At the end of this exhaustive (and occasionally exhausting) film-by-film history of English horror cinema, Jonathan Rigby quotes Anne Billson on the special place Gothic has for the English:
‘Horror thrives best when emotions are bottled up, and no one bottles them up quite like us.’
I’m not sure this is true of all horror. I’d say the US horror films, like Night of the Living Dead, The Texas Chainsaw Massacre, Rosemary’s Baby and The Exorcist, which put an end to the 20th century’s main British horror boom, are more about political than emotional repression — when they’re not simply about pure, primal terror, that is. Certainly, they don’t work in that stiff-upper lip way Hammer’s fairy-tale Gothics do. Perhaps that’s why the term ‘Gothic’ seems so much more appropriate to English horror cinema. (Though Rigby has also written books on European Gothic and American Gothic.)
Although Rigby mentions a welter of early horror films in his first chapter (covering 1897 to 1953), things (as well as Things) really kick off in 1954, with Hammer’s The Quatermass Xperiment, which made a marketing virtue of its ‘X’ certificate (brought in by the BBFC in 1951, to exclude under-16s). That film’s success led to the ‘First Flood’ of British horror (as Rigby titles the chapter), most of which were science fiction horrors, or the sort of costume-drama Gothics that Hammer were to make so much their own.
Right from the start, British critics and censors did their best to act as the repressing super-ego to these horror films’ blasts of unleashed id, complaining of a surging tide of boundaries-testing ‘sex and sadism’ (that nowadays seems merely quaint), which lead to a slow choking-off of this initial horror boom in the first half of the 1960s, when horror filmmaking in Britain seems to have been dominated by costume Gothics (not just Hammer, but Roger Corman’s Poe films, too), alongside some respectable one-offs like The Innocents, The Haunting, and Repulsion. (Michael Powell, with his 1960 film Peeping Tom, became the sacrificial lamb to the repressive critics’ slaughter.) With the social changes of the 1960s, that critical repression flipped into outright prurience by the early 1970s, when a glut of US investment led to the films Rigby covers in a chapter called ‘Market Saturation’. After Hammer finally went to the Devil (literally — their last film being 1975’s To the Devil a Daughter), Rigby lumps the rest of the 20th century into a single chapter titled ‘British Horror in Retreat’.
That’s where the first edition of English Gothic ended. In this new (2015) edition, there’s a new chapter, ‘Risen from the Grave: 2000–2015’, covering the period which contains, among other things, Hammer’s own resurrection, its most characteristic film being (again) in period costume (The Lady in Black).
Perhaps it’s notable that Hammer had their success at the same time as the Carry On films. Both relied for their character on British prudishness, and both failed to adapt to the changing mores of the latter half of the 1960s (trying and failing in, for instance, Carry on Loving on the one hand and Dracula 1972 A.D. on the other), finally giving way to pulpier home-grown product which was far less repressed, and less finessed (Prey, Frightmare) — which themselves failed in the face of the fully explicit, overseas-made films of the video-driven 1980s.
I wonder if perhaps the horror genre will always have two opposing strands to it: the shocking, gory, explicitly violent side and the more dreamy, surreal, Gothic side. As people get tired of the excesses — or used to the shocks — of one (too much blood, or too little), the other has a breakout success. Hence, for instance, the boom of ghostly and surreal Asian horror films at the turn of the millennium, which then gave way to the excessively physical terrors of the Saw franchise five years later.
Some of my favourite British horror films have their feet in both camps — Clive Barker’s Hellraiser, or Ken Russell’s Lair of the White Worm, for instance — but I much prefer the dreamy, supernatural, Gothic side: chills rather than shocks, and spooks rather than psychopaths.