human miners try to attack the alien Horta, but Captain Kirk stops the lynch mob by threatening to kill anyone who harms the creature – siding with the “monster” instead of his fellow Earthlings (a moment that eerily prefigures Hugh Thompson Jr.’s actions at the My Lai Massacre a year later). Alone among the mothers in this list, the Horta survives to happily co-exist with her one-time enemies.

The Older Woman in ONIBABA (1964)

This Japanese horror flick features a metaphoric if not literal Onibaba (“Demon Woman”), a mother whose son has died in a feudal war. Teamed up with her daughter-in-law, she makes a living by killing off stray samurai and selling their armor. When her son’s friend returns from the war and starts an affair with the young woman, the Mother-in-Law resorts to rather heinous method to break them up, filling her daughter-in-law’s head with superstitious fears – that seem to come true when a demon appears in the rice fields. Whether real or imagined, the supernatural horrors pale in comparison to the ruthless efficiency with which the two women dispatch their victims.

Carlo’s Mother in DEEP RED (1975)

This Dario Argento thriller, one of his best, plays a wicked game, leading the audience to believe that self-pitying drunk Carlo is the murderer, but it turns out to be his eccentric mother, who previously seemed like nothing more than a comic relief supporting player (she cannot remember that the hero is a jazz pianist, not an engineer). Martha is one mean bitch, with a body count to her credit that would put Mrs. Voorhees to shame: axing a woman and shoving her head-first through a glass window; drowning another woman in scalding hot water; bashing another’s teeth in and impaling him through the neck with a blade that pins him to a table; and best of all, murdering her husband on Christmas by stabbing him in the back while Carlo (then a toddler) looks in soul-shattering shock (which may explain why he becomes a pathetic alcoholic).

Mrs. White in CARRIE (1976)

The deranged parent certainly gives Mrs. Bates a run for her money in the malevolent mother sweepstakes (a point underlined by director Brian DePalma, who renamed the high school “Bates High,” a name not used in the Stephen King novel). Mrs. White is a whacked out religious loony who sadistically mistreats her telekinetic daughter Carrie, acting out the kind of scenes we could only imagine took place in PSYCHO. No wonder the poor teenage girl eventually goes postal on the entire high school and eventually her mother.

Nola Carveth in THE BROOD (1979).

In this film, writer-director David Cronenberg turns the very act of motherhood into a miasma of horror. Nola is a psychotic undergoing treatment that allows her to manifest her inner demons somatically, which she does by giving birth to deformed children that act out her homicidal wishes. She claims only a few victims; the real horror is watching her birth one of her babies, biting open the external sack in which it grows and licking it clean. You won’t want to eat for a week.

Mother in ALIEN (1979).

This Nostromo’s onboard computer does precious little to help the human crew against the marauding alien that has infiltrated the spaceship. Worse yet, after Ripley has reversed the ship’s self-destruct sequence, Mother refuses to acknowledge the override and insists on nuking the Nostromo anyway. Mother does not have enough personality to be a real character (she is no HAL 9000), but she seems to be one cold-hearted bitch.

Mrs. Voorhees in FRIDAY THE 13TH (1980).

Like Martha in DEEP RED, Mrs. Voorhees is revealed as the killer only in the final reel, so we have to retroactively credit her for the film’s high body count. She is one wacked-out woman, speaking in a childish voice that is supposed to represent her drowned son Jason. Speaking of retroactive reassessment, the revelation in FRIDAY THE 13TH PART 2 – that Jason is alive – makes Mrs. Voorhees seem even nuttier: she kills off a bunch of camp counselors to avenge her son, but it turns out he survived. So, did she just imagine the drowning? Has she been psychologically blind to his existence since then? Whatever the case, this is another bad example of the poisonous effects of Mother Love.

Anna in POSSESSION (1981)

This weird story of marital discord features a woman (Isabell Adjani) whose deteriorating relationship with her husband somehow leads to her giving birth to a slimy monster with tentacles. As if this were not bad enough, she has a sexual relationship with Junior, who eventually starts to resemble her husband. None of it makes sense on a literal plot level, but the film is interesting if you read its outre elements as externalizations of the characters’ inner turmoils.

