11 Things You Might Not Know About Charles Lindbergh

AFP/Getty Images
AFP/Getty Images

Before flying around the world was a daily occurrence, aviator Charles Lindbergh (1902-1974) made history by becoming the first person to complete a solo transatlantic flight in 1927. The feat made him a national hero, and then he became a tragic figure: The kidnapping of his infant son in 1932 remains one of the most indelible true-crime cases of the 20th century. Check out the following facts for more on Lindbergh’s life in and out of the cockpit.

1. HE GOT HIS START RIDING AIRPLANE WINGS.

Born in Detroit on February 4, 1902, Lindbergh spent his childhood in Washington, D.C., where his father, Charles August Lindbergh, was a congressman, as well as in Little Falls, Minnesota. While in Little Falls, he saw a “barnstormer,” or daredevil pilot, buzz into town. "Afterward, I remember lying in the grass and looking up at the clouds and thinking how much fun it would be to fly up there among those clouds," he later recalled.

The event was thought to have instilled a curiosity about air travel that lasted Lindbergh’s entire life. After dropping out of college at age 20, Lindbergh started working for the Nebraska Aircraft Corporation, which repaired and sold airplanes. While a fellow employee flew aircraft for publicity purposes, Lindbergh would step out onto the plane wing to attract even more attention. He later got his pilot’s license at the Army Air Service, graduating in 1925.

2. DELIVERING MAIL GAVE HIM NERVES OF STEEL.

In the early days of aviation, flying was considered a high-risk proposition. After serving as a second lieutenant in the U.S. Army, Lindbergh took a job delivering airmail between St. Louis and Chicago. The expedited schedule meant Lindbergh and other pilots flew at night with poor visibility, had to push through inclement weather, and suffered from fatigue. Lindbergh learned to deal with many of the dangerous variables of piloting, which prepared him for an audacious goal: making a transatlantic flight solo.

While pilots John Alcock and Arthur Brown had made a nonstop transatlantic flight in June 1919 from Newfoundland to Ireland, it was only half the distance of Lindbergh's goal of flying from New York to Paris. A hotel owner named Raymond Orteig had offered a $25,000 prize to the first person to travel that route, but for several years, no one took him up on it—a testament to the fact that few believed it could be done.

3. HE COULDN’T SEE OUT OF HIS HISTORY-MAKING PLANE.


The Spirit of St. Louis displayed in the “Boeing Milestones of Flight Hall” in the National Air and Space Museum in Washington, D.C.

Lindbergh's decision to mount the first transatlantic flight from New York to Paris in 1927 required two elements: guts and technology. Lindbergh had developed the constitution for it, but still needed an aircraft that could make the 3600-mile flight. Financed by the St. Louis Chamber of Commerce, Lindbergh commissioned a $15,000 plane, dubbed The Spirit of St. Louis, to be built by the Ryan Airlines Corporation of San Diego. Because the plane needed additional fuel storage, everything extraneous was removed to lessen its weight—no radio, gas gauge, or parachute. Lindbergh even had to dispense with a window in his cockpit: The gas tank took over his front field of vision. He used a periscope to see instead.

The sacrifices were worth it. Lindbergh made the flight, lifting off from Roosevelt Field on Long Island on May 20, 1927, and arriving in Paris after 33.5 hours of uninterrupted flying. The feat captured the public's attention for its boundary-breaking significance, with thousands of people greeting his plane upon landing. Back home, president Calvin Coolidge awarded him the Congressional Medal of Honor.

4. HE STARTED HALLUCINATING, TOO.

Crossing the Atlantic Ocean demanded more of Lindbergh than just flying skill or customized aircraft. It required he stay awake for the duration of the solo flight and maintain concentration throughout. Halfway through, fatigue began to set in, and Lindbergh physically forced his eyes to remain open with his fingers. Shortly after that, he began hallucinating ghosts passing through his cockpit. Because he had slept so little the night before taking off, Lindbergh had actually been awake closer to 55 hours.

5. THE FLIGHT MADE HIM A MILLIONAIRE.

Although there was a $25,000 prize involved, Lindbergh’s real wealth came from the public’s mythologizing of the feat. City after city threw him celebratory parades, and he eventually made it to every state in the union to acknowledge their fascination with his achievement. Eager to understand both the pilot and the trip, they made his 1927 autobiography, We, a bestseller. Lindbergh also wrote articles about aviation for The New York Times. Together, the projects were said to have made him a millionaire.

