I’m a psychiatrist who was terrified of horror films – until I learned about ‘cinematic neurosis’

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Why do scary movies thrill some viewers and send others running for the hills? Our writer gets to the bottom of his fear of the genre – with the assistance of Freud, clinical researchers and his six-year-old self I am six years old, and I am watching a man turn into a werewolf. The film is Abbott and Costello Meet Frankenstein, a 1948 comedy. I am staring up at our black-and-white TV fixated on the werewolf transformation unfolding in slow motion and I begin to scream so inconsolably that my parents must carry me upstairs to calm me down. That night was the beginning of my lifelong fear of horror films and of the supernatural, of darkness and of being alone in a house. Continue reading... from Film | The Guardian https://ift.tt/nwdHRqF via IFTTT
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Hugh Hudson: smash-hit pop classic Chariots of Fire director was a hero of British film

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Hudson brought an ad-man’s eye to the brilliant 1981 drama about athletics and bigotry, as well as directing the hilarious Cinzano commercials

As the 1980s dawned, British ad director Hugh Hudson took on his first feature film and made it a legendary hit: an inspirational story which supplied a sugar-rush of patriotism and a swoon of nostalgia which hit the spot both sides of the Atlantic. It somehow brought off the trick of being about the underdog and the victim of bigotry and religious discrimination – and yet also being a resounding endorsement of the status quo which could, on grounds of decency and meritocracy, always accommodate the outsider. This was the era of Margaret Thatcher and Ronald Reagan, and the ethos of success for the hardworking and the deserving.

The film of course was Chariots of Fire, the true story of the 1924 Olympic runners Harold Abrahams (played by Ben Cross), a Jew who ran to defy prejudice, and Eric Liddell (Ian Charleson), a devout Christian who found a creationist glory in his speed. It was the destiny of so many involved to be forever associated chiefly, or solely, with this smash-hit pop classic: certainly Cross and Charleson never again found roles to match Abrahams and Liddell. And maybe Hudson himself never again had a triumph like it: though he was no one-hit wonder, later directing the Oscar-winning Tarzan drama Greystoke, and later Revolution, an epic about the American revolution starring Al Pacino which was derided but then grew in acclaim, giving his Hudson his own misunderstood masterpiece moment.

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