Sil in SPECIES(1995)

Her appearance and actions (seducing and killing her male victims) seems to put her into the femme fatale category, but the true horror of Sil is that she is capable of mothering a new alien race capable of overrunning the world and wiping out humanity. To give her credit, we have to assume that, as malicious as she acts toward humanity, she probably would have made a good mother to her own children.

Grace Stewart in THE OTHERS (2001)

Grace appears to be the very definition of a protective, loving mother as this ghost story follows her attempts to shield her children from a supernatural force lurking in their isolated English mansion. However, a last-reel twist casts a new light on her behavior…

Kayako in JU-ON: THE GRUDE (2003).

Kayako is both victim and villain: murdered by her husband, she comes back as a malevolent ghost, along with her ghostly son Toshio, wrecking death and destruction for years afterwards. Over the course of six films, she tallies up an awesomely impressive kill count, but what is most memorable about her is not mere numbers; it is the spooky, inexplicable, and almost random way she manifests, following no clear rules that would allow potential victims to avoid her. The American remake, THE GRUDGE, makes it clear that Kayako’s husband killed both her and Toshio. The Japanese original shows Toshio escaping his father’s rampage, leaving it up to the audience to figure out how he died. The only possible conclusion is that he was the first victim of his mother’s vengeful spirit.

Mater Suspiriorum, Mater Tenebrarum, and Mater Lachrymarum in the “Three Mothers Trilogy:” SUSPIRIA (1977), INFERNO (1980), and THE MOTHER OF TEARS (2007)

Inspired by Thomas DeQuincey’s essay “Lavana and Our Ladies of Sorrow,” Dario Argento created this trio of witches whose names translate as Mother of Sighs, Mother of Darkness, and Mother of Tears. Despite their names, they are actually “wicked step-mothers, incapable of creating life, who rule the world with sorrow, tears, and darkness.” Collectively, they are responsible for some of the most brutal and graphic murders ever perpetrated on screen (although, technically, the killings are usually carried out by underlings).
In each of the first two films, the atrocities are centered mostly around an ancient dwelling place housing one of the witches; THE THIRD MOTHER ups the ante, with Mater Lachrymarum’s evil influence spreading throughout the streets of Rome with almost apocalyptic effects. Never has the power of Motherhood been so explicity alligned with supernatural – not psychological – evil, creating a disturbing sense of an innocent world at the mercy of forces so powerful they almost defy comprehension.

The Others (2001) – DVD Review

Posted on April 27, 2008 by Steve Biodrowski

This is a modern horror film with an old-fashioned touch, relying on suspense and the suggestion of the supernatural to generate a disturbing sense of the Uncanny. In the manner of classic haunted house movies like THE INNOCENTS (1960) and THE HAUNTING (1963), THE OTHERS uses a deliberately steady pace to increase tension, gradually drawing viewers into its mystery until they are so engaged that they completely susceptible to the effectively executed scare tactics. Although the actual shocks are few and far between, the film maintains interest with its intelligent storytelling, and the rich atmosphere sustain the mood of supernatural dread throughout, so that when the scares do come, they are worth the wait—even simple things like a slamming door are guaranteed to send you hurtling out of your seat with a scream. Of course, the pacing is a gambit, and it does not always pay off; repeat viewings may have you wishing that the editing were not quite so slow and stately. The scare scenes remain effective, but you may find yourself growing impatient while awaiting their arrival.

SUMMARY

The story is set in a mansion on a small British island, immediately after World War II. Grace (Nicole Kidman) is seeking replacements for three servants who mysteriously disappeared, without explanation. Fortunately, three volunteers show up, led by Mrs. Mills (Fionnula Flanagan), even though (it later turns out) the advertisement Grace mailed to the local newspaper was never picked up by the postman. Our concern about who these servants really are (and what they’re up to) keeps us off-balance while we try to focus on the real story: Grace’s house seems to be haunted; at least, that’s what her daughter Anne (Alakina Mann) insists Grace refuses to believe in ghosts, and so—at least at first—does her son Nicholas (James Bentley). But soon Nicholas is hearing voices in the night and feeling the touch of a hand. Is there really a ghost, or is his older sister playing a horrible prank on him? Soon Grace herself is having doubts, when she hears unaccountable noises in the attic, and finds a door swung closed in her face by an unseen force.
Mrs. Mills lends a sympathetic ear to Grace’s growing fear. But is she really sincere, or merely plotting in some way to drive Grace and her family from the house? Grace’s doubts melt away after she departs for the village, searching for the local priest to bless the house. Lost in the fog, she never makes it to town; instead, she encounters her husband Charles (Christopher Eccleston), who had been presumed dead in the war. Returning with him, she reverts to her previous skepticism, refusing to listen to her daughter’s tales of “The Others” who inhabit the house. But when Charles departs as mysteriously as he arrived, the evidence of another presence in the house grows too strong to ignore. Grace blames the servants for perpetrating some kind of hoax, but locking them out only traps her inside with the intruders, forcing a confrontation that finally reveals the mystery behind the haunting.

