Tag Archive: Margaret Lockwood


Odds are, you’re going to find this year to be the best year yet for accessing your favorite Halloween movies in October.  Particularly if you have a DVR and basic cable, you’ll be able to find many staples of the holiday season.  Below we’ve provided hundreds of movies scheduled to air–hundreds to choose from with a mix of classics and brand new shows–our annual compilation of the movies you get with the typical national basic cable packages.  Syfy’s 31 Days of Halloween is back, along with Freeform’s 31 Nights of Halloween.  AMC’s Fear Fest begins October 14, this year swapping out many movies for reruns of The Walking Dead, leads up to the new season premiere of the series (AMC’s listing below will be updated once they publish their final official schedule).  And TCM is back with monster classics and special theme days.

We’ve bolded some of our recommendations and other notable events in October.  A new Halloween movie will be in theaters and you can watch all the past entries in the series on AMC.  TCM honors the 200th anniversary of Frankenstein with several classic spin-offs.  You won’t want to miss Netflix’s The Chilling Adventures of Sabrina, too.  A Stephen King movie marathon, Wes Craven, John Carpenter, Vincent Price, Christopher Lee, Bela Legosi, Lon Chaney, Boris Karloff, Michael Myers, Jason Voorhees, Freddy Kruger, and lots of exorcisms.  Plus lots of animated movies on Freeform, and the Disney channel will be releasing its listings for Monstober later in the month.

All month long on Netflix you can watch horror movies including The Sixth Sense, The Lost Boys, The Boy, Cloverfield, Coraline, Children of the Corn, Cult of Chucky, Van Helsing, plus series like Stranger Things, The Twilight Zone, Ash vs. Evil Dead, Requiem, Bates Motel, and The Frankenstein Chronicles.  On Starz you can find a mix of sci-fi and horror movies including John Carpenter’s The Thing, They Live, and Ghosts of Mars, Young Frankenstein, Aliens vs Predator: Requiem, Underworld: Blood Wars, Resident Evil: The Final Chapter, Zombieland, Life, Scream, Amityville: The Awakening, Sleepy Hollow, Hollow Man, The Craft, and many more.  If all else fails, you can probably grab your favorite ghost story or other horror classic on Vudu and Amazon Prime, where you can buy or rent recommendations like The Fog (both versions), The Birds, The Shining, Orphan, Let Me In, The Others, The Woman in Black, Hansel & Gretel: Witch Hunters, Pride and Prejudice and Zombies, Abraham Lincoln: Vampire Hunter, The Ring, Grimm, and It’s the Great Pumpkin, Charlie Brown.  

So take notes and put your watch list into your DVR now so you don’t miss anything.  (All times listed are Central Time):

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Review by C.J. Bunce

Notorious isn’t just the name of an Alfred Hitchcock film, it describes the reputation of the acclaimed director over the course of his 55-year career.  Over the course of his films he would become famous for not only the blonde actresses in his films, but his misogynistic, voyeuristic, fetishism themes and content.  A precursor in many ways to Quentin Tarentino, Hitchcock nearly 40 years after his death is as popular as ever, with his film Vertigo still on many critics’ lists as the best American film of all time.  Those who view his films are left to wonder how much of the content of his films were the man, and how often was he simply selling what moviegoers were looking for–something new, something surprising, something stylish, and something shocking.  The flip side of Hitchcock viewed as provocateur is the fact that his films always featured a strong lead woman–sometimes from the opening scene and other times by film’s end–and the actress was often the only name marketed above the title, including some of the most fierce and compelling women characters ever filmed.

Scotland author Caroline Young takes a compelling look at the director and his relationship with the leading women in his films in her new book Hitchcock’s Heroines, a photograph-filled hardcover from Insight Editions.  Young, author of Roman Holiday: The Secret Life of Hollywood in Rome, Tartan & Tweed, and Style Tribes, sources interviews with the actors as well as interviews with Hitchcock to gain a better understanding of what motivated his work.  He spent the first half of his career–represented by the first half of the book–developing the style he would come to be known for by the time of his 1954 success Rear Window, culminating in his ideal production team: costume designer Edith Head, production designer Robert Burks, assistant director Herbert Coleman, and editor George Tomasini.  Hitchcock knew that most of his audience were women and believed that in the 1940s-1960s women usually determined what movie a couple was going to attend.  So the appearance of his leading women was as important, if not more important, than any other part of the film.  He also had an eye for using color and wardrobe as part of his storytelling tools, perhaps changing a character’s muted-toned costumes to striking and contrasting by film’s end to represent a character’s change in mood, strength, or growth.

Hitchcock’s Heroines is a superb source of costume sketches, costume designs, and production stills spanning Hitchcock’s directorial career.  Young includes with her discussions of each actress and corresponding character the costumes and costumers, which amounts to a history of Hollywood costume design artists, including Jean Peron, Dolly Tree, Joe Strassner, Marianne, Irene, Edward Stevenson, Vera West, Gilbert Adrian, René Hubert, Howard Greer, Edith Head, Christian Dior, Milo Anderson, Moss Mabry, Helen Rose, Harry Kress, Rita Riggs, Helen Colvig, and Julie Harris, although it was also not beyond Hitchcock to source his own vision from off-the-rack wardrobe from Western Costume Company or Bergdorf Goodman. Hair style and hair color is also a recurring theme Young pursues in the book.

Young references an interview from 1931 where Hitchcock discussed selecting actresses for roles: “The chief point I keep in mind when selecting my heroine is that she must be fashioned to please women rather than men, for the reason that women form three-quarters of the average cinema audience.  Therefore, no actress can be a good commercial proposition as a film heroine unless she pleases her own sex.”  It is noteworthy that Hitchcock was not always responsible for who starred in his films–Young cites instances where studio head David O. Selznick directly cast Hitchcock’s leading actors.

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