6. PEOPLE MADE SOUVENIRS TO MARK HIS SON’S KIDNAPPING.

No abduction has captured the public’s attention quite like the 1932 taking of Charles Lindbergh III, whom press dubbed “Little Lindy.” The 20-month-old was seized from his second-floor bedroom in the Lindberghs’ home in Hopewell, New Jersey, on March 1. Ransom notes followed, and although Lindbergh paid, the child was never going to return: His body was found May 12, about 4.5 miles from the Lindbergh home. Police determined that he had been killed on the night of the kidnapping. During the trial of alleged perpetrator Bruno Hauptmann, one business decided to offer a morbid souvenir to the attending public: a tiny replica of the ladder Hauptmann used to climb into the baby's window. Author Maurice Sendak (Where the Wild Things Are) later purchased one. Sendak had long been fascinated with the case, which dominated headlines during his childhood.

7. HE RECEIVED AN AWARD FROM THE NAZIS.

Lindbergh’s feat drew worldwide acclaim and he frequently took up invitations from foreign countries to evaluate their aircraft development. In the late 1930s, Lindbergh made several trips to Nazi Germany, where he was granted access to the Luftwaffe's fleet of combat planes. At one point, Luftwaffe commander-in-chief Hermann Goering presented Lindbergh with the Service Cross of the German Eagle to acknowledge his pioneering work in aviation. Lindbergh promptly reported his experiences to U.S. intelligence, which had encouraged Lindbergh to make the visits and inform the American military of German technology.

8. HE WAS OPPOSED TO THE U.S. ENTERING WORLD WAR II.

Charles Lindbergh giving a radio speech
Lindbergh gives a speech advocating neutrality in World War II.
Keystone/Hulton Archive/Getty Images

Despite the continued public adoration, Lindbergh managed to find himself in one major media disaster. He repeatedly voiced concerns over U.S. participation in World War II, believing that his country was ill-prepared to hold its own in European territory. In his most controversial comments, he told a crowd during a speech in Iowa in 1941 that the Jewish population was "pro war" as a result of the atrocities committed by Germans. Though he was prohibited from serving in the military by an irate President Franklin Roosevelt, Lindbergh wound up flying 50 combat missions in the Pacific for a private airplane contractor. The accusations of being pro-German or anti-Semitic followed him for the remainder of his life. In the early 1940s, his idea of American isolationism was even the target of satirical political cartoons by Theodore Geisel, otherwise known as Dr. Seuss. On a “Lindbergh quarter,” Seuss imagined an ostrich with its head in the ground instead of an eagle.

9. HE REFUSED TO CELEBRATE MOTHER’S DAY.

According to his daughter, Reeve Lindbergh, her father was no fan of manufactured holidays. Both Father’s Day and Mother’s Day, he said, were commercially driven and insincere, and he refused to acknowledge either one in the Lindbergh household. While his children were forced to cede to his wishes while he was present, his frequent trips allowed them to celebrate Mother’s Day in secret if he was away from home.

10. HE INVENTED AN INFLUENTIAL MEDICAL DEVICE.

Lindbergh had an interest in biomechanics, and in 1935, he unveiled his design for a perfusion pump—a glass device that could ostensibly keep organs viable by delivering a blood supply to them while they were outside the body. With collaborator and Nobel Prize-winning scientist Alexis Carrel, he succeeded in perfusing the thyroid gland of a cat. Though his invention never made it to a practical application stage, Lindbergh’s work is credited with helping bridge the gap toward innovations that later allowed surgeons to stop a heart during operations.

11. HE HAD A SECRET FAMILY (OR THREE).

Lindbergh’s travels to Germany were more than just business. In 2003, DNA tests confirmed that he had fathered three children with Munich hat maker Brigitte Hesshaimer beginning in 1957. Neither Hesshaimer nor Lindbergh disclosed that lineage to the children, who knew the man who came to visit them a few times a year as a writer named “Careu Kent.” The trio waited until their mother’s passing in 2001 before pursuing their suspicion that Kent was actually Lindbergh. The aviator was also alleged to have fathered two children with Brigitte’s sister, Marietta, and two with his personal secretary, a woman named Valeska.