CRITICISM

Writer-director Alejandro Amenabar (who also composed the score) orchestrates all these plot elements wonderfully. He knows how to build up to his shocks slowly and carefully, teasing the audience along, making them wait for the big moments without getting bored. Although the limited cast and locations (a half dozen people in one house and the surrounding grounds) almost suggest a stage play, the film is never static. His camera pulls us in, hints at what lies unseen around the corner, gives us glimpses of horrors sometimes real and sometimes imagined. With the help of cinematographer Javier Aguirresarobe, Amenabar achieves a level of atmosphere equivalent to the best black-and-white pictures of this kind. Filmed mostly in darkened interiors (because Grace’s children are allergic to sunlight), THE OTHERS layers on the shadows and fog (thanks to help from the special effects team, who turned the sunny location into a mist-bound limbo) without ever overdoing the effect. In short, this is a film that gives you what you expect from the best examples of the genre, without ever seeming formulaic or predictable.
THE OTHERS is a film that succeeds because it is built upon simple, basic virtues: use story, characterization, and performance to make the audience care about what’s happening on screen; then when the horror element emerges, viewers will scream in fear instead of laughing in derision.
Because of this approach, one comes away from the film not only impressed with the technical competence that crafted the thrills. One also has a vivid appreciation of the film’s performances, which are as strong as in any mainstream, dramatic film. In particular, Nicole Kidman handles herself quite impressively in the lead role: in the horror sequences, she conveys an impressive array of variations on the stock expression of wide-eyed fear, yet somehow she never descends into camp; in the everyday scenes, she brings a level of neurosis to the character that is always convincing. Her character is a god-fearing woman, and she obviously loves her children, but you know that something was wrong even before the haunting started, something that is not fully explained until the very end, but her performance makes the revelation understandable and believable when it comes (just as Anthony Perkins slyly tipped his hand in Hitchcock’s PSYCHO).
Also deserving mention is Fionnula Flanagan as Mrs. Mills, who gives a carefully measured performance that elicits sympathy, even while sowing doubts in our minds about her true intentions.
With this level of performance at his command, Amenabar had the luxury of crafting a film that eschewed the excess of most contemporary horror films. Subtlety (often a misused synonym for unimaginative technique) in this case does what it is supposed to do, resulting in a film that lives up to (even if it does not quite exceed) the classic films that it aspires to emulate.

LASTING APPEAL?

Grace (Nicole Kidman) confronts an apparition claiming to be her daughter.

