First Scary Movies Of Film History
First Scary Movies Of Film History named article is about the movies that shaped the horror cinema. In the content you will find information about the first scary movie, first vampire movie and first 5 scary movies of the cinema history. Let me begin with the first film, namely Le Manoir du Diable ( The Haunted Castle ).
Le Manoir du Diable – The Haunted Castle – The Manor of the Devil (1896)
This is strictly speaking the first vampire movie. On a set representing a hall in a medieval castle, a large bat flies in, circles round and is transformed info Mephistopheles. Conjuring up a cauldron, Mephistopheles produces from it a pretty girl, followed by a stream of phantoms, skeletons and witches until one brandishes a crucifix and the demon vanishes in a puffofsmoke.
The Haunted Castle Is The First Vampire Movie
The Devil appears as a bat, rather more vampirically erotic in intent if not in deed, in Le Diable Couvent. (1899) But although the work of Melies teems with demons, monsters, apparitions and bizarre mutilations, on very rare occasions gruesome in effect – like the giant of the snows when it crushes a hapless explorer in A la Conquite du Pole (1912). He was too steeped in the pantomime tradition of amusing fantasy to figure in the history of horror.
Den Graa Dame – The Grey Lady – The Grey Dame (1909)
This picture is the sixth in the Sherlock Holmes series Nordisk had started in 1908, starring and directed by Larsen. A legend holds that anyone seeing the ghost of a woman in grey (instead of hound) will die soon afterwards. Holmes is called in to solve the problem and discovers that the culprit is a rich patriarch’s nephew. He dresses up as the grey lady’s ghost in order to scare and kill people. By that way he earn himself a fortune in the process. By all accounts this was a fast-paced adventure story, full of secret rooms and passageways. In addition to that, the spectral appearances were the highlight of the movie. Larsen left the series after this episode and was replaced first by Otto Lagoni. Then Otto was replaced by Alwin Neuss and finally by Holger Rasmussen.
The next major Holmes movie was part ofthe German series which began with Der Hund von Baskerville in 1914, in which Neuss continued in the role he had played briefly in Denmark.
Mary Shelley’s Frankenstein (1910)
The first attempt to capture Mary Shelley’s Frankenstein or The Modern Prometheus on film (though there had been many stage adaptations), this is an extraordinary effort for its time. Written and directed by Dawley, the film successfully reinterprets, rather than condenses, the original material. Billed as a ‘liberal adaptation of Mrs Shelley’s tale’, the film (its makers claimed) also tried to eliminate all the actually repulsive situations and to concentrate upon the mystic and psychological problems that are to be found in this weird tale.
The First Frankenstein Film
Frankenstein (Phillips), a young medical student, tries to create chemically a perfect human being. Unfortunately, the result of his experiments is a misshapen monster (Ogle), who flees into the night. Frankenstein, sickened, is nursed back to health by his sweetheart. But on the eve of his wedding is visited by the monster. During the ensuing struggle, the monster sees himself reflected in a mirror. And then, horrified, takes off into the night, but later breaks into the bride’s room. Her shrieks bring Frankenstein running, there is another struggle and, overcome ‘by love’, the creature fades away.
The curiously mystic finale sits oddly with the beautifully built up dark mood which, after James Whale’s classic Frankenstein (1931), was at the centre of, if not central to, all subsequent versions of the tale.
Conscience – The Chamber of Horrors (1912)
More a cautionary moral tale than anything else, Conscience makes use of a setting that was to become a horror movie favourite: the chamber of horrors. Persuaded to elope by her lover Eric, Eleanor Donelly defies her police officer brother to go to New York. There, in New York, the young couple are married. Soon deserted by Eric and desperate for food for her baby, Eleanor tries to steal a bottle of milk. Fleeing in terror from a policeman, she takes refuge in a chamber of horrors. Coincidentally, fallen among disreputable companions, Eric has meanwhile accepted a wager daring him to spend a night in the same chamber of horrors. In the morning, seeing Eleanor in the shadows as she wakes and rises, Eric dies of fright while Eleanor goes mad.
Der Schatten des Meeres – The Sea’s Shadow- In the Shadow of the Sea (1912)
On a dark night, the shadowy figure of Death emerges from the sea and enters a fisherman’s, but to persuade an unhappy woman (Porten) to follow him into a watery grave. This poetic exploration of suicide, based on a Swedish legend, provides Messter with an opportunity to combine heavy melodrama with elements of Nordic mysticism and to compete with the strong Scandinavian film industry of the period. The result deserves respect for its success in conveying the rhythms of oral storytelling. Also it deserves respect for the lyrical passages of the film’s second act.
Stark, Porten’s husband at the time and frequent co-star, usually made uninspired, naturalistic dramas which suggests that the introduction of the darkly romantic elements can be attributed to Messter and Froehlich. Messter was a prominent German film pioneer, inventor and entrepreneur. He directed most of his company’s films until 1910. Then he controlled his own equipment, production and distribution companies until they were taken over by UFA in 1917. His Berlin based empire experimented with animation (1897) and sound films. (1903) Then he introduced the star system into Germany. Under Messter’s supervision, Porten, the daughter of opera singer and film director Franz Porten, became the first German screen star. She later founded her own production company with Froehlich.