25 Words You Didn't Know Were in the Dictionary

iStock
iStock

With perhaps three-quarters of a million words in the English language, it's fairly reasonable to suggest that you probably won't get around to learning them all, and that there'll be plenty of words hiding away in the dictionary that you’ll never need (or want) to know.

In some cases, that's a real shame: Look closely enough and the dictionary contains dozens of eminently useful words, like euneirophrenia (the pleasant feeling of contentment that comes from waking up after a nice dream), zwodder (a cloudy, befuddled mental state caused by not getting enough sleep), and snollygoster (a disreputable politician). But in other cases—as with the 25 weird and obscure words listed here—not knowing or using them might be totally understandable.

1. ARCHIMIME

Two male friends laughing and imitating each other
iStock

As well as being one of the strangest words in the dictionary, archimime or archmime is also perhaps one of the strangest occupations in history: According to the Oxford English Dictionary, an archimime was "a chief buffoon or jester" whose job involved attending funerals and impersonating the deceased person. (No, really.)

2. AWESOMESAUCE

A glass bottle of cranberry sauce being transferred from bottle to bowl
iStock

Yes, this slang word for anything particularly awesome was added to the dictionary (or at least the online arm of Oxford Dictionaries) in 2015, along with the likes of fur baby, wine o’clock, manspreading, and mkay.

3. BATRACHOMYOMACHY

A frustrated-looking businesswoman at a meeting, leaning back in chair with her hand on her head
iStock

If you know your classics, you might know this one already: A batrachomyomachy is a petty quarrel or pointless argument. That might sound straightforward enough, but when you find out that it literally means "a battle between frogs and mice," things take a turn for the unusual. The word batrachomyomachy actually derives from an ancient Greek parody of Homer's Iliad in which a frog accidentally drowned a mouse that was sitting on its back, sparking a brutal war between the two species.

4. BUTTOCKER

A smiling man wearing a head lamp working at a mine
iStock

A buttock (in this context at least) is the next portion of a coalface to be broken up and mined out. A buttocker, according to an early 20th century Glossary of the Mining Industry, is someone who does precisely that.

5. CALLIPYGIAN

A young woman doing yoga with one leg raised in the air
iStock

Derived from the Greek word callos, meaning "beauty" (as in calligraphy or calisthenics), someone described as callipygian has beautifully shaped buttocks. Originally an architectural term from the early 1800s used to describe the figures of classical sculptures and artworks, the word has been in wider use since the late 1900s.

6. CEPHALOMANCY

Close up of a donkey on a grassy mountain
iStock

Sages and forecasters have used ever more bizarre methods to tell the future over the centuries, from observing the shapes of the clouds (aeromancy) to the shapes and patterns of the ashes from a fire (tephromancy). Among the strangest of all these fortune-telling practices was cephalomancy—a method of foretelling the future in which a donkey's head would be boiled or roasted on an open fire, and significance taken from the movements or crackling of its bones. One particular use of this kind of divination was in assessing a guilty party: A list of names would be read aloud while the head was cooked, and if the donkey's jaw moved or cracked when someone's name was spoken, they were said to be the guilty party.

7. EUOUAE

Antique sheet music set up on a church lectern
iStock

Euouae is actually a mnemonic abbreviation used to memorize the sequence of a particular cadence in a certain hymn (and so the jury is out as to whether it actually constitutes a word). Nevertheless, it's found its way onto the pages of some dictionaries and as such is said to be the longest word in the English language consisting entirely of vowels.

8. FEAGUE

A white horse in a barn
iStock

According to the English lexicographer Francis Grose's aptly-titled Dictionary of the Vulgar Tongue, feague is a verb meaning "to put ginger up a horse's fundament." If that sounds too ridiculous to be true, don't worry: You can always replace the raw ginger with a live eel. Both methods, Grose explained, were apparently once used "to make him lively and carry his tail well," thereby earning his owner a better price at market. Etymologically, the word is something of a mystery­, but one theory suggests that feague might once have meant merely "to agitate" or "to enliven," and the later more specific (and more unpleasant) meaning derived from there.