It is a little too soon for THE OTHERS to have developed the patina of age that one normally associates with a “classic.” The film’s lasting impact, if any, is an open question (although it is spoofed in SCARY MOVIE 3—which suggests the audience is expected to recognize the joke—the film has not entered the public consciousness in the manner of THE SIXTH SENSE). Nevertheless, THE OTHERS’ period setting bestowed an almost “classic” feel on the film from its debut, and the passage of even a couple years contribute to a growing appreciation of the film’s virtues, which embody the best of the Victorian ghost story tradition.
M.R. James, one of the great writers in this field, once outlined the method he used in his tales: set the story up slowly; show the characters going about their daily lives; then introduce the supernatural element gradually; at first, let it be heard rather than seen, then glimpsed fleetingly, before finally making its full appearance on stage. This technique works marvelously in short stories such as those that James wrote, but it can be dangerous when applied to a novel or a full-length movie. By keeping the main element of interest, the ghost, off-screen for so long, one risks boring the audience. This may be even more true in this day and age, when viewers expect a full-frontal assault of CGI special effects starting from frame one. Yet somehow, Amenabar managed to fashion just such an old-fashioned ghost story for the screen.
At times, his film resembles a classic Victorian ghost story written by another author named James: Henry James’ “The Turn of the Screw.” The horror of the situation is amplified to terrifying degrees by focusing on the presence of the two children in the house; the performances by the youngsters are always effective, and Bentley is especially good at portraying a level of fear that is usually heart-breaking.
But THE OTHERS is no carbon copy. “Turn of the Screw” rested on two questions: (1) Were the children innocent victims or accomplices of the ghosts? And (2) were there really any ghosts at all, or were they merely imagined by the novelette’s narrator? For the sake of mystery and suspense, Amenabar’s script doesn’t give us all the answers right away, but it soon becomes apparent that there is indeed some kind of supernatural presence in the house, and the children are terrified of it, not in league with it.
[SPOILER ALERT] Still, even with these elements clarified, the story strives to pull off a surprise ending, revealing that not only the suspicious servants but also Grace and her children are the ghosts haunting the house. Viewers who paid close attention to all the clues were able to figure it out, but this is hardly a criticism. Rather, it characteristic of the best kind of plot twist: one that makes sense out of the mysterious events that preceded: Why did the mail stop coming to the house? Why does the pastor no longer visit? Why does Grace say that she feels absolutely cut off from the rest of the world? Why does a surrounding fog make the house seem as if it’s lost in limbo? In short, Amenabar’s script plays fair with its audience, and the resolution is a satisfying, even if you do have a suspicious notion of where the ending is headed.* [END OF SPOILER ALERT]

DVD DETAILS

THE OTHERS is available on DVD as part of Dimension’s “Collector’s Series,” but the two-disc set will hardly satisfy collectors. The presentation of the film is excellent in terms of picture and sound quality, but there is no director’s audio commentary (perhaps because English is not his first language), and the minimal extras hardly seem sufficient to justify the second disc. The longest of these, a so-called “documentary” look behind the scenes, is little more than a promotional puff-piece that falls far short of providing the sort of critical analysis and historical perspective the film deserves—and which would go a long way toward explaining how such a long-shot movie managed to become a front-runner in the box office race. Such a finely craft film deserved a more thorough presentation on DVD.
THE OTHERS (2001). Written and directed by Alejandro Amenabar. Cast: Nicole Kidman, Fionnula Flanagan, Christopher Eccleston, Alakna Mann, James Bentley, Eric Sykes, Elaine Cassidy, Renee Asherson.
FOOTNOTE [with spoilers]:

Coming only two years after THE SIXTH SENSE, the ending of THE OTHERS is sometimes perceived as a rip-off of that film. Actually, the surprise twist is more reminiscent of the obscure 1973 film VOICES, which stars David Hemmings and Gayle Hunnicutt as a married couple who have moved into an old house that seems to be haunted; eventually, realize they died in a car crash on the way, and now they are among the ghost haunting the place. William Peter Blatty used a similar plot twist at the end of his short novel Elsewhere, which was published as part of the horror anthology 999, in the appropriate year of 1999.

Top 20 Chick Flick Horror Movies

Posted on April 26, 2008July 5, 2020 by Steve Biodrowski

So, you’re a horror movie maniac. You just can’t get enough of ’em. You love the thrill of fear, the scream of terror, the sight of blood. But you have a problem: Your boxed set of BLIND DEAD movies does not enamor your girlfriend. Your Lucio Fulci collection does not send your paramour swooning with rapture. Your unrated torture porn DVDs do not arouse interest. The midnight movie screening of GRINDHOUSE does not inspire romantic fantasies. The latest French gore-fest does not excite erotic intrigue. If anything, the woman in your life is wondering whether you’re a latent serial killer whose interest in the female body does not extend beyond seeing it torn to pieces. You are faced with a dreadful dilemma: either continue to alienate your significant other or stuff those video nasties in the back of the closet along with the real pornography and suffer through endless nights of watching mind-numbingly boring chick flicks like BED OF ROSES (a fate that frightens you far more than anything in your horror collection). Well, lucky for you, we’re here to save the day. You see, there is a way to share your love of the horror genre with a psychologically stable female partner who is not interested in watching an endless stream of blood gushing across the screen. Believe it or not, there are “chick flick” horror movies. They may not be as intense and hardcore as some of your favorite splatter flicks, but they are quite good in their own right, with plenty of appeal to both men and women. Below, we will provide our list of the Top 20 Best Chick Flick Horror Movies.

