8 Haunting Horror Movie Gimmicks

Universal Pictures Home Entertainment
Universal Pictures Home Entertainment

In the 1950s and 1960s, horror movies were making studios huge profits on shoestring budgets. But after the market hit horror overload, directors and studios had to be extra creative to get people to flock to theaters. That's when a flood of different gimmicks were introduced at movie theaters across the country to make a film stand out from the crowd. From hypnotists to life insurance policies and free vomit bags, here's a brief history of some of the most memorable horror movie gimmicks.

1. PSYCHO-RAMA // MY WORLD DIES SCREAMING (1958)

In order to truly become a classic, a horror movie can't just work on the surface; it has to get deep inside of your head. That's what Psycho-Rama tried to achieve when it was first conceived for My World Dies Screaming, later renamed Terror in the Haunted House. Psycho-Rama introduced audiences to subliminal imagery in order to let the scares sink in more than any traditional film could.

Skulls, snakes, ghoulish faces, and the word "Death" would all appear onscreen for a fraction of a second—not long enough for an audience member to consciously notice it, but it was enough to get them uneasy. Obviously Psycho-Rama didn't really catch on with the public or the film industry, but horror directors, like William Friedkin in The Exorcist, have since gone on to use this quick imagery technique to enhance their own movies.

2. FRIGHT INSURANCE // MACABRE (1958)

Director William Castle didn't make a name for himself in the film industry by directing cinematic classics; instead, he relied on shock and schlock to help fill movie theater seats. His movies were full of what audiences craved at the time: horror, gore, terror, suspense, and a heaping helping of camp. But his true genius came from marketing—and the gimmicks he brought to every movie, which have since become legendary among horrorphiles.

His most famous stunt was the life insurance policy he purchased for every member of an audience that paid to see Macabre. This was a real policy backed by Lloyd's of London, so if you died of fright in your seat, your family would receive $1000. Now who wouldn't want to roll the dice on that type of deal? Of course, the policy didn't cover anyone with a preexisting medical condition or an audience member who committed suicide during the screening. Lloyd's had to draw the line somewhere, right?

3. HYPNO-VISTA // HORRORS OF THE BLACK MUSEUM (1959)

How do you make your routine horror movie stand out from the crowd? Hypnotize your audience, of course. Thus Hypno-Vista was born. For this gimmick, James Nicholson, president of American International Pictures, suggested that a lecture by a hypnotist, Dr. Emile Franchel, should precede Horrors of the Black Museum, which had a plot focusing on a hypnotizing killer.

For 13 minutes, Dr. Franchel talked to the audience about the science behind hypnotism, before attempting to hypnotize them himself in order to feel more immersed in the story. Nowadays it comes off as overlong and dry, but it was a gimmick that got people into theaters back in 1959. Plus, writer Herman Cohen said that eventually the lecture had to be removed whenever the movie re-aired on TV because it did, in fact, hypnotize some people.

4. NO LATE ADMISSION // PSYCHO (1960)

Though this isn't the most gimmickiest of gimmicks, Alfred Hitchcock's insistence that no audience member be admitted into Psycho once the movie started got a lot of publicity at the time. The Master of Suspense's reasoning is less about drumming up publicity and more about audience satisfaction, though. Because Janet Leigh gets killed so early into the movie, he didn't want people to miss her part and feel misled by the movie's marketing.

This publicity tactic wasn't completely novel, though, as the groundbreaking French horror movie Les Diaboliques (1955) had a similar policy in place. This was at a time when people would simply stroll into movie screenings whenever they wanted, so to see a director—especially one so masterful at the art of publicity—who was adamant about showing up on time was a great way to pique some interest.

5. FRIGHT BREAK // HOMICIDAL (1961)

Another classic William Castle gimmick was the "fright break" he offered to audience members during his 1961 movie, Homicidal. Here, a timer would appear on the screen just as the film was hurtling toward its gruesome climax. Frightened audience members had 45 seconds to leave the theater and still get a full refund on their ticket. There was a catch, though.

Frightened audience members who decided to take the easy way out were shamed into the "coward's corner," which was a yellow cardboard booth supervised by some poor sap theater employee. Then, they were forced to sign a paper reading "I'm a bona-fide coward," before getting their money back. Obviously, at the risk of such humiliation, most people decided to just grit their teeth and experience the horror on the screen instead.