9. GANDER-PULLING

A group of white geese on a blue background
iStock

Take a live goose. Cover it in grease. Suspend it by its feet from a crossbar. Then ride a horse underneath it and, as you go by, try to pull the goose’s head off. That’s the definition of the sport (if it can be called a sport) of gander-pulling.

10. HIPPANTHROPY

A farmer smiling at his cow across a metal bar
iStock

Coined in the 1800s, hippanthropy is the mental delusion that you are turning into, or have turned into, a horse. Not quite the word you want? Try boanthropy, the delusion that you're an ox. Too specific? Try zoanthropy, the delusion that you are turning into an (unspecified) animal.

11. HOPLOCHRISM

A steel sword point over a background of burned paper
iStock

Derived from a Greek word, hoplon, for a weapon, hoplochrism is an old form of medicine in which the weapon or tool that caused a wound would be treated and anointed in the same way as the wound itself, in the belief that doing so would somehow speed up the healing process. You can decide for yourself whether it ever worked.

12. LANT

Two cold beers in glasses on a wooden bar
iStock

As a noun, lant or leint is stale or aged urine, which was once stored and preserved for its chemical and supposed medicinal properties. As a verb, to lant is to mix urine into beer to make it taste stronger. If ever there was a word you might never want to come across, surely it's this.

13. POGONOLOGY

A close-up of the lower half of a strawberry blond, bearded, freckled man's face
iStock

First used in English in the 18th century, a pogonology is a treatise on or written description of a beard.

14. PTOMATIS

Red wine pouring out of a bottle and into a glass
iStock

If ever you needed an incentive to drink, owning a ptomatis might be it. Derived via Latin from Ancient Greek, a ptomatis is a cup or similar drinking vessel that needs to be emptied before it can be put down, as it is shaped in such a way that it won't stand upright open-end up.

15. QUOMODOCUNQUIZE

uccessful businesswoman multitasking with six arms at once, holding various implements
iStock

Q-words are always a bit on the unusual side, but quomodocunquize is in a field of its own. Derived from a Latin word, quomodocunque, meaning "in whatever way possible," to quomodocunquize is to make money or earn a living by any possible means.

16. RUNNING-BUTTOCK

Two wrestlers in stance on stage
iStock

Thankfully not as unpleasant as it sounds: A running-buttock is the name of a wrestling move dating from the 17th century.

17. SHIVVINESS

A pile of wooden splinters and sawdust
iStock

A shive is a tiny splinter or fragment of something. Derived from that—in the sense that a loose thread or tag in a garment might be unpleasantly scratchy—shivviness is the uncomfortable feeling caused by wearing new underwear.

18. SMELLFUNGUS

A skeptical-looking man with a finger on his lower lip
iStock

In his A Sentimental Journey through France and Italy (1768), the author Laurence Sterne invented a character named Smelfungus (albeit with one L) who was habitually unimpressed with everything he cast his eyes on during his travels. Sterne based the character on fellow travel writer (and chronic nitpicker) Tobias Smollett, and in doing so gave the English language a brilliant word for a dour, pessimistic faultfinder.

19. SOOTERKIN

A blond woman sitting on a kitchen counter near the stove
iStock

As definitions go, that of sooterkin is probably among the strangest of all in the dictionary: It refers to a monstrous part-human creature said to be given birth to by Dutch women who sat on stove tops to keep warm.

20. SPANGHEW

A toy frog jumping through the air
iStock

According to a quotation in the English Dialect Dictionary, spanghewing was the name of "a cruel custom" that involved "blowing up a frog by inserting a straw under the skin at the anus." The inflated frog was then bowled across the surface of a pond, and whoever could toss or spanghew their frog the furthest won the game. Thankfully, nobody goes around spanghewing anymore and so the word—on the rare occasion it is used—is typically used to mean "to hurl violently into the air."

21. SYPHILOMANIA

A blood vial that has tested positive for syphilis
iStock

Should you ever need a word for it, the tendency of doctors "to overdiagnose syphilis, or to treat patients for syphilis unnecessarily," is syphilomania according to the Oxford English Dictionary.

22. TATTARRATTAT

The back of a long-haired young woman knocking on a door with a blue knocker
iStock

James Joyce invented this word for the sound of someone knocking on a door in his novel Ulysses (1922). As well as being just a particularly strange word, it also has the distinction of being the longest palindrome in the OED.