NOTE: We have more or less listed the films in order of their female appeal, which means that the top-ranked films may not be the most frightening. The first ten tend to emphasize romantic elements of the sort that might be found in a mainstream “chick flick.” The remaining ten simply feature strong female leads.

1. TOMB OF LIGEIA (1964). This adaptation of Edgar Alan Poe’s “Ligeia,” features Vincent Price as a man obsessed with the fear that his late wife will return from the grave to haunt him. Although technically too old for role, which was written as a young romantic lead, Price is wonderful as the doomed widower; with a little assist from the makeup department, he conveys the necessary mystique. Lady Rowena (Elizabeth Shepherd) meets and falls in love with him, inspiring him to overcome his fear and marry her. The story is told from Rowena’s point of view, as she is intrigued and enamored by this brooding, mysterious man, only to learn that the dark secret hanging over him will not easily be dispelled. Thanks to a strong performance by Shepherd, working from a great script by Robert Towne, Rowena emerges as one of cinema’s strongest leading ladies – willful and intelligent, she risks her life to drag her husband from the grip of the late Lady Ligeia. The horror element is very muted; the emphasis is on the doomed romance between the two lovers. A moody masterpiece, the film’s fear factor is mostly implied; director Roger Corman includes a few jump scares (the sudden snarl of a cat) and some hypnotic dream sequences, creating an almost surreal sense of dread the relies on Gothic atmopshere more than on-screen violence. In short, this Gothic Romance is the perfect date night rental: you can enjoy the “Gothic,” and she will enjoy the “Romance.”

2. I WALKED WITH A ZOMBIE (1943). Producer Val Lewton famously called this movie “Jane Eyre in the West Indies.” He may have been joking, but the statement was accurate enough in its way. The story follows a nurse named Betsy (Frances Dee) who gets a job on a plantation tending the brain-dead wife of her employer Paul (Tom Conway). The wife may or may not be a zombie (the film is deliberately ambiguous on this point); either way, her presence is a living a reminder of ugly family secrets that Paul would rather forget. Betsy falls in love with him, of course, but she sublimates her desire by trying to cure Paul’s wife, taking her to a voodoo ceremony. The attempt backfires: the locals are terrified of the zombie woman and want to destroy her. Atypically for the horror genre, the characterization and performances outweigh the horror; Director Jacques Tourner presents the horror almost entirely in terms of atmosphere, creating a dream-like world in which science and the supernatural vie for acceptance, but ultimately, the voodoo element is a backdrop for the love story between Betsy and Paul, with her in the Jane Ayre role and him as the Byronic Rochester substitute. Best of all, the lovers actually get together and (presumably) live happily ever after.

3. THE GHOST AND MRS MUIR (1947). This classic is much more romantic-comedy than horror, but the early scenes – when Mrs. Muir (Gene Tierney) moves into the old house and realizes it is haunted by the ghost of an old sea captain (Rex Harrison) are as effective as any genuine haunted-house movie. The ghost’s first appearance – a shadowy, out-of-focus silhouette – sends a shiver or two down the spine, and his later full-blown revelation -when Mrs. Muir lights and candle, revealing him standing next to her – is a genuine shock. After this, the film segues into a love story levened with humor, but Tierney and Harrison are absolutely wonderful, and the film will charm the woman in your life – and entertain you as well.

4. DRAGONWYCK (1946). This Gothic-Mystery-Romance features both Gene Tierney and Vincent Price; in many ways, it predates Price’s later TOMB OF LIGEIA, and it was filmed when he was still young enough to play a leading man. More important, this was before he had earned a reputation for screen villainy, so the horrible revelations about his character come as a complete surprise, instead of being telegraphed (as they are in LIGEIA). Price plays the wealthy Nicholas Van Ryn, who sweeps the lovely Miranda Wells (Tierney) off her feet and takes her as his bride to his ancestral estate of Dragonwyck. Miranda’s happiness is soon marred by strange noises in the night and other dark forebodings. Eventually we realize that Nicholas is interested in her only as a means of producing an heir to continue the family line, and if she fails in that duty, he may have to do away with her (as he did his previous wife) and find a replacement. It’s a bit of a stretch to call this a “horror” film, but it is steeped in Gothic atmosphere. Tierney, as always, is a captivating presence, and the romantic chemistry between her and Price is engaging, even if it eventually turns sour. If you like this film, you might also try REBECCA, the 1940 Alfred Hitchcock film starring Laurence Olivier and Joan Fontaine, with Judith Anderson as the wonderfully wicked servant Mrs. Danvers. It’s another Gothic Melodrama – not an outright horror film, but filled with mystery and romance that plays well with both male and female viewers.

