list http://www.spout.com/ Recent community activity around The Amityville Horror on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/The_Amityville_Horror/1226/default.aspx Title: The Amityville Horror
Year: 1979
Director: Stuart Rosenberg
Plot: "For God's sake, GET OUT!" was the ad campaign for the 1979 shocker The Amityville Horror. The film was based on the allegedly true story of the luckless Lutz family, who move lock, stock, and barrel into a new home, only to find that it is possessed by the demonic spirits of its previous owners. Variations of the Seven Deadly Plagues emanate from virtually every household fixture, while other forms of otherworldly mischief are suffered by the Lutz children. Enter kindly Father Delaney (Rod Steiger), who does his utmost to exorcise the house. The Amityville Horror was frequently greeted with laughs from its first-run audiences, especially after it was discovered that the "actual" events depicted in the film (based on a book by Jay Anson) were complete fabrications. ~ Hal Erickson, All Movie Guide
Times Tagged: 10
Number of Lists: 13
Number of blog posts: 3
Number of discussion threads: 4
SpoutRating: 3
]]>Sat, 08 Nov 2008 08:08:54 GMTThe Amityville Horror1979Stuart Rosenberg"For God's sake, GET OUT!" was the ad campaign for the 1979 shocker The Amityville Horror. The film was based on the allegedly true story of the luckless Lutz family, who move lock, stock, and barrel into a new home, only to find that it is possessed by the demonic spirits of its previous owners. Variations of the Seven Deadly Plagues emanate from virtually every household fixture, while other forms of otherworldly mischief are suffered by the Lutz children. Enter kindly Father Delaney (<a href="/players/P____67882/default.aspx" style='text-decoration:underline'>Rod Steiger</a>), who does his utmost to exorcise the house. The Amityville Horror was frequently greeted with laughs from its first-run audiences, especially after it was discovered that the "actual" events depicted in the film (based on a book by Jay Anson) were complete fabrications. ~ Hal Erickson, All Movie Guide10Taggedy Taggged (6-10)13343http://www.spout.com/ProductImages/t57616jnk0f.jpghttp://www.spout.com/films/The_Amityville_Horror/1226/default.aspxFilm http://www.spout.com/groups/HORROR_MOVIES_101/Re_iAyudame_that_means_help_in_Spanish/222/37104/1/ShowPost.aspx Post By: Dr_Gor
Post To: HORROR MOVIES 101
Post Date: 11/8/2008 3:08:54 AM
Body: There are better American ghost stories. How about The Amityville Horror or The Shining or Ghost Story ... But if you want to explore other good ghost stories you might want to look at some British films like The Haunting and The Legend of Hell House ... < GOR >
]]>Sat, 08 Nov 2008 08:08:54 GMTDr_GorHORROR MOVIES 10111/8/2008 3:08:54 AM There are better American ghost stories. How about The Amityville Horror or The Shining or Ghost Story ... But if you want to explore other good ghost stories you might want to look at some British films like The Haunting and The Legend of Hell House ... &lt; GOR &gt; http://www.spout.com/blogs/spoutblog/archive/2008/9/17/35256.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 9/17/2008 4:01:25 PM
Body: If you took one look at the existence of the new movie Ghost Town and dismissed it on account of its familiarity, you’re ignoring the potential of one of the most valuable plot devices available to fiction. Sure, the employment of ghosts in a narrative may also be evidence of laziness, as the device is just as much a convenience as it is a useful tool for storytellers. Not everyone can be Shakespeare, and of course there is a lot of redundancy and (excuse the pun) lifelessness in the majority of movies involving ghosts. However, ghosts can also be highly representative and/or serve a film on a deeper level than the surface story. To use another pun, ghost movies are not always so transparent. Like zombies, their plot-device sibling, ghosts have a way of signifying greater ideas, subjects and themes, and aren’t always merely about scares and talking-to-thin-air gags. In a conversation with Cinematical’s Erik Davis, Ghost Town director/co-writer David Koepp had this to say about the significance of ghost stories: Part of the reason they’re so enduring is because, well, first off all they give hope — because if they are ghosts, then it means we don’t die when we die. But also because they work really well in a number of genres. Ya know, in a drama like Ghost, or a horror movie, suspense or comedy in our case — I just think they offer so many dramatic possibilities; to have someone that’s dead, but