23. THUMB-BUMPER

A happy smiling man in a blue shirt giving a thumbs up
iStock

In addition to being a term from pinball, a thumb-bumper is 'one who closing his fist firmly but with the thumb sticking out fiercely drives it against the buttocks of another." Why you would have to do that, and why it happened frequently enough to warrant a definition in the English Dialect Dictionary, is a mystery. And probably best kept that way.

24. TYROTOXISM

Various types of cheese on a cutting board and a wooden table
iStock

Should you ever need a word specifically to describe being poisoned by cheese, here it is.

25. WHIPPERSNAP

A little girl with blond hair and large black funny glasses
iStock

To behave like a whippersnapper? That's to whippersnap.

The 20 Best Horror Movies of All Time

Paramount Home Video
Paramount Home Video

From creature features to haunted house capers, the horror genre has been giving audiences the willies since the dawn of film. Here are our picks for the 20 best of all time. (If you’re bemoaning the lack of, say, Alien or The Fly, check out our list of the Best Sci-Fi Movies of All Time first—there are just too many excellent films to justify any duplicate entries.)

1. FREAKS (1932)

Director Tod Browning’s best-known work of horror is doubtless Dracula—but his best is Freaks, about a group of sideshow performers who vow vengeance on the beautiful trapeze artist who’s married to one of their own for his money. The film was controversial upon its release, due in large part to Browning’s casting of actual “freaks”(credited in the film as “Siamese Twin,” “Half Woman-Half Man,” “Human Skeleton,” “The Living Torso,” “Human Skeleton” etc). MGM demanded extensive cuts to the film, which were insufficient to keep it from being banned in the U.K. until 1963. According to Freaks’s production manager, a woman “tried to sue the studio, claiming the film had induced a miscarriage.”

2. THE BRIDE OF FRANKENSTEIN (1935)

Universal, under the guidance of producer Carl Laemmle Jr., had a whole raft of brilliant horror films in the 1930s: Dracula, Frankenstein, The Invisible Man, The Mummy, The Old Dark House. The list goes on. But raised high up above its companions—as high as its eponymous character’s hair—is James Whale’s The Bride of Frankenstein. Whale was initially reluctant to direct a sequel to his blockbuster success but was convinced by the promise of increased creative freedom. It was a good thing, too; if Whale hadn’t been able to tell his superiors at Universal what was what, we may have ended up with something like an early treatment for the film, where Dr. Frankenstein and his wife Elizabeth literally run off and join the circus. Frankenstein’s Monster finds them, demands a bride, and is later eaten by circus lions.

3. CAT PEOPLE (1942)

Producer Val Lewton, who worked at RKO throughout the 1940s, is famed for a style of horror film that prizes atmosphere over spectacle. You rarely see the monsters in films like The Leopard Man or Isle of the Dead, because Lewton just plain didn’t have the budget for it. The first—and best—of the films Lewton produced is director Jacques Tourneur’s Cat People, in which a woman (Simone Simon) is subject to a family curse where strong feelings of anger or sexual arousal turn her into, well, a Cat Person. A classy and subtle (as per Lewton’s style) look at the way society villainizes female sexuality, the film was remade in 1982 by Paul Schrader, who abandoned the previous film’s nuance for BDSM, incest, and a scenery-chewing Malcolm McDowell.

4. DIABOLIQUE (1955)

Psycho is to showers as Henri-Georges Clouzot’s masterpiece Diabolique is to bathtubs. The film, about the goings-on in a rundown French boarding school, is widely cited as having influenced Hitchcock’s Psycho. Certainly, Psycho’s “no late admittance” policy—unusual at the time—had been applied to Diabolique years before. In addition, Hitchcock tried to get his hands on the rights to Pierre Boileau and Thomas Narcejac’s Celle Qui n’etait Plus (She Who Was No More), which would become Diabolique, but Clouzot beat them to the punch and proceeded to “[block] those rights for a year, thus effectively preventing Alfred Hitchcock from getting his hands on the story.” Hitchcock instead acquired the rights to later novel by the pair, D’entre les morts (From the Dead), which would become Vertigo.