5. UGETSU (1953). Director Kenji Mizoguchi’s period piece, detailing the impact of civil war on two married couples, flirts with the horror genre in several scenes, ultimately turning into a ghost story. There are no overt shocks, but there are some wonderfully eerie moments when a husband realizes he is consorting with a ghost. The overall feeling is one of sorrow more than scares. The movie is ultimately about the price that women pay while their men try to achieve glory and honor during wartime. The result is a real tear-jerker that will have your girlfriend reaching for the tissue box and marveling at what a sensitive soul you are, while you enjoy the ghostly apparitions.

6. THE GORGON (1964). This is not the most effective Hammer horror film in terms of providing scares, but that is only because the emphasis is on romance. The film is a doomed love story about a young student named (Richard Pasco) who comes to a village where a monster is petrifying its victims. After a close encounter with the Gorgon, Paul is nursed back to health by Carla (Barbara Shelley) and falls in love with her. Carla, although she returns his affection, is bound by some dark power over her; eventually, we realize that during the full moon, she becomes the Gorgon. The dynamic acting duo of Peter Cushing and Christopher Lee are on hand as a doctor and a professor, each separately trying to solve the problem, but ultimately there is no hope for Carla or Paul. The film’s greatest achievement is that its horror effects are orchestrated for their emotional impact: this isn’t a movie that has you screaming in terror but weeping in sadness over the plight of the young lovers. The finale will have you and your lady-friend exchanging bodily fluids, but they will be tears of sadness.

7. THE PHANTOM OF THE OPERA (1925). This famous tale of the deformed mystery man lurking beneath the Paris Opera House is now considered a horror film, but in its day it was more of a mystery-thriller-romance. Erik the Phantom (Lon Chaney) delivers a series of frights (including the famous unmasking of his horrifying visage), but the story is really about his hopeless love for the young and beautiful opera singer Christine (Mary Philbin). The style of this old silent film is dated and stagy, but Chaney keeps it interesting; also, the sets and photography capture the right atmosphere – part horror and part fairy tale – creating the perfect setting for the this variation on “Beauty and the Beast,” with the monster evoking sympathy because of the tender emotions hiding behind his ugly countenance. There have been several remakes. The 1962 version is perhaps even more of a chick flick in that it de-emphasizes the horror element and purifies the Phantom (Herbert Lom)’s motives: he’s no longer interested in Christine sexually, only spiritually. The result yields few frights, but the film possesses a tender quality rare in the horror genre – which should increase its appeal to the distaff side of the audience.

8. DRACULA (1979). There has always been a certain sexual innuendo underlying the Dracula myth, with the mysterious, dark, foreign stranger sneaking into the bedrooms of virginal British ladies. Bela Lugosi played up the foreign mystique, and Christopher Lee emphasized the sexual aggression, but Frank Langella turned the Count into a romantic anti-hero, dashing and seductive, who not only lusts for women (their bodies and their blood) but loves Lucy(Kate Nelligan) for her spirit and intelligence. In 1992, BRAM STOKER’S DRACULA, tries to emphasize the romance even more, but director Francis Ford Coppola fumbles, turning the story into an overwrought teen romance better suited to an episode of JERRY SPRINGER (vampires – and the women who love them).