still around to talk about it really suggests a lot of great situations. Okay, so that bit of promotional fluff is actually more about the literal dramatic qualities of the ghost device than the figurative and subtextual, but the quote at least jumpstarted my thinking. Initially I had thought about simply outlining how ghosts have been applied to different film genres, but then I fortunately switched my goal to seek out ten specific ghost films (from the seemingly thousands out there) that utilize the device for more meaningful purpose. Poltergeist (1982) and Poltergeist II: The Other Side (1986) Ghosts = Threat to Middle-Class In his book Media Culture: Cutural Studies, Identity and Politics Between the Modern and the Postmodern, critical theorist Douglas Kellner points to a multitude of ideas represented by the ghosts haunting the Freeling family in Poltergeist. In fact, these ideas are discussed over 11 pages (viewable on Google Book Search), also concern the first sequel, Poltergeist II: The Other Side, and include everything from threats of TV’s hold on children to the disintegration of the 1960s counterculture. Generally, though, Kellner sees the first two Poltergeist movies as being about threats to the middle-class and nuclear family in an era of economic insecurity. The ghosts in Poltergeist, Kellner argues, stand in for working-class and racial “others,” and they signify in their actions the break-up of the family unit and fears of losing one’s home and job. With these representations in mind, it’s not so unnecessary, perhaps, that a remake of Poltergeist is currently in the works. The Amityville Horror (1979)  Ghosts = Financial Insecurity This is merely a companion to the Poltergeist films in terms of its ghosts’ representation, but seeing as it was released prior to the first Poltergeist film and it received its allegorical reading from none other than Stephen King (in an article titled “Why We Crave Horror Movies” published in Playboy, quoted in Kellner’s book), I had to include it. Here is what King had to say about the film: “The movie might as well have been subtitled ‘The Horror of the Shrinking Bank Account’…. The Amityville Horror, beneath its ghost-story exterior, is really a financial demolition derby.” Ghostbusters (1984)  Ghosts = Obesity or Scum of Old New York Although it was meant as a joke, the Volkswagon ad in which a projectionist argues his idea that Ghostbusters is a serious warning about the obesity epidemic facing America isn’t completely ridiculous. The points about blobby figures, Dana’s fridge and the Stay-Puft Marshmallow Man are fair evidence for such an argument. But I’m slightly more interested in the “libertarian” reading of the ghosts as representations of old New York, particularly the filthy, near-bankrupt old New York of the decade preceding the film’s release, which was recently proposed by Karina on this very blog. The Ghostbusters as gentrifying force and pre-Giuliani city-sweepers is interesting, though it might have been more clearly conveyed if some ghosts were in Warriors-like gangs and/or peddling porn in Times Square and/or getting kids hooked on “slime” that can be smoked through a pipe. But I do love the idea that the ghosts are a threat to primarily wealthy New Yorkers just as in real-life it was the homeless and other scum clashing with the new money Manhattanites. Karina also sees the ghosts in the film as a sort of reminder of the New York history that goes back further than the financial and criminal problems of the ‘60s and ‘70s: “Ghostbusters plays on an entire city’s anxieties that, as renters, our spaces don’t belong to us, that there’s a history to our homes that we’ll never know, and probably shouldn’t know.” The Sixth Sense (1999)  Ghosts = Insignificance I love facetious readings of movies, both because I think film scholarship is sometimes too serious and because I think such readings can often be taken more seriously than intended. I’ve already pointed to one example with the VW Ghostbusters ad (there’s a whole series of these ads, of which I find the Toy Story one to be the most hilarious and cogent). Now, I present a humorous address of the major plot hole in The Sixth Sense, part of a Cracked.com list, which asks, regarding the unlikelihood of Bruce Willis’ complete obliviousness to his ghostly existence, “What kind of lifestyle was he living before his death that would make him fail to notice that no one could see or hear him?” Implausible, sure, but it’s also representative of insecurities many of us have about our significance in the world. The Sixth Sense is therefore kind