5. PSYCHO (1960)

With Psycho, Hitchcock broke new ground in a lot of ways. For one, he changed the way film was exhibited. Prior to Psycho, it was a generally accepted practice that moviegoers could enter a theater at any point during a screening. Hitch, determined that people wouldn’t wander in halfway into the movie and wonder where mega-star Janet Leigh (killed off in the famous shower sequence in the film’s first third) was, had theaters put up notices to the effect that late admittance was not allowed. And speaking of: In Alexandre O. Philippe’s doc 78/52, which is all about Psycho’s shower scene, horror director Richard Stanley posits that the film “might have also started the rather negative trend of victims undressing before they’re butchered, which is something that’s haunted slasher cinema throughout the '70s.”

6. BLACK SUNDAY (1960)

Icon of the Italian giallo movement Mario Bava made his official feature debut (he’d done uncredited work saving other people’s pictures before) with Black Sunday, loosely based on Nikolai Gogol’s short story Viy. Barbara Steele starred in two roles: Asa, a witch killed in the 17th century, and her descendent Katia, whose life Aja plans to take for herself from beyond the grave. Following her work on Black Sunday, Steele made other horror films and became an icon of the genre … which got her some pretty wicked admirers.

Per a Diabolique Magazine profile, “When she was at the height of her fame in Italy an invitation arrived by messenger from the newly appointed dictator of Libya, Muammar Gaddafi to join him for an informal brunch. Barbara recalled that the entire affair was lavish but a bit off-putting since each chair had an armed guard stationed by it fully equipped with submachine guns.” Years later, she received a request for a signed photograph (which she consented to) from a young man named Jeffrey Dahmer.

7. EYES WITHOUT A FACE (1960)

Pierre Boileau and Thomas Narcejac, who penned the books upon which Diabolique and Vertigo are based, were hired by director Georges Franju to adapt a novel by Jean Redon for the big screen. The film was developed by producer Jules Borkon specifically as a way to get into the horror genre that French audiences liked so much when it was American films—specifically, the Gothic horror films of the late ‘50s—being imported. A practical man, Borkon advised Franju to avoid excessive blood and animal torture, which the English and French censors, respectively, did not like. Ditto mad scientists, because, wrote David Kalat in his Criterion Collection essay on the film, “the Germans are touchy on about the whole Nazi doctor thing. This Borkon said while handing Franju a project about a mad doctor who tortures animals while cutting off women’s faces.”

Boileau and Narcejac got around this potentially very thorny (and bloody) problem by focusing the story on the mad doctor’s daughter, Christiane—though a moment near the end of the film was still shocking enough that it reportedly caused seven viewers at the Edinburgh Film Festival to faint and many others to leave the theater early. (Franju’s response: “Now I know why Scotsmen wear skirts.”)

In the United States, Eyes Without a Face was given the campy title The Horror Chamber of Dr. Faustus and paired in a double bill with The Manster (“Half Man – Half Monster – All Terror!”), which might explain why it took several years for American audiences to discover it for the haunting arthouse horror masterpiece it is.

8. THE HAUNTING (1963)

The gold standard in haunted house movies, Robert Wise’s The Haunting is based on Shirley Jackson’s 1959 novel The Haunting of Hill House, in which a paranormal investigator enlists a team of strangers to document their experiences living in a purportedly haunted mansion. (Not to be confused with the Vincent Price-starring House on Haunted Hill.) The favorite horror film of no less than Martin Scorsese, The Haunting adopts the show-don’t-tell ethos of Wise’s mentor, Val Lewton, who was famous for his highly atmospheric, low-budget horror movies where you frequently don’t see the monster in question. To that end, the supernatural forces in The Haunting are rarely visualized, with the emphasis more on the deteriorating mental state of the fragile, frazzled Eleanor (Julie Harris). Harris suffered from depression on-set and isolated herself from her co-stars, the result of not feeling that they took the film as seriously as she did. Wise followed up The Haunting with a decidedly more peppy film: 1965’s The Sound of Music.

9. NIGHT OF THE LIVING DEAD (1968)

One of the reasons that George Romero’s Night of the Living Dead became such a touchstone of the horror genre is, well, it’s a damn good movie. But a more minor reason has to do with a copyright fluke that put the film in the public domain. (The theatrical distributor changed the title prior to the film’s release, but when they updated the title card, they forgot to add the required copyright notice.) No copyright means no royalty fees, which in turn meant that Night of the Living Dead got more play on TV and a larger home video release than it would have had otherwise. It also meant that other filmmakers could create their own twists on Romero’s zombie classic without having to pay the man for the privilege, helping to give rise to the robust zombie sub-genre that’s been eating brains ever since.

