Boomer Horror and Terror

Horror, terror and violence in movies as sen by a formerly teenage Boomer

Like so many baby boomers, my favorite and most influential "monster" was the forlorn monster in Frankenstein played with great sensitivity by the gentlemanly Boris Karloff. Karloff always claimed that Frankenstein was not a horror movie but rather a terror movie .

While the distinction between horror and terror can be somewhat subjective, it is fair to say that Boris Karloff had a point when he claimed that "Frankenstein" was more of a terror film than a horror film.

"Terror" typically refers to a sense of fear or anxiety that is created by the anticipation of something frightening or unknown. In "Frankenstein," the fear is largely created by the audience's anticipation of the monster and what it might do. The movie relies less on graphic violence or gore and more on suspense and atmosphere to create a sense of dread.

In contrast, "horror" typically refers to a genre of fiction that is intended to frighten, shock, or disgust the audience through the use of graphic or disturbing imagery. While "Frankenstein" certainly has elements of horror, such as the monster's gruesome appearance, it is not primarily focused on creating a visceral or physical reaction in the audience.

Horror is typically associated with a feeling of disgust, revulsion, or fear that is caused by something repulsive, grotesque, or terrifying. It often involves graphic or violent imagery, such as blood, gore, or monsters. Horror can be either psychological or physical in nature, and it often seeks to elicit a strong emotional response from the audience.

Terror, on the other hand, is a more general feeling of fear or apprehension that is often associated with the unknown or the unseen. It can be caused by a sense of imminent danger, uncertainty, or helplessness, and it often involves the anticipation of something frightening or threatening. Terror can be both physical and psychological in nature, and it often seeks to create a sense of unease or anxiety in the audience.

"The Exorcist" is a classic horror movie that tells the story of a young girl named Regan who becomes possessed by a demon. The movie focuses on the grotesque and violent nature of the possession, showing Regan's body contorting, her eyes turning white, and her speaking in a demonic voice. The horror in this movie comes from the graphic nature of the possession, as well as the intense fear and panic felt by the characters as they try to save Regan's soul. "The Exorcist" is a prime example of a horror movie that relies on shock value and graphic imagery to elicit fear from the audience.

In contrast, "The Blair Witch Project" is a terror movie that relies more on psychological tension and suspense to create a sense of fear. The movie is presented as found footage of three student filmmakers who venture into the woods to investigate a local legend. As they become lost and isolated in the woods, strange things begin to happen, and they start to suspect that they are being stalked by a malevolent force. The movie creates a sense of terror by using the unknown and unseen to create a feeling of dread and helplessness. The audience is left wondering what is happening, and the tension builds throughout the movie until its climactic finale.

"The Exorcist" is a horror movie that relies on graphic imagery and shock value to elicit fear, while "The Blair Witch Project" is a terror movie that relies on psychological tension and suspense to create a sense of dread and unease. Both movies are effective at creating a sense of fear, but they use different techniques to achieve this goal.

When I Was a Teenage Boomer and even before that, I knew my way around downtown Rochester. I knew where to catch the bus for Downtown and where to get off for the specific theaters. I led expedition downtown. We saw all the "horror" films that cmae to town.

I was never scared.

My streak of not being scared ended with the original House on Haunted Hill when I was confronted with my very first jump scare.

I literally jumped out of my seat for the first time. I remained anxious if not actually afraid fro the rest of the film.

A jump scare is a technique used in horror movies, video games, and other forms of media to startle the audience by suddenly presenting a scary image or sound. It is typically used when the viewer is not expecting it, such as during a quiet moment or after a period of suspenseful buildup.

A jump scare is often accompanied by a loud noise, such as a sudden burst of music or a sharp sound effect, which adds to the surprise and frightens the viewer. The aim of a jump scare is to elicit a physical response from the viewer, such as a scream or a gasp.

While jump scares can be effective at creating a momentary sense of fear or tension, they are often criticized for being cheap thrills that rely on shock value rather than building a sense of true horror or suspense.

The music that accompanies jump scares in horror movies and games is typically referred to as a "stinger" or a "sting." It is a short burst of music or sound effect that is used to startle the audience and emphasize the sudden appearance of a scary image or event.

Stingers are often loud and jarring, with a sudden increase in volume and intensity that is meant to catch the viewer off guard. They may include high-pitched or dissonant sounds, as well as percussion instruments like drums or cymbals.

In addition to stingers, horror movies and games may also use other types of music to create a sense of tension and suspense leading up to a jump scare. This could include ominous background music, low-frequency sounds that create a sense of unease, or sudden shifts in tempo or rhythm.

Today, jump scares are overused to the point of the ludicrous.

House on Haunted Hill for all of its jumpiness was not a horror film and not really a terror film. It was a good old fashioned scary movie set in a dark old house.

The first terrifying movie I saw as a Teenage Boomer was Curse of the Demon. I was not ready for this experience.

The film follows an American psychologist, Dr. John Holden (played by Dana Andrews), as he travels to England to investigate a mysterious cult led by the enigmatic Dr. Julian Karswell (played by Niall MacGinnis). As Holden delves deeper into the cult's activities, he becomes increasingly convinced that Karswell is a practitioner of black magic, and that he has placed a curse on him.

The film includes several elements that are typical of the horror genre, including supernatural phenomena, dark and foreboding settings, and scenes of violence and gore. It also features a number of jump scares and suspenseful sequences designed to frighten and startle the audience.

At the same time, "Curse of the Demon" also incorporates elements of terror, particularly in its depiction of psychological torment and the fear of the unknown. The film's central conflict revolves around Holden's growing sense of dread and paranoia as he becomes more and more convinced that he is being targeted by Karswell's dark magic.

The dread, the paranoia, the foreboding settings, fear of the unknown and psychological torment cut directly through to my childish sensitivities and my subsequent nightmares started as a daymare while I rode the bus home from downtown.

I contracted a fever and stayed in bed for the next couple of days with haunted dreams. To this day, I'm not sure whether the on rushing fever caused the reaction or whether the film itself caused the fever.

So now I had been terrified and scared by a movie.

I wasn't horrified for a few more years until I went to the drive-in one night with my buddy Kevin. We had a case of beer with us and we were stoked to get drunk and watch a cheesey triple feature of films that had never and would never play downtown. Paint me Blood Red, Blood Feast and 2000 Maniacs.

The triple feature began with 2000 Maniacs. The film is essentially about a Southern Town seeking revenge upon some Yankee tourists whom they blame for the Civil War. The rednecks torture, ampute and butcher the Northerners in particularly gruesome and graphic fashion with scenes of extreme violence and gore that are intended to shock and disgust the audience while pushing the boundaries of what is socially acceptable or morally permissible and forever changing what is acceptable in horror cinema which made the world ready for snuff films, scum cinema, grindhouse, splatter, slasher and spaghetti.

I don't think Boris Karloff would be thrilled by the evolution.