of like the antithesis to It’s a Wonderful Life by showcasing the possibility that your life is so meaningless that were you invisible or dead you would experience no difference. Ghost (1990)  Ghosts = Love’s Bond The fact that, in The Sixth Sense, Bruce Willis doesn’t notice his nonexistence even when in the presence of his wife says something about his character’s perception of and role in that marriage. On the other side of the coin, perhaps, is Demi Moore’s character in Ghost. A precursor and inferior film to Jonathan Glazer’s Birth, it deals more slightly with the same themes of faith and knowability as they pertain to love. This earlier film is far less cynical, though, evident in the employment of a literal ghost rather than simply an outlet for the dead (Ghost would be more similar to Birth if we, like Demi Moore’s character, only saw, heard and had to trust Whoopi Goldberg’s psychic character). There’s still a bit of initial skepticism that love’s bond is nothing more than shared secrets and memories (as if the first convincing evidence that Sam is there, the response “ditto,” couldn’t have been overheard by someone outside the relationship), but continued proof of the ghost’s existence turns the device into an allegory for the spiritual bond between lovers. And it’s apparently a strong enough bond to give Molly (Moore) the faith that she’s kissing her dead husband, even if it may look like she’s kissing a con woman (Goldberg). Over Her Dead Body (2008) Ghosts = Memories of Ex-Lovers Now, imagine if in Ghost, Goldberg’s character actually wanted to pursue a relationship with Molly and was unfortunately haunted by Molly’s previous lover. That’s kind of the premise behind this movie, which proves that even lame ghost movies can at least be allegorical. Here, a psychic character (Lake Bell) falls for a veterinarian (Paul Rudd) and must win his love while being literally haunted by his jealous former fiancée (Eva Longoria). Here the ghost represents that memory of an ex-lover (whether a dumper, dumped or deceased) that can torment the mind of either party in a new relationship, making it difficult to move on to or trust a new lover. Of course, Over Her Dead Body wasn’t the first movie to deal with such a theme, and you’d be better off watching something older and better, like Blithe Spirit, but I wanted to reference some bad films on this list, too. Just be glad I didn’t go ahead and include Ghost Dad as an allegory about inheritance. visit videodetective.com for more info The Univited (1944) Ghosts = Lesbians Continuing a link to the Demi Moore-Whoopi Goldberg kiss (in which Patrick Swazye’s ghost is superimposed over Goldberg to play it safe for the audience), here is a film in which a ghost actually allegorically represents the “spectral presence of lesbianism,” to borrow a phrase from film scholar Patricia White, who writes of this film and others in her look at the correlation between Hollywood ghost movies and lesbian movies in the book Uninvited: Classical Hollywood Cinema and Lesbian Representability. In addition to implying an actual lesbian relationship, which ended with the death of one of the women, the film’s ghost also seems to represent threats of maternal identification and the female Oedipus complex. Goodbye, Dragon Inn (2003) Ghosts = Cross-Gendered Spectatorship The ghostly theater audience members in this Tsai Ming-liang film may represent the death of the moviegoer or of cinema itself, but I also see the transvestite ghost as being representative of cross-gendered identification experienced through film spectatorship. 13 Ghosts (1960) Ghosts = Communists Okay, this one is a total stretch, but it works for me because (1) thanks to Joe Dante’s Matinee, I’ve always looked at William Castle films as having a Cold War context and (2) I’m shocked that there aren’t actually any Cold War-era films that more clearly employ ghosts as representatives of a Communist threat. I guess monsters, pod people, witches and aliens were sufficient allegories, but I also think it a missed opportunity to relate ghosts to Karl Marx’s phrase “spectre of Communism.” Anyway, in forcing this film into my wanting of such a Communist allegory, I have only this argument: the goggles used both in the film and (as one of Castle’s many gimmicks) outside the film to detect ghosts could be taken as a sort of fantasy for Americans wishing they had special goggles that could detect any Reds living among them. It’s almost like a counterpart to the goggles that detect capitalistic aliens in They Live, right? No? Well, I tried, and hopefully someone can make a modern ghost story that at least employs ghosts as terrorist allegory. Originally posted on:SpoutBlog