6. THE PUNISHMENT POLL // MR. SARDONICUS (1961)

The most interactive of William Castle's schlocky horror gimmicks put the fate of the film itself into the hands of the audience. Dubbed the "punishment poll," Castle devised a way to let viewers vote on the fate of the characters in the movie Mr. Sardonicus. Upon entering the theater, people were given a card with a picture of a thumb on it that would glow when a special light was placed on it. "Thumbs up" meant that Mr. Sardonicus would be given mercy, and "thumbs down" meant … well, you get the idea.

Apparently audiences never gave ol' Sardonicus the thumbs up, despite Castle's claims that the happier ending was filmed and ready to go. However, no alternative ending has ever surfaced, leaving many to doubt his claims. Chances are, there was only one way out for Mr. Sardonicus.

7. FREE VOMIT BAGS // MARK OF THE DEVIL (1970)

Horror fans are mostly masochists at heart. They don't want to be entertained—they want to be terrified. So when the folks behind 1970's Mark of the Devil gave out free vomit bags to the audience due to the film's grotesque nature, how could any self-respecting horror fan not be intrigued? It wasn't just the bags that the studio was advertising; it also claimed the film was rated V, for violence—and maybe some vomit?

8. DUO-VISION // WICKED, WICKED (1973)

Duo-Vision was hyped as the new storytelling technique in cinema—offering two times the terror for the price of one ticket. Of course Duo-Vision is just fancy marketing lingo for split-screen, meaning audiences see a film from two completely different perspectives side-by-side. In the 1973 horror film Wicked, Wicked, that meant watching the movie from the points of view of both the killer and his victims.

Seems like a perfect concept for the horror genre, right? Well, Duo-Vision wasn't just employed during the movie's most horrific moments; it was used for the movie's entire 95-minute runtime. The technique had been used sparingly in other films—most notably in Brian De Palma's much better film Sisters (1973)—but it had never been implemented to this extent. A little bit of Duo-Vision apparently goes a long way, because it fell out of favor soon after.

This Damn Fine Twin Peaks Box Set Is the Only One Fans Will Ever Need

Amazon
Amazon

Fans of David Lynch’s three-season drama Twin Peaks know there’s quite a lot to excavate. The series, which ran from 1990 to 1991 on ABC and returned for a one-season engagement on Showtime in 2017, has been a perpetual source of ambiguity, red herrings, and the downright inexplicable.

Now there’s a centralized hub of all things Peaks to dwell on. Twin Peaks: From Z to A is a Blu-ray box set containing all episodes of the original series; 1992’s feature film, Twin Peaks: Fire Walk with Me; 2017's Twin Peaks: The Return; an international version of the 1990 pilot with additional footage; as well as an abundance of new and archival material totaling 20 hours in length.

The box for the 'Twin Peaks: From Z to A' Blu-ray DVD set is pictured
Amazon

Inside the package, which is illustrated with the Douglas firs that are part of the show’s iconography, are mini-figures of Special Agent Dale Cooper and Laura Palmer, played in the show by Kyle MacLachlan and Sheryl Lee, respectively. The box acts as a diorama of sorts and opens to reveal the Red Room, a location where many of the show’s most surreal moments took place. A series of three-by-five index cards provide backdrops of key scenes. The only thing the set doesn’t have is Lynch’s hand-drawn map of the show’s Washington location, but you can find that here.

The set is limited to 25,000 copies. It retails for $139.99 on Amazon and is due for release on December 10.

[h/t Newsweek]

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Unraveling the Many Mysteries of Neil Diamond's 'Sweet Caroline'

Keystone/Getty Images
Keystone/Getty Images

The story of Neil Diamond’s "Sweet Caroline" has it all: love, baseball, Kennedys, Frank Sinatra, Elvis, and the triumph of the human spirit. It’s pop’s answer to the national anthem, and as any karaoke belter or Boston Red Sox fan will tell you, it’s way easier to sing than "The Star-Spangled Banner." As the song celebrates its 50th birthday this year, now’s a good time—so good, so good, so good—to dig into the rich history of a tune people will still be singing in 2069.

"Where it began, I can’t begin to knowing," Diamond sings in the song’s iconic opening lines. Except the "where" part of this story is actually pretty simple: Diamond wrote "Sweet Caroline" in a Memphis hotel room in 1969 on the eve of a recording session at American Sound Studio. By this point in his career, Diamond had established himself as a fairly well-known singer-songwriter with two top-10 hits—"Cherry Cherry" and "Girl, You’ll Be a Woman Soon"—to his name. He’d also written "I’m a Believer," which The Monkees took to #1 in late 1966.

