1 00:00:04,800 --> 00:00:08,300 When I was growing up in the 1970s, Europe seemed to me 2 00:00:08,300 --> 00:00:14,100 a rather comforting combination of the Eurovision Song Contest... 3 00:00:14,100 --> 00:00:15,600 # When you pick a flower... # 4 00:00:15,600 --> 00:00:18,000 ..package holidays, 5 00:00:18,000 --> 00:00:22,480 and of course, the international version of It's A Knockout. 6 00:00:22,480 --> 00:00:24,960 But I was also mad about horror... 7 00:00:24,960 --> 00:00:30,000 Dracula's Secret, now deadlier than ever with blood-red jelly. 8 00:00:31,200 --> 00:00:33,680 And alongside Hammer and Universal, 9 00:00:33,680 --> 00:00:35,920 Dracula, Frankenstein and the Wolf Man, 10 00:00:35,920 --> 00:00:38,120 I started to become aware of other names. 11 00:00:38,120 --> 00:00:43,680 Film titles like Nosferatu and Les Diaboliques. 12 00:00:46,640 --> 00:00:49,080 Actors like Conrad Veidt. 13 00:00:50,480 --> 00:00:53,760 The work of directors like Dario Argento... 14 00:00:55,080 --> 00:00:57,680 ..and Mario Bava. 15 00:01:01,720 --> 00:01:05,040 Now I'm going in search of the stories behind the classics 16 00:01:05,040 --> 00:01:06,560 of European horror cinema 17 00:01:06,560 --> 00:01:09,040 and meeting the people from across the Continent 18 00:01:09,040 --> 00:01:11,400 who created the films I most admire. 19 00:01:11,400 --> 00:01:14,960 The way each country reinterprets horror 20 00:01:14,960 --> 00:01:17,960 brings a new flavour to the banquet of horror. 21 00:01:20,160 --> 00:01:26,080 What is commercial? Commercial is violence, blood, sex and horror. 22 00:01:26,080 --> 00:01:29,560 I was hidden behind the mask like a prisoner. 23 00:01:31,160 --> 00:01:34,160 Fantasy is like a dream, a nightmare. 24 00:01:37,240 --> 00:01:39,880 Europe's turbulent 20th century 25 00:01:39,880 --> 00:01:43,520 forged a distinctive and diverse horror tradition. 26 00:01:43,520 --> 00:01:46,760 My travels will take me from German expressionism 27 00:01:46,760 --> 00:01:49,280 in the aftermath of the Great War 28 00:01:49,280 --> 00:01:53,160 to Belgian surrealism in the wake of the sexual revolution. 29 00:01:54,480 --> 00:01:57,600 From guilt-ridden post-war France 30 00:01:57,600 --> 00:02:01,320 to the dark excesses of swinging sixties Italy. 31 00:02:01,320 --> 00:02:06,120 And to Spain, in the dying years of a dictator. 32 00:02:06,120 --> 00:02:10,520 What's so fascinating, and chilling, about the continent's horror cinema 33 00:02:10,520 --> 00:02:14,400 is how much it reflects the story of Europe itself. 34 00:02:26,880 --> 00:02:30,040 I'm beginning my continental journey at the location 35 00:02:30,040 --> 00:02:33,280 of one of my favourite horror movies. 36 00:02:33,280 --> 00:02:38,600 Daughters Of Darkness is a stylish and coolly elegant vampire movie, 37 00:02:38,600 --> 00:02:41,800 but its story doesn't take place in Paris or Rome 38 00:02:41,800 --> 00:02:44,760 or any other glamorous European capital. 39 00:02:45,840 --> 00:02:47,840 It was set here... 40 00:02:49,480 --> 00:02:51,320 ..in Ostend. 41 00:02:52,440 --> 00:02:55,200 And perhaps that makes it the perfect entry point 42 00:02:55,200 --> 00:02:56,880 to European horror cinema. 43 00:02:56,880 --> 00:03:01,640 After all, this IS the gateway to Europe. 44 00:03:08,200 --> 00:03:11,880 Let's hope we find something better here. 45 00:03:11,880 --> 00:03:13,200 I'm so tired. 46 00:03:28,320 --> 00:03:32,520 I'll go in first. You look after the luggage, Ilona. 47 00:03:37,960 --> 00:03:40,360 What makes Daughters Of Darkness 48 00:03:40,360 --> 00:03:42,800 such a quintessentially continental production 49 00:03:42,800 --> 00:03:45,720 is its strange cocktail of ingredients. 50 00:03:45,720 --> 00:03:50,000 A respected French actress plays opposite a German blue movie star 51 00:03:50,000 --> 00:03:53,360 and a Canadian beauty queen in a Belgian horror film. 52 00:03:53,360 --> 00:03:58,360 1970s chic rubs up against quotations from the silent classics. 53 00:04:02,200 --> 00:04:06,200 Daughters Of Darkness tells of a mysterious countess, 54 00:04:06,200 --> 00:04:09,200 who, together with her companion, 55 00:04:09,200 --> 00:04:13,040 latches onto a newly-married couple holed up in an out-of-season hotel. 56 00:04:14,640 --> 00:04:16,120 Stefan. 57 00:04:21,520 --> 00:04:25,400 Unfortunately, they're leaving tomorrow. 58 00:04:25,400 --> 00:04:30,040 The Countess and her friend are, of course, lesbian vampires, 59 00:04:30,040 --> 00:04:32,400 and the hotel soon becomes a playground 60 00:04:32,400 --> 00:04:36,400 for increasingly dangerous mind games with the young newlyweds. 61 00:04:36,400 --> 00:04:40,840 The Countess Erzsebet Bathory, my ancestor. 62 00:04:40,840 --> 00:04:44,680 Erzsebet is Elizabeth in Hungarian, but she was best known 63 00:04:44,680 --> 00:04:47,360 as the Scarlet Countess. 64 00:04:47,360 --> 00:04:50,200 Imagine, she bled 200 virgins to death. 65 00:04:50,200 --> 00:04:54,480 Some say 800. A woman will do anything to stay young. 66 00:04:54,480 --> 00:04:57,200 But drinking human blood! 67 00:04:57,200 --> 00:05:00,240 She believed human blood was the elixir of youth. 68 00:05:01,680 --> 00:05:04,800 Exactly. Do you know about her? 69 00:05:05,880 --> 00:05:07,920 Yes, I've read of her. 70 00:05:09,080 --> 00:05:11,560 She kidnapped young girls and kept them chained. 71 00:05:12,640 --> 00:05:13,760 To give blood. 72 00:05:15,200 --> 00:05:18,640 Blood for her to bathe in and drink. No. 73 00:05:18,640 --> 00:05:21,480 Oh, yes. Yes. 74 00:05:21,480 --> 00:05:23,160 And she hung them up by the wrists 75 00:05:23,160 --> 00:05:26,720 and ripped them until their tortured flesh was torn to shreds. 76 00:05:26,720 --> 00:05:30,000 Yes, that's it, and she clipped off their fingers with shears. 77 00:05:30,000 --> 00:05:31,280 No! 78 00:05:31,280 --> 00:05:33,600 She pricked their bodies with needles. 79 00:05:33,600 --> 00:05:37,600 Yes. Yes, she tore out their nipples with silver pincers. 80 00:05:37,600 --> 00:05:39,760 She bit them everywhere. No. 81 00:05:39,760 --> 00:05:43,920 Then she pushed white-hot pokers into their faces. 82 00:05:43,920 --> 00:05:46,280 And when they parted their lips to scream, 83 00:05:46,280 --> 00:05:49,400 she shoved the flaming rod up into their mouths. Stop it. 84 00:05:49,400 --> 00:05:51,120 Yes, go on, go on. 85 00:05:51,120 --> 00:05:54,360 Harry, obviously Belgium doesn't have much 86 00:05:54,360 --> 00:05:57,040 of a tradition of horror films. 87 00:05:57,040 --> 00:06:00,440 What was your attitude towards Daughters Of Darkness 88 00:06:00,440 --> 00:06:02,760 when you first approached the project? 89 00:06:02,760 --> 00:06:05,280 Belgium HAS a tradition of horror films, 90 00:06:05,280 --> 00:06:07,360 when you look at Belgian films. 91 00:06:07,360 --> 00:06:11,520 MARK LAUGHS But I was approached by producers and they asked me, 92 00:06:11,520 --> 00:06:14,800 after my first film, to do something in that style 93 00:06:14,800 --> 00:06:17,200 that would be commercial. 94 00:06:17,200 --> 00:06:22,880 What is commercial? Commercial is violence, sex, blood and horror. 95 00:06:22,880 --> 00:06:26,800 So, I mixed those and found a subject 96 00:06:26,800 --> 00:06:29,480 that would make it possible to do that. 97 00:06:32,440 --> 00:06:35,880 Any vampire film is only as good as its vampire 98 00:06:35,880 --> 00:06:37,680 and Daughters Of Darkness boasts 99 00:06:37,680 --> 00:06:40,080 one of the finest on-screen vampires of them all, 100 00:06:40,080 --> 00:06:43,720 Countess Elizabeth Bathory, played by Delphine Seyrig, 101 00:06:43,720 --> 00:06:46,280 the doyenne of French art house cinema, 102 00:06:46,280 --> 00:06:49,200 an actress of spellbinding poise and presence. 103 00:06:53,920 --> 00:06:58,560 With her platinum blonde Marcel wave and Marlene Dietrich couture, 104 00:06:58,560 --> 00:07:00,400 she exudes a timeless ennui. 105 00:07:04,240 --> 00:07:08,600 Did you have a sense of what sort of a vampire you wanted her to be, 106 00:07:08,600 --> 00:07:10,080 or did she bring...? 107 00:07:10,080 --> 00:07:15,320 She was very fluffy in a certain sense, 108 00:07:15,320 --> 00:07:17,440 like many actresses are, 109 00:07:17,440 --> 00:07:20,800 but on the other hand, extremely serious. 110 00:07:20,800 --> 00:07:25,120 But she had one idea, "I'll play it smiling." 111 00:07:25,120 --> 00:07:27,120 Closer. 112 00:07:27,120 --> 00:07:33,600 The visual thing that I knew is to make the countess and maid 113 00:07:33,600 --> 00:07:35,960 iconic film figures. 114 00:07:37,240 --> 00:07:39,080 Show me your eyes. 115 00:07:41,040 --> 00:07:46,080 So Delphine has connotations of Marlene Dietrich... 116 00:07:46,080 --> 00:07:47,800 You're jealous. 117 00:07:47,800 --> 00:07:50,880 ..and her maid, Ilona, of Louise Brooks. 118 00:07:50,880 --> 00:07:53,560 Well, well, well... 119 00:07:54,920 --> 00:07:58,680 So that in their exteriorisation, they would be immortal. 120 00:08:01,120 --> 00:08:04,800 She's a demagogue and a dictator, 121 00:08:04,800 --> 00:08:08,520 so I put her in Nazi colours. 122 00:08:08,520 --> 00:08:13,520 Red, black and white, that is the colour scheme that she wears. 123 00:08:16,400 --> 00:08:19,920 The rich historical resonances of Harry Kumel's characters 124 00:08:19,920 --> 00:08:22,960 are echoed in the locations. 125 00:08:22,960 --> 00:08:26,640 He filmed Daughters Of Darkness at two of Belgium's great hotels, 126 00:08:26,640 --> 00:08:29,480 the Thermae Palace in Ostend... 127 00:08:31,600 --> 00:08:35,200 ..and here at the Astoria in Brussels. 128 00:08:36,680 --> 00:08:39,360 Both date back to the reign of King Leopold II, 129 00:08:39,360 --> 00:08:42,440 notorious for his brutal profiteering in Africa. 130 00:08:44,200 --> 00:08:45,840 It all lends Daughters Of Darkness 131 00:08:45,840 --> 00:08:48,400 a depth unmatched by any contemporary British 132 00:08:48,400 --> 00:08:51,040 or American attempt at erotic horror. 133 00:08:53,360 --> 00:08:55,960 Help me! Help me! 134 00:08:58,520 --> 00:09:01,960 The film is also suffused with a mordant sense of humour - 135 00:09:01,960 --> 00:09:05,120 death by dish cover, anyone? 136 00:09:11,800 --> 00:09:13,560 The blood. The blood! 137 00:09:13,560 --> 00:09:16,000 The blood! 138 00:09:21,280 --> 00:09:25,080 And it boasts a painterly eye for light and composition. 139 00:09:32,880 --> 00:09:36,280 Would you say there's a particularly Belgian sensibility to the film? 140 00:09:36,280 --> 00:09:42,440 Absolutely. In Belgium, we have a tradition of surrealism, of course. 141 00:09:42,440 --> 00:09:44,960 That is obvious, and expressionism. 142 00:09:44,960 --> 00:09:49,080 So, the combination of the two gives this visual effect. 143 00:09:49,080 --> 00:09:52,440 How do you feel about the film now, 40 years on? 144 00:09:52,440 --> 00:09:54,640 I don't feel anything about films. 145 00:09:54,640 --> 00:09:57,320 I know only one thing, that it still makes money! 146 00:10:00,360 --> 00:10:04,760 I can't tell you how completely happy I am to have you here tonight. 