]]>Wed, 17 Sep 2008 20:01:25 GMTSpoutBlogSpoutBlog on spout.com9/17/2008 4:01:25 PMIf you took one look at the existence of the new movie Ghost Town and dismissed it on account of its familiarity, you’re ignoring the potential of one of the most valuable plot devices available to fiction. Sure, the employment of ghosts in a narrative may also be evidence of laziness, as the device is just as much a convenience as it is a useful tool for storytellers. Not everyone can be Shakespeare, and of course there is a lot of redundancy and (excuse the pun) lifelessness in the majority of movies involving ghosts. However, ghosts can also be highly representative and/or serve a film on a deeper level than the surface story. To use another pun, ghost movies are not always so transparent. Like zombies, their plot-device sibling, ghosts have a way of signifying greater ideas, subjects and themes, and aren’t always merely about scares and talking-to-thin-air gags. In a conversation with Cinematical’s Erik Davis, Ghost Town director/co-writer David Koepp had this to say about the significance of ghost stories: Part of the reason they’re so enduring is because, well, first off all they give hope — because if they are ghosts, then it means we don’t die when we die. But also because they work really well in a number of genres. Ya know, in a drama like Ghost, or a horror movie, suspense or comedy in our case — I just think they offer so many dramatic possibilities; to have someone that’s dead, but still around to talk about it really suggests a lot of great situations. Okay, so that bit of promotional fluff is actually more about the literal dramatic qualities of the ghost device than the figurative and subtextual, but the quote at least jumpstarted my thinking. Initially I had thought about simply outlining how ghosts have been applied to different film genres, but then I fortunately switched my goal to seek out ten specific ghost films (from the seemingly thousands out there) that utilize the device for more meaningful purpose. Poltergeist (1982) and Poltergeist II: The Other Side (1986) Ghosts = Threat to Middle-Class In his book Media Culture: Cutural Studies, Identity and Politics Between the Modern and the Postmodern, critical theorist Douglas Kellner points to a multitude of ideas represented by the ghosts haunting the Freeling family in Poltergeist. In fact, these ideas are discussed over 11 pages (viewable on Google Book Search), also concern the first sequel, Poltergeist II: The Other Side, and include everything from threats of TV’s hold on children to the disintegration of the 1960s counterculture. Generally, though, Kellner sees the first two Poltergeist movies as being about threats to the middle-class and nuclear family in an era of economic insecurity. The ghosts in Poltergeist, Kellner argues, stand in for working-class and racial “others,” and they signify in their actions the break-up of the family unit and fears of losing one’s home and job. With these representations in mind, it’s not so unnecessary, perhaps, that a remake of Poltergeist is currently in the works. The Amityville Horror (1979)  Ghosts = Financial Insecurity This is merely a companion to the Poltergeist films in terms of its ghosts’ representation, but seeing as it was released prior to the first Poltergeist film and it received its allegorical reading from none other than Stephen King (in an article titled “Why We Crave Horror Movies” published in Playboy, quoted in Kellner’s book), I had to include it. Here is what King had to say about the film: “The movie might as well have been subtitled ‘The Horror of the Shrinking Bank Account’…. The Amityville Horror, beneath its ghost-story exterior, is really a financial demolition derby.” Ghostbusters (1984)  Ghosts = Obesity or Scum of Old New York Although it was meant as a joke, the Volkswagon ad in which a projectionist argues his idea that Ghostbusters is a serious warning about the obesity epidemic facing America isn’t completely ridiculous. The points about blobby figures, Dana’s fridge and the Stay-Puft Marshmallow Man are fair evidence for such an argument. But I’m slightly more interested in the “libertarian” reading of the ghosts as representations of old New York, particularly the filthy, near-bankrupt old New York of the decade preceding the film’s release, which was recently proposed by Karina on this very blog. The Ghostbusters as gentrifying force and pre-Giuliani city-sweepers is interesting, though it might have been more clearly conveyed