 

The "who," as in the identity of the "Caroline" immortalized in the lyrics, is the much juicier question. In 2007, Diamond revealed that he was inspired to write the song by a photograph of Caroline Kennedy, daughter of John F. Kennedy, that he saw in a magazine in the early ‘60s, when he was a "young, broke songwriter."

"It was a picture of a little girl dressed to the nines in her riding gear, next to her pony," Diamond told the Associated Press. "It was such an innocent, wonderful picture, I immediately felt there was a song in there.” Years later, in that Memphis hotel room, the song was finally born.

Neil Diamond sings the National Anthem prior to Super Bowl XXI between the New York Giants and the Denver Broncos at the Rose Bowl on January 25, 1987 in Pasadena, California
George Rose/Getty Images

Perhaps because it’s a little creepy, Diamond kept that tidbit to himself for years and only broke the news after performing the song at Kennedy’s 50th birthday in 2007. "I’m happy to have gotten it off my chest and to have expressed it to Caroline," Diamond said. "I thought she might be embarrassed, but she seemed to be struck by it and really, really happy."

The plot thickened in 2014, however, as Diamond told the gang at NBC’s TODAY that the song is really about his first wife, Marsha. "I couldn’t get Marsha into the three-syllable name I needed,” Diamond said. "So I had Caroline Kennedy’s name from years ago in one of my books. I tried ‘Sweet Caroline,’ and that worked."

It certainly did. Released in 1969, "Sweet Caroline" rose to #4 on the Billboard Hot 100. In the decade that followed, it was covered by Elvis Presley, soul great Bobby Womack, Roy Orbison, and Frank Sinatra. Diamond rates Ol’ Blue Eyes’ version the best of the bunch.

"He did it his way," Diamond told The Sunday Guardian in 2011. "He didn't cop my record at all. I've heard that song by a lot of people and there are a lot of good versions. But Sinatra's swingin', big-band version tops them all by far."

 

Another key question in the "Sweet Caroline" saga is "why"—why has the song become a staple at Fenway Park in Boston, a city with no discernible connection to Diamond, a native of Brooklyn?

It’s all because of a woman named Amy Tobey, who worked for the Sox via BCN Productions from 1998 to 2004. During those years, Tobey had the wicked awesome job of picking the music at Sox games. She noticed that "Sweet Caroline" was a crowd-pleaser, and like any good baseball fan, she soon developed a superstition. If the Sox were up, and Tobey thought they were going to win the game, she’d play the song somewhere in between the seventh and ninth innings.

"I actually considered it like a good luck charm," Tobey told The Boston Globe in 2005. "Even if they were just one run [ahead], I might still do it. It was just a feel." It became a regular thing in 2002, when Fenway’s new management asked Tobey to play "Sweet Caroline" during the eighth inning of every home game, regardless of the score.

At first, Tobey was worried that mandatory Diamond would lead to bad luck on the actual diamond. But that wasn’t the case, as the Sox won the World Series in 2004, ending the "Curse of the Bambino" and giving Beantown its first title since 1918. In 2010, Diamond made a surprise appearance at Fenway to perform "Sweet Caroline" during the Red Sox's season opener against the New York Yankees. He wore a Sox cap and a sports coat emblazoned with the message "Keep the Dodgers in Brooklyn."

 

A different mood greeted Diamond when he returned to Fenway on April 20, 2013, just five days after bombings at the Boston Marathon killed three people and injured nearly 300 others. "What an honor it is for me to be here today," Diamond told the crowd. "I bring love from the whole country." He then sang along with the ‘69 recording of the song, leading the crowd in the "Ba! Ba! Ba!" and "So good! So good! So good!" ad-libs that have essentially become official lyrics. Diamond also donated all the royalties he received from the song that week, as downloads increased by 597 percent.

The Red Sox aren't the only sports team to have basked in the glory of "Sweet Caroline." The song has become popular with both the Penn State Nittany Lions and Iowa State Cyclones football squads and has even crossed the Atlantic to become part of the music rotation for England's Castleford Tigers crew team and Britain's Oxford United Football Club.

Over the last five decades, millions of people have had their lives touched by "Sweet Caroline" in one way or another. The enduring popularity must be a pleasant surprise for Diamond, who had no idea he’d written a classic back in 1969. "Neil didn't like the song at all," Tommy Cogbill, a bass player at American Sound Studio, said in an interview for the 2011 book Memphis Boys. "I actually remember him not liking it and not wanting it to be a single."

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