147 00:10:04,760 --> 00:10:08,080 Salut. Welcome back to the Astoria. 148 00:10:08,080 --> 00:10:09,960 Oh, yes. 149 00:10:09,960 --> 00:10:12,840 Don't drink it, it's shampoo. 150 00:10:12,840 --> 00:10:15,080 Goodness. It looks so good. 151 00:10:15,080 --> 00:10:20,240 It looks very inviting, doesn't it? Yes, yes, it's so green. 152 00:10:29,240 --> 00:10:32,920 Daughters Of Darkness may be set just a brief ferry ride from Britain 153 00:10:32,920 --> 00:10:36,240 but its story reaches all the way across the continent. 154 00:10:36,240 --> 00:10:39,600 Countess Bathory is a figure drawn from the rich myths and legends 155 00:10:39,600 --> 00:10:44,040 of eastern Europe, which provided the very foundations of horror. 156 00:11:01,360 --> 00:11:02,480 I'm heading East, 157 00:11:02,480 --> 00:11:05,840 into the region that was home to the real Elizabeth Bathory, 158 00:11:05,840 --> 00:11:07,760 and to Vlad the Impaler, 159 00:11:07,760 --> 00:11:10,840 the historical counterparts of fictional vampires. 160 00:11:12,840 --> 00:11:16,680 Centuries of war and shifting boundaries have made this 161 00:11:16,680 --> 00:11:19,600 an amorphous, indefinable place, 162 00:11:19,600 --> 00:11:22,960 its castles and forests the inspiration 163 00:11:22,960 --> 00:11:27,080 for literary and film renderings of Dracula and Frankenstein. 164 00:11:28,200 --> 00:11:30,880 But to travel here is also to journey back in time 165 00:11:30,880 --> 00:11:33,880 to the earliest days of European horror cinema. 166 00:11:36,520 --> 00:11:41,120 This is Orava Castle in Slovakia, residence of Count Orlok 167 00:11:41,120 --> 00:11:44,440 in the pioneering German vampire movie, Nosferatu. 168 00:12:26,840 --> 00:12:30,000 Orava Castle dates back to the 13th century, 169 00:12:30,000 --> 00:12:33,720 and the decision to shoot Nosferatu here lends it an authenticity 170 00:12:33,720 --> 00:12:36,440 rarely matched in any horror picture since, 171 00:12:36,440 --> 00:12:38,920 a disorientating sense that the terror, 172 00:12:38,920 --> 00:12:42,480 however outlandish it may appear, comes from a real place. 173 00:12:47,320 --> 00:12:52,400 Directed by FW Murnau, one of the masters of German silent cinema, 174 00:12:52,400 --> 00:12:56,480 Nosferatu is a reworking of Bram Stoker's Dracula. 175 00:12:56,480 --> 00:12:58,640 The characters' names were changed 176 00:12:58,640 --> 00:13:02,000 in what would be a doomed attempt to avoid copyright problems. 177 00:13:13,520 --> 00:13:17,400 In place of Count Dracula, we have the vampire Count Orlok, 178 00:13:17,400 --> 00:13:20,840 a startling figure played by Max Schreck. 179 00:13:33,840 --> 00:13:35,520 Little is known about the actor 180 00:13:35,520 --> 00:13:38,440 but the word "schreck" is German for fright, 181 00:13:38,440 --> 00:13:40,400 and this gave rise to a rumour 182 00:13:40,400 --> 00:13:43,440 he'd changed his name specially for the film. 183 00:13:43,440 --> 00:13:46,800 It was, though, simply a coincidence. 184 00:13:46,800 --> 00:13:49,720 Familiar as we now are with the more urbane Draculas 185 00:13:49,720 --> 00:13:52,320 of Bela Lugosi and Christopher Lee, 186 00:13:52,320 --> 00:13:55,800 it's easy to find Max Schreck's goggle-eyed, hunch-shouldered Orlok 187 00:13:55,800 --> 00:13:58,000 crude, even absurd. 188 00:13:58,000 --> 00:14:01,520 But in his utter alienness lies his menace. 189 00:14:01,520 --> 00:14:05,960 Nothing about him seems susceptible to human reason or emotion. 190 00:14:05,960 --> 00:14:09,760 He's like a figure that's stepped out of a medieval painting of hell, 191 00:14:09,760 --> 00:14:13,360 an embodiment of apocalypse intruding into reality. 192 00:14:18,520 --> 00:14:23,800 Nowhere is this captured more than in Nosferatu's most chilling scene. 193 00:14:23,800 --> 00:14:25,840 As a ship transports him to Germany, 194 00:14:25,840 --> 00:14:28,920 Orlok picks off the sailors one by one. 195 00:14:28,920 --> 00:14:32,320 Slowly, as if he has all the time in the world. 196 00:14:41,440 --> 00:14:45,160 The scene culminates in one of silent cinema's great intertitles, 197 00:14:45,160 --> 00:14:47,800 which appears with perfect timing. 198 00:14:47,800 --> 00:14:51,720 "The Ship of Death has a new captain." 199 00:14:57,960 --> 00:15:01,000 It's difficult to separate Murnau's vision 200 00:15:01,000 --> 00:15:03,840 from that of his set designer, Albin Grau. 201 00:15:03,840 --> 00:15:07,920 In effect the producer of Nosferatu, Grau was also responsible 202 00:15:07,920 --> 00:15:11,560 for the remarkable images that were used to promote the picture. 203 00:15:13,720 --> 00:15:16,240 The publicity campaign is believed to have cost more 204 00:15:16,240 --> 00:15:18,440 than the film itself. 205 00:15:25,360 --> 00:15:30,440 Albin Grau was a devout occultist, and he envisaged Nosferatu 206 00:15:30,440 --> 00:15:33,240 as the first in a series of occult-themed films, 207 00:15:33,240 --> 00:15:35,880 possibly as a way of spreading his belief system 208 00:15:35,880 --> 00:15:38,760 through post-war Germany and Europe. 209 00:15:40,880 --> 00:15:45,240 Unfortunately, Bram Stoker's widow had other ideas. 210 00:15:45,240 --> 00:15:48,480 She sued Nosferatu's producers for copyright violation, 211 00:15:48,480 --> 00:15:51,680 and a court ordered all the prints to be destroyed. 212 00:15:52,840 --> 00:15:55,840 Luckily, some slipped through the net. 213 00:15:57,680 --> 00:16:00,160 It's sobering to think how close this classic film came 214 00:16:00,160 --> 00:16:04,760 to joining the long roll-call of lost works from the silent era. 215 00:16:04,760 --> 00:16:06,800 The irony is that in many respects, 216 00:16:06,800 --> 00:16:08,960 Nosferatu is very different to Dracula. 217 00:16:08,960 --> 00:16:10,480 Indeed, if you watch it expecting 218 00:16:10,480 --> 00:16:12,920 a straightforward interpretation of Stoker's novel, 219 00:16:12,920 --> 00:16:15,200 you'll be baffled and frustrated. 220 00:16:15,200 --> 00:16:17,000 It has rats instead of bats, 221 00:16:17,000 --> 00:16:20,560 no-one gets staked or turned into a vampire. 222 00:16:20,560 --> 00:16:22,000 To do it justice, 223 00:16:22,000 --> 00:16:25,440 you need to see Nosferatu as a work in its own right. 224 00:16:29,360 --> 00:16:31,520 The film's unique climax 225 00:16:31,520 --> 00:16:35,040 is at least the equal of any other version of the story. 226 00:16:36,280 --> 00:16:38,920 Rather than leave the vampire-killing action 227 00:16:38,920 --> 00:16:43,160 to the male characters, Nosferatu becomes a confrontation 228 00:16:43,160 --> 00:16:46,480 between feminine virtue and masculine evil, 229 00:16:46,480 --> 00:16:48,920 played as a symphony of light and dark. 230 00:16:53,960 --> 00:16:57,360 At this point, Orlok's exaggerated shape and appearance 231 00:16:57,360 --> 00:17:01,320 seem entirely justified, as Murnau makes striking use 232 00:17:01,320 --> 00:17:03,400 of the vampire's shadow. 233 00:17:08,160 --> 00:17:10,880 Light, of course, is Orlok's undoing, 234 00:17:10,880 --> 00:17:14,160 as he lingers just that little bit too long over his victim, 235 00:17:14,160 --> 00:17:17,160 long enough for the dawn to rise. 236 00:17:37,920 --> 00:17:40,560 Nosferatu may have run into trouble 237 00:17:40,560 --> 00:17:44,520 but the German film industry wasn't easily daunted. 238 00:17:45,960 --> 00:17:50,120 It had a determination and ambition unmatched in Europe. 239 00:17:50,120 --> 00:17:52,240 One that belied the country's recent, 240 00:17:52,240 --> 00:17:54,800 disastrous defeat in World War I. 241 00:18:15,520 --> 00:18:19,440 After the Great War, German cinema had something to prove. 242 00:18:19,440 --> 00:18:21,320 It wasn't just entertainment. 243 00:18:21,320 --> 00:18:24,960 The young medium could help restore the nation's lost pride, 244 00:18:24,960 --> 00:18:27,280 showcasing German artistic talent, 245 00:18:27,280 --> 00:18:31,120 to audiences at home and the world. 246 00:18:31,120 --> 00:18:36,160 One film in particular, made just a year after the war ended, 247 00:18:36,160 --> 00:18:38,920 came to embody this bold aspiration... 248 00:18:40,520 --> 00:18:43,960 ..earning it pride of place in Berlin's Film Museum. 249 00:18:51,560 --> 00:18:55,400 The Cabinet Of Dr Caligari was ambitious and startlingly original, 250 00:18:55,400 --> 00:18:58,920 and it's cast a shadow over cinema ever since. 251 00:19:05,200 --> 00:19:07,840 The film is the story of a sleepwalking killer, 252 00:19:07,840 --> 00:19:11,120 who is manipulated to fulfil the murderous urges 253 00:19:11,120 --> 00:19:13,080 of his own psychiatrist. 254 00:19:17,560 --> 00:19:21,400 Caligari boasts some daring narrative twists. 255 00:19:21,400 --> 00:19:23,760 But above all, it was a ground-breaking attempt 256 00:19:23,760 --> 00:19:28,680 by film-makers to put German expressionism on screen. 257 00:19:34,360 --> 00:19:38,760 No-one ever agreed an exact definition of German expressionism, 258 00:19:38,760 --> 00:19:41,720 least of all the German expressionists themselves, 259 00:19:41,720 --> 00:19:43,920 but subtlety was never an aspiration. 260 00:19:50,960 --> 00:19:55,080 Expressionist art offered a heightened, stylised experience 261 00:19:55,080 --> 00:19:58,760 that made inner, psychological states outwardly visible. 262 00:20:01,240 --> 00:20:04,080 That's what the makers of Caligari hoped to achieve 263 00:20:04,080 --> 00:20:06,240 with their set design. 264 00:20:09,280 --> 00:20:12,840 The result is one of cinema's most distinctive visions. 265 00:20:14,440 --> 00:20:17,680 The Berlin Film Museum holds some detailed reconstructions 266 00:20:17,680 --> 00:20:22,040 of the original sets, which give an insight into how they conveyed 267 00:20:22,040 --> 00:20:25,200 their claustrophobic, disorientating effect. 268 00:20:26,360 --> 00:20:29,040 These are my murdering gloves. THEY LAUGH 269 00:20:29,040 --> 00:20:33,120 Werner, tell me about these models. Who made these? 270 00:20:33,120 --> 00:20:35,800 That was one of the set decorators, 271 00:20:35,800 --> 00:20:40,400 Hermann Warm. He did these models in the '50s. 272 00:20:40,400 --> 00:20:45,360 So the first model here is Wohnzimmer Allen, 273 00:20:45,360 --> 00:20:48,960 which means this is the living room of Allen. 274 00:20:48,960 --> 00:20:54,240 It's not a cosy living room because it has 275 00:20:54,240 --> 00:20:57,920 a window which looks like a window from a prison. 276 00:20:57,920 --> 00:21:01,360 You wouldn't like to live in a room like that. 277 00:21:01,360 --> 00:21:05,000 It's very dark, it has shadows painted on the wall. 278 00:21:06,920 --> 00:21:12,960 When you look at the film, all the sets look like theatre sets. 279 00:21:15,560 --> 00:21:18,200 People are moving in circles 280 00:21:18,200 --> 00:21:23,120 and they built things where you could go down and up again, 281 00:21:23,120 --> 00:21:27,400 so they are all moving on a very limited space. 