if some ghosts were in Warriors-like gangs and/or peddling porn in Times Square and/or getting kids hooked on “slime” that can be smoked through a pipe. But I do love the idea that the ghosts are a threat to primarily wealthy New Yorkers just as in real-life it was the homeless and other scum clashing with the new money Manhattanites. Karina also sees the ghosts in the film as a sort of reminder of the New York history that goes back further than the financial and criminal problems of the ‘60s and ‘70s: “Ghostbusters plays on an entire city’s anxieties that, as renters, our spaces don’t belong to us, that there’s a history to our homes that we’ll never know, and probably shouldn’t know.” The Sixth Sense (1999)  Ghosts = Insignificance I love facetious readings of movies, both because I think film scholarship is sometimes too serious and because I think such readings can often be taken more seriously than intended. I’ve already pointed to one example with the VW Ghostbusters ad (there’s a whole series of these ads, of which I find the Toy Story one to be the most hilarious and cogent). Now, I present a humorous address of the major plot hole in The Sixth Sense, part of a Cracked.com list, which asks, regarding the unlikelihood of Bruce Willis’ complete obliviousness to his ghostly existence, “What kind of lifestyle was he living before his death that would make him fail to notice that no one could see or hear him?” Implausible, sure, but it’s also representative of insecurities many of us have about our significance in the world. The Sixth Sense is therefore kind of like the antithesis to It’s a Wonderful Life by showcasing the possibility that your life is so meaningless that were you invisible or dead you would experience no difference. Ghost (1990)  Ghosts = Love’s Bond The fact that, in The Sixth Sense, Bruce Willis doesn’t notice his nonexistence even when in the presence of his wife says something about his character’s perception of and role in that marriage. On the other side of the coin, perhaps, is Demi Moore’s character in Ghost. A precursor and inferior film to Jonathan Glazer’s Birth, it deals more slightly with the same themes of faith and knowability as they pertain to love. This earlier film is far less cynical, though, evident in the employment of a literal ghost rather than simply an outlet for the dead (Ghost would be more similar to Birth if we, like Demi Moore’s character, only saw, heard and had to trust Whoopi Goldberg’s psychic character). There’s still a bit of initial skepticism that love’s bond is nothing more than shared secrets and memories (as if the first convincing evidence that Sam is there, the response “ditto,” couldn’t have been overheard by someone outside the relationship), but continued proof of the ghost’s existence turns the device into an allegory for the spiritual bond between lovers. And it’s apparently a strong enough bond to give Molly (Moore) the faith that she’s kissing her dead husband, even if it may look like she’s kissing a con woman (Goldberg). Over Her Dead Body (2008) Ghosts = Memories of Ex-Lovers Now, imagine if in Ghost, Goldberg’s character actually wanted to pursue a relationship with Molly and was unfortunately haunted by Molly’s previous lover. That’s kind of the premise behind this movie, which proves that even lame ghost movies can at least be allegorical. Here, a psychic character (Lake Bell) falls for a veterinarian (Paul Rudd) and must win his love while being literally haunted by his jealous former fiancée (Eva Longoria). Here the ghost represents that memory of an ex-lover (whether a dumper, dumped or deceased) that can torment the mind of either party in a new relationship, making it difficult to move on to or trust a new lover. Of course, Over Her Dead Body wasn’t the first movie to deal with such a theme, and you’d be better off watching something older and better, like Blithe Spirit, but I wanted to reference some bad films on this list, too. Just be glad I didn’t go ahead and include Ghost Dad as an allegory about inheritance. visit videodetective.com for more info The Univited (1944) Ghosts = Lesbians Continuing a link to the Demi Moore-Whoopi Goldberg kiss (in which Patrick Swazye’s ghost is superimposed over Goldberg to play it safe for the audience), here is a film in which a ghost actually allegorically represents the “spectral presence of lesbianism,” to borrow a phrase from film scholar Patricia White, who writes of this film and others in her look at the correlation between Hollywood ghost movies and lesbian movies in the book Uninvited: Classical Hollywood Cinema and Lesbian Representability. In addition to implying an actual lesbian relationship, which ended with the death of one of the women, the film’s ghost also seems to represent threats of maternal identification and the female Oedipus complex. Goodbye, Dragon Inn (2003) Ghosts = Cross-Gendered Spectatorship The ghostly theater audience members in this Tsai Ming-liang film may represent the death of the moviegoer or of cinema itself, but I also see the transvestite ghost as being representative of cross-gendered identification experienced through film spectatorship. 