The List (15-11):
14) TIE: Bride of Frankenstein (Whale, 1935)—While its predecessor, Frankenstein (also directed by Whale) might be the more famous of the two, it is this sequel that is often upheld as his masterpiece, and one of the finest of the “Universal Horror” films (a series of horror films commissioned and produced by Universal Studios from the 20s through the 50s). It has often been discussed for its use of Christian imagery, as well as its gay sensibility, demonstrating both a camp flavor and possible metaphors for homosexuality.
Oscar Spotlight: Nominated for Best Sound.
12) Invasion of the Body Snatchers (Siegel, 1956)—Don Siegel’s sci-fi thriller tells the story of a small town that becomes infiltrated by an extraterrestrial force that replaces the citizens with visual duplicates that are devoid of personality or individuality. Like all the best sci-fi, whether by design or not, the film has been read as social allegory; some see it as reflecting concerns about McCarthyism while others have read it as a reaction against communism.
11) Repulsion (Polanski, 1965)—Roman Polanski’s film about one woman’s loosening grasp on reality is propelled by a tour-de-force and nearly wordless performance by Catherine Deneuve. Deneuve is Carole, a woman who seems repulsed by the notion of human sexuality. Several men make advances on and even assault her, and they meet grisly ends at her hands. The practical effects (arms coming out of the apartment and groping at Carole, walls suddenly developing enormous cracks) are a highlight along with Deneuve.
Next up: The List (10-6)
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