282 00:21:28,840 --> 00:21:31,520 In terms of the expressionist look of the film, 283 00:21:31,520 --> 00:21:34,760 what would an audience have made of that? 284 00:21:34,760 --> 00:21:38,960 Because...it wasn't absolutely brand new. 285 00:21:38,960 --> 00:21:43,960 No, expressionism was already in literature, 286 00:21:43,960 --> 00:21:47,680 in painting and sculpture. But not in film? 287 00:21:47,680 --> 00:21:51,560 But not in film. For film it was new, so this was the strategy 288 00:21:51,560 --> 00:21:55,560 of the film industry to install film as an art form. 289 00:21:55,560 --> 00:21:59,480 This is expressionist for the poor. 290 00:21:59,480 --> 00:22:03,080 So everybody can now see expressionism. 291 00:22:03,080 --> 00:22:05,720 Caligari's production design 292 00:22:05,720 --> 00:22:09,160 has ensured its status as a cinematic landmark. 293 00:22:09,160 --> 00:22:13,160 But it's also a film with remarkable performances. 294 00:22:13,160 --> 00:22:16,120 Werner Krauss as the sinister doctor 295 00:22:16,120 --> 00:22:20,640 and, most hauntingly, the tragic somnambulist Cesare, 296 00:22:20,640 --> 00:22:23,320 played by Conrad Veidt. 297 00:22:23,320 --> 00:22:25,840 The moment Cesare first opens his eyes 298 00:22:25,840 --> 00:22:29,520 must be one of the most unforgettable close-ups ever filmed. 299 00:22:52,240 --> 00:22:54,880 Future horror and fantasy creations, 300 00:22:54,880 --> 00:22:58,240 ranging from Boris Karloff's monster in Frankenstein 301 00:22:58,240 --> 00:23:00,520 to Johnny Depp's Edward Scissorhands, 302 00:23:00,520 --> 00:23:04,760 would all follow in Conrad Veidt's halting footsteps. 303 00:23:33,440 --> 00:23:35,600 Conrad Veidt established himself 304 00:23:35,600 --> 00:23:38,320 as European cinema's first great horror actor 305 00:23:38,320 --> 00:23:41,720 with a series of standout performances in macabre roles. 306 00:23:41,720 --> 00:23:45,440 What made him so special was his talent not just to convey menace, 307 00:23:45,440 --> 00:23:49,920 but to articulate, simply through his looks, gestures and expressions, 308 00:23:49,920 --> 00:23:51,640 a particular kind of terror. 309 00:23:54,800 --> 00:23:58,560 Terror like that of the sleepwalker Cesare, a man forced to commit acts 310 00:23:58,560 --> 00:24:01,400 that he would never sanely do. 311 00:24:05,200 --> 00:24:08,040 A man whose psyche has been fragmented, 312 00:24:08,040 --> 00:24:10,760 like the hundreds of thousands of German veterans 313 00:24:10,760 --> 00:24:12,080 who returned from the war 314 00:24:12,080 --> 00:24:16,160 to hospitals like this former sanatorium outside Berlin. 315 00:24:19,160 --> 00:24:21,920 Explicit soul-searching about the war experience 316 00:24:21,920 --> 00:24:23,680 was frowned upon in Germany, 317 00:24:23,680 --> 00:24:27,560 but Conrad Veidt's films provided an extraordinary metaphor. 318 00:24:29,720 --> 00:24:33,040 Veidt's characters are constantly losing control, 319 00:24:33,040 --> 00:24:36,640 fighting to hold themselves together in the face of doppelgangers, 320 00:24:36,640 --> 00:24:40,240 alter egos, forces they can't comprehend. 321 00:24:40,240 --> 00:24:41,840 Germany may have been reluctant 322 00:24:41,840 --> 00:24:44,200 to confront the trauma of the war in public, 323 00:24:44,200 --> 00:24:48,640 but Veidt played out the nation's fears on the big screen. 324 00:24:50,880 --> 00:24:54,400 In Der Januskopf, or The Head Of Janus, 325 00:24:54,400 --> 00:24:56,880 Veidt was both the Jekyll and the Hyde characters 326 00:24:56,880 --> 00:25:00,680 in this unauthorised adaptation of Robert Louis Stevenson's novel. 327 00:25:03,400 --> 00:25:06,040 The Student Of Prague saw Veidt confronted 328 00:25:06,040 --> 00:25:09,720 with his doppelganger in a Faustian fable. 329 00:25:11,400 --> 00:25:15,120 And in The Hands Of Orlac, an Austrian production from 1924, 330 00:25:15,120 --> 00:25:18,760 Veidt reunited with Caligari's director, Robert Wiene. 331 00:25:24,360 --> 00:25:26,440 While less stylised than Caligari, 332 00:25:26,440 --> 00:25:30,280 the film's depiction of a train wreck offers a powerful image 333 00:25:30,280 --> 00:25:33,760 of mechanical carnage that clearly echoes a battlefield. 334 00:25:43,880 --> 00:25:46,200 The Hands Of Orlac is an early example 335 00:25:46,200 --> 00:25:48,520 of what we might now call body horror. 336 00:25:48,520 --> 00:25:50,200 Veidt plays Paul Orlac, 337 00:25:50,200 --> 00:25:54,040 a concert pianist who loses his hands in the train crash. 338 00:25:54,040 --> 00:25:57,640 A surgeon replaces them with those of an executed killer, 339 00:25:57,640 --> 00:26:01,960 and Orlac comes to believe they have retained their homicidal intent. 340 00:26:04,720 --> 00:26:07,520 The moment when that realisation dawns 341 00:26:07,520 --> 00:26:10,440 is captured in one of Veidt's most compelling scenes. 342 00:26:12,640 --> 00:26:16,080 This is expressionism not as set design or lighting 343 00:26:16,080 --> 00:26:19,680 but as a purely physical performance that holds the screen. 344 00:26:26,560 --> 00:26:29,400 It's one thing to act with your hands and eyes, 345 00:26:29,400 --> 00:26:32,640 but to act with your veins as well... 346 00:26:44,240 --> 00:26:47,120 In the silent era, nobody cared about your accent, 347 00:26:47,120 --> 00:26:51,160 and Veidt was soon lured across the Atlantic to Hollywood. 348 00:26:51,160 --> 00:26:55,120 There, he took the lead in one of Universal Studios' greatest epics, 349 00:26:55,120 --> 00:26:57,800 The Man Who Laughs. 350 00:26:57,800 --> 00:26:59,480 Veidt's hero, 351 00:26:59,480 --> 00:27:02,520 his face cruelly mutilated into a permanent rictus grin, 352 00:27:02,520 --> 00:27:05,800 is said to have inspired Batman's nemesis, the Joker. 353 00:27:10,080 --> 00:27:12,880 But Veidt had other reasons to pack his suitcase. 354 00:27:15,120 --> 00:27:18,560 Back in Germany, the Weimar government was collapsing. 355 00:27:18,560 --> 00:27:20,720 The Nazis were on the rise. 356 00:27:22,160 --> 00:27:24,720 And Veidt's new wife was Jewish. 357 00:27:24,720 --> 00:27:28,280 The couple decided to settle in London. 358 00:27:30,640 --> 00:27:32,800 The departure of such a leading talent 359 00:27:32,800 --> 00:27:35,280 was bitterly felt by the Nazi authorities. 360 00:27:35,280 --> 00:27:38,560 One evening, Veidt took a phone call in his Hampstead home. 361 00:27:38,560 --> 00:27:40,680 It was Joseph Goebbels. 362 00:27:42,000 --> 00:27:43,840 The Reich's propaganda minister 363 00:27:43,840 --> 00:27:45,720 offered Veidt a number of inducements, 364 00:27:45,720 --> 00:27:49,040 but failed to convince him to return to Germany. 365 00:27:49,040 --> 00:27:51,760 You can imagine Veidt saying as he replaced the receiver, 366 00:27:51,760 --> 00:27:57,120 "Darling, next time Goebbels rings, tell him I'm out." 367 00:28:00,920 --> 00:28:04,360 Veidt was just one participant in a growing exodus 368 00:28:04,360 --> 00:28:06,080 from Germany and Austria. 369 00:28:08,080 --> 00:28:11,520 An exodus of talent, of craft and of style. 370 00:28:14,440 --> 00:28:18,280 Universal's Dracula and Frankenstein, 371 00:28:18,280 --> 00:28:22,480 released in 1931, drew heavily on their German forebears. 372 00:28:23,880 --> 00:28:27,720 But Germany was no longer horror cinema's centre of gravity. 373 00:28:29,520 --> 00:28:33,080 Despite their fondness for mystical Aryan mumbo-jumbo, 374 00:28:33,080 --> 00:28:35,320 the Nazis weren't too keen on horror. 375 00:28:35,320 --> 00:28:38,160 Their idea of a good night out was a queasy mixture 376 00:28:38,160 --> 00:28:41,640 of sentimentality, patriotism and propaganda. 377 00:28:41,640 --> 00:28:46,920 Horror cinema had found a new home in Hollywood and decided to stay. 378 00:28:46,920 --> 00:28:51,920 Europe was about to face more than enough real horror of its own. 379 00:28:51,920 --> 00:28:54,840 SIRENS WAIL 380 00:28:57,160 --> 00:29:00,640 And when horror cinema returned to Europe, 381 00:29:00,640 --> 00:29:04,000 it was France that picked up the baton. 382 00:29:13,560 --> 00:29:16,480 French horror, like that of Weimar Germany, 383 00:29:16,480 --> 00:29:19,840 was shaped by the country's wartime experience. 384 00:29:19,840 --> 00:29:23,040 But the trauma suffered by France in the Second World War 385 00:29:23,040 --> 00:29:26,480 had a particularly insidious quality. 386 00:29:31,400 --> 00:29:34,640 The Vichy government's collaboration with the occupying Nazis 387 00:29:34,640 --> 00:29:36,880 shattered French self-confidence 388 00:29:36,880 --> 00:29:39,120 and divided the country against itself. 389 00:29:42,040 --> 00:29:45,080 La Main Du Diable, The Hand Of The Devil, 390 00:29:45,080 --> 00:29:47,920 was a rare French horror film from the period. 391 00:29:47,920 --> 00:29:51,680 Its tale of a Faustian pact was painfully ironic. 392 00:29:53,280 --> 00:29:56,360 As a film-maker under the occupation, 393 00:29:56,360 --> 00:30:01,160 you either sought approval from the Germans, or you didn't work at all. 394 00:30:03,240 --> 00:30:06,280 The war and its aftermath were full of betrayal 395 00:30:06,280 --> 00:30:08,520 and the settling of scores. 396 00:30:10,640 --> 00:30:14,600 Even after the liberation, the bitter mood lingered for years. 397 00:30:16,120 --> 00:30:19,360 And nothing captured it better than a 1955 release 398 00:30:19,360 --> 00:30:23,200 in which two seemingly ordinary women commit a violent murder. 399 00:30:27,680 --> 00:30:29,440 The crime doesn't take place 400 00:30:29,440 --> 00:30:31,880 in an exaggerated expressionist setting, 401 00:30:31,880 --> 00:30:35,400 but in a banal domestic bathroom, 402 00:30:35,400 --> 00:30:38,160 and it's depicted with unflinching detail and realism. 403 00:30:52,720 --> 00:30:57,360 The film was called Les Diaboliques, and it established the template 404 00:30:57,360 --> 00:30:59,960 for a new hybrid of horror and thriller 405 00:30:59,960 --> 00:31:02,440 that's been with us ever since. 406 00:31:05,200 --> 00:31:09,400 At its outset, the tone of the film is humdrum and provincial. 407 00:31:09,400 --> 00:31:12,160 Much of it takes place in a shabby boarding school, 408 00:31:12,160 --> 00:31:14,600 filmed here in L'Etang La Ville, 409 00:31:14,600 --> 00:31:17,920 a small town on the outskirts of Paris. 410 00:31:21,560 --> 00:31:24,680 Vera Clouzot and Simone Signoret play, respectively, 411 00:31:24,680 --> 00:31:28,320 the wife and mistress of the school's headmaster. 412 00:31:28,320 --> 00:31:31,160 The husband treats his wife with contempt, 413 00:31:31,160 --> 00:31:33,880 making no effort to conceal his affair. 414 00:31:33,880 --> 00:31:36,720 But he's not above raising his hand to his mistress, 415 00:31:36,720 --> 00:31:38,760 hence the dark glasses. 416 00:31:40,960 --> 00:31:43,480 It soon becomes clear that the mistress and the wife 417 00:31:43,480 --> 00:31:45,760 are brewing up something between them - 418 00:31:45,760 --> 00:31:49,720 a plan to get rid of the unpleasant husband, once and for all. 419 00:31:49,720 --> 00:31:52,720 Let's face it, which of us has never fantasised 420 00:31:52,720 --> 00:31:55,160 about doing away with a bully? 