13 Ghosts (1960) Ghosts = Communists Okay, this one is a total stretch, but it works for me because (1) thanks to Joe Dante’s Matinee, I’ve always looked at William Castle films as having a Cold War context and (2) I’m shocked that there aren’t actually any Cold War-era films that more clearly employ ghosts as representatives of a Communist threat. I guess monsters, pod people, witches and aliens were sufficient allegories, but I also think it a missed opportunity to relate ghosts to Karl Marx’s phrase “spectre of Communism.” Anyway, in forcing this film into my wanting of such a Communist allegory, I have only this argument: the goggles used both in the film and (as one of Castle’s many gimmicks) outside the film to detect ghosts could be taken as a sort of fantasy for Americans wishing they had special goggles that could detect any Reds living among them. It’s almost like a counterpart to the goggles that detect capitalistic aliens in They Live, right? No? Well, I tried, and hopefully someone can make a modern ghost story that at least employs ghosts as terrorist allegory. Originally posted on:SpoutBlog http://www.spout.com/groups/HORROR_MOVIES_101/Re_hard_to_scare/222/18823/1/ShowPost.aspx Post By: Dr_Gor
Post To: HORROR MOVIES 101
Post Date: 8/26/2007 4:50:47 PM
Body: Thank you for joining our humble group, thulsadoom! And thank you for your post! It is a pleasure to have you here! I would assume that you are a fan of "Conan: The Barbarian" in some form or other? (the movie, the comics, the books, the TV series) In that case, you might appreciate the 'tagline' on my home page! As far as what scares you, that is a very personal matter for each and every individual. I suppose that DEATH is the underlying factor in what scares most of us, but it goes much deeper than that... into HOW we die! Appearantly, some ways are more horrific than others! For instance, if you live on the beach and go swimming in the ocean after dark (or even during the day) "JAWS" might just scare the bejeezus out of you! Or if you had ever had some unpleasant experiences with the 'supernatural', then "The Exorcist" or "The Omen" or "The Amityville Horror" or "The Shining" or "The Legend Of Hell House" might scare you! Or, if you are afraid of camping in the woods at night, then "Deliverance" or "The Hills Have Eyes" or "Wrong Turn" might get you! I think you get the idea. Let me know what REALLY scares you (clowns?) ... and I will write you a prescription!
]]>Sun, 26 Aug 2007 20:50:47 GMTDr_GorHORROR MOVIES 1018/26/2007 4:50:47 PM Thank you for joining our humble group, thulsadoom! And thank you for your post! It is a pleasure to have you here! I would assume that you are a fan of "Conan: The Barbarian" in some form or other? (the movie, the comics, the books, the TV series) In that case, you might appreciate the &#39;tagline&#39; on my home page! As far as what scares you, that is a very personal matter for each and every individual. I suppose that DEATH is the underlying factor in what scares most of us, but it goes much deeper than that... into HOW we die! Appearantly, some ways are more horrific than others! For instance, if you live on the beach and go swimming in the ocean after dark (or even during the day) "JAWS" might just scare the bejeezus out of you! Or if you had ever had some unpleasant experiences with the &#39;supernatural&#39;, then "The Exorcist" or "The Omen" or "The Amityville Horror" or "The Shining" or "The Legend Of Hell House" might scare you! Or, if you are afraid of camping in the woods at night, then "Deliverance" or "The Hills Have Eyes" or "Wrong Turn" might get you! I think you get the idea. Let me know what REALLY scares you (clowns?) ... and I will write you a prescription! http://www.spout.com/blogs/el_aaron/archive/2007/7/8/13413.aspx Post By: El_Aaron
Post To: El_Aaron Blog
Post Date: 7/8/2007 6:40:23 AM
Body: I've never seen a genuinely scary horror movie, until I saw this! I think it is possible that these events really happened. I wouldn't even go to the same town that the house is in!