10. ROSEMARY’S BABY (1968)

Though directed by one film legend, Roman Polanski, Rosemary’s Baby was at one point going to be helmed by a director of a different sort: William Castle. An icon of B-movie, gimmick-heavy horror—his most famous film is House on Haunted Hill, in which Vincent Price kills someone using an elaborate skeleton puppet, and for another of his movies, The Tingler, buzzers were installed in theater seats to gently zap moviegoers—Castle bought the rights to Ira Levin’s unpublished novel with an eye toward rehabilitating his image. (“We used to sit around our dining room table at night and instead of saying grace, my father would practice his Academy Award acceptance speech,” his daughter, Terry Castle, remembered.) Alas, it was not to be: Paramount, which co-financed Rosemary’s Baby with Castle, insisted that the film be directed by the more respectable Polanski, who was fresh off the success of his Euro horror hit Repulsion.

Though he initially found Polanski “cocky and vain,” Castle was won over by the younger director’s vision for the film, which basically boiled down to “Do it exactly like the book. Barely change anything.” Paramount won the fight, and Polanski signed on as Rosemary’s Baby’s director, with Castle producing. Some other Hollywood icons were involved behind the scenes, as well; Tony Curtis has an uncredited cameo as the voice of Donald Baumgart, and a cameo with Joan Crawford and Van Johnson playing themselves was filmed but later cut. (Johnson calling Polanski “Pinocchio” probably didn’t help.)

11. THE EXORCIST (1973)

The Silence of the Lambs’s route to Oscar success was paved by William Friedkin’s The Exorcist, which was the first horror film to be nominated for Best Picture. It received nine other nominations, too, including one for teenaged Linda Blair, playing the possessed Regan MacNeil. The nomination was met with controversy at the time, given the fact that Regan’s “possessed” voice was actually another actress: Mercedes McCambridge, who had to fight to receive on-screen credit. The Exorcist eventually won two Oscars: Best Adapted Screenplay and Best Sound.

12. CARRIE (1976)

Between film and TV, there have been over 100 adaptations of the work of Stephen King—but Carrie, directed by Brian De Palma, was the first. Sissy Spacek got a rare-for-horror Oscar nomination for playing the title character, a telekinetic teen bullied by her fellow students and her mother. De Palma initially thought that Spacek, at 25, was too old to play the teenage Carrie, even going so far as to encourage her to skip her final screen test in favor of a big commercial she had booked. Thankfully, Spacek ignored the director’s advice; she showed up to the screen test with Vaseline rubbed into her hair “to make it all greasy and yucky. I didn’t brush my teeth … I had a little dress since junior high school that was all ratty and old, and when the hair and make up people saw me coming, they raced to me to fix me up and I was like, ‘No! Stay away!’ Then I raced over to a corner and sulked and got ready for my screen test." Recalled De Palma: “she made everyone else look silly.”

13. HOUSE (1977)

In the 1970s, the Japanese movie market was being overtaken by fun, action-heavy Hollywood imports. Wanting a piece of the action themselves, Toho Studios hired Nobuhiko Ôbayashi, who had directed a series of experimental shorts and television commercials, to come up with a Japanese answer to Jaws. What they got was … er … not that. There wasn’t a human-eating piano in Jaws, or a demon cat, or a teenage girl who’s attacked by a bunch of futon mattresses. Ôbayashi’s psychedelic, bizarre horror comedy—about a group of seven teenage girls who go on vacation to one of the girl’s aunt’s house, only to realize the aunt is a witch and the house likes to eat people—proved a success among Japanese youth. It achieved cult status and was finally released in the United States in 2010.

14. SUSPIRIA (1977)

A surreal, gory, Technicolor extravaganza of witches, ballet, and murder, Dario Argento’s Suspiria is generally considered one of the finest examples—if not the finest example—of Italian horror. But one party involved in Suspiria wasn’t too keen on being associated with it: American distributor 20th Century Fox, which released the film under little-known subsidiary International Classics Inc. so as to avoid having its name attached to the film. Per Alexandra Heller-Nicholas’ Suspiria, there were “concerns about the impact [Suspiria] might have to its recently boosted industry reputation on the back of the success of George Lucas’ Star Wars.”