421 00:31:58,680 --> 00:32:02,360 After drugging and then drowning the headmaster in the bath, 422 00:32:02,360 --> 00:32:05,800 the women dump his body in the school's murky swimming pool, 423 00:32:05,800 --> 00:32:09,000 hoping it will look like an accidental drowning. 424 00:32:10,240 --> 00:32:12,280 It's at this point that the film becomes more 425 00:32:12,280 --> 00:32:13,880 than just a very frank thriller, 426 00:32:13,880 --> 00:32:16,560 and takes a turn into horror. 427 00:32:16,560 --> 00:32:19,760 The pool is drained, but there's no sign of a body. 428 00:32:19,760 --> 00:32:22,760 One of the pupils insists that he's seen the headmaster 429 00:32:22,760 --> 00:32:26,080 hanging around the school, and most chillingly of all, 430 00:32:26,080 --> 00:32:28,320 a familiar face is half-visible 431 00:32:28,320 --> 00:32:31,400 in the back of the annual school photograph. 432 00:32:31,400 --> 00:32:35,120 It all begins to take a toll on the fragile wife. 433 00:32:35,120 --> 00:32:38,480 And then, one night... 434 00:32:51,520 --> 00:32:53,040 SHE SCREAMS 435 00:33:10,680 --> 00:33:12,680 It's enough to scare you to death, 436 00:33:12,680 --> 00:33:15,560 but there are still more twists to come. 437 00:33:15,560 --> 00:33:19,480 The next thing... Ah, well, that really would be telling. 438 00:33:25,760 --> 00:33:29,080 The director of Les Diaboliques was Henri-Georges Clouzot, 439 00:33:29,080 --> 00:33:32,840 who understood the grey world of moral compromise all too well. 440 00:33:34,800 --> 00:33:37,880 He himself had been criticised for taking German funding 441 00:33:37,880 --> 00:33:40,000 to make a film during the occupation. 442 00:33:42,480 --> 00:33:46,160 But Les Diaboliques wasn't an original story. 443 00:33:46,160 --> 00:33:50,800 Clouzot adapted it from the debut novel by a crime-writing duo, 444 00:33:50,800 --> 00:33:53,000 Pierre Boileau and Thomas Narcejac. 445 00:33:56,280 --> 00:33:59,440 Their work would have a lasting influence 446 00:33:59,440 --> 00:34:01,440 on horror and thriller films. 447 00:34:01,440 --> 00:34:04,240 But at the time, Clouzot was taking a gamble 448 00:34:04,240 --> 00:34:08,680 by adapting Boileau and Narcejac's book, Celle Qui N'Etait Plus. 449 00:34:08,680 --> 00:34:11,640 It didn't have a conventional detective hero 450 00:34:11,640 --> 00:34:16,200 but was told from the perspective of victim and perpetrators. 451 00:34:21,840 --> 00:34:25,360 I've come to the small French coastal town of Pornic, 452 00:34:25,360 --> 00:34:28,600 home to Thomas Narcejac, to find out from his daughter Annette 453 00:34:28,600 --> 00:34:31,240 how the novel was initially received. 454 00:34:33,240 --> 00:34:35,840 Could you tell us how the publishers reacted 455 00:34:35,840 --> 00:34:39,120 when they first saw Celle Qui N'Etait Plus? 456 00:34:39,120 --> 00:34:41,120 TRANSLATED FROM FRENCH: 457 00:35:11,040 --> 00:35:14,280 Clouzot's faith in the story paid off. 458 00:35:14,280 --> 00:35:16,720 Les Diaboliques was a hit, 459 00:35:16,720 --> 00:35:20,640 despite, or because of, reports that people became ill with fright 460 00:35:20,640 --> 00:35:22,600 during the climactic scenes. 461 00:36:08,640 --> 00:36:12,320 The impact of Les Diaboliques was quickly felt across the Atlantic. 462 00:36:12,320 --> 00:36:14,640 But when Hollywood came calling, 463 00:36:14,640 --> 00:36:17,320 it wasn't Clouzot who was wined and dined. 464 00:36:17,320 --> 00:36:19,320 It was Boileau and Narcejac. 465 00:36:19,320 --> 00:36:21,920 No less than the master of suspense himself 466 00:36:21,920 --> 00:36:23,960 wanted to film their latest novel. 467 00:36:29,040 --> 00:36:32,680 The book was D'Entre Les Morts, Between the Deaths. 468 00:36:35,560 --> 00:36:38,440 With the story of a man obsessed with a woman, 469 00:36:38,440 --> 00:36:42,280 it continued Boileau and Narcejac's theme of the dead returning. 470 00:36:45,560 --> 00:36:50,160 Do you think that Hitchcock felt that they had found something new, 471 00:36:50,160 --> 00:36:52,800 that was the next big thing? 472 00:37:29,800 --> 00:37:34,000 The film became Vertigo, one of the master's most morbid works. 473 00:37:34,000 --> 00:37:38,120 But although they weren't involved, Boileau and Narcejac's influence 474 00:37:38,120 --> 00:37:41,720 can also be strongly felt in a later Hitchcock film. 475 00:37:44,360 --> 00:37:46,840 Psycho blends horror and thriller, 476 00:37:46,840 --> 00:37:49,720 blurs the line between heroes and victims, 477 00:37:49,720 --> 00:37:53,400 and features more unpleasant goings-on in a bathroom. 478 00:37:57,400 --> 00:38:02,200 Vertigo premiered in May 1958, just the day after another release 479 00:38:02,200 --> 00:38:05,040 which proved to be an out-and-out international hit. 480 00:38:07,320 --> 00:38:11,400 That was Dracula, made by Britain's Hammer Films, 481 00:38:11,400 --> 00:38:14,720 its follow-up to another full-colour horror sensation, 482 00:38:14,720 --> 00:38:18,040 The Curse Of Frankenstein. 483 00:38:27,160 --> 00:38:30,720 Hammer's success proved that audiences worldwide were hungry 484 00:38:30,720 --> 00:38:33,720 for a new level of graphic horror. 485 00:38:33,720 --> 00:38:35,680 French producers couldn't ignore 486 00:38:35,680 --> 00:38:38,240 these gory imports from across the Channel, 487 00:38:38,240 --> 00:38:42,080 but they weren't going to respond with a mere piece of hack work. 488 00:38:43,360 --> 00:38:45,640 Boileau and Narcejac were signed up 489 00:38:45,640 --> 00:38:49,000 to write what became France's next great horror film. 490 00:38:55,480 --> 00:38:58,320 In a genre that's never shied away from the lurid, 491 00:38:58,320 --> 00:39:02,320 few horror films boast a premise quite like Eyes Without A Face. 492 00:39:02,320 --> 00:39:04,640 Someone is travelling around Paris, 493 00:39:04,640 --> 00:39:08,640 abducting beautiful women and... cutting off their faces. 494 00:39:08,640 --> 00:39:11,720 The culprit is an outwardly respectable plastic surgeon, 495 00:39:11,720 --> 00:39:15,880 secretly attempting to restore the beauty of his disfigured daughter. 496 00:39:15,880 --> 00:39:17,920 It is a lurid premise, 497 00:39:17,920 --> 00:39:20,720 but this is perhaps the most poetic of horror films. 498 00:39:20,720 --> 00:39:23,600 It fuses the grim realism of Les Diaboliques 499 00:39:23,600 --> 00:39:25,640 with an almost fairy-tale quality. 500 00:39:35,280 --> 00:39:38,880 The moment we first see Professor Genessier's tragic daughter 501 00:39:38,880 --> 00:39:41,400 is both startling and moving, 502 00:39:41,400 --> 00:39:44,480 filmed by director Georges Franju with restraint 503 00:39:44,480 --> 00:39:47,760 and accompanied by Maurice Jarre's delicate score. 504 00:39:54,840 --> 00:39:57,520 In Christiane, shut away from the world, 505 00:39:57,520 --> 00:40:00,720 her ruined face hidden behind an expressionless mask, 506 00:40:00,720 --> 00:40:05,360 actress Edith Scob created a particularly haunting figure. 507 00:40:07,800 --> 00:40:12,080 When did you realise that your face would hardly be visible, 508 00:40:12,080 --> 00:40:14,720 that you'd be doing it through a mask? 509 00:40:14,720 --> 00:40:16,800 How did you feel about that? 510 00:40:16,800 --> 00:40:22,200 I think it was something I liked profoundly, yes. 511 00:40:22,200 --> 00:40:25,920 If I may say, it's an astonishing performance. 512 00:40:25,920 --> 00:40:29,560 Did you have a method of approach for that, once you realised 513 00:40:29,560 --> 00:40:32,680 you'd be expressing yourself through your eyes only? 514 00:40:32,680 --> 00:40:38,160 I really had no method because I was hardly 20 years old, 515 00:40:38,160 --> 00:40:43,560 and it was the first time I had such an important thing to do. 516 00:40:43,560 --> 00:40:46,120 It was quite instinctive. 517 00:40:46,120 --> 00:40:49,360 I remember behind my mask, 518 00:40:49,360 --> 00:40:54,480 I was sometimes smiling to a person. People see nothing! 519 00:40:54,480 --> 00:40:56,680 And I was really... 520 00:40:58,360 --> 00:40:59,920 ..alone. 521 00:41:07,920 --> 00:41:12,560 And somehow, with a mere tilt of the head or movement of her eyes, 522 00:41:12,560 --> 00:41:18,800 Edith Scob conveys a world of isolation, a life forever lost. 523 00:41:18,800 --> 00:41:22,560 For all its poetry, this is an unflinching film. 524 00:41:22,560 --> 00:41:26,040 Just as Les Diaboliques doesn't hold back on its central murder scene, 525 00:41:26,040 --> 00:41:28,520 the key moment in Eyes Without A Face - 526 00:41:28,520 --> 00:41:30,720 its heart of darkness if you like - 527 00:41:30,720 --> 00:41:34,760 takes place in Professor Genessier's secret operating theatre. 528 00:41:36,440 --> 00:41:39,800 The scene shows a facial transplant. 529 00:41:39,800 --> 00:41:41,800 It's almost silent, 530 00:41:41,800 --> 00:41:45,600 the main sound being actor Pierre Brasseur's concentrated breathing. 531 00:41:45,600 --> 00:41:48,560 It lasts more than five minutes, 532 00:41:48,560 --> 00:41:52,960 director Franju daringly letting it unfold in real time. 533 00:41:55,400 --> 00:42:00,840 He was telling that the most impressive thing was... 534 00:42:00,840 --> 00:42:02,520 it was not the blood, 535 00:42:02,520 --> 00:42:09,320 it was just Pierre Brasseur with the pencil, like this. 536 00:42:09,320 --> 00:42:14,160 The china pencil is more invasive and scary than a knife. Yes! 537 00:42:14,160 --> 00:42:17,600 You can imagine people looking away and thinking they see... Yes, yes! 538 00:42:17,600 --> 00:42:23,360 He wanted people to imagine they're seeing, 539 00:42:23,360 --> 00:42:25,600 more than showing that. 540 00:42:25,600 --> 00:42:28,000 Crayon. 541 00:42:28,000 --> 00:42:31,560 For several minutes, the scene is pure technical procedure... 542 00:42:31,560 --> 00:42:34,880 and utterly, morbidly fascinating. 543 00:42:36,560 --> 00:42:39,320 How do you go about removing someone's face? 544 00:42:41,160 --> 00:42:45,200 As the scalpel starts to cut into flesh, we start to wonder, 545 00:42:45,200 --> 00:42:49,440 when will Franju fade to black, or move to the next scene? 546 00:42:49,440 --> 00:42:53,320 Surely he won't show us an actual, literal facelift? 547 00:43:04,840 --> 00:43:06,840 Allons-y. 548 00:43:22,320 --> 00:43:26,240 It's said that when Eyes Without A Face received its first UK showing 549 00:43:26,240 --> 00:43:29,320 at the Edinburgh Film Festival, seven people fainted, 550 00:43:29,320 --> 00:43:34,120 leading Franju to comment, "Now I know why Scotsmen wear skirts." 551 00:43:35,920 --> 00:43:38,440 I'd like to read you something, Edith. 552 00:43:38,440 --> 00:43:42,280 This is a British critic. He said, 553 00:43:42,280 --> 00:43:48,240 "Eyes Without A Face is a piece of revolting, pandering, evil rubbish. 554 00:43:48,240 --> 00:43:51,280 "I wonder what the censor was up to the day he gave this film 555 00:43:51,280 --> 00:43:54,480 "an X certificate. He should have ordered it to be publicly burned 556 00:43:54,480 --> 00:43:57,360 "in the Charing Cross Road, and on top of the fire, 557 00:43:57,360 --> 00:44:00,120 "he should have thrown all the makers of the film 558 00:44:00,120 --> 00:44:02,800 "and the people who saw fit to release it in Britain." 