]]>Sun, 08 Jul 2007 10:40:23 GMTEl_AaronEl_Aaron Blog7/8/2007 6:40:23 AMI've never seen a genuinely scary horror movie, until I saw this! I think it is possible that these events really happened. I wouldn't even go to the same town that the house is in! http://www.spout.com/groups/HORROR_MOVIES_101/Re_Horror_Movies_Based_on_Real_Events/222/7773/1/ShowPost.aspx Post By: Dr_Gor
Post To: HORROR MOVIES 101
Post Date: 4/28/2007 3:41:29 PM
Body: Thank you for your post, June! Yes, you are correct about "The Exorcist" ! Also, during filming, they had a couple of high-ranking Catholic Priests on hand as 'technical consultants' to make sure that the exorcism rituals, etc. were as true to life as possible! I believe one of them even acted in the movie! I have not yet seen "Identity", but "Shadow Of A Vampire" was very interesting! I have read that 'Max Schreck', the actor who played "Nosferatu" was a very mysterious person indeed! 'Schreck' means 'terror' in German, I believe.... Many of my favorite 'Horror Movies' have been based on actual Serial Killers! I will not start listing movies here as there are just too many! But some infamous murderers who have been immortalized in film include: Jack The Ripper, Henry Lee Lucas, Charles Manson, John Gacy, The Green River Killer, The Zodiac Killer and, of course, Ed Gein! (for more on this please see the following discussion... HORROR MOVIES 101's Discussions - Hannibal Lecter vs Norman Bates - Spout) ... Also, I mentioned before in a different group, the original "Dirty Harry" was actually based on "The Zodiac Killer" case! Few people know this... "True Ghost Movies" actually scare me quite a bit! Movies that claim to be 'factual' such as "Amityville Horror" and "The Legend Of Hell House" , etc. ... well, let's just say that I can see these kinds of things actually happening! The reason for that is because I have actually SEEN 'Ghosts' ! More than one! It is a long story! ... As for 'Extra Testicals' ... I believe that Chuck Norris has some! ... Oh, wait! You were talking about 'Aliens'... Yes, I believe in this, as well...
]]>Sat, 28 Apr 2007 19:41:29 GMTDr_GorHORROR MOVIES 1014/28/2007 3:41:29 PM Thank you for your post, June! Yes, you are correct about "The Exorcist" ! Also, during filming, they had a couple of high-ranking Catholic Priests on hand as &#39;technical consultants&#39; to make sure that the exorcism rituals, etc. were as true to life as possible! I believe one of them even acted in the movie! I have not yet seen "Identity", but "Shadow Of A Vampire" was very interesting! I have read that &#39;Max Schreck&#39;, the actor who played "Nosferatu" was a very mysterious person indeed! &#39;Schreck&#39; means &#39;terror&#39; in German, I believe.... Many of my favorite &#39;Horror Movies&#39; have been based on actual Serial Killers! I will not start listing movies here as there are just too many! But some infamous murderers who have been immortalized in film include: Jack The Ripper, Henry Lee Lucas, Charles Manson, John Gacy, The Green River Killer, The Zodiac Killer and, of course, Ed Gein! (for more on this please see the following discussion... HORROR MOVIES 101&#39;s Discussions - Hannibal Lecter vs Norman Bates - Spout) ... Also, I mentioned before in a different group, the original "Dirty Harry" was actually based on "The Zodiac Killer" case! Few people know this... "True Ghost Movies" actually scare me quite a bit! Movies that claim to be &#39;factual&#39; such as "Amityville Horror" and "The Legend Of Hell House" , etc. ... well, let&#39;s just say that I can see these kinds of things actually happening! The reason for that is because I have actually SEEN &#39;Ghosts&#39; ! More than one! It is a long story! ... As for &#39;Extra Testicals&#39; ... I believe that Chuck Norris has some! ... Oh, wait! You were talking about &#39;Aliens&#39;... Yes, I believe in this, as well... http://www.spout.com/groups/HORROR_MOVIES_101/Horror_Movies_Based_on_Real_Events/222/7751/1/ShowPost.aspx Post By: divinemsjunebug
Post To: HORROR MOVIES 101
Post Date: 4/28/2007 12:52:46 AM
Body: So what are some horror movies that were supposedly based on REAL events? How drastically did they change the movie to make it more exciting or scary?I know that the Exorcist was suppose to be based on a real story - but I think in the real events it was a boy that was possessed and I don't think any priest died.Amityville Horror was suppose to be based on a true story but now I hear George Lutz is denying everything now. I thought Hostel was also based on a true story. Anyway, what are some others that you know of?
]]>Sat, 28 Apr 2007 04:52:46 GMTdivinemsjunebugHORROR MOVIES 1014/28/2007 12:52:46 AMSo what are some horror movies that were supposedly based on REAL events? How drastically did they change the movie to make it more exciting or scary?I know that the Exorcist was suppose to be based on a real story - but I think in the real events it was a boy that was possessed and I don&#39;t think any priest died.Amityville Horror was suppose to be based on a true story but now I hear George Lutz is denying everything now. I thought Hostel was also based on a true story. Anyway, what are some others that you know of? http://www.spout.com/members/0/tags/Classic/MemberTagFilms.aspxClassic
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