In my still ongoing research (seemingly endless, in fact; this idea may be my self-made purgatory), there are dates that are stacked with horror history. Today is one of those days.
Starting with a birthday, as I am wont to do whenever possible, today marks the birth of Dan Curtis, the prolific producer and director who gave us the television series Dark Shadows, the TV-film Trilogy of Terror (one of the more memorable made for TV horror flicks from an era that was full of them), the TV-film The Night Strangler (which eventually begot the beloved series The Night Stalker), the cinematic adaptation of Burnt Offerings, and several others.
While we’re on the subject of monumental, possibly even underrated influential factors in horror history, August 12th, 1960 saw the initial release of Mario Bava’s Black Sunday. The grand matriarch of Italian horror films, the source from which the bloody river and many red tributaries of Italian horror would flow for decades, to say nothing of the films and directors who’ve directly paid homage to its style and storytelling. Its influence has been rightly described as “almost incalculable” by Tim Lucas in his book on Bava. At the time of its release, it was, as its trailer professes, not quite like anything that had come before, and it can proudly walk along with Psycho (well, just maybe a half-step behind) as one of the game-changing horror films birthed by the summer of 1960.
And August 12th still isn’t quite finished with us. On this day in 1983, Cujo came home to theaters in the states, a few days after its release in France.
The story of a demonically rabid St. Bernard that really wasn’t a bad dog if you discount that time it went on a rampage and murdered a bunch of people, it was the first of three Stephen King adaptations released in the back half of 1983, followed by The Dead Zone and Christine. This would mark the beginning of a 5-year run in which at least two King adaptations would come to the big screen annually, lest any younger readers out there think that the current apparent rush to adapt as much of King’s work as possible in a short space of time is a newer phenomenon. A solid film, it can sometimes feel half-forgotten in King’s oeuvre, despite introducing the world to a name that’s up there with “Damien” in the “instantly associated with evil” moniker pantheon.
Closing on a bit of a sad note (about as melancholy as I’ll get for the foreseeable future, as I’m deliberately avoiding death-dates), today marks the release date four years ago of P.T.
A stealth teaser for a new Silent Hill project, P.T. was a pretty good, eerie little first-person horror game in its own right, but became far more notable for its ending revelation that it was bringing possibly the best horror gaming series of all time to the latest generation of consoles. Horror mastermind Guillermo Del Toro was working on it, . Alas, the project wouldn’t even survive into the following summer, being officially canceled by Konami in April of 2015, and P.T. was taken off the Playstation Network, never to be made officially available again. Konami indicated it would continue the series nonetheless, but as of 2018, there still isn’t a new installment even in the formative stages of development. The longest drought in Silent Hill series history sits at six years and counting,