559 00:44:02,800 --> 00:44:05,960 Wow! THEY LAUGH 560 00:44:05,960 --> 00:44:11,080 It's strange, isn't it? It's someone criticising the film for its horror, 561 00:44:11,080 --> 00:44:15,440 then suggesting the film-makers should be burned at the stake. Yes. 562 00:44:15,440 --> 00:44:21,160 I think Franju would be delighted by this critic! 563 00:44:27,480 --> 00:44:29,240 But Franju's singular film 564 00:44:29,240 --> 00:44:32,760 also received a mixed reception in France, 565 00:44:32,760 --> 00:44:35,920 and, inevitably, overseas distributors struggled to work out 566 00:44:35,920 --> 00:44:38,360 what to do with Eyes Without A Face. 567 00:44:40,200 --> 00:44:43,440 For the American market, it was dubbed into English 568 00:44:43,440 --> 00:44:47,040 and re-titled The Horror Chamber Of Dr Faustus, 569 00:44:47,040 --> 00:44:50,720 ignominiously paired in a double bill with The Manster, 570 00:44:50,720 --> 00:44:54,120 the story of a man with two heads. 571 00:44:56,360 --> 00:44:59,000 While Britain revelled in its Hammer boom, 572 00:44:59,000 --> 00:45:03,560 by the early 1960s, the brief flowering of Gallic horror was over. 573 00:45:06,800 --> 00:45:10,040 France, it seemed, had neither the instinct nor the inclination 574 00:45:10,040 --> 00:45:13,400 to pull off that peculiar mixture of art and exploitation 575 00:45:13,400 --> 00:45:16,800 which is essential to a thriving horror movie industry. 576 00:45:16,800 --> 00:45:19,000 But, in the wake of Hammer's success, 577 00:45:19,000 --> 00:45:22,400 other European countries were far less...reticent. 578 00:45:28,840 --> 00:45:32,680 In an atmosphere of horror, the story of a man... 579 00:45:32,680 --> 00:45:34,840 Italian producers had no qualms 580 00:45:34,840 --> 00:45:37,120 about jumping on the horror bandwagon. 581 00:45:37,120 --> 00:45:39,520 They even flew in Hammer's biggest star 582 00:45:39,520 --> 00:45:42,520 in a shameless grab for the international market. 583 00:45:42,520 --> 00:45:46,200 ..starring the unforgettable creator of Dracula... 584 00:45:47,760 --> 00:45:49,880 You wonder what Bram Stoker would have made 585 00:45:49,880 --> 00:45:52,000 of the trailer's extravagant claim. 586 00:45:52,000 --> 00:45:54,760 Breathtaking as never before. 587 00:45:54,760 --> 00:45:57,080 Sadistic and pitiless. 588 00:45:57,080 --> 00:45:59,760 Subtle and monstrous. 589 00:45:59,760 --> 00:46:03,760 While Lee embalmed his victims in The Castle Of The Living Dead, 590 00:46:03,760 --> 00:46:06,960 Barbara Steele was the target of a necrophilic scientist 591 00:46:06,960 --> 00:46:11,200 in another Italian production, The Horrible Dr Hichcock. 592 00:46:13,960 --> 00:46:17,120 The set-piece scene in which Steele wakes up in a coffin 593 00:46:17,120 --> 00:46:20,960 echoes the claustrophobic terror of her previous American hit, 594 00:46:20,960 --> 00:46:22,600 Pit And The Pendulum. 595 00:46:33,960 --> 00:46:38,640 The 1960s saw nothing less than an Italian horror boom. 596 00:46:38,640 --> 00:46:40,240 But it would go well beyond 597 00:46:40,240 --> 00:46:42,960 merely cashing in on British and American films 598 00:46:42,960 --> 00:46:45,320 to take on a distinctive national flavour. 599 00:46:46,600 --> 00:46:48,880 After all, this was the decade 600 00:46:48,880 --> 00:46:51,800 in which Italy became the byword for style. 601 00:47:00,600 --> 00:47:04,040 And its best films brought a visual flair to the genre 602 00:47:04,040 --> 00:47:07,640 that would win Italian horror lasting renown. 603 00:47:12,280 --> 00:47:14,760 SCREAMING 604 00:47:28,320 --> 00:47:31,600 Italian horror directors weren't exorcising national ghosts, 605 00:47:31,600 --> 00:47:35,200 they were flaunting their talent, and in the early '60s, 606 00:47:35,200 --> 00:47:39,640 one man rapidly established himself at the forefront of the genre. 607 00:47:40,840 --> 00:47:44,400 He was Mario Bava, an experienced cinematographer 608 00:47:44,400 --> 00:47:47,680 and prolific director, who made everything from westerns 609 00:47:47,680 --> 00:47:49,960 to science fiction. 610 00:47:49,960 --> 00:47:52,560 Mario made many movies. 611 00:47:52,560 --> 00:47:56,040 The movies that we remember the most, probably, are the movies 612 00:47:56,040 --> 00:47:59,560 where he was really having fun, that he liked the stories. 613 00:47:59,560 --> 00:48:04,120 He was thinking, "I would enjoy seeing this kind of film." 614 00:48:04,120 --> 00:48:06,120 TRANSLATED FROM ITALIAN: 615 00:48:33,520 --> 00:48:37,080 Black Sabbath is a portmanteau of three tales of terror. 616 00:48:37,080 --> 00:48:41,280 It was the follow-up to Bava's debut horror hit, Black Sunday, 617 00:48:41,280 --> 00:48:44,560 in which he'd established his mastery of the Gothic tradition 618 00:48:44,560 --> 00:48:47,480 of crypts and castles that dominated horror cinema. 619 00:48:49,080 --> 00:48:52,080 Black Sabbath gave Bava the chance to work in colour 620 00:48:52,080 --> 00:48:55,720 and with Boris Karloff, the elder statesman of Hollywood horror, 621 00:48:55,720 --> 00:48:57,880 who links the three stories. 622 00:48:59,440 --> 00:49:03,040 Karloff was a useful marquee name to attract an international audience, 623 00:49:03,040 --> 00:49:04,480 but there's a humorous - 624 00:49:04,480 --> 00:49:07,400 and even psychedelic - quality to his linking segments 625 00:49:07,400 --> 00:49:10,640 that shows that Bava was playing by his own rules. 626 00:49:12,240 --> 00:49:15,240 The film's opening shot is a declaration of intent. 627 00:49:15,240 --> 00:49:20,520 With its bold colours, knowing tone and otherworldly setting, 628 00:49:20,520 --> 00:49:23,000 the scene flies in the face of the Gothic tradition. 629 00:49:29,240 --> 00:49:31,280 But Bava's most daring move comes 630 00:49:31,280 --> 00:49:34,400 at the original Italian conclusion of Black Sabbath, 631 00:49:34,400 --> 00:49:37,680 where he co-opts the grand old man of Hollywood horror 632 00:49:37,680 --> 00:49:40,400 into a decidedly European, whimsical joke. 633 00:49:46,800 --> 00:49:49,760 HE LAUGHS 634 00:49:55,560 --> 00:49:58,040 The scene was cut from the English-language release. 635 00:50:01,040 --> 00:50:03,640 The ending of Black Sabbath is very unexpected. 636 00:50:03,640 --> 00:50:06,800 What do you think Mario was trying to say with that? 637 00:50:06,800 --> 00:50:08,720 If you see all of his films, 638 00:50:08,720 --> 00:50:14,320 in the end you always feel like he wants to show the trick, or... 639 00:50:15,960 --> 00:50:19,080 ..the last statement is, "OK, but it's just a movie. 640 00:50:19,080 --> 00:50:24,360 "OK, we were scaring you, but, see? It's just a game." 641 00:50:24,360 --> 00:50:26,680 LAUGHTER AND SHOUTING 642 00:50:34,320 --> 00:50:36,520 Having worked with Karloff, 643 00:50:36,520 --> 00:50:40,240 Bava secured another horror icon to star in his next film. 644 00:50:40,240 --> 00:50:44,720 Christopher Lee wielded the lash in The Whip And The Body, 645 00:50:44,720 --> 00:50:46,920 a lush, overheated ghost story 646 00:50:46,920 --> 00:50:50,440 in the mould of Roger Corman's Edgar Allan Poe films. 647 00:50:53,160 --> 00:50:56,800 I'm fond of telling people the plot of the story 648 00:50:56,800 --> 00:50:59,880 is essentially, the prodigal son returns to the family home 649 00:50:59,880 --> 00:51:04,080 and recommences his incestuous affair with his brother's wife. 650 00:51:04,080 --> 00:51:07,480 She kills him, but the affair doesn't end. 651 00:51:07,480 --> 00:51:09,600 It's very much ahead of its time. 652 00:51:09,600 --> 00:51:14,280 Even today, if you make that movie and you make it explicit, 653 00:51:14,280 --> 00:51:16,000 that can be shocking. 654 00:51:16,000 --> 00:51:22,040 The movie was released, then the censorship stopped the release, 655 00:51:22,040 --> 00:51:23,920 because of the fact that 656 00:51:23,920 --> 00:51:27,760 in one scene you see the bare back of the actress. 657 00:51:27,760 --> 00:51:29,880 I mean, it's too much! 658 00:51:29,880 --> 00:51:32,760 Not because she's... I mean, she's enjoying 659 00:51:32,760 --> 00:51:38,320 the fact that she's a masochist and she's having sex with the ghost, 660 00:51:38,320 --> 00:51:39,760 and he's whipping her... 661 00:51:39,760 --> 00:51:42,840 Just the shoulders, too much. It's just the shoulders. 662 00:51:46,040 --> 00:51:48,800 Bava shot this heady mix of shoulder baring 663 00:51:48,800 --> 00:51:50,720 and supernatural sadomasochism 664 00:51:50,720 --> 00:51:53,720 with his trademark virtuoso camerawork and lighting. 665 00:51:59,640 --> 00:52:01,800 It was clear that the Gothic tradition 666 00:52:01,800 --> 00:52:03,840 could barely contain his ambitions. 667 00:52:05,520 --> 00:52:07,160 Where to next? 668 00:52:18,520 --> 00:52:21,320 Fittingly, for such a style-obsessed director, 669 00:52:21,320 --> 00:52:24,960 Bava now embarked on a film that fused fashion with horror. 670 00:52:28,200 --> 00:52:32,880 An ultra-violent thriller set in a Rome house of haute couture - 671 00:52:32,880 --> 00:52:35,720 Blood And Black Lace. 672 00:52:40,440 --> 00:52:42,800 Many of the exteriors of Blood And Black Lace 673 00:52:42,800 --> 00:52:45,800 were shot here at the Villa Sciara in Rome, 674 00:52:45,800 --> 00:52:48,720 but Bava transforms the location with his lighting. 675 00:52:53,800 --> 00:52:57,880 Throughout the film, he uses colour like a costume. 676 00:53:01,840 --> 00:53:04,240 Other horror thrillers set in the present day, 677 00:53:04,240 --> 00:53:06,480 like Les Diaboliques or Psycho, 678 00:53:06,480 --> 00:53:08,760 had been sought in austere black and white, 679 00:53:08,760 --> 00:53:12,160 but Bava promises the colour of flesh, 680 00:53:12,160 --> 00:53:14,680 the colour of blood. 681 00:53:18,960 --> 00:53:22,120 Bava was also pioneering something even more significant. 682 00:53:23,320 --> 00:53:27,720 Nothing less than a new, distinctly Italian horror sub-genre - 683 00:53:27,720 --> 00:53:29,440 the Giallo film. 684 00:53:31,240 --> 00:53:35,640 "Giallo" means yellow, the colour of the pulp paperback thrillers 685 00:53:35,640 --> 00:53:37,560 that inspired many of the plots. 686 00:53:38,680 --> 00:53:41,320 Blood And Black Lace has a typical Giallo storyline, 687 00:53:41,320 --> 00:53:44,920 with the models and staff of the fashion house being stalked 688 00:53:44,920 --> 00:53:47,840 and killed by a mysterious masked figure. 689 00:53:52,160 --> 00:53:55,600 The opening murder is a classic Giallo sequence, 690 00:53:55,600 --> 00:53:59,240 a carefully built up set-piece in which a shadowy killer 691 00:53:59,240 --> 00:54:01,280 plays cat and mouse with a beautiful woman. 692 00:54:02,600 --> 00:54:04,520 It shows what pushed the Gialli 693 00:54:04,520 --> 00:54:09,160 beyond the thriller genre into horror - their flamboyant violence. 