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Jason Zinoman

Shock Value

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In the New Hollywood of the 1970s, just as Martin Scorsese, Steven Spielberg and Francis Ford Coppola were making their first classic films, a parallel group of directors was inventing the modern horror film. Wes Craven, George A. Romero, Roman Polanski, John Carpenter, Brian De Palma and others made films that were aggressive, raw and utterly original. They would go on to achieve massive box office success. Based on unprecedented access to these leading figures, and hundreds of other interviews, Jason Zinoman's Shock Value delivers an enthralling behind-the-scenes account of horror's golden age. Films such as Rosemary's Baby, Carrie, The Texas Chainsaw Massacre and Halloween created the template used by horror films ever since. They exploded taboos and drew on their creators' deepest anxieties to bring horror a gritty, confrontational style and political edge. Shock Value tells the remarkable stories behind the making of these films, which remain misunderstood even by some avid fans. Shot largely outside the Hollywood system on shoestring budgets, they dispensed with traditional vampires and werewolves, assaulting audiences with the dark side of suburbia and a new brand of nihilistic violence. When The Exorcist became the highest-grossing blockbuster of all time, the big studios took notice and the cinema would never be the same again. As the classic horror films of the 1970s conquered both the multiplex and the art house, thy entered the collective imagination and as Jason Zinouman shows, even taught us what to be afraid of. Shock Value is an enormously entertaining account of a highly influential era in filmmaking and Hollywood history.
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  • Роман Навескинhar citeretfor 7 år siden
    Friedkin refused to produce a remake, but in 2000, he agreed to rerelease the original movie with ten minutes of cuts restored that added the explanation of why the devil haunted that house. What was a story filled with ambiguity and mystery became what Blatty had always wanted: a religious morality tale.
    Sitting in the backyard of his palatial Maryland home, Blatty smiles like a man who had lost the battle but won the war. He describes the rerelease as a major improvement. “It has a meaning more than a horror show,” he says. “Demons are real.”
  • Роман Навескинhar citeretfor 7 år siden
    In the wake of the success of Alien, O’Bannon became preoccupied with the idea that someone was trying to kidnap him. He stayed out of the public eye and kept photos of his face scarce. With the money he made, he bought a house in Santa Monica, but then spent an extra $75,000 on a security system. His gun collection grew. O’Bannon remained the alienated pessimist, certain of the evil outside his door. If anything, he became even more like the monster in Lovecraft’s “The Outsider,” cloistered in his tower, resentful to the point of rage.
  • Роман Навескинhar citeretfor 7 år siden
    Updating this political argument, he claims that the subtext of movies like Hostel is the anger about the Iraq War
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