9. CASTLE OF BLOOD (1964). Allegedly based on the work of Edgar Alan Poe, this Italian Gothic horror story tells of Alan, a reporter who wagers he can spend a night alone in a haunted castle. He meets a variety of spooks, including a very alluring one named Elizabeth (played by Barbara Steele, the Queen of Horror). They fall in love, but being – literally – from two different worlds, they cannot stay together, or so it seems. As daylight draws near, the other ghosts come seeking the young man’s blood; Elizabeth tries to lead him to safety, but he dies on the verge of escape. The seemingly downbeat ending is actually a triumph of love over death. As the camera pans up to the sunlight, we hear the disembodied spirits of Alan and Elizabeth conversing, and we know that they are now together for eternity – the ultimate romantic fantasy. Steele also starred in a dual role as an innocent princess and a vampire-witch in the 1960 classic BLACK SUNDAY – a much more effective horror film that also has a strong romantic element, thanks to the chemistry between the princess and a young doctor (John Richardson) who seeks to save her from the vampire.

10. THE GIRL IN A SWING (1989). This small independent film, based on the novel by Richard Adams, is essentially a love story about a repressed British man (Rupert Frazer), who meets and marries a mysterious German girl named (Meg Tilly). In the great tradition of tragic romances, the marraige is doomed, but only gradually do hints of a haunting arise, related to some guilty secret of Karin’s. The relentless ghost is seldom seen, keeping the horror content to a minimum; instead, the film focuses on the tragedy of the relationship. Though far from a masterpiece, the film works in its own way, achieving its emotional effects with far less cheesy manipulation than LOVE STORY – and it has a ghost, too, so what more do you want?

11. BEDLAM (1946). Another Val Lewton production, this period piece tells of an arrogant woman (Anna Lee) who is unfairly confined to the infamous English asylum. Although the official star is Boris Karloff (FRANKENSTEIN) as the asylum’s evil overlord, Lee gives a great performance in what is truly the lead role: charting her character’s arc from selfishness to concern for the other patients, she emerges as one of the great female characters in the history of horror cinema.

12. THE INNOCENTS (1960). This excellent English ghost story, based on Henry James’ The Turn of the Screw, stars Deborah Kerr as Miss Giddens, a governess put in charge of two children living in a secluded mansion. She gradually comes to believe that the house is haunted and that the children are in league with the ghosts. The film is deliberately ambiguous: are the ghosts real or is Miss Giddens imagining them? Either way, it is a wonderful portrait of a woman desperately dealing with a horrible situation without a hero to ride in and rescue her.

13. THE HAUNTING (1963). Another great ghost story, this one portrays an attempt to investigate the “Mount Everest of Haunted Houses.” Based on Shirley Jackson’s The Haunting of Hill House, the story is told from the point of view of Nell (Julie Harris), a fragile young woman whose desperate need for love and acceptance lures her to succumb to Hill House. An effective scare-fest, this film is also a great character study that should appeal to female viewers. Men can enjoy the scares and the presence of Claire Bloom as Theo, whom the film none too subtly insinuates is a lesbian. The 1974 film THE LEGEND OF HELL HOUSE deals with a similar situation: a team of two men and two women attempt a sceintific investigation of a haunted house. The scares are a bit more overt, and the psychology less in depth, but the film retains some “chick flick” interest thanks to the performances of Pamela Franklyn and Gayle Hunnicutt, who help create characters that the women in the audience can identify with.

14. THE OTHERS (2001). Intentionally molded in the tradition of THE INNOCENTS, this ghost story features another strong female lead, in this case played by the talented Nicole Kidman. The scares are extremely effective, but what holds interest from beginning to end is the focus on Kidman’s Grace Stewart as she desperately tries to protect her children from the mysterious forces at work in their isolated house.

15. THE ORPHANAGE (2007). Belen Rueda stars as Laura, a woman whose son goes missing in their new house, possibly abducted by ghosts. As with the three previous entries on our list, this film orchestrates a series of unnerving spooky encounters while focusing on the drama of the woman trying to deal with them. There is also a strong maternal element that plays well with women. Although vulnerable, Laura is not a Scream Queen or a victim; she’s not even the traditional “Final Girl” who survives and triumphs. She’s a complex, damaged woman who keeps going even when pushed to extremes. The film was executive produced by Guillermo Del Toro, whose PAN’S LABYRINTH and THE DEVIL’S BACKBONE may also appeal to women, because of their portrait of childhood innocence menaced by adult horrors, with empahsis on emotional content.

16. CARRIE (1976). Despite director Brian DePalma’s reputation as a cinematic misogynist, this hit horror film features two actresses (Sissy Spacek and Piper Laurie) in strong roles, giving Oscar-nominated performances. This is more a high-school horror film than a chick flick, but it captures a sense of ordinary people living in a world we all recognize, and despite the horrible vengeance she ultimately unleashes on her tormentors, Carrie remains a sympathetic character that women – and men – can relate to.