694 00:54:15,680 --> 00:54:19,520 And strangulation is one of the more merciful means of dispatch 695 00:54:19,520 --> 00:54:21,120 in Blood And Black Lace. 696 00:54:21,120 --> 00:54:24,360 Others include striking with a metal claw, 697 00:54:24,360 --> 00:54:28,160 and even pressing a victim's face against a burning stove. 698 00:54:35,120 --> 00:54:38,400 The film's Italian title says it all. 699 00:54:38,400 --> 00:54:42,240 Sei Donne Per L'Assassino - six women for the killer. 700 00:54:42,240 --> 00:54:44,080 This is horror as a numbers game, 701 00:54:44,080 --> 00:54:47,800 and it has left a lasting legacy in the scores of faceless women 702 00:54:47,800 --> 00:54:50,320 slaughtered in horror films ever since. 703 00:54:50,320 --> 00:54:53,000 We quickly forget them as characters. 704 00:54:53,000 --> 00:54:55,080 We just remember how they die. 705 00:54:57,720 --> 00:55:01,960 The murders do reach a new level of violence. 706 00:55:01,960 --> 00:55:03,520 It's a very striking... 707 00:55:03,520 --> 00:55:07,320 Yeah, but I mean, if in real life you read and you see 708 00:55:07,320 --> 00:55:13,320 how the people die, then why should you modify this too much? 709 00:55:13,320 --> 00:55:14,880 Even if it was violent, 710 00:55:14,880 --> 00:55:18,440 there's a moment that you can even find some poetry. 711 00:55:18,440 --> 00:55:22,360 I read that he had nightmares for three days after filming 712 00:55:22,360 --> 00:55:24,840 the girl having her face burnt on... 713 00:55:24,840 --> 00:55:28,320 That's, let's say, the Catholic part that's coming out. 714 00:55:28,320 --> 00:55:31,840 That you do something bad, and then, you know, you have... 715 00:55:31,840 --> 00:55:36,080 You start to think about it, and we call it crocodile tears. 716 00:55:36,080 --> 00:55:37,520 HE LAUGHS 717 00:55:40,960 --> 00:55:43,200 DISTANT ECHOING SCREAMS 718 00:55:45,320 --> 00:55:49,320 Thanks to Bava, Italian horror freed itself from American 719 00:55:49,320 --> 00:55:53,720 and British influences, and boldly asserted its own, unique style. 720 00:55:57,520 --> 00:56:00,640 The dark-hatted, black-gloved killer of the Giallo 721 00:56:00,640 --> 00:56:02,920 became an Italian icon. 722 00:56:32,560 --> 00:56:35,240 SCREAMING 723 00:56:35,240 --> 00:56:39,280 The longevity of the Giallo film might seem surprising. 724 00:56:39,280 --> 00:56:42,240 With the best will in the world there are only so many 725 00:56:42,240 --> 00:56:45,600 dark-hatted, black-gloved killers that anyone can take. 726 00:56:47,160 --> 00:56:49,240 But the formula seems to have encouraged, 727 00:56:49,240 --> 00:56:51,160 rather than stifled innovation, 728 00:56:51,160 --> 00:56:55,000 and in 1970, Bava's crown as king of Italian horror 729 00:56:55,000 --> 00:56:57,520 was seized by a young pretender. 730 00:57:01,640 --> 00:57:04,600 Dario Argento was shaped by the cutting edge 731 00:57:04,600 --> 00:57:06,240 of the Italian New Wave, 732 00:57:06,240 --> 00:57:08,480 and he injected new life into the Giallo. 733 00:57:10,320 --> 00:57:12,000 Argento also had a penchant 734 00:57:12,000 --> 00:57:14,680 for doing his own glove modelling in his films. 735 00:57:17,280 --> 00:57:21,640 His directorial debut was L'Uccello Dalle Piume Di Cristallo, 736 00:57:21,640 --> 00:57:24,080 The Bird With The Crystal Plumage. 737 00:57:27,440 --> 00:57:32,520 In the 60s, you were a rising star as a screenwriter. 738 00:57:32,520 --> 00:57:35,840 Why did you decide you wanted to make a Giallo? 739 00:57:35,840 --> 00:57:37,760 TRANSLATED FROM ITALIAN: 740 00:58:10,760 --> 00:58:14,880 While Argento's film employed many of the familiar Giallo motifs, 741 00:58:14,880 --> 00:58:18,680 of black-gloved killers and violent murders, 742 00:58:18,680 --> 00:58:22,200 it also showed a highly unconventional imagination at work. 743 00:58:31,600 --> 00:58:34,400 The standout scene in The Bird With The Crystal Plumage 744 00:58:34,400 --> 00:58:37,280 is a remarkable set-piece in which the hero witnesses 745 00:58:37,280 --> 00:58:40,520 a violent attack in an art gallery, but is trapped behind glass, 746 00:58:40,520 --> 00:58:43,440 unable to help or intervene. 747 00:58:43,440 --> 00:58:46,080 The scene echoes Hitchcock's Rear Window 748 00:58:46,080 --> 00:58:48,640 in its use of the powerless spectator, 749 00:58:48,640 --> 00:58:51,640 but Argento brings an energy and dynamism that's all his own. 750 00:58:55,920 --> 00:58:57,600 WOMAN MOANING 751 00:59:26,440 --> 00:59:28,360 Just hang on! Just hang on! 752 00:59:28,360 --> 00:59:31,200 KNOCKING 753 00:59:31,200 --> 00:59:33,840 (MUFFLED) Open the door! 754 00:59:33,840 --> 00:59:37,000 Open the door! 755 00:59:37,000 --> 00:59:38,680 Call the police! 756 00:59:46,040 --> 00:59:48,720 The art gallery scenes show that, 757 00:59:48,720 --> 00:59:50,720 even working within the Giallo formula, 758 00:59:50,720 --> 00:59:53,480 Argento had a gift for the unexpected, 759 00:59:53,480 --> 00:59:56,080 for the unforgettable image. 760 00:59:56,080 --> 00:59:59,960 Sometimes this came at the expense of conventional narrative logic. 761 01:00:04,200 --> 01:00:06,640 One of my favourite scenes in Argento's work 762 01:00:06,640 --> 01:00:10,080 is from his 1975 thriller Deep Red. 763 01:00:12,120 --> 01:00:15,040 It begins as a fairly traditional stalking moment, 764 01:00:15,040 --> 01:00:17,440 although it's nice to see a male character 765 01:00:17,440 --> 01:00:19,360 as the potential victim for a change. 766 01:00:24,520 --> 01:00:26,760 DUMMY SQUEAKS AND GIGGLES 767 01:00:29,760 --> 01:00:32,400 A-ah! Urgh! 768 01:00:32,400 --> 01:00:35,000 I remember everybody asked me, 769 01:00:35,000 --> 01:00:38,960 "Please not this, no," because people don't understand. 770 01:00:38,960 --> 01:00:41,800 "It is stupid, this is absurd!" 771 01:00:41,800 --> 01:00:45,120 But I want to do that. 772 01:00:45,120 --> 01:00:47,080 I speak in English now? 773 01:00:47,080 --> 01:00:48,840 THEY LAUGH 774 01:00:48,840 --> 01:00:53,120 It's a very...it's genuinely unsettling, cos the very last thing 775 01:00:53,120 --> 01:00:58,520 you expect to come through that door is a tiny, childlike, dwarf robot. 776 01:00:59,600 --> 01:01:01,960 Yes, it was like an hallucination. 777 01:01:11,440 --> 01:01:14,360 Argento's clearly very fond of Deep Red. 778 01:01:14,360 --> 01:01:16,960 He named his memorabilia shop in Rome after it. 779 01:01:22,840 --> 01:01:27,880 'Welcome to Dario Argento's Museum of Horrors. 780 01:01:27,880 --> 01:01:30,680 'Here you will find some original props 781 01:01:30,680 --> 01:01:33,600 'from his famous terrifying movies...' 782 01:01:33,600 --> 01:01:36,800 The basement of Profondo Rosso houses a curious exhibition, 783 01:01:36,800 --> 01:01:39,680 or shrine, to Argento's prolific output. 784 01:01:41,960 --> 01:01:44,840 It feels a bit like walking inside Dario's head. 785 01:01:44,840 --> 01:01:46,360 I've been here before. 786 01:01:47,600 --> 01:01:48,840 This rings a bell now. 787 01:01:48,840 --> 01:01:50,280 HE CHUCKLES 788 01:01:57,320 --> 01:02:01,480 Hannibal Lecter's in the last cage, as long as I remember. 789 01:02:04,440 --> 01:02:08,400 'The corpse you see lying among the remains of a city 790 01:02:08,400 --> 01:02:10,560 'is a perhaps-dead demon.' 791 01:02:10,560 --> 01:02:13,320 Extraordinary mixture of things. 792 01:02:13,320 --> 01:02:15,800 There's a stray leg over there. 793 01:02:18,440 --> 01:02:20,880 'In front of demons, 794 01:02:20,880 --> 01:02:22,760 'here is the little ghoul 795 01:02:22,760 --> 01:02:25,800 'of the horrible child from Phenomena, or Creepers.' 796 01:02:25,800 --> 01:02:27,800 It's genuinely horrible. 797 01:02:27,800 --> 01:02:30,880 'During the action moments, the funny child was played...' 798 01:02:30,880 --> 01:02:34,000 In the 1960s, the pendulum of Italian horror 799 01:02:34,000 --> 01:02:37,480 had swung from the supernatural to the thriller. 800 01:02:37,480 --> 01:02:39,440 No comment. 801 01:02:39,440 --> 01:02:43,360 But by the mid-'70s, Argento was swinging it back. 802 01:02:43,360 --> 01:02:46,600 With his next film, he fully embraced the supernatural. 803 01:02:48,080 --> 01:02:51,200 I think they've missed a trick not having someone jumping out. 804 01:02:51,200 --> 01:02:53,840 That seems to be the next logical step. 805 01:02:53,840 --> 01:02:57,080 Probably Dario with a pair of black gloves. 806 01:02:58,680 --> 01:03:00,960 FURIOUS SNARLING THEN SUDDEN SILENCE 807 01:03:01,920 --> 01:03:03,160 MANIACAL CACKLING 808 01:03:05,760 --> 01:03:08,680 In Suspiria, the gloves are off. 809 01:03:08,680 --> 01:03:13,120 This tale of a German ballet school run by a coven of witches 810 01:03:13,120 --> 01:03:16,400 climaxes in a riot of visual effects and monster make-up. 811 01:03:16,400 --> 01:03:20,440 It's not a Giallo, but a hyper-violent fairytale. 812 01:03:23,920 --> 01:03:26,000 CACKLING AND MOANING 813 01:03:26,000 --> 01:03:27,960 And watching Suspiria 814 01:03:27,960 --> 01:03:32,120 is like experiencing a cinematic fever dream. 815 01:03:32,120 --> 01:03:34,960 Did you feel that making a fantasy film 816 01:03:34,960 --> 01:03:38,160 was a liberating experience as a director? 817 01:03:38,160 --> 01:03:41,160 TRANSLATED FROM ITALIAN: 818 01:03:53,560 --> 01:03:56,640 It's best not to worry about whether the plot's coherent. 819 01:03:56,640 --> 01:04:00,160 Just let yourself be overwhelmed by the dazzling colours, 820 01:04:00,160 --> 01:04:02,880 startling images and pounding soundtrack. 821 01:04:07,360 --> 01:04:09,520 THEY GASP AND MOAN 822 01:04:09,520 --> 01:04:13,120 Suspiria represented the ultimate outcome of the trend 823 01:04:13,120 --> 01:04:17,360 that had begun with Mario Bava's experiments in the early 1960s. 824 01:04:17,360 --> 01:04:20,920 Story was now totally subordinate to style. 825 01:04:26,640 --> 01:04:29,280 Argento's best work of the '70s could hold its own 826 01:04:29,280 --> 01:04:32,280 against the horror produced anywhere else in the world. 827 01:04:32,280 --> 01:04:33,800 But by the end of the decade, 828 01:04:33,800 --> 01:04:36,640 America had seized back the low-budget horror crown 829 01:04:36,640 --> 01:04:39,320 with films like Halloween and Dawn Of The Dead, 830 01:04:39,320 --> 01:04:42,040 which ironically, Argento himself produced. 831 01:04:42,040 --> 01:04:45,520 Italy rapidly responded to the new American horror 832 01:04:45,520 --> 01:04:49,800 with a salvo of films which pushed shocking and violent imagery 833 01:04:49,800 --> 01:04:51,280 beyond even Argento's work. 834 01:04:52,760 --> 01:04:56,320 Pictures like Lucio Fulci's Zombie Flesh Eaters 835 01:04:56,320 --> 01:04:58,960 and Ruggero Deodato's Cannibal Holocaust 836 01:04:58,960 --> 01:05:01,840 kept censors busy across the world 837 01:05:01,840 --> 01:05:04,360 before being consigned to the dead end 838 01:05:04,360 --> 01:05:07,400 of banned and "video nasty" lists. 839 01:05:07,400 --> 01:05:10,520 But European horror had life in it yet. 840 01:05:10,520 --> 01:05:12,600 A new wave would emerge from a country 841 01:05:12,600 --> 01:05:15,400 with one of the least celebrated traditions of all. 842 01:05:23,320 --> 01:05:24,640 Creaking trapdoors, 843 01:05:24,640 --> 01:05:27,800 shadowy attics, period costume. 