15. HALLOWEEN (1978)

John Carpenter’s Halloween, which begins with a six-year-old Michael Myers stabbing his nude sister, remains the only slasher film to date on the Library of Congress’s National Film Registry. Upon its 2006 induction, the Library of Congress’s Steve Leggett noted that the film “launched Carpenter’s career and started the slasher genre.”

Despite its status as the godfather of a particularly gory genre, Halloween is a film without any (literal) blood. That was intentional; writes David Konow in his book Reel Terror, it was Halloween cinematographer Dean Cundey’s belief that “even before the mad slasher craze, the feeling was that too much gore and special effects can call too much attention to itself, take the audience out of the movie, and make the story less realistic. ‘We actually spoke specifically about it,’ [said] Cundey. ‘I think part of what was so effective about Halloween is you could say any of this could happen.’”

16. AN AMERICAN WEREWOLF IN LONDON (1981)

John Landis's horror-comedy An American Werewolf in London is a groundbreaking bit of filmmaking for, among other things, its werewolf makeup effects. Practical FX guru Rick Baker won the first-ever Best Makeup Oscar for his work on the film; he was subsequently nominated for 10 Best Makeup Oscars and won seven. Baker’s work on American Werewolf particularly impressed Michael Jackson who, after seeing the film, contacted Landis and Baker to direct and do makeup design, respectively, for the music video for “Thriller.”

17. THE SILENCE OF THE LAMBS (1991)

The Academy of Motion Picture Arts and Sciences loves its biopics and its period dramas ... but horror movies? Not so much. Jonathan Demme’s The Silence of the Lambs is to date the only horror film to win the Best Picture Oscar. And it won a lot more than that: it’s only the third film in Oscar history to take home wins in the Big Five categories, a.k.a. Best Picture, Best Director, Best Screenplay (Adapted Screenplay, in Silence’s case), Best Actor (Anthony Hopkins), and Best Actress (Jodie Foster.) The other two Big Five victors are It Happened One Night (1934) and One Flew Over the Cuckoo’s Nest (1975).

18. SCREAM (1996)

Where Halloween invented the slasher genre, Scream reinvented it for a new generation, combining horror with meta comedy that skewers years of slasher movie tropes. Scream also revitalized the career of Wes Craven, a founding father of horror who made a name for himself with films like The Last House on the Left, The Hills Have Eyes, and A Nightmare on Elm Street. Still, in the mid-‘90s Craven was trying to move away from the dark, violent cinema he was associated with in an effort to avoid being pigeonholed. As such, he initially turned Scream down.

“The turning point was when a kid came up to me at a film conference or a panel I was on,” Craven later recalled. “The kid said, ‘You know, you should really do a movie like The Last House on the Left again. You really kicked ass back then, and you haven’t done it since.’ I went home and I thought, ‘Am I getting soft?’ I’ve always had this ambivalence about doing violent films, and I’ve also had this other side that says, ‘This is your voice, this is what comes naturally to you. You do it really well, go do it.’ So I called Bob [Weinstein, producer] and off we went.”

19. RINGU (1998)

One of the most influential international horror films of all time, the success of Hideo Nakata’s Ringu helped Japanese horror “[break] out of its cult status” in the West, subsequently kicking off a wave of American remakes of Japanese horror films. Ringu was remade in 2002 by Gore Verbinski as The Ring, which made more money in Japan than its source material—though not much more; Ringu made approximately $13 million in Japan, compared to The Ring’s $14.1 million. Subsequent American remakes of Asian horror hits included The Grudge (originally Ju-On), Dark Water, and Pulse.

20. GET OUT (2017)

The most recent entry on this list, Get Out has already knocked out a few milestones. Two other horror films on this list, The Silence of the Lambs and The Exorcist, won the Oscar for Best Adapted screenplay, but Get Out is the only horror film to win for Best Original Screenplay; on top of that, writer/director Jordan Peele is to date the only black writer to win that award. Other Oscar noms for this scrappy horror underdog are Best Director (Peele), Best Lead Actor (Daniel Kaluuya) and Best Film.

SECTIONS

arrow
LIVE SMARTER