17 RING 0: BIRTHDAY (2000). This prequel to 1998’s RING (the film that launches the recent J-Horror wave) covers some of the same territory as CARRIE. Set in a small acting troup, it tells the story of Sadako (Yukie Nakama), a young misfit with strange powers, who is tormented by her fellow thespians until she turns the tables. Presenting a far more sympathetic portrait of Sadako than seen in the other RING films, this is pretty much a bust as a horror film, but it is an interesting portrait of a sad, lonely, mixed up girl trying to fit in. In general, ghost movies from Japan and other Asian nations should find favor with female viewers: they tend to feature female characters as the protagonists, and the restless spirits are almost always women, their power in death redressing the imbalance they suffered during their lives under a patriarchal culture. Besides RING, check out PHONE, THE EYE, JU-ON: THE GRUDGE, and SHUTTER.

18. ONIBABA (1964). This black-and-white Japanese horror classic has few traditional chick flick elements, but it focuses on two women in the lead roles. Like UGETSU, it portrays the suffering of women while their men are away at war; in this case a young woman and her mother-in-law make ends meet me murdering lone samurai and selling their armour. Toward the end there is a demonic appartion and possibly a curse, but much of the film’s appeal lies in watching the women dish out death to the men who fall into their trap.

19. ALIEN (1979). There is not much about this film that labels it as a chick flick, but it does feature Sigourney Weaver as Warrant Officer Ripley, the character who once and for all over-turned the cliche of women as helpless screaming victims in monster movies. That should be enough to get your girlfriend to sit through the chest-burster and other horrors on display.

20. DAY OF THE DEAD(1985). This last title is really pushing it, but we think you deserve something in return for making the effort to find common ground with your squeamish main squeeze. After sitting through all those Gothic Romances, subtle ghost stories, and psychological terror tales, you want some gruesome gore, right? Well, this film from writer-director George Romero is just the thing: it’s brimming with blood, but it also has a strong female character in the lead, Lori Cardilel as Sarah. Inverting the formula of NIGHT OF THE LIVING DEAD, in which Barbra (Judith O’Dea) was pretty much a useless space case, Romero makes Sarah the only one who can keep her shit together while humanity totters on the brink of extinction. That may not make it a chick flick, but it should offer at least a little redeeming value for making the love your life watch a man ripped in half by cannibalistic zombies.

If you are interested in the films on this list, most of them are reviewed more fully elsewhere on the website. You can access the reviews by clicking on the titles that contain hyperlinks.

NOTE: Yes, this article makes sexist assumptions about what constitutes a “chick flick,” and we know that some women do not like the term – an issue we addressed in this previous editorial.

UPDATE (04/27/08): We have received some suggestions for titles we overlooked:

Lucius Gore of Eplatter recommends SCREAM. I suppose the combination of humor and a strong “Final Girl” character would appeal to women more than a standard slasher movie.
Brian Collins of Horror Movie a Day recommends GINGER SNAPS.
Jeff Allard of Dinner with Max Jenke believes that ALIENS has a greater female appeal than ALIEN, which makes sense, considering the maternal themes in the film. He also recommends ROSEMARY’S BABY – which is such an obvious choice that I am embarrassed to have overlooked it. Roman Polanski’s adaptation of the Ira Levin novel is considered to be one of the greatest horror movies ever made (EXORCIST director William Friedkin puts it on his very short list here), and it’s all about a young married woman (Mia Farrow)undergoing her first pregnancy. Yes, we all know she is going to give birth to the spawn of Satan – or is she? The film actually delivers little-to-no evidence on this score except the professed belief of the Satanic cult (we’re supposed to trust them?). In a way, the movie plays out as a drama about a woman undergoing a trouble pregnancy, who is betrayed by her husband, and bedeviled by some kooky neighbors. In othe words, it is very much set in the real world, and features a situation that is completely relatable; even if the details are extreme, almost any woman could watch this movie and identify with what poor Rosemary is suffering.

UPDATE (01/28/09): Someone on an IMDB message board thread, linking to this article, suggested that THE DESCENT should have made the list.