844 01:05:30,760 --> 01:05:35,040 While Italy looked forwards, Spain seemed to be looking backwards. 845 01:05:35,040 --> 01:05:37,880 The most successful Spanish horror film 846 01:05:37,880 --> 01:05:41,000 made in the 1960s embraced the Gothic tradition 847 01:05:41,000 --> 01:05:43,840 the Italians had so quickly discarded 848 01:05:43,840 --> 01:05:47,640 to tell a tale of disappearance and dismemberment. 849 01:05:47,640 --> 01:05:49,800 Irene? 850 01:05:49,800 --> 01:05:52,400 What happened? Irene? 851 01:05:52,400 --> 01:05:53,760 Child! 852 01:05:54,800 --> 01:05:56,640 What happened to you? 853 01:05:59,760 --> 01:06:01,520 Oh, my God. 854 01:06:05,040 --> 01:06:07,000 SHE GASPS 855 01:06:12,960 --> 01:06:17,760 La Residencia is set in a strict 19th-century finishing school, 856 01:06:17,760 --> 01:06:20,560 where the young women are going missing. 857 01:06:22,200 --> 01:06:24,880 The isolated, repressive atmosphere 858 01:06:24,880 --> 01:06:28,000 was something of a metaphor for Spain itself, 859 01:06:28,000 --> 01:06:31,800 languishing for decades under an authoritarian government. 860 01:06:35,520 --> 01:06:38,320 One of the most striking things about La Residencia 861 01:06:38,320 --> 01:06:41,880 and much other Spanish horror, is the pervasive air of melancholy, 862 01:06:41,880 --> 01:06:44,480 the sense that no matter what fresh terrors 863 01:06:44,480 --> 01:06:46,640 the characters are about to face, 864 01:06:46,640 --> 01:06:49,840 they're already living in a world of defeat and loss. 865 01:06:51,960 --> 01:06:55,880 The story burns slowly to its grim conclusion. 866 01:06:55,880 --> 01:06:58,600 The principal of the school discovers that her own teenage son 867 01:06:58,600 --> 01:07:01,160 has been murdering her pupils. 868 01:07:01,160 --> 01:07:03,880 The boy has been driven by a mix of Oedipal 869 01:07:03,880 --> 01:07:07,640 and Frankenstein-like urges, to create the perfect girlfriend. 870 01:07:07,640 --> 01:07:10,280 ..had almost the same eyes as yours. 871 01:07:10,280 --> 01:07:13,520 You always said I'd have a...have a girl like you when you were young. 872 01:07:14,840 --> 01:07:16,320 And now I've got her. 873 01:07:23,040 --> 01:07:24,040 Do you see? 874 01:07:25,160 --> 01:07:26,480 Luis...! 875 01:07:29,160 --> 01:07:32,080 Now you must teach her to take care of me the way you do. 876 01:07:34,800 --> 01:07:37,040 And love me as you've always loved me. 877 01:07:37,040 --> 01:07:40,040 The shock here isn't just visceral, it's emotional as well. 878 01:07:40,040 --> 01:07:41,440 Luis! 879 01:07:41,440 --> 01:07:43,560 Luis... 880 01:07:45,240 --> 01:07:51,000 La Residencia was the feature debut of Narciso Ibanez Serrador, 881 01:07:51,000 --> 01:07:53,840 an actor and producer whose chilling television dramas 882 01:07:53,840 --> 01:07:56,040 had made him Spain's Godfather of Horror. 883 01:07:57,560 --> 01:08:00,040 He also created the game show 3-2-1. 884 01:08:01,160 --> 01:08:02,440 Now that's scary. 885 01:08:04,520 --> 01:08:08,920 How did audiences in Spain respond to La Residencia? 886 01:08:08,920 --> 01:08:11,320 TRANSLATED FROM SPANISH: 887 01:08:35,240 --> 01:08:38,320 Do you have any thoughts about why the film was so popular in Spain? 888 01:08:46,680 --> 01:08:50,720 Serrador's restrained approach was indeed a stark contrast 889 01:08:50,720 --> 01:08:52,720 to the more monstrous manifestations 890 01:08:52,720 --> 01:08:55,520 of Spain's own horror boom. 891 01:08:55,520 --> 01:08:59,440 As in Italy, it was largely motivated by producers 892 01:08:59,440 --> 01:09:01,760 with an eye for the overseas market. 893 01:09:01,760 --> 01:09:06,000 Frankenstein's Bloody Terror didn't actually feature Frankenstein, 894 01:09:06,000 --> 01:09:08,800 but rather a werewolf, played by Paul Naschy, 895 01:09:08,800 --> 01:09:11,040 who became Spanish horror's biggest star. 896 01:09:12,680 --> 01:09:15,440 Whatever happened to Super 70 Chill-o-Rama? 897 01:09:18,080 --> 01:09:21,560 Christopher Lee, meanwhile, continued his continental career 898 01:09:21,560 --> 01:09:25,640 with a rare, non-Hammer Dracula role in El Conde Dracula, 899 01:09:25,640 --> 01:09:27,920 directed by Jesus Franco, 900 01:09:27,920 --> 01:09:31,520 the master of Spanish exploitation cinema. 901 01:09:31,520 --> 01:09:34,840 And in the Blind Dead series of films, director Amando de Ossorio 902 01:09:34,840 --> 01:09:39,040 introduced some unique indigenous Spanish monsters... 903 01:09:39,040 --> 01:09:40,440 They're coming! 904 01:09:45,600 --> 01:09:50,880 ..Undead Medieval Knights Templar who wreak havoc in the present day. 905 01:10:06,520 --> 01:10:09,800 The Gothic darkness of these films sat rather oddly 906 01:10:09,800 --> 01:10:14,160 with the image of itself that Spain was keen to sell to foreigners. 907 01:10:14,160 --> 01:10:18,600 One of sun, sea and fun. 908 01:10:19,720 --> 01:10:23,760 And it was this image that Serrador set out to subvert in his next film, 909 01:10:23,760 --> 01:10:27,200 provocatively titled Who Can Kill A Child? 910 01:10:32,080 --> 01:10:35,960 Shot mainly here in Ciruelos, a small town near Madrid, 911 01:10:35,960 --> 01:10:38,360 the film is the story of a young English couple 912 01:10:38,360 --> 01:10:41,960 who take a vacation to a Spanish island, 913 01:10:41,960 --> 01:10:45,960 which seems strangely empty of adults. 914 01:10:45,960 --> 01:10:49,120 Who Can Kill A Child is horror for the package holiday era. 915 01:10:49,120 --> 01:10:51,280 British tourists often returned home 916 01:10:51,280 --> 01:10:54,400 with stories about dodgy food in half-built hotels, 917 01:10:54,400 --> 01:10:58,080 but the nightmare faced by the holidaymakers in Serrador's film 918 01:10:58,080 --> 01:11:00,320 is of an entirely different order. 919 01:11:02,120 --> 01:11:05,400 The island's children have turned murderously 920 01:11:05,400 --> 01:11:08,240 against their parents and elders. 921 01:11:14,560 --> 01:11:17,120 It makes a disturbing change 922 01:11:17,120 --> 01:11:19,640 from the Gothic monsters of much Spanish horror. 923 01:11:50,520 --> 01:11:53,760 Do you think that, despite their superficial innocence, 924 01:11:53,760 --> 01:11:56,920 children do have a great capacity for violence? 925 01:12:00,640 --> 01:12:02,800 BELLS CHIME 926 01:12:16,320 --> 01:12:19,640 This was a decade when hits like The Exorcist and The Omen 927 01:12:19,640 --> 01:12:22,920 made monstrous children the height of horror fashion. 928 01:12:22,920 --> 01:12:26,360 Here, however, they're more a force of nature. 929 01:12:26,360 --> 01:12:30,000 Like Hitchcock's Birds, they're mostly content to watch, 930 01:12:30,000 --> 01:12:33,640 malevolent in their silence, and wait. 931 01:12:33,640 --> 01:12:37,080 Wait to take their revenge on the adult world. 932 01:12:42,000 --> 01:12:45,560 Serrador leaves us in no doubt that this is simply payback 933 01:12:45,560 --> 01:12:49,200 for all the suffering children have endured as a result of wars 934 01:12:49,200 --> 01:12:51,840 and other man-made catastrophes. 935 01:12:53,360 --> 01:12:56,200 The film builds to an uncompromising climax, 936 01:12:56,200 --> 01:12:59,040 as the English hero tries to escape the island, 937 01:12:59,040 --> 01:13:02,200 only to be blocked by sweet-faced psychopaths. 938 01:13:07,160 --> 01:13:10,120 Like director Georges Franju in Eyes Without A Face, 939 01:13:10,120 --> 01:13:14,280 you wonder how far Serrador is prepared to go in his key scene. 940 01:13:14,280 --> 01:13:16,000 He doesn't hold back. 941 01:13:16,000 --> 01:13:17,880 GUN COCKS 942 01:13:24,520 --> 01:13:26,680 RAPID GUNFIRE 943 01:13:32,760 --> 01:13:35,280 For many British cinemagoers in the mid '70s, 944 01:13:35,280 --> 01:13:37,240 the setting of Who Can Kill A Child 945 01:13:37,240 --> 01:13:39,480 would have felt uncomfortably familiar. 946 01:13:41,000 --> 01:13:44,920 But another Spanish film brought its nightmare all the way home. 947 01:13:48,320 --> 01:13:51,360 Boasting one of the great horror movie titles, 948 01:13:51,360 --> 01:13:53,760 The Living Dead At The Manchester Morgue 949 01:13:53,760 --> 01:13:57,240 opens with an almost documentary-like depiction 950 01:13:57,240 --> 01:13:58,440 of the 1970s North. 951 01:14:00,360 --> 01:14:02,360 It even throws in a sequence 952 01:14:02,360 --> 01:14:04,400 showing a popular pastime of the era. 953 01:14:04,400 --> 01:14:09,280 There aren't many zombie films that make me misty-eyed with nostalgia. 954 01:14:09,280 --> 01:14:11,360 I'm from the north of England, 955 01:14:11,360 --> 01:14:15,320 and that's very much how I remember the 1970s. 956 01:14:15,320 --> 01:14:17,360 Apart from the living dead! 957 01:14:17,360 --> 01:14:19,320 THEY LAUGH 958 01:14:20,400 --> 01:14:23,440 Director Jorge Grau was fascinated by the idea 959 01:14:23,440 --> 01:14:28,240 of zombies being created by environmental pollution, 960 01:14:28,240 --> 01:14:32,040 hence those opening shots of congested Mancunian traffic. 961 01:14:34,160 --> 01:14:36,120 TRANSLATED FROM SPANISH: 962 01:15:00,360 --> 01:15:04,080 All this probably flew over the heads of Grau's producers, 963 01:15:04,080 --> 01:15:06,080 who just wanted to replicate the American hit 964 01:15:06,080 --> 01:15:09,160 Night Of The Living Dead, but in colour. 965 01:15:10,920 --> 01:15:13,680 And the first appearance of a zombie in Manchester Morgue 966 01:15:13,680 --> 01:15:18,600 definitely recalls a similar scene in George A Romero's classic. 967 01:15:18,600 --> 01:15:22,360 Albeit relocated to a Peak District picnic spot. 968 01:15:22,360 --> 01:15:26,120 MOANING 969 01:15:40,400 --> 01:15:44,200 But Grau's approach to his zombies is innovative. 970 01:15:44,200 --> 01:15:48,280 He gives each of them a specific look and identity, 971 01:15:48,280 --> 01:15:49,520 almost a personality. 972 01:15:52,240 --> 01:15:56,200 Grau's zombies were inspired by real cadavers 973 01:15:56,200 --> 01:15:59,000 he read about in a book on forensic medicine. 974 01:15:59,000 --> 01:16:03,600 The book explained how each corpse had met its particular violent end, 975 01:16:03,600 --> 01:16:07,520 and Grau imagined similar backstories for his living dead. 976 01:16:25,320 --> 01:16:28,320 This idea of the zombies as sympathetic victims 977 01:16:28,320 --> 01:16:30,600 carries through to the film's climax, 978 01:16:30,600 --> 01:16:32,760 which has the emotional resonance 979 01:16:32,760 --> 01:16:34,960 so characteristic of Spanish horror. 980 01:16:50,280 --> 01:16:52,240 SHE SHRIEKS 981 01:17:21,560 --> 01:17:23,640 SHE CRIES OUT 982 01:17:29,720 --> 01:17:32,720 Both Manchester Morgue and Who Can Kill A Child 983 01:17:32,720 --> 01:17:35,160 give their horror a political edge. 984 01:17:35,160 --> 01:17:38,640 But they're about British characters and global issues. 985 01:17:38,640 --> 01:17:42,320 Making a political film about Spain in the early '70s 986 01:17:42,320 --> 01:17:44,320 was never going to be easy. 987 01:17:44,320 --> 01:17:47,640 IMPERIAL MUSIC 988 01:17:47,640 --> 01:17:50,280 It was only after the demise of their dictator, 989 01:17:50,280 --> 01:17:53,520 Francisco Franco, in 1975, that the Spanish could start 990 01:17:53,520 --> 01:17:58,000 facing up to their own defining 20th-century trauma, the Civil War. 991 01:17:58,000 --> 01:18:01,720 CROWD CHANTS "FRANCO" 992 01:18:01,720 --> 01:18:03,960 But the subject remained so sensitive 993 01:18:03,960 --> 01:18:06,120 that it was another quarter of a century 994 01:18:06,120 --> 01:18:08,920 before a horror director was prepared to take it on. 995 01:18:14,920 --> 01:18:17,720 Set in 1939, The Devil's Backbone 996 01:18:17,720 --> 01:18:21,920 sees the conflicts of the Civil War play out in a boys' orphanage, 997 01:18:21,920 --> 01:18:26,280 after the ghost of a dead child points to buried secrets. 998 01:18:26,280 --> 01:18:28,200 TRANSLATED FROM SPANISH: 999 01:18:57,480 --> 01:19:01,160 The director of The Devil's Backbone isn't Spanish, but Mexican. 1000 01:19:03,360 --> 01:19:06,160 And meeting him hasn't taken me to Europe, 1001 01:19:06,160 --> 01:19:11,040 but to Toronto, Canada, where he's finishing his latest film. 1002 01:19:11,040 --> 01:19:12,960 Guillermo del Toro is arguably 1003 01:19:12,960 --> 01:19:15,960 the most powerful force in horror cinema today. 1004 01:19:15,960 --> 01:19:17,680 A truly international figure 1005 01:19:17,680 --> 01:19:21,680 who straddles both the European and English language traditions. 1006 01:19:23,640 --> 01:19:26,720 Del Toro's career combines Hollywood hits 1007 01:19:26,720 --> 01:19:29,160 like Blade II and the Hellboy films 1008 01:19:29,160 --> 01:19:33,000 with highly personal projects made in Mexico and Spain. 1009 01:19:35,560 --> 01:19:38,480 What led to your decision to set The Devil's Backbone 1010 01:19:38,480 --> 01:19:40,560 during the Spanish Civil War? 1011 01:19:40,560 --> 01:19:45,400 It's still something that is haunting the country to this day. 1012 01:19:45,400 --> 01:19:48,800 It's something that a lot of people want to think is buried, 1013 01:19:48,800 --> 01:19:50,480 but is very present. 1014 01:19:50,480 --> 01:19:53,200 And the idea of the movie was, 1015 01:19:53,200 --> 01:19:58,680 a ghost is not just what you term a ghost in the work of fiction, 1016 01:19:58,680 --> 01:20:02,400 but it's something that has not been concluded. 1017 01:20:02,400 --> 01:20:04,880 That's something that cannot be resolved. 1018 01:20:04,880 --> 01:20:07,240 Unfinished business. Unfinished business. 1019 01:20:07,240 --> 01:20:10,080 And for all those reasons, it had to be Spain. 1020 01:20:13,040 --> 01:20:16,800 The ghost in The Devil's Backbone is surely one of the most 1021 01:20:16,800 --> 01:20:19,520 convincing spectres ever to manifest on screen. 1022 01:20:20,680 --> 01:20:26,000 He looks both ethereal yet tangible enough to be a real physical threat. 1023 01:20:26,000 --> 01:20:28,640 And like Jorge Grau's zombies, 1024 01:20:28,640 --> 01:20:32,120 he's a carefully characterised, tragic presence. 1025 01:20:34,960 --> 01:20:38,800 The idea was to actually start the movie 1026 01:20:38,800 --> 01:20:41,080 with the ghost as the scary figure. 1027 01:20:43,520 --> 01:20:47,520 And then when his true nature is revealed to be benign, 1028 01:20:47,520 --> 01:20:51,480 you then feel pity for him, and the opposite is true 1029 01:20:51,480 --> 01:20:56,280 for the human counterparts. The real, terrible things come from the humans. 1030 01:20:58,800 --> 01:21:01,760 Del Toro developed the themes of The Devil's Backbone 1031 01:21:01,760 --> 01:21:04,440 in a companion piece, Pan's Labyrinth, 1032 01:21:04,440 --> 01:21:08,640 set in 1944 after the Nationalist victory in Spain. 1033 01:21:08,640 --> 01:21:11,320 The central character is once again a child, 1034 01:21:11,320 --> 01:21:14,920 this time a girl who encounters a series of fantastical, 1035 01:21:14,920 --> 01:21:18,640 beguiling and downright monstrous creatures. 1036 01:21:20,320 --> 01:21:22,240 Echo. HER VOICE ECHOES 1037 01:21:25,320 --> 01:21:27,760 Hola? 1038 01:21:29,880 --> 01:21:32,040 Hola? 1039 01:21:34,080 --> 01:21:36,920 The dangers of the magical realm are more than matched 1040 01:21:36,920 --> 01:21:38,800 by the menace of the real world, 1041 01:21:38,800 --> 01:21:42,120 in the shape of the girl's cold-blooded fascist stepfather. 1042 01:21:45,720 --> 01:21:50,320 He's a character that I really constructed carefully. 1043 01:21:50,320 --> 01:21:53,400 There's a particular brand of unsubtle fascism 1044 01:21:53,400 --> 01:21:56,680 that I think is bred is Spain, 1045 01:21:56,680 --> 01:21:59,720 where fascists are gentlemen. 1046 01:22:00,880 --> 01:22:05,800 But the word gentleman is used almost as a stabbing weapon. 1047 01:22:05,800 --> 01:22:11,840 You know, like, "I'm a gentleman, a Spanish gentleman." And that's... 1048 01:22:11,840 --> 01:22:14,720 I tried to construct him as a character 1049 01:22:14,720 --> 01:22:21,280 whose function would be unclouded by moral judgement. 1050 01:22:21,280 --> 01:22:23,280 THEY SPEAK SPANISH 1051 01:22:26,160 --> 01:22:29,280 The first few murders in the movie are shocking to me 1052 01:22:29,280 --> 01:22:31,240 because of how in control he is. 1053 01:22:33,600 --> 01:22:38,280 The bottle, he never even misses a beat, 1054 01:22:38,280 --> 01:22:40,480 he doesn't get agitated. 1055 01:22:54,320 --> 01:22:58,800 The way fascism packages itself is, 1056 01:22:58,800 --> 01:23:05,200 I think, one of its most powerful, pervasive, perverse powers. 1057 01:23:07,600 --> 01:23:12,160 In our times, I think, the most despicable people 1058 01:23:12,160 --> 01:23:17,400 are mostly the most well-tailored people that appear on the news. 1059 01:23:20,480 --> 01:23:23,560 In both The Devil's Backbone and Pan's Labyrinth, 1060 01:23:23,560 --> 01:23:25,200 the brutality of adults 1061 01:23:25,200 --> 01:23:28,880 is set against the courage and purity of children. 1062 01:23:31,280 --> 01:23:37,160 I started reading fairytales and horror at the same time. 1063 01:23:37,160 --> 01:23:43,400 So I was reading Little Red Riding Hood or Cinderella 1064 01:23:43,400 --> 01:23:44,960 or Sleeping Beauty at the same time 1065 01:23:44,960 --> 01:23:49,080 that I was discovering Edgar Allen Poe, HP Lovecraft, 1066 01:23:49,080 --> 01:23:51,120 and for whatever reason, 1067 01:23:51,120 --> 01:23:58,520 that clash in my head always fixated horror in a moment of childhood. 1068 01:23:58,520 --> 01:24:00,520 SCREECHING 1069 01:24:13,520 --> 01:24:16,600 SCREAMING 1070 01:24:28,320 --> 01:24:32,640 Del Toro's highly personal approach and beautifully realised vision 1071 01:24:32,640 --> 01:24:36,600 helped Pan's Labyrinth win three Oscars and break box-office records 1072 01:24:36,600 --> 01:24:39,680 for a Spanish-language picture in the United States. 1073 01:24:39,680 --> 01:24:42,160 It's probably the most commercially successful 1074 01:24:42,160 --> 01:24:44,880 European Horror film ever made. 1075 01:24:55,080 --> 01:24:58,320 The 21st century has seen Europe step out from the shadow 1076 01:24:58,320 --> 01:25:00,280 of American and British Horror 1077 01:25:00,280 --> 01:25:03,560 to reach wider audiences than ever before. 1078 01:25:05,200 --> 01:25:09,120 Leading the pack is a new generation of Spanish films, 1079 01:25:09,120 --> 01:25:11,480 from ghost stories to zombie action. 1080 01:25:13,240 --> 01:25:18,000 France is back on the scene with its own extremely graphic thrillers. 1081 01:25:20,440 --> 01:25:24,000 Other countries are pushing the genre in new directions. 1082 01:25:26,040 --> 01:25:30,520 There's been Dutch body horror with the Human Centipede films 1083 01:25:30,520 --> 01:25:33,920 and Swedish vampires in Let The Right One In. 1084 01:25:35,920 --> 01:25:39,640 But it may be tempting fate to speak of a European horror boom 1085 01:25:39,640 --> 01:25:41,920 just as the continent slides towards 1086 01:25:41,920 --> 01:25:44,560 its biggest financial crisis in decades. 1087 01:25:49,280 --> 01:25:53,600 These are straitened times, and film-making is a risky business. 1088 01:25:53,600 --> 01:25:55,760 But as we've seen, horror cinema can thrive 1089 01:25:55,760 --> 01:25:59,960 in the face of difficult political and economic conditions. 1090 01:25:59,960 --> 01:26:03,040 Perhaps the continent's present crisis could actually be 1091 01:26:03,040 --> 01:26:06,160 the impetus for a new generation of European horror movies. 1092 01:26:08,560 --> 01:26:12,800 I think that genre film in general thrives in adversity. 1093 01:26:12,800 --> 01:26:18,080 I think that the worst thing that can happen to a horror movie 1094 01:26:18,080 --> 01:26:23,720 is for it to be birthed out of sheer support. 1095 01:26:23,720 --> 01:26:30,080 You know, you can have adversity from the money, financiers, 1096 01:26:30,080 --> 01:26:35,400 or it can come from the adversity of the political, social environment. 1097 01:26:35,400 --> 01:26:38,120 In any case, in order to talk about horror 1098 01:26:38,120 --> 01:26:40,720 you have to remain an outsider. 1099 01:26:40,720 --> 01:26:42,640 If you are fully welcome, 1100 01:26:42,640 --> 01:26:44,960 I essentially think you lose your mojo. 1101 01:26:46,920 --> 01:26:52,000 And the best European horror cinema has always come from outsiders. 1102 01:26:53,560 --> 01:26:56,240 Italian and Spanish film-makers, 1103 01:26:56,240 --> 01:26:59,680 seeking to exploit the new horror trend triggered by Hammer, 1104 01:26:59,680 --> 01:27:03,200 but spawning strange and distinctive works of their own. 1105 01:27:07,760 --> 01:27:10,680 Maverick directors who took lurid subjects 1106 01:27:10,680 --> 01:27:13,680 and lent them surreal elegance and poetry. 1107 01:27:16,560 --> 01:27:19,480 And earliest of all, the expressionist directors 1108 01:27:19,480 --> 01:27:22,640 and stars of Weimar German cinema, 1109 01:27:22,640 --> 01:27:25,880 hoping to revive the dignity of their defeated nation. 1110 01:27:29,800 --> 01:27:32,720 What fascinates me about the story of European horror 1111 01:27:32,720 --> 01:27:36,040 is its sheer diversity, the sense that there's a parallel, 1112 01:27:36,040 --> 01:27:39,000 but entirely separate story to the one we're familiar with. 1113 01:27:40,760 --> 01:27:43,240 Europe is so much the home of horror, 1114 01:27:43,240 --> 01:27:45,400 with its myths of vampires, werewolves, 1115 01:27:45,400 --> 01:27:47,200 witchcraft and the undead, 1116 01:27:47,200 --> 01:27:50,160 yet it's like those myths were exported to Hollywood, 1117 01:27:50,160 --> 01:27:53,120 leaving Europe the room to develop a new tradition 1118 01:27:53,120 --> 01:27:55,240 as a way of processing its own traumas, 1119 01:27:55,240 --> 01:27:57,720 particularly the two world wars. 1120 01:27:57,720 --> 01:27:59,920 It's led to a fascinating conversation between 1121 01:27:59,920 --> 01:28:02,520 the English-language tradition and the European 1122 01:28:02,520 --> 01:28:05,160 that continues to this day. 1123 01:28:05,160 --> 01:28:07,640 I can't wait to see what happens next.